Statements such as “X is beautiful but I don’t like how it looks” or “I like how X looks but it is not beautiful” sound contradictory. How contradictory they sound might however depend on the object X and on the aesthetic adjective being used (“beautiful”, “elegant”, “dynamic”, etc.). In our study, the first sentence was estimated to be more contradictory than the latter: If we describe something as beautiful, we often intend to evaluate its appearance, whereas it is less counterintuitive (...) to appreciate an appearance without finding it beautiful. Furthermore, statements including “beautiful” appeared more contradictory than those including “elegant” and “dynamic”, pointing to its greater evaluative component. When related to artworks, sentences could appear less contradictory due to readers’ consideration of the divergence between conventional beauty and art-related sensory pleasures that can even include negative valence. Such ambivalence might be more frequent in art-objects than in other artefacts. Indeed, in our study, sentences referring to artworks were estimated to be less contradictory compared to sentences referring to other artefacts. Meanwhile, an additional small group of graphic design students showed a less clear difference between art-related and non-art-related sentences. We discuss the potential influence of art experience and interest as well as theoretical and methodological challenges like the conceptualization of beauty. (shrink)

The ability to read emotions in faces helps humans efficiently assess social situations. We tested how this ability is affected by aspects of familiarization with face masks and personality, with a focus on emotional intelligence. To address aspects of the current pandemic situation, we used photos of not only faces per se but also of faces that were partially covered with face masks. The sample, the size of which was determined by an a priori power test, was recruited in Germany (...) and consisted of healthy individuals of different ages [M = 24.8 years]. Participants assessed the emotional expressions displayed by six different faces determined by a 2 × 3 design. Each person was presented with six different emotional displays with or without a face mask. Accuracy and confidence were lower with masks—in particular for the emotion disgust but also for happiness, anger, and sadness. When comparing the present data collected in July 2021 with data from a different sample collected in May 2020, when people first started to familiarize themselves with face masks in Western countries during the first wave of the COVID-19 pandemic, we did not detect an improvement in performance. There were no effects of participants’ emotional intelligence, sex, or age regarding their accuracy in assessing emotional states in faces for unmasked or masked faces. (shrink)

The enhancement of social inclusion is a key to maintaining cohesion in society and to foster the benefits of cultural diversity. Using insights from the Dual Identity Model with a special focus on active categorization, we develop an intervention to increase social inclusion. Our intervention encourages the participants to categorize on a superordinate level while being exposed to their own culture. Across a set of experiments, we test the efficacy of our intervention against control conditions on the effect of social (...) inclusion, measured by perceived social distance. Results show an increase in cultural closeness and provide preliminary support for the use of a DIM-based intervention to increase intercultural inclusion. (shrink)

BackgroundWhile neighborhood safety and stranger danger have been mostly canonized to play a part in parents’ physical activity avoidance, less is known about the impact of parental stress and perceived risk on children’s PA avoidance and consequently on children’s level of PA and wellbeing. Understanding the contributors to children’s wellbeing during pandemic disease is the first critical step in contributing to children’s health during epidemic diseases.MethodsThis study employed 276 healthy children, aged 10–12 years, and their parents. Data were collected in (...) October and November 2020, about 9 months after the local closing of schools due to the coronavirus disease 2019 pandemic. Parents and children answered a separate set of questions. Besides the demographic information, the parents responded to questions on their stress level, perceived risk of COVID-19, and PA avoidance for children. Children responded to questions on their PA and wellbeing in the last week. Data were analyzed using SmartPLS and IBM SPSS 22.ResultsThe result of the study supported the four directional research hypotheses of the sequential study model. As hypothesized, parents’ stress and perceived risk levels of COVID-19 negatively affected children’s PA. The PA level was shown to predict children’s wellbeing and mental health. Housing type, parents’ job security, number of siblings, number of members living together in-home, and history of death or hospitalization of relatives or family members due to COVID-19 were found to be associated with parents’ stress and children’s mental health.ConclusionThis study sheds light on parents’ role in children’s wellbeing and mental health during the COVID-19 pandemic. Parents with higher stress and high restrictive behaviors might put their children at risk of mental disorders in the end. (shrink)

Driving a car is a highly visual task. Despite the trend towards increased driver assistance and autonomous vehicles, drivers still need to interact with the car for both driving and non-driving relevant tasks, at times simultaneously. The often-resulting high cognitive load is a safety issue which can be addressed by providing the driver with alternative feedback modalities, such as haptics. Recent trends in the automotive industry are moving towards the seamless integration of control elements through touch-sensitive surfaces. Psychological knowledge on (...) optimally utilizing haptic technologies remains limited. The literature on automotive haptic feedback consists mainly of singular findings without putting them into a broader user context with respect to haptic design of interfaces. Moreover, haptic feedback has primarily been limited to the confirmation of control actions rather than the searching or finding of control elements, the latter of which becomes particularly important considering the current trends. This paper presents an integrated framework on haptic processing in automotive user interfaces and provides guidelines for haptic design of user interfaces in car interiors. (shrink)

One point that definitions of art experience disagree about is whether this kind of experience is qualitatively different from experiences related to ordinary objects and everyday contexts. Here, we follow an ecological approach assuming that art experience has its own specific quality that is, not least, determined by typical contexts of art presentation. Practically, we systematically observe typical phenomena of experiencing art in ecologically valid or real-world settings such as museum contexts. Based on evidences gained in this manner, we emulate (...) and implement essential properties of ecological contexts (e.g., free choice of viewing distance and time, large scale of artworks and exhibition-like context) in controlled laboratory experiments. We found, for instance, that for large scale paintings by Pollock and Rothko preferred viewing distances as well as distances inducing most intense art experiences including Aesthetic Aha insights were much larger than typical viewing distances realized in lab studies. Following Carbon’s (2019) terminology of measurement strategies of art experience, the combined use of “Path #1” (real-world context) and “Path #2” (mildly controlled, still ecologically valid settings and contexts), enables us to understand and investigate much closer what is really happening when people experience art. (shrink)

Jeffery et al. extensively and thoroughly describe how different species navigate through a three-dimensional environment. Undeniably, the world offers numerous three-dimensional opportunities. However, we argue that for most navigation tasks a two-dimensional representation is nevertheless sufficient, as physical conditions and limitations such as gravity, thermoclines, or layers of earth encountered in a specific situation provide the very elevation data the navigating individual needs.