What happens to our representation of identity as familiar faces age? Evidence from priming and identity aftereffects

Matching identity in images of unfamiliar faces is error prone, but we can easily recognize highly variable images of familiar faces – even images taken decades apart. Recent theoretical development based on computational modelling can account for how we recognize extremely variable instances of the same identity. We provide complementary behavioural data by examining older adults’ representation of older celebrities who were also famous when young. In Experiment 1, participants completed a long-lag repetition priming task in which primes and test stimuli were the same age or different ages. In Experiment 2, participants completed an identity after effects task in which the adapting stimulus was an older or young photograph of one celebrity and the test stimulus was a morph between the adapting identity and a different celebrity; the adapting stimulus was the same age as the test stimulus on some trials (e.g., both old) or a different age (e.g., adapter young, test stimulus old). The magnitude of priming and identity after effects were not influenced by whether the prime and adapting stimulus were the same age or different age as the test face. Collectively, our findings suggest that humans have one common mental representation for a familiar face (e.g., Paul McCartney) that incorporates visual changes across decades, rather than multiple age-specific representations. These findings make novel predictions for state-of-the-art algorithms (e.g., Deep Convolutional Neural Networks).     

Emotional expressions during early infant – father conversations

The present longitudinal and naturalistic study aimed to investigate fathers' and infants' facial expressions of emotions during paternal infant-directed speech. The microanalysis of infant and paternal facial expressions of emotion in the course of the naturalistic interactions of 11 infant – father dyads, from the 2nd to the 6th month, provided evidence that: (a) fathers and infants match their emotional states and attune their emotional intensity; (b) infants seem to match paternal facial emotional expressions more than vice versa; (c) the prevailing emotional states of each partner remain constant in the beginning and at the end of speech; and (d) the developmental trajectories of infant interest and paternal pleasure change significantly across the age range of 2 – 6 months and they seem to follow similar courses. These results are interpreted within the frame of the theory of innate intersubjectivity.     

Common cues to emotion in the dynamic facial expressions of speech and song

Speech and song are universal forms of vocalization that may share aspects of emotional expression. Research has focused on parallels in acoustic features, overlooking facial cues to emotion. In three experiments, we compared moving facial expressions in speech and song. In Experiment 1, vocalists spoke and sang statements each with five emotions. Vocalists exhibited emotion-dependent movements of the eyebrows and lip corners that transcended speech–song differences. Vocalists’ jaw movements were coupled to their acoustic intensity, exhibiting differences across emotion and speech–song. Vocalists’ emotional movements extended beyond vocal sound to include large sustained expressions, suggesting a communicative function. In Experiment 2, viewers judged silent videos of vocalists’ facial expressions prior to, during, and following vocalization. Emotional intentions were identified accurately for movements during and after vocalization, suggesting that these movements support the acoustic message. Experiment 3 compared emotional identification in voice-only, face-only, and face-and-voice recordings. Emotion judgements for voice-only singing were poorly identified, yet were accurate for all other conditions, confirming that facial expressions conveyed emotion more accurately than the voice in song, yet were equivalent in speech. Collectively, these findings highlight broad commonalities in the facial cues to emotion in speech and song, yet highlight differences in perception and acoustic-motor production.