Polarity correspondence effect between loudness and lateralized response set

Simultaneous but independent spatial associations for pitch and loudness

For the auditory dimensions loudness and pitch a vertical SARC effect (Spatial Association of Response Codes) exists: When responding to loud (high) tones, participants are faster with top-sided responses compared to bottom-sided responses and vice versa for soft (low) tones. These effects are typically explained by two different spatial representations for both dimensions with pitch being represented on a helix structure and loudness being represented as spatially associated magnitude. Prior studies show incoherent results with regard to the question whether two SARC effects can occur at the same time as well as whether SARC effects interact with each other. Therefore, this study aimed to investigate the interrelation between the SARC effect for pitch and the SARC effect for loudness in a timbre discrimination task. Participants (N = 36) heard one tone per trial and had to decide whether the presented tone was a violin tone or an organ tone by pressing a top-sided or bottom-sided response key. Loudness and pitch were varied orthogonally. We tested the occurrence of SARC effects for pitch and loudness as well as their potential interaction by conducting a multiple linear regression with difference of reaction time (dRT) as dependent variable, and loudness and pitch as predictors. Frequentist and Bayesian analyses revealed that the regression coefficients of pitch and loudness were smaller than zero indicating the simultaneous occurrence of a SARC effects for both dimensions. In contrast, the interaction coefficient was not different from zero indicating an additive effect of both predictors.

Magnitude shifts spatial attention from left to right in rhesus monkeys as in the human mental number line

Humans typically represent numbers and quantities along a left-to-right continuum. Early perspectives attributed number-space association to culture; however, recent evidence in newborns and animals challenges this hypothesis. We investigate whether the length of an array of dots influences spatial bias in rhesus macaques. We designed a touch-screen task that required monkeys to remember the location of a target. At test, monkeys maintained high performance with arrays of 2, 4, 6, or 10 dots, regardless of changes in the array's location, spacing, and length. Monkeys remembered better left targets with 2-dot arrays and right targets with 6- or 10-dot arrays. Replacing the 10-dot array with a long bar, yielded more accurate performance with rightward locations, consistent with an underlying left-to-right oriented magnitude code. Our study supports the hypothesis of a spatially oriented mental magnitude line common to humans and animals, countering the idea that this code arises from uniquely human cultural learning.

The spatial representation of loudness in a timbre discrimination task

When participants decide whether a presented tone is loud or soft they react faster to loud tones with a top-sided response key in comparison to a bottom-sided response key and vice versa for soft tones. This effect is comparable to the well-established horizontal Spatial-Numerical Association of Response Codes (SNARC) effect and is often referred to as Spatial-Musical Association of Response Codes (SMARC) effect for loudness. The SMARC effect for loudness is typically explained by the assumption of a spatial representation or by the polarity correspondence principle. Crucially, both theories differ in the prediction of the SMARC effect when loudness is task-irrelevant. Therefore, we investigated whether the SMARC effect still occurs in a timbre discrimination task: Participants (N = 36) heard a single tone and classified its timbre with vertically arranged response keys. Additionally, the tone's loudness level varied in six levels. In case of a spatial representation, the SMARC effect should still occur while in case of polarity corresponding principle, the effect should be absent. Results showed that the SMARC effect was still present and that the differences between top-sided and bottom-sided responses were a linear function of loudness level indicating a continuous spatial representation of loudness.

Face Age is Mapped Into Three-Dimensional Space

People can represent temporal stimuli (e.g., pictures depicting past and future events) as spatially connoted dimensions arranged along the three main axes (horizontal, sagittal, and vertical). For example, past and future events are generally represented, from the perspective of the individuals, as being placed behind and in front of them, respectively. Here, we report that such a 3D representation can also emerge for facial stimuli of different ages. In three experiments, participants classified a central target face, representing an individual at different age stages, as younger or older than the reference face of 40 years. Manual responses were provided with two keys placed along the horizontal axis (Experiment 1), the sagittal axis (Experiment 2), and the vertical axis (Experiment 3). The results indicated that the younger faces were represented on the left/back/top side of the space, whereas the older faces were represented on the right/forward/bottom side of the space. Furthermore, in all experiments, the latencies decreased with the absolute difference between the age of the target face and that of the reference face (i.e., a distance effect). Overall, this work suggests that the spatial representation of time includes social features of the human face.

When time stands upright: STEARC effects along the vertical axis

According to the spatial-temporal association of response codes (STEARC) effect, time can be spatially represented from left to right. However, exploration of a possible STEARC effect along the vertical axis has yielded mixed results. Here, in six experiments based on a novel paradigm, we systematically explored whether a STEARC effect could emerge when participants were asked to classify the actual temporal duration of a visual stimulus. Speeded manual responses were provided using a vertically oriented response box. Interestingly, although a top-to-bottom time representation emerged when only two temporal durations were employed, an inverted bottom-to-top time representation emerged when a denser set of temporal durations, arranged along a continuum, was used. Moreover, no STEARC effects emerged when participants classified the shapes of visual stimuli rather than their temporal duration. Finally, three additional experiments explored the STEARC effect along the horizontal axis, confirming that the paradigm we devised successfully replicated the standard left-to-right representation of time. These results provide supporting evidence for the notion that temporal durations can be mapped along the vertical axis, and that such mapping appears to be relatively flexible.

A systematic investigation reveals that Ishihara et al.'s (2008) STEARC effect only emerges when time is directly assessed

The Spatial-TEmporal Association of Response Codes (STEARC) effect (Ishihara et al. in Cortex 44:454-461, 2008) is evidence that time is spatially coded along the horizontal axis. It consists in faster left-hand responses to early onset timing and faster right-hand responses to late onset timing. This effect has only been established using tasks that directly required to assess onset timing, while no studies investigated whether this association occurs automatically in the auditory modality. The current study investigated the occurrence of the STEARC effect by using a procedure similar to Ishihara and colleagues. Experiment 1 was a conceptual replication of the original study, in which participants directly discriminated the onset timing (early vs. late) of a target sound after listening to a sequence of auditory clicks. This experiment successfully replicated the STEARC effect and revealed that the onset timing is mapped categorically. In Experiments 2, 3a and 3b participants were asked to discriminate the timbre of the stimuli instead of directly assessing the onset timing. In these experiments, no STEARC effect was observed. This suggests that the auditory STEARC effect is only elicited when time is explicitly processed, thus questioning the automaticity of this phenomenon.

Bright on the right feels right: SQUARC compatibility is hedonically marked

According to the Spatial Quantity Association of Response Codes (SQUARC), people hold a mental association between horizontal position and quantity (lower quantities left, higher quantities right). While a large body of research has explored this effect for response speed and judgment accuracy, the affective downstream consequences of the SQUARC remain unexplored. Aiming to address this gap, the present two experiments (pre-registered, total N = 521) investigated whether stimulus arrangements that are compatible with the SQUARC for luminance are affectively preferred to stimulus arrangements that are incompatible. SQUARC-compatible square arrangements (dark-left, bright-right) were preferred over SQUARC-incompatible square arrangements (dark-right, bright-left). The preference for SQUARC compatibility was not moderated by the horizontal orientation of the response scale. Our results confirm the direction of the spatial-luminance association and provide initial support that the cognitive processing of SQUARC compatibility is hedonically marked and appears sufficient to impact affective evaluations.

Cross-cultural evidence of a space-ethnicity association in face categorisation

According to a space-valence association, individuals tend to relate negatively- and positively-connoted stimuli with the left and right side of space, respectively. So far, only a few studies have explored whether this phenomenon can also emerge for social dimensions associated with facial stimuli. Here, we adopted a cross-cultural approach and conducted two experiments with the main aim to test whether a left–right space-valence association can also emerge for other- vs. own-race faces. Asian Japanese (Experiment 1) and White Italian (Experiment 2) participants engaged in a speeded binary classification task in which a central placed face had to be classified as either Asian or White. Manual responses were provided through a left- vs. right-side button. In both experiments, other-race faces elicited faster responses than own-race faces, in line with the well-documented other-race categorisation advantage. Moreover, evidence of an association between space and ethnic membership also arose and, interestingly, was similar in both groups. Indeed, Asian faces were responded to faster with the right-side key than with the left-side key, whereas response side had no effect for White faces. These results are discussed with regard to possible cross-cultural differences in group perception.

The vertical space-time association

The space-time interaction suggests a left-to-right directionality in the mind's representation of elapsing time. However, studies showing a possible vertical time representation are scarce and contradictory. In Experiment 1, 32 participants had to judge the duration (200, 300, 500, or 600 ms) of the target stimulus that appeared at the top, centre, or bottom of the screen, compared with a reference stimulus (400 ms) that always appeared in the centre of the screen. In Experiment 2, 32 participants were administered the same procedure, but the reference stimulus appeared at the top, centre, or bottom of the screen and the target stimulus was fixed in the centre location. In both experiments, a space-time interaction was found with an association between short durations and bottom response key as well as between long durations and top key. The evidence of a vertical mental timeline was further confirmed by the distance effect with a lower level of performance for durations close to that of the reference stimulus. The results suggest a bottom-to-top mapping of time representation, more in line with the metaphor "more is up."

Turn the beat around: Commentary on "Slow and fast beat sequences are represented differently through space" (De Tommaso & Prpic, 2020, in Attention, Perception, & Psychophysics)

There has been increasing interest in the spatial mapping of various perceptual and cognitive magnitudes, such as expanding the spatial-numerical association of response codes (SNARC) effect into domains outside of numerical cognition. Recently, De Tommaso and Prpic (Attention, Perception, & Psychophysics, 82, 2765–2773, 2020) reported in this journal that only fast tempos over 104 beats per minute have spatial associations, with more right-sided associations and faster responses for faster tempos. After discussing the role of perceived loudness and possible response strategies, we propose and recommend methodological improvements for further research.

How emotional is a banknote? The affective basis of money perception

Previous studies have shown that money possesses affective properties even when it is not at stake within a given task. Smaller economic values are generally perceived as less arousing and neutral in valence, whereas larger ones are perceived as more arousing and positive in valence. Moreover, numerical cognitive processes seem to be less prominent than affective ones in the way we perceive economic values. To shed light on the basic affective components of monetary values, we ran three experiments on the perception of banknotes to test (i) whether banknotes with different values (5€ and 100€) trigger different emotional states, (ii) if values are horizontally mapped based on their valence, rather than on their numerical magnitude, and (iii) whether the lateralized sight (in the left or right visual field) of a positive (higher) monetary value interferes with the classification of a negative stimulus. Results showed a coherent pattern that corroborates the idea that money is indeed an affective stimulus, even when it is not at stake within the task. A higher monetary value was shown (i) to have intrinsic rewarding properties that influence the evaluation of a subsequent target, (ii) to be mentally mapped on the right side, which is related to positive approaching of affective stimuli in right-handers, and (iii) to be in conflict with negative-withdrawing targets, but only when the values were presented on the right-positive side of respondents. Results are discussed considering existing theories of the psychological value of money, highlighting the hedonic characteristics of this special affective stimulus.

Pitch height and brightness both contribute to elicit the SMARC effect: a replication study with expert musicians

Pitch-height can be represented in a spatial format. Reaction times (RTs) to lower pitch-heights are faster when responses are executed in the lower side of space, whereas RTs to higher pitch-heights are faster when responses are executed in the upper side of space. This effect is called the Spatial-Music Association of Response Codes (SMARC) effect. We investigated how pitch-height and the brightness of a tone's timbre might contribute in eliciting the SMARC effect as a function of music expertise by comparing the results of 24 musicians with the results we gathered previously (Pitteri et al., 2017) with 24 non-musicians. Three experimental conditions were used: pitch-height varied, brightness varied; pitch-height varied, brightness fixed; pitch-height fixed, brightness varied. We found that the coherent modulation of both pitch-height and brightness elicited the strongest SMARC effect, independently of music expertise. These results add evidence to the hypothesis that the strongest SMARC effect does not belong to pitch-height or brightness, but to pitch-height and brightness together.

Is 'heavy' up or down? Testing the vertical spatial representation of weight

Smaller numbers are typically responded to faster with a bottom than a top key, whereas the opposite occurs for larger numbers (a vertical spatial-numerical association of response codes: i.e. the vertical SNARC effect). Here, in four experiments, we explored whether a vertical spatial-magnitude association can emerge for lighter vs. heavier items. Participants were presented with a central target stimulus that could be a word describing a material (e.g. 'paper', 'iron': Experiment 1), a numerical quantity of weight (e.g. '1 g', '1 kg': Experiment 2) or a picture associated with a real object that participants weighed before the experiment (Experiments 3a/3b). Participants were asked to respond either to the weight (Experiments 1-3a) or to the size (i.e. weight was task-irrelevant; Experiment 3b) of the stimuli by pressing vertically placed keys. In Experiments 1 and 2, faster responses emerged for the lighter-bottom/heavier-top mapping-in line with a standard SNARC-like effect-whereas in Experiment 3a the opposite mapping emerged (lighter-top/heavier-bottom). No evidence of an implicit weight-space association emerged in Experiment 3b. Overall, these results provide evidence indicating a possible context-dependent vertical spatial representation of weight.

Evidence of SQUARC and distance effects in a weight comparison task

Stimuli associated with large quantities are typically responded to faster with a right- than a left-side key, whereas stimuli associated with small quantities are typically responded to faster with a left- than a right-side key. This phenomenon is known as the spatial-quantity association of response codes (SQUARC) effect. Here, in two experiments, we explored whether a SQUARC effect can emerge for light versus heavy items. Participants judged whether the weight associated with a central target word, describing an animal (e.g. 'cow'; Experiment 1) or a material (e.g. 'iron'; Experiment 2), was lighter or heavier than the weight associated with a reference word. Responses were provided with a left- and a right-side button. Then, participants estimated the weight associated with target and reference words. In both experiments, evidence for a SQUARC effect emerged. Moreover, response times for each target word decreased with absolute difference between its rated weight and the rated weight of the reference word, in line with a distance effect. Overall, these results provide evidence of a possible spatial representation of weight.

Mapping of non-numerical domains on space: a systematic review and meta-analysis

The spatial numerical association of response code (SNARC) effect is characterized by low numbers mapped to the left side of space and high numbers mapped to the right side of space. In addition to numbers, SNARC-like effects have been found in non-numerical magnitude domains such as time, size, letters, luminance, and more, whereby the smaller/earlier and larger/later magnitudes are typically mapped to the left and right of space, respectively. The purpose of this systematic and meta-analytic review was to identify and summarise all empirical papers that have investigated horizontal (left-right) SNARC-like mappings using non-numerical stimuli. A systematic search was conducted using EMBASE, Medline, and PsycINFO, where 2216 publications were identified, with 57 papers meeting the inclusion criteria (representing 112 experiments). Ninety-five of these experiments were included in a meta-analysis, resulting in an overall effect size of d = .488 for a SNARC-like effect. Additional analyses revealed a significant effect size advantage for explicit instruction tasks compared with implicit instructions, yet yielded no difference for the role of expertise on SNARC-like effects. There was clear evidence for a publication bias in the field, but the impact of this bias is likely to be modest, and it is unlikely that the SNARC-like effect is a pure artefact of this bias. The similarities in the response properties for the spatial mappings of numerical and non-numerical domains support the concept of a general higher order magnitude system. Yet, further research will need to be conducted to identify all the factors modulating the strength of the spatial associations.

A SMARC Effect for Loudness

Various reports suggest that the pitch height of musical tones may be represented along a mental space, with lower pitch heights represented on the left or lower sectors and higher pitch heights represented on the right or upper sectors of the mental space. Given that in Western languages the loudness of tones is often addressed spatially, with loud sounds referred to as “high” and quiet sounds referred to as “low,” here we investigated whether loudness might also have a spatial representation. Participants judged whether a tone was louder or quieter than a reference tone, by pressing two keys: one at the top and the other at the bottom of a response box. Participants were faster in a situation where they pressed the key at the top to report louder sounds, and the key at the bottom to report quieter sounds, than vice versa. This result supports the view that loudness, like other types of magnitudes, might be represented spatially.

Rising tones and rustling noises: Metaphors in gestural depictions of sounds

Communicating an auditory experience with words is a difficult task and, in consequence, people often rely on imitative non-verbal vocalizations and gestures. This work explored the combination of such vocalizations and gestures to communicate auditory sensations and representations elicited by non-vocal everyday sounds. Whereas our previous studies have analyzed vocal imitations, the present research focused on gestural depictions of sounds. To this end, two studies investigated the combination of gestures and non-verbal vocalizations. A first, observational study examined a set of vocal and gestural imitations of recordings of sounds representative of a typical everyday environment (ecological sounds) with manual annotations. A second, experimental study used non-ecological sounds whose parameters had been specifically designed to elicit the behaviors highlighted in the observational study, and used quantitative measures and inferential statistics. The results showed that these depicting gestures are based on systematic analogies between a referent sound, as interpreted by a receiver, and the visual aspects of the gestures: auditory-visual metaphors. The results also suggested a different role for vocalizations and gestures. Whereas the vocalizations reproduce all features of the referent sounds as faithfully as vocally possible, the gestures focus on one salient feature with metaphors based on auditory-visual correspondences. Both studies highlighted two metaphors consistently shared across participants: the spatial metaphor of pitch (mapping different pitches to different positions on the vertical dimension), and the rustling metaphor of random fluctuations (rapidly shaking of hands and fingers). We interpret these metaphors as the result of two kinds of representations elicited by sounds: auditory sensations (pitch and loudness) mapped to spatial position, and causal representations of the sound sources (e.g. rain drops, rustling leaves) pantomimed and embodied by the participants' gestures.

Non-musicians also have a piano in the head: evidence for spatial-musical associations from line bisection tracking

The spatial representation of ordinal sequences (numbers, time, tones) seems to be a fundamental cognitive property. While an automatic association between horizontal space and pitch height (left-low pitch, right-high pitch) is constantly reported in musicians, the evidence for such an association in non-musicians is mixed. In this study, 20 non-musicians performed a line bisection task while listening to irrelevant high- and low-pitched tones and white noise (control condition). While pitch height had no influence on the final bisection point, participants' movement trajectories showed systematic biases: When approaching the line and touching the line for the first time (initial bisection point), the mouse cursor was directed more rightward for high-pitched tones compared to low-pitched tones and noise. These results show that non-musicians also have a subtle but nevertheless automatic association between pitch height and the horizontal space. This suggests that spatial-musical associations do not necessarily depend on constant sensorimotor experiences (as it is the case for musicians) but rather reflect the seemingly inescapable tendency to represent ordinal information on a horizontal line.