The utmost level of the crossmodal correspondences would be to be able to connect ourselves to the internet. Many impossible things in the physical world could be accomplished on the internet platform, for instance, combining all five senses and putting it in the virtual world. If the project is realised and success, the difference between live performance and virtual performance will be hard to distinguish, also, the possibility of designing our own space of performance. The possibility of stage production in the virtual world is increasing immensely. For example, we can change the staging without a stage intermission, not to mention the decreasing of the production cost since we do not need any physical costume or set. On another side, the audience does not need to travel for a concert since physical presence is not required. It might be another solution for pandemic proof performance in the future. It will give another level of possibility of music and art performances in many regards.

The future research topics:  Musical modes and scale aspect are interesting grounds to explore. Microtonality, electronic music, chordal consonance/dissonance, and the harmonic progression underlining tastes are also intriguing subjects to explore.

For project resources, some of the missing musical attributes were replaced by a report on synaesthesia cases regarding relationship between musical intervals and tastes.

The last relevant topics are Temporal, Affective, and Embodied taste experiences. To know these three domains in relation to taste experiences has given me, as an artist, a personal inspiration. These Temporal, Affective, and Embodied tastes could be directly and indirectly transferred to a musical language, i.e., they can be transcribed into a central musical motif of individually different tastes.

The topic of crossmodal correspondences is a relatively new subject even in the scientific field of work. It, of course, requires more experiments with diverse groups of participants to get a solid pack of information. Evidence and data that researchers and scientists have already got at the moment are "crossmodal correspondences which are phenomena that occur to a large group of population and, in some correspondences, may even be universal". Science still has no answer to what mechanisms mediate these neurological phenomena. However, results from several experimentations have given us some hints towards a concrete answer in the future. Based on the existing evidence and information, we could tell that there are mainly three types of crossmodal correspondences: Structural, Statistical, and Semantical Correspondences. 

The last sensory modality to pair with music is somatosensory. Somatosensory might be the most challenging part of this journey. Cyprus performance artist, Stelarc use mechanism as an augmented organ, which is intriguing. To connect our somatosensory to music, it needs an extended/external body suite that could give a physical impulse, whether pressure or temperature changes which will change in congruency with music.

Flavour experience may be the most common crossmodal correspondence in our daily routine since it is a combination of sensory attributes, gustatory, olfactory, and auditory. From the research perspective, exploring flavour experience gives many ideas to use in the project, such as taste structure/construction that can linger/ develop throughout music time and the visual aspect of taste/flavour stimuli. Many aspects of the topic have been elaborated in this review, which are historical, scientific, and artistic that musicians could observe that the word "Dolce" is neither an expression word, nor emotional remarks, but in fact, it is a taste description. It is fascinating how a human can process word from different sensory perceptions and apply it to the primary sensory task. Numerous researchers dedicate themselves to study this topic, and many of their findings are very applicable to this project. Most of the project’s researches focused on the relationship between primary musical attributes and basic taste, which is the preliminary phase. There are still many perspectives awaiting to be discovered in both flavour and musical aspects.

Recently, during the 2019 summer holiday, I had an opportunity to work with a composer, Piyawat Louilarpprasert, and two light designers, Thanapat Ogaslert and Rittichut Phetmunin, on the visual part of my project. The collaboration's final product is a solo piece for electric guitar with interactive lights, named Tele Tele (2020) for electric guitar, lights, live videos, and electronics. In the piece, eight lights were programmed to actively interact with the electric guitar sounds, and a physical embodiment of the sounds themselves was created.

There are several goals that the author would like to succeed in this research direction. There are many things left waiting to be completed and discovered in the aspects of music and taste. The topic that interests me a lot is “phonetic association with taste”. Several previous experiments indicated that some phonetic attributes show a tendency to create a consistent mapping with basic tastes. It gives a possibility to execute a taste/flavour piece in a whole new level, in the form of a lied song, or more dramatically, a flavour opera.

Another sensory mode to pair with music is olfactory. I am very much interested in the effect of scent on human memory. We consistently trigger by different scents and recall personal memories of the scent that we are smelling. In the perfumeries world, each perfume note has its persona. Some note fits well when pairing together, and some might not. This persona of fragrance could be transcribed to music by using it to portray the musical piece's contrasting theme or a theatre performance. We can use fragrance to highlight the main characters' personality and the relation between characters by using complimenting scent for a good relationship and incompatible scents for conflicting relationship.