Looking behaviour and preference for artworks: The role of emotional valence and location

The position of an item influences its evaluation, with research consistently finding that items occupying central locations are preferred and have a higher subjective value. The current study investigated whether this centre-stage effect (CSE) is a result of bottom-up gaze allocation to the central item, and whether it is affected by item valence. Participants (n=50) were presented with three images of artistic paintings in a row and asked to choose the image they preferred. Eye movements were recorded for a subset of participants (n=22). On each trial the three artworks were either similar but different, or were identical and with positive valence, or were identical and with negative valence. The results showed a centre-stage effect, with artworks in the centre of the row preferred, but only when they were identical and of positive valence. Significantly greater gaze allocation to the central and left artwork was not mirrored by equivalent increases in preference choices. Regression analyses showed that when the artworks were positive and identical the participants’ last fixation predicted preference for the central art-work, whereas the fixation duration predicted preference if the images were different. Overall the result showed that item valence, rather than level of gaze allocation, influences the CSE, which is incompatible with the bottom-up gaze explanation. We propose that the centre stage heuristic, which specifies that the best items are in the middle, is able to explain these findings and the centre-stage effect

Reduced specificity of negative autobiographical memories in repressive coping

The current study examined memory specificity of autobiographical memories in individuals with and without a repressive coping style. It seems conceivable that reduced memory specificity may be a way to reduce accessibility of negative experiences, one of the hallmark features of a repressive coping style. It was therefore hypothesized that repressors would show reduced specificity when retrieving negative memories. In order to study memory specificity, participants (N¼103) performed the autobiographical memory test. Results showed that individuals with a repressive coping style were significantly less specific in retrieving negative experiences, relative to control groups of low anxious, high anxious, and defensive high anxious individuals. This result was restricted to negative memory retrieval, as participants did not differ in memory specificity for positive experiences. These results show that repressors retrieve negative autobiographical memories in an overgeneral way, possibly in order to avoid negative affect

Reduced specificity of negative autobiographical memories in repressive coping

The current study examined memory specificity of autobiographical memories in individuals with and without a repressive coping style. It seems conceivable that reduced memory specificity may be a way to reduce accessibility of negative experiences, one of the hallmark features of a repressive coping style. It was therefore hypothesized that repressors would show reduced specificity when retrieving negative memories. In order to study memory specificity, participants (N¼103) performed the autobiographical memory test. Results showed that individuals with a repressive coping style were significantly less specific in retrieving negative experiences, relative to control groups of low anxious, high anxious, and defensive high anxious individuals. This result was restricted to negative memory retrieval, as participants did not differ in memory specificity for positive experiences. These results show that repressors retrieve negative autobiographical memories in an overgeneral way, possibly in order to avoid negative affect

Looking behaviour and preference for artworks: The role of emotional valence and location

The position of an item influences its evaluation, with research consistently finding that items occupying central locations are preferred and have a higher subjective value. The current study investigated whether this centre-stage effect (CSE) is a result of bottom-up gaze allocation to the central item, and whether it is affected by item valence. Participants (n=50) were presented with three images of artistic paintings in a row and asked to choose the image they preferred. Eye movements were recorded for a subset of participants (n=22). On each trial the three artworks were either similar but different, or were identical and with positive valence, or were identical and with negative valence. The results showed a centre-stage effect, with artworks in the centre of the row preferred, but only when they were identical and of positive valence. Significantly greater gaze allocation to the central and left artwork was not mirrored by equivalent increases in preference choices. Regression analyses showed that when the artworks were positive and identical the participants’ last fixation predicted preference for the central art-work, whereas the fixation duration predicted preference if the images were different. Overall the result showed that item valence, rather than level of gaze allocation, influences the CSE, which is incompatible with the bottom-up gaze explanation. We propose that the centre stage heuristic, which specifies that the best items are in the middle, is able to explain these findings and the centre-stage effect