Yasmina Jraissati

Cross-Modal Associations between Color and Haptics

The objective of the present study was to explore cross-modal associations between color and tactile sensation while using haptically rendered virtual stimuli with substance properties of roughness/smoothness, hardness/softness, heaviness/lightness, elasticity/inelasticity, and adhesiveness/nonadhesiveness. The stimuli with the indicated properties were rendered with the aid of SensAble PHANTOM OMNI® haptic device. The experimental setup required the participants to use exploratory procedures typical to real object interaction, and select a color from the HSV color space that matched the experienced sensation. The findings of our investigation reveal systematic mapping between color characteristics and intensity of the haptic stimuli. Qualitatively different haptic sensations, however, produced relatively similar patterns of cross-modal associations.

Measuring Graded Membership: The Case of Color

This paper considers Kamp and Partees account of graded membership within a conceptual spaces framework and puts the account to the test in the domain of colors. Three experiments are reported that are meant to determine, on the one hand, the regions in color space where the typical instances of blue and green are located and, on the other hand, the degrees of blueness/greenness of various shades in the blue-green region as judged by human observers. From the locations of the typical blue and typical green regions in conjunction with Kamp and Partees account follow degrees of blueness/greenness for the color shades we are interested in. These predicted degrees are compared with the judged degrees, as obtained in the experiments. The results of the comparison support the account of graded membership at issue.

Proving universalism wrong does not prove relativism right: Considerations on the ongoing color categorization debate

For over a century, the question of the relation of language to thought has been extensively discussed in the case of color categorization, where two main views prevail. The relativist view claims that color categories are relative while the universalistic view argues that color categories are universal. Relativists also argue that color categories are linguistically determined, and universalists that they are perceptually determined. Recently, the argument for the perceptual determination of color categorization has been undermined, and the relativist view has regained some ground. This paper argues that although the universalistic account of color categorization has been called into question, this is not enough to establish relativism. Color categories can still be said to be universal or particular, independent of the accounts of their universality or relativity. Because of its polarization, the debate has disregarded some issues that are key in our understanding of color categorization: the question of what a color category is and how to identify it.

A Colour Sorting Task Reveals the Limits of the Universalist/Relativist Dichotomy: Colour Categories Can Be Both Language Specific and Perceptual

We designed a new protocol requiring French adult participants to group a large number of Munsell colour chips into three or four groups. On one, relativist, view, participants would be expected to rely on their colour lexicon in such a task. In this framework, the resulting groups should be more similar to French colour categories than to other languages categories. On another, universalist, view, participants would be expected to rely on universal features of perception. In this second framework, the resulting groups should match colour categories of three and four basic terms languages. In this work, we first collected data to build an accurate map of French colour terms categories (Experiment 1). We went on testing how native French speakers spontaneously sorted a set of randomly presented coloured chips and, in line with the relativist prediction, we found that the resulting colour groups were more similar to French colour categories than to three and four basic terms languages (Experiment 2). However, the same results were obtained in a verbal interference condition (Experiment 3), suggesting that participants rely on language specific and nevertheless perceptual, colour categories. Collectively, these results suggest that the universalist/relativist dichotomy is a too narrow one.

Constraints on Colour Category Formation

This article addresses two questions related to colour categorization, to wit, the question what a colour category is, and the question how we identify colour categories. We reject both the relativist and universalist answers to these questions. Instead, we suggest that colour categories can be identified with the help of the criterion of psychological saliency, which can be operationalized by means of consistency and consensus measures. We further argue that colour categories can be defined as well-structured entities that optimally partition colour space. We provide some empirical support for this claim by presenting experimental results, which indicate that internal structure is a better predictor of colour categories than perceptual saliency.

Does optimal partitioning of color space account for universal color categorization

A 2007 study by Regier, Kay, and Khetarpal purports to show that universal categories emerge as a result of optimal partitioning of color space. Regier, Kay, and Khetarpal only consider color categorizations of up to six categories. However, in most industrialized societies eleven color categories are observed. This paper shows that when applied to the case of eleven categories, Regier, Kay, and Khetarpal’s optimality criterion yields unsatisfactory results. Applications of the criterion to the intermediate cases of seven, eight, nine, and ten color categories are also briefly considered and are shown to yield mixed results. We consider a number of possible explanations of the failure of the criterion in the case of eleven categories, and suggest that, as color categorizations get more complex, further criteria come to play a role, alongside Regier, Kay, and Khetarpal’s optimality criterion.

Cross-Modal Associations Between Color and Touch: Mapping Haptic and Tactile Terms to the Surface of the Munsell Color Solid

This study investigated cross-modal associations between color and touch using a matching task. Participants matched colors drawn from the surface of the Munsell color solid to antonym pairs of haptic/tactile adjectives. For most of the term pairs assessed ( soft / hard , smooth / rough , flat / uneven , slippery / not slippery , light / heavy , thin / thick and round / sharp ) matching appears predominantly influenced by lightness, with the first term from each pair matched to light colors and the other to dark colors, a result in close agreement with previous research. For two terms, warm and wet , there were clear influences of hue on task performance. There were also similarities between patterns of color matching to several of the haptic/tactile terms assessed and color matching to another term, dislike . This suggests valence may play a mediating role in cross-modal associations involving touch and color.

Delving deeper into color space

So far, color-naming studies have relied on a rather limited set of color stimuli. Most importantly, stimuli have been largely limited to highly saturated colors. Because of this, little is known about how people categorize less saturated colors and, more generally, about the structure of color categories as they extend across all dimensions of color space. This article presents the results from a large Internet-based color-naming study that involved color stimuli ranging across all available chroma levels in Munsell space. These results help answer such questions as how English speakers name a more complex color set, whether English speakers use so-called basic color terms (BCTs) more frequently for more saturated colors, how they use non-BCTs in comparison with BCTs, whether non-BCTs are highly consensual in less saturated parts of the solid, how deep inside color space basic color categories extend, or how they behave on the chroma dimension.