Examining the impact of trait anxiety on the recognition of facial emotional expressions

Question : Cette thèse comporte deux articles portant sur l’étude d’expressions faciales émotionnelles. Le processus de développement d’une nouvelle banque de stimuli émotionnels fait l’objet du premier article, alors que le deuxième article utilise cette banque pour étudier l’effet de l’anxiété de trait sur la reconnaissance des expressions statiques. Méthodes : Un total de 1088 clips émotionnels (34 acteurs X 8 émotions X 4 exemplaire) ont été alignés spatialement et temporellement de sorte que les yeux et le nez de chaque acteur occupent le même endroit dans toutes les vidéos. Les vidéos sont toutes d’une durée de 500ms et contiennent l’Apex de l’expression. La banque d’expressions statiques fut créée à partir de la dernière image des clips. Les stimuli ont été soumis à un processus de validation rigoureux. Dans la deuxième étude, les expressions statiques sont utilisées conjointement avec la méthode Bubbles dans le but d’étudier la reconnaissance des émotions chez des participants anxieux. Résultats : Dans la première étude, les meilleurs stimuli ont été sélectionnés [2 (statique & dynamique) X 8 (expressions) X 10 (acteurs)] et forment la banque d’expressions STOIC. Dans la deuxième étude, il est démontré que les individus présentant de l'anxiété de trait utilisent préférentiellement les basses fréquences spatiales de la région buccale du visage et ont une meilleure reconnaissance des expressions de peur. Discussion : La banque d’expressions faciales STOIC comporte des caractéristiques uniques qui font qu’elle se démarque des autres. Elle peut être téléchargée gratuitement, elle contient des vidéos naturelles et tous les stimuli ont été alignés, ce qui fait d’elle un outil de choix pour la communauté scientifique et les cliniciens. Les stimuli statiques de STOIC furent utilisés pour franchir une première étape dans la recherche sur la perception des émotions chez des individus présentant de l’anxiété de trait. Nous croyons que l’utilisation des basses fréquences est à la base des meilleures performances de ces individus, et que l’utilisation de ce type d’information visuelle désambigüise les expressions de peur et de surprise. Nous pensons également que c’est la névrose (chevauchement entre l'anxiété et la dépression), et non l’anxiété même qui est associée à de meilleures performances en reconnaissance d’expressions faciales de la peur. L’utilisation d’instruments mesurant ce concept devrait être envisagée dans de futures études.

Tracing change in World Cultural Heritage : the recognition of intangible heritage

This thesis investigates the crossover from and intersection between tangible and intangible heritage in the context of World Heritage. Since the start of the twenty-first century, intangible heritage has become increasingly important in international cultural heritage conservation theory and practice. In heritage literature, intangible heritage has been theorized in relation to tangible or built heritage, thereby extending the definition of cultural heritage to consider a holistic perspective. New heritage conservation instruments have been created for the protection of intangible heritage, such as most prominently the 2003 UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage. The changing conception of cultural heritage that goes beyond tangible heritage has also influenced existing instruments like the 1972 UNESCO Convention concerning the protection of the World Cultural and Natural Heritage. The thesis studies how intangible heritage has been recognized and interpreted in implementing the concept of cultural heritage as defined by the World Heritage Convention. It examines the historical development of the concept of World Cultural Heritage with the aim of tracing the construction of intangible heritage in this context. The thesis consists of six chapters. The introduction sets out the research problem and research question. In the literature review, international cultural heritage conservation is portrayed as the research context, the knowledge gap between World Heritage and intangible heritage is identified and an understanding of the research problem deepened, and methods from similar research in the subject area are presented. The methodology in the third chapter describes choices made concerning the research paradigm, research approach and strategy, the use of concepts and illustrative examples, as well as data collection and analysis methods. Knowledge is constructed using primarily a historical approach and related methods. Through the analysis of pertinent documents and heritage discourses, an understanding of the concept of intangible heritage is developed and the concept of World Cultural Heritage is investigated. In the fourth chapter, intangible heritage is studied by looking at specific cultural heritage discourses, that is, a scientific, a UNESCO, and an ICOMOS discourse. Intangible heritage is theorized in relation to the concepts of tangible heritage, heritage value, and cultural heritage. Knowledge gained in this chapter serves as a theoretical lens to trace the recognition of and tease out interpretations of intangible heritage in the context of implementing the concept of World Cultural Heritage. The results are presented in chapter five. A historical development is portrayed in five time periods and for the concepts of cultural heritage, Outstanding Universal Value, the criteria to assess World Heritage value, and authenticity. The conclusion summarizes the main outcomes, assesses the thesis’ contribution to scientific knowledge as well as its limitations, and outlines possible further research. The main results include the identification of the term intangible heritage as an indicator for a paradigm shift and a new approach to conceiving cultural heritage in international cultural heritage conservation. By focusing on processes and the living relationship between people and their environment or place, intangible heritage emphasizes the anthropological. In the context of this conception, intangible heritage takes on two meanings. First, value is attributed by people and hence, is inherently immaterial. Secondly, place is constituted of a tangible-intangible continuum in terms of attributes. A paradigm shift and increasing recognition of an anthropological approach to cultural heritage were identified for all discourses, that is, UNESCO, ICOMOS, the scientific field, and World Heritage. For World Heritage, intangible heritage was recognized indirectly in terms of historical associations during the 1970s and 1980s. The anthropological shift occurred in the early 1990s. The term intangible was introduced and the meaning of intangible heritage was extended to include cultural associations. The subsequent decade is characterized by a process of internalization and implementation of the new approach to cultural heritage. The 2003 Intangible Cultural Heritage Convention created momentum. By the early 2010s, while not explicitly recognizing the immaterial character of values, a holistic approach to cultural heritage was fully endorsed that considers the idea of intangible attributes as carriers of values. An understanding of the recognition of intangible heritage through the implementation of the World Heritage Convention and scientific research in general provide an important knowledge base for implementing the Convention in a more coherent, objective, and well-informed way.