Emotion and reason in everyday risk perception

Although research has documented the importance of emotion in risk perception, little is knownabout its prevalence in everyday life. Using the Experience Sampling Method, 94 part-timestudents were prompted at random via cellular telephones to report on mood state and threeemotions and to assess risk on thirty occasions during their working hours. The emotions valence, arousal, and dominance were measured using self-assessment manikins (Bradley &Lang, 1994). Hierarchical linear models (HLM) revealed that mood state and emotions explainedsignificant variance in risk perception. In addition, valence and arousal accounted for varianceover and above reason (measured by severity and possibility of risks). Six risks were reassessedin a post-experimental session and found to be lower than their real-time counterparts.The study demonstrates the feasibility and value of collecting representative samples of data withsimple technology. Evidence for the statistical consistency of the HLM estimates is provided inan Appendix.

The role of incidental variables of time in mood assessment

Determining what influences mood is important for theories of emotion and research onsubjective well-being. We consider three sets of factors: activities in which people areengaged; individual differences; and incidental variables that capture when mood ismeasured, e.g., time-of-day. These three factors were investigated simultaneously in a studyinvolving 168 part-time students who each responded 30 times in an experience samplingstudy conducted over 10 working days. Respondents assessed mood on a simple bipolarscale from 1 (very negative) to 10 (very positive). Activities had significant effects but,with the possible exception of variability in the expression of mood, no systematicindividual differences were detected. Diurnal effects, similar to those already reported inthe literature, were found as was an overall Friday effect. However, these effects weresmall. Lastly, the weather had little or no influence. We conclude that simple measures ofoverall mood are not greatly affected by incidental variables.

Conocer las emociones a través de juegos: ayuda para los futuros docentes en la toma de decisiones

Introducción. El objetivo de este estudio fue proporcionar orientaciones para ayudar a profesionales de la educación física a tomar decisiones en torno a las emociones que produjeron diferentes juegos deportivos clasificados en cuatro dominios de acción motriz (psicomotor, cooperación, oposición y cooperación/oposición). Método. La muestra correspondió a 284 estudiantes universitarios de educación física y de educación primaria (INEFC, Facultad de Educación, Universidades de Lleida y de Barcelona, España). A través de un diseño cuasi-experimental los estudiantes indicaron en un cuestionario validado la intensidad sentida en trece emociones tras participar en cada juego. El análisis de los datos se realizó a través de los árboles de clasificación. Resultados. La comparación de los resultados en los diferentes dominios de acción motor mostró que los juegos cooperativos fueron los que activaron emociones positivas más intensas entre los estudiantes. En los juegos no competitivos de cooperación los resultados en emociones positivas fueron 18.3 % más elevados que en los juegos competitivos. Conclusión. Los resultados sugieren que el tipo de juegos a elegir es la primera decisión importante que debería plantearse para educar emociones en los estudiantes. Cada dominio de acción motriz está asociado a la producción de diferentes tipos de emoción.

L’educació emocional a través de la música per afavorir la convivencia l’aula en l’Educació Primària

L’educació emocional cada dia guanya més rellevància en l’àmbit educatiu. S’està comprovant que les emocions estan molt lligades al desenvolupament intel·lectual i social de les persones. La pràctica inclosa en aquest treball pretén afirmar la hipòtesi de que l’educació emocional a través de la música afavoreix la convivència a l’aula. Grans teòrics, al llarg de la història, han destinat part de la seva carrera a l’estudi de l’evolució del concepte d’emoció i les diferents vessants relacionades amb aquesta, com la intel·ligència emocional i/o l’educació emocional. L’ús de la musica com a recurs per treballar l’educació emocional ha permès un progrés en la convivència a l’aula, gràcies al seu efecte socialitzador.

Towards a lightweight adaptative multicomponential affective recognition system

As part of the Affective Computing research field, the development of automatic affective recognition systems can enhance human-computer interactions by allowing the creation of interfaces that react to the user's emotional state. To that end, this Master Thesis brings affect recognition to nowadays most used human computer interface, mobile devices, by developing a facial expression recognition system able to perform detection under the difficult conditions of viewing angle and illumination that entails the interaction with a mobile device. Moreover, this Master Thesis proposes to combine emotional features detected from expression with contextual information of the current situation, to infer a complex and extensive emotional state of the user. Thus, a cognitive computational model of emotion is defined that provides a multicomponential affective state of the user through the integration of the detected emotional features into appraisal processes. In order to account for individual differences in the emotional experience, these processes can be adapted to the culture and personality of the user.

Individual Differences in Music Reward Experiences

Music is one of the most pleasant human experiences, even though it has no direct biological advantage. However little is known about individual differences in how people experience reward in music-related activities. The goal of the present study was to describe the main facets of music experience that could explain the variance observed in how people experience reward associated with music. To this end we developed the Barcelona Music Reward Questionnaire (BMRQ), which was administrated to three large samples. Our results showed that the musical reward experience can be decomposed into five reliable factors: Musical Seeking, Emotion Evocation, Mood Regulation, Social Reward, and Sensory-Motor. These factors were correlated with socio-demographic factors and measures of general sensitivity to reward and hedonic experience. We propose that the five-factor structure of musical reward experience might be very relevant in the study of psychological and neural bases of emotion and pleasure associated to music.

Towards an emotion-driven interactive music system: ridging the gaps between affect, physiology and sound generation

Report for the scientific sojourn at the Stanford University from January until June 2007. Music is well known for affecting human emotional states, yet the relationship between specific musical parameters and emotional responses is still not clear. With the advent of new human-computer interaction (HCI) technologies, it is now possible to derive emotion-related information from physiological data and use it as an input to interactive music systems. Providing such implicit musical HCI will be highly relevant for a number of applications including music therapy, diagnosis, nteractive gaming, and physiologically-based musical instruments. A key question in such physiology-based compositions is how sound synthesis parameters can be mapped to emotional states of valence and arousal. We used both verbal and heart rate responses to evaluate the affective power of five musical parameters. Our results show that a significant correlation exists between heart rate and the subjective evaluation of well-defined musical parameters. Brightness and loudness showed to be arousing parameters on subjective scale while harmonicity and even partial attenuation factor resulted in heart rate changes typically associated to valence. This demonstrates that a rational approach to designing emotion-driven music systems for our public installations and music therapy applications is possible.

Conversation is the Key : A Short History of Smarthistory.org

Smarthistory.org is a proven, sustainable model for open educational resources in the Humanities. We discuss lessons learned during its agile development. Smarthistory.org is a free, creative-commons licensed, multi-media web-book designed as a dynamic enhancement or substitute for the traditional art history textbook. It uses conversation instead of the impersonal voice of the typical textbook in-order to reveal disagreement, emotion, and the experience of looking. The listener remains engaged with both the content and the interaction of the speakers. These conversations model close looking and a willingness to encounter and engage the unfamiliar. Smarthistory takes the inherent dialogic and multimedia nature of the web and uses it as a pedagogical method. This extendable Humanities framework uses an open-source content management system making Smarthistory inexpensive to create, and easy to manage and update. Its chronological timeline/chapter-based format integrates new contributions into a single historical framework, a structure applicable across the Humanities.

Emotional attention as a modulatory system of perception

Report for the scientific sojourn carried out at the University Medical Center, Swiss, from 2010 to 2012. Abundant evidence suggests that negative emotional stimuli are prioritized in the perceptual systems, eliciting enhanced neural responses in early sensory regions as compared with neutral information. This facilitated detection is generally paralleled by larger neural responses in early sensory areas, relative to the processing of neutral information. In this sense, the amygdala and other limbic regions, such as the orbitofrontal cortex, may play a critical role by sending modulatory projections onto the sensory cortices via direct or indirect feedback.The present project aimed at investigating two important issues regarding these mechanisms of emotional attention, by means of functional magnetic resonance imaging. In Study I, we examined the modulatory effects of visual emotion signals on the processing of task-irrelevant visual, auditory, and somatosensory input, that is, the intramodal and crossmodal effects of emotional attention. We observed that brain responses to auditory and tactile stimulation were enhanced during the processing of visual emotional stimuli, as compared to neutral, in bilateral primary auditory and somatosensory cortices, respectively. However, brain responses to visual task-irrelevant stimulation were diminished in left primary and secondary visual cortices in the same conditions. The results also suggested the existence of a multimodal network associated with emotional attention, presumably involving mediofrontal, temporal and orbitofrontal regions Finally, Study II examined the different brain responses along the low-level visual pathways and limbic regions, as a function of the number of retinal spikes during visual emotional processing. The experiment used stimuli resulting from an algorithm that simulates how the visual system perceives a visual input after a given number of retinal spikes. The results validated the visual model in human subjects and suggested differential emotional responses in the amygdala and visual regions as a function of spike-levels. A list of publications resulting from work in the host laboratory is included in the report.

Emotional attention as a modulatory system of perception

Report for the scientific sojourn carried out at the University Medical Center, Swiss, from 2010 to 2012. Abundant evidence suggests that negative emotional stimuli are prioritized in the perceptual systems, eliciting enhanced neural responses in early sensory regions as compared with neutral information. This facilitated detection is generally paralleled by larger neural responses in early sensory areas, relative to the processing of neutral information. In this sense, the amygdala and other limbic regions, such as the orbitofrontal cortex, may play a critical role by sending modulatory projections onto the sensory cortices via direct or indirect feedback.The present project aimed at investigating two important issues regarding these mechanisms of emotional attention, by means of functional magnetic resonance imaging. In Study I, we examined the modulatory effects of visual emotion signals on the processing of task-irrelevant visual, auditory, and somatosensory input, that is, the intramodal and crossmodal effects of emotional attention. We observed that brain responses to auditory and tactile stimulation were enhanced during the processing of visual emotional stimuli, as compared to neutral, in bilateral primary auditory and somatosensory cortices, respectively. However, brain responses to visual task-irrelevant stimulation were diminished in left primary and secondary visual cortices in the same conditions. The results also suggested the existence of a multimodal network associated with emotional attention, presumably involving mediofrontal, temporal and orbitofrontal regions Finally, Study II examined the different brain responses along the low-level visual pathways and limbic regions, as a function of the number of retinal spikes during visual emotional processing. The experiment used stimuli resulting from an algorithm that simulates how the visual system perceives a visual input after a given number of retinal spikes. The results validated the visual model in human subjects and suggested differential emotional responses in the amygdala and visual regions as a function of spike-levels. A list of publications resulting from work in the host laboratory is included in the report.

Emotion and Linguistic Diversity

In this paper we shall try to explain why speakers experience their languages so passionately. One explanation is based on the role language plays in the construction of the community and in the fact that it is a clear mark of belonging. Furthermore, we support another reason. Speakers experience their language as something received from their ancestors and that they are obliged to transmit to their descendents, an imperative which carries an extraordinary emotional charge. In fact, fear of the death of a language is experienced as an act of irreparable non-fulfilment. Why? We believe that language is one of the most evident signs of community, much more than the sum of the individuals of which it is composed. Indeed, it is a long-lasting entity projected into both the past and the future and which, moreover, accumulates within the language the whole of the culture. In the survival of the community and the language we find a response, even though it may be illusory, to the need for transcendence: our ancestors live on in our language and we, if we meet our obligations, live on in the language of our descendents

The communicative dimension of landscape. A theoretical and applied proposal

The fusion of knowledge, the interrelationship of disciplines and, finally, the interaction of learning fields, provides new challenges for an auto denominated global society. The contemporary value of landscape, linked to the patent commodification of culture, the commercial construction of identities, the triumph of inauthenticity, of the induced representation or the economy of symbolism, open up great prospects for studying the symbolic value of landscape. The rapprochement of geographical praxis to the study of space intangibles, linked to the discovery of emotional geographies, besides the growing interest of communicational sciences on the territorial discourse, allow us to envisage a communicative study of landscape based on a fusion of geographical and communicational knowledge. The balancing of the variables: geography, landscape, emotion and communication, enables the progress towards analysing the emotionalisation of space to discern its intangible value, which emerges from the application of different communication techniques.

Children's understanding of pretend emotions

This preliminary study aims to investigate children’s ability to understand that the emotional expressions that occur in pretend play do not necessarily coincide with the emotions people feel inside. Previous research has found that children aged 4 and 6 have difficulty to distinguish between the external and the internal emotion of a character who pretends an emotion. In the present work, thirteen 4-year-olds and eight 6-year-olds were administered stories in which a character simulated an emotion. Differently from previous research, the questions addressed to the children did not focus on the distinction external/internal emotion but on the distinction between real/pretend emotion. Furthermore, since previous research has suggested that children may understand better selfpretence than pretence of others, the participants in our study were engaged in a pretence situation where they had to pretend to be happy. The results obtained showed that, contrary to previous research, most 4- and 6-year-olds realize that pretend emotions may not be real, and this was true both for self-pretence and for the pretence of others