Search

Ambiguous silhouettes representing human individuals which perform unimanual actions are interpreted more often as right-handed. Such a preference might reflect a perceptual frequency effect, due to the fact that most social interactions occur with right-handers. As a consequence, observers would preferentially attend to the region in which others' dominant hand usually falls, thus increasing the efficiency in monitoring both aggressive and communicative acts. Given that men can be more dangerous compared with women, the right-hand bias should be larger when observing male rather than female individuals, and given that aggressive interactions involve men more frequently than women, it should be larger in male rather than female observers. However, previous studies did not specifically test whether: (i) male—compared with female—observers pay more attention to the right side of others (regardless of the observed individuals' sex), or (ii) observers (regardless of their sex) pay more attention to the right side of male—compared with female—individuals. Therefore, in the present study we used ambiguous human silhouettes rotating about their vertical axis with one arm extended in order to determine whether the rightward bias is larger for male rather than female figures and/or in male rather than female participants. According to our data, the bias toward the right side of human bodies was not significantly associated with either the figure's or the participant's sex. [ABSTRACT FROM AUTHOR]

The 'silhouette illusion', representing the silhouette of a female dancer pirouetting about her vertical axis, is a bistable stimulus created by Japanese web designer Nobuyuki Kayahara. Although the dancer can be perceived as spinning either clockwise or counterclockwise, the clockwise rotation is usually preferred. Troje and McAdam ( i-Perception, 2010, 1, 143) showed that this clockwise bias can be attributed to the tendency to assume a viewpoint from above rather than from below, given that the dancer is portrayed from a vantage point that is not perpendicular to the axis of rotation. Here, we tested whether another possible factor contributing to the observers' interpretation of this bistable stimulus might be the tendency to perceive movements of the right rather than the left foot. We confirmed both the viewing-from-above bias and our hypothesis. The bias to perceive movements of the right leg might be a generalization to lower limbs of a perceptual frequency effect already observed for upper limbs. Such a perceptual and attentional bias towards the right hand/foot could account for the greater ability to predict the outcome of sport actions when observing right- rather than left-limbed movements, and thus the left-handers' and left-footers' advantage observed in a variety of interactive sports. [ABSTRACT FROM AUTHOR]

Many lateral biases exist in human behavior, often implicit and not deliberated. Romantic kissing and embracing received experimental attention in the last three decades. We investigated laterality in paintings depicting these social interactions using two methodologies to assess whether painters depicted such biases and whether these biases could be due to observers’ aesthetic preferences or painters’ ability in portraying naturalistic interactions. In Study 1, we inspected about 190,000 artworks available online to classify leftward and rightward biases in romantic kisses and embraces. The comparison of 103 paintings depicting clearly lateralized interactions revealed a significant rightward bias in romantic kissing (66%) and a trend toward a leftward bias (62%) for embraces, aligning with naturalistic studies of human interactions. In Study 2, 128 participants expressed their aesthetic preference between the paintings selected in Study 1 and their vertically mirrored versions. A preference for the original paintings over their mirrored versions emerged, especially when presented in the upper portion of the screen, but no significant preference for the typical lateralization of kissing and embracing was found. These findings suggest that artists’ alignment with naturalistic biases could be due to familiarity and exposure to asymmetric interactions rather than observers’ aesthetic preferences. [ABSTRACT FROM AUTHOR]