The Role of Predisposition to Hallucinations on Non-Clinical Paranoid vs. Socially Anxious Individuals after Hearing Negative Affective-Laden Sounds: An Experimental Investigation

Background: Research suggested that negative affective-laden sounds act as environmental stressors that elicit negative affect (Bradley and Lang, 2000a). Aims: We tried to test for the role of an interaction between predisposition to hallucinatory experiences and exposure to negative affective laden sounds for the presence of paranoid ideation. Method: We used an experimental design that followed the vulnerability × stress model. We defined three groups from a sample of students: paranoia group vs. social anxiety group vs. control group. Their psychological characteristics were measured through self-reports of paranoia, anxiety, predisposition to hallucinations and depressive symptoms at Time 1 (before the experiment). Participants had to listen to either negative affective laden sounds (e.g. screaming) or positive affective laden sounds (e.g. sound of ocean waves). Their paranoid ideation and positive vs. negative emotional reactions to sounds were measured through self-reports at Time 2 (after the experiment). Results: Data showed that the paranoia group presented more serious psychological vulnerabilities than the social anxiety group. A MANCOVA also showed that the independent variables (“group” and “experimental sound conditions”) had statistically significant main effects on general paranoia ideation at Time 2. Furthermore, there was a significant three-way interaction between group x predisposition to hallucinatory experiences × experimental condition of sounds for the presence of general paranoid ideation at Time 2. Limitations included the small sample size and the effects of parasite variables, e.g. noise. Conclusions: Individuals’ predisposition for hallucinatory experiences increases the probability of possessing paranoid ideation. This tendency is a characteristic of paranoid nonclinical individuals

A Design Exploration of Affective Gaming

Physiological sensing has been a prominent fixture in games user research (GUR) since the late 1990s, when researchers began to explore its potential to enhance and understand experience within digital game play. Since these early days, it has been widely argued that “affective gaming”—in which gameplay is influenced by a player’s emotional state—can enhance player experience by integrating physiological sensors into play. In this thesis, I conduct a design exploration of the field of affective gaming by first, systematically exploring the field and creating a framework (the affective game loop) to classify existing literature; and second by presenting two design probes, to probe and explore the design space of affective games contextualized within the affective game loop: In the Same Boat and Commons Sense. The systematic review explored this unique design space of affective gaming, opening up future avenues for exploration. The affective game loop was created as a way to classify the physiological signals and sensors most commonly used in prior literature within the context of how they are mapped into the gameplay itself. Findings suggest that the physiological input mappings can be more action-based (e.g., affecting mechanics in the game such as the movement of the character) or more context-based (e.g., affecting things like environmental or difficulty variables in the game). Findings also suggested that while the field has been around for decades, there is still yet to be any commercial successes, so does physiological interaction really heighten player experience? This question instigated the design of the two probes, exploring ways to implement these mappings and effectively heighten player experience. In the Same Boat (Design Probe One) is an embodied mirroring game designed to promote an intimate interaction, using players’ breathing rate and facial expressions to control movement of a canoe down a river. Findings suggest that playing In the Same Boat fostered the development of affiliation between the players, and that while embodied controls were less intuitive, people enjoyed them more, indicating the potential of embodied controls to foster social closeness in synchronized play over a distance. Commons Sense (Design Probe Two) is a communication modality intended to heighten audience engagement and effectively capture and communicate the audience experience, using a webcam-based heart rate detection software that takes an average of each spectator’s heart rate as input to affect in-game variables such as lighting and sound design, and game difficulty. Findings suggest that Commons Sense successfully facilitated the communication of audience response in an online entertainment context—where these social cues and signals are inherently diminished. In addition, Commons Sense is a communication modality that can both enhance a play experience while offering a novel way to communicate. Overall, findings from this design exploration shows that affective games offer a novel way to deliver a rich gameplay experience for the player

RESEARCH ON ACOUSTIC LANDSCAPE OF LAKEFRONT TOURISM AREAS: A CASE STUDY OF HANGZHOU CITY, CHINA

Urban open spaces are important for improvement in urban living quality. Traditional research on open spaces mainly focuses on spatial forms and visual esthetics to analyze environmental quality, but lacks of adequate consideration regarding acoustic elements. In the field of the acoustic environment, people pay much attention to interior sound quality design and noise pollution. In order to provide a new viewpoint for urban design and to reinforce design methods, herein, the concept of soundscape was introduced. In this survey, the types and the features of lakefront soundscapes, as well as visitors' spatial distribution were observed. 13 pairs of sound and image scenarios were presented to 112 subjects at a tourism city, Hangzhou, China. The sounds and images used were of real settings in lakefront scenic areas. Affective response was measured in terms of pleasure. Through the evaluation on the influence of the interaction between visual and acoustic stimuli on perception of the environment, it is proved that there is a need to identify places where the conservation of the sound environment is essential, due to the drastic impact of the loss of sound quality or its salient informational content on human appreciation, especially in theme spaces, and folk-custom landscapes. Moreover, the coherence between sound and image influences human preferences, since coherent combinations are rated higher than the mean of the component stimuli. As a result, the spatial partition of soundscape is also necessary with the movement of the visual images. Finally, some design guidelines regarding soundscape are proposed with the illustrations of four typical lakefront spots

Affective iconic words benefit from additional sound–meaning integration in the left amygdala

Recent studies have shown that a similarity between sound and meaning of a word (i.e., iconicity) can help more readily access the meaning of that word, but the neural mechanisms underlying this beneficial role of iconicity in semantic processing remain largely unknown. In an fMRI study, we focused on the affective domain and examined whether affective iconic words (e.g., high arousal in both sound and meaning) activate additional brain regions that integrate emotional information from different domains (i.e., sound and meaning). In line with our hypothesis, affective iconic words, compared to their non‐iconic counterparts, elicited additional BOLD responses in the left amygdala known for its role in multimodal representation of emotions. Functional connectivity analyses revealed that the observed amygdalar activity was modulated by an interaction of iconic condition and activations in two hubs representative for processing sound (left superior temporal gyrus) and meaning (left inferior frontal gyrus) of words. These results provide a neural explanation for the facilitative role of iconicity in language processing and indicate that language users are sensitive to the interaction between sound and meaning aspect of words, suggesting the existence of iconicity as a general property of human language

Designing gestures for affective input: an analysis of shape, effort and valence

We discuss a user-centered approach to incorporating affective expressions in interactive applications, and argue for a design that addresses both body and mind. In particular, we have studied the problem of finding a set of affective gestures. Based on previous work in movement analysis and emotion theory [Davies, Laban and Lawrence, Russell], and a study of an actor expressing emotional states in body movements, we have identified three underlying dimensions of movements and emotions: shape, effort and valence. From these dimensions we have created a new affective interaction model, which we name the affective gestural plane model. We applied this model to the design of gestural affective input to a mobile service for affective messages

Multi-Moji: Combining Thermal, Vibrotactile and Visual Stimuli to Expand the Affective Range of Feedback

This paper explores the combination of multiple concurrent modalities for conveying emotional information in HCI: temperature, vibration and abstract visual displays. Each modality has been studied individually, but can only convey a limited range of emotions within two-dimensional valencearousal space. This paper is the first to systematically combine multiple modalities to expand the available affective range. Three studies were conducted: Study 1 measured the emotionality of vibrotactile feedback by itself; Study 2 measured the perceived emotional content of three bimodal combinations: vibrotactile + thermal, vibrotactile + visual and visual + thermal. Study 3 then combined all three modalities. Results show that combining modalities increases the available range of emotional states, particularly in the problematic top-right and bottom-left quadrants of the dimensional model. We also provide a novel lookup resource for designers to identify stimuli to convey a range of emotions

Mapping a multi-sensory identity territory at the early design stage

This article presents a kansei design methodology. It is placed at the very beginning of the design process and aims to influence the following steps in order to improve the user's understanding and experiencing of the designed product. The experimentation combines in a subtle way the design thinking approach of learning by doing and the kansei engineering quantitative approach. The research presented is based on the results of a previous study that defined the semantic and emotional scope of future hybrid cars for European using visual stimuli. This kansei design methodology creates and assesses multi-sensory atmospheres is order to provide tangible direction composed of vision, touch, hearing and smell stimuli. From the cognitive and affective responses of the 42 participants we were able to detail 3 directions for future cars interiors that aim to enrich the styling design briefs and to influence the design strategies such as the management of the different grades. The research presented here was supported by the Kansei Design department from Toyota Motor Europe (TME-KD). This collaboration also brought an industrial context to it.SUPPORTED BY TOYOTA EUROP