Face inversion increases attractiveness

Early Impairment of Face Perception in Post-Stroke Depression: An ERP Study

Objective: Face recognition is an important cognitive function of the human brain. Post stroke depression (PSD) is a common mental complication after stroke, which has a serious impact on individual physical function recovery and quality of life. This study aims to explore the face perception characteristics of PSD through electrophysiological indicators N170 and VPP, and provide an objective basis for the early evaluation of facial cognitive dysfunction in PSD. Methods: 58 patients in the cerebral small vessel disease (CSVD) with depressive symptoms (PSD) and 188 patients in the pure CSVD (NPSD). At the same time, 30 healthy subjects were selected as the healthy controls (HC). The differences of N170 and VPP components between the three groups were compared under the stimulation of inverted faces and upright faces. Results: PSD patients exhibited significantly longer peak latency and lower amplitude of N170 and VPP under both inverted and upright face stimulation compared to HC and NPSD. These results suggest that PSD patients have defects in early face recognition, there are abnormalities in the early perception and structural encoding of face information, and both the "overall mechanism" and "feature mechanism" of face recognition are damaged. Conclusions: These findings provide neuroelectrophysiological evidence for impaired emotionless face recognition in PSD patients.

The face inversion effect does not provide a pure measure of holistic face processing

It is widely held that upright faces are processed more holistically than inverted faces and that this difference is reflected in the face inversion effect. It is not clear, however, how the inversion effect can best be measured, whether it is task specific, or even whether it specifically correlates with processing of upright faces. We examined these questions in a large sample (N = 420) who provided data on processing of upright and inverted stimuli in two different tasks with faces and one with objects. We find that the inversion effects are task dependent, and that they do not correlate better among face processing tasks than they do across face and object processing tasks. These findings were obtained regardless of whether inversion effects were measured by means of difference scores or regression. In comparison, only inversion effects based on regression predicted performance with upright faces in tasks other than those the inversion effects were derived from. Critically, however, inversion effects based on regression also predicted performance with inverted faces to a similar degree as they predicted performance with upright faces. Consequently, and contrary to what is commonly assumed, inversion effects do not seem to capture effects specific to holistic processing of upright faces. While the present findings do not bring us closer to an understanding of which changes in cognitive processing are induced by inversion, they do suggest that inversion effects do not reflect a unitary construct; an implicit assumption that seems to characterize much of the research regarding face processing.

Asynchrony enhances uncanniness in human, android, and virtual dynamic facial expressions

OBJECTIVE

Uncanniness plays a vital role in interactions with humans and artificial agents. Previous studies have shown that uncanniness is caused by a higher sensitivity to deviation or atypicality in specialized categories, such as faces or facial expressions, marked by configural processing. We hypothesized that asynchrony, understood as a temporal deviation in facial expression, could cause uncanniness in the facial expression. We also hypothesized that the effect of asynchrony could be disrupted through inversion.

RESULTS

Sixty-four participants rated the uncanniness of synchronous or asynchronous dynamic face emotion expressions of human, android, or computer-generated (CG) actors, presented either upright or inverted. Asynchrony vs. synchrony expressions increased uncanniness for all upright expressions except for CG angry expressions. Inverted compared with upright presentations produced less evident asynchrony effects for human angry and android happy expressions. These results suggest that asynchrony can cause dynamic expressions to appear uncanny, which is related to configural processing but different across agents.

Face inversion effect on perceived cuteness of infant faces

Research has demonstrated that attractiveness evaluations of adult faces were less accurate when faces were inverted than upright. It remains unknown, however, whether a similar effect applies to perceived cuteness of infants, which is assumed to be based on elemental facial features called the "baby schema." In this research, we studied the face inversion effect on perceived cuteness of infant faces in a rating task and a two-alternative forced-choice (2AFC) task. We also examined beauty as a control dimension. Although the rating task revealed no inversion effect, the 2AFC task showed poorer discrimination performance with inverted faces than with upright faces in both evaluations. These results indicate that infant cuteness and beauty dimensions are correlated well with each other, and their perception not only relies on elemental features that are not strongly affected by inversion but is also affected by holistic facial configurations when a detailed comparison is required.

The inversion effect on the cubic humanness-uncanniness relation in humanlike agents

The uncanny valley describes the typically nonlinear relation between the esthetic appeal of artificial entities and their human likeness. The effect has been attributed to specialized (configural) processing that increases sensitivity to deviations from human norms. We investigate this effect in computer-generated, humanlike android and human faces using dynamic facial expressions. Angry and happy expressions with varying degrees of synchrony were presented upright and inverted and rated on their eeriness, strangeness, and human likeness. A sigmoidal function of human likeness and uncanniness ("uncanny slope") was found for upright expressions and a linear relation for inverted faces. While the function is not indicative of an uncanny valley, the results support the view that configural processing moderates the effect of human likeness on uncanniness and extend its role to dynamic facial expressions.

The face inversion effect or the face upright effect?

The face inversion effect (FIE) refers to the observation that presenting stimuli upside-down impairs the processing of faces disproportionally more than other mono-oriented objects. This has been taken as evidence that processing of faces and objects differ qualitatively. However, nearly all FIE studies are based on comparing individuation of upright faces, which most people are rather good at, with individuation of objects most people are much less familiar with individuating (e.g., radios and airplanes). Consequently, the FIE may mainly reflect differences between categories in how they are processed prior to inversion, with within-category discrimination of upright faces being a much more familiar task than within-category discrimination among members belonging to other object classes. We tested this hypothesis by comparing inversion effects for faces and objects using object recognition tasks that do not require within-category discrimination (object decision and old/new recognition memory tasks). In all tasks (seven with objects and two with faces) we find credible inversion effects, but in no instance were these effects significantly larger for faces than for objects. This suggests that the FIE can be a product of familiarity with the type of identification process required in the upright conditions rather than some process that is selectively affected for faces when stimuli are inverted.

Familiarity, orientation, and realism increase face uncanniness by sensitizing to facial distortions

The uncanny valley predicts aversive reactions toward near-humanlike entities. Greater uncanniness is elicited by distortions in realistic than unrealistic faces, possibly due to familiarity. Experiment 1 investigated how familiarity and inversion affect uncanniness of facial distortions and the ability to detect differences between the distorted variants of the same face (distortion sensitivity). Familiar or unfamiliar celebrity faces were incrementally distorted and presented either upright or inverted. Uncanniness ratings increased across the distortion levels, and were stronger for familiar and upright faces. Distortion sensitivity increased with increasing distortion difference levels, again stronger for familiar and upright faces. Experiment 2 investigated how face realism, familiarity, and face orientation interacted for the increase of uncanniness across distortions. Realism increased the increase of uncanniness across the distortion levels, further enhanced by upright orientation and familiarity. The findings show that familiarity, upright orientation, and high face realism increase the sensitivity of uncanniness, likely by increasing distortion sensitivity. Finally, a moderated linear function of face realism and deviation level could explain the uncanniness of stimuli better than a quadratic function. A re-interpretation of the uncanny valley as sensitivity toward deviations from familiarized patterns is discussed.

Swipes and Saves: A Taxonomy of Factors Influencing Aesthetic Assessments and Perceived Beauty of Mobile Phone Photographs

Digital images taken by mobile phones are the most frequent class of images created today. Due to their omnipresence and the many ways they are encountered, they require a specific focus in research. However, to date, there is no systematic compilation of the various factors that may determine our evaluations of such images, and thus no explanation of how users select and identify relatively “better” or “worse” photos. Here, we propose a theoretical taxonomy of factors influencing the aesthetic appeal of mobile phone photographs. Beyond addressing relatively basic/universal image characteristics, perhaps more related to fast (bottom-up) perceptual processing of an image, we also consider factors involved in the slower (top-down) re-appraisal or deepened aesthetic appreciation of an image. We span this taxonomy across specific types of picture genres commonly taken—portraits of other people, selfies, scenes and food. We also discuss the variety of goals, uses, and contextual aspects of users of mobile phone photography. As a working hypothesis, we propose that two main decisions are often made with mobile phone photographs: (1) Users assess images at a first glance—by swiping through a stack of images—focusing on visual aspects that might be decisive to classify them from “low quality” (too dark, out of focus) to “acceptable” to, in rare cases, “an exceptionally beautiful picture.” (2) Users make more deliberate decisions regarding one’s “favorite” picture or the desire to preserve or share a picture with others, which are presumably tied to aspects such as content, framing, but also culture or personality, which have largely been overlooked in empirical research on perception of photographs. In sum, the present review provides an overview of current focal areas and gaps in research and offers a working foundation for upcoming research on the perception of mobile phone photographs as well as future developments in the fields of image recording and sharing technology.

Chinese Aesthetic Mask: Three Forehead and Five Eyes-Holistic Processing and Facial Attractiveness

Human face processing has been attributed to holistic processing. Here, we ask whether humans are sensitive to configural information when perceiving facial attractiveness. By referring to a traditional Chinese aesthetic theory-Three Forehead and Five Eyes-we generated a series of faces that differed in spacing between facial features. We adopted a two-alternative forced-choice task in Experiment 1 and a rating task in Experiment 2 to assess attractiveness. Both tasks showed a consistent result: The faces which fit the Chinese aesthetic theory were chosen or rated as most attractive. This effect of configural information on facial attractiveness was larger for faces with highly attractive features than for faces with low attractive features. These findings provide experimental evidence for the traditional Chinese aesthetic theory. This issue can be further explored from the perspective of culture in the future.

Face Inversion Effect on Perceived Cuteness and Pupillary Response

The face inversion effect reflects the special nature of facial processing and appears not only in recognizing facial identity or expression but also in subjective evaluation, such as facial attractiveness. Previous studies have revealed that the way in which we perceive attractiveness (beauty versus cuteness) differs our perceptual behavior. Therefore, the face inversion effect on attractiveness might differ based on the viewpoint of attractiveness. In this study, we measured pupillary response when judging the cuteness of facial stimuli and focused on the mechanism of perceiving attractiveness in terms of the effect of involuntary physical reaction. We investigated whether perceived cuteness – a kind of attractiveness – was affected by face inversion and whether the face inversion effect appeared in pupillary responses. We then conducted experiments in which participants observed inverted faces and rated the subjective cuteness of the faces, and we measured the participants’ pupil size while they observed the facial stimuli. The results revealed a negative correlation between pupil changes and the perceived cuteness of inverted faces, which is consistent with the previous result of upright faces. Thus, we found that the perception of facial cuteness is little affected by face inversion, suggesting that the judgment of cuteness is processed differently from other types of attractiveness such as beauty. We also found that pupillary response is related to perceiving cuteness, which could lead to consistency in the perception of cuteness.

Different processes in attractiveness assessments for unattractive and highly attractive faces-The role of presentation duration and rotation

Assessing facial attractiveness is a central aspect of the human ability to process the visual properties of faces. Recent studies have demonstrated that disrupting the upright orientation of faces by rotation can lead to enhanced attractiveness ratings, especially for unattractive faces, which might indicate that attractiveness assessments are mainly based on the absence of unattractive facial characteristics. Other studies have shown that shorter exposure times can result in greater facial attractiveness ratings. In the present experiment, we tested the influence of both rotation (0°, ±90°, 180°) and presentation duration (40ms, 100ms, 250ms, 2000ms) on attractiveness ratings for faces, while also controlling for their pre-rated attractiveness (which was assessed in upright orientation during a pre-test). We found that unattractive faces were rated as most attractive when observed for 40ms, but presentation duration had no effect on ratings for highly attractive faces. Unattractive faces rotated by ±90° or inverted (rotated by 180°) were rated as more attractive than in the upright orientation and these effects were found under various presentation durations (40ms, 250ms, 2000ms). Importantly, a contrary relationship was found for highly attractive faces, which were rated as less attractive when inverted, but only under intermediate presentation durations (100ms or 250ms). Our results support the notion that facial attractiveness can be assessed on the basis of both the absence of unattractive characteristics and the presence of attractive features, depending on the initial attractiveness of the face and its exposure time.

Effects of liking on visual attention in faces and paintings

The visual aesthetics of an object increases visual attention towards the object. It is argued that this relation between liking and attention is an evolutionary adaptation in sexual and natural selection. If this is the case, we would expect this relation to be domain specific, and thus, stronger for biological than for non-biological objects. To test this hypothesis, we conducted two eye-tracking studies, in which we compared the relation between liking and gaze patterns in images of biological (faces) and non-biological (paintings) stimuli. In Study 1, we presented randomly combined image pairs for 20 s in a free-viewing paradigm. Participants then selected the image they liked more in a 2-AFC task and rated the liking of each image on a Likert-scale. In Study 2, we employed the same paradigm but this time, images were combined based on pre-rated liking to ensure that images in each pair were clearly different. In both studies, we found a strong relation between liking and visual attention. Against our expectations, these effects were of similar magnitude for faces as for paintings. We conclude that the relation between liking and visual attention is not limited to biological objects but that its effects are domain general. The evolutionary function of the relation between liking and visual attention might stem from evolutionary adaptations, nonetheless, this link seems to be a rather basic phenomenon that applies across domains.