Cultural psychological processes underlying workplace remuneration in Japanese and European American contexts

Japan's remuneration systems are moving away from seniority-based pay towards individual performance-based pay. We tested how the latter system works within the Japanese cultural context and whether the operation and functioning of the system reflects general psychological tendencies found in Japan. Japanese (Study 1 n = 197; Study 2 n = 235) and European American (Study 1 n = 201; Study 2 n = 186) participants read vignettes that described workplace success centred on a focal employee and including a team. Participants attributed contribution and rewards (financial and status) to a range of agents and factors with graded levels of focus, from the focal employee having the greatest and luck having the least. In general, we found that Japanese participants attributed greater contribution and reward to less focal agents and factors while European American participants attributed greater contribution and reward to more focal agents, in addition to some specific differences between the tasks and reward types. We discuss implications for more nuanced theorizing of the interaction between institutional systems and psychological processes.     

Transparency: relation to depth, subjective contours, luminance, and neon color spreading

The perception of transparency is highly dependent on luminance and perceived depth. An image region is seen as transparent if it is of intermediate luminance relative to adjacent image regions, and if it is perceived in front of another region and has a boundary which provides information that an object is visible through this region. Yet, transparency is not just the passive end-product of these required conditions. If perceived transparency is triggered, a number of seemingly more elemental perceptual primitives such as color, contour, and depth can be radically altered. Thus, with the perception of transparency, neon color spreading becomes apparent, depth changes, stereoscopic depth capture can be eliminated, and otherwise robust subjective contours can be abolished. In addition, we show that transparency is not coupled strongly to real-world chromatic constraints since combinations of luminance and color which would be unlikely to arise in real-world scenes still give rise to the perception of transparency. Rather than seeing transparency as a perceptual end-point, determined by seemingly more primitive processes, we interpret perceived transparency as much a 'cause', as an 'effect'. We speculate that the anatomical substrate for such mutual interaction may lie in cortical feed-forward connections which maintain modular segregation and cortical feedback connections which do not.     

Relative sensitivity of the mutual exclusivity and novel-name-nameless category assumptions

The mutual exclusivity (ME) assumption states that children affix a novel label to only one unfamiliar object, while the novel-name-nameless category (N3C) assumption states that children affix a novel label to multiple unfamiliar objects. To compare the relative sensitivity of the two assumptions, two types of tasks, with two trials in each, were given to 5-year-olds. In the first trial of each task, all children selected only the unfamiliar object for a novel label, which was consistent with the ME assumption. For the task which did not have the same unfamiliar object in the two trials, 94% of the children selected the object with the same shape but black-white reversed image in the second trial, which was consistent with the N3C assumption. For the task which had the same unfamiliar object in the two trials, 43% of the children selected the same object in the second trial, which was consistent with the ME assumption, and 48% of them selected the object with the same shape but reversed image, which was consistent with the N3C assumption. The findings suggest that the ME and N3C assumptions can be flexibly applied to children's word learning.     

Color of computer display frame in work performance, mood, and physiological response

The effects of the color of a personal computer screen on work performance, psychological mood, and autonomic response were investigated. 24 subjects were asked to perform visual tasks presented on the computer display. Three types of computer monitor, which were colored red, blue, or beige, were employed to present visual cognitive tasks. The mood measure, the Japanese Stress Arousal Check List, and heart rate measurement were administered before and after work on each color of computer monitor. Analysis of a low-demand task (Exp. 1) showed that the red computer monitor reduced visual task performance compared to that with the blue, while the blue monitor decreased visual task performance on a high-demand task (Exp. 2). The color of the monitor did not affect mood or heart rate. Based on these findings, the effect of the color of environmental cues on work was discussed.     

Understanding bias in proportion production

The Stevens exponent (beta) can be obtained from proportion estimation judgments using the power model. In this article, the authors extend that model to proportion production, in which the relative magnitudes of 2 stimuli are adjusted to correspond to a numeric proportion (e.g., 1/4 or .25). The model predicts that when beta < 1, small proportions are underproduced, and large proportions are overproduced, but it predicts the reverse when beta > 1, which is the opposite of the predicted patterns for estimation. Eight participants estimated and produced magnitudes and proportions with spatial volume (beta < 1; Experiment 1) and color saturation (beta > 1; Experiment 2). The model's predictions were generally supported. An extension of the model using reference points can account for multicycle patterns shown by some participants.     

Illusory causal crescents: misperceived spatial relations due to perceived causality

When an object A moves toward an object B until they are adjacent, at which point A stops and B starts moving, we often see a collision--ie we see A as the cause of B's motion. The spatiotemporal parameters which mediate the perception of causality have been explored in many studies, but this work is seldom related to other aspects of perception. Here we report a novel illusion, wherein the perception of causality affects the perceived spatial relations among two objects involved in a collision event: observers systematically underestimate the amount of overlap between two items in an event which is seen as a causal collision. This occurs even when the causal nature of the event is induced by a surrounding context, such that estimates of the amount of overlap in the very same event are much improved when the event is displayed in isolation, without a 'causal' interpretation. This illusion implies that the perception of causality does not proceed completely independently of other visual processes, but can affect the perception of other spatial properties.     

Spatial structure of quantitative representation of numbers: Evidence from the SNARC effect

Dehaene, Bossini, and Giraux (1993) revealed that subjects responded to large numbers faster with the choice on the right than with the choice on the left, whereas the reverse held true for small numbers (SNARC effect). According to Dehaene et al. (1993), the SNARC effect depends on the quantitative representation of number, such as a left-to-right-oriented analog number line. The main goal of the present study was twofold: first, to investigate whether the vertical SNARC effect could be observed, and, second, to verify whether Dehaene et al.'s (1993) explanation of the SNARC effect is correct. Experiments 2A and 2B showed the vertical SNARC effect in a parity judgment task. Subjects responded to large numbers faster with the top choice than with the bottom choice, whereas the reverse held true for small numbers. However, Experiment 3 failed to show the SNARC effect in a number magnitude judgment task, suggesting that the quantitative representation could be dissociated from the spatial code that produces the SNARC effect.     

Robust representations for faces: evidence from visual search.

We report evidence from visual search that people can develop robust representations for highly overlearned faces. When observers searched for their own face versus the face of an unfamiliar observer, search slopes and intercepts revealed consistently faster processing of self than stranger. These processing advantages persisted even after hundreds of presentations of the unfamiliar face and even for atypical profile and upside-down views. Observers not only showed rapid asymptotic recognition of their own face as the target, but could reject their own face more quickly as the distractor. These findings suggest that robust representations for a highly overlearned face may (a) mediate rapid asymptotic visual processing, (b) require extensive experience to develop, (c) contain abstract or view-invariant information, (d) facilitate a variety of processes such as target recognition and distractor rejection, and (e) demand less attentional resources.     

How Do Creative Experts Practice New Skills? Exploratory Practice in Breakdancers

How do expert performers practice as they develop creatively? This study investigated the processes involved in the practice of new skills by expert breakdancers. A great deal of evidence supports the theory of “deliberate practice” (Ericsson, Krampe, & Tesch‐Römer, 1993, Psychological Review, 100, 363) in skill acquisition; however, expert creative performers may emphasize other forms of practice for skill development. Four case studies collected through fieldwork and laboratory observation were analyzed to evaluate expert dancers’ practice processes as they developed proficiency in new, specific skills. We focused on three aspects of learning: the degree of skill acquisition, the content of skills included in practice, and dancers’ stated purposes for practicing. The results showed that dancers’ practice improved skills (as suggested by deliberate practice) and engaged the exploration of new, original skills, along with coordinating skills within performance. In their practice, these dance experts went beyond deliberative practice to highly exploratory processes for skill development.