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EMOKINE is a software package and dataset creation suite for emotional full-body movement research in experimental psychology, affective neuroscience, and computer vision. A computational framework, comprehensive instructions, a pilot dataset, observer ratings, and kinematic feature extraction code are provided to facilitate future dataset creations at scale. In addition, the EMOKINE framework outlines how complex sequences of movements may advance emotion research. Traditionally, often emotional-'action'-based stimuli are used in such research, like hand-waving or walking motions. Here instead, a pilot dataset is provided with short dance choreographies, repeated several times by a dancer who expressed different emotional intentions at each repetition: anger, contentment, fear, joy, neutrality, and sadness. The dataset was simultaneously filmed professionally, and recorded using XSENS® motion capture technology (17 sensors, 240 frames/second). Thirty-two statistics from 12 kinematic features were extracted offline, for the first time in one single dataset: speed, acceleration, angular speed, angular acceleration, limb contraction, distance to center of mass, quantity of motion, dimensionless jerk (integral), head angle (with regards to vertical axis and to back), and space (convex hull 2D and 3D). Average, median absolute deviation (MAD), and maximum value were computed as applicable. The EMOKINE software is appliable to other motion-capture systems and is openly available on the Zenodo Repository. Releases on GitHub include: (i) the code to extract the 32 statistics, (ii) a rigging plugin for Python for MVNX file-conversion to Blender format (MVNX=output file XSENS® system), and (iii) a Python-script-powered custom software to assist with blurring faces; latter two under GPLv3 licenses.
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Objectives. To test whether distortions in the age structure of mortality during the 1918 influenza pandemic in Michigan tracked the severity of the pandemic. Methods. We calculated monthly excess deaths during the period of 1918 to 1920 by using monthly data on all-cause deaths for the period of 1912 to 1920 in Michigan. Next, we measured distortions in the age distribution of deaths by using the Kuiper goodness-of-fit test statistic comparing the monthly distribution of deaths by age in 1918 to 1920 with the baseline distribution for the corresponding month for 1912 to 1917. Results. Monthly distortions in the age distribution of deaths were correlated with excess deaths for the period of 1918 to 1920 in Michigan (r = 0.83; P < .001). Conclusions. Distortions in the age distribution of deaths tracked variations in the severity of the 1918 influenza pandemic. Public Health Implications. It may be possible to track the severity of pandemic activity with age-at-death data by identifying distortions in the age distribution of deaths. Public health authorities should explore the application of this approach to tracking the COVID-19 pandemic in the absence of complete data coverage or accurate cause-of-death data.
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COVID-19/história , Surtos de Doenças/estatística & dados numéricos , Influenza Pandêmica, 1918-1919/história , COVID-19/mortalidade , Teste para COVID-19/história , Causas de Morte , História do Século XX , História do Século XXI , Humanos , Influenza Pandêmica, 1918-1919/mortalidade , Michigan , Estações do AnoRESUMO
The global influenza pandemic that emerged in 1918 has become the event of reference for a broad spectrum of policymakers seeking to learn from the past. This article sheds light on multiple waves of excess mortality that occurred in the US state of Michigan at the time with insights into how epidemics might evolve and propagate across space and time. We analyzed original monthly data on all-cause deaths by county for the 83 counties of Michigan and interpreted the results in the context of what is known about the pandemic. Counties in Michigan experienced up to four waves of excess mortality over a span of two years, including a severe one in early 1920. Some counties experienced two waves in late 1918 while others had only one. The 1920 wave propagated across the state in a different manner than the fall and winter 1918 waves. The twin waves in late 1918 were likely related to the timing of the statewide imposition of a three-week social distancing order. Michigan's experience holds sobering lessons for those who wish to understand how immunologically naïve populations encounter novel viral pathogens.
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COVID-19/epidemiologia , COVID-19/história , Influenza Pandêmica, 1918-1919/história , Influenza Pandêmica, 1918-1919/mortalidade , Causas de Morte , História do Século XX , História do Século XXI , Humanos , Michigan/epidemiologia , Pandemias , SARS-CoV-2RESUMO
The present pilot study aimed at evaluating air sampling as a novel method for monitoring Campylobacter in poultry farms. We compared the bacteriological isolation of Campylobacter from boot swabs and air filter samples using ISO 10272-1:2017. A secondary aim was to evaluate the use of molecular methods, i.e. real time PCR, on the same sample set. Samples from 44 flocks from five European countries were collected, and included air samples, in parallel with boot swabs. Campylobacter spp. was isolated from seven of 44 boot swabs from three of five partners using the enrichment method. Two of these positive boot swab samples had corresponding positive air samples. Using enrichment, one positive air sample was negative in the corresponding boot swabs, but Campylobacter spp. was isolated from direct plating of the boot swab sample. One partner isolated Campylobacter spp. from six of 10 boot swabs using direct plating. Overall, 33 air filter samples were screened directly with PCR, returning 14 positive results. In conclusion, there was a lack of correspondence between results from analysis of boot swabs and air filters using ISO 10272-1:2017. In contrast, the combination of air filters and direct real-time PCR might be a way forward. Despite the use of the detailed ISO protocols, there were still sections that could be interpreted differently among laboratories. Air sampling may turn into a multi-purpose and low-cost sampling method that may be integrated into self-monitoring programs.
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Microbiologia do Ar/normas , Infecções por Campylobacter/veterinária , Campylobacter/isolamento & purificação , Galinhas/microbiologia , Doenças das Aves Domésticas/prevenção & controle , Animais , Campylobacter/genética , Europa (Continente) , Fazendas/estatística & dados numéricos , Fezes/microbiologia , Internacionalidade , Projetos Piloto , Aves Domésticas/microbiologia , Doenças das Aves Domésticas/microbiologia , Doenças das Aves Domésticas/transmissãoRESUMO
Two recent studies have demonstrated that increases in arousal states lead to an increase people's sense of agency, i.e., the subjective experience of controlling one's own voluntary actions (Minohara et al. in Front Psychol 7:1165, 2016; Wen et al. in Conscious Cogn 36:87-95, 2015). We here extend these findings by showing that arousal states with negative emotional valence, such as fear and anger, decrease sense of agency. Anger and fear are negative emotional states. Anecdotally, they are often invoked as reasons for losing control, and neuroscientific evidence confirms important effects on the brain's action control systems. Surprisingly, the subjective experience of acting in anger or fear has scarcely been investigated experimentally. Thus, the legal notion that these intense emotions may undermine normal voluntary control over actions and outcomes (the 'Loss of Control', a partial defence for murder) lacks any clear evidence base. In three laboratory experiments, we measured sense of agency using an implicit measure based on time perception (the "intentional binding" paradigm). These actions occurred in either an emotionally neutral condition, or in a fearful (experiments 1 and 2) or angry state (experiment 3). In line with our hypotheses, fear or anger reduced the subjective sense of control over an action outcome, even though the objective causal link between action and outcome remained the same. This gap between the objective facts of agency, and a reduced subjective experience of agency under emotional conditions, has important implications for society and law.
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Ira/fisiologia , Medo/fisiologia , Intenção , Atividade Motora/fisiologia , Adulto , Feminino , Humanos , Masculino , Adulto JovemRESUMO
The Warburg Dance Movement Library is a validated set of 234 video clips of dance movements for empirical research in the fields of cognitive science and neuroscience of action perception, affect perception and neuroaesthetics. The library contains two categories of video clips of dance movement sequences. Of each pair, one version of the movement sequence is emotionally expressive (Clip a), while the other version of the same sequence (Clip b) is not expressive but as technically correct as the expressive version (Clip a). We sought to complement previous dance video stimuli libraries. Facial information, colour and music have been removed, and each clip has been faded in and out. We equalised stimulus length (6 seconds, 8 counts in dance theory), the dancers' clothing and video background and included both male and female dancers, and we controlled for technical correctness of movement execution. The Warburg Dance Movement Library contains both contemporary and ballet movements. Two online surveys ( N = 160) confirmed the classification into the two categories of expressivity. Four additional online surveys ( N = 80) provided beauty and liking ratings for each clip. A correlation matrix illustrates all variables of this norming study (technical correctness, expressivity, beauty, liking, luminance, motion energy).
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Dança/normas , Bibliotecas , Movimento , Gravação de Videoteipe , Emoções , Feminino , Humanos , MasculinoRESUMO
This paper examines short-term birth sequelae of the influenza pandemic of 1918-1920 in the United States using monthly data on births and all-cause deaths for 19 US states in conjunction with data on maternal deaths, stillbirths, and premature births. The data on births and all-cause deaths are adjusted for seasonal and trend effects, and the residual components of the 2 time series coinciding with the timing of peak influenza mortality are examined for these sequelae. Notable findings include: 1) a drop in births in the 3 months following peak mortality; 2) a reversion in births to normal levels occurring 5-7 months after peak mortality; and 3) a steep drop in births occurring 9-10 months after peak mortality. Interpreted in the context of parallel data showing elevated premature births, stillbirths, and maternal mortality during times of peak influenza mortality, these findings suggest that the main impacts of the 1918-1920 influenza on reproduction occurred through: 1) impaired conceptions, possibly due to effects on fertility and behavioral changes; 2) an increase in the preterm delivery rate during the peak of the pandemic; and 3) elevated maternal and fetal mortality, resulting in late-term losses in pregnancy.
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Coeficiente de Natalidade/tendências , Influenza Pandêmica, 1918-1919/história , Influenza Humana/epidemiologia , Influenza Humana/história , Feminino , História do Século XX , Humanos , Influenza Pandêmica, 1918-1919/mortalidade , Influenza Humana/mortalidade , Mortalidade Materna/tendências , Gravidez , Resultado da Gravidez/epidemiologia , Estados Unidos/epidemiologiaRESUMO
Today's society is pleasure seeking. We expect to obtain pleasurable experiences fast and easily. We are used to hyper-palatable foods and drinks, and we can get pornography, games and gadgets whenever we want them. THE PROBLEM: with this type of pleasure-maximizing choice behaviour we may be turning ourselves into mindless pleasure junkies, handing over our free will for the next dopamine shoot. Pleasure-only activities are fun. In excess, however, such activities might have negative effects on our biopsychological health: they provoke a change in the neural mechanisms underlying choice behaviour. Choice behaviour becomes biased towards short-term pleasure-maximizing goals, just as in the addicted brain (modulated by the amygdala, posterior ventromedial prefrontal cortex' (VMPFC), striatum, nucleus accumbens; 'A-system') and away from long-term prosperity and general well-being maximizing objectives (normally ensured by the insula, anterior VMPFC, hippocampus, dorsolateral prefrontal cortex (DLPFC), anterior cingulate cortex (ACC); 'I-system'). This paper outlines, first, what 'pleasure' is and what 'pleasure-only' activities are (e.g. social media engagement, hyper-palatable eating). Second, an account is given of the type of action that might aid to maintain the neural systems underlying choice behaviour balanced. Finally, it is proposed that engagement with the arts might be an activity with the potential to foster healthy choice behaviour-and not be just for pleasure. The evidence in this rather new field of research is still piecemeal and inconclusive. This review aims to motivate targeted research in this domain.
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Encéfalo/fisiologia , Comportamento de Escolha , Prazer , Tonsila do Cerebelo , Mapeamento Encefálico , Humanos , Córtex Pré-FrontalRESUMO
Neuroethics is an interdisciplinary field that arose in response to novel ethical challenges posed by advances in neuroscience. Historically, neuroethics has provided an opportunity to synergize different disciplines, notably proposing a two-way dialogue between an 'ethics of neuroscience' and a 'neuroscience of ethics'. However, questions surface as to whether a 'neuroscience of ethics' is a useful and unified branch of research and whether it can actually inform or lead to theoretical insights and transferable practical knowledge to help resolve ethical questions. In this article, we examine why the neuroscience of ethics is a promising area of research and summarize what we have learned so far regarding its most promising goals and contributions. We then review some of the key methodological challenges which may have hindered the use of results generated thus far by the neuroscience of ethics. Strategies are suggested to address these challenges and improve the quality of research and increase neuroscience's usefulness for applied ethics and society at large. Finally, we reflect on potential outcomes of a neuroscience of ethics and discuss the different strategies that could be used to support knowledge transfer to help different stakeholders integrate knowledge from the neuroscience of ethics.
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Pesquisa Biomédica/ética , Princípios Morais , Neurociências/ética , Pesquisa Translacional Biomédica/ética , HumanosRESUMO
Dance has entered mainstream empirical research: dance as an experimental stimulus, and dancers as movement experts. Informed by several sources, including primary sources (original, historical documents, and oral reports, such as interviews with practitioners and academic scholars of Iranian dance genres) and secondary sources (research literature), we describe what we label "Iranian classical dance" within this paper as an important resource for empirical research, not only in humanities scholarship but also, and importantly, for empirical aesthetics, emotion psychology, cross-cultural psychology, and affective neuroscience. For this purpose, we (1) describe the aesthetics, characteristics, and history of Iranian classical dance; (2) outline issues of definition and systematization; and (3) give an overview of the cultural complexities and sociopolitical issues regarding Iranian classical dance in the past 40 years, which have shaped its current form. After the political revolution of 1979 (Iranian solar calendar year: 1358), dance in Iran-both as everyday practice and as a cultural heritage-was first forbidden, and now remains heavily restricted. International, interdisciplinary research teams can contribute to safeguarding Iranian classical dance in the future by firmly enshrining it into empirical research on human dance. We outline empirical research perspectives on Iranian classical dance, dataset resources, and expert communities.
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Dança , Emoções , Humanos , Irã (Geográfico) , Movimento , EstéticaRESUMO
Theories of human emotion, including some emotion embodiment theories, suggest that our moods and affective states are reflected in the movements of our bodies. We used the reverse process for mood regulation; modulate body movements to regulate mood. Dancing is a type of full-body movement characterized by affective expressivity and, hence, offers the possibility to express different affective states through the same movement sequences. We tested whether the repeated imitation of a dancer performing two simple full-body dance movement sequences with different affective expressivity (happy or sad) could change mood states. Computer-based systems, using avatars as dance models to imitate, offer a series of advantages such as independence from physical contact and location. Therefore, we compared mood induction effects in two conditions: participants were asked to imitate dance movements from one of the two avatars showing: (a) videos of a human dancer model or (b) videos of a robot dancer model. The mood induction was successful for both happy and sad imitations, regardless of condition (human vs. robot avatar dance model). Moreover, the magnitude of happy mood induction and how much participants liked the task predicted work-related motivation after the mood induction. We conclude that mood regulation through dance movements is possible and beneficial in the work context.
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Comportamento Imitativo , Intenção , Humanos , Afeto/fisiologia , Emoções/fisiologia , Felicidade , Movimento/fisiologiaRESUMO
In the present research, we introduce and validate a single-item measure of identity leadership-the visual identity leadership scale (VILS). The VILS uses Venn diagrams of sets of overlapping circles to denote different degrees of alignment between a leader's characteristics and behaviours and a group's values and goals. Key advantages of the VILS over other existing multi-item scales are that it provides a holistic assessment of identity leadership, is short, and can be adapted to address novel research questions that are impractical to address with existing scales (e.g. in diary studies, assessing multiple comparisons of many leaders or groups). Data from three studies (conducted in India, the United States and Germany) provide evidence of the VILS' construct reliability and validity. Results also showcase the instrument's capacity to be adapted to assess variations of identity leadership-for example, by assessing a leader's convergence with descriptive and ideal notions of collective self (i.e. with 'who we are' and 'who we want to be'). We discuss the value of including the VILS in the toolbox that researchers and practitioners can utilize to expand our understanding of identity processes in leadership and group behaviour.
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Ekman famously contended that there are different channels of emotional expression (face, voice, body), and that emotion recognition ability confers an adaptive advantage to the individual. Yet, still today, much emotion perception research is focussed on emotion recognition from the face, and few validated emotionally expressive full-body stimuli sets are available. Based on research on emotional speech perception, we created a new, highly controlled full-body stimuli set. We used the same-sequence approach, and not emotional actions (e.g., jumping of joy, recoiling in fear): One professional dancer danced 30 sequences of (dance) movements five times each, expressing joy, anger, fear, sadness or a neutral state, one at each repetition. We outline the creation of a total of 150, 6-s-long such video stimuli, that show the dancer as a white silhouette on a black background. Ratings from 90 participants (emotion recognition, aesthetic judgment) showed that intended emotion was recognized above chance (chance: 20%; joy: 45%, anger: 48%, fear: 37%, sadness: 50%, neutral state: 51%), and that aesthetic judgment was sensitive to the intended emotion (beauty ratings: joy > anger > fear > neutral state, and sad > fear > neutral state). The stimuli set, normative values and code are available for download.
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Dança , Percepção da Fala , Humanos , Emoções , Ira , Medo , Expressão FacialRESUMO
We explore dance video clip stimuli as a means to test human observers' accuracy in detecting genuine emotional expressivity in full-body movements. Stimuli of every-day-type full-body expressions of emotions usually use culturally very recognizable actions (e.g. fist shaking for anger, etc). However, expressive dance movement stimuli can be created to contain fully abstract movements. The expressivity results from subtle variations in the body movements of the expressor, and emotions cannot be recognised by observers via particular actions (e.g. fist shaking, etc). Forty-one participants watched and rated 24 pairs of short dance videos -from a published normalised dance stimuli library- in randomised order (N = 48). Of each carefully matched pair, one version of the full-body movement sequence had been danced to be emotionally genuinely expressive (clip a), while the other version of the same sequence (clip b) had been danced -while technically correct- without any emotional expressivity. Participants rated (i) expressivity (to test their accuracy; block 1), and (ii) how much they liked each movement (an implicit measure to test their emotional response ("liking"); block 2). Participants rated clips that were intended to be expressive as more expressive (part 1: expressivity ratings), and liked those expressive clips more than the non-expressive clips (part 2: liking ratings). Besides, their galvanic skin response differed, depending on the category of clips they were watching (expressive vs. non-expressive), and this relationship was modulated by interceptive accuracy and arts experience. Results are discussed in relation to the Body Precision Hypothesis and the Hypothesis of Constructed Emotion.
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Dança , Emoções , Movimento , Resposta Galvânica da Pele , Humanos , Psicofisiologia , Distribuição AleatóriaRESUMO
Is the use of psychological and neuroscientific methods for neuromarketing research always aligned with the principles of ethical research practice? Some neuromarketing endeavours have passed from informing consumers about available options, to helping to market as many products to consumers as possible. Needs are being engineered, using knowledge about the human brain to increase consumption further, regardless of individual, societal and environmental needs and capacities. In principle, the ground ethical principle of any scientist is to further individual, societal and environmental health and well-being with their work. If their findings can be used for the opposite, this must be part of the scientist's considerations before engaging in such research and to make sure that the risks for misuse are minimised. Against this backdrop, we provide a series of real-life examples and a non-exhaustive literature review, to discuss in what way some practices in the neuromarketing domain may violate the Helsinki Declaration of Experimentation with Human Subjects. This declaration was set out to regulate biomedical research, but has since its inception been applied internationally also to behavioural and social research. We illustrate, point by point, how these ground ethical principles should be applied also to the neuromarketing domain. Indisputably, the growth in consumption is required due to current prevalent economical models. Thus, in the final part of the paper, we discuss how alternative models may be promotable to a larger public, aided by more ethical marketing endeavours, based on neuroscientific discoveries about the human brain. We propose this as a philosophical question, a point of discussion for the future, to make neuromarketing as a discipline, fit for the future, respecting the ethical implications of this research.
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This systematic review of reviews was conducted to examine housing precarity and homelessness in relation to climate change and weather extremes internationally. In a thematic analysis of 15 reviews (5 systematic and 10 non-systematic), the following themes emerged: risk factors for homelessness/housing precarity, temperature extremes, health concerns, structural factors, natural disasters, and housing. First, an increased risk of homelessness has been found for people who are vulnerably housed and populations in lower socio-economic positions due to energy insecurity and climate change-induced natural hazards. Second, homeless/vulnerably-housed populations are disproportionately exposed to climatic events (temperature extremes and natural disasters). Third, the physical and mental health of homeless/vulnerably-housed populations is projected to be impacted by weather extremes and climate change. Fourth, while green infrastructure may have positive effects for homeless/vulnerably-housed populations, housing remains a major concern in urban environments. Finally, structural changes must be implemented. Recommendations for addressing the impact of climate change on homelessness and housing precarity were generated, including interventions focusing on homelessness/housing precarity and reducing the effects of weather extremes, improved housing and urban planning, and further research on homelessness/housing precarity and climate change. To further enhance the impact of these initiatives, we suggest employing the Human Rights-Based Approach (HRBA).
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Habitação , Pessoas Mal Alojadas , Mudança Climática , Humanos , Saúde Mental , Literatura de Revisão como Assunto , Tempo (Meteorologia)RESUMO
"Dance" has been associated with many psychophysiological and medical health effects. However, varying definitions of what constitute "dance" have led to a rather heterogenous body of evidence about such potential effects, leaving the picture piecemeal at best. It remains unclear what exact parameters may be driving positive effects. We believe that this heterogeneity of evidence is partly due to a lack of a clear definition of dance for such empirical purposes. A differentiation is needed between (a) the effects on the individual when the activity of "dancing" is enjoyed as a dancer within different dance domains (e.g., professional/"high-art" type of dance, erotic dance, religious dance, club dancing, Dance Movement Therapy (DMT), and what is commonly known as hobby, recreational or social dance), and (b) the effects on the individual within these different domains, as a dancer of the different dance styles (solo dance, partnering dance, group dance; and all the different styles within these). Another separate category of dance engagement is, not as a dancer, but as a spectator of all of the above. "Watching dance" as part of an audience has its own set of psychophysiological and neurocognitive effects on the individual, and depends on the context where dance is witnessed. With the help of dance professionals, we first outline some different dance domains and dance styles, and outline aspects that differentiate them, and that may, therefore, cause differential empirical findings when compared regardless (e.g., amount of interpersonal contact, physical exertion, context, cognitive demand, type of movements, complexity of technique and ratio of choreography/improvisation). Then, we outline commonalities between all dance styles. We identify six basic components that are part of any dance practice, as part of a continuum, and review and discuss available research for each of them concerning the possible health and wellbeing effects of each of these components, and how they may relate to the psychophysiological and health effects that are reported for "dancing": (1) rhythm and music, (2) sociality, (3) technique and fitness, (4) connection and connectedness (self-intimation), (5) flow and mindfulness, (6) aesthetic emotions and imagination. Future research efforts might take into account the important differences between types of dance activities, as well as the six components, for a more targeted assessment of how "dancing" affects the human body.
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There has been a controversy on the moral import of music and art in general. On the one hand, the moralist view contends that there is some sort of link between art and morality, even if the way to specify this link may be highly diverse. It comprises most of the classical views of art, from Schiller's view of the role of artistic education in moral development, to any view that declares a form of art as corrupt or degenerated, or enlightening. What it is assumed minimally in all of them is that the moral import of an artwork contributes to its aesthetic value. On the other hand, formalist views claim that the aesthetic value of an artwork is genuine and autonomous, and therefore it is independent of any other value. In this chapter we focus on music, as the most difficult case for the moralist standpoint, given the lack of representational content of music. We argue for a variety of the moralist's view according to which the moral import of a musical artwork is not derived from its content (obviously, as it lack any), but from its pragmatics: the context and the intentions that guide its composition and performance, by analogy with any other intentional action, and point to the emotional impact of music as the common ground that bridges moral and aesthetic values. As a provisional conclusion, we outline a research program for brain studies that follows from this proposal, as a way test its predictions, focusing both on the emotional grounds of valuation and their context-dependency.