Michael Dodson’s research while affiliated with Occidental College and other places

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Publications (2)


Figure 1. Color choices. 36 colors were arranged in random order for each trial. doi:10.1371/journal.pone.0101651.g001
Figure 2. Color congruency for each odor in each culture. Colors per odorant per country are ordered by frequency (most frequent are shown lowest on their respective y-axis). Frequency is represented by the height of each color box; the box on the right of the figure shows the height a given box must be for there to be 10, 9, 8 etc. ratings of that color for a given odorant. Boxes have been given a slight shadow to help with the perception of harder to see light colors. The background bars are only colored so as to help with reading the figure. doi:10.1371/journal.pone.0101651.g002
Figure 3. Odor representation by culture. One Representational Dissimilarity Matrix (RDM) for each of the six populations sampled. Both axes of each matrix represent the 14 odors. Each cell in the matrix indicates the degree of dissimilarity between the color-patterns of the respective odors in that row and column. Warmer colors indicate higher dissimilarity. The dark blue diagonal indicates the perfect similarity of the odors with themselves. The representational geometry, or the spatial configuration of clusters of high and low dissimilarities, shows differences and commonalities in each culture. Along the color legend, a line graph shows a bootstrapped null distribution of pattern dissimilarities. doi:10.1371/journal.pone.0101651.g003
36 colors were arranged in random order for each trial.
Colors per odorant per country are ordered by frequency (most frequent are shown lowest on their respective y-axis). Frequency is represented by the height of each color box; the box on the right of the figure shows the height a given box must be for there to be 10, 9, 8 etc. ratings of that color for a given odorant. Boxes have been given a slight shadow to help with the perception of harder to see light colors. The background bars are only colored so as to help with reading the figure.

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Cross-Cultural Color-Odor Associations
  • Article
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May 2014

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2,030 Reads

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68 Citations

Carmel A. Levitan

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Colors and odors are associated; for instance, people typically match the smell of strawberries to the color pink or red. These associations are forms of crossmodal correspondences. Recently, there has been discussion about the extent to which these correspondences arise for structural reasons (i.e., an inherent mapping between color and odor), statistical reasons (i.e., covariance in experience), and/or semantically-mediated reasons (i.e., stemming from language). The present study probed this question by testing color-odor correspondences in 6 different cultural groups (Dutch, Netherlands-residing-Chinese, German, Malay, Malaysian-Chinese, and US residents), using the same set of 14 odors and asking participants to make congruent and incongruent color choices for each odor. We found consistent patterns in color choices for each odor within each culture, showing that participants were making non-random color-odor matches. We used representational dissimilarity analysis to probe for variations in the patterns of color-odor associations across cultures; we found that US and German participants had the most similar patterns of associations, followed by German and Malay participants. The largest group differences were between Malay and Netherlands-resident Chinese participants and between Dutch and Malaysian-Chinese participants. We conclude that culture plays a role in color-odor crossmodal associations, which likely arise, at least in part, through experience.

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That smells blue! Differences between colour associations for odours and odour-evocative words

January 2012

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92 Reads

Seeing and Perceiving

Strong associations exist between specific odours and colours, and these associations have been found to be both consistent within populations and over time (Gilbert et al., 1996). Experimental manipulations of these associations have shown that both taste and odour perception rely heavily upon visual cues (e.g., Blackwell, 1995; Sakai et al., 2005); participants often make errors in odour judgements when stimuli have been artificially coloured (Morrot et al., 2001), and the presence of a strongly-associated colour can greatly enhance the detection of an odour and the intensity of aromas or flavours (Zellner and Kautz, 1990; Zellner and Whitten, 1999), as well as preference and enjoyment (Herz, 2001; Herz and Beland, 2004). Such associations between colour and odour appear to be based on prior experience (Blackwell, 1995; Morrot et al., 2001; Sakai et al., 2005; Stevenson and Oaten, 2008), and odours are usually perceived alongside visual, taste and tactile sensations, as well as higher order cues such as shape, size and object labelling. As such, an odour maybe perceived quite differently depending upon its current multisensory context, and experiencing an odour without these additional cues is likely to be different from experiencing the odour in a natural multisensory environment. Here we explore if odour-evocative words, rich in semantic connotations, differ in their colour associations compared to those associated with just odour. Twenty individuals were tested in each of four geographical locations; Germany, Malaysia, The Netherlands and the United States of America. Participants chose the three colours they most closely associated with both odours and odour-words from a chart of 36, using Xperiment software (www.xperiment.mobi). Preliminary results indicate that there were differences between odour-evocative words and odour cues in terms of the associated colours, for all populations.

Citations (1)


... Odours paired with congruent colours are more easilyand correctlyidentified and also rated as more pleasant than when incongruently paired (e.g. yellow-banana versus bluebanana) (Levitan et al., 2014;Zellner et al., 1991). It is important to mention that a colour is specified not only by its hue (pure spectrum of colours equated with descriptors such as red, blue, and yellow), but also by two additional perceptual colour dimensions, namely, saturation (perceived degree of whiteness in a colour; also referred to as chroma) and brightness (perceived intensity of the light), with all three dimensions impacting the perceived appearance of a colour by a subject (Pridmore, 2011). ...

Reference:

Packaging colour and consumer expectations: Insights from specialty coffee
Cross-Cultural Color-Odor Associations