Sound symbolism refers to non‐arbitrary mappings between the sounds of words and their meanings and is often studied by pairing auditory pseudowords such as “maluma” and “takete” with rounded and pointed visual shapes, respectively. However, it is unclear what auditory properties of pseudowords contribute to their perception as rounded or pointed. Here, we compared perceptual ratings of the roundedness/pointedness of large sets of pseudowords and shapes to their acoustic and visual properties using a novel application of representational similarity (...) analysis (RSA). Representational dissimilarity matrices (RDMs) of the auditory and visual ratings of roundedness/pointedness were significantly correlated crossmodally. The auditory perceptual RDM correlated significantly with RDMs of spectral tilt, the temporal fast Fourier transform (FFT), and the speech envelope. Conventional correlational analyses showed that ratings of pseudowords transitioned from rounded to pointed as vocal roughness (as measured by the harmonics‐to‐noise ratio, pulse number, fraction of unvoiced frames, mean autocorrelation, shimmer, and jitter) increased. The visual perceptual RDM correlated significantly with RDMs of global indices of visual shape (the simple matching coefficient, image silhouette, image outlines, and Jaccard distance). Crossmodally, the RDMs of the auditory spectral parameters correlated weakly but significantly with those of the global indices of visual shape. Our work establishes the utility of RSA for analysis of large stimulus sets and offers novel insights into the stimulus parameters underlying sound symbolism, showing that sound‐to‐shape mapping is driven by acoustic properties of pseudowords and suggesting audiovisual cross‐modal correspondence as a basis for language users' sensitivity to this type of sound symbolism. (shrink)

People can discriminate the synchrony between audio-visual scenes. However, the sensitivity of audio-visual synchrony perception can be affected by many factors. Using a simultaneity judgment task, the present study investigated whether the synchrony perception of complex audio-visual stimuli was affected by audio-visual causality and stimulus reliability. In Experiment 1, the results showed that audio-visual causality could increase one's sensitivity to audio-visual onset asynchrony (AVOA) of both action stimuli and speech stimuli. Moreover, participants were (...) more tolerant of AVOA of speech stimuli than that of action stimuli in the high causality condition, whereas no significant difference between these two kinds of stimuli was found in the low causality condition. In Experiment 2, the speech stimuli were manipulated with either high or low stimulus reliability. The results revealed a significant interaction between audio-visual causality and stimulus reliability. Under the low causality condition, the percentage of “synchronous” responses of audio-visual intact stimuli was significantly higher than that of visual_intact/auditory_blurred stimuli and audio-visual blurred stimuli. In contrast, no significant difference among all levels of stimulus reliability was observed under the high causality condition. Our study supported the synergistic effect of top-down processing and bottom-up processing in audio-visual synchrony perception. (shrink)

AimsIn this pilot mixed-methods study, we examined the participants experiences of engaging in virtual drawing tasks and the impact of an olfactory stimulus on outcomes of affect, stress, self-efficacy, anxiety, creative agency, and well-being.MethodsThis study used a parallel mixed-methods, simple block randomization design. The study participants included 24 healthy adults aged 18 to 54 years, including 18 women and six men. The participants completed two 1-h immersive virtual art making sessions and were randomly assigned to receive either a fragrance (...) or a non-fragrance condition for the first session. Quantitative and qualitative datasets were collected concurrently and integrated during data analysis.ResultsThe quantitative results indicated that the fragrance condition demonstrated a significant reduction in negative affect, namely, reduced feelings of negativity when compared to the non-fragrance condition. A trend toward improvement in self-efficacy was also seen in the fragrance condition. No significant changes were found for fragrance or non-fragrance conditions for positive affect, anxiety, and creative agency. The qualitative findings included five themes related to art making experiences in virtual reality in both conditions: fun and joy; novelty of virtual media, experimentation, and play; relaxation and calm; learning curve; and physical discomfort and disorientation. Four themes were identified for virtual art content and visual qualities: nature imagery, references to memories and personal symbols, fantasy and play within imagery, and depiction of everyday objects.ConclusionsOverall, the participants reported positive responses to the novel virtual art making experiences which were further heightened by the inclusion of the fragrance stimulus for negative affect. These preliminary findings need to be replicated with larger sample sizes to confirm the outcomes and the trends that were seen in this pilot study. Further research is recommended to examine the differences between experiences of virtual and traditional art media and to examine different olfactory stimuli promoting focus and concentration. (shrink)

Steady-state visual evoked potentials are commonly used for functional objective diagnostics. In general, the main response at the stimulation frequency is used. However, some studies reported the main response at the second harmonic of the stimulation frequency. The aim of our study was to analyze the influence of the stimulus design on the harmonic components of ssVEPs. We studied 22 subjects using a circular layout. At a given eccentricity, the stimulus was presented according to a 7.5 Hz (...) square wave with 50% duty cycle. To analyze the influence of the stimulus eccentricity, a background luminance of 30 cd/m2 was added to suppress foveal stray light effects; to analyze the influence of simultaneous foveal and peripheral stimulations, stimulations are performed without stray light suppression. For statistical analysis, medians M of the amplitude ratios for amplitudes at the second harmonic to the first harmonic and the probability of the occurrence of the main response at the second harmonic P are calculated. For stimulations with foveal stray light suppression, the medians were M0–1.6° = 0.45, M1.6–3.5° = 0.45, M3.5–6.4° = 0.76, M6.4–10.9° = 0.72, and M10.9–18° = 0.48, and the probabilities were P0–1.6° = 0.05, P1.6–3.5° = 0.05, P3.5–6.4° = 0.32, P6.4–10.9° = 0.29, and P10.9–18° = 0.30. For stimulations without foveal stray light suppression, the medians M were M0–1.6° = 0.29, M1.6–3.5° = 0.37, M3.5–6.4° = 0.98, M6.4–10.9° = 1.08, and M10.9–18° = 1.24, and the probabilities were P0–1.6° = 0.09, P1.6–3.5° = 0.05, P3.5–6.4° = 0.50, P6.4–10.9° = 0.55, and P10.9–18° = 0.55. In conclusion, the stimulus design has an influence on the harmonic components of ssVEPs. An increase in stimulation eccentricity during extrafoveal stimulation leads to a transition of the main response to the second harmonic. The effect is enhanced by a simultaneous foveal stimulation. (shrink)