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.

Emotional Responses to Disfigured Faces: The Influences of Perceived Anonymity, Empathy, and Disgust Sensitivity

Two experiments investigated self-reported emotional reactions to photographs of people with attractive, unattractive or structurally disfigured faces. In Experiment 1 participants viewing disfigured faces reported raised levels of sorrow and curiosity but not raised levels of negative emotions. In Experiment 2 there was more negative emotion and less positive emotion reported under conditions of relatively high anonymity, compared to low anonymity, specific to disfigured faces, suggesting that self-reports are influenced by social desirability. Trait empathy was associated with sorrow and negative emotions when viewing disfigured faces. Disgust sensitivity was associated with negative emotions and inversely associated with positive emotions.

Towards a positive cross-cultural lexicography: Enriching our emotional landscape through 216 ‘untranslatable’ words pertaining to well-being

Although much attention has been paid to culture-specific psychopathologies, there have been no comparable attempts to chart positive mental states that may be particular to certain cultures. This paper outlines the beginnings of a positive cross-cultural lexicography of ‘untranslatable’ words pertaining to wellbeing, culled from across the world’s languages. A quasi-systematic search uncovered 216 such terms. Using grounded theory, these words were organised into three categories: feelings (comprising positive and complex feelings); relationships (comprising intimacy and pro-sociality); and character (comprising personal resources and spirituality). The paper has two main aims. First, it aims to provide a window onto cultural differences in constructions of wellbeing, thereby enriching our understanding of wellbeing. Second, a more ambitious aim is that this lexicon may help expand the emotional vocabulary of English speakers (and indeed speakers of all languages), and consequently enrich their experiences of wellbeing. The paper concludes by setting out a research agenda to pursue these aims further.

Coping with emotional labour in tennis coaching

A tennis coach works in a social environment, employed in a service based economy with the outcome of client-customer interactions significantly impacting on the consumer experience. Research conducted outside of sport has shown that positive affective displays during interactions, which in a tennis situation may include providing support through displays of warmth, empathy, positivity and compassion as the client attempts to master a new technique, have shown positive associations with customer satisfaction. Hochschild (1983) coined the term ‘emotional labour’ to describe the process of, and demands resulting from adjusting one’s demeanour, language and tone during social encounters in a planned and strategic manner in order to facilitate a positive outcome. Hochschild proposed that individuals in jobs which require a high degree of face-to-face interaction with the public are particularly at risk of experiencing potentially deleterious effects that result from dealing with emotional labour demands on a daily basis. It would appear that tennis coaches work in environments that make them susceptible to experiencing emotional labour and as such the intention of this article is to first introduce the concept and then to provide suggestions for how a coach may cope with these demands.