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![Evaluation of emotional [(A) pleasure; (B) arousal] and social (C) consequences after each performed trial.](profile/Andrii-Smykovskyi/publication/363090185/figure/fig3/AS:11431281081501258@1661840408663/Evaluation-of-emotional-A-pleasure-B-arousal-and-social-C-consequences-after.png)
Evaluation of emotional [(A) pleasure; (B) arousal] and social (C) consequences after each performed trial.
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![FIGURE 3 Evaluation of emotional [(A) pleasure; (B) arousal] and social...](profile/Andrii-Smykovskyi/publication/363090185/figure/fig3/AS:11431281081501258@1661840408663/Evaluation-of-emotional-A-pleasure-B-arousal-and-social-C-consequences-after_Q320.jpg)
Emotions are a natural vector for acting together with others and are witnessed in human behaviour, perception and body functions. For this reason, studies of human-to-human interaction, such as multi-person motor synchronisation, are a perfect setting to disentangle the linkage of emotion with socio-motor interaction. And yet, the majority of join...
Contexts in source publication
Context 1
... feedback was submitted, three more questions were prompted on a screen to evaluate two emotion scales-pleasure and arousal-and their social consequences (see Figure 3). The first two questions were the scales of affective dimensions derived from the Self-Assessment Manikin (Bradley and Lang, 1994) on valence ( Figure 3A) and arousal ( Figure 3B) for assessment of the emotion associated with the participants' performance and the manipulated feedback they received. ...
Context 2
... feedback was submitted, three more questions were prompted on a screen to evaluate two emotion scales-pleasure and arousal-and their social consequences (see Figure 3). The first two questions were the scales of affective dimensions derived from the Self-Assessment Manikin (Bradley and Lang, 1994) on valence ( Figure 3A) and arousal ( Figure 3B) for assessment of the emotion associated with the participants' performance and the manipulated feedback they received. The third question (Figure 3C) assessed the social consequences of the preceding emotional elicitation. ...
Context 3
... feedback was submitted, three more questions were prompted on a screen to evaluate two emotion scales-pleasure and arousal-and their social consequences (see Figure 3). The first two questions were the scales of affective dimensions derived from the Self-Assessment Manikin (Bradley and Lang, 1994) on valence ( Figure 3A) and arousal ( Figure 3B) for assessment of the emotion associated with the participants' performance and the manipulated feedback they received. The third question (Figure 3C) assessed the social consequences of the preceding emotional elicitation. ...
Context 4
... first two questions were the scales of affective dimensions derived from the Self-Assessment Manikin (Bradley and Lang, 1994) on valence ( Figure 3A) and arousal ( Figure 3B) for assessment of the emotion associated with the participants' performance and the manipulated feedback they received. The third question (Figure 3C) assessed the social consequences of the preceding emotional elicitation. In part, it contains the motivational aspect of the individual to perform the task. ...
Context 5
... values for both scales ranged from -4 to 4. In addition, given a number of outcomes to which leads synchronisation, we included a scale for social consequences to investigate the impact of emotional induction and movement in unison on the desire to be engaged with the same individuals in the same activity in the future. The question ranged from 1 to 9 and participants needed to choose a score corresponding to their desire at the moment of being engaged with the same individuals (see Figure 3). ...
Citations
... 96 At the same time, it has been reported that movement synchrony in groups is correlated to the presence of positive emotions. 97 It is also possible that synchronized breathing might be another source of similarity in the performers' EEG signals, particularly in the context of making music together. Future studies could replicate the current study with additional psychophysiological and behavioral measures, i.e. ...
Understanding and predicting others' actions in ecological settings is an important research goal in social neuroscience. Here, we deployed a mobile brain-body imaging (MoBI) methodology to analyze inter-brain communication between professional musicians during a live jazz performance. Specifically, bispectral analysis was conducted to assess the synchronization of scalp electroencephalographic (EEG) signals from three expert musicians during a three-part 45 minute jazz performance, during which a new musician joined every five minutes. The bispectrum was estimated for all musician dyads, electrode combinations, and five frequency bands. The results showed higher bispectrum in the beta and gamma frequency bands (13-50 Hz) when more musicians performed together, and when they played a musical phrase synchronously. Positive bispectrum amplitude changes were found approximately three seconds prior to the identified synchronized performance events suggesting preparatory cortical activity predictive of concerted behavioral action. Moreover, a higher amount of synchronized EEG activity, across electrode regions, was observed as more musicians performed, with inter-brain synchronization between the temporal, parietal, and occipital regions the most frequent. Increased synchrony between the musicians' brain activity reflects shared multi-sensory processing and movement intention in a musical improvisation task.
... 94 At the same time, it has been reported that movement synchrony in groups is correlated to the presence of positive emotions. 95 It is also possible that synchronized breathing might be another source of similarity in the performers' EEG signals, particularly in the context of making music together. Future studies could replicate the current study with additional psychophysiological and behavioral measures, i.e. ...
Understanding and predicting others' actions in ecological settings is an important research goal in social neuroscience. Here, we deployed a mobile brain-body imaging (MoBI) methodology to analyze inter-brain communication between professional musicians during a live jazz performance. Specifically, bispectral analysis was conducted to assess the synchronization of scalp electroencephalographic (EEG) signals from three expert musicians during a three-part 45 minute jazz performance, during which a new musician joined every five minutes. The bispectrum was estimated for all musician dyads, electrode combinations, and five frequency bands. The results showed higher bispectrum in the beta and gamma frequency bands (13-50 Hz) when more musicians performed together, and when they played a musical phrase synchronously. Positive bispectrum amplitude changes were found approximately three seconds prior to the identified synchronized performance events suggesting preparatory cortical activity predictive of concerted behavioral action. Moreover, a higher amount of synchronized EEG activity, across electrode regions, was observed as more musicians performed, with inter-brain synchronization between the temporal, parietal, and occipital regions the most frequent. Increased synchrony between the musicians' brain activity reflects shared multi-sensory processing and movement intention in a musical improvisation task.
... 91 At the same time, it has been reported that movement synchrony in groups is correlated to the presence of positive emotions. 92 Although out of the scope of this work, because of the focus on brain signals' synchrony, movement synchrony and emotional context (across musicians and with the audience) are undoubtedly interesting under the studied scenario, and will be considered for analysis in future steps of this research. ...
Understanding and predicting others' actions in ecological settings is an important research goal in social neuroscience. Here, we deployed a mobile brain-body imaging (MoBI) methodology to analyze inter-brain communication between professional musicians during a live jazz performance. Specifically, bispectral analysis was conducted to assess the synchronization of scalp electroencephalographic (EEG) signals from three expert musicians during a three-part 45 minute jazz performance, during which a new musician joined every five minutes. The bispectrum was estimated for all musician dyads, electrode combinations, and five frequency bands. The results showed higher bispectrum in the beta and gamma frequency bands (13-50 Hz) when more musicians performed together, and when they played a musical phrase synchronously. Positive bispectrum amplitude changes were found approximately three seconds prior to the identified synchronized performance events suggesting preparatory cortical activity predictive of concerted behavioral action. Moreover, a higher amount of synchronized EEG activity, across electrode regions, was observed as more musicians performed, with inter-brain synchronization between the temporal, parietal, and occipital regions the most frequent. Increased synchrony between the musicians' brain activity reflects shared multi-sensory processing and movement intention in a musical improvisation task.
... This finding are consistent with the findings of detrimental impact of three negative induction on the order parameter (previous section). Lower ranges of synchronisation bands were found in other studies to be sensitive to emotional induction 38 Table S10 in the Supplementary material) (see Fig. 5). This suggests that in the continuation phase, heterogeneous induction has led to somehow prolonged worsened performance and is a finding to be further replicated. ...
... 5). W band was recently identified by another study38 as being sensitive to the impact of emotional induction during a joint improvisation task. For Period 3 (continuation of the trial 15 sec after emotional induction): ...
The ability to synchronise with other people is a core socio-motor competence acquired during human development. In this study we aimed to understand the impact of individual emotional arousal on joint action performance. We asked 15 mixed-gender groups (of 4 individuals each) to participate in a digital, four-way movement synchronisation task. Participants shared the same physical space,
but could not see each other during the task. In each trial run, every participant was induced with
an emotion-laden acoustic stimulus (pre-selected from the second version of International Affective Digitized Sounds). Our data demonstrated that the human ability to synchronise is overall robust to fluctuations in individual emotional arousal, but performance varies in quality and movement speed as a result of valence of emotional induction (both on the individual and group level). We found that three
negative inductions per group per trial led to a drop in overall group synchronisation performance (measured as the median and standard deviation of Kuramoto’s order parameter—an index measuring the strength of synchrony between oscillators, in this study, players) in the 15 sec post-induction. We report that negatively-valenced inductions led to slower oscillations, whilst positive induction afforded faster oscillations. On the individual level of synchronisation performance we found an effect of empathetic disposition (higher competence linked to better performance during the negative induction condition) and of participant’s sex (males displayed better synchronisation performance with others). We believe this work is a blueprint for exploring the frontiers of inextricably bound worlds of emotion and joint action, be it physical or digital.
Cardiac physiological synchrony is regarded as an important component of social interaction due to its putative role in prosocial behaviour. Yet, the processes underlying physiological synchrony remain unclear. We aim to investigate these processes. 20 dyads (19 men, 21 women, age range 18–35) engaged in a self-paced interpersonal tapping synchronization task under different levels of tapping synchrony due to blocking of sensory communication channels. Applying wavelet transform coherence analysis, significant increases in heart rate synchronization from baseline to task execution were found with no statistically significant difference across conditions. Furthermore, the control analysis, which assessed synchrony between randomly combined dyads of participants showed no difference from the original dyads’ synchrony. We showed that interindividual cardiac physiological synchrony during self-paced synchronized finger tapping resulted from a task-related stimulus equally shared by all individuals. We hypothesize that by applying mental effort to the task, individuals changed into a similar mental state, altering their cardiac regulation. This so-called psychophysiological mode provoked more uniform, less variable fluctuation patterns across all individuals leading to similar heart rate coherence independent of subsequent pairings. With this study, we provide new insights into cardiac physiological synchrony and highlight the importance of appropriate study design and control analysis.
