不同回避动机强度的消极情绪对类比推理的影响:来自ERP的证据

研究采用类比推理的四项比例式任务和事件相关电位技术,探究不同回避动机强度的消极情绪(恐惧—高动机强度、悲伤—低动机强度、中性情绪)对类比推理的影响及脑机制。结果发现:(1)行为:不同回避动机强度的消极情绪均会延长类比推理的反应时; 与中性情绪相比,悲伤会提高推理的正确率,而恐惧会降低推理的正确率。(2)脑电:图式提取阶段,N400、P300、LNC被诱发; 类比映射阶段,N400和LNC被诱发,情绪在N400和LNC上的主效应均显著,恐惧情绪下的N400和LNC幅值比悲伤情绪和中性情绪下的更大。研究表明,情绪对类比推理的作用发生在类比映射阶段。恐惧情绪窄化认知,悲伤情绪扩展认知,支持情绪动机维度模型。     

抑郁情绪下不同反应方式对面孔表情加工的影响

采用电影片段诱发被试的抑郁情绪,将诱发后的被试分为沉思组和分心组,分别对悲伤面孔和中性面孔刺激进行沉思或分心的反应,并用事件相关电位技术(ERP)探讨抑郁情绪下不同反应方式对个体面孔表情加工的影响。行为数据结果发现沉思组实验任务结束后的抑郁情绪值(T2)比分心组更高;实验任务结束后沉思组抑郁情绪值增高,而分心组降低;脑电数据结果发现N1波未受反应方式的影响;沉思组比分心组诱发出更大的晚期峰值的正电位(LPP)峰值;沉思组Pz点LPP峰值最高,而分心组不同电极并无显著差异。该研究结果表明抑郁情绪下不同反应方式会影响个体对于面孔表情的判断,主要体现在面孔表情的晚期加工阶段。     

FilmStim情绪影片数据库在中国大学生中的初步评定

本研究利用主观情绪唤醒度、正负性和分化情绪量表对FilmStim大型情绪影片数据库进行本土化评定。研究发现,所有情绪影片唤醒水平均显著高于中性影片;正、负性情绪影片诱发相应效价的情绪;悲伤、恐惧、厌恶和中性影片成功诱发目标情绪,愤怒、温和和愉快影片同时诱发同效价的其他情绪。结果表明:FilmStim中的中性影片可作为其他情绪的控制条件;除愤怒外的负性影片可有效诱发目标情绪;正性情绪影片没有有效诱发目标情绪,存在较大文化差异。     

高兴和悲伤电影片段诱发情绪的有效性和时间进程

选取269名大学生为被试,探讨情绪电影片段诱发被试高兴和悲伤情绪的有效性和时间进程.待被试稳定情绪后观看情绪电影片段,分别采用主观报告和心率、指温、皮电、指脉率、血氧饱和度、心率等心理生理反应的指标,获取被试观看高兴和悲伤电影片段时的前测和后测成绩并进行了分析比较.结果发现: (1)高兴影片能诱发被试高兴情绪,高兴情绪唤醒后,3分钟内处于一般偏上的状态且显著高于基线水平. (2)悲伤影片能诱发被试悲伤情绪,悲伤情绪唤醒后.5分钟内处于一般偏上的状态且显著高于基线水平.     

调式和速度组成的不同音乐形态诱发情绪活动的脑电研究——兼顾音乐训练经验和性别因素的表现特征

该研究选取具有音乐训练经验和没有音乐训练经验的成年被试(研究生)共两组,每组男女数量各一半,使用脑电图(EEG)探讨了由速度和调式组成的不同音乐形态诱发情绪活动的脑电特征,结果表明:(1)在不同音乐形态上,小调音乐和慢速音乐诱发各脑区的δ、θ、β和γ四种波段的功率平均值均高于大调音乐和中速及快速音乐,只有α波的功率平均值低于大调音乐和中速及快速音乐;(2)所有音乐形态诱发音乐专业被试各脑区的功率平均值均高于非音乐专业被试,表明音乐训练经验导致了特殊神经网络参与加工;(3)所有音乐形态诱发男性被试各脑区的功率平均值均高于女性被试,表明两性在特异性信息加工方面具有神经解剖差异以及不同加工策略。     

死亡意识的恐惧管理和悲伤管理

基于悲伤情绪的功能及效应,提出死亡意识的“悲伤管理假设”。实验1采用电生理、微表情、主观报告等方法探索死亡意识伴随的情绪变化;实验2和实验3对比死亡意识的“悲伤管理”和“恐惧管理”,并探索情绪的中介作用。结果发现：死亡意识诱发悲伤和恐惧(尤其是悲伤),且死亡反思诱发更多的悲伤;恐惧在死亡意识与外在人生目标间起中介作用;悲伤(而非恐惧)背景音乐下,死亡意识使个体更重视内在人生目标。上述结果为死亡意识的“悲伤管理”提供了实证依据,表明在悲伤的情绪中加工死亡意识可能促进个体的内在成长,这对疫情等社会灾难时期的心理救援具有启示意义。     

人类镜像系统参与音乐情绪的自动加工：来自EEG的证据

大脑中线电极诱发的μ抑制波(包括α和β频段)是人类镜像系统活动的电生理指标。尽管音乐情绪表现被认为是通过模仿个体的心理状态来实现的, 但是尚未有研究探讨人类镜像系统与音乐情绪加工的关系。本研究通过EEG技术, 采用跨通道情绪启动范式, 探究人类镜像系统是否参与和弦情绪的自动加工。愉悦或不愉悦的和弦启动情绪一致与不一致的目标面孔。行为结果显示, 被试对情绪一致面孔的反应显著快于情绪不一致面孔的反应。EEG结果显示, 在听觉刺激出现后的500~650 ms之间, 与情绪一致条件相比, 情绪不一致条件诱发了β频段的去同步化。在听觉刺激出现后的300~450 ms, 无论是情绪一致, 还是不一致条件, 都诱发了α频段的去同步化。源分析结果显示, μ抑制波主要出现在人类镜像系统的相关脑区。这些结果表明, 音乐情绪的自动加工与人类镜像系统的活动密切相关。     

不同情绪诱发方法有效性的比较研究

采用自我报告和生理反馈法,从强度、纯度、时间进程三方面考察图片、音乐、电影和回忆四种常用情绪诱发方法诱发出的高兴、激动、悲伤和恐惧四种不同维度的情绪的有效性。得出结论：（1）总体上,音乐诱发情绪的强度最高,图片最低;在积极情绪中,音乐诱发的强度普遍较高,图片较低;消极情绪中,回忆诱发的强度普遍较高,音乐较低。（2）音乐诱发情绪的纯度较高,图片较低。（3）效价和激活度不同,情绪的时间进程不同,高兴能持续将近1分钟,激动能持续2分30秒,悲伤能持续1分30秒,而恐惧能持续2分钟。     

共情与中国民族音乐情绪识别的关系：来自ERP的证据

音乐情绪识别能力是利用音乐开展情绪调节的基本条件。传统的以五声音阶为基础的具有独特韵味的中国民族音乐反映了中国人独有的情感和价值观念, 在情绪调节和音乐治疗方面具有积极的作用, 是研究音乐情绪识别的有效音乐刺激。本研究采用跨通道情绪启动范式, 通过人际反应指针问卷筛选出高、低共情组被试各36人参加脑电实验, 考察共情能力对中国民族音乐情绪识别的影响。脑电数据显示, 在进行中国民族音乐情绪内隐识别时, 将宫调和羽调音乐作为启动刺激, 诱发了中期的P2、N400以及晚期正成分LPC (Late Positive Component)。低共情组P2和N400成分的波幅大于高共情组, 高共情组LPC成分的波幅大于低共情组。本研究第一次从电生理层面考察了不同共情能力的个体在进行中国民族音乐情绪识别时的神经反应差异。高低共情组在中国民族音乐情绪识别不同阶段的注意投入可能影响了其对音乐刺激的感受, 进而影响音乐情绪识别。     

老年人日常人际问题解决中的悲伤情绪体验和情绪调节策略: 年龄和人格特质的作用

考察了日常人际问题解决中老年人的悲伤情绪体验和情绪调节策略与青年人的差异,以及年龄和人格特质的作用。共45名老年人和59名青年人接受半结构化访谈和人格特质测量。结果表明：（1）以教育水平为协变量的方差分析表明,老年人和青年人的悲伤情绪体验没有显著差异。老年人的被动情绪调节策略的使用和青年人存在显著差异;（2）老年人的被动情绪调节策略不但与年龄有关,而且与悲伤情绪体验有关。悲伤情绪体验可以显著预测其被动情绪调节策略使用;（3）老年人的悲伤情绪体验与人格特质神经质维度存在显著正相关;（4）老年人与年轻人的被动情绪调节策略都与悲伤情绪有关,但老年人的被动情绪调节策略不能由人格特质显著预测,而青年人的被动调节策略还可以由人格特质内外向维度显著预测。人格特质的内外向维度对老年人和青年人的前摄性情绪调节策略的预测效应是一致的。最后针对老年人的悲伤情绪体验和情绪调节策略的意义进行了讨论。     

Summarization of videos by analyzing affective state of the user through crowdsource

Video summarization is one of the key techniques to access and manage a huge chunk of videos. Video summarization is used to extract the effective contents of a video sequence to generate a concise representation of its content. The involvement of crowdsourcing models in recent years is effectively used by researchers in E-commerce domain to increase the quality of the data contents. In this paper, we present a video summarization framework based on users emotion while they watch videos by analyzing cerebral activities through Electroencephalogram (EEG) signals. Three emotions, namely happy, sad and neutral have been extracted from the EEG signals. Video frames have been synchronized with EEG signals and tagged with various emotions. Finally, a crowdsourcing model has been used for effective summarization of the videos. The qualitative assessment of video summarization has been conducted with the help of user ratings using online Google Forms application. EEG signals of 28 users have been recorded while video streams of different emotions. An average accuracy of 83.93% has been recorded in emotion classification using crowdsourcing. Output summarized videos include dynamic video skims and the corresponding audio stream for better understanding.     

基于视听双通道的音乐情绪加工机制及情绪类型和音乐经验的影响

为了探讨视听双通道下的音乐情绪加工机制及音乐情绪类型和音乐训练背景对加工机制的影响,本研究采用表达开心和悲伤的音乐表演视频为材料,比较音乐组被试和非音乐组被试在单听觉通道、单视觉通道和视听双通道三种情境下的情绪评定速度、正确率和强度。结果发现：1）视听双通道与单视觉通道差异显著,与单听觉通道差异不显著。2）非音乐组被试对悲伤的评定正确率高于音乐组被试,对开心的评定正确率低于音乐组被试。说明音乐情绪加工的视听双通道整合优势仅相对单视觉通道存在;非音乐组被试对视觉通道情绪信息的变化更敏感,音乐组被试更依赖音乐经验;可在音乐表演时加入协调的视觉通道情绪信息帮助没有音乐训练经验的听赏者。     

语音情绪变化内隐加工的神经生理机制

人类迅速高效识别语音情绪变化的神经生理机制仍是一个未解之谜。本研究试图通过对被试内隐加工语音情绪变化的即时脑电数据做时域和频域分析, 揭示语音情绪变化加工的神经生理机制。结果发现语音情绪变化诱发N2/P3复合成分, theta频段能量增加和试次间相位相干系数(ITC)增大, beta频段能量降低和ITC增大。这些神经生理指标受情绪变化模式的调节, 情绪变化越激烈, 诱发N2/P3复合成分的潜伏期越早, theta能量和相位变化更强烈。这些结果说明语音情绪变化加工是一个变化检测与整合的过程, 该过程主要由theta和beta频段能量和试次间相位的变化来实现。     

神经质程度和月经周期对女性主观情绪和生理反应的影响

分别选取两组神经质程度高、低女性16名和25名, 考察两组被试在月经周期不同阶段(经期、卵泡晚期、黄体中晚期)的激素(雌二醇、孕酮)波动以及观看情绪视频(中性、搞笑、悲伤、愤怒)的主观情绪感受和生理反应的差异。结果显示高神经质女性在月经周期中对负性情绪视频的主观情绪和生理反应变化明显, 黄体中晚期对愤怒视频主观情绪体验更低, 对悲伤视频生理反应更小, 而低神经质女性的情绪反应不受月经周期影响。研究表明高神经质女性的情绪反应更易受月经周期影响, 这可能与其对孕酮水平波动的敏感性高有关。     

Relative alpha desynchronization and synchronization during perception of music

Relative desynchronization (ERD) and synchronization (ERS) of the 8–10 Hz and 10–12 Hz alpha freqency bands elicited by music were studied in ten musically untrained right-handed subjects. The subjects listened to two five-minute musical excerpts representing two different musical genres, popular and classical, presented both foward and backward. ERD/ERS of the two alpha frequency bands was examined during the first four minutes of stimulus presentation using one-minute time windows. The results demonstrated that both the 8–10 Hz and the 10–12Hz frequency band exhibited reactivity to musical stimuli. The responses of the 8–10Hz and 10–12 Hz alpha frequency bands were dissimilar, dymanic and dependent on both time and stimulation type. The dynamics of these changes over time may explain some discrepancies in earlier EEG studies during listening to music.     

Emotional reactivity following surgery to the prefrontal cortex

We aimed to elicit emotion in patients with surgically circumscribed lesions of the prefrontal cortex (PFC) in order to elucidate the precise functional roles in emotion processing of the discrete subregions comprising the ventromedial PFC, including the medial PFC and orbitofrontal cortex (OFC). Three components of emotional reactivity were measured: subjective experience, behaviour, and physiological response. These included measures of self‐reported emotion, observer‐rated facial expression of emotion and measurements of heart rate and heart rate variability (HRV) during film viewing, and a measure of subjective emotional change since surgery. Patients with lesions to the ventromedial PFC demonstrated significant differences compared with controls in HRV during the film clips, suggesting a shift to greater dominance of sympathetic input. In contrast, patients with lesions restricted to the OFC showed significant differences in HRV suggesting reduced sympathetic input. They also showed less facial expression of emotion during positive film clips, and reported more subjective emotional change since surgery compared with controls. This human lesion study is important for refining theoretical models of emotion processing by the ventromedial PFC, which until now have primarily been based on anatomical connectivity, animal lesion, and human functional neuroimaging research. Such theories have implications for the treatment of a wide variety of emotional disorders.     

Emotions over time: synchronicity and development of subjective, physiological, and facial affective reactions to music

Most people are able to identify basic emotions expressed in music and experience affective reactions to music. But does music generally induce emotion? Does it elicit subjective feelings, physiological arousal, and motor reactions reliably in different individuals? In this interdisciplinary study, measurement of skin conductance, facial muscle activity, and self-monitoring were synchronized with musical stimuli. A group of 38 participants listened to classical, rock, and pop music and reported their feelings in a two-dimensional emotion space during listening. The first entrance of a solo voice or choir and the beginning of new sections were found to elicit interindividual changes in subjective feelings and physiological arousal. Quincy Jones' "Bossa Nova" motivated movement and laughing in more than half of the participants. Bodily reactions such as "goose bumps" and "shivers" could be stimulated by the "Tuba Mirum" from Mozart's Requiem in 7 of 38 participants. In addition, the authors repeated the experiment seven times with one participant to examine intraindividual stability of effects. This exploratory combination of approaches throws a new light on the astonishing complexity of affective music listening.     

Turn down the volume or change the channel? Emotional effects of detached versus positive reappraisal

Cognitive reappraisal, or changing one's interpretation of an event in order to alter the emotional response to it, is thought to be a healthy and an effective emotion regulation strategy. Although researchers recognize several distinct varieties of reappraisal, few studies have explicitly compared the effects of multiple reappraisal strategies on emotional responding. The present study compares the effects of detached and positive reappraisal on thought content, subjective emotional experience, physiological reactivity, and facial expressions of emotion while viewing film clips evoking sadness and disgust. Although both forms of reappraisal reduced overall emotional responding to unpleasant stimuli, the effects of detached reappraisal were stronger in this regard, and positive reappraisal was more likely to maintain subjective experience and facial expression of stimulus-appropriate positive emotions. The two reappraisal strategies also produced somewhat different profiles of physiological responding. Differences between detached and positive reappraisal with respect to subjective experience and facial expression were more pronounced among men than women; the reverse was true for differences with respect to physiological responding. Beyond these effects on individual emotion response systems, detached and positive reappraisal also had somewhat different effects on coherence in change across response systems. Implications for our understanding of emotion regulation processes, and for emotion theory more broadly, are discussed. (PsycINFO Database Record (c) 2012 APA, all rights reserved).     

Relative Effectiveness of Emotion Induction Procedures and the Role of Personal Relevance in a Clinical Sample: A Comparison of Film, Images, and Music

Qualitative differences between three types of media used for the laboratory induction of emotion (film clips, still images, and music) were explored using a clinical sample. The relative effectiveness at inducing negative emotion and the degree to which the induction elicited personally relevant experiences of emotion was examined. Nomothetic and idiographic media were included as stimuli, and comparisons were made across media types and selection type. Nomothetic and idiographic media did not significantly differ in levels of negative affect endorsed. Significant differences did emerge between media and selection types in degree of personal relevance, with nomothetic images rated lowest and idiographic music rated highest. Significant differences also emerged in ratings of positive affect, with greater personal relevance significantly related to greater positive affect. The qualitative differences in emotion induction procedures found in this study are discussed in relation to the potential importance of matching emotion induction procedures to specific emotion-related processes of interest when used for the laboratory study of emotion and psychopathology.     

The Emotion Recognition Task: a paradigm to measure the perception of facial emotional expressions at different intensities

The Emotion Recognition Task is a computer-generated paradigm for measuring the recognition of six basic facial emotional expressions: anger, disgust, fear, happiness, sadness, and surprise. Video clips of increasing length were presented, starting with a neutral face that changes into a facial expression of different intensities (20%-100%). The present study describes methodological aspects of the paradigm and its applicability in healthy participants (N=58; 34 men; ages between 22 and 75), specifically focusing on differences in recognition performance between the six emotion types and age-related change. The results showed that happiness was the easiest emotion to recognize, while fear was the most difficult. Moreover, older adults performed worse than young adults on anger, sadness, fear, and happiness, but not on disgust and surprise. These findings indicate that this paradigm is probably more sensitive than emotion perception tasks using static images, suggesting it is a useful tool in the assessment of subtle impairments in emotion perception.