Arm adductor with arm abduction in rotator cuff tear patients vs. healthy--design of a new measuring instrument

The incidence of (a)symptomatic rotator cuff tears is high, but etiologic mechanisms are unclear and treatment outcomes vary. A practical tool providing objective outcome measures and insight into etiology and potential patient subgroups is desirable. Symptomatic cuff tears coincide with humerus cranialization. Adductor co-activation during active arm abduction has been reported to reduce subacromial narrowing and pain in cuff patients. We present an easy-to-use method to evaluate adductor co-activation. Twenty healthy controls and twenty full-thickness cuff tear patients exerted EMG-recorded isometric arm abduction and adduction tasks. Ab- and adductor EMG's were expressed using the "Activation Ratio (AR)" (-1 ≤ AR ≤ 1), where lower values express more co-activation. Mean control AR's ranged from .7 to .9 with moderate to good test-retest reliability (ICC: .60-.74). Patients showed significantly more adductor co-activation during abduction, with adductor AR's ranging between .3 (teres major) and .5 (latissimus dorsi). In conclusion, the introduced method discriminates symptomatic cuff tear patients from healthy controls, quantifies adductor co-activation in an interpretable measure, and provides the opportunity to study correlations between muscle activation and humerus cranialization in a straightforward manner. It has potential as an objective outcome measure, for distinguishing symptomatic from asymptomatic cuff tears and as a tool for surgical or therapeutic decision-making.     

The emotional and cognitive effect of immersion in film viewing

This brief report presents an experiment testing the effect of immersion on emotional responses and cognitive genre categorisation of film viewers. Immersion of a film presentation was varied by presenting an animated movie either in a 3D-viewing condition (low immersive condition) or in a CAVE condition (high immersive condition, comparable to virtual reality experience). Viewers rated their emotions and categorised the movies into four basic film genres (action, drama, comedy, and non-fiction). Two distinct types of emotion were measured: Fictional World emotions (e.g., sadness) in response to the presented fictional events and Artefact emotions in response to the film as an artefact (e.g., fascination). Results showed that stronger immersion led to more intense emotions but did not influence genre categorisation. In line with expectations, both types of emotional response were intensified by high immersion. The results are explained by suggesting that highly immersive cinema has its impact on a basic dimension of emotion, namely arousal that underlies both types of emotions.     

Cognitive functioning in healthy older adults aged 64-81: a cohort study into the effects of age, sex, and education

The objective of this study was to determine a possible differential effect of age, education, and sex on cognitive speed, verbal memory, executive functioning, and verbal fluency in healthy older adults. A group of 578 healthy participants in the age range of 64-81 was recruited from a large population study of healthy adults (Maastricht Aging Study). Even in healthy individuals in this restricted age range, there is a clear, age-related decrease in performance on executive functioning, verbal fluency, verbal memory, and cognitive speed tasks. The capacity to inhibit information is affected most. Education had a substantial effect on cognitive functioning: participants with a middle or high level of education performed better on cognitive tests than did participants with a low level of education. Women performed better than men on verbal memory tasks. Therefore, education and sex must be taken into account when examining an older individual's cognitive performance.     

Memory self-efficacy predicts memory performance: results from a 6-year follow-up study

The purpose of this study was to examine the relationship between memory self-efficacy (MSE) and a 6-year follow-up assessment of memory functioning in a sample of Dutch older adults. MSE was assessed by a Dutch abridged version of the Metamemory in Adulthood questionnaire (MIA; R. A. Dixon, D. F. Hultsch, & C. Hertzog, 1988; C. Hertzog, D. F. Hultsch, & R. A. Dixon, 1989; R. W. H. M. Ponds & J. Jolles, 1996). The total MSE score predicted memory performance at 6 years, as measured by the Visual Verbal Learning Task (VVLT; N. Brand & J. Jolles, 1985). A separate analysis of the different MSE subscales indicated that the MIA Change score was the most salient domain-specific MSE predictor of subsequent memory performance after 6 years. An extreme groups analysis of the MIA Change score revealed a pattern of performance for those who perceived that their memory was worsening, performing less well on the 3 trials of the VVLT when these were readministered at the 6-year follow-up.     

Effect of Film Velocity on Genre Recognition

Abstract

In this study effects of film velocity on genre recognition were tested. “Happy reunion” film scenes were taken from comic, action, drama, and nonfiction genres. Their speed was varied to result in 3 levels: original velocity, acceleration by one third, and deceleration by one third. Fifty participants judged the fittingness of all scenes in each of the 4 genres. Velocity proved to be an effective parameter in the recognition of the comical and dramatic genres but not of the action and nonfiction genres. As predicted, when a scene belonging to any genre was decelerated, participants judged the scene as belonging more to the dramatic genre (p < .01) and less to the comic genre (p < .01). Acceleration of a scene belonging to any genre increased its comical fittingness (p < .05). The role of prototypicality of scenes in the interaction with velocity turned out to be only modest. In a few cases genre crossings (i.e., confusing a scene's genre with another in recognition) resulted from velocity manipulations of nonprototypical but not prototypical scenes.     

Robust anger: Recognition of deteriorated dynamic bodily emotion expressions

In two studies, the robustness of anger recognition of bodily expressions is tested. In the first study, video recordings of an actor expressing four distinct emotions (anger, despair, fear, and joy) were structurally manipulated as to image impairment and body segmentation. The results show that anger recognition is more robust than other emotions to image impairment and to body segmentation. Moreover, the study showed that arms expressing anger were more robustly recognised than arms expressing other emotions. Study 2 added face blurring as a variable to the bodily expressions and showed that it decreased accurate emotion recognition—but more for recognition of joy and despair than for anger and fear. In sum, the paper indicates the robustness of anger recognition in multileveled deteriorated bodily expressions.     

Categorizing moving objects into film genres: The effect of animacy attribution,emotional response,and the deviation from non-fiction

The reported study follows the footsteps of Heider, and Simmel (1944) [Heider, F., & Simmel, M. (1944). An experimental study of apparent behavior. American Journal of Psychology, 57, 243–249] and Michotte (1946/1963) [Michotte, A. (1963). The perception of causality (T.R. Miles & E. Miles, Trans.). London: Methuen (Original work published 1946)] who demonstrated the role of object movement in attributions of life-likeness to figures. It goes one step further in studying the categorization of film scenes as to genre as a function of object movements.In an animated film scene portraying a chase, movements of the chasing object were systematically varied as to parameters: velocity, efficiency, fluency, detail, and deformation.The object movements were categorized by viewers into genres: non-fiction, comedy, drama, and action. Besides this categorization, viewers rated their animacy attribution and emotional response. Results showed that non-expert viewers were consistent in categorizing the genres according to object movement parameters. The size of its deviation from the unmanipulated movement scene determined the assignment of any target scene to one of the fiction genres: small and moderate deviations resulted in categorization as drama and action, and large deviations as comedy. The results suggest that genre classification is achieved by, at least, three distinct cognitive processes: (a) animacy attribution, which influences the fiction versus non-fiction classification; (b) emotional responses, which influences the classification of a specific fiction genre; and (c) the amount of deviation from reality, at least with regard to movements.