Crossmodal correspondences, crossmodal completion and crossmodal imagery.
Date: 2012-06-20 09:00 AM – 10:45 AM
Last modified: 2012-04-24
Abstract
Crossmodal correspondences can be defined as tendency to match a sensory feature/dimension, either presented or imagined, to another sensory feature/dimension, either presented or imagined, in another modality. They start to be documented across all modalities (see Spence, 2011 for a review) but both their etiology and role remain to be explored.
Crossmodal correspondences, such as those holding between auditory pitch and visual brightness or size have been showed to exert an influence on multisensory perception when two congruent cues are presented together (e.g. Parise & Spence, 2008, 2009). Here, following the framework exposed in Spence and Deroy (in press), i show that crossmodal correspondences can also play two others roles, that is in crossmodal completion and in crossmodal imagery. As such, crossmodal correspondences can explain phenomena such as silent-lip reading or certain aspects of musical imagery that other models want to attribute either to ubiquituous synaesthetic effects (Ward, 2011) or emotional congruence (Palmer et al., 2011).
Crossmodal correspondences, such as those holding between auditory pitch and visual brightness or size have been showed to exert an influence on multisensory perception when two congruent cues are presented together (e.g. Parise & Spence, 2008, 2009). Here, following the framework exposed in Spence and Deroy (in press), i show that crossmodal correspondences can also play two others roles, that is in crossmodal completion and in crossmodal imagery. As such, crossmodal correspondences can explain phenomena such as silent-lip reading or certain aspects of musical imagery that other models want to attribute either to ubiquituous synaesthetic effects (Ward, 2011) or emotional congruence (Palmer et al., 2011).
References
Palmer, S.E., Langlois, T., Tsang, T., Schloss, K.B., & Levitin, D.J. (2011). Color, music, and emotion. Poster presented at the 12th Annual meeting of theVision Science Society, Naples.
Parise, C., & Spence, C. (2008). Synesthetic congruency modulates the temporal ventriloquism effect. Neuroscience Letters, 442, 257-261.
Parise, C., & Spence, C. (2009). “When birds of a feather flock together”: Synesthetic correspondences modulate audiovisual integration in non-synesthetes. PLoS ONE, 4, e5664.
Spence, C., & Deroy, O. (in press). Crossmodal mental imagery. To appear in S. Lacey & R. Lawson (Eds.), Multisensory imagery: Theory and applications. New York: Springer.
Ward, J. (2011). Visual music in arts and minds: Explorations with synaesthesia. In Bacci, F. & Melcher, D. (Eds.), Art and the senses (pp. 481-494). Oxford: Oxford University Press.
Parise, C., & Spence, C. (2008). Synesthetic congruency modulates the temporal ventriloquism effect. Neuroscience Letters, 442, 257-261.
Parise, C., & Spence, C. (2009). “When birds of a feather flock together”: Synesthetic correspondences modulate audiovisual integration in non-synesthetes. PLoS ONE, 4, e5664.
Spence, C., & Deroy, O. (in press). Crossmodal mental imagery. To appear in S. Lacey & R. Lawson (Eds.), Multisensory imagery: Theory and applications. New York: Springer.
Ward, J. (2011). Visual music in arts and minds: Explorations with synaesthesia. In Bacci, F. & Melcher, D. (Eds.), Art and the senses (pp. 481-494). Oxford: Oxford University Press.