1,721,211 research outputs found
Manos Tsakiris' Quick Files
No full textThe Quick Files feature was discontinued and it’s files were migrated into this Project on March 11, 2022. The file URL’s will still resolve properly, and the Quick Files logs are available in the Project’s Recent Activity
Supplemental Material2 - Supplemental material for The Warburg Dance Movement Library—The WADAMO Library: A Validation Study
No full textSupplemental material, Supplemental Material2 for The Warburg Dance Movement Library—The WADAMO Library: A Validation Study by Julia F. Christensen, Anna Lambrechts and Manos Tsakiris: on behalf of the Second Manifestations of ARTerial disease (SMART) Study group in Perception</p
Supplemental Material1 - Supplemental material for The Warburg Dance Movement Library—The WADAMO Library: A Validation Study
No full textSupplemental material, Supplemental Material1 for The Warburg Dance Movement Library—The WADAMO Library: A Validation Study by Julia F. Christensen, Anna Lambrechts and Manos Tsakiris: on behalf of the Second Manifestations of ARTerial disease (SMART) Study group in Perception</p
sj-docx-1-pss-10.1177_09567976221131519 – Supplemental material for From the Viscera to First Impressions: Phase-Dependent Cardio-Visual Signals Bias the Perceived Trustworthiness of Faces
No full textSupplemental material, sj-docx-1-pss-10.1177_09567976221131519 for From the Viscera to First Impressions: Phase-Dependent Cardio-Visual Signals Bias the Perceived Trustworthiness of Faces by Ruben T. Azevedo, Mariana von Mohr and Manos Tsakiris in Psychological Science</p
sj-docx-1-pss-10.1177_09567976211018618 – Supplemental material for The Self in the Mind’s Eye: Revealing How We Truly See Ourselves Through Reverse Correlation
No full textSupplemental material, sj-docx-1-pss-10.1177_09567976211018618 for The Self in the Mind’s Eye: Revealing How We Truly See Ourselves Through Reverse Correlation by Lara Maister, Sophie De Beukelaer, Matthew R. Longo and Manos Tsakiris in Psychological Science</p
It Feels Like It's Me:Interpersonal Multisensory Stimulation Enhances Visual Remapping of Touch From Other to Self
Full text linkAbstract
Understanding other people's feelings in social interactions depends on the ability to map onto our body the sensory experiences we observed on other people's bodies. It has been shown that the perception of tactile stimuli on the face is improved when concurrently viewing a face being touched. This Visual Remapping of Touch (VRT) is enhanced the more similar others are perceived to be to the self and is strongest when viewing one's face. Here, we ask whether altering self-other boundaries can in turn change the VRT effect. We used the enfacement illusion, which relies on synchronous interpersonal multisensory stimulation (IMS), to manipulate self-other boundaries. Following synchronous, but not asynchronous, IMS, the self-related enhancement of the VRT extended to the other individual. These findings suggest that shared multisensory experiences represent one key way to overcome the boundaries between self and others, as evidenced by changes in somatosensory processing of tactile stimuli on one's own face when concurrently viewing another person's face being touched
Different neural processes accompany self-recognition in photographs across the lifespan: an ERP study using dizygotic twins
No full textOur appearance changes over time, yet we can recognize ourselves in photographs from across the lifespan. Researchers have extensively studied self-recognition in photographs and have proposed that specific neural correlates are involved, but few studies have examined self-recognition using images from different periods of life. Here we compared ERP responses to photographs of participants when they were 5-15, 16-25, and 26-45 years old. We found marked differences between the responses to photographs from these time periods in terms of the neural markers generally assumed to reflect (i) the configural processing of faces (i.e., the N170), (ii) the matching of the currently perceived face to a representation already stored in memory (i.e., the P250), and (iii) the retrieval of information about the person being recognized (i.e., the N400). There was no uniform neural signature of visual self-recognition. To test whether there was anything specific to self-recognition in these brain responses, we also asked participants to identify photographs of their dizygotic twins taken from the same time periods. Critically, this allowed us to minimize the confounding effects of exposure, for it is likely that participants have been similarly exposed to each other's faces over the lifespan. The same pattern of neural response emerged with only one exception: the neural marker reflecting the retrieval of mnemonic information (N400) differed across the lifespan for self but not for twin. These results, as well as our novel approach using twins and photographs from across the lifespan, have wide-ranging consequences for the study of self-recognition and the nature of our personal identity through time
Emotion matters: different psychophysiological responses to expressive and non-expressive full-body movements
No full textWe explore dance video clip stimuli as a means to test human observers’ accuracy in detecting genuine emotional expressivity in full-body movements. Stimuli of every-day-type full-body expressions of emotions usually use culturally very recognizable actions (e.g. fist shaking for anger, etc). By contrast, expressive dance movement stimuli can be created to contain fully abstract movements. The expressivity results from subtle variations in the body movements of the expressor, and emotions cannot be recognised by observers via particular actions (e.g. fist shaking, etc).
Forty-one participants watched and rated 24 pairs of short dance videos –from a published normalised dance stimuli library– in randomised order (N=48). Of each carefully matched pair, one version of the full-body movement sequence had been danced to be emotionally genuinely expressive (clip a), while the other version of the same sequence (clip b) had been danced –while technically correct– without any emotional expressivity. Participants rated (i) expressivity (to test their accuracy; block 1), and (ii) how much they liked each movement (an implicit measure to test their emotional response (“liking”); block 2).
Participants rated clips that were intended to be expressive as more expressive (part 1: expressivity ratings), and liked those expressive clips more than the non-expressive clips (part 2: liking ratings). Besides, their galvanic skin response differed, depending on the category of clips they were watching (expressive vs. non-expressive), and this relationship was modulated by interceptive accuracy and arts experience. Results are discussed in relation to the Body Precision Hypothesis and the Hypothesis of Constructed Emotion
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