Congruency of color-sound crossmodal correspondence interacts with color and sound discrimination depending on color category.

People occasionally associate color (e.g., hue) with sound (e.g., pitch). Previous studies have reported color-sound associations, which are examples of crossmodal correspondences. However, the association between both semantic and perceptual factors with color/sound discrimination in crossmodal correspondence remains unclear. To clarify this, three psychological experiments were conducted, where Stroop tasks were used to assess automatic process on the association. We focused on the crossmodal correspondence between color (Experiment 1)/color word (Experiment 2) and sound. Participants discriminated the color/word or the sound presented simultaneously. The results showed the color-sound bidirectional enhancement/interference of the response by certain associations of the crossmodal correspondence (blue-drop and yellow-shiny) in both experiments. These results suggest that these Stroop effects were caused by the semantic factor (color category) and the perceptual factor (color appearance) was not necessary for the current results. In Experiment 3, response modulation by color labeling was investigated to clarify the influence of subjective labeling. Participants labeled a presented ambiguous color, which was a hue specification between two specific colors, by listening to the sound. The results revealed that the Stroop effect was caused only when the presented color was classified as the color related to the presented sound. This showed that subjective labeling played a role in the regulation of the effect of crossmodal correspondences. These findings should contribute to the explanation of crossmodal correspondences through semantic mediation.

Universality and superiority in preference for chromatic composition of art paintings.

Color composition in paintings is a critical factor affecting observers' aesthetic judgments. We examined observers' preferences for the color composition of Japanese and Occidental paintings when their color gamut was rotated. In the experiment, observers were asked to select their preferred image from original and three hue-rotated images in a four-alternative forced choice paradigm. Despite observers' being unfamiliar with the presented artwork, the original paintings (0 degrees) were preferred more frequently than the hue-rotated ones. Furthermore, the original paintings' superiority was observed when the images were divided into small square pieces and their positions randomized (Scrambled condition), and when the images were composed of square pieces collected from different art paintings and composed as patchwork images (Patchwork condition). Therefore, the original paintings' superiority regarding preference was quite robust, and the specific objects in the paintings associated with a particular color played only a limited role. Rather, the original paintings' general trend in color statistics influenced hue-angle preference. Art paintings likely share common statistical regulations in color distributions, which may be the basis for the universality and superiority of the preference for original paintings.