Music chills: The eye pupil as a mirror to music’s soul

Music in the eye of the beholder: a pupillometric study on preferred background music, attentional state, and arousal

Although background music listening during attention-demanding tasks is common, there is little research on how it affects fluctuations in attentional state and how these fluctuations are linked to physiological arousal. The present study built on Kiss and Linnell (2021) - showing a decrease in mind-wandering and increase in task-focus states with background music - to explore the link between attentional state and arousal with and without background music. 39 students between the ages of 19-32 completed a variation of the Psychomotor Vigilance Task in silence and with their self-selected background music (music they would normally listen to during attention-demanding tasks). Objective arousal measures (pretrial pupil diameter and task-evoked pupillary responses) and subjective attentional state measures (mind-wandering, task-focus, and external-distraction states) were collected throughout the task. Results showed a link between attentional state and arousal and indicated that background music increased arousal. Importantly, arousal mediated the effect of music to decrease mind-wandering and increase task-focus attentional states, suggesting that the arousal increase induced by music was behind the changes in attentional states. These findings show, for the first time in the context of background music listening, that there is a link between arousal and attentional state.

Creative therapy in health and disease: Inner vision

Can we better understand the unique mechanisms of de novo abilities in light of our current knowledge of the psychological and neuroscientific literature on creativity? This review outlines the state-of-the-art in the neuroscience of creativity and points out crucial aspects that still demand further exploration, such as brain plasticity. The progressive development of current neuroscience research on creativity presents a multitude of prospects and potentials for furnishing efficacious therapy in the context of health and illness. Therefore, we discuss directions for future studies, identifying a focus on pinpointing the neglected beneficial practices for creative therapy. We emphasize the neglected neuroscience perspective of creativity on health and disease and how creative therapy could offer limitless possibilities to improve our well-being and give hope to patients with neurodegenerative diseases to compensate for their brain injuries and cognitive impairments by expressing their hidden creativity.

The transformative power of music: Insights into neuroplasticity, health, and disease

Music is a universal language that can elicit profound emotional and cognitive responses. In this literature review, we explore the intricate relationship between music and the brain, from how it is decoded by the nervous system to its therapeutic potential in various disorders. Music engages a diverse network of brain regions and circuits, including sensory-motor processing, cognitive, memory, and emotional components. Music-induced brain network oscillations occur in specific frequency bands, and listening to one's preferred music can grant easier access to these brain functions. Moreover, music training can bring about structural and functional changes in the brain, and studies have shown its positive effects on social bonding, cognitive abilities, and language processing. We also discuss how music therapy can be used to retrain impaired brain circuits in different disorders. Understanding how music affects the brain can open up new avenues for music-based interventions in healthcare, education, and wellbeing.

The light side of gaming: creativity and brain plasticity

Could gaming enhance brain plasticity and executive functions (EFs) by fostering creativity? We identify vital benefits from further research exploring the relationship between games, brain plasticity, and creativity. The ongoing progress in neuroscience research in these three disciplines offers many possibilities and prospects for impactful therapy. Therefore, we emphasize the significance of investigating the untapped potentials of using games in creative therapy-our perspective on the often-overlooked neuroscientific aspect of creativity concerning health and wellbeing. One of these potentials is examining games as a therapeutic tool, focusing on their capacity to inspire and engage the imagination and other mental operators shared with creativity. Using a game as a therapeutic approach may boost brain plasticity, which may help them reduce their cognitive impairments by improving their EFs. This review offers a comprehensive outline of the latest advancements in the literature on games that tie to creativity through enhancing brain plasticity and EFs. Communicating this knowledge can furnish countless possibilities to improve our overall health and wellbeing and foster a positive perspective in individuals affected by anxiety.

Nocturnal selective pressures on the evolution of human musicality as a missing piece of the adaptationist puzzle

Human musicality exhibits the necessary hallmarks for biological adaptations. Evolutionary explanations focus on recurrent adaptive problems that human musicality possibly solved in ancestral environments, such as mate selection and competition, social bonding/cohesion and social grooming, perceptual and motor skill development, conflict reduction, safe time-passing, transgenerational communication, mood regulation and synchronization, and credible signaling of coalition and territorial/predator defense. Although not mutually exclusive, these different hypotheses are still not conceptually integrated nor clearly derived from independent principles. I propose The Nocturnal Evolution of Human Musicality and Performativity Theory in which the night-time is the missing piece of the adaptationist puzzle of human musicality and performing arts. The expansion of nocturnal activities throughout human evolution, which is tied to tree-to-ground sleep transition and habitual use of fire, might help (i) explain the evolution of musicality from independent principles, (ii) explain various seemingly unrelated music features and functions, and (iii) integrate many ancestral adaptive values proposed. The expansion into the nocturnal niche posed recurrent ancestral adaptive challenges/opportunities: lack of luminosity, regrouping to cook before sleep, imminent dangerousness, low temperatures, peak tiredness, and concealment of identity. These crucial night-time features might have selected evening-oriented individuals who were prone to acoustic communication, more alert and imaginative, gregarious, risk-taking and novelty-seeking, prone to anxiety modulation, hedonistic, promiscuous, and disinhibited. Those night-time selected dispositions may have converged and enhanced protomusicality into human musicality by facilitating it to assume many survival- and reproduction-enhancing roles (social cohesion and coordination, signaling of coalitions, territorial defense, antipredatorial defense, knowledge transference, safe passage of time, children lullabies, and sexual selection) that are correspondent to the co-occurring night-time adaptive challenges/opportunities. The nocturnal dynamic may help explain musical features (sound, loudness, repetitiveness, call and response, song, elaboration/virtuosity, and duetting/chorusing). Across vertebrates, acoustic communication mostly occurs in nocturnal species. The eveningness chronotype is common among musicians and composers. Adolescents, who are the most evening-oriented humans, enjoy more music. Contemporary tribal nocturnal activities around the campfire involve eating, singing/dancing, storytelling, and rituals. I discuss the nocturnal integration of musicality's many roles and conclude that musicality is probably a multifunctional mental adaptation that evolved along with the night-time adaptive landscape.

Eye blinking, musical processing, and subjective states-A methods account

Affective sciences often make use of self-reports to assess subjective states. Seeking a more implicit measure for states and emotions, our study explored spontaneous eye blinking during music listening. However, blinking is understudied in the context of research on subjective states. Therefore, a second goal was to explore different ways of analyzing blink activity recorded from infra-red eye trackers, using two additional data sets from earlier studies differing in blinking and viewing instructions. We first replicate the effect of increased blink rates during music listening in comparison with silence and show that the effect is not related to changes in self-reported valence, arousal, or to specific musical features. Interestingly, but in contrast, felt absorption reduced participants' blinking. The instruction to inhibit blinking did not change results. From a methodological perspective, we make suggestions about how to define blinks from data loss periods recorded by eye trackers and report a data-driven outlier rejection procedure and its efficiency for subject-mean analyses, as well as trial-based analyses. We ran a variety of mixed effects models that differed in how trials without blinking were treated. The main results largely converged across accounts. The broad consistency of results across different experiments, outlier treatments, and statistical models demonstrates the reliability of the reported effects. As recordings of data loss periods come for free when interested in eye movements or pupillometry, we encourage researchers to pay attention to blink activity and contribute to the further understanding of the relation between blinking, subjective states, and cognitive processing.

The Pleasurable Urge to Move to Music Through the Lens of Learning Progress

Interacting with music is a uniquely pleasurable activity that is ubiquitous across human cultures. Current theories suggest that a prominent driver of musical pleasure responses is the violation and confirmation of temporal predictions. For example, the pleasurable urge to move to music (PLUMM), which is associated with the broader concept of groove, is higher for moderately complex rhythms compared to simple and complex rhythms. This inverted U-shaped relation between PLUMM and rhythmic complexity is thought to result from a balance between predictability and uncertainty. That is, moderately complex rhythms lead to strongly weighted prediction errors which elicit an urge to move to reinforce the predictive model (i.e., the meter). However, the details of these processes and how they bring about positive affective responses are currently underspecified. We propose that the intrinsic motivation for learning progress drives PLUMM and informs the music humans choose to listen to, dance to, and create. Here, learning progress reflects the rate of prediction error minimization over time. Accordingly, reducible prediction errors signal the potential for learning progress, producing a pleasurable, curious state characterized by the mobilization of attentional and memory resources. We discuss this hypothesis in the context of current psychological and neuroscientific research on musical pleasure and PLUMM. We propose a theoretical neuroscientific model focusing on the roles of dopamine and norepinephrine within a feedback loop linking prediction-based learning, curiosity, and memory. This perspective provides testable predictions that will motivate future research to further illuminate the fundamental relation between predictions, movement, and reward.

What is autonomous sensory meridian response (ASMR)? A narrative review and comparative analysis of related phenomena

A narrative review of autonomous sensory meridian response (ASMR) was carried out. Definitional factors relevant to ASMR were canvassed. Related, but distinctly unique, sensorial phenomena, including frisson, synaesthesia, and misophonia were considered. Finally, the status of literature with respect to clinical outcomes, individual differences, and current research applications was evaluated. ASMR is a nascent phenomenon that has rapidly progressed in scope and depth of study throughout the past decade; a notable shift from brief-form studies to an increase in formalised trials is noted. Yet, critical questions remain unaddressed, including expectancy and placebo effects, that future research should interrogate.

Pupil Dilation Reflects Emotional Arousal Via Poetic Language

We investigated pupillary responses to the world's shortest fixed verses, Japanese haiku as aesthetic poetry (AP) and senryu as comic poetry (CP), in comparison with non-poetry control stimuli (NP) comprised of slogans that had the same rhythm patterns. Native Japanese speakers without literary training listened to these stimuli while we recorded their pupil diameters. We found that participants' pupils were significantly dilated for CP compared to NP in an early time window. While AP also evoked larger dilations than NP, the latency for AP-related pupil dilation was relatively long. Thus, lay people experience quick and intense arousal in response to funny and humorous words, while aesthetic properties of words may also elicit intense but slower changes in listeners' arousal levels, presumably because they evoke more implicit and subtle emotional effects. This study is the first to provide evidence that poetic language elicits human pupillary dilation. A better understanding of the cognitive and neural substrates for the sensitive awareness of pleasures expressed via poetic language will provide insights for improving mental and physical health. Hence, pupillometry can act as a useful convenient measurement to delineate the sympathetic activation of emotional contexts via language.

Spatial stimuli in films: Uncovering the relationship between cognitive emotion and perceived environmental quality

Objectives

The research paper establishes the impact of spatial stimulus on human cognition and emotion by studying environmental events as cues to understand how people perceive spatial qualities. The medium of film to implement visually disruptive events was used in the research to find the relationship between the subjective evaluation of space and emotional responses.

Method

Ninety participants participated in watching three films showcasing unexpected spatial stimuli, thus impacting their psychological state. Standard questionnaires involving Aesthetic chills and The Self-Assessment Manikin (SAM) model were used to capture emotional responses, and Normalized Accumulated Quality (NAQ) model was used to receive space quality assessments. The Pearson correlation coefficient was subsequently used to find the association of chills and The SAM with NAQ. Univariate and multivariate regression models were also conducted to find the impact of emotional responses on NAQ.

Results

A significant association of NAQ with chills (p-value: 0.001), pleasure (p-value <0.001), arousal (p-value: 0.016), and dominance (p-value: 0.015) was witnessed in film 1. In film 2, NAQ was significantly associated with pleasure (p-value <0.001), while in film 3, NAQ was highly associated with arousal (p-value: 0.043). According to the adjusted impact of variables on NAQ in film 1, significant impacts of chills (p-value: 0.028), arousal (p-value: 0.117), pleasure (p-value <0.001), and dominance (p-value: 0.113) on NAQ were observed. In film 2, pleasure (p-value <0.001) and dominance (p-value: 0.113) impacted NAQ using the univariate model, while only pleasure had an impact on NAQ in the multivariate model. In film 3, arousal was the only variable to impact NAQ (p-value: 0.043) in a univariate model. In regression analyses, higher slopes were witnessed for models in film 1.

Conclusion

The experiment highlighted that using affect-based video clips can help us capture the relationship between emotional responses and perceived quality of space. The appearance of spatial stimuli can engage learning, expectation, and attention, leading to a superior improvement of cognitive ability and mental health in space. This level of understanding can help design a more sustainable place.

Valence, sensations and appraisals co-occurring with feeling moved: evidence on kama muta theory from intra-individually cross-correlated time series

Emotional experiences typically labelled "being moved" or "feeling touched" may belong to one universal emotion. This emotion, which has been labelled "kama muta", is hypothesised to have a positive valence, be elicited by sudden intensifications of social closeness, and be accompanied by warmth, goosebumps and tears. Initial evidence on correlations among the kama muta components has been collected with self-reports after or during the emotion. Continuous measures during the emotion seem particularly informative, but previous work allows only restricted inferences on intra-individual processes because time series were cross-correlated across samples. In the current studies, we instead use a within-subject design to replicate and extend prior work. We compute intra-individual cross-correlations between continuous self-reports on feeling moved and (1) positive and negative affect; (2) goosebumps and subjective warmth and (3) appraisals of closeness and morality. Results confirm the predictions of kama muta theory that feeling moved by intensified communal sharing cross-correlates with appraised closeness, positive affect, warmth and (less so) goosebumps, but not with negative affect. Contrary to predictions, appraised morality cross-correlated with feeling moved as much as appraised closeness did. We conclude that strong inferences on emotional processes are possible using continuous measures, replace earlier findings, and are largely in line with theorising.

The physiological study of emotional piloerection: A systematic review and guide for future research

This paper provides an accessible review of the biological and psychological evidence to guide new and experienced researchers in the study of emotional piloerection in humans. A limited number of studies have attempted to examine the physiological and emotional correlates of piloerection in humans. However, no review has attempted to collate this evidence to guide the field as it moves forward. We first discuss the mechanisms and function of non-emotional and emotional piloerection in humans and animals. We discuss the biological foundations of piloerection as a means to understand the similarities and differences between emotional and non-emotional piloerection. We then present a systematic qualitative review (k = 24) in which we examine the physiological correlates of emotional piloerection. The analysis revealed that indices of sympathetic activation are abundant, suggesting emotional piloerection occurs with increased (phasic) skin conductance and heart rate. Measures of parasympathetic activation are lacking and no definite conclusions can be drawn. Additionally, several studies examined self-reported emotional correlates, and these correlates are discussed in light of several possible theoretical explanations for emotional piloerection. Finally, we provide an overview of the methodological possibilities available for the study of piloerection and we highlight some pressing questions researchers may wish to answer in future studies.

Aesthetic chills cause an emotional drift in valence and arousal

Aesthetic chills are an embodied peak emotional experience induced by stimuli such as music, films, and speeches and characterized by dopaminergic release. The emotional consequences of chills in terms of valence and arousal are still debated and the existing empirical data is conflicting. In this study, we tested the effects of ChillsDB, an open-source repository of chills-inducing stimuli, on the emotional ratings of 600+ participants. We found that participants experiencing chills reported significantly more positive valence and greater arousal during the experience, compared to participants who did not experience chills. This suggests that the embodied experience of chills may influence one's perception and affective evaluation of the context, in favor of theoretical models emphasizing the role of interoceptive signals such as chills in the process of perception and decision-making. We also found an interesting pattern in the valence ratings of participants, which tended to harmonize toward a similar mean after the experiment, though initially disparately distributed. We discuss the significance of these results for the diagnosis and treatment of dopaminergic disorders such as Parkinson's, schizophrenia, and depression.

Emotion Modulation through Music after Sadness Induction-The Iso Principle in a Controlled Experimental Study

Music therapy intervention manuals suggest that individuals who suffer from affective disorders benefit from listening to music according to the iso principle. The iso principle comprises listening to music that matches the current mood of patients at first, and then to gradually shift to music that represents a desired mood. Within the current study, we investigate whether the sequence of music with different emotional valence can modulate the emotional state. All participants were healthy adults who underwent a sadness induction via a movie clip. They were subsequently divided into four experimental groups. Each was asked to listen to two pieces of music according to a specific sequence: sad-sad; sad-happy; happy-happy; happy-sad. Participants were prompt to rate their current emotional state at different stages of the experiment: prior to and after the movie clip, as well as after each of the two pieces of music. The frame used for the assessment was the Positive and Negative Affect Schedule and the Self-Assessment Manikin. The results indicate that the movie clip induced sadness. The group of participants who listened to the sad music first and the happy music afterwards ultimately reported a higher positive affect, a higher emotional valence, and a lower negative affect compared with the other groups. However, not all the between-group differences reached significance. We conclude that the sequence of music with different emotional valence affects the current emotional state. The results are generally in line with the iso principle. Directions for future research are presented.

Musical and Bodily Predictors of Mental Effort in String Quartet Music: An Ecological Pupillometry Study of Performers and Listeners

Music performance can be cognitively and physically demanding. These demands vary across the course of a performance as the content of the music changes. More demanding passages require performers to focus their attention more intensity, or expend greater “mental effort.” To date, it remains unclear what effect different cognitive-motor demands have on performers' mental effort. It is likewise unclear how fluctuations in mental effort compare between performers and perceivers of the same music. We used pupillometry to examine the effects of different cognitive-motor demands on the mental effort used by performers and perceivers of classical string quartet music. We collected pupillometry, motion capture, and audio-video recordings of a string quartet as they performed a rehearsal and concert (for live audience) in our lab. We then collected pupillometry data from a remote sample of musically-trained listeners, who heard the audio recordings (without video) that we captured during the concert. We used a modelling approach to assess the effects of performers' bodily effort (head and arm motion; sound level; performers' ratings of technical difficulty), musical complexity (performers' ratings of harmonic complexity; a score-based measure of harmonic tension), and expressive difficulty (performers' ratings of expressive difficulty) on performers' and listeners' pupil diameters. Our results show stimulating effects of bodily effort and expressive difficulty on performers' pupil diameters, and stimulating effects of expressive difficulty on listeners' pupil diameters. We also observed negative effects of musical complexity on both performers and listeners, and negative effects of performers' bodily effort on listeners, which we suggest may reflect the complex relationships that these features share with other aspects of musical structure. Looking across the concert, we found that both of the quartet violinists (who exchanged places halfway through the concert) showed more dilated pupils during their turns as 1st violinist than when playing as 2nd violinist, suggesting that they experienced greater arousal when “leading” the quartet in the 1st violin role. This study shows how eye tracking and motion capture technologies can be used in combination in an ecological setting to investigate cognitive processing in music performance.

Twelve-month-old infants' physiological responses to music are affected by others' positive and negative reactions

Infants show remarkable skills for processing music in the first year of life. Such skills are believed to foster social and communicative development, yet little is known about how infants' own preferences for music develop and whether social information plays a role. Here, we investigate whether the reactions of another person influence infants' responses to music. Specifically, 12-month-olds (N = 33) saw an actor react positively or negatively after listening to clips of instrumental music. Arousal (measured via pupil dilation) and attention (measured via looking time) were assessed when infants later heard the clips without the actor visible. Results showed greater pupil dilation when listening to music clips that had previously been reacted to negatively than those that had been reacted to positively (Exp. 1). This effect was not replicated when a similar, rather than identical, clip from the piece of music was used in the test phase (Exp. 2, N = 35 12-month-olds). There were no effects of the actor's positive or negative reaction on looking time. Together, our findings suggest that infants are sensitive to others' positive and negative reactions not only for concrete objects, such as food or toys, but also for more abstract stimuli including music.

ASMR-Experience Questionnaire (AEQ): A data-driven step towards accurately classifying ASMR responders

Autonomous sensory meridian response (ASMR) describes an atypical multisensory experience of calming, tingling sensations that originate in the crown of the head in response to a specific subset of audio-visual triggers. There is currently no tool that can accurately classify both ASMR-Responders and non-responders, while simultaneously identifying False-Positive cases that are similar sensory-emotional experiences. This study sought to fill this gap by developing a new online psychometric tool - the ASMR-Experiences Questionnaire (AEQ). Participants watched a series of short ASMR videos and answered sensory-affective questions immediately afterwards. Using a k-means clustering approach, we identified five data-driven groupings, based on tingle- and affect-related scores. ASMR-Responders differentiate based on ASMR propensity and intensity (ASMR-Strong; ASMR-Weak); non-responders differentiate based on response valence (Control+; Control-; False-Positive). Recommendations for how the AEQ and the respective output groups can be best utilized to enhance ASMR research are discussed.

Psychological and Physiological Signatures of Music Listening in Different Listening Environments-An Exploratory Study

We compared music emotion ratings and their physiological correlates when the participants listened to music at home and in the laboratory. We hypothesized that music emotions are stronger in a familiar environment, that is, at home. Participants listened to their self-selected favorite and neutral music excerpts at home and in the laboratory for 10 min in each environment. They completed the questionnaires about their emotional states and gave saliva samples for the analyses of the stress hormone cortisol. We found that in the context of music listening, the participants’ emotion ratings differed between home and the laboratory. Furthermore, the cortisol levels were generally lower at home than in the laboratory and decreased after music listening at home and in the laboratory. However, the modulatory effects of music listening on cortisol levels did not differ between the home and the laboratory. Our exploratory multimethodological data offer novel insight about the psychological and physiological consequences of music listening. These data reveal the sensitivity of the current research methods to investigate human emotions in various contexts without excluding the use of laboratory environment in investigating them.

Unraveling the Temporal Dynamics of Reward Signals in Music-Induced Pleasure with TMS

Music's ability to induce feelings of pleasure has been the subject of intense neuroscientific research lately. Prior neuroimaging studies have shown that music-induced pleasure engages cortico-striatal circuits related to the anticipation and receipt of biologically relevant rewards/incentives, but these reports are necessarily correlational. Here, we studied both the causal role of this circuitry and its temporal dynamics by applying transcranial magnetic stimulation (TMS) over the left dorsolateral PFC combined with fMRI in 17 male and female participants. Behaviorally, we found that, in accord with previous findings, excitation of fronto-striatal pathways enhanced subjective reports of music-induced pleasure and motivation, whereas inhibition of the same circuitry led to the reduction of both. fMRI activity patterns indicated that these behavioral changes were driven by bidirectional TMS-induced alteration of fronto-striatal function. Specifically, changes in activity in the NAcc predicted modulation of both hedonic and motivational responses, with a dissociation between pre-experiential versus experiential components of musical reward. In addition, TMS-induced changes in the fMRI functional connectivity between the NAcc and frontal and auditory cortices predicted the degree of modulation of hedonic responses. These results indicate that the engagement of cortico-striatal pathways and the NAcc, in particular, is indispensable to experience rewarding feelings from music.SIGNIFICANCE STATEMENT Neuroimaging studies have shown that music-induced pleasure engages cortico-striatal circuits involved in the processing of biologically relevant rewards. Yet, these reports are necessarily correlational. Here, we studied both the causal role of this circuitry and its temporal dynamics by combining brain stimulation over the frontal cortex with functional imaging. Behaviorally, we found that excitation and inhibition of fronto-striatal pathways enhanced and disrupted, respectively, subjective reports of music-induced pleasure and motivation. These changes were associated with changes in NAcc activity and NAcc coupling with frontal and auditory cortices, dissociating between pre-experimental versus experiential components of musical reward. These results indicate that the engagement of cortico-striatal pathways, and the NAcc in particular, is indispensable to experience rewarding feeling from music.

'Defrosting' music chills with naltrexone: The role of endogenous opioids for the intensity of musical pleasure

The endogenous opioid system has been implicated during experiences of pleasure (i.e., from food or sex). Music can elicit intense emotional and bodily sensations of pleasure, called 'Chills'. We investigated the effects of an opioid antagonist (50 mg naltrexone) or placebo (40 μg d3-vitamin) while listening to self-selected music or other 'control' music selected by another participant. We used a novel technique of continuous measurement of pleasantness with an eye tracker system, where participants shifted their eyes along a visual analogue scale, in the semblance of a thermometer so that, as the music unfolded, gaze positions indicated the self-reported hedonic experience. Simultaneously, we obtained pupil diameters. Self-reported pleasure remained unchanged by naltrexone, which - however - selectively decreased pupillary diameters during 'Chills'. Hence, the endogenous μ-opioid signaling is not necessary for subjective enjoyment of music but an opioid blockade dampens pupil responses to peak pleasure, consistent with decreased arousal to the music.

A comprehensive review of studies using the Affective Neuroscience Personality Scales in the psychological and psychiatric sciences

Jaak Panksepp's Affective Neuroscience Theory (ANT) belongs to the most prominent emotion theories in the psychological and psychiatric sciences. ANT proposes the existence of seven primary emotional systems deeply anchored in the mammalian brain. These emotional/motivational systems have been shaped by evolutionary processes and function as tools for survival in mammalian species. The systems are called SEEKING, LUST, CARE, and PLAY, as well as ANGER, FEAR, and SADNESS. Panksepp carved out these emotional systems via means of deep brain stimulation, brain lesion and pharmacological manipulation studies. Davis et al. (2003) designed the Affective Neuroscience Personality Scales (ANPS) against the background of findings from ANT. This self-report inventory is meant to enable researchers to assess individual differences in primary emotional systems. Seventeen years have passed since the first version of the ANPS has been published. Therefore, we now provide a comprehensive overview on studies using the ANPS including work from personality science, psychiatry and the neurosciences.

Infants relax in response to unfamiliar foreign lullabies

Music is characterized by acoustic forms that are predictive of its behavioural functions. For example, adult listeners accurately identify unfamiliar lullabies as infant-directed on the basis of their musical features alone. This property could reflect a function of listeners' experiences, the basic design of the human mind, or both. Here, we show that US infants (N = 144) relax in response to eight unfamiliar foreign lullabies, relative to matched non-lullaby songs from other foreign societies, as indexed by heart rate, pupillometry and electrodermal activity. They do so consistently throughout the first year of life, suggesting that the response is not a function of their musical experiences, which are limited relative to those of adults. The infants' parents overwhelmingly chose lullabies as the songs that they would use to calm their fussy infant, despite their unfamiliarity. Together, these findings suggest that infants may be predisposed to respond to common features of lullabies found in different cultures.

Mental Effort When Playing, Listening, and Imagining Music in One Pianist's Eyes and Brain

We investigated "musical effort" with an internationally renowned, classical, pianist while playing, listening, and imagining music. We used pupillometry as an objective measure of mental effort and fMRI as an exploratory method of effort with the same musical pieces. We also compared a group of non-professional pianists and non-musicians by the use of pupillometry and a small group of non-musicians with fMRI. This combined approach of psychophysiology and neuroimaging revealed the cognitive work during different musical activities. We found that pupil diameters were largest when "playing" (regardless of whether there was sound produced or not) compared to conditions with no movement (i.e., "listening" and "imagery"). We found positive correlations between pupil diameters of the professional pianist during different conditions with the same piano piece (i.e., normal playing, silenced playing, listen, imagining), which might indicate similar degrees of load on cognitive resources as well as an intimate link between the motor imagery of sound-producing body motions and gestures. We also confirmed that musical imagery had a strong commonality with music listening in both pianists and musically naïve individuals. Neuroimaging provided evidence for a relationship between noradrenergic (NE) activity and mental workload or attentional intensity within the domain of music cognition. We found effort related activity in the superior part of the locus coeruleus (LC) and, similarly to the pupil, the listening and imagery engaged less the LC-NE network than the motor condition. The pianists attended more intensively to the most difficult piece than the non-musicians since they showed larger pupils for the most difficult piece. Non-musicians were the most engaged by the music listening task, suggesting that the amount of attention allocated for the same task may follow a hierarchy of expertise demanding less attentional effort in expert or performers than in novices. In the professional pianist, we found only weak evidence for a commonality between subjective effort (as rated measure-by-measure) and the objective effort gauged with pupil diameter during listening. We suggest that psychophysiological methods like pupillometry can index mental effort in a manner that is not available to subjective awareness or introspection.

Tears of joy, aesthetic chills and heartwarming feelings: Physiological correlates of Kama Muta

Situations involving increased closeness or exceptional kindness are often labeled as moving or touching and individuals often report bodily symptoms, including tears, goosebumps, and warmth in the body. Recently, the kama muta framework has been proposed as a cross-cultural conceptualization of these experiences. Prior research on kama muta has mostly relied on subjective reports. Thus, our main goal of the present project was to examine the pattern of physiological responses to kama muta inducing videos and compare it to the patterns for the similar, though distinct emotions of sadness and awe. One hundred forty-four Portuguese and Norwegian participants were individually exposed to all three emotion conditions. Several psychophysiological indexes of the autonomic nervous system were collected continuously during exposure, including cardiovascular, respiratory, and electrodermal activity, facial EMG, skin temperature, as well as piloerection and lachrymation using cameras. Overall, the results partly replicated previous findings on being moved experiences and self-report studies. Strong self-reported experiences of kama muta were associated with increased phasic skin conductance, skin temperature, piloerection, and zygomaticus activity, while they were associated with reduced heart rate, respiration rate, and tonic skin conductance. The physiological profile of kama muta was successfully distinguished from sadness and awe, partly corroborating self-report evidence. We obtained no clear evidence of a kama muta association with the occurrence of lachrymation or heart rate variability. Our findings provide a systematic overview of psychophysiological response to experiences of kama muta, and help to inform future research on this emotion and positive emotions in general.

Emotion Measurements Through the Touch of Materials Surfaces

The emotion generated by the touch of materials is studied via a protocol based on blind assessment of various stimuli. The human emotional reaction felt toward a material is estimated through (i) explicit measurements, using a questionnaire collecting valence and intensity, and (ii) implicit measurements of the activity of the autonomic nervous system, via a pupillometry equipment. A panel of 25 university students (13 women, 12 men), aged from 18 to 27, tested blind twelve materials such as polymers, sandpapers, wood, velvet and fur, randomly ordered. After measuring the initial pupil diameter, taken as a reference, its variation during the tactile exploration was recorded. After each touch, the participants were asked to quantify the emotional value of the material. The results show that the pupil size variation follows the emotional intensity. It is significantly larger during the touch of materials considered as pleasant or unpleasant, than with the touch of neutral materials. Moreover, after a time period of about 0.5 s following the stimulus, the results reveal significant differences between pleasant and unpleasant stimuli, as well as differences according to gender, i.e., higher pupil dilatation of women than men. These results suggest (i) that the autonomic nervous system is initially sensitive to high arousing stimulation, and (ii) that, after a certain period, the pupil size changes according to the cognitive interest induced and the emotional regulation adopted. This research shows the interest of the emotional characterization of materials for product design.

An eye-tracking approach to Autonomous sensory meridian response (ASMR): The physiology and nature of tingles in relation to the pupil

Autonomous sensory meridian response (ASMR) is a sensory phenomenon commonly characterized by pleasant tingling sensations arising from the back of the head and accompanied by feelings of relaxation and calmness. Although research has found ASMR to have a distinct physiological pattern with increased skin conductance levels and reduced heart rate, the specific tingles felt in ASMR have not received much investigation. The aim of the present study was to investigate the physiology and characteristics of ASMR further by examining whether experiencing ASMR is visible from the pupil of the eye. A total of 91 participants were recruited and assigned to three different groups based on their experience of ASMR (ASMR vs. non-ASMR vs. unsure). Participants were instructed to watch a control video and an ASMR video and to report any tingling sensations by pressing down a button on the keyboard. Pupil diameter was measured over the duration of both videos using a tower-mounted eye tracker. Data was analyzed on a general level, averaging pupil diameter over each video, as well as on a more specific level, comparing pupil diameter during reported episodes of tingling sensations to pupil diameter outside of those episodes. On the general level, results revealed no significant differences between the groups. On the specific level, however, the tingling sensations experienced in ASMR were found to cause statistically significant increases in pupil diameter, demonstrating that they have a physiological basis. The results of the study further reinforce the credibility of ASMR and suggest that the tingles felt in ASMR are at the very core of the experience itself.

Pupillometric decoding of high-level musical imagery

Humans report imagining sound where no physical sound is present: we replay conversations, practice speeches, and "hear" music all within the confines of our minds. Research has identified neural substrates underlying auditory imagery; yet deciphering its explicit contents has been elusive. Here we present a novel pupillometric method for decoding what individuals hear "inside their heads". Independent of light, pupils dilate and constrict in response to noradrenergic activity. Hence, stimuli evoking unique and reliable patterns of attention and arousal even when imagined should concurrently produce identifiable patterns of pupil-size dynamics (PSDs). Participants listened to and then silently imagined music while eye-tracked. Using machine learning algorithms, we decoded the imagined songs within- and across-participants following classifier-training on PSDs collected during both imagination and perception. Echoing findings in vision, cross-domain decoding accuracy increased with imagery strength. These data suggest that light-independent PSDs are a neural signature sensitive enough to decode imagination.

Music predictability and liking enhance pupil dilation and promote motor learning in non-musicians

Humans can anticipate music and derive pleasure from it. Expectations facilitate the learning of movements associated with anticipated events, and they are also linked with reward, which may further facilitate learning of the anticipated rewarding events. The present study investigates the synergistic effects of predictability and hedonic responses to music on arousal and motor-learning in a naïve population. Novel melodies were manipulated in their overall predictability (predictable/unpredictable) as objectively defined by a model of music expectation, and ranked as high/medium/low liked based on participants' self-reports collected during an initial listening session. During this session, we also recorded ocular pupil size as an implicit measure of listeners' arousal. During the following motor task, participants learned to play target notes of the melodies on a keyboard (notes were of similar motor and musical complexity across melodies). Pupil dilation was greater for liked melodies, particularly when predictable. Motor performance was facilitated in predictable rather than unpredictable melodies, but liked melodies were learned even in the unpredictable condition. Low-liked melodies also showed learning but mostly in participants with higher scores of task perceived competence. Taken together, these results highlight  the effects of stimuli predictability on learning, which can be however overshadowed by the effects of stimulus liking or task-related intrinsic motivation.

Distinct varieties of aesthetic chills in response to multimedia

The experience of aesthetic chills, often defined as a subjective response accompanied by goosebumps, shivers and tingling sensations, is a phenomenon often utilized to indicate moments of peak pleasure and emotional arousal in psychological research. However, little is currently understood about how to conceptualize the experience, particularly in terms of whether chills are general markers of intense pleasure and emotion, or instead a collection of distinct phenomenological experiences. To address this, a web-study was designed using images, videos, music videos, texts and music excerpts (from both an online forum dedicated to chills-eliciting stimuli and previous musical chills study), to explore variations across chills experience in terms of bodily and emotional responses reported. Results suggest that across participants (N = 179), three distinct chills categories could be identified: warm chills (chills co-occurring with smiling, warmth, feeling relaxed, stimulated and happy), cold chills (chills co-occurring with frowning, cold, sadness and anger), and moving chills (chills co-occurring with tears, feeling a lump in the throat, emotional intensity, and feelings of affection, tenderness and being moved). Warm chills were linked to stimuli expressing social communion and love; cold chills were elicited by stimuli portraying entities in distress, and support from one to another; moving chills were elicited by most stimuli, but their incidence were also predicted by ratings of trait empathy. Findings are discussed in terms of being moved, the importance of differing induction mechanisms such as shared experience and empathic concern, and the implications of distinct chills categories for both individual differences and inconsistencies in the existing aesthetic chills literature.

Rapid Brain Responses to Familiar vs. Unfamiliar Music - an EEG and Pupillometry study

Human listeners exhibit marked sensitivity to familiar music, perhaps most readily revealed by popular “name that tune” games, in which listeners often succeed in recognizing a familiar song based on extremely brief presentation. In this work, we used electroencephalography (EEG) and pupillometry to reveal the temporal signatures of the brain processes that allow differentiation between a familiar, well liked, and unfamiliar piece of music. In contrast to previous work, which has quantified gradual changes in pupil diameter (the so-called “pupil dilation response”), here we focus on the occurrence of pupil dilation events. This approach is substantially more sensitive in the temporal domain and allowed us to tap early activity with the putative salience network. Participants (N = 10) passively listened to snippets (750 ms) of a familiar, personally relevant and, an acoustically matched, unfamiliar song, presented in random order. A group of control participants (N = 12), who were unfamiliar with all of the songs, was also tested. We reveal a rapid differentiation between snippets from familiar and unfamiliar songs: Pupil responses showed greater dilation rate to familiar music from 100–300 ms post-stimulus-onset, consistent with a faster activation of the autonomic salience network. Brain responses measured with EEG showed a later differentiation between familiar and unfamiliar music from 350 ms post onset. Remarkably, the cluster pattern identified in the EEG response is very similar to that commonly found in the classic old/new memory retrieval paradigms, suggesting that the recognition of brief, randomly presented, music snippets, draws on similar processes.

Don't drink and chill: Effects of alcohol on subjective and physiological reactions during music listening and their relationships with personality and listening habits

Recent research indicates that favorite music can induce chills and alters physiological reactions. People frequently listen to music when they drink alcohol, for example in bars or discotheques. Alcohol has numerous effects on emotions, peripheral physiological and neural reactions. We investigated whether alcohol intake influences chill experiences and physiological reactions during music listening. 39 participants took part in the study and were tested twice: Once in a sober condition and once when they had drunken alcohol. Participants listened to two pieces of music in each of the two conditions: A favorite self-selected song and a control-song that was selected by the research group. Participants had to indicate when they experienced a chill and electrodermal activity and heart rate were measured during music listening. In addition, participants filled out questionnaires concerning the big five personality dimensions, music listening habits and general chill experiences. Results indicate that participants experienced most chills when they were sober and listened to their self-selected song. Electrodermal activity was highest when participants were sober. In addition, alcohol intake led to a dedifferentiation in heart rate activity. After alcohol intake, participants had similar heart rates, no matter whether they listened to their self-selected song or to the control-song. Extraversion was negatively related with physiological reactions, while openness to experiences was positively related with physiological reactions. Music listening habits also showed various relationships with chill experiences and physiological reactions, while general chill experiences did not. We conclude that alcohol intake reduces subjective chill experiences during music listening and alters the physiological reactions to music. Music listening habits and personality seem to influence these effects.

Effectiveness assessment of maternal and neonatal health video clips in knowledge transfer using neuromarketing tools: A randomized crossover trial

Audiovisual educational material has been used effectively as a knowledge translation strategy in patient education. Given the need to impact maternal mortality rates, 12 video clips related to maternal and neonatal health information were designed based on the results of a previous systematic review (SR). The content was formulated based on clinical practice guideline recommendations and validated following a formal consensus methodology. This study evaluated the effectiveness of knowledge transfer from the 12 video clips in terms of attention, emotional response, and recall by using neuroscience tools. In a randomized cross-over trial, 155 subjects (pregnant women, non-pregnant women, and men) received random sequences of 13 video clips, including a control video clip. Participants’ attention levels were evaluated through eye tracking, their emotional reactions were monitored by electrodermal activity and pupillary diameter, and their recall was tested via a questionnaire. An analysis was performed to evaluate differences in the groups and between the video clips and the control clip using variance analysis models that considered period, sequence, and carry-over effects. Results revealed that fixation length was greater in women than in men, while the greatest emotional effects occurred in men. All three groups had good recall results, without any significant differences between them. Although the sequencing did influence attentional processes, no carry-over effect was demonstrated. However, a differential effect was noted among video clips in all three outcomes, that is, when adjusted for group, level of education, and having had children. The control clip generated less attention, emotional reaction, and recall than the experimental video clips. The video clips about maternal and neonatal health were shown to be effective in the transference and comprehension of information. Therefore, cognitive neuroscience techniques are useful in evaluating knowledge translation strategies through audiovisual formats.

Cortical modulation of pupillary function: systematic review

BACKGROUND

The pupillary light reflex is the main mechanism that regulates the pupillary diameter; it is controlled by the autonomic system and mediated by subcortical pathways. In addition, cognitive and emotional processes influence pupillary function due to input from cortical innervation, but the exact circuits remain poorly understood. We performed a systematic review to evaluate the mechanisms behind pupillary changes associated with cognitive efforts and processing of emotions and to investigate the cerebral areas involved in cortical modulation of the pupillary light reflex.

METHODOLOGY

We searched multiple databases until November 2018 for studies on cortical modulation of pupillary function in humans and non-human primates. Of 8,809 papers screened, 258 studies were included.

RESULTS

Most investigators focused on pupillary dilatation and/or constriction as an index of cognitive and emotional processing, evaluating how changes in pupillary diameter reflect levels of attention and arousal. Only few tried to correlate specific cerebral areas to pupillary changes, using either cortical activation models (employing micro-stimulation of cortical structures in non-human primates) or cortical lesion models (e.g., investigating patients with stroke and damage to salient cortical and/or subcortical areas). Results suggest the involvement of several cortical regions, including the insular cortex (Brodmann areas 13 and 16), the frontal eye field (Brodmann area 8) and the prefrontal cortex (Brodmann areas 11 and 25), and of subcortical structures such as the locus coeruleus and the superior colliculus.

CONCLUSIONS

Pupillary dilatation occurs with many kinds of mental or emotional processes, following sympathetic activation or parasympathetic inhibition. Conversely, pupillary constriction may occur with anticipation of a bright stimulus (even in its absence) and relies on a parasympathetic activation. All these reactions are controlled by subcortical and cortical structures that are directly or indirectly connected to the brainstem pupillary innervation system.

Learning Choreography: An Investigation of Motor Imagery, Attentional Effort, and Expertise in Modern Dance

The study of choreography in dance offers researchers an intriguing window on the relationship between expertise, imagination, and attention in the creative process of learning new movements. The present study investigated an unresolved issue in this field - namely, the effects of expertise on motor imagery (MI; or the mental rehearsal of actions without engaging in the actual movements involved) and attentional effort (as measured by pupil dilation) on dancers while they engaged in the processes of learning, performing, and imagining a dance movement. Participants were 18 female dancers (mean age = 23, SD = 5.85) comprising three experience levels (i.e., novice, intermediate and expert performers) in this field. Data comprised these participants' MI scores as well as their pupil dilation while they learned, performed, and imagined a 15 s piece of choreography. In addition, the time taken both to perform and to imagine the choreography were recorded. Results showed no significant effect of dance expertise on MI but some differences between beginners and intermediate dancers in attentional effort (pupil dilation) at the start of the performance and the imagined movement conditions. Specifically, the beginners had the highest pupil dilation, with the experts having the second highest, while intermediates had the lowest dilation. Further analysis suggested that the novice dancers' pupil dilation at the start of the performance may have been caused, in part, by the initial mental effort required to assess the cognitive demands of the dance task.

Moving Through the Literature: What Is the Emotion Often Denoted Being Moved?

When do people say that they are moved, and does this experience constitute a unique emotion? We review theory and empirical research on being moved across psychology and philosophy. We examine feeling labels, elicitors, valence, bodily sensations, and motivations. We find that the English lexeme being moved typically (but not always) refers to a distinct and potent emotion that results in social bonding; often includes tears, piloerection, chills, or a warm feeling in the chest; and is often described as pleasurable, though sometimes as a mixed emotion. While we conclude that it is a distinct emotion, we also recommend studying it in a more comprehensive emotion framework, instead of using the ambiguous vernacular term being moved as a scientific term.

The Pupil Dilation Response to Auditory Stimuli: Current State of Knowledge

The measurement of cognitive resource allocation during listening, or listening effort, provides valuable insight in the factors influencing auditory processing. In recent years, many studies inside and outside the field of hearing science have measured the pupil response evoked by auditory stimuli. The aim of the current review was to provide an exhaustive overview of these studies. The 146 studies included in this review originated from multiple domains, including hearing science and linguistics, but the review also covers research into motivation, memory, and emotion. The present review provides a unique overview of these studies and is organized according to the components of the Framework for Understanding Effortful Listening. A summary table presents the sample characteristics, an outline of the study design, stimuli, the pupil parameters analyzed, and the main findings of each study. The results indicate that the pupil response is sensitive to various task manipulations as well as interindividual differences. Many of the findings have been replicated. Frequent interactions between the independent factors affecting the pupil response have been reported, which indicates complex processes underlying cognitive resource allocation. This complexity should be taken into account in future studies that should focus more on interindividual differences, also including older participants. This review facilitates the careful design of new studies by indicating the factors that should be controlled for. In conclusion, measuring the pupil dilation response to auditory stimuli has been demonstrated to be sensitive method applicable to numerous research questions. The sensitivity of the measure calls for carefully designed stimuli.

Pupillometry of Groove: Evidence for Noradrenergic Arousal in the Link Between Music and Movement

The capacity to entrain motor action to rhythmic auditory stimulation is highly developed in humans and extremely limited in our closest relatives. An important aspect of auditory-motor entrainment is that not all forms of rhythmic stimulation motivate movement to the same degree. This variation is captured by the concept of musical groove: high-groove music stimulates a strong desire for movement, whereas low-groove music does not. Here, we utilize this difference to investigate the neurophysiological basis of our capacity for auditory-motor entrainment. In a series of three experiments we examine pupillary responses to musical stimuli varying in groove. Our results show stronger pupil dilation in response to (1) high- vs. low-groove music, (2) high vs. low spectral content, and (3) syncopated vs. straight drum patterns. We additionally report evidence for consistent sex differences in music-induced pupillary responses, with males exhibiting larger differences between responses, but females exhibiting stronger responses overall. These results imply that the biological link between movement and auditory rhythms in our species is supported by the capacity of high-groove music to stimulate arousal in the central and peripheral nervous system, presumably via highly conserved noradrenergic mechanisms.

Pupillary dilation response reflects surprising moments in music

There are indications that the pupillary dilation response (PDR) reflects surprising moments in an auditory sequence such as the appearance of a deviant noise against repetitively presented pure tones (4), and salient and loud sounds that are evaluated by human paricipants subjectively (12). In the current study, we further examined whether the reflection of PDR in auditory surprise can be accumulated and revealed in complex and yet structured auditory stimuli, i.e., music, and when the surprise is defined subjectively. Participants listened to 15 excerpts of music while their pupillary responses were recorded. In the surprise-rating session, participants rated how surprising an instance in the excerpt was, i.e., rich in variation versus monotonous, while they listened to it. In the passive-listening session, they listened to the same 15 excerpts again but were not involved in any task. The pupil diameter data obtained from both sessions were time-aligned to the rating data obtained from the surprise-rating session. Results showed that in both sessions, mean pupil diameter was larger at moments rated more surprising than unsurprising. The result suggests that the PDR reflects surprise in music automatically.

A linear oscillator model predicts dynamic temporal attention and pupillary entrainment to rhythmic patterns

Rhythm is a ubiquitous feature of music that induces specific neural modes of processing. In this paper, we assess the potential of a stimulus-driven linear oscillator model (57) to predict dynamic attention to complex musical rhythms on an instant-by-instant basis. We use perceptual thresholds and pupillometry as attentional indices against which to test our model predictions. During a deviance detection task, participants listened to continuously looping, multiinstrument, rhythmic patterns, while being eye-tracked. Their task was to respond anytime they heard an increase in intensity (dB SPL). An adaptive thresholding algorithm adjusted deviant intensity at multiple probed temporal locations throughout each rhythmic stimulus. The oscillator model predicted participants’ perceptual thresholds for detecting deviants at probed locations, with a low temporal salience prediction corresponding to a high perceptual threshold and vice versa. A pupil dilation response was observed for all deviants. Notably, the pupil dilated even when participants did not report hearing a deviant. Maximum pupil size and resonator model output were significant predictors of whether a deviant was detected or missed on any given trial. Besides the evoked pupillary response to deviants, we also assessed the continuous pupillary signal to the rhythmic patterns. The pupil exhibited entrainment at prominent periodicities present in the stimuli and followed each of the different rhythmic patterns in a unique way. Overall, these results replicate previous studies using the linear oscillator model to predict dynamic attention to complex auditory scenes and extend the utility of the model to the prediction of neurophysiological signals, in this case the pupillary time course; however, we note that the amplitude envelope of the acoustic patterns may serve as a similarly useful predictor. To our knowledge, this is the first paper to show entrainment of pupil dynamics by demonstrating a phase relationship between musical stimuli and the pupillary signal.

Suppressing the Chills: Effects of Musical Manipulation on the Chills Response

Research on musical chills has linked the response to multiple musical features; however, there exists no study that has attempted to manipulate musical stimuli to enable causal inferences, meaning current understanding is based mainly on correlational evidence. In the current study, participants who regularly experience chills (N = 24) listened to an original and manipulated version of three pieces reported to elicit chills in a previous survey. Predefined chills sections were removed to create manipulated conditions. The effects of these manipulations on the chills response were assessed through continuous self-reports, and skin conductance measurements. Results show that chills were significantly less frequent following stimulus manipulation across all three pieces. Continuous measurements of chills intensity were significantly higher in the chills sections compared with control sections in the pieces; similar patterns were found for phasic skin conductance, although some differences emerged. Continuous measurements also correlated with psychoacoustic features such as loudness, brightness and roughness in two of the three pieces. Findings are discussed in terms of understanding structural and acoustic features and chills experiences within their local music contexts, the necessity of experimental approaches to musical chills, and the possibility of different features activating different underlying mechanisms.

Conscious processing of auditory regularities induces a pupil dilation

Pupil dilation has been reliably identified as a physiological marker of consciously reportable mental effort. This classical finding raises the question of whether or not pupil dilation could be a specific somatic signature of conscious processing. In order to explore this possibility, we engaged healthy volunteers in the 'local global' auditory paradigm we previously designed to disentangle conscious from non-conscious processing of novelty. We discovered that consciously reported violations of global (inter-trials) regularity were associated with a pupil dilation effect both in an active counting task and in a passive attentive task. This pupil dilation effect was detectable both at the group-level and at the individual level. In contrast, unreported violations of this global regularity, as well as unreported violations of local (intra-trial) regularity that do not require conscious access, were not associated with a pupil dilation effect. We replicated these findings in a phonemic version of the 'local global'. Taken together these results strongly suggest that pupil dilation is a somatic marker of conscious access in the auditory modality, and that it could therefore be used to easily probe conscious processing at the individual level without interfering with participant's stream of consciousness by questioning him/her.

Beyond Self-Report: A Review of Physiological and Neuroscientific Methods to Investigate Consumer Behavior

The current paper investigates the value and application of a range of physiological and neuroscientific techniques in applied marketing research and consumer science, highlighting new insights from research in social psychology and neuroscience. We review measures of sweat secretion, heart rate, facial muscle activity, eye movements, and electrical brain activity, using techniques including skin conductance, pupillometry, eyetracking, and magnetic brain imaging. For each measure, after a brief explanation of the underlying technique, we illustrate concepts and mechanisms that the measure allows researchers in marketing and consumer science to investigate, with a focus on consumer attitudes and behavior. By providing reviews on recent research that applied these methods in consumer science and relevant related fields, we also highlight methodological and theoretical strengths and limitations, with an emphasis on ecological validity. We argue that the inclusion of physiological and neuroscientific techniques can advance consumer research by providing insights into the often unconscious mechanisms underlying consumer behavior. Therefore, such technologies can help researchers and marketing practitioners understand the mechanisms of consumer behavior and improve predictions of consumer behavior.

Affective Neuroscience Theory and Personality: An Update

The present work gives a short overview of central aspects of Jaak Panksepp's Affective Neuroscience Theory (AN theory) and its relevance for modern personality neuroscience. In contrast to the widely used Big Five approach to studying and understanding human personality, AN theory provides researchers with a distinct roadmap to the biological basis of personality, including molecular and neuroanatomical candidates, to understand individual differences in human behavior. Such molecular and neuroanatomical brain candidates have been derived by means of electrical brain stimulation and pharmacological challenges, while investigating primary emotional systems anchored in the subcortical mammalian brain. Research results derived from the study of emotions in mammals are also of relevance for humans because ancient layers of our minds-those layers where primary emotions originate-have been homologously conserved across species. From an evolutionary perspective, this makes sense because primal emotions represent "built-in tools for survival" for all mammals. In this context, Montag and Panksepp recently illustrated a potential ancient neurobiological effect by carving out robust associations between individual differences in primary emotions (assessed via self-report) and the Big Five in a cross-cultural study with data from the United States, Germany, and China. These associations together with some ideas derived from MacLean's Triune Brain concept highlighted (a) that primary emotions likely represent the phylogenetically oldest parts of human personality and (b) that primary emotions influence human personality in a bottom-up fashion given their localization in ancient subcortical brain regions. A comment on the work by Montag and Panksepp asked for insights on putative links between primary emotions and facets of the Big Five. Therefore, we provide some first insights into such associations from recent Germany data. In addition, the present work provides a new short version of the Affective Neuroscience Personality Scales to assess individual differences in primary emotions.

Slow motion in films and video clips: Music influences perceived duration and emotion, autonomic physiological activation and pupillary responses

Slow motion scenes are ubiquitous in screen-based audiovisual media and are typically accompanied by emotional music. The strong effects of slow motion on observers are hypothetically related to heightened emotional states in which time seems to pass more slowly. These states are simulated in films and video clips, and seem to resemble such experiences in daily life. The current study investigated time perception and emotional response to media clips containing decelerated human motion, with or without music using psychometric and psychophysiological testing methods. Participants were presented with slow-motion scenes taken from commercial films, ballet and sports footage, as well as the same scenes converted to real-time. Results reveal that slow-motion scenes, compared to adapted real-time scenes, led to systematic underestimations of duration, lower perceived arousal but higher valence, lower respiration rates and smaller pupillary diameters. The presence of music compared to visual-only presentations strongly affected results in terms of higher accuracy in duration estimates, higher perceived arousal and valence, higher physiological activation and larger pupillary diameters, indicating higher arousal. Video genre affected responses in addition. These findings suggest that perceiving slow motion is not related to states of high arousal, but rather affects cognitive dimensions of perceived time and valence. Music influences these experiences profoundly, thus strengthening the impact of stretched time in audiovisual media.

Individual differences in aesthetic engagement are reflected in resting-state fMRI connectivity: Implications for stress resilience

OBJECTIVE

Individual differences in aesthetic engagement-the propensity to be moved by art, nature, and beauty-are associated with positive health outcomes, as well as stress resilience. The purpose of the current study was to identify potential neural substrate mechanisms underlying individual differences in aesthetic engagement and reported proneness to aesthetic chill.

METHODS

Data from the Human Connectome Project (HCP) 1200 Subjects Release were utilized. Resting-state fMRI connectivity was extracted for 361 regions in the brain including cortical, subcortical and cerebellar regions for each participant, using participant-specific segmentation and parcellation of subcortical gray matter nuclei and a network-based statistics analytical approach. The Aesthetic Interests subcluster of the Openness to Experience scale (NEO-Five Factor Inventory; NEO-FFI) was used to characterize individual differences in aesthetic engagement and chill.

RESULTS

Participants reporting higher aesthetic engagement, particularly proneness to aesthetic chill responses, exhibited significantly higher connectivity between the default network and sensory and motor cortices, higher connectivity between the ventral default and salience networks, and decreased connectivity between the cerebellum and somatomotor cortex.

CONCLUSIONS

Current findings suggest that greater integration of the default mode network, involving processing of internal narrative, with neural representations of sensory perception and salience detection may be a mechanism underlying individual differences in aesthetic engagement. Thus, these individual differences may reflect general integration of environmental perception with internal emotional experience, which in turn may facilitate comfort with novelty, self-regulation, and positive adaptation to potentially stressful experiences.

The impact of music and stretched time on pupillary responses and eye movements in slow-motion film scenes

This study investigated the effects of music and playback speed on arousal and visual perception in slow-motion scenes taken from commercial films. Slow-motion scenes are a ubiquitous film technique and highly popular. Yet the psychological effects of mediated time-stretching compared to real-time motion have not been empirically investigated. We hypothesised that music affects arousal and attentional processes. Furthermore, we as-sumed that playback speed influences viewers’ visual perception, resulting in a higher number of eye movements and larger gaze dispersion. Thirty-nine participants watched three film excerpts in a repeated-measures design in conditions with or without music and in slow motion vs. adapted real-time motion (both visual-only). Results show that music in slow-motion film scenes leads to higher arousal compared to no music as indicated by larger pupil diameters in the former. There was no systematic effect of music on visual perception in terms of eye movements. Playback speed influenced visual perception in eye movement parameters such that slow motion resulted in more and shorter fixations as well as more saccades compared to adapted real-time motion. Furthermore, in slow motion there was a higher gaze dispersion and a smaller centre bias, indicating that individuals attended to more detail in slow motion scenes.

Music, dance, and other art forms: New insights into the links between hedonia (pleasure) and eudaimonia (well-being)

For Aristotle, the goal of human life was to live well, to flourish, and to ultimately have a good life. These goals can be conceptualized as "eudaimonia," a concept distinct from "hedonia" (pleasure). Many people would argue that the arts play a large role in their well-being and eudaimonia. Music in particular is a culturally ubiquitous phenomenon which brings joy and social bonding to listeners. Research has given insights into how the "sweet anticipation" of music and other art forms can lead to pleasure, but a full understanding of eudaimonia from the arts is still missing. What is clear is that anticipation and prediction are important for extracting meaning from our environment. In fleeting moments this may translate into pleasure, but over longer timescales, it can imbue life with meaning and purpose and lead to eudaimonia. Based on the existing evidence from neuroimaging, we hypothesize that a special network in the brain, the default-mode network, may play a central role in orchestrating eudaimonia, and propose future strategies for exploring these questions further.

Synchronizing eye tracking and optical motion capture: How to bring them together

Both eye tracking and motion capture technologies are nowadays frequently used in human sciences, although both technologies are usually used separately. However, measuring both eye and body movements simultaneously would offer great potential for investigating crossmodal interaction in human (e.g. music and language-related) behavior. Here we combined an Ergoneers Dikablis head mounted eye tracker with a Qualisys Oqus optical motion capture system. In order to synchronize the recordings of both devices, we developed a generalizable solution that does not rely on any (cost-intensive) ready-made / company-provided synchronization solution. At the beginning of each recording, the participant nods quickly while fixing on a target while keeping the eyes open - a motion yielding a sharp vertical displacement in both mocap and eye data. This displacement can be reliably detected with a peak-picking algorithm and used for accurately aligning the mocap and eye data. This method produces accurate synchronization results in the case of clean data and therefore provides an attractive alternative to costly plug-ins, as well as a solution in case ready-made synchronization solutions are unavailable.