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Abstract The emerging world of 3D food printing is reviewed. Its role in food manufacturing, including benefits and impacts, underemphasized gastrophysical aspects, and limitations are discussed. Foods can be digitally designed and physically prepared using the layer-by-layer deposition of food components, unleashing opportunities to deliver nutritionally personalized food and new food-human interactions. Existing bottlenecks, under-researched gastropsychophysical aspects, and the lack of harmonized standards hindering its use for mass production are mentioned.

There has long been interest in augmenting cinematic and other forms of public entertainment through tactile and/or bodily (i.e., vestibular) stimulation. In this narrative historical review, the early history of touch (or haptics, as it is sometimes called) and other forms of bodily stimulation (e.g., motion platforms) in the context of entertainment is critically reviewed, with a focus on early cinema as well as other early examples of immersive virtual reality travel experiences. Critically, various challenges have limited the introduction of such additional channels of sensory stimulation. These include technological, financial, cognitive, creative, ethical/artistic, and also legal considerations, given the many patents that currently exist covering commercial digital tactile stimulation (e.g., in the gaming context). Taken together, these challenges help to explain why it is that despite the early interest in “the feelies” (e.g., an envisioning of film that includes tactile sensations by Aldous Huxley, in his novel Brave New World), touch-enhanced cinema and storytelling have never really caught on in the mainstream in the way that, say, the talkies so obviously did following the introduction of sound into cinema in the early decades of the 20th century. Nevertheless, identifying the potential successful use cases that have emerged from previous attempts to augment public entertainments with tactile/bodily stimulation will likely provide useful guidelines for the future tactile augmentation of home entertainment.

In this narrative review, we take a critical look at the various attempts that have been made to augment home (or personal) entertainment experiences via the addition of some form of digitally controlled tactile stimulation. There has been an explosive growth in the market for home entertainment in recent years, and a majority of smartphones and other wearable electronic devices are now touch-enabled. As such, it is important to consider the challenges and potential opportunities for enhanced multisensory entertainment that may result from the introduction of tactile/haptic stimulation in the context of audiovisual digital storytelling and/or gaming. The key technological, financial (and legal), cognitive, and creative/artistic, challenges associated with the tactile augmentation of home entertainment experiences are outlined. Tactile augmentation, in the sphere of both public and personal entertainment, is more likely to succeed when it goes beyond the merely pleonastic vibrotactile reproduction of those interactions/events than can already be seen and/or heard on screen. At the same time, however, it remains uncertain under what conditions immersion in an entertainment experience will be enhanced by the addition of some form of primitive digital tactile stimulation. Ultimately, until a clear usage case can be made for the benefits of introducing a tactile element to home entertainment, it is unlikely to gain traction and switch from being merely a gimmick to more of a valuable element of multisensory storytelling.

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.

This study explores the emerging field of 3D food printing, specifically examining consumer preferences for 3D-printed chocolate bars. While 3D printing has revolutionized various industries, the consumer acceptance of 3D-printed food remains a relatively underexplored topic. A discrete choice experiment was conducted to investigate consumer preferences and willingness to pay for 3D-printed chocolate bars in the UK. Key attributes included in the study were price, chocolate type, and the use of 3D printing technology. Using a mixed logit model, preference heterogeneity was assessed, revealing a general inclination towards 3D-printed chocolates, with an estimated increase in willingness to pay of £0.21 per 100 g. Furthermore, the influence of individual (participants’) characteristics, such as age, gender, prior knowledge of 3D food printing, and food technology neophobia, on perceived benefits associated with this technology and willingness to pay was also explored, using a structural equation modeling analysis. The results indicated that only perceived hedonic benefits, such as improved texture, positively impacted the willingness to pay, while food technology neophobia acted as a significant barrier. The results of this study therefore contribute valuable insights into the consumer acceptance of 3D-printed foods, specifically chocolates, highlighting potential avenues for market adoption and emphasizing the importance of effective communication in shaping consumer attitudes toward novel food processing technologies.

Consumer attitudes toward novel fresh herb cultivation methods, including urban farming, hydroponics, and robotic cultivation, were explored among 148 participants in the UK. Urban farming emerged as the preferred method, followed by hydroponics, while robotic cultivation was least favoured. The study tested two hypotheses regarding the influence of environmental concern on acceptance of parsley from the different methods, and the impact of food technology neophobia on acceptance of parsley from hydroponics and robotic cultivation. Consumer levels of environmental concern positively influenced their acceptance of parsley from urban farming, while food technology neophobia negatively impacted the consumer acceptance of hydroponic and robotic cultivation methods. The study underscores the perceived natural elements inherent in these methods. Urban farming seems to align well with consumers’ values of nature and sustainability. Tailored messaging highlighting the natural aspects of all these methods, and addressing concerns about the use of technology, may help to bridge the gap between innovation and consumer acceptance, contributing to the delicate balance between tradition and innovation in agricultural strategies. At the same time, however, the study's exploratory nature may limit the generalizability of the results. Future research could broaden the participant sample and explore additional psychological factors shaping attitudes toward novel agricultural techniques.

This conceptual paper examines the use of odours and scents in books to enhance storytelling and engage readers. While books often possess a distinctive smell linked to their material production, the intentional use of scents in books is rare. Our study focuses on scratch-and-sniff books, examining their narrative purposes and contributions to young children's literature. We conduct a narrative historical review, supplemented by a systematic search of databases, online catalogues and lists, to identify a collection of these scented books. Through this review, we explore the extent to which these books represent a unique category of children's picture books, investigating how their features align with theoretical understandings of quality characteristics in children's literature and the role of olfactory cues in storytelling. We address why most scented books target younger readers and discuss possible reasons for the absence of scented books for an adult readership. This intriguing asymmetry contrasts the use of scent in other media (such as film, theatre or virtual reality), often directed toward adults. In addition, this review sheds light on the innovative use of scents in books and their impact on reader immersion and narrative experience. Finally, we consider possible future uses of scent in the context of digital books (ebooks).

Abstract In an effort to reduce the negative impact of clothing manufacturing on the environment, a number of international clothing brands have made strides towards engaging in more environmentally-sustainable behaviours. However, further research is still needed in order to understand the effects of these efforts on consumer perception and decision-making in the case of sustainable clothing. This study examines the role of visual information (VI) associated with sustainable clothing on a website, and the perceived intelligence of voice assistants (PIVA), in influencing consumers’ purchase behaviour (PB) when shopping online for sustainable clothing. 2656 valid samples were collected and analysed using correlation analysis, factor analysis, and regression analysis. The results indicate that VI and PIVA both significantly influence consumers’ positive attitudes and PB towards sustainable clothing. Furthermore, the significant effect of these two factors on PB, through positive attitude towards sustainable clothing, are moderated by knowledge of sustainability issues. This paper therefore provides theoretical implications for sustainable clothing online retailing by testing the relationship between relevant variables. The findings also contribute to brand retailers improving their consumers’ decision-making and strengthening the perception-behaviour relationship in sustainable clothing shopping.

The field of sonic branding has grown rapidly in recent years. While the majority of the developments in this area have thus far been led by practitioners, it is important to understand the cognitive principles underlying the appropriateness and efficacy of sonic branding in order to help develop design principles and practical guidelines that will help to move the field forward, particularly where a brand’s distinctive sonic assets are concerned. This narrative historical review focuses on design considerations for one of the most common sonic assets, namely the sonic logo. Crucially, the question of how these sonic logos come to be associated with brands, and the extent to which their perceptual and affective qualities ought to match the attributes and personality of the brand, are experimentally tractable research questions. Principles drawn from the cognitive (neuro-)sciences, including the emerging field of research on crossmodal correspondences, are explored, providing actionable insights for those wanting to design successful sonic brands. The use of the semantic differential technique is also discussed as a means of systematically assessing the connotative alignment between a product, company, or brand and the distinctive sonic assets which together comprise the brand’s sonic identity as a whole.

Abstract Non-synesthetes exhibit a tendency to associate specific shapes with particular colors (i.e., circle–red, triangle–yellow, and square–blue). Such color–shape associations (CSAs) could potentially affect the feature binding of colors and shapes, thus resulting in people reporting more binding errors in the case of incongruent, rather than congruent, colored-shape pairs. Individuals with autism spectrum disorder (ASD) exhibit atypical sensory processing and impaired multisensory integration. Here, we examined whether autistic traits (Autism-Spectrum Quotient; AQ) influence the strength of color–shape associations, as evidenced by the occurrence of binding errors in incongruent minus congruent conditions. Participants took part in an experiment designed to reveal binding errors induced by incongruent and congruent colored-shape pairs, and completed the Japanese version of the AQ score. The results revealed a significant correlation between AQ scores and occurrence of binding errors when participants were presented with the circle–red and triangle–yellow CSAs: That is, individuals with higher autistic traits tend to make more binding errors in incongruent minus congruent colored-shape pairs, indicating a stronger binding of circle–red and triangle–yellow associations. These results therefore suggest that autistic traits play a role in forming color–shape associations, shedding light on the nature of both color–shape associations and autistic perception.

Abstract Background and Aims There is a dearth of information about binge eating disorder (BED) among Bangladeshi university students, who may be more susceptible to BED due to the rise in unhealthy lifestyles and food habits. Therefore, the purpose of this study was to assess the prevalence and associated factors of BED symptoms among Bangladeshi university students. Methods Students (N = 525) from three public universities in Bangladesh participated in this cross‐sectional study between November 2022 and March 2023. Face‐to‐face interviews were conducted using a structured paper‐based questionnaire that included two validated survey tools; the binge eating disorder screener and the patient health questionnaire‐9. To identify the factors associated with BED symptoms, multiple logistic regression analysis was conducted, with sociodemographic and behavioral information (e.g., age, sex, smoking status, etc.) considered as covariates. Results The prevalence of BED symptoms among participants (mean age 21.28 years, 50.3% male and 49.7% female) was 20.6%. Male students had a 2.28 times higher likelihood of having BED symptoms compared to female counterparts (adjusted odds ratio [AOR] = 2.28; 95% CI: 1.33−3.89). Older students (AOR = 3.56, 95% CI: 1.80−7.05), students who were overweight or obese (AOR = 3.32, 95% CI: 1.87−5.89), and students reporting higher depressive symptoms (AOR = 2.69, 95% CI: 1.66−4.35) were at greater risk for developing BED compared to their respective counterparts. Conclusions This study provides new insights into the prevalence of BED symptoms and its contributing factors among Bangladeshi students. Approximately 1‐in‐5 university students reported having BED symptoms. University students who are older, overweight, or obese, and who report depressive symptoms may be at greatest risk. Future longitudinal studies are needed to determine the causal factors underlying BED. Findings from this study can assist policymakers and public health professionals in developing effective and targeted strategies to mitigate the risks associated with BED among Bangladeshi university students.

Air travel has undoubtedly become a more stressful activity for many passengers in recent years, in part as a result of the global Covid pandemic. Consequently, there has been a growing focus on how to optimize the psychological wellbeing of passengers while in the air. This narrative historical review considers how the passenger experience can potentially be hacked through the more intelligent stimulation of the travellers’ senses. In particular, the focus is on promoting passenger comfort, enhancing the provision of healthy food and beverage options/experiences, facilitating relaxation and sleep and, when appropriate, boosting passengers’ arousal/alertness as well (e.g., prior to arrival). A number of concrete suggestions concerning how to sensehack passenger wellbeing at the various stages while in the air are made.

IntroductionThe knowledge accrued through research in the domain of crossmodal correspondences has had a significant influence on a diverse array of disciplines, including behavioral studies, neuroscience, computational modeling, and notably, marketing, with the objective of aligning sensory experiences to help shape patterns of consumer behavior. A study is reported that explores the extension of these principles to the communication of products having a notably complex sensory profile, specifically within the context of wine. The central aim of the project is to explore the feasibility of using crossmodal communication as a strategic tool to augment the congruence between the consumers’ multisensory expectations and their sensory experiences. For consumers venturing into the realm of wine selection without the advantage of prior tasting experience, it is of paramount importance to possess a robust understanding of the mandated information. This encompasses critical elements such as the wine’s origin, grape varietal(s) used, geographical indications, producer qualifications, and the potential implications of these factors on the final wine product. This level of comprehension stands as a necessary prerequisite, enabling these consumers to make informed choices that align with their preferences, even in the absence of previous sensory encounters. Nonetheless, semiotic investigations underscore the significance attributed to symbolic components such as signs, logos, colors, gestures, and linguistic cues. Research from the field performing multisensory studies, presents a counterpoint to prevailing communication paradigms, advocating for a heightened incorporation of metaphors, analogies, symbols, metonymies, and allegories. This alternative approach aims to enhance the efficacy of communication strategies, offering a more profound and evocative means of conveying intricate messages on a more holistic level.MethodsA questionnaire was sent to a specific group of engaged wine consumers (n = 329). Besides questions regarding demographics, purchase behavior, and consumption behavior, the questionnaire included examples of multisensory communication through a selection of symbols, as well as alternative wine information.ResultsThe results showed significant correlations between demographics, consumption behavior, and attitudes toward the tested multisensory symbols and alternative information, thus helping to gain a better understanding of the sensory properties that should be communicated on wine labels.DiscussionThe findings reported here highlight the effectiveness of visual crossmodal communication as a promising pathway capable of skillfully capturing consumer attributes, conveying multisensory experiences, and portraying the comprehensive timeline of taste evolution. As a result, it assumes a pivotal role as a communicative tool for intricate consumables, like wine, functioning at the crossroads of visual and sensory dimensions.

IntroductionThis research investigates consumer acceptance of alternative methods for communicating information about wine, focusing on the alignment between sensory attributes and consumer expectations.MethodsA survey was administered to wine enthusiasts to assess their attitudes toward crossmodal communication.ResultsThe findings reveal significant associations between consumer behaviors and acceptance of alternative communication methods, highlighting the emerging field of crossmodal correspondences.DiscussionThese results suggest that leveraging crossmodal correspondences can enhance the match between a product’s sensory qualities and consumer expectations, potentially reducing wine wastage resulting from unmet consumer preferences. These findings have implications for improving communication strategies in the wine industry and enhancing consumer experiences.

“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.

The frontoparietal attention network plays a pivotal role during working memory (WM) maintenance, especially under high-load conditions. Nevertheless, there is ongoing debate regarding whether this network relies on supramodal or modality-specific neural signatures. In this study, we used multi-voxel pattern analysis (MVPA) to evaluate the neural representation of visual versus auditory information during WM maintenance. During fMRI scanning, participants maintained small or large spatial configurations (low- or high-load trials) of either colour shades or sound pitches in WM for later retrieval. Participants were less accurate in retrieving high- vs. low-load trials, demonstrating an effective manipulation of WM load, irrespective of the sensory modality. The frontoparietal regions involved in maintaining high- vs. low-load spatial maps in either sensory modality were highlighted using a conjunction analysis. Widespread activity was found across the dorsal frontoparietal network, peaking on the frontal eye fields and the superior parietal lobule, bilaterally. Within these regions, MVPAs were performed to quantify the pattern of distinctness of visual vs. auditory neural codes during WM maintenance. These analyses failed to reveal distinguishable patterns in the dorsal frontoparietal regions, thus providing support for a common, supramodal neural code associated with the retention of either visual or auditory spatial configurations.

Food neophobia, described as a reluctance to eat and or avoid new food, is a personality trait that affects food choice. Despite its potential influence on an individual's food intake, food neophobia has been poorly investigated in Bangladesh. This cross-sectional study was designed to evaluate food neophobia and its association with sociodemographic factors and food preferences in a sample of Bangladeshi university students. Five hundred students from five public universities completed the structured surveys. Food neophobia was assessed by a 10-item validated food neophobia scale with some minor modifications based on study settings. A multiple linear regression model was used to observe the factors associated with food neophobia. The mean food neophobia score among study participants was 37.45 (SD: 13.39, Range: 13–67). According to the adjusted statistical model, being female (regression coefficient, β = 2.73), having higher monthly family income (β = −6.64), being underweight (β = 4.68), being overweight (β = −4.63), having any food allergy (β = 9.09), and a history of sickness after eating a new food item (β = 5.16) were significantly associated with food neophobia amongst the participants. The participants' liking of various food items such as vegetables were significantly correlated with food neophobia scores. Nutrition education policies and programs are of importance to address the students' food neophobia during their tertiary education so that they maintain lifelong healthy dietary habits and consume a variety of foods to improve their physical health and well-being.

Abstract A rapidly growing body of empirical research has recently started to emerge highlighting the connotative and/or semiotic meanings that consumers typically associate with specific abstract visual design features, such as colours (either when presented individually or in combination), simple shapes/curvilinearity, and the orientation and relative position of those design elements on product packaging. While certain of our affective responses to such basic visual design features appear almost innate, the majority are likely established via the internalization of the statistical regularities of the food and beverage marketplace (i.e. as a result of associative learning), as in the case of round typeface and sweet-tasting products. Researchers continue to document the wide range of crossmodal correspondences that underpin the links between individual visual packaging design features and specific properties of food and drink products (such as their taste, flavour, or healthfulness), and the ways in which marketers are now capitalizing on such understanding to increase sales. This narrative review highlights the further research that is still needed to establish the connotative or symbolic/semiotic meaning(s) of particular combinations of design features (such as coloured stripes in a specific orientation), as opposed to individual cues in national food markets and also, increasingly, cross-culturally in the case of international brands.

A number of personality characteristics have been linked to various aspects of taste (gustation), trigeminal, and olfactory perception. In particular, personality traits have been linked to olfactory sensory thresholds and olfactory identification abilities, as well as to the sensory-discriminative aspects of taste/flavour perception. To date, much of the research in this area has focused on Sensation Seeking (including Experience Seeking, and Openness to Novel Experiences), with the latter being linked to a preference for spicy, and possibly also crunchy, sour, and bitter foods/drinks. Novelty-seeking has also been linked to a preference for salty foods, while anxious individuals appear to enjoy a much narrower range of foods. A bidirectional link has also been documented between taste and mood. Certain of the personality-based differences in taste/flavour perception and food behaviour have been linked to differences in circulating levels of neurotransmitters and hormones in both normal and clinical populations. Taken together, therefore, the evidence that has been published to date supports a number of intriguing connections between personality traits and taste perception/food behaviour.

There is undoubtedly a spatial component to our experience of gustatory stimulus qualities such as sweet, bitter, salty, sour, and umami, however its importance is currently unknown. Taste thresholds have been shown to differ at different locations within the oral cavity where gustatory receptors are found. However, the relationship between the stimulation of particular taste receptors and the subjective spatially-localized experience of taste qualities is uncertain. Although the existence of the so-called ‘tongue map’ has long been discredited, the psychophysical evidence clearly demonstrates significant (albeit small) differences in taste sensitivity across the tongue, soft palate, and pharynx (all sites where taste buds have been documented). Biases in the perceived localization of gustatory stimuli have also been reported, often resulting from tactile capture (i.e., a form of crossmodal, or multisensory, interaction). At the same time, varying responses to supratheshold tastants along the tongue's anterior-posterior axis have putatively been linked to the ingestion-ejection response. This narrative review highlights what is currently known concerning the spatial aspects of gustatory perception, considers how such findings might be explained, given the suggested balanced distribution of taste receptors for each basic taste quality where taste papillae are present, and suggests why knowing about such differences may be important.

With the continuing development of internet technologies, an increasing number of consumers want to customise the products they buy online. In order to explore the relationship between perception and purchase intent, a conceptual framework was developed that was based on the link between multisensory perception, positive emotions, and purchase intent in fashion e-customisation marketing. We discuss the outcomes derived from consumers’ experiences in fashion e-customisation and analyse the relationships between variables. Questionnaires were used to collect data for this quantitative study (n = 398 participants). The data was analysed using factor analysis, correlation analysis, and regression analysis. The findings contribute to the field of clothing e-customisation by identifying the effects of visual perception, haptic imagery, and auditory stimulation on arousal, and purchase intent. Visual perception and haptic imagery exerted a positive influence over dominance. We also identify the effects of arousal and dominance on purchase intent, and assess the mediating effects of these variables on visual perception, haptic mental imagery, and purchase intent. The results highlight how fashion e-customisation marketing strategies can be adopted by managers in order to increase positive emotions and how multisensory perception can potentially be used to influence consumers’ purchase behaviour.

This narrative review discusses the literature on contemporary sensory marketing as it applies to hotel design. The role of each of the guest’s senses in the different stages of the customer journey are highlighted, and the functional benefits (to the guest’s multisensory experience), and likely commercial gains, of engaging more effectively with the guest’s non-visual senses, both individually, and in combination, are reviewed. While the visual elements of hotel design are undoubtedly important, the hotelier neglects the non-visual senses at their peril, given the negative effect of poor design on the customers’ overall multisensory experience (and ratings). A number of the crossmodal effects and multisensory interactions that have been suggested to modulate the guest’s experience of hotels (and resorts) are discussed. Mention is also made of the nature effect/biophilic design and how it is increasingly being incorporated in total design to help deliver on guest/customer well-being; the latter is a theme that has grown rapidly in relevance for those working in the hospitality sector. Taken together, there are numerous opportunities for hotel managers to ‘sensehack’ their guests’ multisensory experiences through environmental psychology The originality of this review stems from the analysis of the hierarchy of the guest’s senses and an explanation of how multisensory interactions affect sensory marketing in the design of hotel experiences for guests.

Many of the mundane foods that we eat on an everyday basis are consumed in a manner that may be considered stereotypical, conventional, habitual or, on occasion, even a playful ritual. There are a number of reasons for such behaviours, and the potential benefits for the consumer are discussed in the case of vertically asymmetrical foods where the upper and lower surfaces differ. Maximizing the eye appeal of the food product, maximizing the multisensory flavour experience and the ubiquitous benefits of ritual to the enjoyment of consumption experiences are all put forward as possible explanations for such behaviours in this opinion piece. Ultimately, however, the paucity of empirical evidence concerning the influence of the manner of eating such ubiquitous foods (right way-up or upside-down) on the multisensory tasting experience is highlighted. This is a seemingly important lacuna in the food science literature, given the multiple competing explanations concerning how such experiences might be affected, if at all, that suggest themselves. Looking to the future, it would clearly be of great interest, given the growing global obesity crisis, to understand whether it might be possible to increase sensory enjoyment and/or satiety by the better/optimized design of foods and/or food consumption behaviours.

Rounded shapes, which have been shown to enhance sweetness, were compared to the perfectly symmetrical Platonic solids. In a first online experiment, participants were presented with a rotating three-dimensional geometric shape (a sphere, the five Platonic solids, and three irregular angular/rounded/naturalistic controls), and indicated their liking for the shape, as well as its perceived hardness, and its expected temperature. The sphere was liked best, followed by the Platonic solids. The sphere was also evaluated as softest, and received the warmest temperature ratings. By contrast, the Platonic solids were rated as harder and significantly colder than the sphere. Experiment 2 investigated whether the liked shapes were also evaluated as looking tastier. Ratings of expected tastiness and the appearance of five shapes selected based on high liking scores and fitted with edible and inedible visual textures were recorded. The sphere was rated as looking tastiest, with edible-textured rounded shapes resulting in significantly tastier ratings. Experiment 3 assessed the taste corresponding to each shape. A sweet and umami preference for rounded shapes was documented, with sour and bitter typically matched to angular shapes. Importantly, the Platonic solids were associated with several tastes. These findings are explained in terms of current theories of crossmodal correspondences, while considering how temperature and texture can be used to modulate expected liking.

People tend to associate abstract visual features with basic taste qualities. This narrative historical review critically evaluates the literature on these associations, often referred to as crossmodal correspondences, between basic tastes and visual design features such as color hue and shape curvilinearity. The patterns, discrepancies, and evolution in the development of the research are highlighted while the mappings that have been reported to date are summarized. The review also reflects on issues of cross-cultural validity and deviations in the matching patterns that are observed when correspondences are assessed with actual tastants versus with verbal stimuli. The various theories that have been proposed to account for different classes of crossmodal correspondence are discussed, among which the statistical and affective (or emotional-mediation) accounts currently appear most promising. Several critical research questions for the future are presented to address the gaps that have been identified in the literature and help validate the popular theories on the origin and operations of visual-taste correspondences.

In this narrative historical review, I want to take a closer look at the concept of perceptual similarity both as it applies within, and between, the chemical senses (specifically taste and smell). The discussion is linked to issues of affective similarity and connotative meaning. The relation between intramodal and crossmodal judgments of perceptual similarity, and the putatively special status of those odorants that happen to take on taste qualities will also be discussed. An important distinction is drawn between the interrelated, though sometimes distinct, notions of perceptual similarity and crossmodal congruency, specifically as they relate to the comparison of chemosensory stimuli. Such phenomena are often referred to as crossmodal correspondences, or by others (incorrectly in my view), as a kind of ubiquitous synesthesia.

In recent years, there has been something of an explosion of interest in those artworks and installations that directly foreground the bodily senses. Often referred to as proprioceptive (or prop.) art, the question to be addressed in this narrative historical review is how it should be defined, and why has it become so popular? A contrast is drawn with examples of sculpture and/or tactile art. The entertainment/experiential element of such works cannot be denied, especially in an era where funding in the arts sector is so often linked to footfall. At the same time, however, a number of the works appear to be about little more than entertainment/amusement. One might wonder why such “edutainment” should be placed in the art gallery rather than, say, in a museum of science or illusion. Nevertheless, in the best cases, the foregrounding, or removal, of bodily sensations that proprioceptive artworks deliver can potentially help to connect people in an increasingly digital, online, mostly audiovisual, and hence in some sense disembodied contemporary existence. These issues are discussed in the context of the works of Carsten Höller, a prolific German installation and object artist.

Abstract In recent decades, there has been an explosion of research into the crossmodal influence of olfactory cues on multisensory person perception. Numerous peer-reviewed studies have documented that a variety of olfactory stimuli, from ambient malodours through to fine fragrances, and even a range of chemosensory body odours can influence everything from a perceiver’s judgments of another person’s attractiveness, age, affect, health/disease status, and even elements of their personality. The crossmodal and multisensory contributions to such effects are reviewed and the limitations/peculiarities of the research that have been published to date are highlighted. At the same time, however, it is important to note that the presence of scent (and/or the absence of malodour) can also influence people’s (i.e., a perceiver’s) self-confidence which may, in turn, affect how attractive they appear to others. Several potential cognitive mechanisms have been put forward to try and explain such crossmodal/multisensory influences, and some of the neural substrates underpinning these effects have now been characterized. At the end of this narrative review, a number of the potential (and actual) applications for, and implications of, such crossmodal/multisensory phenomena involving olfaction are outlined briefly.

The “phantasmagoria” is a term that originally referred to the ghost lantern shows first staged in France at the end of the 18th Century by the Belgian inventor and entertainer Étienne-Gaspard Robertson. The question to be addressed in this review concerns the link between the phantasmagoria (defined as a ghostly visual entertainment) and the multisensory sensorium (or sensory overload) of the fairground and even, in several other cases, the Gesamtkunstwerk (the German term for “the total work of art”). I would like to suggest that the missing link may involve the ghost attractions, such as Dr. Pepper's Ghost (first developed at the Royal Polytechnic Institute in London in the 1860s), and the Phantasmagoria, that were both promoted in fairgrounds across England in the closing decades of the 19th Century.

There has long been interest in the nature of the relationship(s) between hue and pitch or, in other words, between colour and musical/pure tones, stretching back at least as far as Newton, Goethe, Helmholtz, and beyond. In this narrative historical review, we take a closer look at the motivations that have lain behind the various assertions that have been made in the literature concerning the analogies, and possible perceptual similarities, between colour and sound. During the last century, a number of experimental psychologists have also investigated the nature of the correspondence between these two primary dimensions of perceptual experience. The multitude of different crossmodal mappings that have been put forward over the centuries are summarized, and a distinction drawn between physical/structural and psychological correspondences. The latter being further sub-divided into perceptual and affective categories. Interest in physical correspondences has typically been motivated by the structural similarities (analogous mappings) between the organization of perceptible dimensions of auditory and visual experience. Emphasis has been placed both on the similarity in terms of the number of basic categories into which pitch and colour can be arranged and also on the fact that both can be conceptualized as circular dimensions. A distinction is drawn between those commentators who have argued for a dimensional alignment of pitch and hue (based on a structural mapping), and those who appear to have been motivated by the existence of specific correspondences between particular pairs of auditory and visual stimuli instead (often, as we will see, based on the idiosyncratic correspondences that have been reported by synaesthetes). Ultimately, though, the emotional-mediation account would currently appear to provide the most parsimonious account for whatever affinity the majority of people experience between musical sounds and colour.

The reality-virtuality continuum encompasses a multitude of objects, events and environments ranging from real-world multisensory inputs to interactive multisensory virtual simulators, in which sensory integration can involve very different combinations of both physical and digital inputs. These different ways of stimulating the senses can affect the consumer’s consciousness, potentially altering their judgements and behaviours. In this perspective paper, we explore how technologies such as Augmented Reality (AR) and Virtual Reality (VR) can, by generating and modifying the human sensorium, act on consumer consciousness. We discuss the potential impact of this altered consciousness for consumer behaviour while, at the same time, considering how it may pave the way for further research.

Abstract The last few years have seen a rapid growth of interest amongst researchers in the crossmodal correspondences. One of the correspondences that has long intrigued artists is the putative association between colours and odours. While traditionally conceptualised in terms of synaesthesia, over the last quarter century or so, at least 20 published peer-reviewed articles have assessed the consistent, and non-random, nature of the colours that people intuitively associate with specific (both familiar and unfamiliar) odours in a non-food context. Having demonstrated such consistent mappings amongst the general (i.e. non-synaesthetic) population, researchers have now started to investigate whether they are shared cross-culturally, and to document their developmental acquisition. Over the years, several different explanations have been put forward by researchers for the existence of crossmodal correspondences, including the statistical, semantic, structural, and emotional-mediation accounts. While several of these approaches would appear to have some explanatory validity as far as the odour-colour correspondences are concerned, contemporary researchers have focussed on learned associations as the dominant explanatory framework. The nature of the colour-odour associations that have been reported to date appear to depend on the familiarity of the odour and the ease of source naming, and hence the kind of association/representation that is accessed. While the bidirectionality of odour-colour correspondences has not yet been rigorously assessed, many designers are nevertheless already starting to build on odour-colour crossmodal correspondences in their packaging/labelling/branding work.

Abstract Traditionally, architectural practice has been dominated by the eye/sight. In recent decades, though, architects and designers have increasingly started to consider the other senses, namely sound, touch (including proprioception, kinesthesis, and the vestibular sense), smell, and on rare occasions, even taste in their work. As yet, there has been little recognition of the growing understanding of the multisensory nature of the human mind that has emerged from the field of cognitive neuroscience research. This review therefore provides a summary of the role of the human senses in architectural design practice, both when considered individually and, more importantly, when studied collectively. For it is only by recognizing the fundamentally multisensory nature of perception that one can really hope to explain a number of surprising crossmodal environmental or atmospheric interactions, such as between lighting colour and thermal comfort and between sound and the perceived safety of public space. At the same time, however, the contemporary focus on synaesthetic design needs to be reframed in terms of the crossmodal correspondences and multisensory integration, at least if the most is to be made of multisensory interactions and synergies that have been uncovered in recent years. Looking to the future, the hope is that architectural design practice will increasingly incorporate our growing understanding of the human senses, and how they influence one another. Such a multisensory approach will hopefully lead to the development of buildings and urban spaces that do a better job of promoting our social, cognitive, and emotional development, rather than hindering it, as has too often been the case previously.

Abstract Basic cognitive research can help to explain our response to wine, and the myriad factors that affect it. Wine is a complex, culture-laden, multisensory stimulus, and our perception/experience of its properties is influenced by everything from the packaging in which it is presented through the glassware in which it is served and evaluated. A growing body of experiential wine research now demonstrates that a number of contextual factors, including everything from the colour of the ambient lighting through to background music can exert a profound, and in some cases predictable, influence over the tasting experience. Sonic seasoning - that is, the matching of music or soundscapes with specific wines in order to accentuate or draw attention to certain qualities/attributes in the wine, such as sweetness, length, or body, also represents a rapidly growing area of empirical study. While such multisensory, experiential wine research undoubtedly has a number of practical applications, it also provides insights concerning multisensory perception that are relevant to basic scientists. Furthermore, the findings of the wine research are also often relevant to those marketers interested in understanding how the consumers’ perception of any other food or beverage product can potentially be modified.

The notion of harmony was first developed in the context of metaphysics before being applied to the domain of music. However, in recent centuries, the term has often been used to describe especially pleasing combinations of colors by those working in the visual arts too. Similarly, the harmonization of flavors is nowadays often invoked as one of the guiding principles underpinning the deliberate pairing of food and drink. However, beyond the various uses of the term to describe and construct pleasurable unisensory perceptual experiences, it has also been suggested that music and painting may be combined harmoniously (e.g., see the literature on “color music”). Furthermore, those working in the area of “sonic seasoning” sometimes describe certain sonic compositions as harmonizing crossmodally with specific flavor sensations. In this review, we take a critical look at the putative meaning(s) of the term “harmony” when used in a crossmodal, or multisensory, context. Furthermore, we address the question of whether the term's use outside of a strictly unimodal auditory context should be considered literally or merely metaphorically (i.e., as a shorthand to describe those combinations of sensory stimuli that, for whatever reason, appear to go well together, and hence which can be processed especially fluently).

Many metallic visual stimuli, especially the so-called precious metals, have long had a rich symbolic meaning for humans. Intriguingly, however, while metallic is used to describe sensations associated with pretty much every sensory modality, the descriptor is normally positively valenced in the case of vision while typically being negatively valenced in the case of those metallic sensations that are elicited by the stimulation of the chemical senses. In fact, outside the visual modality, metallic would often appear to be used to describe those sensations that are unfamiliar and unpleasant as much as to refer to any identifiable perceptual quality (or attribute). In this review, we assess those sensory stimuli that people choose to refer to as metallic, summarising the multiple, often symbolic, meanings of (especially precious) metals. The evidence of positively valenced sensation transference from metallic serviceware (e.g., plates, cups, and cutlery) to the food and drink with which it comes into contact is also reviewed.

The matching of scents with music is both one of the most natural (or intuitive) of crossmodal correspondences and, at the same time, one of the least frequently explored combinations of senses in an entertainment and multisensory experiential design context. This narrative review highlights the various occasions over the last century or two when scents and sounds have coincided, and the various motivations behind those who have chosen to bring these senses together: This has included everything from the masking of malodour to the matching of the semantic meaning or arousal potential of the two senses, through to the longstanding and recently-reemerging interest in the crossmodal correspondences (now that they have been distinguished from the superficially similar phenomenon of synaesthesia, with which they were previously often confused). As such, there exist a number of ways in which these two senses can be incorporated into meaningful multisensory experiences that can potentially resonate with the public. Having explored the deliberate combination of scent and music (or sound) in everything from “scent-sory” marketing through to fragrant discos and olfactory storytelling, I end by summarizing some of the opportunities around translating such unusual multisensory experiences from the public to the private sphere. This will likely be via the widespread dissemination of sensory apps that promise to convert (or translate) from one sense (likely scent) to another (e.g., music), as has, for example already started to occur in the world of music selections to match the flavour of specific wines.

The term “sonic seasoning” refers to the deliberate pairing of sound/music with taste/flavour in order to enhance, or modify, the multisensory tasting experience. Although the recognition that people experience a multitude of crossmodal correspondences between stimuli in the auditory and chemical senses originally emerged from the psychophysics laboratory, the last decade has seen an explosion of interest in the use and application of sonic seasoning research findings, in a range of multisensory experiential events and online offerings. These marketing-led activations have included a variety of different approaches, from curating pre-composed music selections that have the appropriate sonic qualities (such as pitch or timbre), to the composition of bespoke music/soundscapes that match the specific taste/flavour of particular food or beverage products. Moreover, given that our experience of flavour often changes over time and frequently contains multiple distinct elements, there is also scope to more closely match the sonic seasoning to the temporal evolution of the various components (or notes) of the flavour experience. We review a number of case studies of the use of sonic seasoning, highlighting some of the challenges and opportunities associated with the various approaches, and consider the intriguing interplay between physical and digital (online) experiences. Taken together, the various examples reviewed here help to illustrate the growing commercial relevance of sonic seasoning research.

This narrative historical review examines the wide range of approaches that has been trialled/suggested in order to reduce the consumption of salt. While sodium is an essential micronutrient, there is widespread evidence that high levels of consumption are leading to various negative health outcomes. This review summarises the evidence relating to the various approaches that have been put forward to date to help reduce salt consumption over the years, while also highlighting a number of important questions that remains for future research. Solutions to reducing salt consumption include everything from the gradual reduction in salt in foods through to the reduction in the number/size of holes in saltshakers (what one might consider a behavioural nudge). Physico-chemical solutions have included salt replacers, such as monosodium glutamate (MSG) through to the asymmetric distribution of salt in processed (e.g., layered) foods. A wide range of sensory approaches to modulating expected and perceived saltiness have also been suggested, including the use of salty aromas, as well as suggesting the use of colour cues, sonic seasoning, and even textural primes. It is currently unclear whether different salty aromas can be combined to increase odour-induced taste enhancement (OITE) effectiveness. In the years ahead, it will be interesting to assess how long such solutions remain effective, as well as whether different solutions can be combined to help reduce salt consumption without having to compromise on taste/flavour

There has long been interest in both the tonic and phasic release of scent across a wide range of entertainment settings. While the presentation of semantically congruent scent has often been used in order to enhance people’s immersion in a particular context, other generally less successful attempts have involved the pulsed presentation of a range of scents tied to specific events/scenes. Scents have even been released in the context of the casino to encourage the guests to linger for longer (and spend more), at least according to the results of one controversial study. In this narrative review, I want to take a closer look at the use of scent in a range of both physical and digital environments, highlighting the successes (as in the case of scented theme park rides) and frequent failures (as, seemingly, in the context of scent-enabled video games). While digitally inducing meaningful olfactory sensations is likely to remain a pipe dream for the foreseeable future, the digital control of scent release/delivery provides some limited opportunities to enhance the multisensory experience of entertainment. That said, it remains uncertain whether the general public will necessarily perceive the benefit, and hence be willing to pay for the privilege.

There is undoubtedly growing interest in the role of scent in the design of multisensory experiences. However, to date, the majority of the research has focused on its use in the (static) built environment. As highlighted by this narrative review, somewhat different challenges and opportunities arise just as soon as one starts to consider olfaction in the case of transportation–what might be called “scent in motion.” For instance, levels of anxiety/stress while traveling are often higher (especially in the case of air travel), while, at the same time, the passenger's personal space is frequently compromised. Four key functional roles for scent in the context of passenger transportation are outlined. They include the masking of malodour, the introduction of branded signature scents, short-term olfactory marketing interventions, and the functional use of scent to enhance the experience of travel. In the latter case, one might consider the use of scent to help reduce the stress/anxiety amongst airplane passengers or to give the impression of cleanliness. Meanwhile, in the case of driving, scents have been suggested as an inoffensive means of alerting/relaxing the driver and may also help tackle the problem of motion sickness. The specific challenges associated with scent in motion are reviewed and a number of future opportunities highlighted.

In many parts of the world, restaurants have been forced to close in unprecedented numbers during the various Covid-19 pandemic lockdowns that have paralyzed the hospitality industry globally. This highly-challenging operating environment has led to a rapid expansion in the number of high-end restaurants offering take-away food, or home-delivery meal kits, simply in order to survive. While the market for the home delivery of food was already expanding rapidly prior to the emergence of the Covid pandemic, the explosive recent growth seen in this sector has thrown up some intriguing issues and challenges. For instance, concerns have been raised over where many of the meals that are being delivered are being prepared, given the rise of so-called “dark kitchens.” Furthermore, figuring out which elements of the high-end, fine-dining experience, and of the increasingly-popular multisensory experiential dining, can be captured by those diners who may be eating and drinking in the comfort of their own homes represents an intriguing challenge for the emerging field of gastrophysics research; one that the chefs, restaurateurs, restaurant groups, and even the food delivery companies concerned are only just beginning to get to grips with. By analyzing a number of the high-end fine-dining home food delivery options that have been offered (in the UK and in the US) in this narrative review, we highlight a number of promising directions for those wanting to optimize the at-home multisensory dining experience, wherever in the world they might be.

For centuries, if not millennia, people have associated the basic tastes (e.g., sweet, bitter, salty, and sour) with specific colours. While the range of tastes may have changed, and the reasons for wanting to connect the senses in this rather surprising way have undoubtedly differed, there would nevertheless appear to be a surprisingly high degree of consistency regarding this crossmodal mapping among non-synaesthetes that merits further consideration. Traditionally, colour–taste correspondences have often been considered together with odour–colour and flavour–colour correspondences. However, the explanation for these various correspondences with the chemical senses may turn out to be qualitatively different, given the presence of identifiable source objects in the case of food aromas/flavours, but not necessarily in the case of basic tastes. While the internalization of the crossmodal statistics of the environment provides one appealing account for the existence of colour–taste correspondences, emotional mediation may also be relevant. Ultimately, while explaining colour–taste correspondences is of both theoretical and historical interest, the growing awareness of the robustness of colour–taste correspondences would currently seem to be of particular relevance to those working in the fields of design and multisensory experiential marketing.

Auditory cues, such as real-world sounds or music, influence how we perceive food. The main aim of the present study was to investigate the influence of negatively and positively valenced mixtures of musical and non-musical sounds on the affective states of participants and their perception of chocolate ice cream. Consuming ice cream while listening to liked music (LM) and while listening to the combination of liked music and pleasant sound (LMPS) conditions gave rise to more positive emotions than listening to just pleasant sound (PS). Consuming ice cream during the LM condition resulted in the longest duration of perceived sweetness. On the other hand, PS and LMPS conditions resulted in cocoa dominating for longer. Bitterness and roasted were dominant under the disliked music and unpleasant sound (DMUS) and DM conditions respectively. Positive emotions correlated well with the temporal sensory perception of sweetness and cocoa when consuming chocolate ice cream under the positively valenced auditory conditions. In contrast, negative emotions were associated with bitter and roasted tastes/flavours under the negatively valenced auditory conditions. The combination of pleasant music and non-musical sound conditions evoked more positive emotions than when either was presented in isolation. Taken together, the results of this study support the view that sensory attributes correlated well with emotions evoked when consuming ice cream under different auditory conditions varying in terms of their valence.

The coffee drinking experience undoubtedly depends greatly on the quality of the coffee bean and the method of preparation. However, beyond the product-intrinsic qualities of the beverage itself, there are also a host of other product-extrinsic factors that have been shown to influence the coffee-drinking experience. This review summarizes the influence of everything from the multisensory atmosphere through to the sound of coffee preparation, and from the typeface on the coffee packaging through the drinking vessel. Furthermore, the emerging science around sonic seasoning, whereby specific pieces of music or soundscapes, either pre-composed or bespoke, are used to bring out specific aspects in the taste (e.g., sweetness or bitterness) or aroma/flavor (nutty, dark chocolate, dried fruit notes, etc.) of a coffee beverage is also discussed in depth. Relevant related research with other complex drinks such as beer and wine are also mentioned where relevant.

Is blue food desirable or disgusting? The answer, it would seem, is both, but it really depends on the food in which the color happens to be present. It turns out that the oft-cited aversive response to blue meat may not even have been scientifically validated, despite the fact that blue food coloring is often added to discombobulate diners. In the case of drinks, however, there has been a recent growth of successful new blue product launches in everything from beer to tea, and from wine to gin, arguing that coloring food products blue is more than simply a contemporary fad. In fact, the current interest in blue food coloring builds on the color's earlier appearance in everything from blue curacao to blue-raspberry candyfloss (cotton candy), and thereafter a number of soft drinks. Over the years, the combination of blue coloring with raspberry flavoring has also appeared in everything from bubble-gum to patriotic pop rocks (popping candy in The United States). Ultimately, it is the rarity of naturally-blue foods that is likely what makes this color so special. As such, blue food coloring can both work effectively to attract the visual attention of the shopper while, at the same time, being linked to a range of different flavors (since this is one of the few color-flavor mappings that are essentially arbitrary) depending on the food format in which it happens to appear. Note also that the basic descriptor “blue” covers a wide range of hues having a range of different associations, hence eliciting different reactions (be they positive or negative). While blue was once associated with artificiality, a growing number of natural blue food colorings have come onto the market in recent years thus perhaps changing the dominant associations that many consumers may have with this most unusual of food colors.

Linking arbitrary shapes (e.g., circles, squares, and triangles) to personal labels (e.g., self, friend, or stranger) or reward values (e.g., £18, £6, or £2) results in immediate processing benefits for those stimuli that happen to be associated with the self or high rewards in perceptual matching tasks. Here we further explored how social and reward associations interact with multisensory stimuli by pairing labels and objects with tones (low, medium, and high tones). We also investigated whether self and reward biases persist for multisensory stimuli with the label removed after an association had been made. Both high reward stimuli and those associated with the self, resulted in faster responses and improved discriminability (i.e., higher d’), which persisted for multisensory stimuli even when the labels were removed. However, these self- and reward-biases partly depended on the specific alignment between the physical tones (low, medium, and high) and the conceptual (social or reward) order. Performance for reward associations improved when the endpoints of low or high rewards were paired with low or high tones; meanwhile, for personal associations, there was a benefit when the self was paired with either low or high tones, but there was no effect when the stranger was associated with either endpoint. These results indicate that, unlike reward, social personal associations are not represented along a continuum with two marked endpoints (i.e., self and stranger) but rather with a single reference point (the self vs. other).