Paintings of music are a significant presence in modern art. They are cross-modal representations, aimed at representing music, say, musical works or forms, using colors, lines, and shapes in the visual modality. This article aims to provide a conceptual framework for understanding paintings of music. Using examples from modern art, the article addresses the question of what a painting of music is. Implications for the aesthetic appreciation of paintings of music are also drawn.

Restrictivists hold that visual experience only represents low-level properties such as shape, spatial location, motion, color, etc. Expansionists contend that visual experience also represents high-level properties such as being a pine tree. I outline a new approach to support expansionism called the conflict cross-modal argument. What I call the conflict cross-modal effects occur when at least two perceptual systems disagree about some property belonging to a common stimulus, and this disagreement causes a change in the representational and phenomenal content of (...) the perceptual experience associated with one, or both, modalities. The conflict cross-modal argument works by accepting that if a property figures in a conflict cross-modal effect, then prima facie that property is a strong common sensible between the two modalities, and vision and another modality disagree about a property that is high-level for vision. After outlining this argument, and showing how it overcomes two obstacles that face traditional methods employed to defend expansionism, I turn to the well known Mcgurk effect as a case where vision and audition disagree about phoneme properties in order to employ my argument for the conclusion that phoneme properties are represented in visual experience. The upshot is that since phoneme properties are high-level for vision, we have an argument supporting expansionism. (shrink)

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. (shrink)

Research on the relation between sound and meaning in language has reported substantial evidence for implicit associations between articulatory–acoustic characteristics of phonemes and emotions. In the present study, we specifically tested the relation between the acoustic properties of a text and its emotional tone as perceived by readers. To this end, we asked participants to assess the emotional tone of single stanzas extracted from a large variety of poems. The selected stanzas had either an extremely high, a neutral, or an (...) extremely low average formant dispersion. To assess the average formant dispersion per stanza, all words were phonetically transcribed and the distance between the first and second formant per vowel was calculated. Building on a long tradition of research on associations between sound frequency on the one hand and non‐acoustic concepts such as size, strength, or happiness on the other hand, we hypothesized that stanzas with an extremely high average formant dispersion would be rated lower on items referring to Potency (dominance) and higher on items referring to Activity (arousal) and Evaluation (emotional valence). The results confirmed our hypotheses for the dimensions of Potency and Evaluation, but not for the dimension of Activity. We conclude that, at least in poetic language, extreme values of acoustic features of vowels are a significant predictor for the emotional tone of a text. (shrink)