Jacobsen, Thomas

Changes in room acoustics provide important clues about the environment of sound source-perceiver systems, for example, by indicating changes in the reflecting characteristics of surrounding objects. To study the detection of auditory irregularities brought about by a change in room acoustics, a passive oddball protocol with participants watching a movie was applied in this study. Acoustic stimuli were presented via headphones. Standards and deviants were created by modelling rooms of different sizes, keeping the values of the basic acoustic dimensions (e.g., frequency, duration, sound pressure, and sound source location) as constant as possible. In the first experiment, each standard and deviant stimulus consisted of sequences of three short sounds derived from sinusoidal tones, resulting in three onsets during each stimulus. Deviant stimuli elicited a Mismatch Negativity (MMN) as well as two additional negative deflections corresponding to the three onset peaks. In the second experiment, only one sound was used; the stimuli were otherwise identical to the ones used in the first experiment. Again, an MMN was observed, followed by an additional negative deflection. These results provide further support for the hypothesis of automatic detection of unattended changes in room acoustics, extending previous work by demonstrating the elicitation of an MMN by changes in room acoustics.

This psychophysiological study is the first to examine the relationship between emotional tears and emotional piloerection (i.e., goosebumps). Although both phenomena have been related to peak states of being moved, details about their temporal occurrence and the associated levels of physiological arousal have remained unknown. In our study, we used emotionally powerful film scenes that were self-selected by participants. Our findings show that even within peak moments of emotional arousal, a gradation of intensity is possible. The overlap of tears and goosebumps signifies a maximal climax within peak moments. On the side of the stimulus, we found that displays of prosocial behavior play a crucial role in the elicitation of tears and goosebumps. Finally, based on the results of a formal film analysis of the tears-eliciting clips provided by our participants, as compared to randomly extracted, equally long control clips from the same films, we show how the technical and artistic making of the clips was optimized for the display of social interaction and emotional expressions.

Evidence from behavioral and physiological studies suggests attentional weighting of stimulus information from different sources, according to task demands. We investigated the adoption of task-specific attentional sets by administering a flanker task, which required responding to a centrally presented letter while ignoring two adjacent letters, and a same-different judgment task, which required a homogenous/heterogeneous classification concerning the complete three-letter string. To assess the distribution of attentional weights across the letter locations we intermixed trials of a visual search task, in which a target stimulus occurred randomly in any of these locations. Search task reaction times displayed a stronger center-to periphery gradient, indicating focusing of visual attention on the central location, when the search task was intermixed into blocks of trials of the flanker task than into blocks of trials of the same-different task (Experiment 1) and when a cue indicated the likely occurrence of the flanker task as compared to the likely occurrence the same-different task (Experiment 2). These findings demonstrate flexible adoption of task-specific sets of visual attention that can be implemented during preparation. In addition, responses in the intermixed search task trials were faster and (marginally significantly) more error-prone after preparation for a (letter) task repetition than for a task switch, suggesting that response caution is reduced during preparation for a task repetition.

People can experience different emotions when listening to music. A growing number of studies have investigated the brain structures and neural connectivities associated with perceived emotions. However, very little is known about the effect of an explicit act of judgment on the neural processing of emotionally-valenced music. In this study, we adopted the novel consensus clustering paradigm, called binarisation of consensus partition matrices (Bi-CoPaM), to study whether and how the conscious aesthetic evaluation of the music would modulate brain connectivity networks related to emotion and reward processing. Participants listened to music under three conditions - one involving a non-evaluative judgment, one involving an explicit evaluative aesthetic judgment, and one involving no judgment at all (passive listening only). During non-evaluative attentive listening we obtained auditory-limbic connectivity whereas when participants were asked to decide explicitly whether they liked or disliked the music excerpt, only two clusters of intercommunicating brain regions were found: one including areas related to auditory processing and action observation, and the other comprising higher-order structures involved with visual processing. Results indicate that explicit evaluative judgment has an impact on the neural auditory-limbic connectivity during affective processing of music.

Based on psychophysics’ pragmatic dualism, we trace the cognitive neuroscience of stability and variability in aesthetic experience. With regard to different domains of aesthetic processing, we touch upon the relevance of cognitive schemata for aesthetic preference. Attitudes and preferences are explored in detail. Evolutionary constraints on attitude formation or schema generation are elucidated, just as the often seemingly arbitrary influences of social, societal, and cultural nature are. A particular focus is put on the concept of critical periods during an individual’s ontogenesis. The latter contrasting with changes of high frequency, such as fashion influences. Taken together, these analyses document the state of the art in the field and, potentially, highlight avenues for future research.

In choice reaction time (RT) tasks, performance is often influenced by the presence of nominally irrelevant stimuli, referred to as distractors. Recent research provided evidence that distractor processing can be adjusted to the utility of the distractors: Distractors predictive of the upcoming target/response were more attended to and also elicited stronger motor responses. In an event-related potential (ERP) study, we investigated whether not only the extent of distractor processing (as suggested by these previous results), but also the timing of distractor-based response activation is subject to strategic control. In a temporal flanker task, in which a distractor stimulus preceded the target, we manipulated distractor utility (i.e., by varying the proportion of congruent distractor-target combinations, 75% vs. 25%) as well as the stimulus onset asynchrony (SOA) between distractors and targets (350 ms vs. 1,000 ms) in different blocks of trials. The distractor-locked lateralized readiness potential (LRP) was overall larger in blocks with a high proportion of congruent trials indicating stronger distractor-based response activation when distractor utility was high. Of importance, the LRPs occurred overall later when the SOA was long. This suggests that distractor-based response activation can be postponed and thus adjusted to the temporal factors of the context. Modulations of early visual potentials (P1 and N1) indicate that this postponement of motor activation is related to both sensory-perceptual downgrading of distractor stimuli and reduced activation of task-relevant stimulus-response transformation processes at the time of distractor perception.

Parallelistic features of poetic and rhetorical language use comprise a great variety of linguistically optional patterns of phonological, prosodic, syntactic, and semantic recurrence. Going beyond studies on cognitive facilitation effects of individual parallelistic features (most notably rhyme, alliteration, and meter), the present study shows that the joint employment of multiple such features in 40 sad and joyful poems intensifies all emotional response dimensions (joy, sadness, being moved, intensity, and positive affect) and all aesthetic appreciation dimensions (beauty, liking, and melodiousness) that we measured. Given that parallelistic diction is also used, to different degrees, in ritual language, commercial ads, political slogans, and everyday conversations, the implications of these findings are potentially far-reaching.

Why are negative emotions so central in art reception far beyond tragedy? Revisiting classical aesthetics in the light of recent psychological research, we present a novel model to explain this much discussed (apparent) paradox. We argue that negative emotions are an important resource for the arts in general, rather than a special license for exceptional art forms only. The underlying rationale is that negative emotions have been shown to be particularly powerful in securing attention, intense emotional involvement, and high memorability, and hence is precisely what artworks strive for. Two groups of processing mechanisms are identified that conjointly adopt the particular powers of negative emotions for art's purposes. The first group consists of psychological distancing mechanisms that are activated along with the cognitive schemata of art, representation, and fiction. These schemata imply personal safety and control over continuing or discontinuing exposure to artworks, thereby preventing negative emotions from becoming outright incompatible with expectations of enjoyment. This distancing sets the stage for a second group of processing components that allow art recipients to positively embrace the experiencing of negative emotions, thereby rendering art reception more intense, more interesting, more emotionally moving, more profound, and occasionally even more beautiful. These components include compositional interplays of positive and negative emotions, the effects of aesthetic virtues of using the media of (re)presentation (musical sound, words/language, color, shapes) on emotion perception, and meaning-making efforts. Moreover, our Distancing-Embracing model proposes that concomitant mixed emotions often help integrate negative emotions into altogether pleasurable trajectories.