Introducing the Open Affective Standardized Image Set (OASIS)

Kurdi, Benedek; Lozano, Shayn; Banaji, Mahzarin R.

doi:10.3758/s13428-016-0715-3

Cited by 474 publications

(449 citation statements)

References 60 publications

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“…Each trial consisted of the following events: 1) white screen with black central fixation cross (800ms); 2) neutralising or descriptive framing sentence, which remained on screen until response was made); 3) IAPS image (neg or neu; 4000ms); 4) white screen with centrally presented rating scale (1-9, remained on screen until response was made); 5) white screen with black central fixation cross (1000ms). The image shown above was selected from the OASIS images set (Kurdi, Lozano, & Banji, 2017) as a representative example and was not one of those used in the task.…”

Section: Methodsmentioning

confidence: 99%

How Cognitive and Affective Empathy Relate to Emotion Regulation: Divergent Patterns from Trait and Task-Based Measures

Thompson

Reekum

Chakrabarti

2019

Preprint

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Evidence suggests that empathy and emotion regulation may be related, but few studies have directly investigated this relationship. Here we report two experiments which examined: 1) how different components of empathy (cognitive & affective) relate to the habitual use of cognitive reappraisal to regulate emotions (N=220), and 2) how these components of empathy relate to implicit reappraisal in a context-framing task (N=92). In study 1, a positive correlation between cognitive empathy and reappraisal use was observed. Affective empathy showed no relationship with reappraisal use. In study 2, participants completed an implicit reappraisal task in which previously viewed negative images were paired with either a neutralising (intended to reduce negative emotionality) or descriptive (which simply described the image) framing sentence. Participants then reported how unpleasant/pleasant each image made them feel. In contrast to study 1, a positive correlation between affective empathy and the implicit reappraisal task metric (rating of neutralising-descriptive framing conditions) was observed. There was no relationship between cognitive empathy and implicit reappraisal. These findings suggest that both components of empathy are related to reappraisal, but in different ways: Cognitive empathy is related to more deliberate use of reappraisal, while affective empathy is associated with more implicit reappraisal processes.

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Section: Methodsmentioning

confidence: 99%

How Cognitive and Affective Empathy Relate to Emotion Regulation: Divergent Patterns from Trait and Task-Based Measures

Thompson

Reekum

Chakrabarti

2019

Preprint

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“…Russell developed a model of affect that is used to map affective states to a two dimensional chart using ratings of valence and arousal [69]. This model has been used in an array of applications, including affective classification of blog posts [70] and images with affective ratings of valence and arousal [71,72]. This portends a stark contrast between the approach used by psycologists and roboticists in labeling stimuli.…”

Section: Prior Work In Expressive Roboticsmentioning

confidence: 99%

Choreographic and Somatic Approaches for the Development of Expressive Robotic Systems

LaViers

Cuan²,

Heimerdinger

et al. 2018

Arts

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As robotic systems are moved out of factory work cells into human-facing environments questions of choreography become central to their design, placement, and application. With a human viewer or counterpart present, a system will automatically be interpreted within context, style of movement, and form factor by human beings as animate elements of their environment. The interpretation by this human counterpart is critical to the success of the system's integration: "knobs" on the system need to make sense to a human counterpart; an artificial agent should have a way of notifying a human counterpart of a change in system state, possibly through motion profiles; and the motion of a human counterpart may have important contextual clues for task completion. Thus, professional choreographers, dance practitioners, and movement analysts are critical to research in robotics. They have design methods for movement that align with human audience perception; they can help identify simplified features of movement that will effectively accomplish human-robot interaction goals; and they have detailed knowledge of the capacity of human movement. This article provides approaches employed by one research lab, specific impacts on technical and artistic projects within, and principles that may guide future such work. The background section reports on choreography, somatic perspectives, improvisation, the Laban/Bartenieff Movement System, and robotics. From this context methods including embodied exercises, writing prompts, and community building activities have been developed to facilitate interdisciplinary research. The results of this work are presented as an overview of a smattering of projects in areas like high-level motion planning, software development for rapid prototyping of movement, artistic output, and user studies that help understand how people interpret movement. Finally, guiding principles for other groups to adopt are posited.

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“…Of these, the most well known and well characterized is the International Affective Picture System (IAPS; Lang, Bradley, & Cuthbert, 2008), which includes images that vary along the dimensions of valence and arousal and span most of the affective space. More recently, the Open Affective Standardized Image Set (OASIS; Kurdi, Lozano, & Banaji, 2017) was introduced as a more current alternative to the IAPS. Both sets include social and nonsocial stimuli, although they are not balanced across affect dimensions.…”

Section: Introductionmentioning

confidence: 99%

The Complex Affective Scene Set (COMPASS): Solving the Social Content Problem in Affective Visual Stimulus Sets

Weierich

Kleshchova

Rieder

et al. 2019

Collabra: Psychology

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Social information, including faces and human bodies, holds special status in visual perception generally, and in visual processing of complex arrays such as real-world scenes specifically. To date, unbalanced representation of social compared with nonsocial information in affective stimulus sets has limited the clear determination of effects as attributable to, or independent of, social content. We present the Complex Affective Scene Set (COMPASS), a set of 150 social and 150 nonsocial naturalistic affective scenes that are balanced across valence and arousal dimensions. Participants (n = 847) rated valence and arousal for each scene. The normative ratings for the 300 images together, and separately by social content, show the canonical boomerang shape that confirms coverage of much of the affective circumplex. COMPASS adds uniquely to existing visual stimulus sets by balancing social content across affect dimensions, thereby eliminating a potentially major confound across affect categories (i.e., combinations of valence and arousal). The robust special status of social information persisted even after balancing of affect categories and was observed in slower rating response times for social versus nonsocial stimuli. The COMPASS images also match the complexity of real-world environments by incorporating stimulus competition within each scene. Together, these attributes facilitate the use of the stimulus set in particular for disambiguating the effects of affect and social content for a range of research questions and populations.

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Introducing the Open Affective Standardized Image Set (OASIS)

Cited by 474 publications

References 60 publications

How Cognitive and Affective Empathy Relate to Emotion Regulation: Divergent Patterns from Trait and Task-Based Measures

How Cognitive and Affective Empathy Relate to Emotion Regulation: Divergent Patterns from Trait and Task-Based Measures

Choreographic and Somatic Approaches for the Development of Expressive Robotic Systems

The Complex Affective Scene Set (COMPASS): Solving the Social Content Problem in Affective Visual Stimulus Sets

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