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      Chapter

      When good blends go bad: How fl uency can explain when we like and dislike ambiguity
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      Chapter

      When good blends go bad: How fl uency can explain when we like and dislike ambiguity

      DOI link for When good blends go bad: How fl uency can explain when we like and dislike ambiguity

      When good blends go bad: How fl uency can explain when we like and dislike ambiguity book

      When good blends go bad: How fl uency can explain when we like and dislike ambiguity

      DOI link for When good blends go bad: How fl uency can explain when we like and dislike ambiguity

      When good blends go bad: How fl uency can explain when we like and dislike ambiguity book

      ByJAMIN HALBERSTADT, PIOTR WINKIELMAN
      BookThe Experience of Thinking

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      Edition 1st Edition
      First Published 2012
      Imprint Psychology Press
      Pages 18
      eBook ISBN 9780203078938
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      ABSTRACT

      A man looks at Mona Lisa’s face. At fi rst, he really likes it. Why? One source of his reaction is “what” he sees. He appreciates the gentle smile, the smooth complexion, the inquisitive eyes. But another source of affect is “how” he sees, how easy (fl uent) are the mental operations in processing Mona Lisa’s face. She triggers a warm feeling because she is so “easy on the eyes,” so smooth and familiar, as if da Vinci captured the very essence of the human condition. But now something happens! The man realizes there is something “off” in the face he sees. Is this really Mona Lisa? There seems to be a bit of da Vinci’s own face in the picture. Is this really a woman? The face seems partially male. And what about that mysterious smile? Or is it a smirk? The man is now confused. He does not know what to make of the picture, even though he’s trying hard to decipher it perceptually and conceptually. Perhaps he does not like Mona Lisa after all!

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