Strength of visual percept generated by famous faces perceived without awareness: effects of affective valence, response latency, and visual field

Participants who were unable to detect familiarity from masked 17 ms faces ([Stone and Valentine, 2004] and [Stone and Valentine, in press-b]) did report a vague, partial visual percept. Two experiments investigated the relative strength of the visual percept generated by famous and unfamiliar faces, using masked 17 ms exposure. Each trial presented simultaneously a famous and an unfamiliar face, one face in LVF and the other in RVF. In one task, participants responded according to which of the faces generated the stronger visual percept, and in the other task, they attempted an explicit familiarity decision. The relative strength of the visual percept of the famous face compared to the unfamiliar face was moderated by response latency and participants’ attitude towards the famous person. There was also an interaction of visual field with response latency, suggesting that the right hemisphere can generate a visual percept differentiating famous from unfamiliar faces more rapidly than the left hemisphere. Participants were at chance in the explicit familiarity decision, confirming the absence of awareness of facial familiarity.

Looking behaviour and preference for artworks: The role of emotional valence and location

The position of an item influences its evaluation, with research consistently finding that items occupying central locations are preferred and have a higher subjective value. The current study investigated whether this centre-stage effect (CSE) is a result of bottom-up gaze allocation to the central item, and whether it is affected by item valence. Participants (n=50) were presented with three images of artistic paintings in a row and asked to choose the image they preferred. Eye movements were recorded for a subset of participants (n=22). On each trial the three artworks were either similar but different, or were identical and with positive valence, or were identical and with negative valence. The results showed a centre-stage effect, with artworks in the centre of the row preferred, but only when they were identical and of positive valence. Significantly greater gaze allocation to the central and left artwork was not mirrored by equivalent increases in preference choices. Regression analyses showed that when the artworks were positive and identical the participants’ last fixation predicted preference for the central art-work, whereas the fixation duration predicted preference if the images were different. Overall the result showed that item valence, rather than level of gaze allocation, influences the CSE, which is incompatible with the bottom-up gaze explanation. We propose that the centre stage heuristic, which specifies that the best items are in the middle, is able to explain these findings and the centre-stage effect.

Flourishing as a dialectical balance: emerging insights from second-wave positive psychology

Positive psychology, an emergent branch of scholarship concerned with wellbeing and flourishing, initially defined itself by a focus on “positive” emotions and qualities. However, critics soon pointed out that this binary logic—classifying phenomena as either positive or negative, and valorising the former while disparaging the latter—could be problematic. For example, apparently positive qualities can be harmful to wellbeing in certain circumstances, while ostensibly dysphoric emotional states may on occasion promote flourishing. Responding to these criticisms, over recent years a more nuanced “second wave” of positive psychology has been developing, in which wellbeing is recognized as involving a dialectical balance of light and dark aspects of life. This article introduces this emergent second wave, arguing that it is characterized by four dialectical principles. First, the principle of appraisal states that it is difficult to categorically identify phenomena as either positive or negative, since such appraisals are fundamentally contextually dependent. Second, the principle of co-valence holds that many states and qualities at the heart of flourishing, such as love, are actually a complex blend of light and dark elements. Third, the principle of complementarity posits that not only are such phenomena co-valenced, but that their dichotomous elements are in fact co-creating, two intertwined sides of the same coin. Finally, the principle of evolution allows us to understand second-wave positive psychology as itself being an example of a dialectical process. This article is published as part of a collection entitled “On balance: lifestyle, mental health and wellbeing”.