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As people age, they tend to spend more time indoors, and the colours in their surroundings may significantly impact their mood and overall well‐being. However, there is a lack of empirical evidence to provide informed guidance on colour choices, irrespective of age group. To work towards informed choices, we investigated whether the associations between colours and emotions observed in younger individuals also apply to older adults. We recruited 7393 participants, aged between 16 and 88 years and coming from 31 countries. Each participant associated 12 colour terms with 20 emotion concepts and rated the intensity of each associated emotion. Different age groups exhibited highly similar patterns of colour–emotion associations (average similarity coefficient of.97), with subtle yet meaningful age‐related differences. Adolescents associated the greatest number but the least positively biased emotions with colours. Older participants associated a smaller number but more intense and more positive emotions with all colour terms, displaying a positivity effect. Age also predicted arousal and power biases, varying by colour. Findings suggest parallels in colour–emotion associations between younger and older adults, with subtle but significant age‐related variations. Future studies should next assess whether colour–emotion associations reflect what people actually feel when exposed to colour. [ABSTRACT FROM AUTHOR]

Digital technologies reshape the way we interact with our environment, including with artworks. Advanced computational imaging solutions allow having extremely high-resolution digital reproductions of artworks outside museums, presumably increasing artwork engagement. We tested whether exploring such reproductions via an interactive interface heightened aesthetic appreciation and enhanced recognition. With this interface, observers can move, turn, zoom, and relight the digital reproductions (; ). In Study 1, 82 participants explored paintings in the laboratory. In Study 2, 63 participants explored precious cultural artefacts in the museum. In both studies, participants' aesthetic appreciation (interest, pleasure, intensity, subjective learning) was higher towards artworks they had explored interactively as compared to non-interactively or as physical objects, highlighting the advantage of the tested technology. However, we found no evidence that interactive exploration improved artwork recognition. More studies are needed to learn when and why digital interaction is beneficial above and beyond subjective aesthetic evaluations. [ABSTRACT FROM AUTHOR]

Studies on the color category PURPLE yielded inconsistent category boundaries, focal colors, and color‐emotion associations. In French, there are at least three color terms referring to the shades of purple, potentially weighing on these inconsistencies. Thus, we tested the semantic breadth and richness in semantic meaning of violet (basic term), lilas (non‐basic), and pourpre (non‐basic). We collected free associations in 274 French speakers from Algeria, France, and Switzerland, yielding 2079 responses, of which 436 were discrete and 275 were unique. Frequency analyses and semantic coding supported the basicness status of violet in French, within a hierarchically structured semantic system. Moreover, the meaning of the three terms was not synonymous. Violet had the most abstract meaning. Lilas had the narrowest meaning, mainly referring to Natural Entities. Pourpre seemed close to RED. We found no differences between the countries. Future studies should extend this approach to other languages and other color terms. [ABSTRACT FROM AUTHOR]