Despite the presumed ability of insight problems to elicit the subjective feeling of insight, as well as the use of so-called insight problems to investigate this phenomenon for over 100 years, no ...research has collected normative data regarding the ability of insight problems to actually elicit the feeling of insight in a given individual. The work described in this article provides an overview of both classic and contemporary problems used to examine the construct of insight and presents normative data on the success rate, mean time to solution, and mean rating of aha experience for each problem and task type. We suggest using these data in future work as a reference for selecting problems on the basis of their ability to elicit an aha experience.
Everyone has their own unique version of the visual world and there has been growing interest in understanding the way that personality shapes one's perception. Here, we investigated meaningful ...visual experiences in relation to the personality dimension of schizotypy. In a novel approach to this issue, a non-clinical sample of subjects (total n = 197) were presented with calibrated images of scenes, cartoons and faces of varying visibility embedded in noise; the spatial properties of the images were constructed to mimic the natural statistics of the environment. In two experiments, subjects were required to indicate what they saw in a large number of unique images, both with and without actual meaningful structure. The first experiment employed an open-ended response paradigm and used a variety of different images in noise; the second experiment only presented a series of faces embedded in noise, and required a forced-choice response from the subjects. The results in all conditions indicated that a high positive schizotypy score was associated with an increased tendency to perceive complex meaning in images comprised purely of random visual noise. Individuals high in positive schizotypy seemed to be employing a looser criterion (response bias) to determine what constituted a 'meaningful' image, while also being significantly less sensitive at the task than those low in positive schizotypy. Our results suggest that differences in perceptual performance for individuals high in positive schizotypy are not related to increased suggestibility or susceptibility to instruction, as had previously been suggested. Instead, the observed reductions in sensitivity along with increased response bias toward seeing something that is not there, indirectly implicated subtle neurophysiological differences associated with the personality dimension of schizotypy, that are theoretically pertinent to the continuum of schizophrenia and hallucination-proneness.
Naming unrelated words predicts creativity Olson, Jay A.; Nahas, Johnny; Chmoulevitch, Denis ...
Proceedings of the National Academy of Sciences - PNAS,
06/2021, Letnik:
118, Številka:
25
Journal Article
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Significance
Many traditional measures of creativity require time-intensive and subjective scoring procedures. Their scores are relative to the specific sample, which makes multicultural or ...international assessments difficult. Our results show that a shorter and simpler task with automatic and objective scoring may be at least as reliable at measuring verbal creativity. This finding enables assessments across larger and more diverse samples with less bias.
Several theories posit that creative people are able to generate more divergent ideas. If this is correct, simply naming unrelated words and then measuring the semantic distance between them could serve as an objective measure of divergent thinking. To test this hypothesis, we asked 8,914 participants to name 10 words that are as different from each other as possible. A computational algorithm then estimated the average semantic distance between the words; related words (e.g., cat and dog) have shorter distances than unrelated ones (e.g., cat and thimble). We predicted that people producing greater semantic distances would also score higher on traditional creativity measures. In Study 1, we found moderate to strong correlations between semantic distance and two widely used creativity measures (the Alternative Uses Task and the Bridge-the-Associative-Gap Task). In Study 2, with participants from 98 countries, semantic distances varied only slightly by basic demographic variables. There was also a positive correlation between semantic distance and performance on a range of problems known to predict creativity. Overall, semantic distance correlated at least as strongly with established creativity measures as those measures did with each other. Naming unrelated words in what we call the Divergent Association Task can thus serve as a brief, reliable, and objective measure of divergent thinking.
The feeling of insight in problem solving is typically associated with the sudden realization of a solution that appears obviously correct (Kounios et al., 2006). Salvi et al. (2016) found that a ...solution accompanied with sudden insight is more likely to be correct than a problem solved through conscious and incremental steps. However, Metcalfe (1986) indicated that participants would often present an inelegant but plausible (wrong) answer as correct with a high feeling of warmth (a subjective measure of closeness to solution). This discrepancy may be due to the use of different tasks or due to different methods in the measurement of insight (i.e., using a binary vs. continuous scale). In three experiments, we investigated both findings, using many different problem tasks (e.g., Compound Remote Associates, so-called classic insight problems, and non-insight problems). Participants rated insight-related affect (feelings of Aha-experience, confidence, surprise, impasse, and pleasure) on continuous scales. As expected we found that, for problems designed to elicit insight, correct solutions elicited higher proportions of reported insight in the solution compared to non-insight solutions; further, correct solutions elicited stronger feelings of insight compared to incorrect solutions.
Cultures around the world organize stars into constellations, or asterisms, and these groupings are often considered to be arbitrary and culture specific. Yet there are striking similarities in ...asterisms across cultures, and groupings such as Orion, the Big Dipper, the Pleiades, and the Southern Cross are widely recognized across many different cultures. Psychologists have informally suggested that these shared patterns are explained by Gestalt laws of grouping, but there have been no systematic attempts to catalog asterisms that recur across cultures or to explain the perceptual basis of these groupings. Here, we compiled data from 27 cultures around the world and found that a simple computational model of perceptual grouping accounts for many of the recurring cross-cultural asterisms. Our results suggest that basic perceptual principles account for more of the structure of asterisms across cultures than previously acknowledged and highlight ways in which specific cultures depart from this shared baseline.
The ability of subjects to identify and reproduce brief temporal intervals is influenced by many factors whether they be stimulus-based, task-based or subject-based. The current study examines the ...role individual differences play in subsecond and suprasecond timing judgments, using the schizoptypy personality scale as a test-case approach for quantifying a broad range of individual differences. In two experiments, 129 (Experiment 1) and 141 (Experiment 2) subjects completed the O-LIFE personality questionnaire prior to performing a modified temporal-bisection task. In the bisection task, subjects responded to two identical instantiations of a luminance grating presented in a 4deg window, 4deg above fixation for 1.5 s (Experiment 1) or 3 s (Experiment 2). Subjects initiated presentation with a button-press, and released the button when they considered the stimulus to be half-way through (750/1500 ms). Subjects were then asked to indicate their 'most accurate estimate' of the two intervals. In this way we measure both performance on the task (a first-order measure) and the subjects' knowledge of their performance (a second-order measure). In Experiment 1 the effect of grating-drift and feedback on performance was also examined. Experiment 2 focused on the static/no-feedback condition. For the group data, Experiment 1 showed a significant effect of presentation order in the baseline condition (no feedback), which disappeared when feedback was provided. Moving the stimulus had no effect on perceived duration. Experiment 2 showed no effect of stimulus presentation order. This elimination of the subsecond order-effect was at the expense of accuracy, as the mid-point of the suprasecond interval was generally underestimated. Response precision increased as a proportion of total duration, reducing the variance below that predicted by Weber's law. This result is consistent with a breakdown of the scalar properties of time perception in the early suprasecond range. All subjects showed good insight into their own performance, though that insight did not necessarily correlate with the veridical bisection point. In terms of personality, we found evidence of significant differences in performance along the Unusual Experiences subscale, of most theoretical interest here, in the subsecond condition only. There was also significant correlation with Impulsive Nonconformity and Cognitive Disorganisation in the sub- and suprasecond conditions, respectively. Overall, these data support a partial dissociation of timing mechanisms at very short and slightly longer intervals. Further, these results suggest that perception is not the only critical mitigator of confidence in temporal experience, since individuals can effectively compensate for differences in perception at the level of metacognition in early suprasecond time. Though there are individual differences in performance, these are perhaps less than expected from previous reports and indicate an effective timing mechanism dealing with brief durations independent of the influence of significant personality trait differences.
Face-based tasks are used ubiquitously in the study of human perception and cognition. Video-based (dynamic) face stimuli are increasingly utilized by researchers because they have higher ecological ...validity than static images. However, there are few ready-to-use dynamic stimulus sets currently available to researchers that include
and
control stimuli. This paper outlines the development of three original dynamic stimulus sets: a set of emotional faces (fear and disgust), a set of non-emotional faces, and a set of car animations. Morphing software was employed to vary the intensity of the expression shown and to vary the similarity between actors. Manipulating these dimensions permits us to create tasks of varying difficulty that can be optimized to detect more subtle differences in face-processing ability. Using these new stimuli, two preliminary experiments were conducted to evaluate different aspects of facial identity recognition, emotion recognition, and non-face object discrimination. Results suggest that these five different tasks successfully avoided floor and ceiling effects in a healthy sample. A second experiment found that dynamic versions of the emotional stimuli were recognized more accurately than static versions, both for labeling, and discrimination paradigms. This indicates that, like previous emotion-only stimuli sets, the use of dynamic stimuli confers an advantage over image-based stimuli. These stimuli therefore provide a useful resource for researchers looking to investigate both emotional and non-emotional face-processing using dynamic stimuli. Moreover, these stimuli vary across crucial dimensions (i.e., face similarity and intensity of emotion) which allows researchers to modify task difficulty as required.
To understand how the visual system represents multiple moving objects and how those representations contribute to tracking, it is essential that we understand how the processes of attention and ...working memory interact. In the work described here we present an investigation of that interaction via a series of tracking and working memory dual-task experiments. Previously, it has been argued that tracking is resistant to disruption by a concurrent working memory task and that any apparent disruption is in fact due to observers making a response to the working memory task, rather than due to competition for shared resources. Contrary to this, in our experiments we find that when task order and response order confounds are avoided, all participants show a similar decrease in both tracking and working memory performance. However, if task and response order confounds are not adequately controlled for we find substantial individual differences, which could explain the previous conflicting reports on this topic. Our results provide clear evidence that tracking and working memory tasks share processing resources.
The ability of humans to identify and reproduce short time intervals (in the region of a second) may be affected by many factors ranging from the gender and personality of the individual observer, ...through the attentional state, to the precise spatiotemporal structure of the stimulus. The relative roles of these very different factors are a challenge to describe and define; several methodological approaches have been used to achieve this to varying degrees of success. Here we describe and model the results of a paradigm affording not only a first-order measurement of the perceived duration of an interval but also a second-order metacognitive judgement of perceived time. This approach, we argue, expands the form of the data generally collected in duration-judgements and allows more detailed comparison of psychophysical behavior to the underlying theory. We also describe a hierarchical Bayesian measurement model that performs a quantitative analysis of the trial-by-trial data calculating the variability of the temporal estimates and the metacognitive judgments allowing direct comparison between an actual and an ideal observer. We fit the model to data collected for judgements of 750 ms (bisecting 1500 ms) and 1500 ms (bisecting 3000 ms) intervals across three stimulus modalities (visual, audio, and audiovisual). This enhanced form of data on a given interval judgement and the ability to track its progression on a trial-by-trial basis offers a way of looking at the different roles that subject-based, task-based and stimulus-based factors have on the perception of time.
Mental imagery refers to the ability to generate images in the “mind's eye” in the absence of external stimulation (i.e., quasi-percepts), which allows us to conflate past and current events with ...imaginary futures in the ongoing narratives of ourselves. As such, mental imagery is likely to be associated with prosociality, emotional self-awareness, and aesthetic experiences, but empirical evidence is still limited. Experiment 1 examined if differences in styles of mental imagery were associated with social cognition and emotional self-awareness, while Experiment 2 examined if those imagery styles were associated with the aesthetic appreciation of visual forms of art. The findings showed that object-oriented imagery was associated with prosocial traits (empathy and the ability to be transported into fictional worlds), but not with perspective taking. Spatial-oriented imagery was associated with an increased difficulty describing one's own feelings, while verbal-oriented imagery was associated with a better understanding of one's own feelings. Visual styles of imagery (object, spatial) predicted some of the variation in the aesthetic appreciation of photographs (but not paintings), and such relationship was moderated by the vividness of the imagery (but not by art experience). Conversely, art experience (but not vividness) was a moderator of the appreciation of paintings, but only in individuals with a weak object-oriented imagery. The results point to reliable associations of mental imagery with prosociality and emotional self-awareness and support a role for imagery in fine-tuning the aesthetic appreciation of visual art, and in inner simulations underpinning an adaptive imagination. (PsycInfo Database Record (c) 2023 APA, all rights reserved) (Source: journal abstract)
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