Belkin, K., Martin, R., Kemp, S. E., & Gilbert, A. N. (1997). Auditory pitch as a perceptual analogue to odor quality. Psychological Science, 8(4), 340–342.
Added by: Mark Grimshaw-Aagaard 28/09/2015, 11:16
Boevé, J.-L., & Giot, R. 2014, June 22–25. Volatiles that sound bad: Sonification of defensive chemical signals from insects against insects. Paper presented at The 20th International Conference on Auditory Display, New York.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 09/03/2015, 11:59
Crisinel, A.-S., Cosser, S., King, S., Jones, R., Petrie, J., & Spence, C. (2012). A bittersweet symphony: Systematically modulating the taste of food by changing the sonic properties of the soundtrack playing in the background. Food quality and preference, 24(1), 201–204.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 23/09/2020, 21:35
Crisinel, A.-S., & Spence, C. (2009). Implicit association between basic tastes and pitch. Neuroscience Letters, 464(1), 39–42.
Added by: Mark Grimshaw-Aagaard 04/05/2016, 07:17
Crisinel, A.-S., & Spence, C. (2010). A sweet sound: Food names reveal implicit associations between taste and pitch. Perception, 39(3), 417–425.
Added by: Mark Grimshaw-Aagaard 04/05/2016, 07:27
Cunningham, S. 2016, October 4–6. The sound of the smell (and taste) of my shoes too: Mapping the senses using emotion as a medium. Paper presented at Audio Mostly 2016, Piteå, Sweden.
Added by: Mark Grimshaw-Aagaard 08/11/2016, 08:32
van Eijk, R. L. J. (2008). Audio-visual synchrony perception. Unpublished Proefschrift Thesis, Technische Universiteit Eindhoven, Eindhoven.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 19/09/2016, 21:11
Ferris, T. K., & Sarter, N. B. (2008). Cross-modal links among vision, audition, and touch in complex environments. Human Factors, 50(1), 17–26.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 27/03/2017, 12:54
Finney, E. M., Clementz, B. A., Hickok, G., & Dobkins, K. R. (2003). Visual stimuli activate auditory cortex in deaf subjects: Evidence from MEG. NeuroReport, 14(2), 1425–1427.
Added by: Mark Grimshaw-Aagaard 15/06/2014, 09:49
Gallese, V. (2016). The multimodal nature of visual perception: Facts and speculations. Gestalt Theory, 38(2/3), 127–140.
Added by: Mark Grimshaw-Aagaard 29/09/2020, 10:35
Grimshaw, M., & Walther-Hansen, M. 2015, October 7–9. The sound of the smell of my shoes. Paper presented at The 10th Audio Mostly Conference, Thessaloniki.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 04/11/2015, 10:46
von Hornbostel, E. (1938). The unity of the senses (E. Koffka & W. Vinton, Trans.). In W. D. Ellis (Ed), A Source Book of Gestalt Psychology. (pp. 210–216). New York: Harcourt-Brace.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 27/03/2017, 13:16
Lakoff, G., & Johnson, M. (2003). Metaphors we live by. London: University of Chicago. (Original work published 1980).
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 03/05/2026, 01:28
"Since the time of the Greeks, there has been in Western culture a tension between truth, on the one hand, and art, on the other, with art viewed as illusion and allied, via its link with poetry and theater, to the tradition of persuasive public oratory. Plato viewed poetry and rhetoric with suspicion and banned poetry from his utopian Republic because it gives no truth of its own, stirs up the emotions, and thereby blinds mankind to the real truth. Plato, typical of persuasive writers, stated his view that truth is absolute and art mere illusion by the use of a powerful rhetorical device, his Allegory of the Cave. To this day, his metaphors dominate Western philosophy, providing subtle and elegant expression for his view that truth is absolute. Aristotle, on the other hand, saw poetry as having a positive value: "It is a great thing, indeed, to make proper use of the poetic forms, ... But the greatest thing by far is to be a master of metaphor" (Poetics 1459a); "ordinary words convey only what we know already; it is from metaphor that we can best get hold of something fresh" (Rhetoric 1410b)."
Lindquist, M. W. (2014). The impact of sound on virtual landscape perception: An empirical evaluation of aural-visual interaction for 3d visualization. Unpublished Doctoral Thesis, University of Sheffield, United Kingdom.
Added by: Mark Grimshaw-Aagaard 16/09/2014, 10:53
Lloyd, D. M., Merat, N., McGlone, F., & Spence, C. (2003). Crossmodal links between audition and touch in covert endogenous spatial attention. Perception & Psychophysics, 65(6), 901–924.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 27/03/2017, 12:55
Moore, A. (2013). The spectacular anus of Joseph Pujol: Recovering the Pétomane's unique historic context. French Cultural Studies, 24(1), 27–43.
Added by: Mark Grimshaw-Aagaard 15/05/2015, 12:46
Murch, W. (2005). The transom review: Walter Murch. Retrieved March 18, 2014, from http://transom.org/2005/walter-murch-part-1/
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 18/03/2014, 14:33
Parise, C. V., & Spence, C. (2012). Audiovisual crossmodal correspondences and sound symbolism: A study using the implicit association test. Experimental Brain Research, 220, 319–333.
Added by: Mark Grimshaw-Aagaard 21/10/2012, 14:22
Piesse, G. (1857). The art of perfumery and methods of obtaining the odors of plants.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 19/05/2014, 14:33
"The patrons of perfumery have always been considered the most civilized and refined people of the earth. If refinement consists in knowing how to enjoy the faculties which we possess, then must we learn not only how to distinguish the harmony of color and form, in order to please the sight, the melody of sweet sounds to delight the ear; the comfort of appropriate fabrics to cover the body, and to please the touch, but the smelling faculty must be shown how to gratify itself with the odoriferous products of the garden and the forest."
"Scents, like sounds, appear to influence the olfactory nerve in certain definite degrees. There is, as it were, an octave of odors like an octave in music; certain odors coincide, like the keys of an instrument. Such as almond, heliotrope, vanilla, and orange-blossoms blend together, each producing different degrees of a nearly similar impression. Again, we have citron, lemon, orange-peel, and verbena, forming a higher octave of smells, which blend in a similar manner. The metaphor is completed by what we are pleased to call semi-odors, such as rose and rose geranium for the half note; petty grain, neroli, a black key, followed by fleur d'orange. Then we have patchouli, sandal-wood, and vitivert, and many others running into each other."
Spence, C. (2010). Crossmodal attention. Scholarpedia, 5(5). Retrieved May 10, 2016, from http://www.scholarpedia ... le/Crossmodal_attention
