Mirror-touch synaesthesia: the role of shared ... - UCL Discovery
Mirror-touch synaesthesia: the role of shared ... - UCL Discovery
Mirror-touch synaesthesia: the role of shared ... - UCL Discovery
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98<br />
5.2 Method<br />
Participants<br />
Chapter 5<br />
Eight mirror-<strong>touch</strong> synaes<strong>the</strong>tes (6 female and 2 male; mean age ± s.d = 45.6 ±<br />
11.7 years) and twenty non-synaes<strong>the</strong>tic control subjects (15 female and 5 male; mean<br />
age ± s.d = 35.6 ± 13.6 years) took part in <strong>the</strong> study. All cases <strong>of</strong> mirror-<strong>touch</strong><br />
<strong>synaes<strong>the</strong>sia</strong> were confirmed using a previously developed visual-tactile congruity<br />
paradigm designed to provide evidence for <strong>the</strong> au<strong>the</strong>nticity <strong>of</strong> <strong>the</strong> condition (Banissy<br />
and Ward, 2007; also see Chapters 1 and 2 <strong>of</strong> this <strong>the</strong>sis for a description <strong>of</strong> <strong>the</strong> task<br />
used).<br />
Materials and Procedure<br />
Participants completed four tasks in a counterbalanced order. These tasks are<br />
detailed below.<br />
Films Facial Expression Recognition<br />
This task investigated participants’ abilities to recognize <strong>the</strong> emotional<br />
expressions <strong>of</strong> o<strong>the</strong>rs. In each trial participants were presented with an adjective<br />
describing an emotional state followed by three images (each image shown for 500<br />
msec, with a 500msec ISI) <strong>of</strong> <strong>the</strong> same actor or actress displaying different facial<br />
expressions. Participants were asked to indicate which <strong>of</strong> <strong>the</strong> three images best<br />
portrayed <strong>the</strong> target emotional adjective. There was no fixed inter-trial interval as<br />
participants began each trial with a key press (i.e. <strong>the</strong> task was self-paced).<br />
In order to portray subtle facial expressions, expression stimuli were captured<br />
from films (Figure 5.1a). Fifty-eight target images (preceded by three practice trials)<br />
from 15 films were used. All films were from a non-English speaking country to<br />
decrease <strong>the</strong> probability that participants had seen <strong>the</strong>m or were familiar with <strong>the</strong>