The relation between symmetry in food packaging and approach and avoidance words.

Research on aesthetic science has demonstrated that people generally prefer symmetrical over asymmetrical compositions. However, it remains unclear whether and how such compositions relate to the concepts of approach and avoidance motivation, especially in consumer contexts. In addition, it is not known how symmetry may influence such concepts in contexts where objects can differ in terms of their hedonic values (symmetry/product taste congruency). In the present research, we evaluated the relation between visual symmetry of the packaging of products with different hedonic value (sweet, non-sweet, non-food) and approach and avoidance words. In two experiments, we found evidence that people associate symmetrical designs with approach words more often than asymmetrical designs. Importantly, however, we did not find evidence that such an effect is influenced by the hedonic value of the products. Our results have value for scholars and practitioners interested in the effect of aesthetic features of brand elements (such as a product's packaging) on consumer motivation.

Impaired Recognition of Basic Emotions from Facial Expressions in Young People with Autism Spectrum Disorder: Assessing the Importance of Expression Intensity.

It has been proposed that impairments in emotion recognition in ASD are greater for more subtle expressions of emotion. We measured recognition of 6 basic facial expressions at 8 intensity levels in young people (6-16 years) with ASD (N = 63) and controls (N = 64) via an Internet platform. Participants with ASD were less accurate than controls at labelling expressions across intensity levels, although differences at very low levels were not detected due to floor effects. Recognition accuracy did not correlate with parent-reported social functioning in either group. These findings provide further evidence for an impairment in recognition of basic emotion in ASD and do not support the idea that this impairment is limited solely to low intensity expressions.

"Seeing What's Left": The Effect of Position of Transparent Windows on Product Evaluation.

The position of design elements on product packaging has been shown to exert a measurable impact on consumer perception across a number of different studies and product categories. Design elements previously found to influence the consumer through their positioning on the front of pack include product imagery, brand logos, text-based claims, and basic shapes. However, as yet, no empirical research has focused specifically on the relative position of transparent windows; despite the latter being an increasingly prevalent element of many modern packaging designs. This exploratory online study details an experimental investigation of how manipulating the position of a transparent window on a range of visually-presented, novel packaging designs influences consumer evaluations and judgements of the product seen within. Specifically, 110 participants rated 24 different packaging designs (across four product categories: granola, boxed chocolates, pasta, and lemon mousse; each with six window positions: in one of the four quadrants, the top half, or the bottom half) in a within-participants experimental design. Analyses were conducted using Friedman's tests and Hochberg procedure-adjusted Wilcoxon Signed-Rank Tests. Window position was found to be a non-trivial element of design, with a general preference for windows on the right-hand side being evidenced. Significantly higher scores for expected product tastiness and design attractiveness were consistently identified across all product categories when windows were positioned on the right- vs. left-hand side of the packaging. Effects on the perception of powerfulness, overall liking, quality, and willingness to purchase were identified, but were inconsistent across the different product categories. Very few effects of window verticality were identified, with expected weight of the product not being significantly influenced by window position. The implications of these findings for academics, designers, and brand managers are discussed, with future research directions highlighted.

Why rate when you could compare? Using the "EloChoice" package to assess pairwise comparisons of perceived physical strength.

We introduce "EloChoice", a package for R which uses Elo rating to assess pairwise comparisons between stimuli in order to measure perceived stimulus characteristics. To demonstrate the package and compare results from forced choice pairwise comparisons to those from more standard single stimulus rating tasks using Likert (or Likert-type) items, we investigated perceptions of physical strength from images of male bodies. The stimulus set comprised images of 82 men standing on a raised platform with minimal clothing. Strength-related anthropometrics and grip strength measurements were available for each man in the set. UK laboratory participants (Study 1) and US online participants (Study 2) viewed all images in both a Likert rating task, to collect mean Likert scores, and a pairwise comparison task, to calculate Elo, mean Elo (mElo), and Bradley-Terry scores. Within both studies, Likert, Elo and Bradley-Terry scores were closely correlated to mElo scores (all rs > 0.95), and all measures were correlated with stimulus grip strength (all rs > 0.38) and body size (all rs > 0.59). However, mElo scores were less variable than Elo scores and were hundreds of times quicker to compute than Bradley-Terry scores. Responses in pairwise comparison trials were 2/3 quicker than in Likert tasks, indicating that participants found pairwise comparisons to be easier. In addition, mElo scores generated from a data set with half the participants randomly excluded produced very comparable results to those produced with Likert scores from the full participant set, indicating that researchers require fewer participants when using pairwise comparisons.

Using Single Colors and Color Pairs to Communicate Basic Tastes II: Foreground-Background Color Combinations.

People associate basic tastes (e.g., sweet, sour, bitter, and salty) with specific colors (e.g., pink or red, green or yellow, black or purple, and white or blue). In the present study, we investigated whether a color bordered by another color (either the same or different) would give rise to stronger taste associations relative to a single patch of color. We replicate previous findings, highlighting the existence of a robust crossmodal correspondence between individual colors and basic tastes. On occasion, color pairs were found to communicate taste expectations more consistently than were single color patches. Furthermore, and in contrast to a recent study in which the color pairs were shown side-by-side, participants took no longer to match the color pairs with tastes than the single colors (they had taken twice as long to respond to the color pairs in the previous study). Possible reasons for these results are discussed, and potential applications for the results, and for the testing methodology developed, are outlined.

Using Single Colors and Color Pairs to Communicate Basic Tastes.

Recently, it has been demonstrated that people associate each of the basic tastes (e.g., sweet, sour, bitter, and salty) with specific colors (e.g., red, green, black, and white). In the present study, we investigated whether pairs of colors (both associated with a particular taste or taste word) would give rise to stronger associations relative to pairs of colors that were associated with different tastes. We replicate the findings of previous studies highlighting the existence of a robust crossmodal correspondence between individual colors and basic tastes. However, while there was evidence that pairs of colors could indeed communicate taste information more consistently than single colors, our participants took more than twice as long to match the color pairs with tastes than the single colors. Possible reasons for these results are discussed.

The Phantom Vanish Magic Trick: Investigating the Disappearance of a Non-existent Object in a Dynamic Scene.

Drawing inspiration from sleight-of-hand magic tricks, we developed an experimental paradigm to investigate whether magicians' misdirection techniques could be used to induce the misperception of "phantom" objects. While previous experiments investigating sleight-of-hand magic tricks have focused on creating false assumptions about the movement of an object in a scene, our experiment investigated creating false assumptions about the presence of an object in a scene. Participants watched a sequence of silent videos depicting a magician performing with a single object. Following each video, participants were asked to write a description of the events in the video. In the final video, participants watched the Phantom Vanish Magic Trick, a novel magic trick developed for this experiment, in which the magician pantomimed the actions of presenting an object and then making it magically disappear. No object was presented during the final video. The silent videos precluded the use of false verbal suggestions, and participants were not asked leading questions about the objects. Nevertheless, 32% of participants reported having visual impressions of non-existent objects. These findings support an inferential model of perception, wherein top-down expectations can be manipulated by the magician to generate vivid illusory experiences, even in the absence of corresponding bottom-up information.

The effects of gamelike features and test location on cognitive test performance and participant enjoyment.

Computerised cognitive assessments are a vital tool in the behavioural sciences, but participants often view them as effortful and unengaging. One potential solution is to add gamelike elements to these tasks in order to make them more intrinsically enjoyable, and some researchers have posited that a more engaging task might produce higher quality data. This assumption, however, remains largely untested. We investigated the effects of gamelike features and test location on the data and enjoyment ratings from a simple cognitive task. We tested three gamified variants of the Go-No-Go task, delivered both in the laboratory and online. In the first version of the task participants were rewarded with points for performing optimally. The second version of the task was framed as a cowboy shootout. The third version was a standard Go-No-Go task, used as a control condition. We compared reaction time, accuracy and subjective measures of enjoyment and engagement between task variants and study location. We found points to be a highly suitable game mechanic for gamified cognitive testing because they did not disrupt the validity of the data collected but increased participant enjoyment. However, we found no evidence that gamelike features could increase engagement to the point where participant performance improved. We also found that while participants enjoyed the cowboy themed task, the difficulty of categorising the gamelike stimuli adversely affected participant performance, increasing No-Go error rates by 28% compared to the non-game control. Responses collected online vs. in the laboratory had slightly longer reaction times but were otherwise very similar, supporting other findings that online crowdsourcing is an acceptable method of data collection for this type of research.

The semantic basis of taste-shape associations.

Previous research shows that people systematically match tastes with shapes. Here, we assess the extent to which matched taste and shape stimuli share a common semantic space and whether semantically congruent versus incongruent taste/shape associations can influence the speed with which people respond to both shapes and taste words. In Experiment 1, semantic differentiation was used to assess the semantic space of both taste words and shapes. The results suggest a common semantic space containing two principal components (seemingly, intensity and hedonics) and two principal clusters, one including round shapes and the taste word "sweet," and the other including angular shapes and the taste words "salty," "sour," and "bitter." The former cluster appears more positively-valenced whilst less potent than the latter. In Experiment 2, two speeded classification tasks assessed whether congruent versus incongruent mappings of stimuli and responses (e.g., sweet with round versus sweet with angular) would influence the speed of participants' responding, to both shapes and taste words. The results revealed an overall effect of congruence with congruent trials yielding faster responses than their incongruent counterparts. These results are consistent with previous evidence suggesting a close relation (or crossmodal correspondence) between tastes and shape curvature that may derive from common semantic coding, perhaps along the intensity and hedonic dimensions.

Odd versus even: a scientific study of the 'rules' of plating.

We report on the results of a series of large-scale computer-based preference tests (conducted at The Science Museum in London and online) that evaluated the widely-held belief that food should be plated in odd rather than even numbers of elements in order to maximize the visual appeal of a dish. Participants were presented with pairs of plates of food showing odd versus even number of seared scallops (3 vs. 4; 1-6 in Experiment 7), arranged in a line, as a polygon or randomly, on either a round or square white plate. No consistent evidence for a preference for odd or even numbers of food items was found, thus questioning the oft-made assertion that odd number of items on a plate looks better than an even number. The implications of these results are discussed.

Conducting perception research over the internet: a tutorial review.

This article provides an overview of the recent literature on the use of internet-based testing to address important questions in perception research. Our goal is to provide a starting point for the perception researcher who is keen on assessing this tool for their own research goals. Internet-based testing has several advantages over in-lab research, including the ability to reach a relatively broad set of participants and to quickly and inexpensively collect large amounts of empirical data, via services such as Amazon's Mechanical Turk or Prolific Academic. In many cases, the quality of online data appears to match that collected in lab research. Generally-speaking, online participants tend to be more representative of the population at large than those recruited for lab based research. There are, though, some important caveats, when it comes to collecting data online. It is obviously much more difficult to control the exact parameters of stimulus presentation (such as display characteristics) with online research. There are also some thorny ethical elements that need to be considered by experimenters. Strengths and weaknesses of the online approach, relative to others, are highlighted, and recommendations made for those researchers who might be thinking about conducting their own studies using this increasingly-popular approach to research in the psychological sciences.

The Taste of Typeface.

Previous research has demonstrated that typefaces can convey meaning over-and-above the actual semantic content of whatever happens to be written. Here, we demonstrate for the first time that people match basic taste words (sweet, sour, salty, and bitter) to typefaces varying in their roundness versus angularity. In Experiment 1, the participants matched rounder typefaces with the word "sweet," while matching more angular typefaces with the taste words "bitter," "salty," and "sour." Experiment 2 demonstrates that rounder typefaces are liked more and are judged easier to read than their more angular counterparts. We conclude that there is a strong relationship between roundness/angularity, ease of processing, and typeface liking, which in turn influences the correspondence between typeface and taste. These results are discussed in terms of the notion of affective crossmodal correspondences.

"What's Your Taste in Music?" A Comparison of the Effectiveness of Various Soundscapes in Evoking Specific Tastes.

We report on the results of two online experiments designed to compare different soundtracks that had been composed (by various researchers and sound designers) in order to evoke/match different basic tastes. In Experiment 1, 100 participants listened to samples from 24 soundtracks and chose the taste (sweet, sour, salty, or bitter) that best matched each sample. Overall, the sweet soundtracks most effectively evoked the taste intended by the composer (participants chose sweet 56.9% of the time for the sweet soundtracks), whereas the bitter soundtracks were the least effective (participants chose bitter 31.4% of the time for the bitter soundtracks), compared with chance (choosing any specific taste 25% of the time). In Experiment 2, 50 participants rated their emotional responses (in terms of pleasantness and arousal) to the same 24 soundtrack samples and also to imaginary sweet/sour/salty/bitter-tasting foods. Associations between soundtracks and tastes were partly mediated by pleasantness for the sweet and bitter tastes and partly by arousal for the sour tastes. These results demonstrate how emotion mediation may be an additional mechanism behind sound-taste correspondences.

Cross-cultural differences in crossmodal correspondences between basic tastes and visual features.

We report a cross-cultural study designed to investigate crossmodal correspondences between a variety of visual features (11 colors, 15 shapes, and 2 textures) and the five basic taste terms (bitter, salty, sour, sweet, and umami). A total of 452 participants from China, India, Malaysia, and the USA viewed color patches, shapes, and textures online and had to choose the taste term that best matched the image and then rate their confidence in their choice. Across the four groups of participants, the results revealed a number of crossmodal correspondences between certain colors/shapes and bitter, sour, and sweet tastes. Crossmodal correspondences were also documented between the color white and smooth/rough textures on the one hand and the salt taste on the other. Cross-cultural differences were observed in the correspondences between certain colors, shapes, and one of the textures and the taste terms. The taste-patterns shown by the participants from the four countries tested in the present study are quite different from one another, and these differences cannot easily be attributed merely to whether a country is Eastern or Western. These findings therefore highlight the impact of cultural background on crossmodal correspondences. As such, they raise a number of interesting questions regarding the neural mechanisms underlying crossmodal correspondences.

Cross-cultural color-odor associations.

Colors and odors are associated; for instance, people typically match the smell of strawberries to the color pink or red. These associations are forms of crossmodal correspondences. Recently, there has been discussion about the extent to which these correspondences arise for structural reasons (i.e., an inherent mapping between color and odor), statistical reasons (i.e., covariance in experience), and/or semantically-mediated reasons (i.e., stemming from language). The present study probed this question by testing color-odor correspondences in 6 different cultural groups (Dutch, Netherlands-residing-Chinese, German, Malay, Malaysian-Chinese, and US residents), using the same set of 14 odors and asking participants to make congruent and incongruent color choices for each odor. We found consistent patterns in color choices for each odor within each culture, showing that participants were making non-random color-odor matches. We used representational dissimilarity analysis to probe for variations in the patterns of color-odor associations across cultures; we found that US and German participants had the most similar patterns of associations, followed by German and Malay participants. The largest group differences were between Malay and Netherlands-resident Chinese participants and between Dutch and Malaysian-Chinese participants. We conclude that culture plays a role in color-odor crossmodal associations, which likely arise, at least in part, through experience.

Fast lemons and sour boulders: Testing crossmodal correspondences using an internet-based testing methodology.

According to a popular family of hypotheses, crossmodal matches between distinct features hold because they correspond to the same polarity on several conceptual dimensions (such as active-passive, good-bad, etc.) that can be identified using the semantic differential technique. The main problem here resides in turning this hypothesis into testable empirical predictions. In the present study, we outline a series of plausible consequences of the hypothesis and test a variety of well-established and previously untested crossmodal correspondences by means of a novel internet-based testing methodology. The results highlight that the semantic hypothesis cannot easily explain differences in the prevalence of crossmodal associations built on the same semantic pattern (fast lemons, slow prunes, sour boulders, heavy red); furthermore, the semantic hypothesis only minimally predicts what happens when the semantic dimensions and polarities that are supposed to drive such crossmodal associations are made more salient (e.g., by adding emotional cues that ought to make the good/bad dimension more salient); finally, the semantic hypothesis does not explain why reliable matches are no longer observed once intramodal dimensions with congruent connotations are presented (e.g., visually presented shapes and colour do not appear to correspond).