Adaptación eapañola del "International Affective Picture System" (IAPS). Tercera parte.

Abstract

Resumen: Este trabajo proporciona los valores normativos españoles de las 358 imágenes que forman los conjuntos 15 a 20 del International Affective Picture System (IAPS). En este estudio participaron 811 estudiantes universitarios (521 mujeres) que evaluaron las imágenes en las dimensiones emocionales de valencia, activación y dominancia. Las correlaciones entre las evaluaciones estadounidenses y las españolas en todas las dimensiones fueron altamente significativas y, como en Estados Unidos, la distribución de las imá-genes en el espacio bidimensional afectivo definido por las dimensiones de valencia y activación adoptó la típica forma de boomerang. Los resultados confirmaron, asimismo, las diferencias de género encontradas en Estados Unidos en las evaluaciones de las imágenes aversivas. Estos resultados son totalmente consistentes con los obtenidos en la primera y segunda parte de la adaptación española, y demuestran que la estandarización del IAPS en nuestro país ha sido adecuada. Por último, se ratificaron las pequeñas diferencias transculturales encontradas en las evaluaciones de activación y dominancia: los españoles tendieron a asignar a las imágenes mayores puntuaciones en activación y menores en dominancia que los estadounidenses. Estos datos apoyan los estereotipos culturales de estos países y sugieren que el IAPS podría ser un indicador fiable de diferencias transculturales en la disposición emocional. Palabras clave: International Affective Picture System (IAPS); emoción; valencia afectiva; activación; dominancia; diferencias transculturales; diferencias de géne-ro.Title: Spanish adaptation of the "International Affective Picture System" (IAPS). Third part. Abstract: The Spanish norms for pictures in shows 15 to 20 of the International Affective Picture System (IAPS) are reported in this paper. Participants were 811 undergraduate university students (521 women), who rated the valence, arousal, and dominance of 358 pictures. The correlations between the North-American and the Spanish ratings were all highly significant and, like in the United States, the picture distribution in the bidimensional affective space, defined by the ratings on affective valence and arousal, displayed the typical boomerang shape. Our data also corroborated gender differences in aversive pictures found in North-Americans. These results are fully consistent with those obtained in the first and second part of the Spanish adaptation, and demonstrate that the standardization of IAPS in our country has been successful. Finally, our data confirmed the cross-cultural differences found in arousal and dominance ratings: Spanish participants tended to assign higher arousal and lower dominance scores to the pictures, as a whole, than North-Americans. These data support the general cultural stereotypes that exist for these countries and suggest that the IAPS might be a reliably index of cultural differences in emotional disposition. Key words: International Affective Picture System (IAPS); emotion; affective valence; arousal; dominance; ...

Cognitive reappraisal during unpleasant picture processing: Subjective self‐report and peripheral physiology

“…A total of 70 pictures (30 threat to others, 30 victims, 10 neutral) were selected from the International Affective Picture System (IAPS; Lang, Bradley, & Cuthbert, 2008), using the normative values for affective valence and arousal in Spanish samples (Moltó et al, 1999(Moltó et al, ,2013Vila et al, 2001). 1 Ten threat to others (e.g., scenes showing violence or attacks on other people with weapons) and 10 victim pictures (e.g., mutilations or traffic accidents) were presented in each condition (up-regulation, down-regulation, look).…”

Deficient aversive-potentiated startle and the triarchic model of psychopathy: The role of boldness

“…These pictures were selected based on their normative ratings on affective valence and arousal (Spanish norms: Moltó et al, 1999Moltó et al, , 2013Vila et al, 2001) to conform three categories, pleasant, neutral and unpleasant. Pleasant pictures depicted 18 erotic nude couples, and neutral pictures consisted of 18 neutral faces.…”

Sensitivity to emotional scene content outside the focus of attention

“…Relative to men, women typically judge unpleasant pictures as more negative (Bradley, Codispoti, Sabatinelli & Lang, 2001b;Calvo & Avero, 2009;Gomez et al, 2013;Moltó et al, 2013), and are more reactive both psychophysiologically (Bianchin & Angrilli, 2012;Bradley, Codispoti, et al, 2001b;Gard & Kring, 2007) and neurophysiologically (ERPs: Bianchin & Angrilli (2012) and fMRI: Sabatinelli, Flaisch, Bradley, Fitzsimmons & Lang (2004)). In contrast, for pleasant pictures, sex differences are less likely to appear, except for erotic images (couples and opposite-sex erotica), with men being typically more reactive than women (Bradley, Codispoti, et al, 2001b;Gomez et al, 2013;Sabatinelli et al, 2004).…”