Scoring best-worst data in unbalanced many-item designs,with applications to crowdsourcing semantic judgments

Best-worst scaling is a judgment format in which participants are presented with a set of items and have to choose the superior and inferior items in the set. Best-worst scaling generates a large quantity of information per judgment because each judgment allows for inferences about the rank value of all unjudged items. This property of best-worst scaling makes it a promising judgment format for research in psychology and natural language processing concerned with estimating the semantic properties of tens of thousands of words. A variety of different scoring algorithms have been devised in the previous literature on best-worst scaling. However, due to problems of computational efficiency, these scoring algorithms cannot be applied efficiently to cases in which thousands of items need to be scored. New algorithms are presented here for converting responses from best-worst scaling into item scores for thousands of items (many-item scoring problems). These scoring algorithms are validated through simulation and empirical experiments, and considerations related to noise, the underlying distribution of true values, and trial design are identified that can affect the relative quality of the derived item scores. The newly introduced scoring algorithms consistently outperformed scoring algorithms used in the previous literature on scoring many-item best-worst data.     

Sacred Text Motivation for General L2 Learners: a Mixed Methods Study

In an attempt to move towards a non-linear dynamic system the present study concerns itself with investigating the applicability of sacred text motivation (STM) for general second language learners (GL2Ls) rather than specific learners with religious preferences. A mixed methods research was conducted with the help of 400 participants to examine the relationship between being motivated by sacred text and improving reading comprehension. The research confirms significance of relationship between STM-based treatment and improving reading comprehension as a result of quantitative analyses and that the majority of participants hold positive opinion concerning the use of sacred texts in L2 learning to improve reading comprehension based on qualitative analyses. The analyses of the interviews conducted following the administered treatment revealed that the quantitative effect of STM-based treatment can be better explained through qualitative findings.     

Empathy,Einfühlung,and aesthetic experience: the effect of emotion contagion on appreciation of representational and abstract art using fEMG and SCR

Since the advent of the concept of empathy in the scientific literature, it has been hypothesized, although not necessarily empirically verified, that empathic processes are essential to aesthetic experiences of visual art. We tested how the ability to “feel into” (“Einfühlung”) emotional content—a central aspect of art empathy theories—affects the bodily responses to and the subjective judgments of representational and abstract paintings. The ability to feel into was measured by a standardized pre-survey on “emotional contagion”—the ability to pick up and mirror, or in short to “feel into”, emotions, which often overlaps with higher general or interpersonal empathetic abilities. Participants evaluated the artworks on several aesthetic dimensions (liking, valence, moving, and interest), while their bodily reactions indicative of empathetic engagement (facial electromyography—EMG, and skin conductance responses—SCR) were recorded. High compared to low emotion contagion participants showed both more congruent and more intense bodily reactions (EMG and SCR) and aesthetic evaluations (higher being moved, valence, and interest) and also liked the art more. This was largely the case for both representational and abstract art, although stronger with the representational category. Our findings provide tentative evidence for recent arguments by art theorists for a close “empathic” mirroring of emotional content. We discuss this interpretation, as well as a potential tie between emotion contagion and a general increase in emotion intensity, both of which may impact, in tandem, the experience and evaluation of art.     

Empathy and the aesthetic: Why does art still move us?

In this article I will argue for the affective-motivation (background affective attitude or orientation) hypothesis that incubates the aesthetic experience and sets the deep frame of our engagement with art. For this, I look at these microgenetic—early passages of (a) affective perception as mapped into the early emergence of tertiary qualities that underlie a sensorimotor synchronization—a coupling of action, emotion and perception via mirroring that result in dynamic embodied anticipatory control and a feeling of proximity/connectedness and (b) developmental passages that are characterized by spatiotemporal coordination and proximity of the self-other/interactive object and thus structure intentionality, shape experience, in an engaging world of action potentialities forming a background affective attitude. As I will argue these qualitative emergent layers provide the minimal for the aesthetic and the ‘feeling into’ empathy, or their phenomenological counterparts enable engaged, embodied perception and imagination underlying expressive symbolic communication in interpersonal settings but also for the possibility of art. These layers have an ‘echoing’ effect (pre-attentive) when we let ourselves to be ‘moved’ from within by art. The underlying mechanism could be found in the mirroring interface of the upcoming bottom-up and feeding forward anticipatory/predictive (top-down) function of the ‘embodied action’ representations that are affective, imitative and grounded in the body-affective matrix—carrying experiential affordances and keeping the intersubjective ties between spectator and beheld/object. Given the asymmetry on action tendency between them that affords the ‘subordination of the goal-directed action’ into to the means of the action’s unfolding, aesthetic experiences can go deeply back reconstructing the first level of emerging consciousness where both the aesthetic and ethic became actualities. This could be by itself deeply rewarding, amplifying the experience to the ‘edge’. This is a ‘hot’ cognition self-restructuring related to morality when facing the sufferings—so there might be something special bout art and negative emotions in relation to empathy.     

Attenuated audiovisual integration in middle-aged adults in a discrimination task

Numerous studies have focused on the diversity of audiovisual integration between younger and older adults. However, consecutive trends in audiovisual integration throughout life are still unclear. In the present study, to clarify audiovisual integration characteristics in middle-aged adults, we instructed younger and middle-aged adults to conduct an auditory/visual stimuli discrimination experiment. Randomized streams of unimodal auditory (A), unimodal visual (V) or audiovisual stimuli were presented on the left or right hemispace of the central fixation point, and subjects were instructed to respond to the target stimuli rapidly and accurately. Our results demonstrated that the responses of middle-aged adults to all unimodal and bimodal stimuli were significantly slower than those of younger adults (p < 0.05). Audiovisual integration was markedly delayed (onset time 360 ms) and weaker (peak 3.97%) in middle-aged adults than in younger adults (onset time 260 ms, peak 11.86%). The results suggested that audiovisual integration was attenuated in middle-aged adults and further confirmed age-related decline in information processing.     

Seeing what is not seen

This paper connects ideas from twentieth century Gestalt psychology, experiments in vision science, and Maurice Merleau-Ponty’s phenomenology of perception. I propose that when we engage in simple sensorimotor tasks whose successful completion is open, our behavior may be motivated by practical perceptual awareness alone, responding to invariant features of the perceptual field that are invisible to other forms of perceptual awareness. On this view, we see more than we think we see, as evidenced by our skillful bodily behavior.     

Storytelling agents: why narrative rather than mental time travel is fundamental

I propose that we can explain the contribution of mental time travel to agency through understanding it as a specific instance of our more general capacity for narrative understanding. Narrative understanding involves the experience of a pre-reflective and embodied sense of self, which co-emerges with our emotional involvement with a sequence of events (Velleman 2003). Narrative understanding of a sequence of events also requires a ‘recombinable system’, that is, the ability to combine parts to make myriad sequences. Mental time travel shares these two characteristics: it involves an embodied sense of self and the ability to create novel scenarios. What is unique about mental time travel is that it is a story explicitly about our selves, and it involves metarepresentation. Agency is enabled by narrative understanding when we are able to put our current situation into a larger narrative context, whereby some possible actions, but not others, make sense. However, new features of agency are enabled when we understand stories that are explicitly about our selves: we gain the ability to plan and act on plans.