Hemispheric asymmetry of neuroticism in the prediction of disinhibited work performance

Disinhibition is usually defined as a combination of high extraversion and high neuroticism or high extraversion and low neuroticism. The hypothesis that neuroticism interacts with aural preference (preferred-ear for listening) in the prediction of everyday types of disinhibited behaviour is tested. The importance of aural preference rests on the assumption that it is a readily available proxy measure of contra-hemispheric preference such that a left aural preference is indicative of right hemispheric preference and vice versa. Since the left hemisphere acts to initiate approach behaviour, the hypothesis investigates a model in which preference for the left hemisphere, together with high neuroticism, provides an alternative mechanism of disinhibition. This study provides evidence of the mechanism in the predicdon of disinhibited telesales performance.

Dynamic response: Real-time adaptation for music emotion

Music plays an enormous role in today's computer games; it serves to elicit emotion, generate interest and convey important information. Traditional gaming music is fixed at the event level, where tracks loop until a state change is triggered. This behaviour however does not reflect musically the in-game state between these events. We propose a dynamic music environment, where music tracks adjust in real-time to the emotion of the in-game state. We are looking to improve the affective response to symbolic music through the modification of structural and performative characteristics through the application of rule-based techniques. In this paper we undertake a multidiscipline approach, and present a series of primary music-emotion structural rules for implementation. The validity of these rules was tested in small study involving eleven participants, each listening to six permutations from two musical works. Preliminary results indicate that the environment was generally successful in influencing the emotion of the musical works for three of the intended four directions (happier, sadder & content/dreamier). Our secondary aim of establishing that the use of music-emotion rules, sourced predominantly from Western classical music, could be applied with comparable results to modern computer gaming music was also largely successfully.