Caricature generalization benefits for faces learned with enhanced idiosyncratic shape or texture

Recent findings show benefits for learning and subsequent recognition of faces caricatured in shape or texture, but there is little evidence on whether this caricature learning advantage generalizes to recognition of veridical counterparts at test. Moreover, it has been reported that there is a relatively higher contribution of texture information, at the expense of shape information, for familiar compared to unfamiliar face recognition. The aim of this study was to examine whether veridical faces are recognized better when they were learned as caricatures compared to when they were learned as veridicals—what we call a caricature generalization benefit. Photorealistic facial stimuli derived from a 3-D camera system were caricatured selectively in either shape or texture by 50 %. Faces were learned across different images either as veridicals, shape caricatures, or texture caricatures. At test, all learned and novel faces were presented as previously unseen frontal veridicals, and participants performed an old–new task. We assessed accuracies, reaction times, and face-sensitive event-related potentials (ERPs). Faces learned as caricatures were recognized more accurately than faces learned as veridicals. At learning, N250 and LPC were largest for shape caricatures, suggesting encoding advantages of distinctive facial shape. At test, LPC was largest for faces that had been learned as texture caricatures, indicating the importance of texture for familiar face recognition. Overall, our findings demonstrate that caricature learning advantages can generalize to and, importantly, improve recognition of veridical versions of faces.     

Compensation of neural delays in visual‐motor behaviour: No evidence for shorter afferent delays for visual motion

Abstract

Faces and other objects that share a configuration present a special problem to the visual system. Two components of the visual system's solution to this homogeneity problem have been identified. Inversion studies have identified the use of relational features (Diamond &; Carey, 1986; Rhodes, Brake, &; Atkinson, 1993), and caricature studies have identified norm-based coding (Carey, Rhodes, Diamond, &; Hamilton, in preparation; Rhodes, Brennan, &; Carey, 1987; Rhodes &; McLean, 1990). Here we explore a possible link between these two components, asking whether caricature effects depend selectively on exaggeration of relational features. If so, then inversion, which makes relational features particularly difficult to code (compared with isolated features), should reduce caricature effects. In three experiments we found a caricature equivalence effect (caricatures identified as accurately as undistorted images and both better than anticaricatures) that was unaffected by orientation, suggesting that relational feature coding is not necessary for caricatures to be effective. Therefore, caricature and inversion effects reflect distinct components of face recognition. Caricature level and orientation also interacted differently with other factors, as would be expected if their effects depend upon different underlying processes. For one set of faces there was a caricature advantage in accuracy (Experiments 1 and 3). This superportrait effect occurred even for subjects who were unfamiliar with the faces prior to the experiment (Experiment 3), a result with important forensic implications. Furthermore, the effect was restricted to upright faces. Therefm, although caricatures can be recognized as well as undistorted images whatever features are exaggerated, exaggeration of relational features may be needed for a superportrait effect.     

Distinctiveness and expertise effects with homogeneous stimuli: towards a model of configural coding

Recent studies using Brennan's computerized caricature generator have demonstrated distinctiveness effects consistent with the idea that faces are coded in terms of their individual distinctive properties. Based on these findings it is suggested that, for homogeneous classes whose members share a common configuration, distinctive configural information may be coded as metric deviations from a spatial norm. Experiments are described which demonstrate similar distinctiveness effects in bird identification. Transformations that increase distinctiveness (caricatures) produced faster identification and a higher recognition proportion, for both experts and nonexperts, than transformations that reduce distinctiveness (anticaricatures). This distinctiveness advantage is consistent with the norm-based coding idea. Furthermore, within certain limits, increasing distinctiveness did not impair performance relative to that for veridical drawings. For experts there was also a caricature advantage, such that 50% caricatures of birds in a highly homogeneous and familiar class (passerines) were identified more quickly, provided that they were recognized at all, than uncaricatured veridical drawings. The significance of a caricature advantage for the visual coding of configural information is discussed.     

Caricature and face recognition

Although caricatures are often gross distortions of faces, they frequently appear to be super-portraits capable of eliciting recognition better than veridical depictions. This may occur because faces are encoded as distinctive feature deviations from a prototype. The exaggeration of these deviations in a caricature may enhance recognition because it emphasizes the features of the face that are encoded. In two experiments, we tested the superportrait hypothesis and the encoding-by-caricature hypothesis. In the first experiment, caricatures were recognized better than faces, and true caricatures of previously seen faces were recognized better than the faces from which the caricatures had been developed. In the second experiment, faces and their caricatures were tachistoscopically presented in a sequential same/different reaction time task. Subjects were slower to distinguish the stimuli when the face preceded its caricature, indicating that caricatures are more similar to the encoded representation of a face than are stimuli in which the distinctive features are deemphasized.     

Nonlinear,near photo-realistic caricatures using a parametric facial appearance model

A mathematical model previously developed for use in computer vision applications is presented as an empirical model for face space. The term appearance space is used to distinguish this from previous models. Appearance space is a linear vector space that is dimensionally optimal, enables us to model and describe any human facial appearance, and possesses characteristics that are plausible for the representation of psychological face space. Randomly sampling from a multivariate distribution for a location in appearance space produces entirely plausible faces, and manipulation of a small set of defining parameters enables the automatic generation of photo-realistic caricatures. The appearance space model leads us to the new concept of nonlinear caricatures, and we show that the accepted linear method for caricature is only a special case of a more general paradigm. Nonlinear methods are also viable, and we present examples of photographic quality caricatures, using a number of different transformation functions. Results of a simple experiment are presented that suggest that nonlinear transformations can accurately capture key aspects of the caricature effect. Finally, we discuss the relationship between appearance space, caricature, and facial distinctiveness. On the basis of our new theoretical framework, we suggest an experimental approach that can yield new evidence for the plausibility of face space and its ability to explain processes of recognition.     

Enhancing images of facial expressions

Facial images can be enhanced by application of an algorithm--the caricature algorithm--that systematically manipulates their distinctiveness (Benson & Perrett, 1991c; Brennan, 1985). In this study, we first produced a composite facial image from natural images of the six facial expressions of fear, sadness, surprise, happiness, disgust, and anger shown on a number of different individual faces (Ekman & Friesen, 1975). We then caricatured the composite images with respect to a neutral (resting) expression. Experiment 1 showed that rated strength of the target expression was directly related to the degree of enhancement for all the expressions. Experiment 2, which used a free rating procedure, found that, although caricature enhanced the strength of the target expression (more extreme ratings), it did not necessarily enhance its purity, inasmuch as the attributes of nontarget expressions were also enhanced. Naming of prototypes, of original exemplar images, and of caricatures was explored in Experiment 3 and followed the pattern suggested by the free rating conditions of Experiment 2, with no overall naming advantage to caricatures under these conditions. Overall, the experiments suggested that computational methods of compositing and caricature can be usefully applied to facial images of expression. Their utility in enhancing the distinctiveness of the expression depends on the purity of expression in the source image.     

Children's recognition of caricatures

This study examined children's and adults' perception and recognition of facial stimuli that were either systematically exaggerated (caricatures) or de-exaggerated (anticaricatures) relative to a norm face. The results showed that all age groups perceived caricatures as the most distinctive versions of a face and anticaricatures as the least distinctive, although the effect was smallest for 6-year-olds. In general, caricatures were identified as quickly as the veridical faces and faster than the anticaricatures. Across all age groups, participants' familiarity with the stimulus faces interacted with degree of caricature to determine speed of processing as well as choice of best likeness. The results are discussed in relation to the idea that distinctiveness information in a face is represented in relation to a norm.     

An application of caricature: How to improve the recognition of facial composites

Facial caricatures exaggerate the distinctive features of a face and may elevate the recognition of a familiar face. We investigate whether the recognition of facial composites, or pictures of criminal faces, could be similarly enhanced. In this study, participants first estimated the degree of caricature necessary to make composites most identifiable. Contrary to expectation, an anticaricature was found to be best, presumably as this tended to reduce the appearance of errors. In support of this explanation, more positive caricature estimates were assigned to morphed composites: representations that tend to contain less overall error. In addition, anticaricaturing reduced identification for morphed composites but enhanced identification for individual composites. Although such improvements were too small to be of value to law enforcement, a sizeable naming benefit was observed when presenting a range of caricature states, which appeared to capitalize on individual differences in the internal representation of familiar faces.     

Manipulation of colour and shape information and its consequence upon recognition and best-likeness judgments

Previous forays into the study of recognition have revealed an advantage for line-drawn and photographic shape caricatures of faces in reaction-time paradigms. When a presentation-time technique was used, photographs with enhanced colour intensity and saturation were also found to provide superior recognition accuracy to veridical images. This has provided strong evidence that distinctive information can produce a recognition advantage for famous faces in both colour and shape domains. Such a presentation-time paradigm allows the display of stimuli over a range of brief display periods. Using this paradigm, subjects recognised photorealistic target faces caricatured in shape with greater accuracy than veridical images, consistent with previous findings when reaction time was used as a measure. Subjects were also asked to identify the best likeness for individuals using photorealistic stimuli and an interactive paradigm with shape caricature, colour caricature, and contrast control varied by the user in real-time. The best likeness with shape manipulation was a slight anticaricature, while with colour-caricature and contrast-control images a mildly exaggerated image was selected as the best likeness. Thus, although images caricatured substantially in colour or shape (+40%) induce superior recognition compared to veridical images, such substantial exaggerations are not necessarily seen as best likenesses under prolonged exposure.     

Understanding the multiframe caricature advantage for recognizing facial composites

Eyewitnesses often construct a “composite” face of a person they saw commit a crime, a picture that police use to identify suspects. We described a technique (Frowd, Bruce, Ross, McIntyre, & Hancock, 2007) based on facial caricature to facilitate recognition of these images: Correct naming substantially improves when composites are seen with progressive positive caricature, where distinctive information is enhanced, and then with progressive negative caricature, the opposite. Over the course of four experiments, the underpinnings of this mechanism were explored. Positive-caricature levels were found to be largely responsible for improving naming of composites, with some benefit from negative-caricature levels. Also, different frame-presentation orders (forward, reverse, random, repeated) facilitated equivalent naming benefit relative to static composites. Overall, the data indicate that composites are usually constructed as negative caricatures.     

Caricaturing facial expressions

The physical differences between facial expressions (e.g. fear) and a reference norm (e.g. a neutral expression) were altered to produce photographic-quality caricatures. In Experiment 1, participants rated caricatures of fear, happiness and sadness for their intensity of these three emotions; a second group of participants rated how 'face-like' the caricatures appeared. With increasing levels of exaggeration the caricatures were rated as more emotionally intense, but less 'face-like'. Experiment 2 demonstrated a similar relationship between emotional intensity and level of caricature for six different facial expressions. Experiments 3 and 4 compared intensity ratings of facial expression caricatures prepared relative to a selection of reference norms - a neutral expression, an average expression, or a different facial expression (e.g. anger caricatured relative to fear). Each norm produced a linear relationship between caricature and rated intensity of emotion; this finding is inconsistent with two-dimensional models of the perceptual representation of facial expression. An exemplar-based multidimensional model is proposed as an alternative account.     

Laterality effects in identification of caricatures and photographs of famous faces

Recent evidence suggests that memory representations of familiar faces may exaggerate distinctive information as do caricatures (G. Rhodes, S. Brennan, & S. Carey, Cognitive Psychology, 1987). Therefore caricatures should be effective representations of faces and should yield a right hemisphere processing advantage, as do photographs of faces. Photographs and caricatures of famous faces were presented to the left visual (LVF), the right visual field (RVF), and centrally (CVF), in a name-face verification task. There was a LVF (right hemisphere) advantage for both caricatures and photographs on name-face mismatches but no VF difference for matches. These results were true for both accuracy and reaction time. Processing strategy differences that may account for the difference between matches and mismatches are discussed. Performance was generally better for photographs than for caricatures, irrespective of visual field condition.     

Conceptual interrelatedness and caricatures

Concepts are interrelated to the extent that the characterization of each concept is influenced by the other concepts, and are isolated to the extent that the characterization of one concept is independent of other concepts. The relative categorization accuracy of the prototype and caricature of a concept can be used as a measure of concept interrelatedness. The prototype is the central tendency of a concept, whereas a caricature deviates from the concept's central tendency in the direction opposite the central tendency of other acquired concepts. The prototype is predicted to be relatively well categorized when a concept is relatively independent of other concepts, but the caricature is predicted to be relatively well categorized when a concept is highly related to other concepts. Support for these predictions comes from manipulations of the labels given to simultaneously acquired concepts (Experiment 1) and of the order of categories during learning (Experiment 2).     

Isolated and interrelated concepts

A continuum between purely isolated and purely interrelated concepts is described. Along this continuum, a concept is interrelated to the extent that it is influenced by other concepts. Methods for manipulating and identifying a concept’s degree of interrelatedness are introduced. Relatively isolated concepts can be empirically identified by a relatively large use of nondiagnostic features, and by better categorization performance for a concept’s prototype than for a caricature of the concept. Relatively interrelated concepts can be identified by minimal use of nondiagnostic features, and by better categorization performance for a caricature than for a prototype. A concept is likely to be relatively isolated when subjects are instructed to create images for their concepts rather than find discriminating features, when concepts are given unrelated labels, and when the categories that are displayed alternate rarely between trials. The entire set of manipulations and measurements supports a graded distinction between isolated and interrelated concepts. The distinction is applied to current models of category learning, and a connectionist framework for interpreting the empirical results is presented.     

AVERAGENESS, EXAGGERATION, AND FACIAL ATTRACTIVENESS

Abstract— Langlois and her colleagues reported in this journal that composite faces are more attractive than the component faces used to create them, and conjectured that averageness is attractive (Langlois & Roggman, 1990, Langlois, Roggman, & Musselman, 1994) However, extremes may also be attractive (Perrett, May, & Yoshikawa, 1994). We investigated the effect of averageness (proximity to a norm or average face) on attractiveness using a computerized caricature generator to very averageness. Attractiveness increased with averageness (Experiment 1) and was negatively correlated with distinctiveness, a subjective measure of the converse of averageness (Experiments 1 and 2) Extremes (caricatures) were not attractive Line-drawing composites, which avoid some of the problems associated with gray-level composites, were significantly more attractive and less distinctive (more average) than individual faces (Experiment 2) These results support the claim that averageness is attractive.     

Nature, culture, and explanations for erotic plasticity: reply to Andersen, Cyranowski, and Aarestad (2000) and Hyde and Durik (2000)

R. F. Baumeister's (2000) article on erotic plasticity was criticized by B. L. Andersen, J. M. Cyranowski, and S. Aarestad (2000) for not being biological enough and by J. S. Hyde and A. M. Durik (2000) for being too biological. Both critiques were based on drawing a polarized caricature of R. F. Baumeister's actual view, although the two caricatures are opposites. Actually, neither commentary questioned the gender difference R. F. Baumeister documented; rather, the dispute is about how to explain it, which is indeed a challenge remaining for further work. Although both commentaries provided valuable suggestions about how to approach an explanation, neither approach can provide a coherent account until various theoretical problems are resolved and seemingly contrary empirical findings are addressed.     

The Reverse-Caricature Effect Revisited: Familiarization With Frontal Facial Caricatures Improves Veridical Face Recognition

Prior research suggests that recognition of a person's face can be facilitated by exaggerating the distinctive features of the face during training. We tested if this 'reverse-caricature effect' would be robust to procedural variations that created more difficult learning environments. Specifically, we examined whether the effect would emerge with frontal rather than three-quarter views, after very brief exposure to caricatures during the learning phase and after modest rotations of faces during the recognition phase. Results indicate that, even under these difficult training conditions, people are more accurate at recognizing unaltered faces if they are first familiarized with caricatures of the faces, rather than with the unaltered faces. These findings support the development of new training methods to improve face recognition.     

漫画认知发展特点的研究

对小学三年级至大学一年级五个年级的200名被试进行了测验,以考查被试的漫画认知的发展特点.研究结果表明:(1)各年级被试对漫画的认知具有明显的年龄特征,存在两个快速发展期,即三至五年级(9—12岁),初二至高二(14—18岁);(2)漫画认知在性别上略有差异,但就各年级而言差异不显著.     

Another View of AACD and Its Journals

In this invited response to Weinrach's article, “Some Serious and Some Not So Serious Reactions to AACD and Its Journals,” it is a bit difficult to know at what level or with what tone one should react. Like any work of comedy or parody, Weinrach's piece is presumably intended to be a caricature of the reality of AACD and its journals as he views them. My problem is that I am not always sure from his analysis which of his comments he intends to be serious and which he does not. One might expect to find, in any caricature, kernels of truth that are exaggerated for effect. In this instance, they are difficult to ferret out. Although I prefer to simply express another view rather than debate his perspectives point for point, many of the observations that he makes are not supported by my own experience or perceptions. Maybe these are the parts of his paradigm intended not to be serious reactions.     

Reflections on Psychoanalysis,Peer Review and Evidence

During these times, when society wants "evidence" that treatments are effective, ethical and cost effective, quality assurance and evidence-based medicine have become catchwords. The powers that be place their hopes on them when they find that they have to prioritize forms of treatment. There are different attempts to define these concepts and there are different approaches, most of them based on quantitative studies. This article describes a different approach. It also discusses how you can use the model for peer review among psychoanalytical colleagues as a qualitative study and a base for both quality assurance and a learning process. It also has its place in any formulation of 'evidence' for psychoanalysis and psychotherapy.