The Tactile Dimensions of Abstract Paintings: A Cross-Modal Study

Crossmodal associations between naturally occurring tactile and sound textures

This study investigates the crossmodal associations between naturally occurring sound textures and tactile textures. Previous research has demonstrated the association between low-level sensory features of sound and touch, as well as higher-level, cognitively mediated associations involving language, emotions, and metaphors. However, stimuli like textures, which are found in both modalities have received less attention. In this study, we conducted two experiments: a free association task and a two alternate forced choice task using everyday tactile textures and sound textures selected from natural sound categories. The results revealed consistent crossmodal associations reported by participants between the textures of the two modalities. They tended to associate more sound textures (e.g., wood shavings and sandpaper) with tactile surfaces that were rated as harder, rougher, and intermediate on the sticky-slippery scale. While some participants based the auditory-tactile association on sensory features, others made the associations based on semantic relationships, co-occurrence in nature, and emotional mediation. Interestingly, the statistical features of the sound textures (mean, variance, kurtosis, power, autocorrelation, and correlation) did not show significant correlations with the crossmodal associations, indicating a higher-level association. This study provides insights into auditory-tactile associations by highlighting the role of sensory and emotional (or cognitive) factors in prompting these associations.

Cross-Modal Perceptual Organization in Works of Art

This study investigates the existence of cross-modal correspondences between a series of paintings by Kandinsky and a series of selections from Schönberg music. The experiment was conducted in two phases. In the first phase, by means of the Osgood semantic differential, the participants evaluated the perceptual characteristics first of visual stimuli (some pictures of Kandinsky's paintings, with varying perceptual characteristics and contents) and then of auditory stimuli (musical excerpts taken from the repertoire of Schönberg's piano works) relative to 11 pairs of adjectives tested on a continuous bipolar scale. In the second phase, participants were required to associate pictures and musical excerpts. The results of the semantic differential test show that certain paintings and musical excerpts were evaluated as semantically more similar, while others were evaluated as semantically more different. The results of the direct association between musical excerpts and paintings showed both attractions and repulsions among the stimuli. The overall results provide significant insights into the relationship between concrete and abstract concepts and into the process of perceptual grouping in cross-modal phenomena.

Naturalizing Phenomenology: A Must Have?

Quite a few cognitive scientists are working toward a naturalization of phenomenology. Looking more closely at the relevant literature, however, the ‘naturalizing phenomenology’ proposals show the presence of different conceptions, assumptions, and formalisms, further differentiated by different philosophical and/or scientific concerns. This paper shows that the original Husserlian stance is deeper, clearer and more advanced than most supposed contemporary improvements. The recent achievements of experimental phenomenology show how to ‘naturalize’ phenomenology without destroying the guiding assumptions of phenomenology. The requirements grounding the scientific explanation of subjective experience are discussed, such as the nature of the stimuli, their variables, and their manipulation by properly phenomenological methods.

Naturally Biased Associations Between Music and Poetry

The study analyzes the existence of naturally biased associations in the general population between a series of musical selections and a series of quatrains. Differently from other studies in the field, the association is tested between complex stimuli involving literary texts, which increases the load of the semantic factors. The stimuli were eight quatrains taken from the same poem and eight musical clips taken from a classical musical version of the poem. The experiment was conducted in two phases. First, the participants were asked to rate 10 couples of opposite adjectives on a continuous bipolar scale when reading a quatrain or when listening to a musical clip; then they were asked to associate a given clip directly with the quatrains in decreasing order. The results showed the existence of significant associations between the semantics of the quatrains and the musical selections. They also confirmed the correspondences experienced by the composer when writing the musical version of the poem. Connotative dimensions such as rough or smooth, distressing or serene, turbid or clear, and gloomy or bright, characterizing both the semantic and the auditory stimuli, may have played a role in the associations. The results also shed light on the accomplishment of the two diverse methodologies adopted in the two different phases of the test. Finally, the role of specific musical components and their combinations is likely to have played an important role in the associations, an aspect that shall be addressed in further studies.