Trenton C. Johanis

Past research suggests that people who use the Internet to pursue romantic relationships have been stereotyped negatively—as unattractive, desperate, or creepy. It is possible, however, that as finding dates online has grown in popularity, individuals who have themselves used online methods to meet a partner are less likely to apply these negative stereotypes than non‐users. In addition, as options for dating online have proliferated, it is not clear that users of all online formats are viewed negatively, or how perceptions of users of online methods might differ from perceptions of daters using various offline methods. This study examined perceptions of those who use various online (algorithm‐based, profile‐browsing, or social media) and offline (meeting through family/friends, luck, groups, work, or going out) methods to meet a partner. Participants (N = 214), who were themselves users or non‐users of online methods of meeting partners, were recruited through Amazon's Mechanical Turk system to complete online questionnaires. Results indicated that participants viewed individuals who used online methods more negatively than those using offline methods; however, individuals who had themselves used online methods viewed other online users more positively than did non‐users.

Although typically thought of as a unimodal phenomenon, musical experience is fundamentally multisensory. The current study examined such multisensory influences by exploring the impact of visual information on the processing of higher-order musical structure, within the context of harmonic expectancy formation. Specifically, musically trained participants experienced four different priming events, including an auditory chord prime, a visual chord prime, an auditory-visual note/chord prime, and an auditory note prime, and discriminated harmonically related versus unrelated in-tune and out-of-tune target chords. Analyses of reactions and error rates revealed typical harmonic priming effects (i.e., faster reaction times and lower error rates to related than unrelated targets for in-tune chords) for auditory chord and auditory-visual note/chord primes, but no differences for visual chord and auditory note primes. The finding that auditory-visual note/chord primes led to priming indicates that visual information can induce auditory expectancies when supported by auditory cue information. These results are discussed within the context of models of tonal relations, as well as in relation to theories of multisensory processing in general.