The Influence of Duration on Verbal-Attribute Ratings of Complex Protomusical Sounds

1993 ◽  
Vol 11 (1) ◽  
pp. 73-85 ◽  
Author(s):  
Sören Nielzén ◽  
Olle Olsson

Based on natural spectra, 7 different complex sounds were synthesized digitally, each in a long version (3 s in duration) and in a short version (0.5 s in duration) for a total of 14 sounds. These stimuli were presented to 34 subjects who rated each sound on each of 12 seven-point verbal scales. A rating was defined as an emotional response. Based on previous work, mutually exclusive subsets of the emotional responses to four scales were assigned to each of three verbal dimensions or factors, the Factors were: I, Tension–Relaxation; II, Lightheartedness–Gloom; and III, Attraction–Repulsion. By means of analysis-of-variance methods it was found that the sounds evoked divergent emotional responses with respect to all three factors and that the emotional responses to shortduration sounds were similar to those to long-duration sounds. Only for Factor II was there a significant interaction, in that two of the short sounds were rated more lighthearted than the two corresponding long sounds. Otherwise it appears that emotional responses to the short sounds did not differ from those to their corresponding long sounds, as measured by mean ratings. Because the responses to given short versions or long versions of the complex sounds were essentially the same, it may be concluded that the short versions contain considerable information, and the two versions are therefore substitutable for each other as experimental stimuli. Another implication is that even very brief complex sounds can elicit emotional ratings of the kind defined here.

2018 ◽  
Vol 14 (3) ◽  
pp. 621-631
Author(s):  
Sebastián Calderón ◽  
Raúl Rincón ◽  
Andrés Araujo ◽  
Carlos Gantiva

Most studies of emotional responses have used unimodal stimuli (e.g., pictures or sounds) or congruent bimodal stimuli (e.g., video clips with sound), but little is known about the emotional response to incongruent bimodal stimuli. The aim of the present study was to evaluate the effect of congruence between auditory and visual bimodal stimuli on heart rate and self-reported measures of emotional dimension, valence and arousal. Subjects listened to pleasant, neutral, and unpleasant sounds, accompanied by videos with and without content congruence, and heart rate was recorded. Dimensions of valence and arousal of each bimodal stimulus were then self-reported. The results showed that heart rate depends of the valence of the sounds but not of the congruence of the bimodal stimuli. The valence and arousal scores changed depending on the congruence of the bimodal stimuli. These results suggest that the congruence of bimodal stimuli affects the subjective perception of emotion.


Author(s):  
Seon-Ju Kam ◽  
Young-Sun Yoo

Patients’ emotional responses to the hospital environment can be considered as important as medical technology and equipment. Therefore, this study investigated their experiences to determine whether the pattern using hospital identity (HI) elements, a widely used design method for patient clothing in university hospitals, can affect their emotional response and contribute to healing. It aimed to identify whether controlling the motif characteristics, arrangement, and spacing in this pattern design, and the direction between motifs, could be a method to design patient clothing for healing. To investigate patients’ emotional response and suggestions for patient clothing design, an interview-based qualitative approach was used. In-depth interviews were conducted with 12 patients discharged from Kyung Hee University Hospital Medical Center (KHUMC), Seoul. The interview questions consisted of two parts. One part featured questions about participants’ emotional responses to the medical environment and their latest patient clothing experience, and the other featured questions about their emotional response to, and suggestions for, the healing expression of pattern design using HI. The results confirmed that the motif characteristics, arrangement, and spacing, and the direction between motifs, influenced patients’ positive emotions and contributed to the healing effect. Therefore, when the HI elements of a medical institution are applied in the design of patient clothing with the characteristics of a healing design, patients perceive this as providing stability and comfort. The design of patient clothing becomes a medium that not only builds the brand image of medical institutions, but also enhances the quality of medical services centered on patient healing.


1992 ◽  
Vol 74 (1) ◽  
pp. 307-320 ◽  
Author(s):  
Stephen R. Scholle

Interactions of attention and verbalization were investigated for effects of self-reported arousal and state-anxiety. Levels of verbalization from silence through talking-without-a-listener to disclosure were compared while self-directed attention was manipulated for sensation versus general thoughts and feelings. Following a stimulus, disclosure of sensations was expected to reduce state anxiety and increase energetic arousal significantly more than disclosure of thoughts. Based on a randomly assigned sample of 120 men, a 3 × 2 × 2 multivariate analysis of variance indicated a significant interaction in the predicted directions. A significant interaction was also found for the 3 × 2 interaction for energetic arousal. For state anxiety means were in the predicted direction. Results indicate that verbalization of sensations is more energizing and calming than silence, while for general thought, silence is more energizing and calming than verbalization. The results suggest efficacy in reframing self-talk to quiet awareness and in communicating sensed distinctions as they emerge.


2008 ◽  
Vol 31 (5) ◽  
pp. 581-582 ◽  
Author(s):  
Steven John Holochwost ◽  
Carroll E. Izard

AbstractJuslin & Västfjäll (J&V) propose a theoretical framework of how music may evoke an emotional response. This commentary presents results from a pilot study that employed young children as participants, and measured musically induced emotions through facial expressions. Preliminary findings support certain aspects of the proposed theoretical framework. The implications of these findings on future research employing the proposed framework are discussed.


Author(s):  
Annalisa Tanzilli ◽  
Antonello Colli ◽  
Laura Muzi ◽  
Vittorio Lingiardi

Patients with narcissistic personality disorder are among the most difficult to treat in therapy, especially for their strong resistance to treatment and several difficulties in establishing a therapeutic relationship characterized by intimacy, safety, and trust. In particular, therapists’ emotional responses to these patients can be particularly intense and frustrating, as reported in the clinical literature but rarely investigated empirically.The aims of this preliminary study were: 1) to examine the associations between patients’ narcissistic personality disorder and distinct therapists’ countertransference patterns; and 2) to verify whether these clinicians’ emotional reactions were influenced by their theoretical orientation (as well as gender and age).A national sample of psychiatrists and clinical psychologists (N = 250) completed the Therapist Response Questionnaire (TRQ) to identify patterns of therapist emotional response, and the Shedler-Westen Assessment Procedure-200 (SWAP-200) to assess personality disorder and level of psychological functioning in a patient currently in their care and with whom they had worked for a minimum of eight sessions and a maximum of 6 months (one session per week).From the complete therapist sample, we identified a subgroup (N = 35) of patients with narcissistic personality disorder, and we found that this personality pathology was positively associated with criticized/mistreated and disengaged countertransference, but negatively associated with positive therapist response. Moreover, our results confirmed that the relationship between patients’ narcissistic personality disorder and therapists’ emotional responses was not dependent on clinicians’ theoretical approach (as well as their age and gender).These findings are consistent with clinical observations, as well as some empirical contributions, and have meaningful implications for clinical practice of patients suffering from this challenging pathology.


2017 ◽  
Vol 8 (5) ◽  
pp. 158
Author(s):  
Robert S.P. Jones

James Joyce’s Portrait of the Artist as a Young Man has fascinated readers for more than a century and there are layers of psychological meaning to be found throughout the novel. The novel is the perfect vehicle to discuss the relationship between form language and emotion as Joyce deliberately manipulated the emotional response of the reader through innovations in form and language, departing dramatically from previous literary traditions. This paper attempts to take a fresh look at the novel from a psychological perspective and seeks to examine underlying conditioning processes at work in the narrative – particularly the concept of associative learning. Understanding emotional responses to different stimuli is the bedrock of psychological investigation and 100 years after the date of its publication, Portrait of an Artist presents remarkably fresh insights into the human experience of emotion. Despite its age, Portrait of the Artist contains many contemporary psychological insights.


2020 ◽  
Vol 1 (2) ◽  
pp. 168-184
Author(s):  
Kai Huang ◽  
Elena Nicoladis

Some previous research has suggested that words in multlinguals’ first language, particularly taboo words, evoke a greater emotional response than words in any subsequent language. In the present study, we elicited French-English bilinguals’ emotional responses to words in both languages. We expected taboo words to evoke higher emotional response than positive or negative words in both languages. We tested the hypothesis that the earlier that bilinguals had acquired the language, the higher the emotional responses. French-English bilinguals with long exposure to both French and English participated. Their galvanic skin response (GSR) was measured as they processed positive (e.g., mother), negative (e.g., war) and taboo (e.g., pussy) words in both French and English. As predicted, GSR responses to taboo words were high in both languages. Surprisingly, English taboo words elicited higher GSR responses than French ones and age of acquisition was not related to GSR. We argue that these results are related to the context in which this study took place (i.e., an English majority context). If this interpretation is correct, then bilinguals’ emotional response to words could be more strongly linked to recent emotional interactions than to childhood experiences.


Author(s):  
Γεωργία Διαμαντοπούλου ◽  
Μαρία Πλατσίδου

In the last two decades, there has been a growing interest in short versions of questionnaires for measuring several psychological constructs. Focusing on identity development, in the present study, we extracted and tested the psychometric properties of the EIPQ-SF, a short version of the EIPQ scale for measuring identity according to Marcia’s identity statuses (achieved, foreclosed, moratorium and diffused identity). The data of our study derived from a sample of 210 college students aged 18-25 years. For extracting the EIPQ-SF, we first tested the content of the items of the original EIPQ and then we performed exploratory and confirmatory factor analyses. We evaluated the predictive validity of the EIPQ-SF by comparing the levels of self-esteem among participants with achieved, foreclosed, moratorium and diffused identity. The results of our study indicate that EIPQ-SF has a good factor structure and adequate validity and reliability; therefore, it can be used as a short scale for measuring identity in typical samples of young adults (university students). The advantages, applications as well as the limitations of the EIPQ-SF are thoroughly discussed.


1999 ◽  
Vol 86 (1) ◽  
pp. 222-229 ◽  
Author(s):  
Michala E. F. Pedersen ◽  
Keith L. Dorrington ◽  
Peter A. Robbins

Acclimatization to altitude involves an increase in the acute hypoxic ventilatory response (AHVR). Because low-dose dopamine decreases AHVR and domperidone increases AHVR, the increase in AHVR at altitude may be generated by a decrease in peripheral dopaminergic activity. The AHVR of nine subjects was determined with and without a prior period of 8 h of isocapnic hypoxia under each of three pharmacological conditions: 1) control, with no drug administered; 2) dopamine (3 μg ⋅ min−1 ⋅ kg−1); and 3) domperidone (Motilin, 40 mg). AHVR increased after hypoxia ( P ≤ 0.001). Dopamine decreased ( P ≤ 0.01), and domperidone increased ( P ≤ 0.005) AHVR. The effect of both drugs on AHVR appeared larger after hypoxia, an observation supported by a significant interaction between prior hypoxia and drug in the analysis of variance ( P ≤ 0.05). Although the increased effect of domperidone after hypoxia of 0.40 l ⋅ min−1 ⋅ %saturation−1[95% confidence interval (CI) −0.11 to 0.92 l ⋅ min−1 ⋅ %−1] did not reach significance, the lower limit for this confidence interval suggests that little of the increase in AHVR after sustained hypoxia was brought about by a decrease in peripheral dopaminergic inhibition.


Animation ◽  
2019 ◽  
Vol 14 (3) ◽  
pp. 191-206 ◽  
Author(s):  
Malou van Rooij

Contemporary computer-animated films by the major American animation studios Pixar, Disney and DreamWorks are often described as evoking (extremely) emotional responses from their ever-growing audiences. Following Murray Smith’s assertion that characters are central to comprehending audiences’ engagement with narratives in Engaging Characters: Fiction, Emotion, and the Cinema (1995), this article points to a specific style of characterization as a possible reason for the overwhelming emotional response to and great success of these films, exemplified in contemporary examples including Inside Out (Pete Docter and Ronnie del Carmen, 2015), Big Hero 6 (Don Hall and Chris Williams, 2014) and How to Train Your Dragon (Chris Sanders and Dean DeBlois, 2010). Drawing on a variety of scholarly work including Stephen Prince’s ‘perceptual realism’, Scott McCloud’s model of ‘amplification through simplification’ and Masahiro Mori’s Uncanny Valley theory, this article will argue how a shared style of character design – defined as a paradoxical combination of lifelikeness and abstraction – plays a significant role in the empathetic potential of these films. This will result in the proposition of a new and reverse phenomenon to Mori’s Uncanny Valley, dubbed the Pixar Peak, where, as opposed to a steep drop, audiences reach a climactic height in empathy levels when presented with this specific type of characterization.


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