Recent research demonstrates the existence of a number of surprising associations (otherwise known as crossmodal correspondences) between seemingly non-related features in different sensory modalities, such as between basic tastes and colours. These correspondences have been incorporated into a dish called ‘The Four Tastes’ by chef Jozef Youssef. The dish is presented with four separate elements, each having a distinctive colour. Diners are instructed to match the colour to the appropriate taste (bitter, sweet, salty and sour). After establishing the association, the modernist chef, molecular mixologist, food designer or culinary artist can then either choose to design tasting experiences that align with these crossmodal correspondences or else play against them (to create incongruency and surprise). The former strategy typically leads to increased liking, possibly as a result of the diner being able to process the sensory information more fluently. The latter, by contrast, can elicit disconfirmed expectations, which can result in positive or negative experiences. While surprise is something that a growing number of diners are coming to expect when they visit a modernist restaurant, it tends to be a much harder approach to implement successfully in other contexts. Here, we present the literature on colour/taste correspondences, and discuss the implications of crossmodal (in)congruence in food design.
展开▼
机译：最近的研究表明，在不同感官模型的看似无关的特征之间存在许多令人惊讶的关联（否则称为跨型相应关系），例如基本品味和颜色。这些相应的关系已被纳入一个名为“四口味”的菜肴，由Chef Jozef Youssef。盘子配有四个单独的元件，每个元件具有独特的颜色。指示食客将颜色与适当的味道（苦味，甜，咸，酸）相匹配。在建立协会后，现代主义厨师，分子混合学家，食品设计师或烹饪艺术家可以选择设计与这些跨阳极相应的品尝经验，或者违反它们（创造不一致和惊喜）。前者策略通常会导致喜欢的喜好，可能是因为食客能够更流利地处理感官信息。相比之下，后者可以引发讨论的预期，这可能导致积极或消极的经验。虽然惊喜是越来越多的餐饮人员来期待当他们访问现代主义的餐厅时，它往往是在其他背景下成功实施的更难实现的方法。在这里，我们提出了彩色/味道对应的文献，并讨论了跨越式（IN）常总在食品设计中的影响。
展开▼
