Affective synesthesia: Extracting emotion space from simple perceptual stimuli

Crossmodal correspondences between odors and contingent features: odors, musical notes, and geometrical shapes

“…He demonstrated that people reliably assigned emotional terms to each shape (23 out of the 40 terms used by the participants were classed as emotional) but also associated the positive terms with the round figure 83 % of the time, and the negative terms with the angular figure 75 % of the time. This hypothesis has also been pursued by Collier (1996) and, more recently, by Palmer and Schloss (2012) in an attempt to explain the robust crossmodal associations that they were able to document between colors and music (see also Schifferstein & Tanudjaja, 2004). Kenneth (1923) has been among the few to defend a version of this hypothesis in the olfactory domain, suggesting that what he called "indirect associations" between smells and music might come from "the affect produced by smell [being] similar to the affect produced by some other stimulus" (Kenneth, 1923, p. 77).…”

Abstract Expressions of Affect

“…Similarly, diagonal lines evoke negative emotion attributions, and curvilinear lines evoke positive emotion attribution (Aronoff, 2006). There exists some evidence for the exception that curvature can also evoke negative valence, low arousal attributions (Collier, 1996). The effects of shape contour features on emotion attribution are found in gestalts (grouping and binding) as well (Aronoff, 2006).…”

“…Roundness, curvilinearity Positive valence, lessened arousal, no effect on potency, happy, warmth Aronoff (2006), Collier (1996) Roundness Negative valence, low arousal, sadness Collier (1996) Angularity, diagonality…”

Similarities in Form Symbolism Among Various Languages and Geographical Regions

“…The cross-regional similarity of affective meaning was previously addressed by Osgood (1962) and others. As Collier (1996) and Oyama et al (1998b) indicated, synesthetic tendencies might play important roles in form symbolisms. The cross-regional similarity of synesthetic tendencies shown by Osgood (1960) likely plays a role in the cross-regional and cross-language similarity of form symbolism found in the present study.…”

“…For example, the color red induces warm, energetic, and exciting feelings, while the color blue gives cool, quiet, and peaceful feelings in people of many geographical regions (Collier, 1996;Lai, 2003;Kwon & Park, 2005;Oyama, 2003;Schale, 1961;Zwimpfer, 1985). Red frequently is used to symbolize passion, anger and danger, while blue is used to symbolize calmness, sadness and safety.…”