Intrinsic from birth, they form the basis of our core emotions such as fear, happiness and sadness (Haverkamp, 2012). Primary emotions are formed by innate physiological reactions, governed by the hypothalamus and limbic systems our body condition will change as a result of our situation. As stimuli are perceived, our emotions will run on two different levels. ![]() These memories are stored as a sort of poly modal “file” saving all of the features from each sense involved when a perceptual object is first formed, thus, enabling the full cross sensory image to be re-triggered in the future from any of the relating senses (Haverkamp, 2009).Īlongside these initial interactions our emotive response is paramount at denoting the type of future associations we will hold. ![]() This initial cross-correlation forms a primary perceptual object and hence a sensory memory. If an object is not known, we simply turn our visual attention to the perceived source and basic audio/visual correlation’s take place (Haverkamp, 2009). Often referred to as a process of indexing, both senses will work in unison in an attempt to reference an object. To recognise this object as familiar and form a logical emotional and physiological response, it’s essential that multi-modal correlations are made that link the acoustic features to visual ones, for example a hollow tone to the geometry or material of an object, enabling us to understand what a brown, wooden box sounds like (Haverkamp, 2009). By segregating the information into its correlating features, this model forms what’s called a perceptual object (Haverkamp, 2009). The perceptual system generates a model of the physical stimulus based on the information gathered from each of the senses, eventually triggering cognitive imagery. ![]() To form this type of meaningful perceptual processing, our senses work in parallel, intertwining to create a multimodal cognitive system predominately requiring internal data from both the primary and secondary (auditory and visual) senses to identify physical objects and their attributes (Haverkamp, 2009). The way in which we respond to sensory information such as colour and light, depends highly on our own personal process of cognitive mediation and perceptual processing.Ĭonsider an alien robot who has been designed with eyes to replicate that of a human, after being placed on earth for the first time, its capable of converting light energy into electrical impulses but, without the ability to gather relevant meaning and comparatively analyse the source and data, the light remains visual noise and the robot is incapable of acting accordingly. Hear The Rainbow is a sensory experience that provides a platform for exploring the perceptual relationship we have with the HSL 3 dimensional colour space by redesigning it in a familiar and emotive way through sound. ![]() We, as a culture, primarily consume music in an emotional and perceptual way, commonly using it to express ourselves, change our mood and productivity levels or as a powerful tool for reminiscing. However, when it comes to our other primary sense, sound, this became a question more easily understood and answered. When I started this project I became aware of how many of us had never thought about how a colour influences them, makes them feel or the sensory associations it holds within their memories. This philosophy particularly resonated with me and inspired me to delve deeper into human sensory cognition, particularly the connections that lie within our visual and auditory cortex.Ĭolour’s integration and role within every day life sometimes makes it difficult to consciously pin down what colour means and does to you. Colour is part of one of our most complex senses and is one we each have a dynamic and unique relationship with, both physiologically and mentally.Īlbert Munsell was passionate about portraying colour theory in a way that didn’t focus on the mathematical values for colour but rather the specific way in which the human eye and brain perceives colour something he often likened to the meaningful and harmonious way in which we communicate with and process music.
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