Depression is a highly prevalent and seriously impairing disorder. Evidence suggests that music therapy can decrease depression, though the music therapy that is offered is often not clearly described in studies. The purpose of this study was to develop an improvisational music therapy intervention based on insights from theory, evidence and clinical practice for young adults with depressive symptoms. The Intervention Mapping method was used and resulted in (1) a model to explain how emotion dysregulation may affect depressive symptoms using the Component Process Model (CPM) as a theoretical framework; (2) a model to clarify as to how improvisational music therapy may change depressive symptoms using synchronisation and emotional resonance; (3) a prototype Emotion-regulating Improvisational Music Therapy for Preventing Depressive symptoms (EIMT-PD); (4) a ten-session improvisational music therapy manual aimed at improving emotion regulation and reducing depressive symptoms; (5) a program implementation plan; and (6) a summary of a multiple baseline study protocol to evaluate the effectiveness and principles of EIMT-PD. EIMT-PD, using synchronisation and emotional resonance may be a promising music therapy to improve emotion regulation and, in line with our expectations, reduce depressive symptoms. More research is needed to assess its effectiveness and principles.
Being able to classify experienced emotions by identifying distinct neural responses has tremendous value in both fundamental research (e.g. positive psychology, emotion regulation theory) and in applied settings (clinical, healthcare, commercial). We aimed to decode the neural representation of the experience of two discrete emotions: sadness and disgust, devoid of differences in valence and arousal. In a passive viewing paradigm, we showed emotion evoking images from the International Affective Picture System to participants while recording their EEG. We then selected a subset of those images that were distinct in evoking either sadness or disgust (20 for each), yet were indistinguishable on normative valence and arousal. Event-related potential analysis of 69 participants showed differential responses in the N1 and EPN components and a support-vector machine classifier was able to accurately classify (58%) whole-brain EEG patterns of sadness and disgust experiences. These results support and expand on earlier findings that discrete emotions do have differential neural responses that are not caused by differences in valence or arousal.
The Dutch research project “Wijs met techniek” (Tech-Wise) explores ethics education from a tool-based, practical perspective. Especially if and how practical tools for ethical deliberation on the impact of technology can be helpful in ethics education for engineering students. The approach is first intended as a variation on theories in ethics and technology. Secondly, the approach uses a focus on the impact of technology as a way toward ethical deliberation. Both characteristics are intended to better appeal to engineering students. In the project we cover three levels of higher education: a University, a University of Applied Sciences and a School for Vocational Training. Together we are developing and testing a suite of activating working methods that can be tailored to various engineering programmes. A first result of this is the simple workshop format “ethics for engineers”, consisting of five steps with four effective ingredients. In this paper we present the general format of this workshop and dive in particular into a specific instance of the workshop called “Wonderberries”. The experiences from the workshop show that with a carefully chosen combination of engaging orientation, a specific ‘technology’ and a concrete design exercise the ethical questions and subsequent deliberation and reflection can be very rich.
MULTIFILE
This project develops a European network for transdisciplinary innovation in artistic engagement as a catalyst for societal transformation, focusing on immersive art. It responds to the professionals in the field’s call for research into immersive art’s unique capacity to ‘move’ people through its multisensory, technosocial qualities towards collective change. The project brings together experts leading state-of-the-art research and practice in related fields with an aim to develop trajectories for artistic, methodological, and conceptual innovation for societal transformation. The nascent field of immersive art, including its potential impact on society, has been identified as a priority research area on all local-to-EU levels, but often suffers from the common (mis)perception as being technological spectacle prioritising entertainment values. Many practitioners create immersive art to enable novel forms of creative engagement to address societal issues and enact change, but have difficulty gaining recognition and support for this endeavour. A critical challenge is the lack of knowledge about how their predominantly sensuous and aesthetic experience actually lead to collective change, which remains unrecognised in the current systems of impact evaluation predicated on quantitative analysis. Recent psychological insights on awe as a profoundly transformative emotion signals a possibility to address this challenge, offering a new way to make sense of the transformational effect of directly interacting with such affective qualities of immersive art. In parallel, there is a renewed interest in the practice of cultural mediation, which brings together different stakeholders to facilitate negotiation towards collective change in diverse domains of civic life, often through creative engagements. Our project forms strategic grounds for transdisciplinary research at the intersection between these two developments. We bring together experts in immersive art, psychology, cultural mediation, digital humanities, and design across Europe to explore: How can awe-experiences be enacted in immersive art and be extended towards societal transformation?
Bij de ontwikkeling van kinderen speelt de omgeving waarin zij opgroeien en de wijze waarop zij zich verbonden voelen met hun buurt een belangrijke rol (Owens, 2004; 2016). Om als basisschool goed bij te kunnen dragen aan de ontwikkeling van kinderen is het van belang dat scholen de omgeving en de buurt waarin hun leerlingen opgroeien kennen en kunnen benutten voor hun onderwijs. In het bijzonder gaat het daarbij om de betekenis die deze omgeving voor hun leerlingen heeft. Voor basisscholen in wijken met een grote diversiteit aan inwoners kan de betekenis van eenzelfde omgeving voor verschillende leerlingen ook zeer verschillend zijn. Naar de wijze waarop kinderen zich verbonden voelen met de fysieke en sociale ruimte is nog weinig onderzoek gedaan (Tani, 2016). Naast inzicht in de bestaande verbinding van kinderen met hun omgeving is het voor het onderwijs belangrijk om inzicht te verkrijgen in de wijze waarop kinderen in staat kunnen worden gesteld om zich te binden aan een plek en om deze plek te benutten bij hun ontwikkeling. De capability approach (Nussbaum, 2014) en een perspectief op de veerkracht van kinderen (Enthoven, 2007) bieden een kader om naar dit vraagstuk te kijken. Het onderzoek richt zich op wat het primair onderwijs kan doen om de aan de omgeving gerelateerde vermogens van kinderen te ontwikkelen. Onderwijs waarin de leefomgeving van kinderen wordt betrokken of waarin de leefomgeving op enige wijze een rol speelt kan hiertoe een middel zijn. Dit vanuit de notie dat door het ontwikkelen van een ‘sense of place’ (Dolan, 2016) de kennis, persoonlijke verbondenheid en verantwoordelijkheid voor de lokale omgeving versterkt kunnen worden. Het onderzoek zal na een verkennende fase een ontwerpgericht karakter krijgen, waarbij op onderzoeksmatige wijze materiaal wordt ontwikkeld dat bruikbaar is op basisscholen en lerarenopleidingen basisonderwijs.
expressiveness, performance, musicians, skills, educationUsing the genre of Improvisational theatre as a basis, my research aims to design and develop instructional strategies that would help students enhance their expressive skills and achieve the flexibility to adapt their motor behavior to the musical piece. Embodying diverse characters and physicalities, as well as affective states or fictional realities through improv theatre exercises should enable them to expand their expressive range and, therefore, better convey their interpretation to their audience. Through this process, this study also seeks to gain an understanding of the effect this type of training may have on musicians' performance experience, as well as its implications in other areas of their development.
