NASA Astronaut Selection 2009: Behavioral Overview

NASA's multi-phase U.S. astronaut selection process seeks to identify the most qualified astronaut candidates from a large number of applicants. With the approaching retirement of the Space Shuttle, NASA focused on selecting those individuals who were most suited to the unique demands of long-duration spaceflight. In total, NASA received 3,535 applications for the 2009 astronaut selection cycle. Of these, 123 were invited to NASA Johnson Space Center (JSC) for Round 1 initial screening and interviews, which consisted of an Astronaut Selection Board (ASB) preliminary interview, medical review, and psychological testing. Of these, 48 individuals were invited to return for Round 2. This round consisted of medical testing, further behavioral assessments, and a second ASB interview. Following this, nine astronaut candidates (ASCANs) were ultimately chosen to go forward to basic training. The contents, benefits, and lessons learned from implementing this phased process will be discussed. The lessons learned can benefit the future selection of space flyers, whether they are NASA or commercial. Learning Objective: 1) Familiarization with the 2009 NASA behavioral screening process for astronaut applicants

NASA Astronaut Selection 2009: Behavioral Overview

Behavioral Health and Performance (BHP) is an operational group under medical sciences at NASA/Johnson Space Center. Astronaut applicant screening and assessment is one function of this group, along with psychological training, inflight behavioral support and family services. Direct BHP assessment spans 6-7 months of a 17-month overall selection process

Locus of emotion influences psychophysiological reactions to music

It is now widely accepted that the perception of emotional expression in music can be vastly different from the feelings evoked by it. However, less understood is how the locus of emotion affects the experience of music, that is how the act of perceiving the emotion in music compares with the act of assessing the emotion induced in the listener by the music. In the current study, we compared these two emotion loci based on the psychophysiological response of 40 participants listening to 32 musical excerpts taken from movie soundtracks. Facial electromyography, skin conductance, respiration and heart rate were continuously measured while participants were required to assess either the emotion expressed by, or the emotion they felt in response to the music. Using linear mixed effects models, we found a higher mean response in psychophysiological measures for the “perceived” than the “felt” task. This result suggested that the focus on one’s self distracts from the music, leading to weaker bodily reactions during the “felt” task. In contrast, paying attention to the expression of the music and consequently to changes in timbre, loudness and harmonic progression enhances bodily reactions. This study has methodological implications for emotion induction research using psychophysiology and the conceptualization of emotion loci. Firstly, different tasks can elicit different psychophysiological responses to the same stimulus and secondly, both tasks elicit bodily responses to music. The latter finding questions the possibility of a listener taking on a purely cognitive mode when evaluating emotion expression