Timing markers of interaction quality during semi-hocket singing

Music is believed to work as a bio-social tool enabling groups of people to establish joint action and group bonding experiences. However, little is known about the quality of the group members’ interaction needed to bring about these effects. To investigate the role of interaction quality, and its effect on joint action and bonding experience, we asked dyads (two singers) to perform music in medieval “hocket” style, in order to engage their co-regulatory activity. The music contained three relative inter-onset-interval (IOI) classes: quarter note, dotted quarter note and eight note, marking time intervals between successive onsets (generated by both singers). We hypothesized that singers co-regulated their activity by minimizing prediction errors in view of stable IOI-classes. Prediction errors were measured using a dynamic Bayesian inference approach that allows us to identify three different types of error called fluctuation (micro-timing errors measured in milliseconds), narration (omission errors or misattribution of an IOI to a wrong IOI class), and collapse errors (macro-timing errors that cause the breakdown of a performance). These three types of errors were correlated with the singers’ estimated quality of the performance and the experienced sense of joint agency. We let the singers perform either while moving or standing still, under the hypothesis that the moving condition would have reduced timing errors and increased We-agency as opposed to Shared-agency (the former portraying a condition in which the performers blend into one another, the latter portraying a joint, but distinct, control of the performance). The results show that estimated quality correlates with fluctuation and narration errors, while agency correlates (to a lesser degree) with narration errors. Somewhat unexpectedly, there was a minor effect of movement, and it was beneficial only for good performers. Joint agency resulted in a “shared,” rather than a “we,” sense of joint agency. The methodology and findings open up promising avenues for future research on social embodied music interaction

Una perspectiva sociocultural acerca la paternidad: el caso de la paternidad adoptiva

El documento analiza la paternidad desde el punto de vista socio-cultural. La psicología contemporánea, más allá de las diferentes perspectivas teóricas, reconoce a la crianza de los hijos una función autónoma y procesal, en gran medida dependiente de dinámicas intra-psíquicas o de dimensiones intersubjetivas y microsociales que, sin embargo, pueden ser capaces de tener un impacto en los aspectos subjetivos internos. Este trabajo propone la recuperación de una perspectiva culturalista de la crianza, con el objetivo de analizar esta característica humana superior, como el resultado de las dinámicas culturales. Esta perspectiva sugiere que el ejercicio de la función de los padres es contextual y culturalespecífica; es decir, que la forma en que se lleva a cabo depende de, y está constituida por los significados culturales que median su acción. Para el desarrollo de esta perspectiva, el presente trabajo se centra en una condición "límite", la adopción, centrándose en la dinámica subyacente a la competencia parental. En la segunda parte se definen algunas implicaciones pragmáticas sobre el papel y el propósito de la evaluación psicológica con los padres su interés en la adopción

Energy, economic and environmental modelling for supporting strategic local planning

This study investigates the use of an evaluation model able to estimate the possibilities of reducing energy consumption and emissions of the building sector exploiting renewable energy sources. Specific attention is given to the use of ground source heat pumps in the urban context, proposing an ex-ante evaluation of different scenarios to identify the most balanced one in terms of energy, economic and environmental effects. The model is applied to a case study in Northern Italy to show how it can be used to support local administrations in energy urban planning, fitting economically and environmentally sustainable technologies. Moreover, it defines new boundaries in which the energy and environmental analyses should be carried out (spatial relocation), and the time span over which impacts have to be evaluated (temporal relocation)

Imaging of Antiferroelectric Dark Modes in an Inverted Plasmonic Lattice [Dataset]

6 pages. -- S1. Transversal electric field distribution for the SLR at 1.57 eV. -- S2. Simulated electric field and charge distributions for a threesome of slits. -- S3. Simulated electric field and charge distributions for the simplest local dark mode of the inverted honeycomb lattice. -- S4. Profiles of the EELS signal and the simulated electric field along the slits for the antiferroelectric dark modes. -- S5. Array of the magnetic dipoles over the structure used to simulate antiferroelectric dark modes.Plasmonic lattice nanostructures are of technological interest because of their capacity to manipulate light below the diffraction limit. Here, we present a detailed study of dark and bright modes in the visible and near-infrared energy regime of an inverted plasmonic honeycomb lattice by a combination of Au+ focused ion beam lithography with nanometric resolution, optical and electron spectroscopy, and finite-difference time-domain simulations. The lattice consists of slits carved in a gold thin film, exhibiting hotspots and a set of bright and dark modes. We proposed that some of the dark modes detected by electron energy-loss spectroscopy are caused by antiferroelectric arrangements of the slit polarizations with two times the size of the hexagonal unit cell. The plasmonic resonances take place within the 0.5–2 eV energy range, indicating that they could be suitable for a synergistic coupling with excitons in two-dimensional transition metal dichalcogenides materials or for designing nanoscale sensing platforms based on near-field enhancement over a metallic surface.Peer reviewe

Musical interaction reveals music as embodied language

Life and social sciences often focus on the social nature of music (and language alike). In biology, for example, the three main evolutionary hypotheses about music (i.e., sexual selection, parent-infant bond, and group cohesion) stress its intrinsically social character (Honing et al., 2015). Neurobiology thereby has investigated the neuronal and hormonal underpinnings of musicality for more than two decades (Chanda and Levitin, 2013; Salimpoor et al., 2015; Mehr et al., 2019). In line with these approaches, the present paper aims to suggest that the proper way to capture the social interactive nature of music (and, before it, musicality), is to conceive of it as an embodied language, rooted in culturally adapted brain structures (Clarke et al., 2015; D'Ausilio et al., 2015). This proposal heeds Ian Cross' call for an investigation of music as an "interactive communicative process " rather than "a manifestation of patterns in sound " (Cross, 2014), with an emphasis on its embodied and predictive (coding) aspects (Clark, 2016; Leman, 2016; Koelsch et al., 2019). In the present paper our goal is: (i) to propose a framework of music as embodied language based on a review of the major concepts that define joint musical action, with a particular emphasis on embodied music cognition and predictive processing, along with some relevant neural underpinnings; (ii) to summarize three experiments conducted in our laboratories (and recently published), which provide evidence for, and can be interpreted according to, the new conceptual framework. In doing so, we draw on both cognitive musicology and neuroscience to outline a comprehensive framework of musical interaction, exploring several aspects of making music in dyads, from a very basic proto-musical action, like tapping, to more sophisticated contexts, like playing a jazz standard and singing a hocket melody. Our framework combines embodied and predictive features, revolving around the concept of joint agency (Pacherie, 2012; Keller et al., 2016; Bolt and Loehr, 2017). If social interaction is the "default mode " by which human brains communicate with their environment (Hari et al., 2015), music and musicality conceived of as an embodied language may arguably provide a route toward its navigation

Does musical interaction in a jazz duet modulate peripersonal space?

Researchers have widely studied peripersonal space (the space within reach) in the last 20 years with a focus on its plasticity following the use of tools and, more recently, social interactions. Ensemble music is a sophisticated joint action that is typically explored in its temporal rather than spatial dimensions, even within embodied approaches. We, therefore, devised a new paradigm in which two musicians could perform a jazz standard either in a cooperative (correct harmony) or uncooperative (incorrect harmony) condition, under the hypothesis that their peripersonal spaces are modulated by the interaction. We exploited a well-established audio-tactile integration task as a proxy for such a space. After the performances, we measured reaction times to tactile stimuli on the subjects' right hand and auditory stimuli delivered at two different distances, (next to the subject and next to the partner). Considering previous literature's evidence that integration of two different stimuli (e.g. a tactile and an auditory stimulus) is faster in near space compared to far space, we predicted that a cooperative interaction would have extended the peripersonal space of the musicians towards their partner, facilitating reaction times to bimodal stimuli in both spaces. Surprisingly, we obtained complementary results in terms of an increase of reaction times to tactile-auditory near stimuli, but only following the uncooperative condition. We interpret this finding as a suppression of the subject's peripersonal space or as a withdrawal from the uncooperative partner. Subjective reports and correlations between these reports and reaction times comply with that interpretation. Finally, we determined an overall better multisensory integration competence in musicians compared to non-musicians tested in the same task