Using artificial emotions helps in making human-robot interaction more personalised, natural, and so more likeable. In the case of humanoid robots with constrained facial expression, the literature concentrates on the expression of emotions by using other nonverbal interaction channels. When using multi-modal communication, indeed, it is important to understand the effect of the combination of such non-verbal cues, while the majority of the works addressed only the role of single channels in the human recognition performance. Here, we present an attempt (...) to analyse the effect of the combination of different animations expressing the same emotion or different ones. Results show that when an emotion is successfully expressed using a single channel, the combination of this channel with other animations, that may have lower recognition rates, appears to be less communicative. (shrink)

Using artificial emotions helps in making human-robot interaction more personalised, natural, and so more likeable. In the case of humanoid robots with constrained facial expression, the literature concentrates on the expression of emotions by using other nonverbal interaction channels. When using multi-modal communication, indeed, it is important to understand the effect of the combination of such non-verbal cues, while the majority of the works addressed only the role of single channels in the human recognition performance. Here, we present an attempt (...) to analyse the effect of the combination of different animations expressing the same emotion or different ones. Results show that when an emotion is successfully expressed using a single channel, the combination of this channel with other animations, that may have lower recognition rates, appears to be less communicative. (shrink)

Most people encounter art images as digital reproductions on a computer screen instead of as originals in a museum or gallery. With the development of digital technologies, high-resolution artworks can be accessed anywhere and anytime by a large number of viewers. Since these digital images depict the same content and are attributed to the same artist as the original, it is often implicitly assumed that their aesthetic evaluation will be similar. When it comes to the digital reproductions of art, however, (...) it is also obvious that reproductions do differ from the originals in various aspects. Besides image quality, resolution, and format, the most obvious change is in the representation of color. The effects of subjectively varying surface-level image features on art evaluation have not been clearly assessed. To address this gap, we compare the evaluation of digital reproductions of 16 expressionist and impressionist paintings manipulated to have a high color saturation vs. a saturation similar to the original. We also investigate the impact of viewing time and expertise, two other aspects that may impact the perception of art in online contexts. Moreover, we link these dimensions to a recent model of aesthetic experience [the Vienna Integrated Model of Top-Down and Bottom-Up Processes in Art Perception ]. Results suggest that color saturation does not exert a major influence on liking. Cognitive and emotional aspects, however, are affected – to different extents for experts and laypersons. For laypersons, the increase in color saturation led to more positive assessments of an artwork, whereas it resulted in increased confusion for art experts. This insight is particularly important when it comes to reproducing artworks digitally. Depending on the intended use, increasing or decreasing the color saturation of the digitally reproduced image might be most appropriate. We conclude with a discussion of these findings and address the question of why empirical aesthetics requires more precise dimensions to better understand the subtle processes that take place in the perception of today’s digitally reproduced art environment. (shrink)

Meditation refers to a family of self-regulation practices that focuses on training attention and awareness to foster psycho-emotional well-being and to develop specific capacities such as calmness, clarity, and concentration. We report a prospective convenience-controlled study in which we analyzed the effect of two components of Preksha Dhyāna – buzzing bee sound meditation and color meditation on healthy college students. Mahapran and leśya dhyāna are two Preksha Dhyāna practices that are based on sound and green color, respectively. The study population (...) represents a suitable target as college students experience different stress factors during the school year. This study measures the individual and combined effects of two techniques, on short-term memory, attention, and affect, in novice meditators. We used a battery of cognitive, performance, and compared results with baseline and control values. We found improved cognition, especially attention, short-term memory, and affect in terms of positivity and reduced negativity. Overall, the two techniques produced variable benefits and subjects showed improved scores over baseline for short-term memory, cognitive function, and overall wellbeing. Further studies are required to understand underlying mechanisms for the observed differences between the two techniques and to elucidate mechanisms underlying the more pronounced and global benefits observed with the combined techniques. These results underscore a need to examine individual components of meditation practices in order to individualize treatment approaches for attention disorders in young adults.Clinical Trail Registration:ClinicalTrials.gov Identifier: NCT03779269. (shrink)

ABSTRACTMetaphors frequently link negative affect with darkness and associations of this type have been established in several experimental paradigms. Given the ubiquity and strength of these associations, people who prefer dark to light may be more prone to negative emotional experiences and symptoms. A five study investigation couches these ideas in a new theoretical framework and then examines them. Across studies, 1 in 4 people preferred the perceptual concept of dark over the perceptual concept of light. These dark-preferring people scored (...) higher in neuroticism and experienced greater depressive feelings in daily life. Moreover, dark preferences shared a robust relationship with depressive symptoms as well as generalised anxiety symptoms. The results provide novel insights into negative affectivity and extend conceptual metaphor theory in a way that is capable of making individual difference predictions. (shrink)

Color conveys critical information about the flavor of food and drink by providing clues as to edibility, flavor identity, and flavor intensity. Despite the fact that more than 100 published papers have investigated the influence of color on flavor perception in humans, surprisingly little research has considered how cognitive and contextual constraints may mediate color–flavor interactions. In this review, we argue that the discrepancies demonstrated in previously-published color–flavor studies may, at least in part, reflect differences in the sensory expectations that (...) different people generate as a result of their prior associative experiences. We propose that color–flavor interactions in flavor perception cannot be understood solely in terms of the principles of multisensory integration but that the role of higher-level cognitive factors, such as expectations, must also be considered. (shrink)

A family of recent externalist approaches in philosophy of mind argues that our psychological capacities are synchronically and diachronically “scaffolded” by external resources. I consider how these “scaffolded” approaches might inform debates in phenomenological psychopathology. I first introduce the idea of “affective scaffolding” and make some taxonomic distinctions. Next, I use schizophrenia as a case study to argue—along with others in phenomenological psychopathology—that schizophrenia is fundamentally a self-disturbance. However, I offer a subtle reconfiguration of these approaches. I argue that schizophrenia (...) is not simply a disruption of ipseity or minimal self-consciousness but rather a disruption of the scaffolded self, established and regulated via its ongoing engagement with the world and others. I conclude by considering how this scaffolded framework indicates the need to consider new forms of intervention and treatment. (shrink)

Nonprofit organizations can utilize social networking sites for their activities. Like individual users, they can create SNS accounts, upload posts to show what they are doing, and communicate with other users. Thus, their accounts can be investigated from the same perspective of personality which has been one of the key lenses through which SNS posts of individual users was investigated. In the line of literature that analyzed the personality of non-human objects such as products, stores, brands, and websites, the present (...) research analyzed the personality of NPOs’ Instagram accounts using an online AI service. Also, it investigated how their personality traits were related to the characteristics of the uploaded photos at content and pixel levels. The results of analysis of 223,446 photos on 177 Instagram accounts suggested that the personality of NPOs’ Instagram accounts can be summarized as being high in openness and agreeableness but low in extraversion and neuroticism. And it was found that openness and agreeableness were the personality traits that associated the most with the photo features. Also, the personality traits of NPOs’ Instagram accounts, except neuroticism, were predicted from the photo features with an acceptable level of accuracy. Implications of this research and suggestions for further research were presented. (shrink)

Do English-speakers think about anger as “red” and sadness as “blue”? Some theories of emotion suggests that color(s) - like other biologically-derived signals- should be reliably paired with an emotion, and that colors should differentiate across emotions. We assessed consistency and specificity for color-emotion pairings among English-speaking adults. In study 1, participants (n = 73) completed an online survey in which they could select up to three colors from 23 colored swatches (varying hue, saturation, and light) for each of ten (...) emotion words. In study 2, different participants (n = 52) completed a similar online survey except that we added additional emotions and colors (which better sampled color space). Participants in both studies indicated the strength of the relationship between a selected color(s) and the emotion. In study 1, four of the ten emotions showed consistency, and about one-third of the colors showed specificity, yet agreement was low-to-moderate among raters even in these cases. When we resampled our data, however, none of these effects were likely to replicate with statistical confidence. In study 2, only two of twenty emotions showed consistency, and three colors showed specificity. As with the first study, no color-emotion pairings were both specific and consistent. In addition, in study 2, we found that saturation and lightness, and to a lesser extent hue, predicted color-emotion agreement rather than perceived color. The results suggest that previous studies which report emotion-color pairings are likely best thought of experiment-specific. The results are discussed with respect to constructionist theories of emotion. (shrink)

The paper offers a point of view on credibility of eco-labeled products, analyzing the relationships among company’s sustainable strategy, eco-label and no-financial reports. Based on a cross-sector study of 109 companies with the EU-Eco-label licenses in Italy, the paper points out different behaviors among the companies investigated and explains the leadership of Italy in the number of these licenses. However, the paper underlines that the use of sustainability tools is not always matched to the explanation of companies’ sustainable strategies. The (...) study identifies the significant drivers for the management of eco-label within a sustainability strategy, drawing attention to the weight, and the hierarchical level of different decisions about sustainability. This study contributes to strengthening the understanding, promoting a discussion on the use of eco-label and on its value, and describing a desirable behavior that any company should tend in order to nourish the credibility that is an essential aspect for building strong associations with the brand. (shrink)

In this paper we adopt Sterelny's framework of the scaffolded mind, and his related dimensional approach, to highlight the many ways in which human affectivity is environmentally supported. After discussing the relationship between the scaffolded-mind view and related frameworks, such as the extended-mind view, we illustrate the many ways in which our affective states are environmentally supported by items of material culture, other people, and their interplay. To do so, we draw on empirical evidence from various disciplines, and develop phenomenological (...) considerations to distinguish different ways in which we experience the world affectively. (shrink)

This paper reports two studies investigating the role of culture on the design and personalisation of virtual spaces. The first study was a systematic analysis of 60 MSN virtual spaces belonging to British and Chinese students. The analysis concentrated on design patterns and communication style. The second study was an on-line survey designed to compare the relative importance of cultural values and personality traits on self-reported behaviour with, and preferences for, virtual space design. Results highlighted the importance of culture on (...) design and communication in virtual spaces. Implications for interaction design are discussed. (shrink)

Self-disorders in depression and schizophrenia have been the focus of much recent work in phenomenological psychopathology. But little has been said about the role the material environment plays in shaping the affective character of these disorders. In this paper, we argue that enjoying reliable (i.e., trustworthy) access to the things and spaces around us — the constituents of our material environment — is crucial for our ability to stabilize and regulate our affective life on a day-today basis. These things and (...) spaces often play an ineliminable role in shaping what we feel and how we feel it; when we interact with them, they contribute ongoing feedback that " scaffolds " the character and temporal development of our affective experiences. However, in some psychopathological conditions, the ability to access to these things and spaces becomes disturbed. Individuals not only lose certain forms of access to the practical significance of the built environment but also to its ​ regulative​ significance, too — and the stability and organization of their affective life is compromised. In developing this view, we discuss core concepts like " affordance spaces " , " scaffolding " , and " incorporation ". We apply these concepts to two case studies, severe depression and schizophrenia, and we show why these cases support our main claim. We conclude by briefly considering implications of this view for developing intervention and treatment strategies. (shrink)

Victor Vasarely's (1906–1997) important legacy to the study of human perception is brought to the forefront and discussed. A large part of his impressive work conveys the appearance of striking three-dimensional shapes and structures in a large-scale pictorial plane. Current perception science explains such effects by invoking brain mechanisms for the processing of monocular (2D) depth cues. Here in this study, we illustrate and explain local effects of 2D color and contrast cues on the perceptual organization in terms of figure-ground (...) assignments, i.e. which local surfaces are likely to be seen as “nearer” or “bigger” in the image plane. Paired configurations are embedded in a larger, structurally ambivalent pictorial context inspired by some of Vasarely's creations. The figure-ground effects these configurations produce reveal a significant correlation between perceptual solutions for “nearer” and “bigger” when other geometric depth cues are missing. In consistency with previous findings on similar, albeit simpler visual displays, a specific color may compete with luminance contrast to resolve the planar ambiguity of a complex pattern context at a critical point in the hierarchical resolution of figure-ground uncertainty. The potential role of color temperature in this process is brought forward here. Vasarely intuitively understood and successfully exploited the subtle context effects accounted for in this paper, well before empirical investigation had set out to study and explain them in terms of information processing by the visual brain. (shrink)