The International Affective Picture System (IAPS) is a widely used database of standardized, emotionally evocative color photographs designed to elicit specific affective responses in psychological research on emotion, attention, and related cognitive processes. Developed by Peter J. Lang, Margaret M. Bradley, and Bruce N. Cuthbert at the National Institute of Mental Health (NIMH) Center for the Study of Emotion and Attention (CSEA) at the University of Florida, the IAPS consists of 1,182 images spanning diverse categories such as natural scenes, human interactions, animals, objects, and erotica, with normative ratings collected primarily from U.S. college students to ensure cross-study comparability.[1][2][3]The system originated in the mid-1990s as an extension of earlier work on affective norms for words and sounds, with initial releases in 1997 providing around 700 images, expanding to the current set by 2008 through iterative additions and validations. Images were selected for their clarity, cultural neutrality where possible, and ability to provoke varied emotional intensities, pre-screened by CSEA researchers before rating. Normative data were gathered using the Self-Assessment Manikin (SAM), a non-verbal pictographic scale that assesses three core dimensions of affect: valence (pleasantness, from 1=unpleasant to 9=pleasant), arousal (activation level, from 1=calm to 9=excited), and dominance (perceived control, from 1=controlled to 9=in control).[2][1][4]These ratings allow researchers to select stimuli with precise emotional profiles—for instance, highly arousing unpleasant images like depictions of violence (e.g., IAPS #1270) or low-arousal pleasant ones like landscapes (e.g., IAPS #5593)—facilitating replication and comparison across studies. Separate norms exist for males, females, and even children (ages 7–14) to account for demographic variations in emotional responding. The IAPS has become a cornerstone in fields like affective neuroscience, clinical psychology, and human-computer interaction, with thousands of studies employing it to probe physiological responses such as skin conductance, heart rate, and brain activation via EEG or fMRI.[1][2][5]Despite its influence, the IAPS has limitations, including a predominantly Western cultural bias in norms and restrictions on commercial use, prompting adaptations like culturally specific versions or open-access alternatives such as the Open Affective Standardized Image Set (OASIS). Access to the full set requires registration with the CSEA, ensuring ethical use in non-commercial research while protecting participant privacy in sensitive studies.[2][6]
History and Development
Origins
The International Affective Picture System (IAPS) originated in the early 1990s at the Center for the Study of Emotion and Attention (CSEA) at the University of Florida, where it was developed by Peter J. Lang, Margaret M. Bradley, and Bruce N. Cuthbert under funding from the National Institute of Mental Health (NIMH).[7] This collaborative effort addressed a critical need in psychological research for a standardized database of visual stimuli capable of eliciting predictable emotional responses, thereby enhancing experimental reliability and cross-study comparability in investigations of emotion processing.[7]The foundational purpose of the IAPS was to compile a psychometrically robust set of color photographs spanning diverse semantic categories, such as erotica, violence, and neutral scenes, to support studies on emotion, attention, and motivational systems.[7] Prior tools often lacked validation or international accessibility, prompting Lang and colleagues to prioritize images that could evoke consistent affective reactions across participants, informed by dimensional models of emotion that emphasize pleasure, arousal, and dominance as core constructs.[7]Key theoretical influences included Charles E. Osgood's semantic differential approach for measuring connotative meanings and dimensional emotion frameworks advanced by Wilhelm Wundt, as well as the circumplex model of affect proposed by Albert Mehrabian and James A. Russell, which underscored the interplay of valence and arousal in emotional experience.[7] Development began with the curation of thousands of potential images from stock libraries and publications, followed by rigorous pilot testing in the early 1990s to identify stimuli producing reliable psychophysiological responses; this iterative selection process led to the system's inaugural release in 1997, featuring 700 normatively rated pictures derived from evaluations by approximately 100 U.S. college students.[7][1]
Evolution and Updates
The International Affective Picture System (IAPS) was initially released in 1997, providing normative ratings for 700 color photographs organized into sets designed to span the affective space of valence and arousal.[7] This foundational version emphasized standardization for emotional research, with early expansions noted in the manual to address identified gaps, such as additional low-arousal unpleasant stimuli like scenes of pollution or loss.[7]By 2005, the database had grown to 956 images, reflecting iterative improvements to enhance coverage of emotional categories and reliability across rating methods, including transitions from paper-based to computer-administered scales.[8] This update facilitated broader adoption in experimental psychology, with images provided in high-resolution digital formats suitable for emerging neuroimaging applications, such as functional magnetic resonance imaging (fMRI).[9] The 2008 iteration further expanded the collection to 1,182 pictures, incorporating new content categories—including more neutral household objects and everyday scenes—in response to researcher feedback seeking balanced representation across the affective continuum.[3]As of 2025, the IAPS core image set has seen no major additions since the 2008 release, maintaining the 1,182 photographs as the standard for global research.[10] Updates have been limited to minor metadata enhancements, such as refined normative ratings and methodological adaptations for remote data collection, ensuring compatibility with contemporary validation studies without altering the primary stimulus library.[11]
Description
Picture Selection and Categories
The International Affective Picture System (IAPS) comprises 1,182 unique color photographs carefully selected to evoke a wide spectrum of emotional responses, spanning the dimensions of valence (pleasant to unpleasant) and arousal (calm to excited). These images were drawn from diverse sources, including commercial stock photo agencies, magazines such as National Geographic, and other photographic collections, to ensure variety in content while maintaining high visual quality and clarity. Selection criteria emphasized pictures with clear figure-ground relationships, high resolution, and the potential for rapid affective impact, allowing them to reliably trigger defensive or appetitive motivational systems in viewers. Pre-screening by researchers at the NIMH Center for the Study of Emotion and Attention excluded images that were overly ambiguous or culturally specific, promoting standardization and cross-cultural applicability.[10][7]The images are thematically organized into sets based on their primary emotional content, facilitating targeted use in experimental designs. Key categories include erotic stimuli depicting intimate couples or nudes, adventure scenes involving exploration or excitement, neutral depictions of everyday objects and landscapes, violence portraying aggression or conflict, threat showing potential danger like armed individuals or predators, mutilation illustrating injury or gore, disgust featuring repulsive elements such as insects or decay, and contamination involving pollution or uncleanliness. For instance, the erotic category contains approximately 118 images, while the neutral set includes about 176 images, reflecting the database's emphasis on balanced representation across emotional valences. Each photograph is assigned a unique five-digit identification number, enabling precise referencing and replication in research. This categorical structure, informed by the valence and arousal framework, supports the systematic exploration of emotional processing without delving into specific normative values.[12][13]
Rating Scales and Methodology
The International Affective Picture System (IAPS) utilizes the Self-Assessment Manikin (SAM), a nonverbal pictorial instrument developed to assess affective responses along three dimensions: valence, arousal, and dominance.[7]SAM presents graphic figures that allow participants to rate emotions without relying on verbal labels, facilitating cross-cultural applicability.[7]Ratings are conducted on 9-point scales for each dimension. Valence measures pleasure-displeasure, ranging from 1 (most unpleasant) to 9 (most pleasant), capturing the emotional positivity or negativity evoked by an image.[7]Arousal assesses activation level, from 1 (calm, low arousal) to 9 (excited, high arousal), reflecting the intensity of the emotional response.[7] Dominance, rated from 1 (feeling controlled) to 9 (feeling in control), evaluates perceived control over the emotional situation, though this dimension is optional and less commonly employed in IAPS studies due to its lower reliability and relevance in many research contexts.[7]The rating methodology involves participants viewing individual IAPS images—selected from categories such as erotica, violence, or neutral scenes—for a standardized 6-second exposure period, followed by immediate SAM ratings to minimize memory decay.[7] Ratings occur either via paper-and-pencil formats, allowing 15 seconds per image, or computer-based systems like ScanSam for enhanced precision, with responses aggregated across participants to yield mean and standard deviation values for each picture's normative profile.[7] This procedure ensures high inter-rater reliability, with split-half correlations exceeding 0.93 for valence and arousal.[7]Normative data derive from samples of young adults, primarily undergraduate college students in introductory psychology courses, with a mean age of approximately 21 years and balanced gender ratios (typically no more than 2:1 male-to-female or vice versa within groups of 8–25 participants).[7] These demographics, drawn from university settings, provide a standardized baseline for emotional responses, though subsequent research has expanded to diverse populations.[7]
Normative Ratings
Original Norms
The original norms for the International Affective Picture System (IAPS) were established in 1997 through ratings collected from 100 U.S. college students (50 males and 50 females), who evaluated the set of 650 images using the Self-Assessment Manikin (SAM) scales for valence (pleasantness), arousal (activation level), and dominance (perceived control).[7] These norms serve as the foundational dataset, providing mean scores and standard deviations for each image on 9-point scales, enabling precise selection of stimuli based on intended emotional dimensions. The ratings were gathered in controlled group sessions to ensure standardized exposure and response conditions.[7]Key statistics from these norms highlight distinct emotional profiles across image categories. For instance, erotic images generally received high valence ratings indicating strong pleasantness with moderate arousal, reflecting engaging content. In contrast, threat-related images showed low valence ratings indicating strong unpleasantness paired with high arousal, capturing fear-inducing potency. Standard deviations for these ratings were moderate, indicating variability among raters while maintaining consistent category distinctions.[7]The distribution of images across the scales ensures broad coverage, spanning the full range from extremely unpleasant/low arousal to extremely pleasant/high arousal, with a portion falling into the neutral category (valence near 5, arousal 3–5) to represent emotionally balanced stimuli.[7] This balanced representation supports versatile experimental designs without skewing toward extreme emotions.Reliability analyses confirmed high inter-rater consistency, with split-half reliabilities of r = .94 for valence and r = .93 for arousal across the dataset, underscoring the robustness of the normative values for research applications.[7]
Cross-Cultural Norms
Since its initial development, the International Affective Picture System (IAPS) has been extended through normative rating studies in diverse populations outside the original U.S. sample, revealing both consistencies and cultural variations in emotional responses. These cross-cultural validations, conducted primarily since 2000, have involved samples from Asia, Europe, and other regions, often using the same 9-point Self-Assessment Manikin scales for valence and arousal. For instance, a 2015 study with 120 young Chinese adults found lower overall valence ratings but higher arousal compared to U.S. norms, particularly for erotic images, where arousal was notably reduced in this more conservative cultural context.[14] Similarly, in India, a 2013 validation with 80 participants showed higher arousal and dominance ratings overall, with conservative cultural norms leading to lower arousal for erotic content.[15]European adaptations have further highlighted regional differences while confirming the system's robustness. A large-scale 2015 study in Portugal with 2,000 participants reported lower valence but higher arousal ratings than the U.S. baseline, especially for neutral and positive images. In Spain, a 2001 norming effort with 715 individuals indicated higher arousal for negative stimuli and lower dominance across categories. These findings align with broader patterns observed in a 2023 systematic review of over 50 IAPS studies worldwide, which analyzed data from 15+ cross-cultural validations and emphasized the stability of valence ratings across cultures—suggesting universal emotional cores—while arousal showed greater variability, influenced by cultural attitudes toward threat and pleasure.[16] For example, family-oriented scenes often received higher valence scores in collectivist societies like China and India, reflecting cultural emphases on social harmony.[15]Adjustments for demographic factors have also emerged in these norms. In Chinese samples, older adults (aged 60+) rated violent or negative images with lower arousal compared to younger participants, potentially due to attenuated emotional reactivity in later life. Gender differences were consistent across studies, with females exhibiting higher disgust responses to mutilation and threat images, as seen in both Chinese and European datasets.[16] These cross-cultural normative datasets, often published as appendices in validation studies, are accessible through the Center for the Study of Emotion and Attention (CSEA) resources and peer-reviewed literature, enabling researchers to select culturally appropriate subsets of the IAPS for global applications.
Applications
Primary Research Uses
The International Affective Picture System (IAPS) is extensively employed in behavioral experiments to elicit discrete emotional states, enabling researchers to investigate processes such as attentional capture and cognitive interference. For instance, studies often present pleasant and unpleasant IAPS images to measure reaction times in tasks like the emotional Stroop or dot-probe paradigms, revealing slower responses to high-arousal negative stimuli due to heightened emotional interference.[17] Normative reaction time data for IAPS images, categorized by valence and arousal, support precise stimulus selection in these designs.[17]In neuroscientific research, IAPS images serve as standardized stimuli in functional magnetic resonance imaging (fMRI) and electroencephalography (EEG) studies to map neural correlates of affect. High-arousal negative images reliably activate the amygdala, with fMRI evidence showing greater bilateral amygdala and hippocampal responses to unpleasant pictures compared to neutral or pleasant ones, highlighting the system's role in probing threat processing networks.[18] EEG applications further demonstrate enhanced event-related potentials, such as late positive potentials, for emotionally evocative IAPS content, facilitating examinations of temporal dynamics in emotion perception.[16]Clinically, IAPS facilitates assessment of emotional dysregulation in anxiety disorders by quantifying arousal and valence responses, often through physiological measures like skin conductance during image viewing. In exposure therapy for phobias, selected high-arousal fear-inducing IAPS subsets are used to gauge habituation and desensitization, with studies showing reduced subjective anxiety and autonomic reactivity post-intervention.[19] This approach aids in evaluating treatment efficacy for conditions like specific phobias and generalized anxiety.[19]Beyond empirical applications, IAPS functions as a foundational educational tool in emotion research training programs, providing validated stimuli for teaching affective neuroscience concepts. Its seminal status is evidenced by thousands of citations in peer-reviewed publications, reflecting broad integration across psychological and neuroscientific curricula.
Methodological Integration
The International Affective Picture System (IAPS) is integrated into experimental protocols through standardized presentation methods designed to reliably elicit and measure emotional responses. Images are typically displayed for a 6-second duration, which allows for adequate emotional processing while preventing habituation or desensitization, often followed by a 15-second inter-stimulus interval or rating period.[7] To further mitigate habituation and order effects, pictures are presented in randomized or balanced sequences, with multiple counterbalanced orders (e.g., three to four sets of 60 images each) ensuring even distribution of emotional categories across trials.[16] This approach, validated in normative studies, supports consistent affective induction across sessions.[20]IAPS stimuli are commonly paired with complementary measures to enable multimodal evaluation of emotion, capturing both subjective and objective dimensions. Physiological assessments, such as skin conductance response (SCR) to index autonomic arousal, are synchronized with image onset, revealing robust correlations between SCR amplitude and normative arousal ratings (e.g., higher SCR for high-arousal unpleasant images).[16] Self-report tools, including the Self-Assessment Manikin (SAM) for immediate valence, arousal, and dominance ratings or the Positive and Negative Affect Schedule (PANAS) for broader mood assessment, are administered post-exposure to quantify experiential aspects.[21] These integrations, as in validation studies combining SAM with electrodermal activity, enhance the reliability of emotional measurement by triangulating data sources.[20]Analysis of IAPS data leverages the system's normative ratings to inform stimulus selection and interpretation, promoting experimental precision. Researchers select images based on mean valence and arousal scores to create matched sets (e.g., neutral-valence pairs differing in arousal), facilitating controlled comparisons of emotional effects.[7] Statistical controls for individual differences, such as age or gender (e.g., via ANOVA or regression to adjust for females' typically higher arousal ratings), account for variability in responses, with high split-half reliability (r ≈ 0.94) supporting the norms' robustness.[16]Best practices emphasize preparatory steps to optimize IAPS use in diverse contexts. Pilot testing is recommended to evaluate cultural fit, verifying that normative emotional elicitations align with target populations through preliminary ratings and behavioral checks.[16] For delivery, specialized software like E-Prime enables millisecond-accurate timing, randomization, and integration with physiological hardware, as demonstrated in numerous affective neuroimaging paradigms.[22] These protocols ensure reproducible results while adapting to experimental constraints.
Access and Availability
Obtaining the Database
The International Affective Picture System (IAPS) was administered by the Center for the Study of Emotion and Attention (CSEA) at the University of Florida until its discontinuation of distribution in approximately 2024.[23] As of November 2025, the database is no longer available through official channels for new users, with the CSEA website inaccessible and no alternative official access provided. Previously, researchers could submit an online application including a research proposal and Institutional Review Board (IRB) approval.[24]Normative data, including affective ratings, remain accessible via the published technical manual and related literature for reference and replication purposes.[1] Access was historically free for academic and non-profit research, with fees for commercial use.
Usage Restrictions and Ethics
The International Affective Picture System (IAPS) was copyrighted by the Center for the Study of Emotion and Attention (CSEA), with materials intended to preserve scientific standardization and prevent publicbias in research outcomes.[25] Users were granted exclusive access for academic, not-for-profit research within their laboratory, prohibited from redistribution, sharing with media, or publishing images directly; instead, specific picture numbers were to be reported with citation to the official report.[25]Ethical guidelines for IAPS use, applicable to legacy or any future access, emphasize participant protection due to potentially disturbing content. Informed consent must detail image categories (e.g., percentages of pleasant, neutral, unpleasant), emotional risks, withdrawal rights, and support contacts.[26]Debriefing is required post-exposure, explaining study purpose and offering discussion or resources for distress.[26] Use with vulnerable populations like children under 18 requires specialized protocols and rigorous oversight, though norms exist for ages 7–14.[26]All research must adhere to the American Psychological Association (APA) Ethical Principles, including harm minimization, beneficence, and IRB approval—full board review for unpleasant images to justify use and mitigation.[27] Adverse reactions must be monitored and reported for transparency.[26]Violations of restrictions could have resulted in access revocation and copyright enforcement by the CSEA.[25]
Alternatives
Other Image Databases
Several alternative standardized image databases have emerged to complement or address limitations in the International Affective Picture System (IAPS), such as its dated imagery from the 1990s and early 2000s.[28] These resources provide contemporary photographs with affective ratings, enabling researchers to select stimuli better suited to modern experimental needs while maintaining compatibility with dimensional models of emotion.[29] Recent developments as of 2025 include the Geneva Affective Picture Database (GAPED), introduced in 2013 with 730 images validated across cultures for reduced bias.[30]The Nencki Affective Picture System (NAPS), introduced in 2013 by Marchewka et al., comprises 1,356 high-quality, realistic photographs divided into categories including people, faces, animals, objects, and landscapes.[28] These images, many sourced from global locations between 2006 and 2012, offer greater ethnic diversity in depictions of human subjects compared to earlier databases.[31] Normative ratings for valence (1-9 scale, from very negative to very positive), arousal (1-9, from relaxed to aroused), and approach-avoidance (1-9, from avoid to approach) were collected from 204 Polish participants using semantic bipolar sliding scales.[28]The Open Affective Standardized Image Set (OASIS), developed by Kurdi et al. in 2016, includes 900 color images depicting a broad range of themes such as humans, animals, objects, and scenes, with a particular emphasis on 346 images of people in everyday social situations.[29] Collected in 2015, these contemporary stimuli were rated for valence (positivity/negativity) and arousal (excitement level) on a 7-point Likert scale by 822 diverse American adults via an online platform.[29] OASIS is fully open-access, allowing free download and modification for research without copyright restrictions, which contrasts with more proprietary sets.[29]The Categorized Affective Pictures Database (CAP-D), published in 2018 by Moyal and Henik, features 526 images selected and categorized from existing sources like IAPS, NAPS, GAPED, and BSDS300 into 10 discrete emotions, including fear, sadness, happiness, disgust, anger, compassion, love, surprise, pride, and peacefulness.[32] Ratings for emotional intensity and arousal were obtained on 9-point scales from 205 Israeli students across multiple validation phases, with categorization based on agreement levels from a two-phase process involving emotion generation and selection.[32] This approach supplements dimensional ratings with discrete emotional labels, facilitating studies on specific affects.[32]In comparison, NAPS and OASIS mitigate IAPS's datedness through their use of recent, high-resolution photographs, while all three databases employ comparable Likert-style scales for affective dimensions to ensure interoperability in research.[28][29] NAPS expands on image quantity and global representation, OASIS prioritizes accessibility and social content, and CAP-D uniquely emphasizes discrete categorizations, collectively broadening options for affective neuroscience and psychology experiments.[32]
Multimodal Affective Stimuli
The International Affective Picture System (IAPS) relies on static images to evoke emotional responses, but multimodal affective stimuli—encompassing audio, video, and combined sensory inputs—serve as valuable complements by introducing temporal and auditory dimensions that better mimic real-world emotional experiences. These resources enable researchers to study dynamic emotion processing, such as the progression of arousal over time or the interplay of visual and auditory cues, which static images cannot fully replicate. Widely adopted in affective science, multimodal databases prioritize valence and arousal ratings while supporting applications in neuroscience, psychology, and human-computer interaction.The International Affective Digitized Sounds (IADS), first developed in the 1990s and refined in its second edition (IADS-2) in 2007, comprises 167 digitally recorded natural sounds categorized along valence (pleasant to unpleasant) and arousal (calm to excited) dimensions.[33] Normative ratings were gathered using 9-point Self-Assessment Manikin (SAM) scales from over 100 U.S. participants, demonstrating high reliability (alphas >0.90 for both dimensions). IADS is frequently paired with IAPS images in experiments to amplify emotional intensity through cross-modal presentation, as the auditory stimuli enhance physiological responses such as skin conductance and heart rate variability.[34]The Geneva Multimodal Emotion Portrayals (GEMEP) corpus, introduced in 2011, offers dynamic video and audio recordings as stimuli for real-time emotion perception studies. Featuring 12 professional actors portraying 18 distinct affective states (e.g., irritation, pride, amusement) across over 3,000 segments, GEMEP captures multimodal expressions including facial movements, vocal intonations, and gestures, with variations in intensity and masking.[35] Validated through recognition accuracy rates averaging around 60% for basic emotions, it supports ecologically valid paradigms by simulating naturalistic social interactions absent in static visuals.[36]Datasets like the DEAP (Database for Emotion Analysis using Physiological signals), released in 2012, exemplify multimodal sets that integrate images, audio, and text annotations for virtual reality (VR) and augmented reality (AR) research. Comprising 40 one-minute music video excerpts rated on valence, arousal, and dominance by 32 participants, alongside synchronized physiological data (e.g., EEG, ECG), DEAP facilitates studies on immersive emotional responses in simulated environments. These combinations allow for holistic analysis of affect in interactive contexts, such as VR training simulations.[37]Multimodal stimuli provide key advantages over IAPS's static format, particularly in capturing temporal dynamics—like emotional escalation in video sequences or rapid onset in sounds—that promote more ecologically valid experimental designs and reveal nuances in emotion regulation and attention.[30]
Limitations and Criticisms
Content Datedness
The International Affective Picture System (IAPS), primarily developed in the 1990s, features many images sourced from that era, which can appear outdated in terms of visual style, including depictions of older technology, fashion, and everyday scenes that no longer reflect contemporary norms.[38] This temporal obsolescence is exacerbated by lower image quality standards, such as reduced luminance, brightness, contrast, and color composition relative to modern photographic benchmarks.[38] Reviews from 2020 onward highlight that these dated elements diminish the IAPS's efficacy compared to newer sets like the Open Affective Standardized Image Set (OASIS), particularly in eliciting consistent emotional responses in event-related potential (ERP) paradigms.[38]The impact of this dated content extends to reduced ecological validity, as IAPS images fail to capture the nuances of emotions shaped by current societal influences, such as social media-driven affective experiences or modern visual media consumption.[39] For instance, positive and neutral images often depict scenarios that feel anachronistic to younger participants, leading to attenuated emotional engagement in real-world-like contexts.[39]Cross-cultural studies indicate variability in emotional perception, with some reporting lower arousal ratings for IAPS stimuli in samples from 2015–2022, potentially attributed to familiarity with outdated visuals.[39]In response, researchers have issued calls for database updates since the early 2010s to incorporate more current imagery while preserving standardization.[39] Partial mitigations include selective subsetting of "timeless" images—those less tied to specific eras, such as nature scenes or abstract emotional cues—to maintain utility in experiments without full overhauls.[39] As of 2025, proposals for remastering or partial updates continue in affective science communities, though comprehensive revisions remain limited by the IAPS's proprietary structure.[38]
Cultural and Ethical Concerns
The International Affective Picture System (IAPS), primarily normed on U.S. participants, exhibits a Western-centric design that introduces cultural biases in emotional elicitation, as evidenced by cross-cultural validation studies showing significant variations in affective ratings. For instance, a 2015 comparison between Chinese and American samples reveals valence differences in approximately 25% of images, with Chinese participants rating positive images lower and negative images higher than their American counterparts, potentially altering emotional interpretations in non-Western contexts.[40] Such discrepancies highlight how IAPS norms may not universally apply, with limited validation in developing regions despite their demographic majority.[21]Ethical concerns arise from IAPS's inclusion of graphic depictions of violence, mutilation, and other distressing content, which can induce trauma or psychological distress in participants, necessitating explicit informed consent and debriefing protocols. Institutional review boards recommend warning participants about potentially objectionable images, such as those involving explicit violence or sexual content, to mitigate risks of emotional harm.[26] Additionally, the database underrepresents positive and diverse scenarios, with a skew toward Western, heterosexual perspectives that overlook multicultural emotional experiences and varied positive stimuli.[41]Broader critiques point to IAPS potentially reinforcing stereotypes, particularly in erotic images that often depict traditional gender roles, such as passive female figures, which may perpetuate heteronormative and androcentric biases. A 2023 systematic review underscores the need for decolonized affective tools by advocating expanded cross-cultural norming to address ethnocentric limitations and enhance global applicability.[21][41] To mitigate these issues, researchers have developed guidelines for cultural adaptation, including localized norming and image replacement, as seen in efforts like the South African Affective Picture System, which incorporates regionally relevant stimuli for greater inclusivity.[39] Ongoing initiatives continue to push for diverse updates to promote equitable emotional research.[3]