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No description available.

No description available.

Doctor of Philosophy / This thesis investigates the role of colour in the cognitive processesing of emotional information. The research is guided by the effect of colour diagnosticity which has been shown previously to influence recognition performance of several types of objects as well as natural scenes. The research presented in Experiment 1 examined whether colour information is considered a diagnostic perceptual feature of seven emotional categories: happiness, sadness, anger, fear, disgust, surprise and neutral. Participants (N = 119), who were naïve to the specific purpose and expectations of the experiment, chose colour more than any other perceptual quality (e.g. shape and tactile information) as a feature that describes the seven emotional categories. The specific colour features given for the six basic emotions were consistently different from those given to the non-emotional neutral category. While emotional categories were often described by chromatic colour features (e.g. red, blue, orange) the neutral category was often ascribed achromatic colour features (e.g. white, grey, transparent) as the most symptomatic perceptual qualities for its description. The emotion 'anger' was unique in being the only emotion showing an agreement higher that 50% of the total given colour features for one particular colour - red. Confirming that colour is a diagnostic feature of emotions led to the examination of the effect of diagnostic colours of emotion on recognition memory for emotional words and faces: the effect, if any, of appropriate and inappropriate colours (matched with emotion) on the strength of memory for later recognition of faces and words (Experiments 2 & 3). The two experiments used retention intervals of 15 minutes and one week respectively and the colour-emotion associations were determined for each individual participant. Results showed that regardless of the subject’s consistency level in associating colours with emotions, and compared with the individual inappropriate or random colours, individual appropriate colours of emotions significantly enhance recognition memory for six basic emotional faces and words. This difference between the individual inappropriate colours or random colours and the individual appropriate colours of emotions was not found to be significant for non-emotional neutral stimuli. Post hoc findings from both experiments further show that appropriate colours of emotion are associated more consistently than inappropriate colours of emotions. This suggests that appropriate colour-emotion associations are unique both in their strength of association and in the form of their representation. Experiment 4 therefore aimed to investigate whether appropriate colour-emotion associations also trigger an implicit automatic cognitive system that allows faster naming times for appropriate versus inappropriate colours of emotional word carriers. Results from the combined Emotional-Semantic Stroop task confirm the above hypothesis and therefore imply that colour plays a substantial role not only in our conceptual representations of objects but also in our conceptual representations of basic emotions. The resemblance of the present findings collectively to those found previously for objects and natural scenes suggests a common cognitive mechanism for the processing of emotional diagnostic colours and the processing of diagnostic colours of objects or natural scenes. Overall, this thesis provides the foundation for many future directions of research in the area of colour and emotion as well as a few possible immediate practical implications.

Doctor of Philosophy / This thesis investigates the role of colour in the cognitive processesing of emotional information. The research is guided by the effect of colour diagnosticity which has been shown previously to influence recognition performance of several types of objects as well as natural scenes. The research presented in Experiment 1 examined whether colour information is considered a diagnostic perceptual feature of seven emotional categories: happiness, sadness, anger, fear, disgust, surprise and neutral. Participants (N = 119), who were naïve to the specific purpose and expectations of the experiment, chose colour more than any other perceptual quality (e.g. shape and tactile information) as a feature that describes the seven emotional categories. The specific colour features given for the six basic emotions were consistently different from those given to the non-emotional neutral category. While emotional categories were often described by chromatic colour features (e.g. red, blue, orange) the neutral category was often ascribed achromatic colour features (e.g. white, grey, transparent) as the most symptomatic perceptual qualities for its description. The emotion 'anger' was unique in being the only emotion showing an agreement higher that 50% of the total given colour features for one particular colour - red. Confirming that colour is a diagnostic feature of emotions led to the examination of the effect of diagnostic colours of emotion on recognition memory for emotional words and faces: the effect, if any, of appropriate and inappropriate colours (matched with emotion) on the strength of memory for later recognition of faces and words (Experiments 2 & 3). The two experiments used retention intervals of 15 minutes and one week respectively and the colour-emotion associations were determined for each individual participant. Results showed that regardless of the subject’s consistency level in associating colours with emotions, and compared with the individual inappropriate or random colours, individual appropriate colours of emotions significantly enhance recognition memory for six basic emotional faces and words. This difference between the individual inappropriate colours or random colours and the individual appropriate colours of emotions was not found to be significant for non-emotional neutral stimuli. Post hoc findings from both experiments further show that appropriate colours of emotion are associated more consistently than inappropriate colours of emotions. This suggests that appropriate colour-emotion associations are unique both in their strength of association and in the form of their representation. Experiment 4 therefore aimed to investigate whether appropriate colour-emotion associations also trigger an implicit automatic cognitive system that allows faster naming times for appropriate versus inappropriate colours of emotional word carriers. Results from the combined Emotional-Semantic Stroop task confirm the above hypothesis and therefore imply that colour plays a substantial role not only in our conceptual representations of objects but also in our conceptual representations of basic emotions. The resemblance of the present findings collectively to those found previously for objects and natural scenes suggests a common cognitive mechanism for the processing of emotional diagnostic colours and the processing of diagnostic colours of objects or natural scenes. Overall, this thesis provides the foundation for many future directions of research in the area of colour and emotion as well as a few possible immediate practical implications.

When old/new recognition memory is tested with equal numbers of studied and non-studied items and no rewards or instructions that favour one response over the other, there is no obvious reason for response bias. In line with this, Canadian undergraduates have shown, on average, a neutral response bias when we tested them on recognition of common English words. By contrast, most subjects we have tested on recognition of richly detailed images have shown a conservative bias: they more often erred by missing a studied image than by judging a non-studied image as studied. Here, in an effort to better understand these materials-based bias effects (MBBEs), we examined changes in hit and false alarm (FA) rates (and in sensitivity and bias) from the first to fourth quartile of a recognition memory test in eight experiments in which undergraduates studied words and/or images of paintings. Response bias for images tended to increase across quartiles, whereas bias for words showed no consistent pattern across quartiles. This pattern could be described as an increase in the MBBE over the course of the test, but the underlying patterns for hits and FAs are not easily reconciled with this interpretation. Hit rates decreased over the course of the test for both materials types, with that decline tending to be steeper for images than words. For words, FA rates tended to increase across quartiles, whereas for paintings FA rates did not increase across quartiles. We discuss implications of these findings for theoretical accounts of the MBBE. / Graduate

No description available.

The current study introduced a new measure for the study of naturalistic memory, which involved the use of a homogeneous, controlled event for all participants. We tested participants’ memory for this so-called staged event with both the Autobiographical Interview (AI) and our novel receiver operating characteristic (ROC) task. Statistical analyses indicated that scores on the AI and on our new ROC measure showed time sensitivity consistent with the literature. These data were difficult to interpret, however, because of a confound of age. We will need to age-match our groups before drawing any major conclusions. That said, we found a significant positive correlation between measures of recollection on both the AI and ROC task, which was a promising finding in terms of validating the new measure against an established procedure. Overall, our results suggest that assessing recall and recognition for a staged event is a viable method for studying naturalistic memory.

The current study introduced a new measure for the study of naturalistic memory, which involved the use of a homogeneous, controlled event for all participants. We tested participants’ memory for this so-called staged event with both the Autobiographical Interview (AI) and our novel receiver operating characteristic (ROC) task. Statistical analyses indicated that scores on the AI and on our new ROC measure showed time sensitivity consistent with the literature. These data were difficult to interpret, however, because of a confound of age. We will need to age-match our groups before drawing any major conclusions. That said, we found a significant positive correlation between measures of recollection on both the AI and ROC task, which was a promising finding in terms of validating the new measure against an established procedure. Overall, our results suggest that assessing recall and recognition for a staged event is a viable method for studying naturalistic memory.

Our experience with the world depends on how we integrate sensory information. Multisensory integration generates contextually rich experiences, which are more distinct and more easily retrievable than their unisensory counterparts. Here, we report a series of experiments examining the impact semantic audiovisual (AV) congruency has on recognition memory. Participants were presented with AV word pairs which could either be the same or different (i.e., hear “ring”, see “phone”) followed by a recognition test. Recognition memory was found to be improved for words following incongruent presentations. Results suggest higher cognitive processes may be recruited to resolve sensory conflicts, leading to superior recognition for incongruent words. Integration may help in easing the processing of multisensory events, but does not promote the processing needed to make them distinctive. / Thesis / Master of Science (MSc)