Given the apparent equivalence of norm and exemplar models, we propose a more abstract conceptualisation here with the aim of not invoking either type. Clearly, under such a generic "face space" account, multi-frame caricaturing progressively increases the level of distinctiveness starting from a location (an anti-caricature) close to the reference (norm) face used for caricaturing and along a trajectory (vector) that passes through a representation of the composite itself (veridical) and outwards with increasing positive caricature. The four experiments presented here establish which region or regions along this trajectory are responsible for the multi-frame caricature advantage. It is perhaps worth emphasising a divergence from the face-recognition literature. As mentioned above, while positive caricature facilitates naming of line drawings, no such effect exists for positive caricature of photographic stimuli, except when recognition is rendered more difficult (e.g. under image degradation, brief presentation). On the other hand, composites are an imperfect representation and are rarely (if ever) recognised with perfect accuracy (e.g. Frowd et al., 2005b). It is for this reason that there is scope for a recognition benefit for composites presented at multiple levels of caricature. Our point of departure is to explore identification of composites over separate positive and negative caricature ranges (Experiments 1 and 2). It is found that the positive-caricature range is largely responsible for the multi-frame naming advantage. Further evidence for the contribution of this caricature range was sought in Experiments 3 and 4, as well as (1) investigating the level of exaggeration at which recognition tends to occur, (2) whether the direction in which frames are presented (forward, reverse, random) is important, and (3) whether any benefit is conferred from sequence repetition. Experiment 1: Effectiveness of negative and positive caricature sub-ranges
Given the apparent equivalence of norm and exemplar models, we propose a more abstract conceptualisation here with the aim of not invoking either type. Clearly, under such a generic "face space" account, multi-frame caricaturing progressively increases the level of distinctiveness starting from a location (an anti-caricature) close to the reference (norm) face used for caricaturing and along a trajectory (vector) that passes through a representation of the composite itself (veridical) and outwards with increasing positive caricature. The four experiments presented here establish which region or regions along this trajectory are responsible for the multi-frame caricature advantage. It is perhaps worth emphasising a divergence from the face-recognition literature. As mentioned above, while positive caricature facilitates naming of line drawings, no such effect exists for positive caricature of photographic stimuli, except when recognition is rendered more difficult (e.g. under image degradation, brief presentation). On the other hand, composites are an imperfect representation and are rarely (if ever) recognised with perfect accuracy (e.g. Frowd et al., 2005b). It is for this reason that there is scope for a recognition benefit for composites presented at multiple levels of caricature. Our point of departure is to explore identification of composites over separate positive and negative caricature ranges (Experiments 1 and 2). It is found that the positive-caricature range is largely responsible for the multi-frame naming advantage. Further evidence for the contribution of this caricature range was sought in Experiments 3 and 4, as well as (1) investigating the level of exaggeration at which recognition tends to occur, (2) whether the direction in which frames are presented (forward, reverse, random) is important, and (3) whether any benefit is conferred from sequence repetition. Experiment 1: Effectiveness of negative and positive caricature sub-ranges
Frowd-et-al.-in-press.-Understanding-the-multi-frame-caricature-advantage.docx