295 research outputs found

    Linking language and emotion: how emotion is understood in language comprehension, production and prediction using psycholinguistic methods

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    Emotions are an integral part of why and how we use language in everyday life. We communicate our concerns, express our woes, and share our joy through the use of non-verbal and verbal language. Yet there is a limited understanding of when and how emotional language is processed differently to neutral language, or of how emotional information facilitates or inhibits language processing. Indeed, various efforts have been made to bring back emotions into the discipline of psycholinguistics in the last decade. This can be seen in many interdisciplinary models focusing on the role played by emotion in each aspect of linguistic experience. In this thesis, I answer this call and pursue questions that remain unanswered in psycholinguistics regarding its interaction with emotion. The general trend that I am using to bring emotion into psycholinguistic research is straightforward. Where applicable and relevant, I use well-established tasks or paradigms to investigate the effects of emotional content in language processing. Hence, I focused on three main areas of language processing: comprehension, production and prediction. The first experimental chapter includes a series of experiments utilising the Modality Switching Paradigm to investigate whether sentences describing emotional states are processed differently from sentences describing cognitive states. No switching effects were found consistently in my 3 experiments. My results suggest that these distinct classes of interoceptive concepts, such as ‘thinking’ or ‘being happy’, are not processed differently from each other, suggesting that people do not switch attention between different interoceptive systems when comprehending emotional or cognitive sentences. I discuss the implications for grounded cognition theory in the embodiment literature. In my second experimental chapter, I used the Cumulative Semantic Interference Paradigm to investigate these two questions: (1) whether emotion concepts interfere with one another when repeatedly retrieved (emotion label objects), and (2) whether similar interference occurs for concrete objects that share similar valence association (emotion-laden objects). This could indicate that people use information such as valence and arousal to group objects in semantic memory. I found that interference occurs when people retrieve direct emotion labels repeatedly (e.g., “happy” and “sad”) but not when they retrieve the names of concrete objects that have similar emotion connotations (e.g., “puppy” and “rainbow”). I discuss my findings in terms of the different types of information that support representation of abstract vs. concrete concepts. In my final experimental chapter, I used the Visual World Paradigm to investigate whether the emotional state of an agent is used to inform predictions during sentence processing. I found that people do use the description of emotional state of an agent (e.g., “The boy is happy”) to predict the cause of that affective state during sentence processing (e.g., “because he was given an ice-cream”). A key result here is that people were more likely to fixate on the emotionally congruent objects (e.g., ice-cream) compared to incongruent objects (e.g., broccoli). This suggests that people rapidly and automatically inform predictions about upcoming sentence information based on the emotional state of the agent. I discuss our findings as a novel contribution to the Visual World literature. I conducted a diverse set of experiments using a range of established psycholinguistic methods to investigate the roles of emotional information in language processing. I found clear results in the eye-tracking study but inconsistent effects in both switching and interference studies. I interpret these mixed findings in the following way: emotional content does not always have effects in language processing and that effect are most likely in tasks that explicitly require participants to simulate emotion states in some way. Regardless, not only was I successful in finding some novel results by extending previous tasks, but I was also able to show that this is an avenue that can be explored more to advance the affective psycholinguistic field

    Musical experience prior to traumatic exposure as a resilience factor: a conceptual analysis

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    Resilience mechanisms can be dynamically triggered throughout the lifecourse by resilience factors in order to prevent individuals from developing stress-related pathologies such as posttraumatic stress disorder (PTSD). Some interventional studies have suggested that listening to music and musical practice after experiencing a traumatic event decrease the intensity of PTSD, but surprisingly, no study to our knowledge has explored musical experience as a potential resilience factor before the potential occurrence of a traumatic event. In the present conceptual analysis, we sought to summarize what is known about the concept of resilience and how musical experience could trigger two key mechanisms altered in PTSD: emotion regulation and cognitive control. Our hypothesis is that the stimulation of these two mechanisms by musical experience during the pre-traumatic period could help protect against the symptoms of emotional dysregulation and intrusions present in PTSD. We then developed a new framework to guide future research aimed at isolating and investigating the protective role of musical experience regarding the development of PTSD in response to trauma. The clinical application of this type of research could be to develop pre-trauma training that promotes emotional regulation and cognitive control, aimed at populations at risk of developing PTSD such as healthcare workers, police officers, and military staffs

    Music listening evokes story-like visual imagery with both idiosyncratic and shared content

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    There is growing evidence that music can induce a wide range of visual imagery. To date, however, there have been few thorough investigations into the specific content of music-induced visual imagery, and whether listeners exhibit consistency within themselves and with one another regarding their visual imagery content. We recruited an online sample (N = 353) who listened to three orchestral film music excerpts representing happy, tender, and fearful emotions. For each excerpt, listeners rated how much visual imagery they were experiencing and how vivid it was, their liking of and felt emotional intensity in response to the excerpt, and, finally, described the content of any visual imagery they may have been experiencing. Further, they completed items assessing a number of individual differences including musical training and general visual imagery ability. Of the initial sample, 254 respondents completed the survey again three weeks later. A thematic analysis of the content descriptions revealed three higher-order themes of prominent visual imagery experiences: Storytelling (imagined locations, characters, actions, etc.), Associations (emotional experiences, abstract thoughts, and memories), and References (origins of the visual imagery, e.g., film and TV). Although listeners demonstrated relatively low visual imagery consistency with each other, levels were higher when considering visual imagery content within individuals across timepoints. Our findings corroborate past literature regarding music’s capacity to encourage narrative engagement. It, however, extends it (a) to show that such engagement is highly visual and contains other types of imagery to a lesser extent, (b) to indicate the idiosyncratic tendencies of listeners’ imagery consistency, and (c) to reveal key factors influencing consistency levels (e.g., vividness of visual imagery and emotional intensity ratings in response to music). Further implications are discussed in relation to visual imagery’s purported involvement in music-induced emotions and aesthetic appeal

    Neural foundations of cooperative social interactions

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    The embodied-embedded-enactive-extended (4E) approach to study cognition suggests that interaction with the world is a crucial component of our cognitive processes. Most of our time, we interact with other people. Therefore, studying cognition without interaction is incomplete. Until recently, social neuroscience has only focused on studying isolated human and animal brains, leaving interaction unexplored. To fill this gap, we studied interacting participants, focusing on both intra- and inter-brain (hyperscanning) neural activity. In the first study, we invited dyads to perform a visual task in both a cooperative and a competitive context while we measured EEG. We found that mid-frontal activity around 200-300 ms after receiving monetary rewards was sensitive to social context and differed between cooperative and competitive situations. In the second study, we asked participants to coordinate their movements with each other and with a robotic partner. We found significantly stronger EEG amplitudes at frontocentral electrodes when people interacted with a robotic partner. Lastly, we performed a comprehensive literature review and the first meta-analysis in the emerging field of hyperscanning that validated it as a method to study social interaction. Taken together, our results showed that adding a second participant (human or AI/robotic) fostered our understanding of human cognition. We learned that the activity at frontocentral electrodes is sensitive to social context and type of partner (human or robotic). In both studies, the participants’ interaction was required to show these novel neural processes involved in action monitoring. Similarly, studying inter-brain neural activity allows for the exploration of new aspects of cognition. Many cognitive functions involved in successful social interactions are accompanied by neural synchrony between brains, suggesting the extended form of our cognition

    Age differences in conspiracy beliefs around Covid-19 pandemic and (dis)trust in the government

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    Objective: Times of societal crisis, such as the COVID-19 pandemic, during which people need to make sense of a chaotic world and to protect their health and lives, according to psychological research, represent suitable ground for the development of conspiracy theories about origins, spread, and treatment of the threat (coronavirus). Although numerous studies have been conducted on this issue since the beginning of the pandemic until today, most of the studies were conducted on the adult population with limited insights into development of the conspiracy beliefs in adolescence or over the lifespan. Objective of this study is precisely to explore how conspiracy beliefs regarding COVID-19 pandemic differentiate between multiple age groups (cross-sectional design), what are their sources and contexts, and how do they relate with the tendency to trust the government. Methodology: Data were gathered through eight focus group discussions with four age groups (11-12, 14-15, 18-19, 30+) in Serbia. Results: Based on critical discourse analysis, this paper identifies the differences in content and the sources of conspiracy thinking and how it relates to trust in the government. Study shows that high distrust in Serbian government is associated with conspiracy beliefs both within youth and adults. However, while among adolescents this finding is exclusively related with their beliefs that ruling structures have financial gain from the pandemic, against the interests of citizens, among adults it is related to the belief that the government (un)intentionally submits to the new global order that is managed by one or more powerful actors who are coordinated in secret action to achieve an outcome that is of public interest, but not public knowledge. Conclusion: The results will be discussed within current socio-political climate in Serbia, as well as the basis for understanding psychological factors which may underlie these tendencies in conspiracy theorizing, such as social identification, collective narcissism, authoritarianism, and social dominance orientation

    A theoretical basis for understanding and researching the relationship between music, stress, and biofeedback

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    Music’s ability to influence emotional states and physical arousal has become an increasingly popular area of study. The wealth of literature around music and stress suggests a significant amount of interest in leveraging music to manage stress. However, as attention increases, the robustness of research becomes an increasing concern. This study investigates the current literature and proposes recommendations for the future studying of the psychological and physiological impacts of music as it relates to stress reduction. Existing literature was reviewed with a focus on the operationalization of key concepts of music and stress. The analysis showed considerable discrepancies in research design, operationalization of music, operationalization of the psychological aspects of stress, and operationalization of the physiological aspects of stress. The findings of this study have implications for future research design. This dissertation is available in open access at AURA (https://aura.antioch.edu) and OhioLINK ETD Center (https://etd.ohiolink.edu)

    Joyful by nature : approaches to investigate the evolution and function of joy in non-human animals

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    This work was supported by Grant #0333 from the Templeton World Charity Foundation (TWCF) and a Brian Mason Technical Trust Fund grant to X. J. N. and A. H. T.The nature and evolution of positive emotion is a major question remaining unanswered in science and philosophy. The study of feelings and emotions in humans and animals is dominated by discussion of affective states that have negative valence. Given the clinical and social significance of negative affect, such as depression, it is unsurprising that these emotions have received more attention from scientists. Compared to negative emotions, such as fear that leads to fleeing or avoidance, positive emotions are less likely to result in specific, identifiable, behaviours being expressed by an animal. This makes it particularly challenging to quantify and study positive affect. However, bursts of intense positive emotion (joy) are more likely to be accompanied by externally visible markers, like vocalisations or movement patterns, which make it more amenable to scientific study and more resilient to concerns about anthropomorphism. We define joy as intense, brief, and event-driven (i.e. a response to something), which permits investigation into how animals react to a variety of situations that would provoke joy in humans. This means that behavioural correlates of joy are measurable, either through newly discovered 'laughter' vocalisations, increases in play behaviour, or reactions to cognitive bias tests that can be used across species. There are a range of potential situations that cause joy in humans that have not been studied in other animals, such as whether animals feel joy on sunny days, when they accomplish a difficult feat, or when they are reunited with a familiar companion after a prolonged absence. Observations of species-specific calls and play behaviour can be combined with biometric markers and reactions to ambiguous stimuli in order to enable comparisons of affect between phylogenetically distant taxonomic groups. Identifying positive affect is also important for animal welfare because knowledge of positive emotional states would allow us to monitor animal well-being better. Additionally, measuring if phylogenetically and ecologically distant animals play more, laugh more, or act more optimistically after certain kinds of experiences will also provide insight into the mechanisms underlying the evolution of joy and other positive emotions, and potentially even into the evolution of consciousness.Publisher PDFPeer reviewe

    A Critical Realist Study of Epiphanic Experiences

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    The purpose of this enquiry was to contribute to the much under-developed field of psychology that pertains to change that is sudden, positive, and profound. In particular, this research sought to conceptualise and operationalise epiphanic experience, which has previously been referred to as epiphany, quantum change, and sudden personal transformation. It was considered important to understand epiphanic experiences as although positive transformation has been under-researched, it deserves attention in all its forms, as these experiences ultimately improve quality of life. Further, ‘extreme’ cases of positive transformation can provide valuable understandings of the mechanisms underpinning ‘less extreme’ cases (Danermark et al., 2019), meaning that insights into epiphanic experience can enrich conceptions of positive change, and how to attain it. The research was underpinned philosophically by Critical Realism, and this meta-philosophical series of positions was key to both the scope and process of the research. The aims of this enquiry were as follows: (1) to determine whether epiphanic experience is distinct from other sudden, positive, and profound experiences, (2) to determine the distinct experiential features of epiphanic experience, and (3) to apply Critical Realist analytical procedures in order to understand the generative mechanisms that permit the emergence of an epiphanic experience. In order to address these aims three studies were conducted: (1) a scoping review, (2) a thematic synthesis, and (3) a Critical Realist analysis using a participant sample of practitioner psychologists, whose profession was thought to lend them insight into the process of change and transformation. Findings suggest that whilst epiphanic experiences can be construed as a distinct category of sudden, positive, and profound change, they are intrinsically related to both mystical experiences and the insight experience. Moreover, epiphanic experiences were found to possess the following key markers: (1) brevity, (2) noetic aspects, (3) somatic aspects, (4) vivid memorability, (5) enduringness, (6) benevolence, and (7) profound, holistic change to the individual. Experientially, epiphanic experiences tended to be preceded by uncertainty, negative life experience, and degrees of disorganisation. Using the Critical Realist ontology of personhood (Bhaskar, 2008, 2020), it is suggested that epiphanic experience constitutes the elimination or diminishment of the ego, such that the embodied personality is able to align with the transcendentally real self, thereby unifying intentionality. An interdisciplinary account of the generative mechanisms proposed to underpin epiphanic experience is provided. Further, the strengths, limitations, and implications of the research are discussed with a particular focus on the impact of this research on applied practice. In particular, practitioners are encouraged to consider how the ontology of epiphanic experience suggested by this research might shape how they choose to implement their therapeutic interventions

    Los caminos compartidos del tacto y el sonido hacia la emoción: Evidencias neurocientíficas actuales

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    The most representative characteristic of music is its capacity to generate emotion. But why does music excite you? In this article, we review the current knowledge from music theory and neuroscience that attempts to explain the relationship between music and emotion. First, we consider how the different musical parameters contribute to the generation of emotions from the perspective of the musical structures of our western world. Secondly, it reviews current knowledge about the processing of musical sounds in the brain and possible explanations for the evolutionary origin of music. Finally, the tactile channel is considered a viable channel of transmission of musical emotion analogous to the auditory channel but with more limitations in frequency discrimination. This approach is based on the deep fascination with music and all the enigmas surrounding it.La característica más representativa de la música es su capacidad de generar emoción. Pero ¿por qué la música emociona? En este artículo mostramos los conocimientos actuales de la teoría musical y la neurociencia que intentan explicar las relaciones que existen entre la música y las emociones. En primer lugar, se repasan los conocimientos actuales sobre el procesamiento de los sonidos musicales a nivel cerebral y las posibles explicaciones del origen de la emoción musical, así como la contribución de los distintos parámetros musicales a la generación de emociones, considerando estructuras musicales de nuestro mundo occidental. En segundo lugar, se presenta el canal táctil como un posible canal de transmisión de la emoción musical análogo al canal auditivo, pero con más limitaciones en la discriminación de frecuencias. Este acercamiento se produce desde la profunda fascinación que ejerce la música, con la esperanza de encontrar vías para explicar la transmisión de la emoción musical desde un canal alternativo
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