Background: Sexual deviance is regarded as an important risk factor for sexual offending. However, little is known about the development of deviant sexual interests. The transfer of arousal between emotions, i.e., excitation transfer, could attribute sexual salience to stimuli that would otherwise not be sexual in nature. As such, excitation transfer could contribute to the very beginning of unusual or deviant sexual interests. The current protocol proposes a study to investigate to what extent excitation transfer occurs, i.e., to what extent genital and subjective sexual arousal to sexual stimuli is higher in an emotional state than in a neutral state. Following a prior pilot study, several adjustments were made to the study protocol, including a stronger emotional manipulation by using 360-degree film clips and the inclusion of a larger and more sexually diverse sample. Methods: We will recruit 50 adult male volunteers with diverse sexual interests. We will induce sexual arousal in four different emotional states (aggression/dominance, endearment, fear, disgust) and a neutral state. Sexual arousal will be measured genitally using penile plethysmography and subjectively via self-report. Using paired samples t-tests, sexual arousal in the emotional states will be compared with sexual arousal in the neutral state. Discussion: We aim to show that arousal in response to emotional stimuli that are initially nonsexual in nature, can enhance sexual arousal. These findings have potentially important implications for the development of unusual and/or deviant sexual interests and possibly for the treatment of such sexual deviant interests in people who have committed sexual offenses.
The challenges we collectively face, such as climate change, are characterized by more complexity, interdependence, and dynamism than is common for educational practice. This presents a challenge for (university) education. These transition challenges are often described as wicked or VUCA (Volatile, Uncertain, Complex, and Ambiguous) problems. In response, educational innovations that are inspired by ecology such as living labs are starting to emerge, but little is known about how learners engage within and with these more ecological forms of education. This work is an exploratory study into how learners navigate VUCA learning environments linked to tackling sustainability transition challenges, with a focus on the positive qualities of these experiences. This is done through interpretative phenomenological analysis (IPA) of seven students (using semi-structured interviews) of the MSC Metropolitan Analysis, Design and Engineering program, a joint degree from Wageningen University and Delft University of Technology in the Netherlands. The main findings, which are both psychological and educational, of this exploration include openness to new experiences (1), flexibility (2), a process appreciation of learning (3), a desire to create a positive impact on one’s direct biophysical environment (4) and society (5). In addition, we discuss the potential limitations of the malleability of these different qualities and propose future avenues for research into ecological learning for universities. This work closes by highlighting recommendations for educators to consider when designing or engaging in ecological forms of higher education that connect students to sustainability transitions.
Theme parks are looking into extending the life cycle of roller coasters by creating VR environments that are designed for and synchronised with the ride. Riding a coaster with a VR headset that immerses visitors into a virtual environment is therefore a rapidly emerging trend.In this project we compare how visitors experience a roller coaster ride with and without VR add-on.We recorded bodily indices of emotional engagement (skin conductance responses; SCRs) during roller coaster rides with and without Virtual Reality (VR) add-ons, alongside with self-reported evaluations of the two types of rides.Self-reported levels of presence are similar across VR and NVR rides, and VR rides are evaluated more positively. SCR time series correlate meaningfully with the different ride elements and can therefore be used to identify which parts of the ride are, or aren’t, emotionally engaging. SCRs do not significantly predict overall evaluations of the ride, however.Main collaborating partner: Europapark, Germany
The PhD research by Joris Weijdom studies the impact of collective embodied design techniques in collaborative mixed-reality environments (CMRE) in art- and engineering design practice and education. He aims to stimulate invention and innovation from an early stage of the collective design process.Joris combines theory and practice from the performing arts, human-computer interaction, and engineering to develop CMRE configurations, strategies for its creative implementation, and an embodied immersive learning pedagogy for students and professionals.This lecture was given at the Transmedia Arts seminar of the Mahindra Humanities Center of Harvard University. In this lecture, Joris Weijdom discusses critical concepts, such as embodiment, presence, and immersion, that concern mixed-reality design in the performing arts. He introduces examples from his practice and interdisciplinary projects of other artists.About the researchMultiple research areas now support the idea that embodiment is an underpinning of cognition, suggesting new discovery and learning approaches through full-body engagement with the virtual environment. Furthermore, improvisation and immediate reflection on the experience itself, common creative strategies in artist training and practice, are central when inventing something new. In this research, a new embodied design method, entitled Performative prototyping, has been developed to enable interdisciplinary collective design processes in CMRE’s and offers a vocabulary of multiple perspectives to reflect on its outcomes.Studies also find that engineering education values creativity in design processes, but often disregards the potential of full-body improvisation in generating and refining ideas. Conversely, artists lack the technical know-how to utilize mixed-reality technologies in their design process. This know-how from multiple disciplines is thus combined and explored in this research, connecting concepts and discourse from human-computer interaction and media- and performance studies.This research is a collaboration of the University of Twente, Utrecht University, and HKU University of the Arts Utrecht. This research is partly financed by the Dutch Research Council (NWO).Mixed-reality experiences merge real and virtual environments in which physical and digital spaces, objects, and actors co-exist and interact in real-time. Collaborative Mix-Reality Environments, or CMRE's, enable creative design- and learning processes through full-body interaction with spatial manifestations of mediated ideas and concepts, as live-puppeteered or automated real-time computer-generated content. It employs large-scale projection mapping techniques, motion-capture, augmented- and virtual reality technologies, and networked real-time 3D environments in various inter-connected configurations.This keynote was given at the IETM Plenary meeting in Amsterdam for more than 500 theatre and performing arts professionals. It addresses the following questions in a roller coaster ride of thought-provoking ideas and examples from the world of technology, media, and theatre:What do current developments like Mixed Reality, Transmedia, and The Internet of Things mean for telling stories and creating theatrical experiences? How do we design performances on multiple "stages" and relate to our audiences when they become co-creators?Contactjoris.weijdom@hku.nl / LinkedIn profileThis research is part of the professorship Performative Processes
