Previous research has demonstrated that ratings of the perceived pleasantness and quality of odors can be modulated by auditory stimuli presented at around the same time. Here, we extend these results by assessing whether the hedonic congruence between odor and sound stimuli can modulate the perception of odor intensity, pleasantness, and quality in untrained participants. Unexpectedly, our results reveal that broadband white noise, which was rated as unpleasant in a follow-up experiment, actually had a more pronounced effect on participants’ odor (...) ratings than either the consonant or dissonant musical selections. In particular, participants rated the six smells used as being less pleasant and less sweet when they happened to be listening to white noise, as compared to any one of the other music conditions. What is more, these results also add evidence to the existence a close relationship between an odor’s hedonic character and the perception of odor quality. So, for example, independent of the sound condition, pleasant odors were rated as sweeter, less dry, and brighter than the unpleasant odors. These results are discussed in terms of their implications for the understanding of crossmodal correspondences between olfactory and auditory stimuli. (shrink)

Is blue food desirable or disgusting? The answer, it would seem, is both, but it really depends on the food in which the color happens to be present. It turns out that the oft-cited aversive response to blue meat may not even have been scientifically validated, despite the fact that blue food coloring is often added to discombobulate diners. In the case of drinks, however, there has been a recent growth of successful new blue product launches in everything from beer (...) to tea, and from wine to gin, arguing that coloring food products blue is more than simply a contemporary fad. In fact, the current interest in blue food coloring builds on the color's earlier appearance in everything from blue curacao to blue-raspberry candyfloss, and thereafter a number of soft drinks. Over the years, the combination of blue coloring with raspberry flavoring has also appeared in everything from bubble-gum to patriotic pop rocks. Ultimately, it is the rarity of naturally-blue foods that is likely what makes this color so special. As such, blue food coloring can both work effectively to attract the visual attention of the shopper while, at the same time, being linked to a range of different flavors depending on the food format in which it happens to appear. Note also that the basic descriptor “blue” covers a wide range of hues having a range of different associations, hence eliciting different reactions. While blue was once associated with artificiality, a growing number of natural blue food colorings have come onto the market in recent years thus perhaps changing the dominant associations that many consumers may have with this most unusual of food colors. (shrink)

Studies of linguistic synaesthesias in English have shown a range of fine-grained language mechanisms governing the associations between colours on the one hand, and graphemes, phonemes and words on the other. However, virtually nothing is known about how synaesthetic colouring might operate in non-alphabetic systems. The current study shows how synaesthetic speakers of Mandarin Chinese come to colour the logographic units of their language. Both native and non-native Chinese speakers experienced synaesthetic colours for characters, and for words spelled in the (...) Chinese spelling systems of Pinyin and Bopomo. We assessed the influences of lexical tone and Pinyin/Bopomo spelling and showed that synaesthetic colours are assigned to Chinese words in a non-random fashion. Our data show that Chinese-speaking synaesthetes with very different native languages can exhibit both differences and similarities in the ways in which they come to colour their Chinese words. (shrink)

We often use terms primarily concerned with the description of inanimate objects in order to characterize psychological states or dispositions, without being able to specify the connection between the two uses. I call this inanimation. In this paper, I propose an account of inanimation and of its connection to expressiveness.

In this paper I explicate a technique which can be used to make subtle relational features of experience more evident to awareness. Results of this method could be employed to diffuse one intuition that drives the common critique of functionalist-information theoretic accounts of mind that "qualia" cannot be exhaustively characterized in information theoretic-functional terms. An intuition that commonly grounds this critique is that the qualitative aspects of experience do not entirely appear in consciousness as informational-functional structures. The first section of (...) the paper is a schematic overview of nature of the qualitative and the problem that qualia are taken to create for information theoretic-functionalist theories of mind. §2 contains a précis of the concept of different levels of functional scale in mental activity that was developed by Armstrong and the Churchlands and that is needed to interpret (possible) results of the proposed experiment. In §3, I outline a method whereby analogies would be generated between purely relational forms, structures, configurations, etc. and purely qualitative aspects of experience. These analogies would be created by subjects through forced choice selection of presented images of structures that "most resembled" a pure quality. Repeated choices would then be shaped by a genetic program into the structural configuration that "most resembled" the pure quality. The final section of the paper explores how consistent, reliable results from the experiment would make information-theoretic functionalism more intuitively plausible in spite of the "fact" that the qualitative aspects of experience do not immediately appear as entirely relational/structural. (shrink)

Many current neurophysiological, psychophysical, and psychological approaches to vision rest on the idea that when we see, the brain produces an internal representation of the world. The activation of this internal representation is assumed to give rise to the experience of seeing. The problem with this kind of approach is that it leaves unexplained how the existence of such a detailed internal representation might produce visual consciousness. An alternative proposal is made here. We propose that seeing is a way of (...) acting. It is a particular way of exploring the environment. Activity in internal representations does not generate the experience of seeing. The out- side world serves as its own, external, representation. The experience of seeing occurs when the organism masters what we call the gov- erning laws of sensorimotor contingency. The advantage of this approach is that it provides a natural and principled way of accounting for visual consciousness, and for the differences in the perceived quality of sensory experience in the different sensory modalities. Sev- eral lines of empirical evidence are brought forward in support of the theory, in particular: evidence from experiments in sensorimotor adaptation, visual “filling in,” visual stability despite eye movements, change blindness, sensory substitution, and color perception. (shrink)

Before one can talk about global arrays and multimodal detection, one must be clear about the concept of information: How is it different from energy and how is it detected? And can it come to specify a needed movement? We consider these issues in our commentary.

This review covers experimental approaches to sound-symbolism—from infants to adults, and from Sapir’s foundational studies to twenty-first century product naming. It synthesizes recent behavioral, developmental, and neuroimaging work into a systematic overview of the cross-modal correspondences that underpin iconic links between form and meaning. It also identifies open questions and opportunities, showing how the future course of experimental iconicity research can benefit from an integrated interdisciplinary perspective. Combining insights from psychology and neuroscience with evidence from natural languages provides us with (...) opportunities for the experimental investigation of the role of sound-symbolism in language learning, language processing, and communication. The review finishes by describing how hypothesis-testing and model-building will help contribute to a cumulative science of sound-symbolism in human language. (shrink)

Physiognomic properties refer to the nonliteral sensory, perceptual, and affective connotations evoked by an object: a mountain, for example, is big as well as “quiet, looming, and threatening.” In this study (N = 58), the three types of meanings carried by meaningless stimuli were examined. Four equally unfamiliar stimuli, which were either physiognomically evocative (maluma and taketa) or neutral, were rated on 15 perceptual, affective, and sensory scales. Taketa and maluma were distinguished on 21 of the 30 endpoints of the (...) scales, whereas the neutral stimuli were distinguished on only 8. Subjects’ physiognomy and sex did not play a role. The implications of these findings are discussed. (shrink)

In physiognomy, sensory, perceptual, and affective connotations are suggested by an object. For example, a mountain, in addition to being literally big, may also seem “quiet, looming, and threatening.” The capacity of physiognomically endowed but meaningless stimuli (like taketa and maluma) to transfer these meanings to similarly unfamiliar but neutral stimuli was examined on 15 perceptual, affective, and sensory rating scales (N = 118). The meanings of the two neutral stimuli were influenced in 26 instances (vs. 8 cases in which (...) the neutral stimuli followed one other); most changes were affective and sensory rather than perceptual; and the shifts in meanings were noncongruent—taketa’s “aggressiveness,” for example, led to a “peaceful” rating of the two neutral shapes. The implications of these findings are discussed. (shrink)

Ineffability, the degree to which percepts or concepts resist linguistic coding, is a fairly unexplored nook of cognitive science. Although philosophical preoccupations with qualia or nonconceptual content certainly touch upon the area, there has been little systematic thought and hardly any empirical work in recent years on the subject. We argue that ineffability is an important domain for the cognitive sciences. For examining differential ineffability across the senses may be able to tell us important things about how the mind works, (...) how different modalities talk to one another, and how language does, or does not, interact with other mental faculties. (shrink)

This phenomenological-psychological study aims at discovering the essential constituents involved in congenitally blind people's spatial experiences. Nine congenitally blind persons took part in this study. The data were made up of half structured (thorough) interviews. The analysis of the data yielded the following three comprehension forms of spatiality; (i) Comprehension in terms of image-experience; (ii) Comprehension in terms of notions; (iii) Comprehension in terms of knowledge.Comprehension in terms of image experience is the form which is most concretely and clearly experienced. (...) It is important to notice, that this kind of image experience is not synonymous with a visually based image experience — a fact which is discussed in the article. The following three features, which are to be understood as a description of what characterizes congenitally blind people's image experience, are presented; (i) Experience of the whole; (ii) Synthesizing/Harmonizing; (iii) Spontanous presentation of the whole. Furthermore, comprehension in terms of image experience is made up of the following four constituents, which aim at specifying the conditions for the possibility of having an image experience; (i) The image experience is based on tactile experiences; (ii) The inner horizon of the object has to be limited in order for the tactile sense to constitute an image experience; (iii) The person must have reached a certain degree of familiarity with the object; (iv) The importance of the emotional investment in the object. (shrink)

I reply to the main criticisms and suggestions for further clarification made by the contributors to this symposium on my book, Self-Expression . These replies are organized into the following sections: (1) What's in the name?, (2) Showing, expressing and indicating, (3) Expressing and signaling, (4) Perceiving emotions, (5) Voluntary/involuntary, (6) Expression and handicaps, (7) Expression and aesthetics, and (8) Looking ahead.

Suppose someone hears a loud noise and at the same time sees a yellow flash. It seems hard to deny that the person can experience loudness and yellowness together. However, since loudness is experienced by the auditory sense whereas yellowness is experienced by the visual sense it also seems hard to explain how.

This articles gives an overview of the main themes and arguments of _Self-Expression_ (OUP,2007; paper, 2011), and responds to some recent publications in which that book is discussed. In the process of these responses, the article provides refinements and elaborations on some of the book's central claims.

Richard Cytowic has argued that synesthetic experimentation by modern artists was based on deliberate contrivances of sensory fusion and not on involuntary experiences of cross-modal association. He has placed artistic experiments with sensory fusion outside the domain of synesthesia research. Artistic experiments, though historically interesting, are considered irrelevant for the study of synesthesia. Contrary to this view I argue that at least Scriabin's and Kandinsky's artistic experiments were based on involuntary experiences of synesthesia. They were investigating perceptual and emotional mechanisms (...) of involuntary synesthetic experiences that meet Cytowic's criteria of synesthesia. Artistic experiments are not only historically interesting, but may also contribute to present synesthesia research. (shrink)

In a synesthetic metaphor, a certain perceptual mode is initially specified, but the imagery is linguistically related in terms belonging to one or more differing perceptual modes. Commonplace examples of synesthetic metaphors in English include phrases such as "loud colors", "dark sounds", and "sweet smells". Tabulations of the frequency of types of synesthesia and synesthetic metaphors in English reveals that for physiological synesthesia, colored sounds are most common; in English literature, synesthetic metaphors employed for descriptions of tactile sound predominate. Of (...) the various senses, hearing is most frequently expanded and elaborated upon by both synesthetic sensory perceptions and synesthetic metaphors. Synesthetic "visual hearing", which antedates language, may have influenced language development. (shrink)

Jackson and Jackson argue that most current tests used to assess awareness of sequential material are flawed because of their emphasis on accuracy. They propose to distinguish two forms of sequence knowledge: Serial knowledge, that is, knowledge about the specific sequence that stimuli follow, which involves information about the statistical relationship between many sequence elements, and statistical knowledge, or knowledge about the probability of different transitions between adjacent sequence elements. Further, they suggest a new method to analyze generation performance, which (...) involves considering the correlation between subjects' responses and the distribution of transition probabilities, regardless of the accuracy of generation performance. In this comment, we first suggest that the distinction between serial and statistical knowledge is unwarranted except in one case which is not addressed by Jackson and Jackson. We propose instead that all sequence knowledge is essentially statistical in nature. Second, we suggest that using probabilistic instead of deterministic sequences is a better way to approach the assessment of explicit knowledge, and illustrate this contention with empirical and simulated examples based on previous and current research. (shrink)

This is a bibliography of books and articles on consciousness in philosophy, cognitive science, and neuroscience over the last 30 years. There are three main sections, devoted to monographs, edited collections of papers, and articles. The first two of these sections are each divided into three subsections containing books in each of the main areas of research. The third section is divided into 12 subsections, with 10 subject headings for philosophical articles along with two additional subsections for articles in cognitive (...) science and neuroscience. Of course the division is somewhat arbitrary, but I hope that it makes the bibliography easier to use. This bibliography has first been compiled by Thomas Metzinger and David Chalmers to appear in print in two philosophical anthologies on conscious experience . From 1995 onwards it has been continuously updated by Thomas Metzinger, and now is freely available as a PDF-, RTF-, or HTML-file. This bibliography mainly attempts to cover the Anglo-Saxon and German debates, in a non-annotated, fully formatted way that makes it easy to "cut and paste" from the original file. To a certain degree this bibliography also contains items in other languages than English and German - all submissions in other languages are welcome. Last update of current version: July 13th, 2001. (shrink)

Fugue and chaos are used in their contemporary meaning. Elements of the fugue, albeit a ‎small number of universals, will be demonstrated in the area of visual and verbal colors. ‎Chaos dominates the internet, fashion, and everyday life. The visual and verbal colors are ‎differentiated and their communicative potential is indicated alongside the diachronic changes. The prototypes of colors are the interface between visual and verbal colors.‎.

It is often claimed, following Joseph Levine, that there is an ‘explanatory gap’ between ordinary physical facts and the way we perceive things, so that it is impossible to explain, among other things, why colours actually look the way they do. C.L. Hardin, by contrast, argues that there are sufficient asymmetries between colours to traverse this gap. This paper argues that the terms we use to characterize colours, such as ‘warm’ and ‘cool’, are not well understood, and that we need (...) to understand the neurological basis for such associations if we are even to understand what is fully meant by saying, for example, that red is a warm colour. This paper also speculates on how Hardin’s strategy can be generalized. A PowerPoint presentation that depicts inverted colour qualia is attached as an appendix. (shrink)

Amongst those who answered Molyneux’s question in the negative or at least not in the positive, George Berkeley is of particular interest because he argued for a very radical position. Most of his contribution to the discussion can be found in his Essay towards a New Theory of Vision. I will give an exposition of his view (2) and then move on to a critical discussion of this kind of view, - what one could call the “Berkeleian view” (3). I (...) think that the problems of what has become a standard negative answer to the question (mainly brought forward by empiricists) become very clear in Berkeley’s case and one can also learn a lot from this. (shrink)