Intensity of the underlying figural process

A simple scaling technique is described by means of which proportions of frequencies may be transformed to scale values representing the intensity of the perceptual process. This technique is applied to data from experiments on directly observable figural fluctuations. The intensity of the underlying figural process is defined by a sine function with amplitude damping. Very good agreement between theoretical and empirical values demonstrates the applicability of the proposed model.     

On the figural after-effect

Two experiments were carried out on the figural after-effect. The first was intended to discover whether the figural after-effect did in fact take place with statistically significant universality. The method of scoring is relevant to the question of statistical significance, but at the best the figural after-effect appears to occur in only a slightly significant manner under the first conditions used. These involved the viewing of a single circle displaced to the left of a fixation point (the inspection-figure) and so placed that if it were superimposed on the second figure—which consisted of two squares on either side of the fixation-point—the circle completely encircled the left-hand square. The second figure is called the test-figure. The fixation point of the inspection-figure was fixated for 25 seconds with one eye, and then the test-figure was substituted and viewed with the opposite eye. A decision was then given by the observer as to the relative size of the squares. Eye-dominance did not appear to be connected with these after-effect processes.

In the second experiment, however, the statistical significance of the occurrence of the after-effects was undoubted. There were two changes in experimental conditions: the instructions to the observers were changed somewhat and a second circle was introduced into the inspection-figure. No difference of any kind was found to occur in the figural after-effect when the test-figure and inspection-figure were displaced horizontally and when they were displaced veitically, and there appeared to be a precisely opposite effect to that predicted when the test-figure and the inspection-figure were actually superimposed.

The most important finding was that, whereas in the first experiment the after-effect occurred with a frequency which was barely significant statistically, it occurred on every occasion under the different conditions of the second experiment.     

Psychological needs underlying the creative process.

The 25-year follow-up study of the motivation underlying creativity of 10 highly creative women indicated that they create primarily to satisfy inner psychological needs for self-understanding, control, and mastery.     

Intensity and frequency: dimensions underlying positive and negative affect

Research on emotions and several happiness scales suggest that positive and negative affect are strongly inversely correlated. However, work on subjective well-being indicates that over time, positive and negative affect are independent across persons. In order to reconcile this inconsistency, two dimensions are proposed for personal affective structure: the frequency of positive versus negative affect and the intensity of affect. Subjects in three studies completed daily and momentary reports on their moods. In support of the intensity dimension, the correlations between positive and negative intensity were strong and positive in all three studies. The intensities of specific emotions across persons were also highly correlated. Across the three studies the frequency and intensity of affect varied independently. Although average levels of positive and negative affect showed low correlations, this relation became strongly inverse when intensity was partialed out. Thus the intensity dimension helps explain the relative independence of positive and negative affect. In addition, emotional intensity is offered as a new personality dimension that manifests interesting characteristics.     

Counter displacement in the visual figural after-effect

In this study an attempt is made to specify the conditions under which counter displacement (test contour displaced toward the inspection contour) will occur. Three experiments are described in which different lengths of inspection of the test-(T-) figure are given following short and long inspections of the inspection-(I-) figure. In Experiment I, after partial dissipation of the figural after-effect (FAE), a period of continuous inspection of the T-figure was employed. In Experiments II and III distributed inspection of the T-figure was given by increasing the number of measurements of the FAE. In all experiments counter displacement was evident. The results were consistent with an interpretation of counter displacement offered earlier by the authors.     

Adaptation and repulsion in the figural after-effect

An experiment is reported which shows the effect of inspection of a curved line on the apparent curvature of a curved test line for a range of curvatures of both I and T lines. A second experiment extends the range of I curvatures, using only one T line, a straight line. The experiments showed both adaptation and repulsion components in the FAE.

An experiment by Kohler and Wallach which could not be reconciled with these results was repeated in the relevant part; the results were in agreement with the first experiment here and did not agree with those obtained by Kohler and Wallach.

An argument is presented that both adaptation and repulsion effects could be produced by a cell adaptation mechanism.     

Figural goodness and the predictability of figural elements

All 126 patterns composed of five dots distributed over the cells of a 3 by 3 matrix were examined for the predictability of their elements. The predictability of a given dot in a given pattern was measured as the percentage of Ss who indicated that dot as one “implied or suggested” by the subpattern composed of the remaining four dots of the pattern. The dots comprising a figurally good five-dot pattern were generally more predictable, one from the others, than the dots comprising a poor pattern. This finding accords with the Gestaltist conception of a good figure as one whose elements are well organized, and it is the state of affairs required by Garner’s hypothesis that better figures are perceived to have fewer alternatives than poorer figures. A mechanism mediating the prediction of an element of a pattern from the other elements was suggested.