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In 1932, Frederic Bartlett laid the foundation for the later schema theory. His key assumption of previous knowledge affecting the processing of new stimuli was illustrated in the famous "portrait d'homme" series. Sequenced reproductions of ambiguous stimuli showed progressive object-likeness. As Bartlett pointed out, activation of specific schemata, for instance "the face schema", biases memory retrieval towards such schemata. In five experiments (Experiment 1, n = 53; Experiment 2, n = 177; Experiment 3, n = 36; Experiment 4, n = 6; Experiment 5, n = 2), we tested several factors potentially influencing retrieval biases-for example, by varying the general procedure of reproduction (repeated vs. serial) and by omitting versus providing visual or semantic cues for activating face schemata. Participants inspected face-like stimuli with the caption "portrait of the human" and reproduced them repeatedly under specific conditions. None of the experiments revealed a systematic tendency towards Bartlett's described case, even when the participants were explicitly instructed to draw "a face" like the previously inspected one. In one of the "serial reproduction" experiments, we even obtained contrary effects with decreasing face-likeness over the reproduction generations. A close analysis of the original findings raises questions about the replicability of Bartlett's findings, qualifying the "portrait d'homme" series more or less as an illustrative example of the main idea of reconstructive memory.

The GANE (glutamate amplifies noradrenergic effects) model described by Mather et al. offers a neurophysiological basis for the arousal mechanism which is essential for empirical aesthetics and Gestalt processing. More generally, the core principle of perception can be interpreted as a continuous processing of competing arousal states, yielding selective amplification and inhibition of percepts to deduce the meaning of a scene.

Ambivalent pictures offer several interpretations of different valence-e.g., some photographs by Claudia Otto document scenes which can be perceived as sad or happy, dangerous or sweet, and so on. We show that task experiences influence the experienced valence of these images. Previous work already documented that responses to images are task-dependent and self-created insights heighten pleasure. A resulting positive mood and high self-efficacy might broaden attention to positive valence. In contrast, low self-efficacy leads to the prediction of negative task experiences and strengthens the salience of a positive experience. In our study, participants rated the valence of ambivalent photographs to be more positive after positive feedback regarding the accomplishment of a precedent puzzle. We revealed a trend of positive feedback being more effective when it followed negative experiences. The experience of ambivalent images is strongly linked to mood and self-efficacy and both is influenced by taskexperiences in psycho-aesthetic studies.

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