The relationship between Hikikomori risk factors and social withdrawal tendencies among emerging adults — An exploratory study of Hikikomori in Singapore

Introduction: Once a localized Japanese phenomenon, Hikikomori-type social withdrawal has since been observed globally in increasing numbers. However, there is a lack of research about Hikikomori in Singapore. Consequently, local variations of Hikikomori may differ from past research in Japan. Drawing on associations found in international and Japanese Hikikomori research, we explored some variables relevant and generalizable to the Singaporean context. Specifically, we examined the relationships between (1) Hikikomori risk factors, (2) social withdrawal tendencies, (3) depression and anxiety, (4) connections with family and friends, and (5) employment status. Methods: In a cross-sectional survey study (N = 416; Mage = 24.90, SDage = 4.79; females = 236, males = 177, undisclosed = 3), participants were provided a Qualtrics link and asked to complete a questionnaire comprising the NHR scale, LSNS-6, DASS-21, ERQ, and HQ-25. Results: We found that (a) Hikikomori risk factors positively correlated with social withdrawal tendencies and depression and anxiety but negatively correlated with support from family and friends, (b) high Hikikomori risk factors predicted high social withdrawal tendencies, (c) support from friends (one of the psychosocial factors) predicted social withdrawal tendencies together with the Hikikomori risk factors, and (d) social withdrawal tendencies moderated the relationship between Hikikomori risk factors and depression among the emerging adults in Singapore. Conclusion: The current research findings serve as a basis for future Hikikomori research in Singapore

Between Fact and Fabrication: How Visual Art Might Nurture Environmental Consciousness

Previous studies have highlighted the communicative limitations of artistic visualizations, which are often too conceptual or interpretive to enhance public understanding of (and volition to act upon) scientific climate information. This seems to suggest a need for greater factuality/concreteness in artistic visualization projects, which may indeed be the case. However, in this paper, we synthesize insights from environmental psychology, the psychology of art, and intermediate disciplines like eco-aesthetics, to argue that artworks—defined by their counterfactual qualities—can be effective for stimulating elements of environmental consciousness. We also argue that different artworks may yield different effects depending on how they combine counter/factual strategies. In so doing, we assert that effective artistic perceptualization—here expressed as affectivization—exceeds the faithful translation of facts from one mode to another, and cannot be encapsulated in a single example of un/successful art

A global investigation of music listening practices: the influence of country latitude and seasons on music preferences

Background: Most research on correlates of music preference considers micro-level influences, such as personality and social positional levels (Rentfrow & Gosling, 2003; North & Hargreaves, 1996). However, it is important to consider macro-level influences, such as cultural norms and the effects of time and weather, as well. An interesting macro-level influence that is gaining research attention is the consideration of seasonal effects (Helmholz, et al., 2017; Krause & North, 2018; Park, et al., 2019). For example, Krause and North’s (2018, p. 89) research demonstrated that listeners preferred “arousing music for the warmer months, serene music for spring, and melancholy music for the cooler months”. Aims: The present study is a replication-extension study of Krause and North’s (2018) research. The aims of the present study included: 1. Replicating their findings drawing on a larger, global sample (including non-western countries and those with varying weather patterns and at different latitudes). 2. Exploring the extent that proxies for country and seasons (latitude) modulate response patterns. Method: A total of 2,140 participants from 47 countries across 4 continents completed an online questionnaire, which consisted of answering background questions and responding to a series of questions concerning the creation of music playlists. Importantly, as in Krause and North (2018), participants rated how well 24 adjectives (from three factors: Arousing, Serene, and Melancholy) describe preferred music for playlists (for each season); also, they indicated their favourite season, the season they were currently experiencing, and their country of residence. Results: Addressing the first aim, an exploratory factor analyses was conducted on the participants' adjective ratings to replicate that reported in Krause and North (2018). The results indicated that the proposed three factor solution on each of the four seasons from Autumn to Summer does not fit the data well using either the Comparitive Fit Index (0.79, 0.79, 0.81, 0.83) or Tucker Lewis Index (0.83, 0.83, 0.84, 0.86). We posit this model fit incongrunacy is due to initial model specification choices. Nevertheless, we continued our planned analyses and considered the impact of the participants’ country of residence. We tested the hypothesis that preferred arousal levels in music fluctuate according to the ecological environment: could countries with warmer summers prefer higher arousal music for warmer (summer) seasons, and countries with colder winters prefer lower arousal (melancholic) music for cooler (winter) seasons? Using mixed effects models with random effects for country, we found that countries with more extreme latitudes (warmer summers) preferred higher arousal music (b = -0.05, p = .036) for summer. However, no significant effect was observed for latitude and low arousal (melancholic) music (b = -0.03, p = .11). Conclusions: By examining the replicability of Krause and North's (2018) findings on a larger set of participants and countries, the present research contributes to the developing body of psychological research on music preference at the macro-level, focusing on contributing to our understanding of how broader factors play a role in music preference and everyday listening behaviours. Moreover, the findings will be considered relative to research concerning seasonal variations in other behaviours and experiences, which may have additional influences on areas such as financial behaviours, aggression, mental health, and mood

Happiness Maximization Is a WEIRD Way of Living

Psychological science tends to treat subjective wellbeing and happiness synonymously. We start from the assumption that subjective wellbeing is more than being happy to ask the fundamental question: what is the ideal level of happiness? From a cross-cultural perspective, we propose that the idealization of attaining maximum levels of happiness may be especially characteristic of WEIRD (Western, Educated, Industrial, Rich, Democratic) societies, but less so for others. Searching for an explanation for why “happiness maximization” might have emerged in these societies, we turn to studies linking cultures to their eco-environmental habitat. We discuss the premise that WEIRD cultures emerged in an exceptionally benign ecological habitat, i.e., compared to other regions, they faced relatively light existential pressures. We review the influence of the Gulfstream on the North-Western European climate as a source of these comparatively benign geographical conditions. We propose that the ecological conditions in which WEIRD societies emerged afforded them a basis to endorse happiness as a value and to idealise attaining its maximum level. To provide a nomological network for “happiness maximization”, we also studied its several potential side-effects: alcohol and drug consumption and abuse, and the prevalence of mania. To evaluate our hypothesis, we re-analyse data from two large-scale studies on ideal levels of personal life satisfaction—the most common operationalization of happiness in psychology—involving respondents from 61 countries. We conclude that societies whose members seek to maximize happiness tend to be characterized as a WEIRD, and generalizing this across societies can prove problematic if adopted at the ideological and policy level

Cross-Modal Perception of Noise-in-Music: Audiences Generate Spiky Shapes in Response to Auditory Roughness in a Novel Electroacoustic Concert Setting

Noise has become integral to electroacoustic music aesthetics. In this paper, we define noise as sound that is high in auditory roughness, and examine its effect on cross-modal mapping between sound and visual shape in participants. In order to preserve the ecological validity of contemporary music aesthetics, we developed Rama, a novel interface, for presenting experimentally controlled blocks of electronically generated sounds that varied systematically in roughness, and actively collected data from audience interaction. These sounds were then embedded as musical drones within the overall sound design of a multimedia performance with live musicians, Audience members listened to these sounds, and collectively voted to create the shape of a visual graphic, presented as part of the audio–visual performance. The results of the concert setting were replicated in a controlled laboratory environment to corroborate the findings. Results show a consistent effect of auditory roughness on shape design, with rougher sounds corresponding to spikier shapes. We discuss the implications, as well as evaluate the audience interface