Attractiveness of Facial Profiles Is a Function of Distance From Archetype

Claudia, Careno; Grosofsky, Alexis; Robert, E Shaw; John, Bilques; Leonard, Sophia

doi:10.1207/s15326969eco0103_1

Cited by 19 publications

(7 citation statements)

References 21 publications

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“…In the early stages of making friends, for example, when other information is missing, physical attractiveness is crucial (Iannucci, 1991). Beautiful people are accredited with positive qualities, such as moral goodness (Dion et al, 1972) and superior biological functions (Carello, Grosofsky, Shaw, Pittenger, & Mark, 1989). They are supposed to make more appealing music (North & Hargreaves, 1997) and are allocated more social rewards (Berscheid, 1985;Eagly & Chaiken, 1993;Spitzer, Henderson, & Zivian, 1999).…”

Section: Aestheticsmentioning

confidence: 99%

Some Like It Bad: Testing a Model for Perceiving and Experiencing Fictional Characters

Konijn

Hoorn²

2005

Media Psychology

187

120

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Section: Aestheticsmentioning

confidence: 99%

Some Like It Bad: Testing a Model for Perceiving and Experiencing Fictional Characters

Konijn

Hoorn²

2005

Media Psychology

187

120

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“…Berscheid (1985) found that participants attributed more attractive inner qualities and allocated more social rewards to beautiful people. Participants judged that beautiful people have an ideal biological function, often related to reproduction (Carello, Grosofsky, Shaw, Pittenger, & Mark, 1989).…”

Section: Encode: Ethics Aesthetics and Epistemicsmentioning

confidence: 99%

Perceiving and experiencing fictional characters: An integrative account¹

Hoorn

Konijn

2003

Jpn Psychol Res

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Fictional characters (FCs) and mediated persons in literature, theater, film, art, TV, and digital media fulfill basic psychological functions, although the processes involved remain unspecified. Departing from identification and empathy hypotheses, a new context-sensitive model draws upon similarity studies, empirical aesthetics, persuasion, emotion, and social psychology. The Perceiving and Experiencing Fictional Characters model (PEFiC-model) has three phases. During encoding, observers judge FCs in terms of ethics (good-bad), aesthetics (beautiful-ugly), and epistemics (realistic-unrealistic). Comparison entails appraisals of personal relevance as well as valence towards and (dis)similarity between the dramatis personae and the self. In the response phase, appreciation of FCs is a trade-off between the parallel, unipolar processes of involvement and distance. Intricate involvement-distance conflicts occur when subjective norms disagree with ingroup norms. Furthermore, features participate in multiple (fuzzy) sets (e.g., partly good and partly bad). PEFiC can handle complex responses towards representations of (non-existent) others, such as attractive dissimilarity, the beauty in ugliness, the appeal of negative experiences, and fascination for evil, as well as mixed emotions, ambivalence, and neutral end-states that actually conceal emotional confusion.

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“…Despite these selective pressures, modern‐day research and our own judgments demonstrate that phi, averageness, and perfect symmetry are not absolute criteria for beauty. More importantly, those mathematical qualities do not necessarily contribute to what makes us recognizable or memorable as individuals …”

Section: There Is No Single Basis For Defining Beautymentioning

confidence: 99%

The signature feature^TM: A new concept in beauty

Shamban¹

2019

J of Cosmetic Dermatology

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Summary Signature FeatureTM (SF) is a universal, yet highly personalized treatment approach to aesthetic facial enhancement that applies to all patients, independent of age, gender, or ethnicity. Its philosophical basis maintains that a patient's beauty is anchored by their most distinctive invariant features (invariant features like eyes, nose, cheekbones, or jawline), and preservation of such signature features should be an essential consideration in any aesthetic treatment plan. The principles central to the SF concept include: (a) identifying the patient's most distinctive signature feature, (b) matching the patient's persona to their signature feature while preserving alignment with their cultural/ethnic aesthetic, and (c) highlighting the patient's signature feature by increasing the “signal‐to‐noise” ratio between the strength of the signature feature and those factors that may be interfering with it (lines, wrinkles, and sun damage). Every patient represents a new combination of treatment challenges which are not only related to the patient's physical baseline characteristics but also by their subjective self‐perceptions. This subjective gray area is where the SF treatment approach has the greatest contribution to the patient's positive self‐perception and self‐esteem, as the practitioner can help the patient realize their own personal brand through enhancement of their signature feature using an array of aesthetic options.

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Attractiveness of Facial Profiles Is a Function of Distance From Archetype

Cited by 19 publications

References 21 publications

Some Like It Bad: Testing a Model for Perceiving and Experiencing Fictional Characters

Some Like It Bad: Testing a Model for Perceiving and Experiencing Fictional Characters

Perceiving and experiencing fictional characters: An integrative account¹

The signature feature^TM: A new concept in beauty

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Attractiveness of Facial Profiles Is a Function of Distance From Archetype

Cited by 19 publications

References 21 publications

Some Like It Bad: Testing a Model for Perceiving and Experiencing Fictional Characters

Some Like It Bad: Testing a Model for Perceiving and Experiencing Fictional Characters

Perceiving and experiencing fictional characters: An integrative account1

The signature featureTM: A new concept in beauty

Contact Info

Product

Resources

About

Perceiving and experiencing fictional characters: An integrative account¹

The signature feature^TM: A new concept in beauty