Sound improves diminished visual temporal sensitivity in schizophrenia

Visual temporal processing and multisensory integration (MSI) of sound and vision were examined in individuals with schizophrenia using a visual temporal order judgment (TOJ) task. Compared to a non-psychiatric control group, persons with schizophrenia were less sensitive judging the temporal order of two successively presented visual stimuli. However, their sensitivity to visual temporal order improved as in the control group when two accessory sounds were added (temporal ventriloquism). These findings indicate that individuals with schizophrenia have diminished sensitivity to visual temporal order, but no deficits in the integration of low-level auditory and visual information.     

Short-term visual memory for contour curvature in a delayed discrimination task

Abstract: A two-interval forced-choice of constant stimuli was used to measure the point of subjective equality (PSE) and discrimination threshold for standard contour curvature (1.91, 3.24 deg⁻¹) held in short-term visual memory (STVM). At both standard curvatures, the PSE for remembered curvature was nearly constant for standard curvature from 2 s to 16 s retention intervals, while the discrimination threshold increased as a linear function of retention interval. These results show that the decay in STVM for contour curvature is due to the noisy representation of curvature, neither to fading of the represented curvature nor to converging to the constant curvature. Furthermore, the Weber fraction was nearly constant for both standard curvatures at any delay from 2 to 16 s.     

神经美学视角的审美愉悦加工机制

审美对象特有的刺激属性会唤起观赏者特定的情绪或情感反应。个体在欣赏自然、艺术品和其他人类作品时会产生审美愉悦体验。审美愉悦-兴趣模型(PIA)认为, 审美愉悦体验包含审美过程中自动化加工阶段的审美愉悦和控制加工阶段的审美兴趣。近年来, 神经美学研究表明, 负责愉悦和奖赏的眶额叶皮层在审美过程中广泛激活, 是自动化加工阶段初级审美愉悦奖赏的神经基础, 而审美过程中纹状体亚回路中不同的连接和功能作用与两个阶段中审美愉悦的产生都有关联; 上述结果支持了审美愉悦-兴趣模型。但审美高峰体验时默认模式网络(DMN)相关脑区的激活和负责控制与理性思维的外侧前额叶皮层等脑区的失活, 提示在PIA模型强调的自动化加工阶段审美愉悦和控制加工阶段审美兴趣之上, 还有整合升华阶段的审美沉浸愉悦, PIA模型需得到进一步的扩展。未来研究应进一步检验审美愉悦认知加工模型及神经机制, 探索审美对创造力的影响机制和神经基础, 探讨不同审美经验愉悦机制的异同。     

Delineating beauty: On form and the boundaries of the aesthetic

Philosophical aesthetics has recently been expanding its purview—with exciting work on everyday aesthetics, somaesthetics, gustatory aesthetics, and the aesthetics of imperceptibilia like mathematics and human character—reclaiming territory that was lost during the nineteenth and twentieth centuries, when the discipline begun concentrating almost exclusively on the philosophy of art and restricted the aesthetic realm to the distally perceptible. Yet there remains considerable reluctance towards acknowledging the aesthetic character of many of these objects. This raises an important question—partly made salient again by the ongoing expansion of the aesthetic domain, and partly by the fact that many still seem resistant to this aesthetic diversification—which aestheticians seem to avoid: what, if anything, constrains the scope of beauty or the aesthetic? I argue that form, construed as comprising a degree, however minimal, of experienceable complexity, is necessary and sufficient for an object's candidature for the possession of aesthetic properties. Such a condition serves to discriminate between attempts to expand the scope of the aesthetic that are legitimate and those that are not. If correct, my view suggests that the aesthetic realm, though not limitless, is very broad indeed—but this, I think, is as it should be.     

On the aesthetic potential of sports and physical education

Even though there is a general presence of aesthetics in school curricula in most of western countries, both at the level of terminology and at the level of choice and definition of contents, objectives and skills to be developed, the approach to sports and physical education potential for the development of aesthetic education of students still does not seem to be a reality in the agenda of this subject. Moreover, it is not transversal in terms of its different didactic contents. In order to explore its relevance, the aim of this work was to deepen how aesthetics is internal and central to sports experience, and which elements of sports and physical education lived experiences can be relevant in the promotion and development of the aesthetic sensibility of students. We propose the deepening of the subject through an hermeneutical qualitative research approach, confronting the content collected in 19 semi-structured interviews that enabled the thematic analysis of its content, and through it, the discussion of viewpoints of representative subjects among those that are the main players in the consideration of an aesthetic education through sport, namely physical education teachers and researchers in the context of aesthetics and sports sciences. With the information gathered and after its processing, we could conclude that there are aesthetic elements of sport's experience that should be taken into account in an aesthetic educational point of view of physical education, namely: complexity, diversity, playability, tension between drama and accuracy, overcoming experience, risk and vulnerability, unpredictable storylines and uncertainty, technique and effectiveness.     

Defensive emotions and evaluative judgements: Sensitivity to anger and fear predicts moral judgements,whereas sensitivity to disgust predicts aesthetic judgements

Aesthetic and moral evaluations engage appetitive and defensive emotions. While the role played by pleasure in positive aesthetic and moral judgements has been extensively researched, little is known about how defensive emotions influence negative aesthetic and moral judgements. Specifically, it is unknown which defensive emotions such judgements tap into, and whether both kinds of judgement share a common emotional root. Here, we investigated how participants' individual sensitivity to disgust, fear, anger and sadness predicted subjective judgements of aesthetic and moral stimuli. Bayesian modelling revealed that participants who were more sensitive to anger and fear found conventional and moral transgressions more wrong. In contrast, participants who were more sensitive to disgust disliked asymmetrical geometric patterns and untidy rooms more. These findings suggest that aesthetic and moral evaluations engage multiple defensive emotions, not just disgust, and that they may rely on different defensive emotions as part of their computational mechanism.     

Intelligence and interpersonal sensitivity: A meta-analysis

A meta-analytic review investigated the association between general intelligence and interpersonal sensitivity. The review involved 38 independent samples with 2988 total participants. There was a highly significant small-to-medium effect for intelligence measures to be correlated with decoding accuracy (r = .19, p < .001). Significant moderators included the type of decoding judgment (emotion vs. intended meaning judgments), decoding channel (audio-only vs. audio-plus-video channel), and target gender (both male-and-female targets vs. female-only targets). Interpersonal decoding accuracy requires some level of social sophistication and results of this meta-analysis suggest that part of that social sophistication involves the cognitive abilities comprising general intelligence.     

论庄子“万物一齐”的生态审美观

当先秦诸子大都以人的理解为中心去看待人与自然万物的存在方式,认为万物只是相对于人来说才具有存在的价值和意义时,庄子站在古典存在论的立场上提出了含有生态审美智慧的“万物一齐”观,即“休乎天钧”的生态和谐理念、“为是不用而寓诸庸”的生态价值观念、“万物与我为一”的生态共生气象。其“万物一齐”的生态审美观所蕴涵的万物平等共生、放弃自我中心、无用之用等观念有助于当代的生态伦理和生态实践建设。     

音乐的神经美学：从审美反应到神经基础

近年来, 随着音乐的神经科学与神经美学的发展, 逐渐形成一个新的研究领域, 即音乐的神经美学。这一研究领域关注音乐审美的心理过程和神经机制, 将注意力集中于音乐审美活动中的感知、认知和情感解释。音乐审美加工引起了相应的审美反应, 其中有三种音乐审美反应得到研究者更多的关注, 即音乐审美情绪、判断与偏好。研究者围绕这三种反应, 对音乐审美反应的知觉、认知、情绪加工和影响因素以及其神经机制展开研究。这些研究为我们理解音乐和美学的行为与神经机制提供了经验性证据。     

Bion and the sublime: The origins of an aesthetic paradigm

In constructing his theory Bion drew on a number of symbolic matrices: psychoanalysis, philosophy, mathematics, literature, aesthetics. The least investigated of these is the last. True, we know that Bion cites many authors of the Romantic period, such as Coleridge, Keats, Blake and Wordsworth, as well as others who were held in high esteem in the Romantic period, such as Milton. However, less is known about the influence exerted on him by the aesthetics of the sublime, which while chronologically preceding Romanticism is in fact one of its components. My working hypothesis is that tracing a number of Bion's concepts back to this secret model can serve several purposes: firstly, it contributes to the study of the sources, and, secondly, it makes these concepts appear much less occasional and idiosyncratic than we might believe, being as they are mostly those less immediately understandable but not less important (O, negative capability, nameless dread, the infinite, the language of achievement, unison etc.). Finally, connecting these notions to a matrix, that is, disclosing the meaning of elements that are not simply juxtaposed but dynamically interrelated, in my view significantly increases not only their theoretical intelligibility but also their usefulness in clinical practice. In conclusion, one could legitimately argue that Bion gradually subsumed all the other paradigms he drew on within the aesthetic paradigm.     

A kantian reading of aesthetic freedom and complete human nature nourished through art in a classical Chinese artistic context

In this paper, I will show that classical Chinese artists adopted either Daoist or Chan Buddhist meditation to cultivate their mind to be in accord with the Dao, and that their view of the detached mental state as an ideal mental state for art appears to fit in with Kant’s notion of aesthetic freedom. Even though it might be claimed that sensibilities are stressed over rationality in the classical Chinese artistic tradition, I suggest that the detached mental state cultivated through Daoist or Chan Buddhist meditation and experienced in artistic practice helps artists restore a balanced human nature. By projecting Schiller’s account of the play drive, and the account of aesthetic freedom he developed from Kant’s ideas, into the classical Chinese artistic context, I attempt to explain the balanced nature realised through artistic play by classical Chinese artists and point out the differences behind the parallels between these two approaches.     

Developmental shifts in children's sensitivity to visual speech: a new multimodal picture-word task

This research developed a multimodal picture-word task for assessing the influence of visual speech on phonological processing by 100 children between 4 and 14 years of age. We assessed how manipulation of seemingly to-be-ignored auditory (A) and audiovisual (AV) phonological distractors affected picture naming without participants consciously trying to respond to the manipulation. Results varied in complex ways as a function of age and type and modality of distractors. Results for congruent AV distractors yielded an inverted U-shaped function with a significant influence of visual speech in 4-year-olds and 10- to 14-year-olds but not in 5- to 9-year-olds. In concert with dynamic systems theory, we proposed that the temporary loss of sensitivity to visual speech was reflecting reorganization of relevant knowledge and processing subsystems, particularly phonology. We speculated that reorganization may be associated with (a) formal literacy instruction and (b) developmental changes in multimodal processing and auditory perceptual, linguistic, and cognitive skills.     

Beauty in the blink of an eye: The time course of aesthetic experiences

Under normal circumstances, perception runs very fast and seemingly automatic. In just a few ms, we go from sensory features to perceiving objects. This fast time course does not only apply to general perceptual aspects but also to what we call higher-level judgements. Inspired by the study on ‘very first impressions’ by Bar, Neta, and Linz (2006, Emotion, 6 , 269) the current research examined the speed and time course of three aspects of the aesthetic experience, namely beauty, specialness, and impressiveness. Participants were presented with 54 reproductions of paintings that covered a wide variety of artistic styles and contents. Presentation times were 10, 50, 100 and 500 ms in Experiment 1 and 20, 30 and 40 ms in Experiment 2. Our results not only show that consistent aesthetic judgements can be formed based on very brief glances of information, but that this speed of aesthetic impression formation also differs between different aesthetic judgements. Apparently, impressiveness judgements require longer exposure times than impressions of beauty or specialness. The results provide important evidence for our understanding of the time course of aesthetic experiences.     

Bigger is better: the influence of physical size on aesthetic preference judgments

The hypothesis that the physical size of an object can influence aesthetic preferences was investigated. In a series of four experiments, participants were presented with pairs of abstract stimuli and asked to indicate which member of each pair they preferred. A preference for larger stimuli was found on the majority of trials using various types of stimuli, stimuli of various sizes, and with both adult and 3‐year‐old participants. This preference pattern was disrupted only when participants had both stimuli that provided a readily accessible alternative source of preference‐evoking information and sufficient attentional resources to make their preference judgments. Copyright © 2002 John Wiley & Sons, Ltd.     

A new perspective on visual word processing efficiency

As a fundamental part of our daily lives, visual word processing has received much attention in the psychological literature. Despite the well established advantage of perceiving letters in a word or in a pseudoword over letters alone or in random sequences using accuracy, a comparable effect using response times has been elusive. Some researchers continue to question whether the advantage due to word context is perceptual. We use the capacity coefficient, a well established, response time based measure of efficiency to provide evidence of word processing as a particularly efficient perceptual process to complement those results from the accuracy domain.     

Nuanced aesthetic emotions: emotion differentiation is related to knowledge of the arts and curiosity

The ability to distinguish between emotions is considered indicative of well-being, but does emotion differentiation (ED) in an aesthetic context also reflect deeper and more knowledgeable aesthetic experiences? Here we examine whether positive and negative ED in response to artistic stimuli reflects higher fluency in an aesthetic domain. Particularly, we test whether knowledge of the arts and curiosity are associated with more fine-grained positive and negative aesthetic experiences. A sample of 214 people rated their positive and negative feelings in response to various artworks including positive and negative themes. Positive ED was associated with the embracing sub-trait of curiosity that reflects engagement and enjoyment of novelty and complexity, but was unrelated to artistic knowledge and perceived comprehension. Negative ED was associated with higher curiosity and particularly more knowledge of the arts. This relationship was mediated by appraised comprehension suggesting that deeper engagement with art, by those with more art knowledge, is associated with more fine-grained emotional experiences. This finding extends ED beyond well-being research and suggests that more nuanced emotional experiences are more likely for those with expertise in the arts and motivation for exploration.     

Interpersonal rejection sensitivity predicts burnout: A prospective study

We examined whether interpersonal rejection sensitivity (IRS) – the hallmark of atypical depression – prospectively predicted burnout, controlling for baseline symptoms, history of depressive disorders, antidepressant intake, gender, age, and length of employment (mean between-assessment duration: 21 months; n = 578; 74% female). IRS was related to a 119% increased risk of burnout at follow-up. Three of four burned out participants reported to be affected by IRS, or 2.5 times the rate observed in participants with no (or subthreshold) burnout symptoms. Our study highlights a dispositional factor in burnout’s etiology also known to be a key component of atypical depression’s etiology. The ontogenesis of individual vulnerabilities to burnout should be further examined in future research.