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One comparison found a similar imagination inflation effect for actions identical to those in Goff and Roediger's study (i.e. "break the toothpick") and altered, bizarre versions of such actions (i.e. "kiss the magnifying glass"). [8] Another found an effect when people imagined a highly unusual action such as kissing a vending machine or lying ...
Due to the elusive nature of involuntary recurrent memories, very little is known about the subjective experience of flashbacks. However, theorists agree that this phenomenon is in part due to the manner in which memories of specific events are initially encoded (or entered) into memory, the way in which the memory is organized, and also the way in which the individual later recalls the event. [5]
The term flashbulb memory was coined by Roger Brown and James Kulik in 1977. [2] They formed the special-mechanism hypothesis, which argues for the existence of a special biological memory mechanism that, when triggered by an event exceeding critical levels of surprise and consequentiality, creates a permanent record of the details and circumstances surrounding the experience. [2]
It indeed found a rosy effect as subjects recalled (and predicted) their positive emotions being stronger than they actually were. But it also found recollections of negative emotions were recalled and predicted more intensely than was reported at the time (as an aside, the only significant predictor of a desire to repeat a holiday was the ...
In false effect, the implication was actually false: the wallet was not blue even though the question asked what shade of blue it was. This convinces the respondent of its truth (i.e., that the wallet was blue), which affects their memory.
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A version of Rubin's vase. The Rubin vase (sometimes known as Rubin's vase, the Rubin face or the figure–ground vase) is a famous example of ambiguous or bi-stable (i.e., reversing) two-dimensional forms developed around 1915 by the Danish psychologist Edgar Rubin.
Stained-glass example of chromostereopsis. It is commonly found in stained-glass, historically artists have been aware of this effect, using it to generate advancing or receding perspectives within the images. [11] Red–blue contrast was used in a portrait of Goethe