A Comparative Study of Colour Effects on Cognitive Performance in Real-World and VR Environments

This research explores the influence of colour on cognitive performance and intellectual abilities (i.e., logical and lateral thinking abilities and people’s attention to detail) in a conventional laboratory setting and an approximately identical virtual reality (VR) environment. Comparative experiments using psychological methods were carried out in both settings to explore the impact of immersive colour experience. This work builds on earlier studies that suggest that the VR environment enhances user experiences, with results evidencing that a considered approach to colour design can trigger a positive impact on user engagement. The experiments further evaluated the positive effects of immersive colour stimuli in VR by evaluating participants’ logical and lateral thinking abilities, as well as their attention to detail. Their response time and error rate when completing each psychometric test were recorded with different hue backgrounds in both environments. The data collected from participants reveal the differential impacts of colour between the reality setting using standard colour imaging displays and in an approximately identical VR environment. Analysis of the psychometric tests shows the differential influence of colours on logical and lateral thinking abilities and people’s attention to detail between the physical environment and the VR environment. Our findings add to the data demonstrating that a well-designed immersive colour experience in VR can trigger positive user engagement and, as explored in this study, improve cognitive performance. This again positions immersive colour experience as an important design tool to be fully considered in the creation of effective VR research and applications.

Apparent physical brightness of graphemes is altered by their synaesthetic colour in grapheme-colour synaesthetes

Grapheme-colour synaesthesia is a condition in which the visual perception of letters or numbers induces a specific colour sensation. In this study, we demonstrated that the apparent physical brightness of graphemes is modulated by the synaesthetic colours elicited by them. Synaesthetes first selected a synaesthetic colour corresponding to each capital letter and digit. Then, we selected a grapheme stimulus with a bright synaesthetic colour and one with a dark colour for each synaesthete. Finally, synaesthetes and non-synaesthete controls participated in a brightness judgment task, in which each participant judged the real brightness of each of the two stimuli compared to a standard stimulus. Compared to non-synaesthetes, synaesthetes judged a grapheme with a bright synaesthetic colour to be brighter than one with a dark synaesthetic colour, suggesting that the synaesthetic colour experience of synaesthetes alters their brightness perception. Such alteration in real brightness perception was observed both in those who experienced synaesthetic colours in external space (projector-type synaesthetes) and in those who experienced such colours ‘in the mind’s eye’ (associator-type synaesthetes). These results support the view that early visual processing is modulated by feedback transmitted from the V4 colour area, the neural activation of which accompanies synaesthetic colour experience.

Extensive Phenomenological Overlap between Induced and Naturally-Occurring Synaesthetic Experiences

Grapheme-colour synaesthesia (GCS) is defined by additional perceptual experiences, which are automatically and consistently triggered by specific inducing stimuli. The associative nature of GCS has motivated attempts to induce synaesthesia by means of associative learning. Two recent studies have shown that extensive associative training can generate not only behavioural (consistency and automaticity) and neurophysiological markers of GCS, but also synaesthesia-like phenomenology [1,2]. However, these studies provided only superficial descriptions regarding the training-related changes in subjective experience: they did not directly assess how closely induced synaesthetic experiences mirror those found in natural GCS. Here we report an extended qualitative analysis of the transcripts of the semi-structured interviews obtained following the completion of the associative training protocol used by [2]. In addition, we performed a comparable analysis of responses to an interview with a new population of natural occurring grapheme-colour synaesthetes (NOS), allowing us to directly compare the phenomenological dimensions of induced and naturally occurring synaesthetic experience. Our results provide an extensive addition to the description of the phenomenology of NOS experience, revealing a high degree of heterogeneity both within and across all experiential categories. Capitalising on this unique level of detail, we identified a number of shared experiential categories between NOS and induced synaesthesia-like (ISL) groups, including: stability of experience, location of colour experience, shape of co-occurring colour experience, relative strength of colour experience and automaticity of colour experience. Only the automaticity of colour experience differed significantly between the two groups: NOS experience was reported as being mostly automatic, whereas induced ISL were mostly described as being ‘wilful’. We observed three additional experiential categories relating to the automaticity of synaesthetic experience within the NOS group: contextually varied experience, semi-automatic experience and reflective association, which suggests that, as with other experiential categories, the automaticity of synaesthetic experience is also highly heterogeneous. Our results provide new evidence that that intensive training of letter-colour associations can alter conscious perceptual experiences in non-synaesthetes, and that such alterations produce synaesthesia-like phenomenology which substantially resembles similarities to natural grapheme-colour synaesthesia.

Notes on the Spatiality of Colour

This chapter explores colour phenomena through the lens of an architect. It proposes that colour experience is best understood as only partially a visual experience that has three interrelated components: the visual, how colours describe the spaces around us; environments, how colours change with their social, historical, and cultural contexts; and non-visible, what colours represent. What role does the chromatic imagination play in contemporary interiors space? The chapter proposes that spatial experience of any singular colour has a multiplicity of possible readings and dimensions, that there is no absolute value to colours. Our chromatic experience is mobile and fleeting, as the three components of colour experience shift and overlap.

Liquid chromatography–mass spectrometry analysis of mauveine and phenosafranins in black precipitate from the Bradford Colour Experience Museum

Mauveine chromophores and a family of phenosafranins have been extracted from the Colour Experience Museum black precipitate with boiling ethanol and separated by chromatography. Phenosafranin (287.1295), monomethylphenylsafranin (301.1452) and a dimethylphenosafranin (315.1609) were observed. Tentative evidence for small quantities of N- tert-butylmauveine A and N- tert-butylmauveine B has been found by comparison of the data to standard retention times and accurate mass data. A synthetic method which reproduces the composition of mauveine extracted from the black precipitate, which is rich in mauveine A, is described.