Integrating information from two pictorial animations: Complexity and cognitive prerequisites influence performance

Dividing visual attention between spatially distinct sources of information could either be beneficial (if there is too much information for a single visualization) or detrimental (if interrelated information has to be mentally re‐integrated) for learning. We present a new display technology allowing for the presentation of two distinct animations by avoiding split foci of visual attention: learners are able to switch between animations by moving their head. We examined how 84 naïve learners integrated information in three presentation modes: the ‘vexing‐image’ mode displaying two animations, participants being able to switch between them without shifting the visual focus, a classical ‘split‐screen’ and an ‘overlaid’ condition. Results showed that reduced complexity led to higher performance. Further, we showed that participants with high mental rotation abilities were best in the ‘split‐screen’ mode, whereas participants with low mental rotation abilities benefited most from the ‘vexing‐image’. Theoretical and instructional consequences of these findings are discussed. Copyright © 2010 John Wiley & Sons, Ltd.     

Viewpoint dependency in the recognition of dynamic scenes

In 3 experiments, the question of viewpoint dependency in mental representations of dynamic scenes was addressed. Participants viewed film clips of soccer episodes from 1 or 2 viewpoints; they were then required to discriminate between video stills of the original episode and distractors. Recognition performance was measured in terms of accuracy and speed. The degree of viewpoint deviation between the initial presentation and the test stimuli was varied, as was both the point of time presented by the video stills and participants' soccer expertise. Findings suggest that viewers develop a viewpoint-dependent mental representation similar to the spatial characteristics of the original episode presentation, even if the presentation was spatially inhomogeneous.     

Do film cuts facilitate the perceptual and cognitive organization of activitiy sequences?

Film depictions of activities possess two kinds of structures--namely, the structural features of the depicted activities themselves and a formal structure defined by film cuts. The former structure is used by everyday observers for perceptually and cognitively unitizing the continuous flow of events into comprehensible entities. It seems conceivable that cuts can serve a similar unitizing purpose for film viewers. For each of two different activity sequences, two film versions were produced. Throughout each film version, cuts were placed either at breakpoints or at nonbreakpoints. In a 2 x 2 (activity sequence x film version) factorial design, 40 subjects segmented the film during viewing and recalled the film content after viewing in a detailed protocol. Segmentation behavior depended primarily on the occurrence of breakpoints and was largely unaffected by the occurrence of cuts. Cuts accompanying a breakpoint lead to more detailed recall protocols for these sections of the film.     

Should physicians be empathetic? Rethinking clinical empathy

The role and importance of empathy in clinical practice has been widely discussed. This paper focuses on the ideal of clinical empathy, as involving both cognitive understanding and affective resonance. I argue that this account is subject to a number of objections. Affective resonance may serve more as a liability than as a benefit in clinical settings, and utilizing this capacity is not clearly supported by the relevant empirical literature. Instead, I argue that the ideal account of empathy in medicine remains cognitive, though there is a central role for expressing empathic concern toward patients.     

The Style Troika Model: A Structural Model of the Thinking and Creating Styles Scale

Individuals express their creativity through a variety of thinking and creating styles (Wechsler, 2006, 2007). These constructs underlie the Thinking and Creating Styles Scale (TCSS), which is used to identify individuals' creating styles. The aim of this research is to assess the factorial structure of the Portuguese version of the TCSS. Two studies were performed using 414 and 369 Portuguese participants with mean ages of 29.25 and 29.35 years, respectively. Study 1 consisted of an exploratory factor analysis that yielded a three‐factor solution. Study 2 consisted of a confirmatory factor analysis used to test the fit and compare the suitability of several factorial solutions. The three‐factor model (Non‐Conforming/Transformer, Cautious/Reflexive, and Logical/Objective) with the best statistical fit was called the Troika Model. In this model, each factor had five items and showed good and acceptable indices of fit. This new three‐factor structure results in a more efficient and attractive version of the TCSS: the Creating and Thinking Styles‐Troika Scale (CTS‐TS). Future studies should use the CTS‐TS and other creativity assessment instruments to explore the creativity level and style dichotomy.     

Mentalization-based therapy with maltreated children living in shelters in southern Brazil: A single case study

This study describes the mentalization-based child therapy of a boy who suffered from early abuse and neglect, who was living in a shelter in southern Brazil. This single case study aimed at assessing whether this kind of psychotherapy contributes to reducing depressive symptoms and developing a greater capacity for reflection on the mental states of self and other, as part of developing a more coherent sense of self. Structured assessments were conducted before therapy and after six months of treatment, and the audio-recorded treatment sessions were analyzed using content analysis, in order to identify key themes in the treatment itself. The results suggested a significant improvement in depressive symptoms and some changes in mentalization with the beginnings of a movement toward a more cohesive and integrated self. We argue that mentalization-based child therapy could be a promising therapeutic approach for children who have experienced severe disruptions of emotional bonds, due to the way it focuses on the capacity to regulate affect and develop a more coherent sense of self.     

Changing viewpoints during dynamic events

The connection of various viewpoints of a visual dynamic scene can be realised in different ways. We examined if various presentation modes influence scene recognition and cognitive representation type. In the learning phase, participants saw clips of basketball scenes from (a) a single, unvaried viewpoint, or with a change of viewpoint during the scene, whereby the connection was realised (b) by an abrupt cut, or (c) by a continuous camera move. In the test phase, participants had to recognise video stills presenting basketball scenes from the same or differing viewpoints. As expected, cuts led to lower recognition accuracy than a fixed unvaried viewpoint, whereas this was not the case for moves. However, the kind of connection between two viewpoints had no influence on the viewpoint dependence of the cognitive representation. Additionally, it was found that the amount of viewpoint deviation seemed to influence the overall conservativeness of participants' reactions.     

Tracking multiple objects across abrupt viewpoint changes

The reported experiment tested the effect of abrupt and unpredictable viewpoint changes on the attentional tracking of multiple objects in dynamic 3-D scenes. Observers tracked targets that moved independently among identically looking distractors on a rectangular floor plane. The tracking interval was 11 s. Abrupt rotational viewpoint changes of 10°, 20°, or 30° occurred after 8 s. Accuracy of tracking targets across a 10° viewpoint change was comparable to accuracy in a continuous control condition, whereas viewpoint changes of 20° and 30° impaired tracking performance considerably. This result suggests that tracking is mainly dependant on a low-level process whose performance is saved against small disturbances by the visual system's ability to compensate for small changes of retinocentric coordinates. Tracking across large viewpoint changes succeeds only if allocentric coordinates are remembered to relocate targets after displacements.     

Recognizing dynamic scenes: influence of processing orientation

From face recognition studies, it is known that instructions are able to change processing orientation of stimuli, leading to an impairment of recognition performance. The present study examined instructional influences on the visual recognition of dynamic scenes. A global processing orientation without any instruction was assumed to lead to highest recognition performance, whereas instructions focusing participants' attention on certain characteristics of the event should lead to a local processing orientation with an impairment of visual recognition performance as a direct consequence. Since the pattern of results provided evidence for this hypothesis, theoretical contributions were discussed.     

Do not cross the line: Heuristic spatial updating in dynamic scenes

In two experiments, we examined the spatial integration of two viewpoints onto dynamic scenes. We tested the spatial-alignment hypothesis (which predicts integration by alignment along the shortest path) against the spatial-heuristic hypothesis (which predicts integration by observation of the left?Cright orientation on the screen). The stimuli consisted of film clips comprising two shots, each showing a car driving by. In Experiment 1, the dynamic scenes were ambiguous with regard to their interpretation: The cars could have been driving either in the same or in opposite directions. In line with the spatial-heuristic hypothesis, participants responded with ??same direction?? if the cars shared a screen direction. In Experiment 2, environmental cues disambiguated the dynamic scenes, and the screen direction of the cars was either congruent or incongruent with the depicted environmental cues. As compared with congruent dynamic scenes, incongruent dynamic scenes elicited prolonged reaction times, thus suggesting that heuristic spatial updating was used with congruent stimuli, whereas spatial-alignment processes were used with incongruent stimuli.