Evidence for attentional capture by a surprising color singleton in visual search

Three experiments were conducted to investigate whether surprising color singletons capture attention. Participants performed a visual search task in which a target letter had to be detected among distractor letters. Experiments 1 and 2 assessed accuracy as the dependent variable. In Experiment 1, the unannounced presentation of a color singleton 500 ms prior to the letters (and in the same position as the target letter) resulted in better performance than in the preceding conjunction search segment, in which no singleton was presented, and performance was as good in this surprise–singleton trial as in the following feature search segment, in which the singleton always coincided with the target. In contrast, no improvement was observed when the color singleton was presented simultaneously with the letters in Experiment 2, indicating that attentional capture occurred later in the surprise trial than in the feature search segment. In Experiment 3, set size was varied, and reaction time was the dependent variable. Reaction time depended on set size in the conjunction search segment, but not in the surprise trial nor in the feature search segment. The results of the three experiments support the view that surprising color singletons capture attention independently of a corresponding attentional set.     

Pure colour novelty captures the gaze

While it is common wisdom that a salient visual event draws attention, experimental research provided mixed support for this hypothesis. The present experiment seeks evidence that a singleton draws attention to the degree that its feature is novel or unexpected. Two visual search experiments were conducted where an irrelevant colour singleton is presented on each pre-critical trial to familiarize participants with the presence of the singleton. In the critical trial of Experiment 1, the singleton was presented in a novel colour without prior announcement. The singleton was gazed at significantly earlier and longer in the critical trial, as compared to pre-critical trials. This result is consistent with predictions from the expectancy discrepancy hypothesis that colour novelty is sufficient to capture attention. Experiment 2 tested the alternative explanation that a surprising event mainly leads to a breakdown of the previously acquired attentional set, which in turn causes a reorientation towards perceptual salience. An unannounced change of the background colour in the critical trial while the singleton colour remained unchanged did not induce an attentional capture by the singleton like in Experiment 1. This result further confirms that surprising events capture attention in a spatial manner.     

Empathy,Einfühlung,and aesthetic experience: the effect of emotion contagion on appreciation of representational and abstract art using fEMG and SCR

Since the advent of the concept of empathy in the scientific literature, it has been hypothesized, although not necessarily empirically verified, that empathic processes are essential to aesthetic experiences of visual art. We tested how the ability to “feel into” (“Einfühlung”) emotional content—a central aspect of art empathy theories—affects the bodily responses to and the subjective judgments of representational and abstract paintings. The ability to feel into was measured by a standardized pre-survey on “emotional contagion”—the ability to pick up and mirror, or in short to “feel into”, emotions, which often overlaps with higher general or interpersonal empathetic abilities. Participants evaluated the artworks on several aesthetic dimensions (liking, valence, moving, and interest), while their bodily reactions indicative of empathetic engagement (facial electromyography—EMG, and skin conductance responses—SCR) were recorded. High compared to low emotion contagion participants showed both more congruent and more intense bodily reactions (EMG and SCR) and aesthetic evaluations (higher being moved, valence, and interest) and also liked the art more. This was largely the case for both representational and abstract art, although stronger with the representational category. Our findings provide tentative evidence for recent arguments by art theorists for a close “empathic” mirroring of emotional content. We discuss this interpretation, as well as a potential tie between emotion contagion and a general increase in emotion intensity, both of which may impact, in tandem, the experience and evaluation of art.     

A reversal of the search asymmetry favouring negative schematic faces

Quite a number of studies have tested whether the affective valence of stimuli can guide attention in visual search. Studies using schematic affective faces frequently found a relative search asymmetry (RSA), with more efficient search for a negative face in a friendly crowd than vice versa. Whether, however, this effect relates to differences in affect or to the confounded differences in perceptual features is unknown. The present study proposes and tests a similarity-based account for the RSA. Experiments 1a and 1b first replicate the typical RSA. Experiment 2 shows that the stimulus could be simplified to some degree without losing the RSA. Experiments 3 and 4, finally, demonstrate that the RSA could be reversed by a rather simple stimulus change, that leaves the facial expression intact. It is concluded that the strong dependence of the RSA on stimulus factors seriously questions the claim that emotional factors drive the RSA.     

Labeled Calculi and Finite-Valued Logics

A general class of labeled sequent calculi is investigated, and necessary and sufficient conditions are given for when such a calculus is sound and complete for a finite-valued logic if the labels are interpreted as sets of truth values (sets-as-signs). Furthermore, it is shown that any finite-valued logic can be given an axiomatization by such a labeled calculus using arbitrary "systems of signs," i.e., of sets of truth values, as labels. The number of labels needed is logarithmic in the number of truth values, and it is shown that this bound is tight.     

Coherence and Nonmonotonicity in Human Reasoning

Nonmonotonic reasoning is often claimed to mimic human common sense reasoning. Only a few studies, though, have investigated this claim empirically. We report four experiments which investigate three rules of SYSTEMP, namely the AND, the LEFT LOGICAL EQUIVALENCE, and the OR rule. The actual inferences of the subjects are compared with the coherent normative upper and lower probability bounds derived from a non-infinitesimal probability semantics of SYSTEM P. We found a relatively good agreement of human reasoning and principles of nonmonotonic reasoning. Contrary to the results reported in the ‘heuristics and biases’ tradition, the subjects committed relatively few upper bound violations (conjunction fallacies).     

Compatibility between tones, head movements, and facial expressions

The study tests the hypothesis of an embodied associative triangle among relative tone pitch (i.e., high or low tones), vertical movement, and facial emotion. In particular, it is tested whether relative pitch automatically activates facial expressions of happiness and anger as well as vertical head movements. Results show robust congruency effects: happiness expressions and upward head tilts are imitated faster when paired with high rather than low tones, while anger expressions and downward head tilts are imitated faster when paired with low rather than high tones. The results add to the growing evidence favoring an embodiment account that emphasizes multimodal representations as the basis of cognition, emotion, and action.