"Turn Up the Taste": Assessing the Role of Taste Intensity and Emotion in Mediating Crossmodal Correspondences between Basic Tastes and Pitch

Inducing Novel Sound-Taste Correspondences via an Associative Learning Task

The interest in crossmodal correspondences, including those involving sounds and involving tastes, has experienced rapid growth in recent years. However, the mechanisms underlying these correspondences are not well understood. In the present study (N = 302), we used an associative learning paradigm, based on previous literature using simple sounds with no consensual taste associations (i.e., square and triangle wave sounds at 200 Hz) and taste words (i.e., sweet and bitter), to test the influence of two potential mechanisms in establishing sound-taste correspondences and investigate whether either learning mechanism could give rise to new and long-lasting associations. Specifically, we examined an emotional mediation account (i.e., using sad and happy emoji facial expressions) and a transitive path (i.e., sound-taste correspondence being mediated by color, using red and black colored squares). The results revealed that the associative learning paradigm mapping the triangle wave tone with a happy emoji facial expression induced a novel crossmodal correspondence between this sound and the word sweet. Importantly, we found that this novel association was still present two months after the experimental learning paradigm. None of the other mappings, emotional or transitive, gave rise to any significant associations between sound and taste. These findings provide evidence that new crossmodal correspondences between sounds and tastes can be created by leveraging the affective connection between both dimensions, helping elucidate the mechanisms underlying these associations. Moreover, these findings reveal that these associations can last for several weeks after the experimental session through which they were induced.

Tasty vibes: Uncovering crossmodal correspondences between tactile vibrations and basic tastes

The interest in crossmodal correspondences individually involving the senses of touch and taste has grown rapidly in the last few decades. Several correspondences involving different tactile dimensions (e.g., hardness/softness, roughness/smoothness) have been uncovered, such as those between sweetness and softness and between roughness and sourness. However, a dimension that has been long overlooked, despite its pervasiveness and importance in everyday experiences, relates to tactile vibrations. The present study aimed to fill this gap and investigate crossmodal correspondences between basic tastes and vibrations. In the present study (N = 72), we uncovered these associations by having participants sample basic taste (i.e., sweet, salty, sour, bitter, umami) aqueous solutions and chose the frequency of vibrations, delivered via a consumer-grade subwoofer wristband on their dominant hand, that they most strongly associated with each taste. We found that sourness was most strongly associated with frequencies around 98 Hz, and that sweetness and umami were associated with frequencies around 77 Hz. These correspondences may, to different extents, be based on affective and semantic mechanisms. The findings have relevant implications for theoretical research on multisensory integration and perception and the potential future applications of these associations, through wearable technologies, to enhance eating experiences and promote healthier eating habits.

The taste & affect music database: Subjective rating norms for a new set of musical stimuli

Music is a ubiquitous stimulus known to influence human affect, cognition, and behavior. In the context of eating behavior, music has been associated with food choice, intake and, more recently, taste perception. In the latter case, the literature has reported consistent patterns of association between auditory and gustatory attributes, suggesting that individuals reliably recognize taste attributes in musical stimuli. This study presents subjective norms for a new set of 100 instrumental music stimuli, including basic taste correspondences (sweetness, bitterness, saltiness, sourness), emotions (joy, anger, sadness, fear, surprise), familiarity, valence, and arousal. This stimulus set was evaluated by 329 individuals (83.3% women; Mage = 28.12, SD = 12.14), online (n = 246) and in the lab (n = 83). Each participant evaluated a random subsample of 25 soundtracks and responded to self-report measures of mood and taste preferences, as well as the Goldsmiths Musical Sophistication Index (Gold-MSI). Each soundtrack was evaluated by 68 to 97 participants (Mdn = 83), and descriptive results (means, standard deviations, and confidence intervals) are available as supplemental material at osf.io/2cqa5 . Significant correlations between taste correspondences and emotional/affective dimensions were observed (e.g., between sweetness ratings and pleasant emotions). Sex, age, musical sophistication, and basic taste preferences presented few, small to medium associations with the evaluations of the stimuli. Overall, these results suggest that the new Taste & Affect Music Database is a relevant resource for research and intervention with musical stimuli in the context of crossmodal taste perception and other affective, cognitive, and behavioral domains.

An fMRI study of visual geometric shapes processing

Cross-modal correspondence has been consistently evidenced between shapes and other sensory attributes. Especially, the curvature of shapes may arouse the affective account, which may contribute to understanding the mechanism of cross-modal integration. Hence, the current study used the functional magnetic resonance imaging (fMRI) technique to examine brain activity’s specificity when people view circular and angular shapes. The circular shapes consisted of a circle and an ellipse, while the angular shapes consisted of a triangle and a star. Results show that the brain areas activated by circular shapes mainly involved the sub-occipital lobe, fusiform gyrus, sub and middle occipital gyrus, and cerebellar VI. The brain areas activated by angular shapes mainly involve the cuneus, middle occipital gyrus, lingual gyrus, and calcarine gyrus. The brain activation patterns of circular shapes did not differ significantly from those of angular shapes. Such a null finding was unexpected when previous cross-modal correspondence of shape curvature was considered. The different brain regions detected by circular and angular shapes and the potential explanations were discussed in the paper.

Crossmodal correspondences between basic tastes and visual design features: A narrative historical review

People tend to associate abstract visual features with basic taste qualities. This narrative historical review critically evaluates the literature on these associations, often referred to as crossmodal correspondences, between basic tastes and visual design features such as color hue and shape curvilinearity. The patterns, discrepancies, and evolution in the development of the research are highlighted while the mappings that have been reported to date are summarized. The review also reflects on issues of cross-cultural validity and deviations in the matching patterns that are observed when correspondences are assessed with actual tastants versus with verbal stimuli. The various theories that have been proposed to account for different classes of crossmodal correspondence are discussed, among which the statistical and affective (or emotional-mediation) accounts currently appear most promising. Several critical research questions for the future are presented to address the gaps that have been identified in the literature and help validate the popular theories on the origin and operations of visual-taste correspondences.

Emotional responses to taste and smell stimuli: Self-reports, physiological measures, and a potential role for individual and genetic factors

Taste and olfaction elicit conscious feelings by direct connection with the neural circuits of emotions that affects physiological responses in the body (e.g., heart rate and skin conductance). While sensory attributes are strong determinants of food liking, other factors such as emotional reactions to foods may be better predictors of consumer choices even for products that are equally-liked. Thus, important insights can be gained for understanding the full spectrum of emotional reactions to foods that inform the activities of product developers and marketers, eating psychologist and nutritionists, and policy makers. Today, self-reported questionnaires and physiological measures are the most common tools applied to study variations in emotional perception. The present review discusses these methodological approaches, underlining their different strengths and weaknesses. We also discuss a small, emerging literature suggesting that individual differences and genetic variations in taste and smell perception, like the genetic ability to perceive the bitter compound PROP, may also play a role in emotional reactions to aromas and foods.

Exploring Group Differences in the Crossmodal Correspondences

There has been a rapid growth of interest amongst researchers in the cross-modal correspondences in recent years. In part, this has resulted from the emerging realization of the important role that the correspondences can sometimes play in multisensory integration. In turn, this has led to an interest in the nature of any differences between individuals, or rather, between groups of individuals, in the strength and/or consensuality of cross-modal correspondences that may be observed in both neurotypically normal groups cross-culturally, developmentally, and across various special populations (including those who have lost a sense, as well as those with autistic tendencies). The hope is that our emerging understanding of such group differences may one day provide grounds for supporting the reality of the various different types of correspondence that have so far been proposed, namely structural, statistical, semantic, and hedonic (or emotionally mediated).

Crossmodal Harmony: Looking for the Meaning of Harmony Beyond Hearing

The notion of harmony was first developed in the context of metaphysics before being applied to the domain of music. However, in recent centuries, the term has often been used to describe especially pleasing combinations of colors by those working in the visual arts too. Similarly, the harmonization of flavors is nowadays often invoked as one of the guiding principles underpinning the deliberate pairing of food and drink. However, beyond the various uses of the term to describe and construct pleasurable unisensory perceptual experiences, it has also been suggested that music and painting may be combined harmoniously (e.g., see the literature on "color music"). Furthermore, those working in the area of "sonic seasoning" sometimes describe certain sonic compositions as harmonizing crossmodally with specific flavor sensations. In this review, we take a critical look at the putative meaning(s) of the term "harmony" when used in a crossmodal, or multisensory, context. Furthermore, we address the question of whether the term's use outside of a strictly unimodal auditory context should be considered literally or merely metaphorically (i.e., as a shorthand to describe those combinations of sensory stimuli that, for whatever reason, appear to go well together, and hence which can be processed especially fluently).

‘Unusual ingredients’: Developing a cross-domain model for multisensory artistic practice linking food and music

This article explores linkages between sensory experiences of food and music in light of recent research from gastrophysics, 4E cognition (i.e. embodied, embedded, extended and enactive) and ecological perception theory. Drawing on these research disciplines, this article outlines a model for multisensory artistic practice, and a taxonomy of cross-domain creative strategies, based on the identification of sensory affordances between the domains of food and music. Food objects are shown to ‘afford’ cross-domain interrelationships with sound stimuli based on our capacity to sense their material characteristics, and to make sense of them through prior experience and contextual association. We propose that multisensory artistic works can themselves afford extended forms of sensory awareness by synthesizing and mediating stimuli across the selected domains, in order to form novel, or unexpected sensory linkages. These ideas are explored with reference to an ongoing artistic research project entitled ‘Unusual ingredients’, creating new music to complement and enhance the characteristics of selected food.

People With High Autistic Traits Show Fewer Consensual Crossmodal Correspondences Between Visual Features and Tastes

Crossmodal correspondences between visual features (e.g., color/shape) and tastes have been extensively documented in recent years. Visual colors and shapes have been shown to consensually match to specific tastes. Meanwhile, individuals with autism spectrum disorder are reported to have atypical sensory processing and deficits in multisensory integration. However, the influence of autistic traits on the formation of such correspondences is relatively unknown. Here, we examined whether autistic traits could influence visual–taste associations using an online questionnaire survey among Japanese participants. The results showed that the participants exhibited strong color–taste, shape–taste, and shape–color associations, and the proportions of choosing the consensual color–taste/shape–color associations were significantly associated with autistic traits. The participants with higher autistic quotient scores chose fewer of the consensual color–taste/shape–color associations while there was no difference in choosing shape–taste associations. We interpreted the results as statistical learning with a reduced prior knowledge effect in participants with higher autistic quotient scores.

Metacognition and Crossmodal Correspondences Between Auditory Attributes and Saltiness in a Large Sample Study

Mounting evidence demonstrates that people make surprisingly consistent associations between auditory attributes and a number of the commonly-agreed basic tastes. However, the sonic representation of (association with) saltiness has remained rather elusive. In the present study, a crowd-sourced online study ( n = 1819 participants) was conducted to determine the acoustical/musical attributes that best match saltiness, as well as participants' confidence levels in their choices. Based on previous literature on crossmodal correspondences involving saltiness, thirteen attributes were selected to cover a variety of temporal, tactile, and emotional associations. The results revealed that saltiness was associated most strongly with a long decay time, high auditory roughness, and a regular rhythm. In terms of emotional associations, saltiness was matched with negative valence, high arousal, and minor mode. Moreover, significantly higher average confidence ratings were observed for those saltiness-matching choices for which there was majority agreement, suggesting that individuals were more confident about their own judgments when it matched with the group response, therefore providing support for the so-called 'consensuality principle'. Taken together, these results help to uncover the complex interplay of mechanisms behind seemingly surprising crossmodal correspondences between sound attributes and taste.

Explaining Crossmodal Correspondences Between Colours and Tastes

For centuries, if not millennia, people have associated the basic tastes (e.g., sweet, bitter, salty, and sour) with specific colours. While the range of tastes may have changed, and the reasons for wanting to connect the senses in this rather surprising way have undoubtedly differed, there would nevertheless appear to be a surprisingly high degree of consistency regarding this crossmodal mapping among non-synaesthetes that merits further consideration. Traditionally, colour-taste correspondences have often been considered together with odour-colour and flavour-colour correspondences. However, the explanation for these various correspondences with the chemical senses may turn out to be qualitatively different, given the presence of identifiable source objects in the case of food aromas/flavours, but not necessarily in the case of basic tastes. While the internalization of the crossmodal statistics of the environment provides one appealing account for the existence of colour-taste correspondences, emotional mediation may also be relevant. Ultimately, while explaining colour-taste correspondences is of both theoretical and historical interest, the growing awareness of the robustness of colour-taste correspondences would currently seem to be of particular relevance to those working in the fields of design and multisensory experiential marketing.

A Study of Multi-Sensory Experience and Color Recognition in Visual Arts Appreciation of People with Visual Impairment

Visually impaired visitors experience many limitations when visiting museum exhibits, such as a lack of cognitive and sensory access to exhibits or replicas. Contemporary art is evolving in the direction of appreciation beyond simply looking at works, and the development of various sensory technologies has had a great influence on culture and art. Thus, opportunities for people with visual impairments to appreciate visual artworks through various senses such as hearing, touch, and smell are expanding. However, it is uncommon to provide an interactive interface for color recognition, such as applying patterns, sounds, temperature, or scents. This review aims to convey the visual elements of the work to the visually impaired through various sensory elements. In addition, to open a new perspective on appreciation of the works, the technique of expressing the color coded by integrating patterns, temperature, scent, music, and vibration was explored, and future research topics were presented.

Cross-Modal Correspondences Between Temperature and Taste Attributes

Temperature is an important characteristic of food and drink. In addition to food-intrinsic temperature (i.e., serving temperature), consumers often experience food-extrinsic temperature (e.g., physical warmth). Emerging research on cross-modal correspondence has revealed that people reliably associate temperature with other sensory features. Building on the literature on cross-modal correspondence and sensation transference theory, the present study aimed to reveal mental representations of temperature–taste correspondence and cross-modal mental representations influencing corresponding sensory/hedonic perceptions of beverages, with a focus on manipulating food-extrinsic warmth. To reveal mental representations of temperature–taste correspondence, Experiment 1 investigated whether temperature words (warm, cool) are associated with sensory/hedonic attributes (e.g., sweet, sour, salty, bitter). The results of Experiment 1 demonstrated that warm (vs. cool) was matched more with saltiness, tastiness, healthfulness, and preference (intention to buy), whereas cool (vs. warm) was matched more with sourness and freshness. Experiment 2 assessed whether cross-modal mental representations influence corresponding sensory/hedonic perceptions of beverages. The participants wore hot and cold pads and rated sensory/hedonic attributes of Japanese tea (Experiment 2a) or black coffee (Experiment 2b) before and after tasting it. The results of Experiment 2a demonstrated that physical warmth (vs. coldness) increased healthfulness and the intention to buy Japanese tea. The results of Experiment 2b did not reveal any effects of physical warmth on sensory/hedonic ratings. These findings provide evidence of taste–temperature correspondence and provide preliminary support for the influence of food-extrinsic warmth on taste attributes related to positivity.

Crossmodal congruency effects between sound and food pictures in a forced-choice task

Research using short musical sequences and musical tracks created by means of computer algorithms has demonstrated that individuals with or without musical skills can match these soundtracks to specific tastes with above-chance accuracy. More recently, a study that investigated implicit effects associated with crossmodal congruency/incongruency between auditory cues and food images found that such soundtracks are effective in eliciting facilitating effects of taste quality classification with congruent food images as well. In the present study, we tested whether this crossmodal congruency between auditory cues and food images may also influence food image choice by means of a forced-choice task. We selected and used sweet and salty soundtracks as stimuli and food images including both low- and high-calorie exemplars and asked participants to select which food they would prefer to eat (one sweet and one salty) while listening to the soundtracks. We found a general greater proportion of food choices in the soundtracks matching tastes conditions, and that soundtracks matching tastes are effective in influencing congruent food image choices, supporting previous research and adding new interesting outcomes.

Assessing the Role of Emotional Mediation in Explaining Crossmodal Correspondences Involving Musical Stimuli

A wide variety of crossmodal correspondences, defined as the often surprising connections that people appear to experience between simple features, attributes, or dimensions of experience, either physically present or else merely imagined, in different sensory modalities, have been demonstrated in recent years. However, a number of crossmodal correspondences have also been documented between more complex (i.e., multi-component) stimuli, such as, for example, pieces of music and paintings. In this review, the extensive evidence supporting the emotional mediation account of the crossmodal correspondences between musical stimuli (mostly pre-recorded short classical music excerpts) and visual stimuli, including colour patches through to, on occasion, paintings, is critically evaluated. According to the emotional mediation account, it is the emotional associations that people have with stimuli that constitutes one of the fundamental bases on which crossmodal associations are established. Taken together, the literature that has been published to date supports emotional mediation as one of the key factors underlying the crossmodal correspondences involving emotionally-valenced stimuli, both simple and complex.

Wine psychology: basic & applied

Basic cognitive research can help to explain our response to wine, and the myriad factors that affect it. Wine is a complex, culture-laden, multisensory stimulus, and our perception/experience of its properties is influenced by everything from the packaging in which it is presented through the glassware in which it is served and evaluated. A growing body of experiential wine research now demonstrates that a number of contextual factors, including everything from the colour of the ambient lighting through to background music can exert a profound, and in some cases predictable, influence over the tasting experience. Sonic seasoning - that is, the matching of music or soundscapes with specific wines in order to accentuate or draw attention to certain qualities/attributes in the wine, such as sweetness, length, or body, also represents a rapidly growing area of empirical study. While such multisensory, experiential wine research undoubtedly has a number of practical applications, it also provides insights concerning multisensory perception that are relevant to basic scientists. Furthermore, the findings of the wine research are also often relevant to those marketers interested in understanding how the consumers' perception of any other food or beverage product can potentially be modified.

Multisensory Flavour Perception: Blending, Mixing, Fusion, and Pairing Within and Between the Senses

This review summarizes the various outcomes that may occur when two or more elements are paired in the context of flavour perception. In the first part, I review the literature concerning what happens when flavours, ingredients, and/or culinary techniques are deliberately combined in a dish, drink, or food product. Sometimes the result is fusion but, if one is not careful, the result can equally well be confusion instead. In fact, blending, mixing, fusion, and flavour pairing all provide relevant examples of how the elements in a carefully-crafted multi-element tasting experience may be combined. While the aim is sometimes to obscure the relative contributions of the various elements to the mix (as in the case of blending), at other times, consumers/tasters are explicitly encouraged to contemplate/perceive the nature of the relationship between the contributing elements instead (e.g., as in the case of flavour pairing). There has been a noticeable surge in both popular and commercial interest in fusion foods and flavour pairing in recent years, and various of the 'rules' that have been put forward to help explain the successful combination of the elements in such food and/or beverage experiences are discussed. In the second part of the review, I examine the pairing of flavour stimuli with music/soundscapes, in the emerging field of 'sonic seasoning'. I suggest that the various perceptual pairing principles/outcomes identified when flavours are paired deliberately can also be meaningfully extended to provide a coherent framework when it comes to categorizing the ways in which what we hear can influence our flavour experiences, both in terms of the sensory-discriminative and hedonic response.

Cross-Modal Associations Between Real Tastes and Colors

People make reliable and consistent matches between taste and color. However, in contrast to other cross-modal correspondences, all of the research to date has used only taste words (and often color words too), potentially limiting our understanding of how taste-color matches arise. Here, participants sampled the 5 basic tastes, at 3 concentration steps, and selected their best matching color from a color wheel. This test was repeated, and in addition, participants evaluated the valence of the taste and their color choice, as well as the qualities/intensities of the taste stimuli. Participants were then presented with taste names and asked to generate the best matching color name, as well as reporting how they made their earlier choices. Color selections were reliable and consistent and closely followed those based on taste word matches obtained in this and prior studies. Most participants reported basing their color choices on their associated taste-object (often foods). There was marked similarity in valence between taste and color choices, and the saturation of color choices was related to tastant concentration. We discuss what drives color-taste pairings, with learning suggested as one possible mechanism.

The Role of Intrinsic and Extrinsic Sensory Factors in Sweetness Perception of Food and Beverages: A Review

When it comes to eating and drinking, multiple factors from diverse sensory modalities have been shown to influence multisensory flavour perception and liking. These factors have heretofore been strictly divided into either those that are intrinsic to the food itself (e.g., food colour, aroma, texture), or those that are extrinsic to it (e.g., related to the packaging, receptacle or external environment). Given the obvious public health need for sugar reduction, the present review aims to compare the relative influences of product-intrinsic and product-extrinsic factors on the perception of sweetness. Evidence of intrinsic and extrinsic sensory influences on sweetness are reviewed. Thereafter, we take a cognitive neuroscience perspective and evaluate how differences may occur in the way that food-intrinsic and extrinsic information become integrated with sweetness perception. Based on recent neuroscientific evidence, we propose a new framework of multisensory flavour integration focusing not on the food-intrinsic/extrinsic divide, but rather on whether the sensory information is perceived to originate from within or outside the body. This framework leads to a discussion on the combinability of intrinsic and extrinsic influences, where we refer to some existing examples and address potential theoretical limitations. To conclude, we provide recommendations to those in the food industry and propose directions for future research relating to the need for long-term studies and understanding of individual differences.

Environmental Sounds Influence the Multisensory Perception of Chocolate Gelati

Recently, it has been shown that various auditory stimuli modulate flavour perception. The present study attempts to understand the effects of environmental sounds (park, food court, fast food restaurant, cafe, and bar sounds) on the perception of chocolate gelato (specifically, sweet, bitter, milky, creamy, cocoa, roasted, and vanilla notes) using the Temporal Check-All-That-Apply (TCATA) method. Additionally, affective ratings of the auditory stimuli were obtained using the Self-Assessment Manikin (SAM) in terms of their valence, arousal, and dominance. In total, 58 panellists rated the sounds and chocolate gelato in a sensory laboratory. The results revealed that bitterness, roasted, and cocoa notes were more evident when the bar, fast food, and food court sounds were played. Meanwhile, sweetness was cited more in the early mastication period when listening to park and café sounds. The park sound was significantly higher in valence, while the bar sound was significantly higher in arousal. Dominance was significantly higher for the fast food restaurant, food court, and bar sound conditions. Intriguingly, the valence evoked by the pleasant park sound was positively correlated with the sweetness of the gelato. Meanwhile, the arousal associated with bar sounds was positively correlated with bitterness, roasted, and cocoa attributes. Taken together, these results clearly demonstrate that people's perception of the flavour of gelato varied with the different real-world sounds used in this study.

Round Faces Are Associated with Sweet Foods: The Role of Crossmodal Correspondence in Social Perception

In retail settings, social perception of other peoples' preferences is fundamental to successful interpersonal interactions (e.g., product recommendations, gift-giving). This type of perception must be made with little information, very often based solely on facial cues. Although people are capable of accurately predicting others' preferences from facial cues, we do not yet know how such inferences are made by crossmodal correspondence (arbitrary sensory associations) between facial cues and inferred attributes. The crossmodal correspondence literature implies the existence of sensory associations between shapes and tastes, and people consistently match roundness and angularity to sweet and sour foods, respectively. Given that peoples' faces have dimensions characterized by roundness and angularity, it may be plausible that people infer others' preferences by relying on the correspondence between facial roundness and taste. Based on a crossmodal correspondence framework, this study aimed to reveal the role of shape⁻taste correspondences in social perception. We investigated whether Japanese participants infer others' taste (sweet/sour) preferences based on facial shapes (roundness/angularity). The results showed that participants reliably inferred that round-faced (vs. angular-faced) individuals preferred sweet foods (Study 1). Round-faced individuals and sweet foods were well matched, and the matching mediated the inference of other person's preferences (Study 2). An association between facial roundness and inference of sweet taste preferences was observed in more natural faces, and perceived obesity mediated this association (Study 3). These findings advance the applicability of crossmodal correspondences in social perception, and imply the pervasiveness of prejudicial bias in the marketplace.

On the Relationship(s) Between Color and Taste/Flavor

Experimental psychologists, psychophysicists, food/sensory scientists, and marketers have long been interested in, and/or speculated about, what exactly the relationship, if any, might be between color and taste/flavor. While several influential early commentators argued against there being any relationship, a large body of empirical evidence published over the last 80 years or so clearly demonstrates that the hue and saturation, or intensity, of color in food and/or drink often influences multisensory flavor perception. Interestingly, the majority of this research has focused on vision's influence on the tasting experience rather than looking for any effects in the opposite direction. Recently, however, a separate body of research linking color and taste has emerged from the burgeoning literature on the crossmodal correspondences. Such correspondences, or associations, between attributes or dimensions of experience, are thought to be robustly bidirectional. When talking about the relationship between color and taste/flavor, some commentators would appear to assume that these two distinct literatures describe the same underlying empirical phenomenon. That said, a couple of important differences (in terms of the bidirectionality of the effects and their relative vs. absolute nature) are highlighted, meaning that the findings from one domain may not necessarily always be transferable to the other, as is often seemingly assumed.

A Critical Analysis of Colour-Shape Correspondences: Examining the Replicability of Colour-Shape Associations

Research on the topic of colour-shape correspondences started in the early 20th century with the Bauhaus artist Wassily Kandinsky. However, more recently, the topic has been examined using the empirical framework of crossmodal correspondences research. The field remains one in which consistent results and generalisable hypotheses about the existence and nature of colour-shape correspondences are lacking. The replicability and consistency of findings concerning colour-shape correspondences are examined in three online colour-shape matching experiments using the same procedure and study design while varying the sets of shape stimuli that are evaluated. Participants matched one of 36 colours to each shape as well as made preference and arousal appraisal ratings for each of the shapes and colours. The complexities of analysing colour-shape correspondence data are discussed and illustrated by classifying and analysing shape and colours in a variety of different ways, including using continuous perceptual and objective measures. Significant colour-shape associations were found. However, as hypothesised, limited consistent results in regard to what perceptual shape characteristics predicted colour choices were documented across the three stimuli sets. This was the case both within and across different analysis methods. The factors that may be responsible for these inconsistencies are critically discussed. Intriguingly, however, evidence for emotional mediation, whereby shape and colour liking and arousal appraisals appear to influence the colour-shape correspondences made by participants, was found across all three experiments.

Variations in Food Acceptability with Respect to Pitch, Tempo, and Volume Levels of Background Music

This study aimed to determine whether pitch, tempo, and volume levels of music stimuli affect sensory perception and acceptance of foods. A traditional music piece was arranged into versions at two pitches, two tempos, and two volumes. For each session, chocolate and bell peppers were presented for consumption under three sound conditions: 1) upper or 2) lower level with respect to each of the three music elements, and 3) silence. Over three sessions, participants evaluated flavor intensity, pleasantness of flavor, texture impression, and overall impression of food samples, in addition to the pleasantness and stimulation evoked by the music stimuli. Results showed that lower-pitched and louder music stimuli increased hedonic impressions of foods compared to their respective counterparts and/or the silent condition. While the effects of music element levels on hedonic impressions differed with the type of food consumed, the participants liked the foods more when music stimuli were perceived as more pleasant and stimulating. Flavor was perceived as more intense when participants were more stimulated by the music samples. Although a specific element of music stimuli was manipulated, perceptions of other elements also varied, leading to large variations in the music-evoked pleasantness and stimulation. In conclusion, the findings provide empirical evidence that hedonic impressions of foods may be influenced by emotions evoked by music selections varying in music element levels, but it should be also noted that the influences were food-dependent and not pronounced.

Taste the Bass: Low Frequencies Increase the Perception of Body and Aromatic Intensity in Red Wine

Associations between heaviness and bass/low-pitched sounds reverberate throughout music, philosophy, literature, and language. Given that recent research into the field of cross-modal correspondences has revealed a number of robust relationships between sound and flavour, this exploratory study was designed to investigate the effects of lower frequency sound (10 Hz to 200 Hz) on the perception of the mouthfeel character of palate weight/body. This is supported by an overview of relevant cross-modal studies and cultural production. Wines were the tastants - a New Zealand Pinot Noir and a Spanish Garnacha - which were tasted in silence and with a 100 Hz (bass) and a higher 1000 Hz sine wave tone. Aromatic intensity was included as an additional character given suggestions that pitch may influence the perception of aromas, which might presumably affect the perception of wine body. Intensity of acidity and liking were also evaluated. The results revealed that the Pinot Noir wine was rated as significantly fuller-bodied when tasted with a bass frequency than in silence or with a higher frequency sound. The low frequency stimulus also resulted in the Garnacha wine being rated as significantly more aromatically intense than when tasted in the presence of the higher frequency auditory stimulus. Acidity was rated considerably higher with the higher frequency in both wines by those with high wine familiarity and the Pinot Noir significantly better liked than the Garnacha. Possible reasons as to why the tones used in this study affected perception of the two wines differently are discussed. Practical application of the findings are also proposed.

Extrinsic Auditory Contributions to Food Perception & Consumer Behaviour: an Interdisciplinary Review

Food product-extrinsic sounds (i.e., those auditory stimuli that are not linked directly to a food or beverage product, or its packaging) have been shown to exert a significant influence over various aspects of food perception and consumer behaviour, often operating outside of conscious awareness. In this review, we summarise the latest evidence concerning the various ways in which what we hear can influence what we taste. According to one line of empirical research, background noise interferes with tasting, due to attentional distraction. A separate body of marketing-relevant research demonstrates that music can be used to bias consumers’ food perception, judgments, and purchasing/consumption behaviour in various ways. Some of these effects appear to be driven by the arousal elicited by loud music as well as the entrainment of people’s behaviour to the musical beat. However, semantic priming effects linked to the type and style of music are also relevant. Another route by which music influences food perception comes from the observation that our liking/preference for the music that we happen to be listening to carries over to influence our hedonic judgments of what we are tasting. A final route by which hearing influences tasting relates to the emerging field of ‘sonic seasoning’. A developing body of research now demonstrates that people often rate tasting experiences differently when listening to soundtracks that have been designed to be (or are chosen because they are) congruent with specific flavour experiences (e.g., when compared to when listening to other soundtracks, or else when tasting in silence). Taken together, such results lead to the growing realization that the crossmodal influences of music and noise on food perception and consumer behaviour may have some important if, as yet, unrecognized implications for public health.

EmojiGrid: A 2D Pictorial Scale for the Assessment of Food Elicited Emotions

Research on food experience is typically challenged by the way questions are worded. We therefore developed the EmojiGrid: a graphical (language-independent) intuitive self-report tool to measure food-related valence and arousal. In a first experiment participants rated the valence and the arousing quality of 60 food images, using either the EmojiGrid or two independent visual analog scales (VAS). The valence ratings obtained with both tools strongly agree. However, the arousal ratings only agree for pleasant food items, but not for unpleasant ones. Furthermore, the results obtained with the EmojiGrid show the typical universal U-shaped relation between the mean valence and arousal that is commonly observed for a wide range of (visual, auditory, tactile, olfactory) affective stimuli, while the VAS tool yields a positive linear association between valence and arousal. We hypothesized that this disagreement reflects a lack of proper understanding of the arousal concept in the VAS condition. In a second experiment we attempted to clarify the arousal concept by asking participants to rate the valence and intensity of the taste associated with the perceived food items. After this adjustment the VAS and EmojiGrid yielded similar valence and arousal ratings (both showing the universal U-shaped relation between the valence and arousal). A comparison with the results from the first experiment showed that VAS arousal ratings strongly depended on the actual wording used, while EmojiGrid ratings were not affected by the framing of the associated question. This suggests that the EmojiGrid is largely self-explaining and intuitive. To test this hypothesis, we performed a third experiment in which participants rated food images using the EmojiGrid without an associated question, and we compared the results to those of the first two experiments. The EmojiGrid ratings obtained in all three experiments closely agree. We conclude that the EmojiGrid appears to be a valid and intuitive affective self-report tool that does not rely on written instructions and that can efficiently be used to measure food-related emotions.

Implicit Association Effects Between Sound and Food Images

A growing body of empirical research documents the existence of several interesting crossmodal correspondences between auditory and gustatory/flavor stimuli, demonstrating that people can match specific acoustic and musical parameters with different tastes and flavors. In this context, a number of researchers and musicians arranged their own soundtracks so as to match specific tastes and used them for research purposes, revealing explicit crossmodal effects on judgments of taste comparative intensity or of taste/sound accordance. However, only few studies have examined implicit associations related to taste–sound correspondences. Thus, the present study was conducted in order to assess possible implicit effects associated to the crossmodal congruency/incongruency between auditory cues and food images during the classification of food tastes. To test our hypothesis, we used ‘salty’ and ‘sweet’ soundtracks with salty and sweet food images, and asked 88 participants to classify the taste of each food image while listening to the soundtracks. We found that sweet food images were classified faster than salty food images, regardless of which soundtrack was presented. Moreover, we found a congruency effect, demonstrating that such soundtracks are effective in eliciting facilitating effects of taste quality classification with congruent food images.

Music to Make Your Mouth Water? Assessing the Potential Influence of Sour Music on Salivation

People robustly associate various sound attributes with specific smells/tastes, and soundtracks that are associated with specific tastes can influence people’s evaluation of the taste of food and drink. However, it is currently unknown whether such soundtracks directly impact the eating experience via physiological changes (an embodiment account), or whether they act at a higher cognitive level, or both. The present research assessed a version of the embodiment account, where a soundtrack associated with sourness is hypothesized to induce a physiological response in the listener by increasing salivary flow. Salivation was measured while participants were exposed to three different experimental conditions – a sour soundtrack, a muted lemon video showing a man eating a lemon, and a silent baseline condition. The results revealed that salivation during the lemon video condition was significantly greater than in the sour soundtrack and baseline conditions. However, contrary to our hypothesis, there was no significant difference between salivation levels in the sour soundtrack compared to the baseline condition. These results are discussed in terms of potential mechanisms underlying the auditory modulation of taste perception/evaluation.

The Role of Pitch and Tempo in Sound-Temperature Crossmodal Correspondences

We explored the putative existence of crossmodal correspondences between sound attributes and beverage temperature. An online pre-study was conducted first, in order to determine whether people would associate the auditory parameters of pitch and tempo with different imagined beverage temperatures. The same melody was manipulated to create a matrix of 25 variants with five different levels of both pitch and tempo. The participants were instructed to imagine consuming hot, room-temperature, or cold water, then to choose the melody that best matched the imagined drinking experience. The results revealed that imagining drinking cold water was associated with a significantly higher pitch than drinking both room-temperature and hot water, and with significantly faster tempo than room-temperature water. Next, the online study was replicated with participants in the lab tasting samples of hot, room-temperature, and cold water while choosing a melody that best matched the actual tasting experience. The results confirmed that, compared to room-temperature and hot water, the experience of cold water was associated with both significantly higher pitch and fast tempo. Possible mechanisms and potential applications of these results are discussed.

Trombones Elicit Bitter More Strongly Than Do Clarinets: a Partial Replication of Three Studies of Crisinel and Spence

We present a partial replication of the crossmodal pitch/taste correspondence of Crisinel and Spence. Male college students () were asked to judge the pitch (F1–C4 on trombone; F3–C6 on clarinet) that best corresponded with each of four tastants (unsweetened coffee, unsweetened chocolate, salt, and sugar). With trombone there was a significant effect of tastant [, , ] with unsweetened chocolate being associated with the lowest pitch and sugar with the highest. With clarinet we did not find a significant effect [, , ]. The average across instruments was significant [, , ]. When looking at the effect of taster status, we found a significant correlation [, ] with supertasters associating the bitterness of a PTC strip with higher pitches than did nontasters — this is in contrast with Crisinel and Spence’s finding of no correlation with taster status. In light of the ‘replication crisis’ in psychology as found by the Open Science Collaboration, it is noteworthy that this crossmodal pitch/taste correspondence, at least for trombone, was replicated in a different lab.