![]() ![]() Nevertheless, the idea that the four (or five) basic tastes, namely bitter, sweet, sour, salty, (and possibly also umami), can be meaningfully (or consensually) associated with particular colours (hues) is one that seemingly has widespread currency. There was, in other words, nothing special about the colour–taste mapping in this study. For instance, the participants in O’Mahony’s study not only had to pick a colour to match each of the four basic tastes but also a day of the week, a state in the United States, and so forth. Other researchers, meanwhile, have used the existence of consistent crossmodal correspondences between colours and basic tastes to help establish the legitimacy of the latter ( O’Mahony, 1983). While some commentators have chosen to focus on the synaesthetic colour concurrents that have been reported in rare cases of colour–taste synaesthesia (e.g., Kandinsky, 1977 Marks, 1978), others have been more interested in the potential that such crossmodal correspondences may hold in terms of helping to scale sensations across the senses ( Tomasik-Krótki & Strojny, 2008). However, the reason for their interest in this particular class of crossmodal correspondence has varied widely. The relation between colours and tastes has long fascinated mystics, artists, novelists, scientists, and latterly designers and marketers (e.g., Boehme, 1912, pp. 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. 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. ![]() 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. Traditionally, colour–taste correspondences have often been considered together with odour–colour and flavour–colour correspondences. ![]() 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. For centuries, if not millennia, people have associated the basic tastes (e.g., sweet, bitter, salty, and sour) with specific colours. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |