In Identifying the Source of the Incongruent Effect

Emotional signals from the face and body are normally perceived as an integrated whole in everyday life. Previous studies have revealed an incongruent effect which refers to distinctive behavioral and neural responses to emotionally congruent versus incongruent face-body compounds. However, it remains unknown which kind of the face-body compounds caused the incongruence effect. In the present study, we added neutral face and neutral body stimuli to form new face-body compounds. Forty subjects with normal or corrected-to-normal vision participated in this experiment. By comparing the face-body compounds with emotional conflict and face-body compounds with neutral stimuli, we could investigate the source of the incongruent effect. For both behavioral and event-related potential (ERP) data, a 2 (bodily expression: happiness, fear) × 2 (congruence: congruent, incongruent) repeated-measure analysis of variance (ANOVA) was performed to re-investigate the incongruent effect and a 3 (facial expression: fearful, happy, neutral) × 3 (bodily expression: fearful, happy, neutral) repeated-measure ANOVA was performed to clarify the source of the incongruent effect. As expected, both behavioral and ERP results have successfully repeated the incongruent effect. Specifically, the behavioral data showed that emotionally congruent versus incongruent face-body compounds were recognized more accurately ( p < .05). The ERP component of N2 was modulated by the emotional congruency between the facial and bodily expression showing that the emotionally incongruent compounds elicited greater N2 amplitudes than emotionally congruent compounds ( p < .05). No incongruent effect was found for P1 or P3 component ( p = .079, p = .99, respectively). Furthermore, by comparing the emotionally incongruent pairs with the neutral baseline, the present study suggests that the source of the incongruent effect might be from the happy face-fearful body compounds. We speculate that the emotion expressed by the fearful body was much more intensive than the emotion expressed by the happy body and thus caused a stronger interference in judging the facial expressions.

Sociability through the Movement of Young Children: The Effects of Exercise Programs involving Rhythm Play on the Potential for Physical Expression

This study aims to examine the potential for physical expression on the part of infants through observations of their motions before and after exercise programs, with an understanding of the potential for physical expression as the development of a sociality that seeks to communicate with other children in the experience of an exercise program. The 106 study participants comprised 29 three-year-olds, 44 four-year-olds, and 33 five-year-olds. During the exercise intervention period, a exercise program focusing on rhythm play was carried out for 6 minutes per day. The ability for physical expression was analyzed using 12 criteria related to the areas of motion, space, dynamics, time, and relationships, which revealed the characteristics of each grade of students. Significant interactions were observed in criteria 11 and 12, related to the area of relationships, across all grades. Specifically, in the efforts of those from around the age of four, which involved repeating motions in a particular rhythm, it was shown that this could be expected to greatly increase the impact on the potential for bodily expression. It was discovered that the experience of an exercise program involving rhythm play, even if they only experienced it a few times, brought a greater degree of richness to the movement of the children while at the same time expanding their awareness of other children and giving rise to behaviors through which they actively participated in communication.

Correlational Study Regarding the Attention of the Preparatory Class Students to the Physical Education and Sport Lesson

ABSTRACT. Introduction: There are disorders that cannot be observed only with the naked eye and tend to be confused with lack of intelligence, in this category falling attention deficit. Objectives: The study aimed to analyze correlations between the level of attention and gender of children in the preparatory class, to highlight differences between girls and boys, as well as to identify the existence of increased attention of each gender, depending on the time of the lesson physical education and sport. Methods: Two specific tests were used: The Toulouse-Pieron Test (1982) and The Raven Progressive Matrices (1938). After applying the tests, for a period of 2 months, the direct observation method was applied. This study involved 51 children, including 22 girls and 29 boys, from the preparatory class. Results: The link between the level of attention and the gender of the students was demonstrated, at ρ = 0.773, with a significance threshold of .000, which shows the very significant association between the 2 variables. Obtaining a coefficient t = 7.758 and a significance threshold of .000, highlights the existence of a very statistically significant difference between the two groups. There was also a distinct degree of attention between the 2 genres, which fluctuated depending on the activity proposed. Conclusions: Girls have a higher degree of attention than boys, there is a link between the gender of students and the focus on certain tasks; girls are more attentive than boys to moments that involve bodily expression activities, while boys are more attentive than girls to competitive activities.

Young children’s affective stance through embodied displays of emotion during tellings

Storytelling provides opportunities for children to practise displays of affective stance. Children’s spontaneous tellings are noticeable as systematic and organized work, which are locally occasioned and triggered by a prior utterance where emotional responses are as significant as the tellings themselves. Affective stances are often observed in children’s tellings, encouraging children’s disposition to learn through active engagement with others, learning acceptable behaviours in meaningful social and cultural ways. This article explores how displays of heightened affect are prompted and responded to and progress the development of storylines within young children’s everyday storytelling. The data were collected in early childhood kindergartens in New Zealand and analysed using conversation analysis. The findings show that there is often elaboration/escalation of a telling, as peers respond by including additional characters within a continued topic in a display of heightened emotion shown through voice pitch and tone, as well as overt facial and bodily expression. Opportunities for practising displays of ‘correct’ emotional responses to tellings are important for young children in contributing to everyday socialising practises through real-life everyday experiences.

My-body-for-others or my-body-for-itself? Reflections on my encounter with the art of striptease and the way it has transformed the relationship I have with my body

My body-for-others or my body-for-itself? This is the question explored in this article. It is centred on my experience as a performer, student, and observer of the art of striptease and how my engagement with this art has facilitated for me a process of transition from the body-for-others—a bodily state characterised by a profound sense of scrutiny, loss, invisibility, and isolation—to the-body-for-itself, which, by contrast, is enriched by self-discovery and self-celebration and moves freely and sensually towards the world and others. The article discusses the process through which, in the context of our tenaciously restrictive visual culture, striptease can lead to a deeper intimacy between the performer and his or her body and to a greater capacity for bodily expression and fulfilment. It considers the role that loss and lust play in this process, as well as the healing and transformative power of eros. This article employs a combination of memoir and scholarly analysis. Diary entries, memories, and reflections are used to evoke the essence of this experience and to offer the reader a phenomenological grasp of striptease. Existential ideas, particularly those of Sartre and Merleau-Ponty, provide a framework to articulate and conceptualise its potentially transforming power while also capturing the complexities and ambiguities of my engagement with this art.

Your face and moves seem happier when I smile. Facial action influences the perception of emotional faces and biological motion stimuli

In this research, we replicated the effect of muscle engagement on perception such that the recognition of another’s facial expressions was biased by the observer’s facial muscular activity (Blaesi &amp; Wilson, 2010). We extended this replication to show that such a modulatory effect is also observed for the recognition of dynamic bodily expressions. Via a multi-lab and within-subjects approach, we investigated the emotion recognition of point-light biological walkers, along with that of morphed face stimuli, while subjects were or were not holding a pen in their teeth. Under the ‘pen-in-the-teeth’ condition, participants tended to lower their threshold of perception of ‘happy’ expressions in facial stimuli compared to the ‘no-pen’ condition; thus replicating the experiment by Blaesi and Wilson (2010). A similar effect was found for the biological motion stimuli such that participants lowered their threshold to perceive ‘happy’ walkers in the ‘pen-in-the-teeth’ compared to the ‘no-pen’ condition. This pattern of results was also found in a second experiment in which the ‘no-pen’ condition was replaced by a situation in which participants held a pen in their lips (‘pen-in-lips’ condition). These results suggested that facial muscular activity not only alters the recognition of facial expressions but also bodily expression.