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© 2014 by Whispery Savoury.
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The enjoyment of eating involves so much more than merely how the food on the
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plate tastes.
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Charles Spence & Betina Piqueras Fiszman The Perfect Meal
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or sensorial gastronomy lovers.
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What is especially striking over recent decades is how much innovation there has been in terms of the presentation of food on the plate, but so little innovation in terms of plateware and cutlery. Why are we still eating with the same old knives and forks made from stainless steel or silver that we have been using for a century? Moving forward I see some really exciting opportunities to develop neuroscience-inspired cutlery and plateware. Items that have been designed to be aestheticallypleasing, obviously, but also that have been designed on what we know about how the mind works, and connects the senses.
Charles Spence May 2015
As our understanding of flavour has developed over the last decade both scientists and chefs have become increasingly aware of the importance that the senses have in our relationship with, and our understanding and appreciation of the foods we eat. In the past flavour was all about taste and smell, we now know that among other elements; tactile sensations, visual presentation, the colours of foods and the sounds that foods make are all massively influential to how we perceive flavours and the judgments we make on foods. Projects such as Whispery Savoury take our understanding of senses such as taste to a whole new level and are the way forward when it comes to enhancing the dining experience.
Jozef Youssef May 2015
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WHAT ARE THE FACTORS AFFE PERCEPTIONS AND ENJOYME WE TASTE ?
HOW DOES THE SENSITIVITY O PERCEPTIONS RESPOND TO H EXPERIENCES OF ENVIRONME CIRCUMSTANCES ENHANCED INFLUENCES ? Whispery Savoury project was initially inspired by a very intriguing neurological phenomenon known as synaesthesia. I have a form of synaesthesia called grapheme-colour synaesthesia, a condition where I perceive individual letters of the alphabet and numbers as "shaded" or "tinged" with a colour. It was my experience of this that prompted me to query whether our perception of flavour could be extended by any other of our associated senses, and if so, by what means could our sense of taste be translated into visual, audio or tactile forms.
ECTING OUR ENT OF THE FOOD
OF THESE HEIGHTENED ENTAL D BY NEW
Recent research by Professor Charles Spence at the Crossmodal Research Laboratory at the University of Oxford on visual/auditory and gustatory stimuli has suggested there may be implicit associations between taste and colour, shape and sound. Professor Spence states – ‘The enjoyment of eating involves so much more than merely how the food on the plate tastes (2014).’ – The implication of this notion suggests we might actually be able to change the way we perceive taste and enrich our dining experiences by altering the visual and aural environment we inhabit when eating and drinking.
Plates are an essential yet commonly neglected element of everyday eating, yet the shape, size, texture and design of a plate can affect so much how we enjoy our food and the entire dining experience. (Spence, Pigueras-Fiszman, 2014). With this in mind, one of my first actions was to design a set of plates as primary visual stimuli. It was a first element in how this project fuses complex integrations such as plate design, sound, gastronomy, crossmodal science, dining experience, etc. The combination of this detail contributes to a complex multi-sensory feast of art and science.
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Conducted at several London restaurants, Whispery Savoury was formulated as a series of experimental interactive dining events providing multi-sensory experiences. The aim was to create sensory stimuli for several senses simultaneously, specifically taste and hearing, that are normally experienced separately, generating a kind of synaesthesia. The audience were played sound and music whilst eating and drinking, and used specially designed cutlery and tableware specifically allocated to each taste: sweetness, sourness, bitterness, saltiness, and umami (pleasant savouriness).
To establish how food lovers gain the maximum pleasure from the experience of eating, the project seeks to provide evidence of shared underlying properties between the auditory and gustatory sensory modalities, and to explore, apart from food itself, the various factors influencing our cravings and appetite. In addition, by accentuating each of the five basic tastes, the aim is to help revive some semblance of taste for individuals who, for whatever reason, have lost their sense of it. Moreover, by examining notions from the science of multi-sensory experience in relation to food and dining, this project addresses the role of art and science in contemporary gastronomic narratives.
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TASTY PLATEWARE
PICK UP YOUR EARS & LISTEN TO YOUR CRAVINGS
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DESIGN THE DISHES
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Ⅳ TASTY ALBUM
THAT SOUNDS SWEET
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A JOURNEY OF MULTISENSORY DINING
AN INTERDISCIPLINARY COLLABORATION
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A multisensory dining experience
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Jialin Deng
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3rd B ITTE R N E S S Side
4th SALTI N E S S One pot
5th UMAMI Seasoned
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whispery-savoury.com
1st SWEETNESS Starter
2nd SOURNESS Entrée
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PICK UP YOUR EARS & LISTEN TO YOUR CRAVINGS
Vibrant and warm pink colour Curvaceous shape Smooth texture with curved lines step deep inside
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SWEETNESS
Designed by Jialin Deng
TASTY PLATEWARE 2.0
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Cheerful and euphonious Bells Lively Soft Pads High pitched piano reverberation
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PICK UP YOUR EARS & LISTEN TO YOUR CRAVINGS
SWEETNESS
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Listen to the soundtracks at: soundcloud.com/jelly-deng/sets/tasty-album
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PICK UP YOUR EARS & LISTEN TO YOUR CRAVINGS
Bold Drum Rack High pitched Horn Slow Att Brass Raucous Acid Bass Ensemble Bass Tuba Solo Staccato
TASTY PLATEWARE 2.0
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Yellow-green colour Pointy and organic shape Small dot particles
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S O U R N E S S
Designed by Jialin Deng
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PICK UP YOUR EARS & LISTEN TO YOUR CRAVINGS
SOURNESS
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Listen to the soundtracks at: soundcloud.com/jelly-deng/sets/tasty-album
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PICK UP YOUR EARS & LISTEN TO YOUR CRAVINGS
Bold black colour Anxious angular corners
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BITTERNESS
Designed by Jialin Deng
TASTY PLATEWARE 2.0
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Low pitched Basic Doc Pad Sonorous Bitter Resent Ments
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PICK UP YOUR EARS & LISTEN TO YOUR CRAVINGS
BITTERNESS
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Listen to the soundtracks at: soundcloud.com/jelly-deng/sets/tasty-album
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PICK UP YOUR EARS & LISTEN TO YOUR CRAVINGS
Salt Shaker x 3 Crackly Tearing Paper Discordant Coustic Brass Brass Ensemble Sforzandos
TASTY PLATEWARE 2.0
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Bright blue colour Naturalistic shape Subtle particles
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S A LT I N E S S
Designed by Jialin Deng
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PICK UP YOUR EARS & LISTEN TO YOUR CRAVINGS
SALTINESS
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Listen to the soundtracks at: soundcloud.com/jelly-deng/sets/tasty-album
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PICK UP YOUR EARS & LISTEN TO YOUR CRAVINGS
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Delicate solferino Flowing curved shape Rounded notch
Designed by Jialin Deng
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TASTY PLATEWARE 2.0
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Mellifluous Soup Boiling Pouring water Drum Rack Dulcet Ballister Field Bells
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PICK UP YOUR EARS & LISTEN TO YOUR CRAVINGS
UMAMI
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Listen to the soundtracks at: soundcloud.com/jelly-deng/sets/tasty-album
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TASTY PLATEWARE
H
ow the plateware changes the way our food taste?
TASTY PLATEWARE
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Who is having all the fun? Is it my brain or is it really me?
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Jeffrey Steingarten
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CROSSMODAL SCIENCE
In the recent decades, there are many scientists have dedicated into the research about cognitive neuroscience and crossmodal theories - especially food related – and, I discovered, they all lead to the Crossmodal Research Laboratory at University of Oxford. Much of the work involves there investigates how understanding of multisensory perception can be utilized in a consumer psychology context to improve the perception of everyday objects. Their studies into the correspondences between colours/ shapes/sounds and basic tastes provided particularly strong theoretical support for my project.
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Figure 01: Mapping of colours/shapes and basic tastes
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CONSISTENT CORRESPONDENCES BETWEEN COLOURS/ SHAPES AND BASIC TA
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The idea that the five basic tastes – bitter, sweet, sour, salty, and umami, are in some way associated with particular colours/shapes has widespread currency. An intriguing body of empirical research conducted over the last three decades indicates that in some degree we all match basic tastes to colours/shapes in ways that are far from arbitrary. (Spence, 2015). According to a recent study, seeing the colour yellow-green may evoke taste sensations of sourness, and pink may suggest sweetness (Morton). People typically match rounded forms such as circles with sweet tastes, and more angular shapes such as triangles and stars with bitter tastes, etc. (Figure 01).
ASTES
Based on the study above, and partially from my own artistic interpretation, I designed a set of “Tasty Plateware� conceived to relate one tableware piece for each taste: sweetness, sourness, bitterness, saltiness, and umami (see Figure 02). Each of them has a different colour, shape, and texture.
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TASTY PLATEWARE
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Figure 02: The initial design of Tasty Plateware
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Orininally Designed by Jialin Deng
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TASTY PLATEWARE
The designs were used in a parallel experiment (online and offline) conducted by Crossmodal Research Laboratory as a series of stimuli on a group of 104 participants (see Figure 03). They were presented with the stimuli in randomorder, positioned so that each of the five stimuli were randomly presented from one participant to the next. The online participants had to select the taste word they felt best matched each of the stimuli. The results revealed that, overall, more than a half the participants agreed with my intentions (see Figure 04).
37 Test: Match each of the 5 basic tastes with the tableware that you think best represents that taste.
Figure 03: The online experiment
Answer: a: Sweetness, b: Sourness, c: Bitterness, d: Saltiness, e: umami
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Figure 04: On tasty colours and colourful tastes? Assessing, explaining, and utilizing crossmodal correspondences between colours and basic tastes Crossmodal Research Laboratory, Oxford University, UK Tsinghua University, Beijing, China Xperiment, Lausanne, Switzerland Jialin Deng, Design, London, UK Jozef Youssef, Kitchen Theory, London, UK Centre for the Study of the Senses, School of Advanced Study, University of London, UK
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Based on the result from the experiment, I designed an advanced version of the plateware - “Tasty Plateware 2.0� (see Figure 05).
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TASTY PLATEWARE
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Figure 05: Tasty Plateware 2.0
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TASTY PLATEWARE
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Work in progress: waiting for polishing and colourising. The first set of plateware are made of resin through SLA (Stereolithography) 3d print technology.
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TASTY PLATEWARE
Photography by Jialin Deng
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Made in China
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Details
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Details
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What is especially surprising here is that the basic tastes are not associated to a particular source food – i.e. their colour cannot be tracked down to the particular colour of a fruit or a vegetable, say. This makes these associations different from the coloursmell associations between lemon smell and yellow, for instance. In this respect, the pairings between tastes and colours do not count as semantic associations (i.e. associations between features or properties of the same kind of object) but more as crossmodal correspondences, which are apparently arbitrary matchings between sensory features and dimensions.
It might then be important to reflect on the fact that, although tastes are said to be ‘basic’, their actual presentation mean that they also vary in intensity and hedonic valence – while colours are made of different dimensions, i.e. hue, saturation and brightness. In this respect, we might have different correspondences or a complex network of correspondences, underlying the colour-taste pairings.
Charles Spence
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Ⅲ THAT SOUNDS SWEET
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hat is taste of sound?
What about the sound of taste?
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Sound is the forgotten flavour sense.
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Heston Blumenthal
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THAT SOUNDS SWEET
Charles Spence Professor Charles Spence is the head of the Crossmodal Research Laboratory. His research focuses on how a better understanding of the human mind will lead to the better design of multisensory foods, products, interfaces, and environments in the future. His research calls for a radical new way of examining and understanding the senses that has major implications for the way in which we design everything from household products to mobile phones, and from the food we eat to the places in which we work and live.
Their studies into the correspondences between colours/shapes/sounds and basic tastes provided particularly strong theoretical support for my project.
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THAT SOUNDS SWEET
“Specific to audition and taste, recent cognitive psychology and neuroscience research has demonstrated that people will reliably match specific acoustic and musical parameters with different tastes, flavors, and oral-somatosensory food-related experiences (Crisinel et al., 2012; Crisinel & Spence, 2010; Mesz, Sigman, & Trevisan, 2012; Mesz, Trevisan, & Sigman, 2011; Simner, Cuskley, & Kirby, 2010).�
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AUDITORYGUSTATORY CROSSMODAL CORRESPONDENCES
The experiments of Auditory-gustatory Crossmodal conducted by the Crossmodal Research Laboratory, Oxford University, in which hundreds participants from the countries with specific cultural context, demonstrate that cross-modal correspondences enable people to systematically encode basic taste properties into parameters in musical space and that they are able to correctly decode basic taste information embedded in complex musical compositions (see Figure 06).
The present results from the experiments demonstrate that musical compositions match certain basic taste qualities can be systematically created by using cross-modal correspondences (see Figure 07).
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THAT SOUNDS SWEET
That Sounds Sweet: Using Cross-Modal Correspondences to Communicate Gustatory Attributes Klemens M. Knoeferle Q1 BI Norwegian Business School Andy Woods Xperiment Florian K¨appler Trossingen University of Music Charles Spence University of Oxford
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AUDITORY PARAMETER
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Figure 06: conext-crossmodal science : Auditory Parameter - Participants’ selections for (psycho-) acoustic parameters in response to basic taste words in the experiment. (Knoeferle, Woods, Käppler, Spence, 2014)
b: Saltiness c: Sourness d: Sweetness
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TASTE RESPONSE
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Sweetness
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Sweetness 24.6%
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Saltiness 9.8%
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Figure 07: Contingency table depicting the distribution of responses for matching specific compositions (rows) with specific taste words (columns). Values on the diagonal represent correct mappings.
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THAT SOUNDS SWEET
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The present results from the experiments demonstrate that musical compositions that match certain basic taste qualities can be systematically created by using cross-modal correspondences. This application of cross-modal correspondences may be an especially powerful tool in those contexts where primary product attributes are difficult or impossible to communicate (as in the case of advertising food products in audio-visual media), or where using verbal information (e.g., “extra sweet”) is expected to trigger consumer reactance, or otherwise undesirable. Under such conditions, systematically designed music may be used together with other product features such as brand name, packaging shape, color, etc., to signal gustatory product attributes.
That Sounds Sweet: Using Cross-Modal Correspondences to Communicate Gustatory Attributes Klemens M. Knoeferle Q1 BI Norwegian Business School Andy Woods Xperiment Florian K¨appler Trossingen University of Music Charles Spence University of Oxford
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Ⅳ TASTY ALBUM
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hat are thoes tastes sound like?
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Let's make
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Harlin Sun
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TASTY ALBUM
Harlin Sun Music producer／ / Sound engineer／ / Composer／ / DJ DJ Sun was born in China.Now,he is living in Toronto.DJ Sun is an Electronic Music Producer and sound designer, he also performs DJ in parties and events. DJ Sun is a versatile and experienced musician. He plays multiple roles in his music career. His multiple role experience is very rare to see as a musician. DJ Sun loves to explore in all the different and new areas in the music world, any interesting sound or music can be intrigued to him. Besides his music producer and designer strengthen, as a DJ he remixed and created large volume of dancing music as well..
He's very interested in the concept of combining sound with eating and tastes, we have been working together to figure out an album about taste. According to the studies from Crossmodal Research Lab, we created 5 sound tracks one for each taste- sweetness, sourness, bitterness, saltiness and umami. Please listen to the Tasty Album attached in this book.
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TASTY ALBUM
Sampling, recording, editing, mixing and making
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By Harlin Sun
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TASTY ALBUM
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Bell, Soft Pad, High Piched Piano Reverberation SWEETNESS
Drum Rack, Horn, Slow Att Brass, Acid Bass, Ensemble Bass, Tuba Solo Staccato SOURNESS
Basic Doc Pad, Bitter Resent Ments, Dark One BITTERNESS
Salt Shaker x 3, Tearing Paper, Coustic Brass, SALTINESS
Soup Boiling, Pouring water, Drum Rack, Ballister Field Bells UMAMI
Figure 08: Visualisations and elements of the soundtracks.
Under such conditions, we created a ‘Tasty Album’ with five soundtracks - one for each basic taste - sweetness, sourness, bitterness, saltiness, and umami – through different combinations of instruments, tones, rhythm and melodies in different frequencies and pitch (see Figure 08). Listen to the soundtracks here: https://soundcloud.com/jelly-deng/sets/tasty-album)
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Ⅴ PLAY IT!
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R
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PLAY THE WORLD!
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Bruno Zamborlin
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PLAY IT
Bruno Zamborlin Bruno Zamborlin is a technologist, music technology researcher and live performer. His research focuses on new methods for gestural interaction with everyday objects and their applications in the creation of new interfaces for musical expression. After working for 5 years at IRCAM / Pompidou Centre in Paris and Goldsmiths, University of London, he created his last and most successful project called Mogees. As an artist, he performs in solo and with British experimental dance music pioneers Plaid (Warp records).
What I'm really interested in here, is the Mogees could make the dining experience playful, performative, fun, and flexible. It is not a sound triggering device but rather a microphone that takes the actual sound of the surface to which it is attached and then gives it enhanced musical properties. It basically takes the raw sound and pushes it through a set of pitched resonators. We can pre-determine the pitches that will be produced when you interact with Mogees by uploading our soundtracks to the Mogees app on iPhone. In this way, whenever someone touches the object, it will move to the next note in the sequence.
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Figure 09: The Mogees devices
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Mogees (see figure 09) is a novel technology that turns physical objects into unique music instruments by converting the vibrations that we make when we touch them into sound on the fly. The Mogees sensor is combined with a mobile app that detects and analyses the acoustic properties of physical objects and augments these to create music.
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iOS device
Mogees app interface
Tasty Plateware
Mogees
audio output device (headphone, loudspeakers)
Figure 10: The combination between the Mogess and the dishes
Tasty Album
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To allow the diners interact with the platware. I used an interactive device called Mogees. Mogees is a novel technology designed to interpret physical objects into unique music instruments by converting the vibrations emitted when we touch the objects into spontaneous self-generated sounds. The Mogees sensor is combined with a mobile app that detects and analyses the acoustic properties of physical objects and augments these to create music.
The Mogees device is a perfect appropriate match with my plateware in terms of creating a performative environment, and this is also a very effective method of telling the story of sensorial dining (see Figure 10).
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DESIGN THE DISHES
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DEIGN THE DISHES
Jozef Youssef Jozef Youssef is the founder and Chef Patron of Kitchen Theory. He is an experienced London-based chef, having trained with several Michelin-starred industry leaders and worked in a number of London’s top luxury hotels including The Dorchester and The Connaught and a period at the Fat Duck. In an effort to develop and share his culinary research he started kitchen-theory.com in 2009 as a public body of knowledge. He has hosted pop-ups in Tokyo and Dubai and began hosting multi-sensory experimental dining pop-ups in London in 2013. Jozef has also recently authored a book entitled ‘Molecular Gastronomy at Home’.
We invited Jozef to design a five course menu based on the plateware and the soundtracks I had designed to match the five basic tastes (see figure 11). From the recipe we can easily suggest that each of the five dishes actually have one dominated taste, but the actual flavours of each dish are all slightly balanced.
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Figure 11: The menu design by Jozef Youssef
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SWEETNESS Sweet potato dauphine with pomegranate molasses and sage
SOURNESS Green apple and rhubarb salad with lime and tamarind dressing
BITTERNESS Chicory and walnut salad with vanilla dressing
SALTINESS Yoghurt raita with crispy pitta
UMAMI Grilled mushroom with guinea fowl jus
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Ⅶ A JOURNEY OF MULTISENSORY DINING
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A JOURNEY OF MULTISENSORY DINING
AN EXPERIENCE OF MULTISENSORY DIN AN EXPERIMENT OF CROSSMODAL SCIE AN EXPLORATION OF SENSORIAL GASTRO
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Maida Hill Place is a social enterprise located in the heart of north Westminster, enabling food entrepreneurship and supporting the development of a vibrant local area.
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A multi-sensory dining event
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Interior condition of Maida Hill Place
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A JOURNEY OF MULTISENSORY DINING
Orininal concept of the table setup
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Figure 12: Interior stereo auditory system at Maida Hill Place, London
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My first multi-sensory dining event took place in April this year at Maida Hill Place, London. I selected this venue as a very flexible space allowing popup events, workshops and seminars about food, arts and entertainments. It was an ideal place to stage my dining event and showcase my project because it possessed full audio facilities with, crucially, a surround-sound adjustable speaker system. (see Figure 12). The blue area shown in the image indicates the main area where the dining experience took place and demonstrates the positioning of the four stereo speakers installed in the corners. In addition to these, I established a set of extra speakers connecting with an interactive device under the dining table ensuring the audiences was surrounded by sound. The intention was that would hear sounds played by themselves from the undertable speakers at the same time the speakers at four corners played corresponding sounds to what they were eating at the moment. My experience at Maida Hill Place was the first occasion for me to actually practice my concept and an opportunity for a pre-testing any future development of this project.
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A JOURNEY OF MULTISENSORY DINING
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I considered how to create a space with sounds encouraging diners to open their perceptions to a variety of stimuli and experiences in a certain environment, namely, a restaurant. In this, the sound of the environment would enhance their experience and understanding in a contextualised, multi-modal way. As I’m requiring the participants to listen to a high degree of sensitivity, I ensured they heard the contextual sound environment clearly and inclusively, and I strove to achieve this for the other sense and cognitive stimuli I wanted to encourage. I felt this to be particularly important because I am inviting them to engage creatively, and the context will have a strong impact on the effectiveness of that.
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reparation
PREPERATION
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PREPERATION
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art 1: Exploration
EXPLORATION
A brief presentation about the project at the opening. The intention was to introduce the audience to a little detail about the science behind the event,
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An introduction about Mogees from Bruno
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EXPERIMENT
then carried out a live experiment on the five soundtracks. Every participant was given a mission paper asking them to draw a line connecting each of the soundtracksto the food dish that best matched it. The result was very exciting – 9 in 10 guests got them all right. This has successfully shown a kind of consistency of correspondences between sound and taste.
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EXPERIMENT
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EXPERIENCE
The last part - the main part - of the event was the actual dining experience. Each guest was served the specially designed dishes in a specific order. When they started to eat, I played corresponding soundtracks. When they used the cutlery, scooping the food onto a plate, they heard a sound from the plate, a sound suggesting the food was whispering.
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An introduction about menu design Jozef
EXPERIENCE
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The event was a good start. In the future, it will be more developed. The flow of storytelling, the rhythm of the entire experience, the realisation of a bigger event, and many other details such as the numbers of attendees, setup of the tables and the order of the dishes all need to be taken into more detailed consideration.
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Ⅷ AN INTERDISCIPLINARY COLLABORATION
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GET PEOPLE ON BOARD
Miya Zhang
Charles Spence
Harlin Sun
Bruno Zanborlin
whispery s a v o u r y
Jialin Deng Masato Saki
Jossef Yousef
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It was always apparent I could never have accomplished this project on my own because there were so many disciplines I am not familiar with. Neuropsychology. Cross modal science. Sound technology. Gastronomy. Interaction development, and so on. To succeed, it was crucial to get people from those disciplines on board.
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GET PEOPLE ON BOARD
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pecial Thanks:
135 Charles Spence Professor and head of Crossmodal Research Laboratory, University of Oxford Harlin Sun Sound Engineer, Composer & Music Producer Janice Wang researcher at the MIT Media Lab & Crossmodal Research Laboratory, University of Oxford Bruno Zamborlin Sound Artist, Performance Artist & President of Mogees Jozef Youssef Founder & Chef Patron of Kitchen-Theory.com Angus Carlyle Professor & Co-Director of CRiSAP (Creative Research into Sound Arts Practice) Masato Seki Interaction Developer Miya Zhang Spatial Designer
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