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The information available through our senses is noisy, incomplete, and ambiguous. Our perceptual systems have to resolve this ambiguity to construct stable and reliable percepts. Previous EEG studies found large amplitude differences in two event-related potential (ERP) components 200 and 400 ms after stimulus onset when comparing ambiguous with disambiguated visual information ("ERP Ambiguity Effects"). These effects so far generalized across classical ambiguous figures from different visual categories at lower (geometry, motion) and intermediate (Gestalt perception) levels. The present study aimed to examine whether these ERP Effects are restricted to ambiguous figures or whether they also occur for different degrees of visibility. Smiley faces with low and high visibility of emotional expressions, as well as abstract figures with low and high visibility of a target curvature were presented. We thus compared ambiguity effects in geometric cube stimuli with visibility in emotional faces, and with visibility in abstract figures. ERP Effects were replicated for the geometric stimuli and very similar ERP Effects were found for stimuli with emotional face expressions but also for abstract figures. Conclusively, the ERP amplitude effects generalize across fundamentally different stimulus categories and show highly similar effects for different degrees of stimulus ambiguity and stimulus visibility. We postulate the existence of a high-level/meta-perceptual evaluation instance, beyond sensory details, that estimates the certainty of a perceptual decision. The ERP Effects may reflect differences in evaluation results.
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The worldwide fascination of da Vinci's Mona Lisa has been dedicated to the emotional ambiguity of her face expression. In the present study we manipulated Mona Lisa's mouth curvature as one potential source of ambiguity and studied how a range of happier and sadder face variants influences perception. In two experimental conditions we presented different stimulus ranges with different step sizes between stimuli along the happy-sad axis of emotional face expressions. Stimuli were presented in random order and participants indicated the perceived emotional face expression (first task) and the confidence of their response (second task). The probability of responding 'happy' to the original Mona Lisa was close to 100%. Furthermore, in both conditions the perceived happiness of Mona Lisa variants described sigmoidal functions of the mouth curvature. Participants' confidence was weakest around the sigmoidal inflection points. Remarkably, the sigmoidal functions, as well as confidence values and reaction times, differed significantly between experimental conditions. Finally, participants responded generally faster to happy than to sad faces. Overall, the original Mona Lisa seems to be less ambiguous than expected. However, perception of and reaction to the emotional face content is relative and strongly depends on the used stimulus range.
Erkunden
Team
Eintragsart
Sprache
- Englisch (2)
Thema
- Emotions
- Adult (2)
- Analysis of Variance (1)
- Electroencephalography (1)
- Evoked Potentials/physiology (1)
- Evoked Potentials, Visual/*physiology (1)
- *Facial Expression (1)
- Female (2)
- Happiness (1)
- Humans (2)
- Male (2)
- *Museums (1)
- Optical Illusions (1)
- *Paintings (1)
- Perception (1)
- Perception/*physiology (1)
- Photic Stimulation/methods (1)
- Reaction Time (1)
- Smiling (1)
- Visual Perception/*physiology (1)
- Young Adult (1)