Sensory translation between audition and vision

Across the millennia, and across a range of disciplines, there has been a widespread desire to connect, or translate between, the senses in a manner that is meaningful, rather than arbitrary. Early examples were often inspired by the vivid, yet mostly idiosyncratic, crossmodal matches expressed by synaesthetes, often exploited for aesthetic purposes by writers, artists, and composers. A separate approach comes from those academic commentators who have attempted to translate between structurally similar dimensions of perceptual experience (such as pitch and colour). However, neither approach has succeeded in delivering consensually agreed crossmodal matches. As such, an alternative approach to sensory translation is needed. In this narrative historical review, focusing on the translation between audition and vision, we attempt to shed light on the topic by addressing the following three questions: (1) How is the topic of sensory translation related to synaesthesia, multisensory integration, and crossmodal associations? (2) Are there common processing mechanisms across the senses that can help to guarantee the success of sensory translation, or, rather, is mapping among the senses mediated by allegedly universal (e.g., amodal) stimulus dimensions? (3) Is the term 'translation' in the context of cross-sensory mappings used metaphorically or literally? Given the general mechanisms and concepts discussed throughout the review, the answers we come to regarding the nature of audio-visual translation are likely to apply to the translation between other perhaps less-frequently studied modality pairings as well

What, if anything, can be considered an amodal sensory dimension?

The term ‘amodal’ is a key topic in several different research fields across experimental psychology and cognitive neuroscience, including in the areas of developmental and perception science. However, despite being regularly used in the literature, the term means something different to the researchers working in the different contexts. Many developmental scientists conceive of the term as referring to those perceptual qualities, such as, for example, the size and shape of an object, that can be picked up by multiple senses (e.g., vision and touch potentially providing information relevant to the same physical stimulus/property). However, the amodal label is also widely used in the case of those qualities that are not directly sensory, such as, for example, numerosity, rhythm, synchrony, etc. Cognitive neuroscientists, by contrast, tend to use the term amodal to refer to those central cognitive processes and brain areas that do not appear to be preferentially responsive to a particular sensory modality or to those symbolic or formal representations that essentially lack any modality and that are assumed to play a role in the higher processing of sensory information. Finally, perception scientists sometimes refer to the phenomenon of ‘amodal completion’, referring to the spontaneous completion of perceptual information that is missing when occluded objects are presented to observers. In this paper, we review the various different ways in which the term ‘amodal’ has been used in the literature and the evidence supporting the various uses of the term. Morever, we highlight some of the various properties that have been suggested to be ‘amodal’ over the years. Then, we try to address some of the questions that arise from the reviewed evidence, such as: Do different uses of the ‘term’ refer to different domains, for example, sensory information, perceptual processes, or perceptual representations? Are there any commonalities among the different uses of the term? To what extent is research on cross-modal associations (or correspondences) related to, or can shed light on, amodality? And how is the notion of amodal related to multisensory integration? Based on the reviewed evidence, it is argued that there is, as yet, no convincing empirical evidence to support the claim that amodal sensory qualities exist. We thus suggest that use of the term amodal would be more meaningful with respect to abstract cognition rather than necessarily sensory perception, the latter being more adequately explained/understood in terms of highly redundant cross-modal correspondences

Bean common mosaic virus and related viruses in Africa

This bulletin reviews the current status of research knowledge on bean common mosaic potyvirus (BCMV) and reports the results of a survey of the occurrence of BCMV in the main bean-growing areas of Africa. The strain of each BCMV isolate collected has been identified by its reactions on a standard set of differential bean cultivars and distribution maps of strain occurrence have been prepared for each country surveyed. BCMV isolates were collected from Phaseolus vulgaris bean crops and from wild species of legumes and other non-Phaseolus legume crops

Prokofiev was (almost) right: a cross-cultural investigation of auditory-conceptual associations in Peter and the Wolf

Over recent decades, studies investigating cross-modal correspondences have documented the existence of a wide range of consistent cross-modal associations between simple auditory and visual stimuli or dimensions (e.g., pitch-lightness). Far fewer studies have investigated the association between complex and realistic auditory stimuli and visually presented concepts (e.g., musical excerpts-animals). Surprisingly, however, there is little evidence concerning the extent to which these associations are shared across cultures. To address this gap in the literature, two experiments using a set of stimuli based on Prokofiev’s symphonic fairy tale Peter and the Wolf are reported. In Experiment 1, 293 participants from several countries and with very different language backgrounds rated the association between the musical excerpts, images and words representing the story’s characters (namely, bird, duck, wolf, cat, and grandfather). The results revealed that participants tended to consistently associate the wolf and the bird with the corresponding musical excerpt, while the stimuli of other characters were not consistently matched across participants. Remarkably, neither the participants’ cultural background, nor their musical expertise affected the ratings. In Experiment 2, 104 participants were invited to rate each stimulus on eight emotional features. The results revealed that the emotional profiles associated with the music and with the concept of the wolf and the bird were perceived as more consistent between observers than the emotional profiles associated with the music and the concept of the duck, the cat, and the grandpa. Taken together, these findings therefore suggest that certain auditory-conceptual associations are perceived consistently across cultures and may be mediated by emotional associations

Marketing sonified fragrance: Designing soundscapes for scent

Auditory branding is undoubtedly becoming more important across a range of sectors. One area, in particular, that has recently seen significant growth concerns the introduction of music and soundscapes that have been specifically designed to match a particular scent (what one might think of as “audio scents” or “sonic scents”). This represents an exciting new approach to the sensory marketing of fragrance and for industries with strategic sensory goals, such as cosmetics. Crucially, techniques such as the semantic differential technique, as well as the emerging literature on crossmodal correspondences, offer both a mechanistic understanding of, and a practical framework for, those wishing to rigorously align the connotative meaning and conceptual/emotional/sensory associations of sound and scent. These developments have enabled those working in the creative industries to start moving beyond previously popular approaches to matching, or translating between the senses, that were traditionally often based on the idiosyncratic phenomenon of synaesthesia, toward a more scientific approach while nevertheless still enabling/requiring a healthy dose of artistic inspiration. In this narrative historical review, we highlight the various approaches to the systematic matching of sound with scent and review the various marketing activations that have appeared in this space recently

Exploring crossmodal correspondences for future research in human movement augmentation

"Crossmodal correspondences" are the consistent mappings between perceptual dimensions or stimuli from different sensory domains, which have been widely observed in the general population and investigated by experimental psychologists in recent years. At the same time, the emerging field of human movement augmentation (i.e., the enhancement of an individual's motor abilities by means of artificial devices) has been struggling with the question of how to relay supplementary information concerning the state of the artificial device and its interaction with the environment to the user, which may help the latter to control the device more effectively. To date, this challenge has not been explicitly addressed by capitalizing on our emerging knowledge concerning crossmodal correspondences, despite these being tightly related to multisensory integration. In this perspective paper, we introduce some of the latest research findings on the crossmodal correspondences and their potential role in human augmentation. We then consider three ways in which the former might impact the latter, and the feasibility of this process. First, crossmodal correspondences, given the documented effect on attentional processing, might facilitate the integration of device status information (e.g., concerning position) coming from different sensory modalities (e.g., haptic and visual), thus increasing their usefulness for motor control and embodiment. Second, by capitalizing on their widespread and seemingly spontaneous nature, crossmodal correspondences might be exploited to reduce the cognitive burden caused by additional sensory inputs and the time required for the human brain to adapt the representation of the body to the presence of the artificial device. Third, to accomplish the first two points, the benefits of crossmodal correspondences should be maintained even after sensory substitution, a strategy commonly used when implementing supplementary feedback

Prokofiev was (almost) right : A cross-cultural investigation of auditory-conceptual associations in Peter and the Wolf

Over recent decades, studies investigating cross-modal correspondences have documented the existence of a wide range of consistent cross-modal associations between simple auditory and visual stimuli or dimensions (e.g., pitch-lightness). Far fewer studies have investigated the association between complex and realistic auditory stimuli and visually presented concepts (e.g., musical excerpts-animals). Surprisingly, however, there is little evidence concerning the extent to which these associations are shared across cultures. To address this gap in the literature, two experiments using a set of stimuli based on Prokofiev's symphonic fairy tale Peter and the Wolf are reported. In Experiment 1, 293 participants from several countries and with very different language backgrounds rated the association between the musical excerpts, images and words representing the story's characters (namely, bird, duck, wolf, cat, and grandfather). The results revealed that participants tended to consistently associate the wolf and the bird with the corresponding musical excerpt, while the stimuli of other characters were not consistently matched across participants. Remarkably, neither the participants' cultural background, nor their musical expertise affected the ratings. In Experiment 2, 104 participants were invited to rate each stimulus on eight emotional features. The results revealed that the emotional profiles associated with the music and with the concept of the wolf and the bird were perceived as more consistent between observers than the emotional profiles associated with the music and the concept of the duck, the cat, and the grandpa. Taken together, these findings therefore suggest that certain auditory-conceptual associations are perceived consistently across cultures and may be mediated by emotional associations

Posttraumatic growth among suicide-loss survivors : an updated systematic review and meta-analysis protocol

Background: Losing a loved one to suicide is an event which can have strong and potentially traumatic impacts on the lives of the bereaved survivors, especially regarding their grief which can be complicated. These bereaved individuals are also less likely to receive social support following their bereavement. However, besides these adverse impacts, there is growing evidence to support the concept of posttraumatic growth following suicide bereavement. Posttraumatic growth is personal improvement that occurs as a consequence of experiencing a traumatic or extremely challenging event or crisis. Only one systematic review and meta-analysis on posttraumatic growth following suicide bereavement has been conducted; this protocol is for the planned systematic review and meta-analysis update of the original systematic review and meta-analysis, as the original review collected its data in 2018.Method: This protocol outlines the planned procedures of the updated systematic review and meta-analysis. This review and its protocol have been registered with PROSPERO(Registration Number: CRD42024485421). MEDLINE, PsycINFO, Embase, CINAHL, Scopus, and Web of Science (Core Collection) will be examined, and the search results will be imported to Covidence where title and abstract screenings, full text screenings, and data extraction will occur. The inclusion and exclusion criteria for this updated review match those in the original review: i) the study population must contain participants bereaved by suicide, ii) the study data must be quantitative, iii) the study must report data on posttraumatic or stress-related growth. The original review conducted its search prior to 2019; thus, this updated review searched databases for the timeframe of January 2019 to January 2024. The updated meta-analysis will synthesise data from both the original and updated reviews to examine trends over time. Discussion: The results of this updated systematic review and meta-analysis will be used to examine key relationships and findings regarding posttraumatic growth in individuals bereaved by suicide. The discussion will also investigate the findings of this updated review in comparison to the findings of the original review. Any differences would be highlighted