Analysis of sport psychology consultancy at three Olympic Games: Facts and figures

Objectives Despite many reports on best practises regarding onsite psychological services, little research has attempted to systematically explore the frequency, issues, nature and client groups of onsite sport psychology consultancy at the Olympic Games. The present paper will fill this gap through a systematic analysis of the sport psychology consultancy of the Swiss team for the Olympic Games of 2006 in Turin, 2008 in Beijing and 2010 in Vancouver. Design Descriptive research design. Methods The day reports of the official sport psychologist were analysed. Intervention issues were labelled using categories derived from previous research and divided into the following four intervention-issue dimensions: “general performance”, “specific Olympic performance”, “organisational” and “personal” issues. Data were analysed using descriptive statistics, chi square statistics and odds ratios. Results Across the Olympic Games, between 11% and 25% of the Swiss delegation used the sport psychology services. On average, the sport psychologist provided between 2.1 and 4.6 interventions per day. Around 50% of the interventions were informal interventions. Around 30% of the clients were coaches. The most commonly addressed issues were performance related. An association was observed between previous collaboration, intervention likelihood and intervention theme. Conclusions Sport psychologists working at the Olympic Games are fully engaged with daily interventions and should have developed ideally long-term relationships with clients to truly help athletes with general performance issues. Critical incidents, working with coaches, brief contact interventions and team conflicts are specific features of the onsite consultancy. Practitioners should be trained to deal with these sorts of challenges.

Physiological correlates of aesthetic perception of artworks in a museum

Arts experts are commonly skeptical of applying scientific methods to aesthetic experiencing, which remains a field of study predominantly for the humanities. Laboratory research has however indicated that artworks may elicit emotional and physiological responses. Yet, this line of aesthetics research has previously suffered from insufficient external validity. We therefore conducted a study in which aesthetic perception was monitored in a fine-art museum, unrestricting to the viewers’ freedom of aesthetic choice. Visitors were invited to wear electronic gloves through which their locomotion, heart rate and skin conductance were continuously recorded. Emotional and aesthetic responses to selected works of an exhibition were assessed using a customized questionnaire. In a sample of 373 adult participants, we found that physiological responses during perception of an artwork were significantly related to aesthetic-emotional experiencing. The dimensions ‘Aesthetic Quality’, ‘Surprise/Humor’, ‘Dominance’ and ‘Curatorial Quality’ were associated with cardiac measures (heart rate variability, heart rate level) and skin conductance variability. This is first evidence that aesthetics can be statistically grounded in viewers’ physiology in an ecologically valid environment, the art gallery, enhancing our understanding of the effects of artworks and their curatorial staging.