Saccadic Eye-Movements Suppress Visual Mental Imagery and Partly Reduce Emotional Response During Music Listening

Visual mental imagery has been proposed to be an underlying mechanism of music-induced emotion, yet very little is known about the phenomenon due to its ephemeral nature. The present study utilised a saccadic eye-movement task designed to suppress visual imagery during music listening. Thirty-five participants took part in Distractor (eye-movement) and Control (blank screen) conditions, and reported the prevalence, control, and vividness of their visual imagery, and felt emotion ratings using the GEMS-9 in response to short excerpts of film music. The results show that the eye-movement task was highly effective in reducing ratings for prevalence and vividness of visual imagery, and for one GEMS item, Nostalgia, but was not successful in reducing control of imagery or the remaining GEMS items in response to the music. This represents a novel approach to understanding the potentially causal role of visual imagery on music-induced emotion, on which future research can build by considering the attentional mechanisms that a distraction task may pose during music-induced visual imagery formation

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

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

The neuro-oscillatory profiles of static and dynamic music-induced visual imagery

Visual imagery, i.e., seeing in the absence of the corresponding retinal input, has been linked to visual and motor processing areas of the brain. Music listening provides an ideal vehicle for exploring the neural correlates of visual imagery because it has been shown to reliably induce a broad variety of content, ranging from abstract shapes to dynamic scenes. Forty-two participants listened with closed eyes to twenty-four excerpts of music, while a 15-channel EEG was recorded, and, after each excerpt, rated the extent to which they experienced static and dynamic visual imagery. Our results show both static and dynamic imagery to be associated with posterior alpha suppression (especially in lower alpha) early in the onset of music listening, while static imagery was associated with an additional alpha enhancement later in the listening experience. With regard to the beta band, our results demonstrate beta enhancement to static imagery, but first beta suppression before enhancement in response to dynamic imagery. We also observed a positive association, early in the listening experience, between gamma power and dynamic imagery ratings that was not present for static imagery ratings. Finally, we offer evidence that musical training may selectively drive effects found with respect to static and dynamic imagery and alpha, beta, and gamma band oscillations. Taken together, our results show the promise of using music listening as an effective stimulus for examining the neural correlates of visual imagery and its contents. Our study also highlights the relevance of future work seeking to study the temporal dynamics of music-induced visual imagery

Marble melancholy: using crossmodal correspondences of shapes, materials, and music to predict music-induced emotions

Introduction: Music is known to elicit strong emotions in listeners, and, if primed appropriately, can give rise to specific and observable crossmodal correspondences. This study aimed to assess two primary objectives: (1) identifying crossmodal correspondences emerging from music-induced emotions, and (2) examining the predictability of music-induced emotions based on the association of music with visual shapes and materials. Methods: To achieve this, 176 participants were asked to associate visual shapes and materials with the emotion classes of the Geneva Music-Induced Affect Checklist scale (GEMIAC) elicited by a set of musical excerpts in an online experiment. Results: Our findings reveal that music-induced emotions and their underlying core affect (i.e., valence and arousal) can be accurately predicted by the joint information of musical excerpt and features of visual shapes and materials associated with these music-induced emotions. Interestingly, valence and arousal induced by music have higher predictability than discrete GEMIAC emotions. Discussion: These results demonstrate the relevance of crossmodal correspondences in studying music-induced emotions. The potential applications of these findings in the fields of sensory interactions design, multisensory experiences and art, as well as digital and sensory marketing are briefly discussed.Peer Reviewe

Influence of blade aerodynamic model on the prediction of helicopter high-frequency airloads

Brown’s vorticity transport model has been used to investigate the influence of the blade aerodynamic model on the accuracy with which the high-frequency airloads associated with helicopter blade–vortex interactions can be predicted. The model yields an accurate representation of the wake structure yet allows significant flexibility in the way that the blade loading can be represented. A simple lifting-line model and a somewhat more sophisticated liftingchord model, based on unsteady thin aerofoil theory, are compared. A marked improvement in the accuracy of the predicted high-frequency airloads of the higher harmonic control aeroacoustic rotor is obtained when the liftingchord model is used instead of the lifting-line approach, and the quality of the prediction is affected less by the computational resolution of the wake. The lifting-line model overpredicts the amplitude of the lift response to blade–vortex interactions as the computational grid is refined, exposing the fundamental deficiencies in this approach when modeling the aerodynamic response of the blade to interactions with vortices that are much smaller than its chord. The airloads that are predicted using the lifting-chord model are relatively insensitive to the resolution of the computation, and there are fundamental reasons to believe that properly converged numerical solutions may be attainable using this approach

MeBo70 Seabed Drilling on a Polar Continental Shelf: Operational Report and Lessons From Drilling in the Amundsen Sea Embayment of West Antarctica

A multibarrel seabed drill rig was used for the first time to drill unconsolidated sediments and consolidated sedimentary rocks from an Antarctic shelf with core recoveries between 7% and 76%. We deployed the MARUM-MeBo70 drill device at nine drill sites in the Amundsen Sea Embayment. Three sites were located on the inner shelf of Pine Island Bay from which soft sediments, presumably deposited at high sedimentation rates in isolated small basins, were recovered from drill depths of up to 36 m below seafloor. Six sites were located on the middle shelf of the eastern and western embayment. Drilling at five of these sites recovered consolidated sediments and sedimentary rocks from dipping strata spanning ages from Cretaceous to Miocene. This report describes the initial coring results, the challenges posed by drifting icebergs and sea ice, and technical issues related to deployment of the MeBo70. We also present recommendations for similar future drilling campaigns on polar continental shelves

Deep water inflow slowed offshore expansion of the West Antarctic Ice Sheet at the Eocene-Oligocene transition

The stability of the West Antarctic Ice Sheet is threatened by the incursion of warm Circumpolar Deepwater which flows southwards via cross-shelf troughs towards the coast there melting ice shelves. However, the onset of this oceanic forcing on the development and evolution of the West Antarctic Ice Sheet remains poorly understood. Here, we use single- and multichannel seismic reflection profiles to investigate the architecture of a sediment body on the shelf of the Amundsen Sea Embayment. We estimate the formation age of this sediment body to be around the Eocene-Oligocene Transition and find that it possesses the geometry and depositional pattern of a plastered sediment drift. We suggest this indicates a southward inflow of deep water which probably supplied heat and, thus, prevented West Antarctic Ice Sheet advance beyond the coast at this time. We conclude that the West Antarctic Ice Sheet has likely experienced a strong oceanic influence on its dynamics since its initial formation

Eysenck's Theory of Personality and the Role of Background Music in Cognitive Task Performance: A Mini-Review of Conflicting Findings and a New Perspective

The question of whether background music is able to enhance cognitive task performance is of interest to scholars, educators, and stakeholders in business alike. Studies have shown that background music can have beneficial, detrimental or no effects on cognitive task performance. Extraversion—and its postulated underlying cause, cortical arousal—is regarded as an important factor influencing the outcome of such studies. According to Eysenck's theory of personality, extraverts' cortical arousal at rest is lower compared to that of introverts. Scholars have thus hypothesized that extraverts should benefit from background music in cognitive tasks, whereas introverts' performance should decline with music in the background. Reviewing studies that have considered extraversion as a mediator of the effect of background music on cognitive task performance, it is demonstrated that there is as much evidence in favor as there is against Eysenck's theory of personality. Further, revisiting Eysenck's concept of cortical arousal—which has traditionally been assessed by activity in the EEG alpha band—and reviewing literature on the link between extraversion and cortical arousal, it is revealed that there is conflicting evidence. Due to Eysenck's focus on alpha power, scholars have largely neglected higher frequency bands in the EEG signal as indicators of cortical arousal. Based on recent findings, it is suggested that beta power might not only be an indicator of alertness and attention but also a predictor of cognitive task performance. In conclusion, it is proposed that focused music listening prior to cognitive tasks might be a more efficient way to boost performance than listening to background music during cognitive tasks