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Deviating from human norms in human-looking artificial entities can elicit uncanny sensations, described as the uncanny valley. This study investigates in three tasks whether configural deviation in written text also increases uncanniness. It further evaluates whether the uncanniness of text is better explained by perceptual disfluency and especially deviations from specialized categories, or conceptual disfluency caused by ambiguity. In the first task, lower sentence readability predicted uncanniness, but deviating sentences were more uncanny than typical sentences despite being just as readable. Furthermore, familiarity with a language increased the effect of configural deviation on uncanniness but not the effect of non-configural deviation (blur). In the second and third tasks, semantically ambiguous words and sentences were not uncannier than typical sentences, but deviating, non-ambiguous sentences were. Deviations from categories with specialized processing mechanisms thus better fit the observed results as an explanation of the uncanny valley than ambiguity-based explanations. [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]

The face-inversion effect is the finding that picture-plane inversion disproportionately impairs face recognition compared to object recognition and is now attributed to greater orientationsensitivity of holistic processing for faces but not common objects. Yet, expert dog judges have showed similar recognition deficits for inverted dogs and inverted faces, suggesting that holistic processing is not specific to faces but to the expert recognition of perceptually similar objects. Although processing changes in expert object recognition have since been extensively documented, no other studies have observed the distinct recognition deficits for inverted objects-of-expertise that people as face experts show for faces. However, few studies have examined experts who recognize individual objects similar to how people recognize individual faces. Here we tested experts who recognize individual budgerigar birds. The effect of inversion on viewpoint-invariant budgerigar and face recognition was compared for experts and novices. Consistent with the face-inversion effect, novices showed recognition deficits for inverted faces but not for inverted budgerigars. By contrast, experts showed equal recognition deficits for inverted faces and budgerigars. The results are consistent with the hypothesis that processes underlying the face-inversion effect are specific to the expert individuation of perceptually similar objects. [ABSTRACT FROM AUTHOR]

Previous research has found that observers of object-directed human action pay more attention to information regarding hand contact over information regarding spatial trajectories in action, and that processing of trajectory information is disrupted by inversion. However, observers can also flexibly modulate their attention to spatial trajectory depending on the goal or context of the actor. In Experiments 1(a) and 1b of the current research, we directly compared attention with hand and trajectory information across placing and dropping actions in order to determine whether the hand bias is always present or whether flexibility in action perception can attenuate this bias. Results demonstrated that observers attend more to hand information for placing, but attend equally to hand and trajectory information for dropping. Experiment 2 explored the role of the actor’s goal in processing spatial trajectory for mimed dropping actions and non-human control stimuli, and the role of goals in the inversion effect. Results indicated that goal relevance increases processing of trajectory information, and that processing of all spatial trajectories in human action is disrupted by inversion, regardless of the actor’s goal. The present findings highlight the role of prediction in action perception, and suggest that human action is processed with expertise. [ABSTRACT FROM AUTHOR]

While a robust Attentional Blink (AB) occurs for letters, digits, and objects, the evidence is mixed for face targets. The multiple channel hypothesis posits that both configural and featural channels operate for faces during an AB task and each channel has its own resource limitations. Consequently, if Target 1 (T1) only occupies one channel then Target 2 (T2) is processed via the other channel avoiding the AB. Three experiments employed a two-target-mask paradigm to examine the multiple channel hypothesis by varying the featural and configural processing requirements of T1 and T2 faces. Experiment 1 used clear upright and clear inverted faces, and Experiment 2 used blurred upright and clear inverted faces, to engage configural and featural processing, respectively. Experiment 3 centrally presented blurred upright and clear inverted faces to ensure that the results of the prior experiments could not be attributed to spatial shifts of attention to the target positions. Contrary to the multiple channel hypothesis, the results of all three experiments showed an AB for all conditions regardless of the T1 and T2 faces engaging the same or different processing channels. This study showed that faces suffer from the same processing impairments as other categories of targets during the AB. [ABSTRACT FROM AUTHOR]

People's sketches of human faces seem to be systematically distorted: the eye position is always higher than in reality. This bias was experimentally analyzed by a series of experiments varying drawing conditions. Participants either drew prototypical faces from memory (studies 1 and 2: free reconstruction; study 3: cued reconstruction) or directly copied average faces (study 4). Participants consistently showed this positioning bias, which is even in accord with facial depictions published in influential research articles by famous face researchers (study 5). We discuss plausible explanations for this reliable and stable bias, which is coincidentally similar to the morphology of Neanderthals. [ABSTRACT FROM AUTHOR]

Previous studies have suggested that physiological responses are greatest and face recognition performance is best when a band of middle relative spatial frequencies (SFs) is included in stimuli. Conversely, behavioural data suggest that object recognition performance shows comparatively little effect of SF variations. Here, we examine the effects of SF filtering on the amplitude of the N170 ERP component when participants are shown images of faces and objects. Our findings show that with face stimuli the amplitude of N170 exhibits a band-pass modulation function, with responses to middle SFs (around 11 cycles per face) being statistically indistinguishable from responses to full-band faces. In contrast to faces, object stimuli elicited a relatively flat function across much of the spectrum. However, for both faces and objects, middle spatial frequencies were sufficient to elicit the same N170 magnitude as full-band images. Our results with face stimuli are in accordance with previous work examining single-cell and MEG responses. Our results with objects are compatible with previous behavioural work showing a relative robustness of object recognition to SF manipulations. Our findings are novel in showing that the middle band elicits the same N170 as full-band images in both faces and objects. [ABSTRACT FROM AUTHOR]

Recent research has demonstrated that our perception of the human body differs from that of inanimate objects. This study investigated whether the visual perception of the human body differs from that of other animate bodies and, if so, whether that difference could be attributed to visual experience and/or embodied experience. To dissociate differential effects of these two types of expertise, inversion effects (recognition of inverted stimuli is slower and less accurate than recognition of upright stimuli) were compared for two types of bodies in postures that varied in typicality: humans in human postures (human-typical), humans in dog postures (human-atypical), dogs in dog postures (dog-typical), and dogs in human postures (dog-atypical). Inversion disrupts global configural processing. Relative changes in the size and presence of inversion effects reflect changes in visual processing. Both visual and embodiment expertise predict larger inversion effects for human over dog postures because we see humans more and we have experience producing human postures. However, our design that crosses body type and typicality leads to distinct predictions for visual and embodied experience. Visual expertise predicts an interaction between typicality and orientation: greater inversion effects should be found for typical over atypical postures regardless of body type. Alternatively, embodiment expertise predicts a body, typicality, and orientation interaction: larger inversion effects should be found for all human postures but only for atypical dog postures because humans can map their bodily experience onto these postures. Accuracy data supported embodiment expertise with the three-way interaction. However, response-time data supported contributions of visual expertise with larger inversion effects for typical over atypical postures. Thus, both types of expertise affect the visual perception of bodies. [ABSTRACT FROM AUTHOR]