British journal of psychology最新文献

The exploration of blind students' reading skills is needed not only for further understanding their reading development but also for providing targeted suggestions for practical education. This study aims to examine the relations among phonological awareness (PA), homograph awareness (HA), compounding awareness (CA) and reading comprehension (RC), and explore the mediating effect of listening comprehension (LC) in Chinese blind students from elementary school. A total of 148 blind and 302 sighted elementary school students completed assessments of PA, HA, CA, LC and RC. The results found that PA, HA and CA were important variables that predicted Chinese blind and sighted students' RC not only directly but also indirectly through LC, which varied across different grades. The findings suggest that there were many similarities that exist in the influencing mechanism of RC between Chinese blind and sighted students.

The other-race effect (ORE) is a longstanding phenomenon in experimental psychology, where recognition for same-race faces is superior than for other-race faces. The present research pits two competing theories of perceptual expertise and social motivation against each other to see which is the more robust predictor of the ORE. In Study 1, we measured Black and White participants' prior contact with individuals from the other-race (i.e. expertise) as well as their expected level of future interaction with other-race individuals (i.e. motivation). Of the two theories, anticipated interaction (i.e. motivation) emerged as a significant predictor of the ORE. Study 2 followed the same design, measuring motivation with a self-report assessment of how much participants are willing to have cross-race friendships. Here, neither experience nor motivation predicted the ORE, though an ORE was established. Differences in measures that assess motivation and the experience versus motivation debate are discussed.

Previous cross-cultural eye-tracking studies examining face recognition discovered differences in the eye movement strategies that observers employ when perceiving faces. However, it is unclear (1) the degree to which this effect is fundamentally related to culture and (2) to what extent facial physiognomy can account for the differences in looking strategies when scanning own- and other-race faces. In the current study, Malay, Chinese and Indian young adults who live in the same multiracial country performed a modified yes/no recognition task. Participants' recognition accuracy and eye movements were recorded while viewing muted face videos of own- and other-race individuals. Behavioural results revealed a clear own-race advantage in recognition memory, and eye-tracking results showed that the three ethnic race groups adopted dissimilar fixation patterns when perceiving faces. Chinese participants preferentially attended more to the eyes than Indian participants did, while Indian participants made more and longer fixations on the nose than Malay participants did. In addition, we detected statistically significant, though subtle, differences in fixation patterns between the faces of the three races. These findings suggest that the racial differences in face-scanning patterns may be attributed both to culture and to variations in facial physiognomy between races.

In four experiments we investigated the Solitaire illusion. In this illusion, most observers see as more numerous a set of dots that forms a single central group, compared to dots on the outside of that group. We confirmed and extended the effect to configurations with much higher numerosity than the original and of various colours. Contrary to prediction, separating the two groups, so that they are presented side by side, reduced but did not abolish or reverse the illusion. In this illusion, therefore, neither total size of the region (area), not average distance of the elements has the expected effect. In Experiments 3 and 4 we eliminated the regularity of the pattern, by sampling 50% (Exp 3) or only a 10% (Exp 4) of the elements. These produces quasi-random configurations. For these configurations the bias for the inner groups was still present, and it was only eliminated when the groups were shown as separate. However, the effect never reversed (no bias for the outer group, despite its larger area). We conclude that the Solitaire illusion is evidence of a strong bias in favour of centrally located elements, a bias that can overcome other factors.

Although different human races do not exist from the perspective of biology and genetics, ascribed ‘race’ influences psychological processing, such as memory and perception of faces. Research from this Special Issue, as well as a wealth of previous research, shows that other-‘race’ faces are more difficult to recognize compared to own-‘race’ faces, a phenomenon known as the other-‘race’ effect. Theories of expertise attribute the cause of the other-‘race’ effect to less efficient visual representations of other-‘race’ faces, which results from reduced visual expertise with other-‘race’ faces compared to own-‘race’ faces due to limited contact with individuals from other ‘racial’ groups. By contrast, social-cognitive accounts attribute the cause of the other-‘race’ effect to reduced motivation to individuate other-‘race’ faces compared to own-‘race’ faces. Evidence for both types of theories is still mixed, but progress in understanding the phenomenon has also been hampered by the fact that there has been little crosstalk between these accounts, which tend to be rooted in separate domains of experimental perception science and social psychology, respectively. To promote an integrative perspective on current knowledge on own- versus other-‘race’ face processing, the present Special Issue bridges different psychological subdisciplines, showcasing research using a large variety of methodological approaches and measures. In this guest editorial, we briefly highlight individual contributions to this Special Issue and offer what we see as important avenues for future research on the other-‘race’ effect.

Both stress and blunted reward responsiveness have been identified as core risk factors of depression. Whether blunted reward responsiveness increases psychological vulnerability to real-life stress from a dynamic perspective (from stress reactivity to recovery) has not been investigated. By utilizing a real-world stressful event (i.e. the final examination), this study aimed to explore the role of reward responsiveness in the stress-emotional distress relationship during stress reactivity and recovery phases. We followed 57 undergraduates with three assessments, from six weeks before examination weeks (T1, baseline), one day before the examinations (T2) to two weeks after the examinations (T3), therefore, covering stress reactivity (T1 to T2) and recovery (T2 to T3) phases. At baseline, reward responsiveness was measured as the Reward Positivity (RewP) in the doors task. Stress and emotional distress (anxiety and depression) were reported at T1, T2 and T3 to capture their dynamic changes. Results showed that self-report stress levels significantly increased from T1 to T2 (stress reactivity phase) and decreased from T2 to T3 (stress recovery phase). Furthermore, blunted reward responsiveness at baseline prospectively predicted emotional distress during the stress reactivity phase but not the recovery phase. Specifically, during the stress reactivity phase, higher perceived stress was associated with greater anxiety and depression only in participants with relatively smaller residual RewP amplitudes but not in participants with relatively larger residual RewP amplitudes. Our study demonstrated that a blunted reward responsiveness is a vulnerable factor of depression, especially when exposed to stress. Our findings provide insights into prevention and intervention for stress-related disturbance.

Against the backdrop of the COVID-19 pandemic, which restricted our daily (visual) experiences, we asked people to take an ugly and beautiful photograph from within their homes. In total, 284 photographs (142 ugly and 142 beautiful) and accompanying statements were submitted and brought to light an intimate portrait of how participants were experiencing their (lockdown) home environment. Results revealed an aesthetic preference for (living) nature. Beauty and ugliness were also connected to good versus bad views, mess versus cosiness, unflattering versus flattering portraits and positive versus negative (COVID-19) emotions. In terms of photography strategies, editing and colour were important for beautiful photographs, whereas a lack of effort and sharpness showed up relatively more in ugly photographs. A follow-up study revealed that other viewers' (n = 86) aesthetic judgements of the photographs were largely in line with the original submissions, and confirmed several of the themes. Overall, our study provides a unique photographic window on our everyday aesthetic experiences at home during the COVID-19 lockdown.

What kinds of impacts can visual art have on a viewer? To identify potential art impacts, we recruited five aesthetics experts from different academic disciplines: art history, neuroscience, philosophy, psychology and theology. Together, the group curated a set of terms that corresponded to descriptive features (124 terms) and cognitive-affective impacts (69 terms) of artworks. Using these terms as prompts, participants (n = 899) were given one minute to generate words for each term related to how an artwork looked (descriptive features) or made them think or feel (cognitive-affective impacts). Using network psychometric approaches, we identified terms that were semantically similar based on participants' responses and applied hierarchical exploratory graph analysis to map the relationships between the terms. Our analyses identified 17 descriptive dimensions, which could be further reduced to 5, and 11 impact dimensions, which could be further reduced to 4. The resulting taxonomy demonstrated overlap between the descriptive and impact networks as well as consistency with empirical evidence. This taxonomy could serve as the foundation to empirically evaluate art's impacts on viewers.