The aim of the current research was to explore whether we can improve the recognition of cross-cultural freely-expressed emotional faces in British participants. We tested several methods for improving the recognition of freely-expressed emotional faces, such as different methods for presenting other-culture expressions of emotion from individuals from Chile, New Zealand and Singapore in two experimental stages. In the first experimental stage, in phase one, participants were asked to identify the emotion of cross-cultural freely-expressed faces. In the second phase, different cohorts were presented with interactive side-by-side, back-to-back and dynamic morphing of cross-cultural freely-expressed emotional faces, and control conditions. In the final phase, we repeated phase one using novel stimuli. We found that all non-control conditions led to recognition improvements. Morphing was the most effective condition for improving the recognition of cross-cultural emotional faces. In the second experimental stage, we presented morphing to different cohorts including own-to-other and other-to-own freely-expressed cross-cultural emotional faces and neutral-to-emotional and emotional-to-neutral other-culture freely-expressed emotional faces. All conditions led to recognition improvements and the presentation of freely-expressed own-to-other cultural-emotional faces provided the most effective learning. These findings suggest that training can improve the recognition of cross-cultural freely-expressed emotional expressions.

Everyday experiences suggest that a container, such as a box of chocolate sprinkles, can convey pertinent information about the nature of its content. Despite the familiarity of the experience, we do not know whether people can perceive the number of objects in the container from touch alone and how accurately they can do so. In three experiments, participants handled containers holding between one and five objects and verbally estimated their number. Containers were small cardboard jewelry boxes, and objects were round beads of varying diameter and weight. Any useful visual and auditory cues were precluded. Experiment 1 demonstrated very accurate performance, provided the objects were of sufficient weight. Experiment 2 demonstrated that withholding information about the possible number of objects inside the container does not affect accuracy at a group level but does produce occasional overestimations at an individual level. Experiment 3 demonstrated that removing the weight cue leads to systematic underestimations but does not eliminate people's ability to distinguish between different numbers of objects in the container. This study contributes to a growing picture that container haptics is surprisingly capable.

The negative side effects of mask-wearing on reading facial emotional cues have been investigated in several studies with adults post-2020. However, little is known about children. This study aimed to determine the negative influence of mask-wearing on reading emotions of adult faces by Japanese school-aged children, compared to Japanese adults. We also examined whether this negative influence could be alleviated by using a transparent face mask instead of an opaque one (surgical mask). The performance on reading emotions was measured using emotion categorization and emotion intensity rating tasks for adult faces. As per the findings, the accuracy of emotion recognition in children was impaired for various facial expressions (disgust, fear, happy, neutral, sad, and surprise faces), except for angry faces. Conversely, in adults, it was impaired for a few facial expressions. The perceived intensity for happy faces with a surgical mask was weaker in both children and adults than in those without the mask. A negative influence of wearing surgical masks was generally not observed for faces wearing a transparent mask in both children and adults. Thus, negative side effects of mask-wearing on reading emotions are observed for more facial expressions in children than in adults; transparent masks can help remedy these.

Several features of tactile stimuli modulate the perceived distance between touches. In particular, distances are perceived as farther apart when the time interval between them is longer, than when it is shorter. Such effects have been interpreted as a form of 'psychological relativity', analogous to Einstein's conception of a four-dimensional space-time. We investigated whether similar effects occur for stimulus features other than time, specifically stimulus intensity. We hypothesised that perceived distance would be increased when the two stimuli differed in intensity, since they would then be farther apart in a multi-dimensional feature space. Participants made verbal estimates of the perceived distance between two touches on their left hand. Intensity was manipulated such that both stimuli could be intense, both could be light, or one could be intense and the other light. We found no evidence for change in perceived tactile distance when stimuli intensity mis-matched. In contrast, there were clear effects of average stimulus intensity on perceived distance. Intense stimuli were judged as farther apart than light stimuli, and mixed stimuli were intermediate. These results are consistent with theories of general magnitude representation, which argue that multiple dimensions of magnitude are dependent on a shared underlying representation of domain-general magnitude.

Whether the direction of a hand motion that is congruent or incongruent with a concurrent target motion can influence representational momentum for that target was examined. Participants viewed a leftward or rightward moving target while moving their hand rightward, leftward, or not moving their hand. Prior studies of mental rotation found that congruency or incongruency of the direction of mental rotation and the direction of a concurrent physical rotation of a stimulus influenced mental rotation. As mental rotation and representational momentum each involve extrapolation of target motion, it could be predicted that congruency of the direction of hand motion and the direction of target motion might influence representational momentum of the target. Robust representational momentum occurred in all conditions, but there was no effect of congruency of hand motion and target motion, nor of the presence or absence of hand motion, on representational momentum. The results are consistent with a hypothesis that the generation of representational momentum involves sensory processes rather than motor processes.

Research has demonstrated that attractiveness evaluations of adult faces were less accurate when faces were inverted than upright. It remains unknown, however, whether a similar effect applies to perceived cuteness of infants, which is assumed to be based on elemental facial features called the "baby schema." In this research, we studied the face inversion effect on perceived cuteness of infant faces in a rating task and a two-alternative forced-choice (2AFC) task. We also examined beauty as a control dimension. Although the rating task revealed no inversion effect, the 2AFC task showed poorer discrimination performance with inverted faces than with upright faces in both evaluations. These results indicate that infant cuteness and beauty dimensions are correlated well with each other, and their perception not only relies on elemental features that are not strongly affected by inversion but is also affected by holistic facial configurations when a detailed comparison is required.

The cone of gaze is a looker's range of gaze directions that is accepted as direct by an observer. The present research asks how the condition of mild strabismus, that is, when the two eyes point in slightly different directions, influences the cone of gaze. Normally, both eyes are rotated in a coordinated manner such that both eyes are directed to the same fixation point. With strabismus, there are two fixation points, and, therefore, two directions into which the two eyes point. This raises the question of the direction and the shape (i.e., width) of the gaze cone. Two experiments are conducted with simulated mild strabismus. Three conditions are tested, the two strabismic conditions of esotropia, and exotropia and one orthotropic (nonstrabismic) condition. Results show that the direction of the gaze cone is roughly the average of the directions of the two eyes. Furthermore, the width of the gaze cone is not affected by simulated strabismus and is thus the same for the strabismic and the orthotropic conditions. The results imply a model where at first the direction of gaze based on both eyes is perceived, and where the gaze cone is implied on the basis of the combined gaze direction.

In this study, we used a novel application of the previous paradigm provided by Pomplun to examine the eye movement strategies of using minimal working memory in visual comparison. This paradigm includes two tasks: one is a free comparison and the other is a single sequential comparison. In the free comparison, participants can freely view two horizontally presented stimuli until they judge whether the two stimuli are the same or not. In the single sequential comparison, participants can only view the left-side stimuli one time, and when their eyes cross the invisible boundary at the center of the screen, the left-side stimuli disappear and the right-side stimuli appear. Participants need to judge whether the right-side stimuli are the same as the disappeared left-side stimuli. Eye movement data showed significant differences between the single sequential comparison and free comparison tasks that suggests the use of minimal working memory in free comparison. Moreover, when the number of items was more than three, an average of 2.87 items would be processed in each view sequence. Participants also used the alternating left-right reference strategy that made the shortest scan path with the use of minimal working memory. The typical eye movement strategy in visual comparison and its theoretical significance were discussed.

Presenting more items within a space makes the space look and feel bigger. Presenting more tones within a time interval makes the interval seem longer. Does presenting more visual items also make a time interval seem longer? Does it matter what these items are? A series of 2-4 images were presented sequentially on a screen. Participants had to press the spacebar to indicate either the interval between the first and the last item or the intervals between all items. The first and last items were red squares with onset asynchronies of 700, 900, or 1,100 ms. We found that the times between key presses were longer when additional items had different shapes and colors than when they were also red squares. With only red squares, the time may even decrease with the number of items. Whether one had to tap for all targets or only the first and the last hardly mattered.