We asked them to respond as quickly and accurately as possible. Participants received feedback on accuracy on each trial (750 msec). The aim of Experiment 2 was to examine the impact of spatial location in synaesthetic experience. We tested this by manipulating the on-screen position of targets. The spatial congruency was defined by where the target was positioned on the computer screen in relation to where synaesthetes positioned their drawing on the screen or paper. For each

synaesthete, we used the same set of four sound–image pairs as those in Experiment 1 such that the images were manifestly distinct from each other in colour, shape, and location. The design, procedure, and instructions of Experiment 2 this website were identical to Experiment 1, with the exception that we manipulated the on-screen position of targets, while keeping one of the other visual features constant. In the colour task, the image colour and on-screen location were either Trametinib in vivo congruent or incongruent with the synaesthetic colour and location while

the synaesthetic shape induced by the sound was always consistent with the image shape. Conversely, in the shape task, shape and location were independently manipulated while synaesthetic colour was always consistent with image colour. As a result, two different versions of the stimuli were used in the colour and shape tasks. There were four conditions for each task: (1) both features congruent; (2) location incongruent; (3) colour or shape incongruent (in the colour / shape task, respectively); and (4) both G protein-coupled receptor kinase features incongruent. Although the reported experiences initially seem idiosyncratic and variable across synaesthetes, there is a systematic relationship between auditory pitch and visual features: in all seven synaesthetes, high-pitched sounds induce visual experiences that are brighter in colour, smaller in size, and higher in space, relative to low-pitched sounds. Fig. 3 illustrates the pattern of the synaesthetic experiences from two representative participants. Such a pattern bears similarity to previous research on

the way non-synaesthetes map auditory pitch to visual features (Spence, 2011), and is also consistent with Ward et al. (2006) who reported similarities between synaesthetes and non-synaesthetes in auditory–visual mappings. To quantify the phenomenological relationship between auditory pitch and the size, brightness, and location of synaesthetic objects, we performed correlation analyses: for each of the seven synaesthetes, we calculated the size (number of pixels) of the synaesthetic object and brightness of the selected colour (in Hue-Saturation-Brightness colour coordinates, ranging from 0 to 100) using Photoshop (hand-drawings were scanned and converted into JPG files). If multiple colours were present in an image, we used the colour that occupied the most area.