The impact of physical load on duration estimation in sport

We investigated whether physical load has an influence on the accuracy of duration estimation of sporting activities presented in real time and slow motion. 86 participants were studied in two single sessions of 45 min each. Our results showed no general effects for physical load, when comparing physical load versus rest. However, we could replicate findings of past research (Schütz et al., 2021), showing that the duration of sports performance is estimated more accurately when presented in real time compared to slow motion. Further we found, that under physical load, participants perceiving the physical exercise as hard (RPE ≥15) estimated time significantly shorter and more accurately compared to participants perceiving the physical exercise as light or moderate (RPE <15). Thus, our results suggest that using slow motion may worsen the assessment of sports performance. Additionally, we could show that intense physical exertion contributes to reducing the overestimation of time.

Temporal bisection is influenced by ensemble statistics of the stimulus set

Although humans are well capable of precise time measurement, their duration judgments are nevertheless susceptible to temporal context. Previous research on temporal bisection has shown that duration comparisons are influenced by both stimulus spacing and ensemble statistics. However, theories proposed to account for bisection performance lack a plausible justification of how the effects of stimulus spacing and ensemble statistics are actually combined in temporal judgments. To explain the various contextual effects in temporal bisection, we develop a unified ensemble-distribution account (EDA), which assumes that the mean and variance of the duration set serve as a reference, rather than the short and long standards, in duration comparison. To validate this account, we conducted three experiments that varied the stimulus spacing (Experiment 1), the frequency of the probed durations (Experiment 2), and the variability of the probed durations (Experiment 3). The results revealed significant shifts of the bisection point in Experiments 1 and 2, and a change of the sensitivity of temporal judgments in Experiment 3-which were all well predicted by EDA. In fact, comparison of EDA to the extant prior accounts showed that using ensemble statistics can parsimoniously explain various stimulus set-related factors (e.g., spacing, frequency, variance) that influence temporal judgments.

Neurocognitive mechanisms of emotion-related impulsivity: The role of arousal

Prior research suggests that a traitlike tendency to experience impulsivity during states of high emotion is robustly associated with many forms of psychopathology. Several studies tie emotion-related impulsivity to response inhibition deficits, but these studies have not focused on the role of emotion or arousal within subjects. The present study tested whether arousal, measured by pupil dilation, amplifies deficits in response inhibition for those high in emotion-related impulsivity. Participants (N = 85) completed a measure of emotion-related impulsivity, underwent a positive mood induction procedure that reduced heterogeneity in mood states, and completed a response inhibition task. Pupil dilation was used to index arousal during the response inhibition task. Generalized linear mixed effect modeling yielded the hypothesized interaction between arousal (pupil dilation) and emotion-related impulsivity in predicting response inhibition performance at the trial level. Emotion-related impulsivity relates to more difficulties with response inhibition during moments of high arousal.

The evolution of pace in popular movies

Movies have changed dramatically over the last 100 years. Several of these changes in popular English-language filmmaking practice are reflected in patterns of film style as distributed over the length of movies. In particular, arrangements of shot durations, motion, and luminance have altered and come to reflect aspects of the narrative form. Narrative form, on the other hand, appears to have been relatively unchanged over that time and is often characterized as having four more or less equal duration parts, sometimes called acts - setup, complication, development, and climax. The altered patterns in film style found here affect a movie's pace: increasing shot durations and decreasing motion in the setup, darkening across the complication and development followed by brightening across the climax, decreasing shot durations and increasing motion during the first part of the climax followed by increasing shot durations and decreasing motion at the end of the climax. Decreasing shot durations mean more cuts; more cuts mean potentially more saccades that drive attention; more motion also captures attention; and brighter and darker images are associated with positive and negative emotions. Coupled with narrative form, all of these may serve to increase the engagement of the movie viewer.

Narrative theory and the dynamics of popular movies

Popular movies grab and hold our attention. One reason for this is that storytelling is culturally important to us, but another is that general narrative formulae have been honed over millennia and that a derived but specific filmic form has developed and has been perfected over the last century. The result is a highly effective format that allows rapid processing of complex narratives. Using a corpus analysis I explore a physical narratology of popular movies-narrational structure and how it impacts us-to promote a theory of popular movie form. I show that movies can be divided into 4 acts-setup, complication, development, and climax-with two optional subunits of prolog and epilog, and a few turning points and plot points. In 12 studies I show that normative aspects in patterns of shot durations, shot transitions, shot scale, shot motion, shot luminance, character introduction, and distributions of conversations, music, action shots, and scene transitions reduce to 5 correlated stylistic dimensions of movies and can litigate among theories of movie structure. In general, movie narratives have roughly the same structure as narratives in any other domain-plays, novels, manga, folktales, even oral histories-but with particular runtime constraints, cadences, and constructions that are unique to the medium.