Handedness and social anxiety: using Bryden's research as a catalyst to explore the influence of familial sinistrality and degree of handedness

Phil Bryden's work has impacted on many areas of laterality, including degree and measurement of hand preference, as well as influences of familial sinistrality (FS). For example, Bryden[(1977). Measuring handedness with questionnaires. Neuropsychologia, 15, 617–624] is a well-cited and influential paper that remains relevant to this day. Inspired by this we extended our analysis of the relationship between handedness and anxiety in a number of ways. We used familial handedness and strength of handedness to examine their potential influences on anxiety, and extended our research by exploring their relationship to social anxiety, using the Social Phobia Inventory (SPIN). Inconsistent left-handers (ILH) were found to be more socially anxious. In all categories of SPIN except avoidance, ILH were significantly more anxious than consistent right- and left-handers. There were FS differences between ILH with a first degree left-handed relative (FS+) compared to ILH with no first degree left-handed relative (FS−) on all categories of anxiety scores. Within FS+ participants, ILH had significantly higher anxiety scores, compared with consistent handers across all categories. This suggests that ILH's social anxiety may be influenced by a close left-handed relative. Inspired by examining Bryden's work for this special issue, we will continue to add both strength of preference and familial handedness to our work.

The game jam movement: disruption, performance and artwork

This paper explores the current conventions and intentions of the game jam - contemporary events that encourage the rapid, collaborative creation of game design prototypes. Game jams are often renowned for their capacity to encourage creativity and the development of alternative, innovative game designs. However, there is a growing necessity for game jams to continue to challenge traditional development practices through evolving new formats and perspectives to maintain the game jam as a disruptive, refreshing aspect of game development culture. As in other creative jam style events, a game jam is not only a process but also, an outcome. Through a discussion of the literature this paper establishes a theoretical basis with which to analyse game jams as disruptive, performative processes that result in original creative artefacts. In support of this, case study analysis of Development Cultures: a series of workshops that centred on innovation and new forms of practice through play, chance, and experimentation, is presented. The findings indicate that game jams can be considered as processes that inspire creativity within a community and that the resulting performances can be considered as a form of creative artefact, thus parallels can be drawn between game jams and performative and interactive art.