Emotion Regulation through Movement: Unique Sets of Movement Characteristics are Associated with and Enhance Basic Emotions

Mood induction through imitation of full-body movements with different affective intentions

Theories of human emotion, including some emotion embodiment theories, suggest that our moods and affective states are reflected in the movements of our bodies. We used the reverse process for mood regulation; modulate body movements to regulate mood. Dancing is a type of full-body movement characterized by affective expressivity and, hence, offers the possibility to express different affective states through the same movement sequences. We tested whether the repeated imitation of a dancer performing two simple full-body dance movement sequences with different affective expressivity (happy or sad) could change mood states. Computer-based systems, using avatars as dance models to imitate, offer a series of advantages such as independence from physical contact and location. Therefore, we compared mood induction effects in two conditions: participants were asked to imitate dance movements from one of the two avatars showing: (a) videos of a human dancer model or (b) videos of a robot dancer model. The mood induction was successful for both happy and sad imitations, regardless of condition (human vs. robot avatar dance model). Moreover, the magnitude of happy mood induction and how much participants liked the task predicted work-related motivation after the mood induction. We conclude that mood regulation through dance movements is possible and beneficial in the work context.

Guiding Principles for the Practice of Integrative Physical Therapy

Integrative health is an emerging specialty inside multiple disciplines within the medical community, yet the practice of integrative physical therapy remains undefined. This perspective paper suggests a set of guiding principles to support the role of physical therapy in integrative health. These guiding principles, including therapeutic partnership, whole person health, living systems, movement as an integrative experience, and salutogenesis, are described and explored in-depth as they relate to all aspects of patient care and clinician experience. These guiding principles are articulated within the context of social determinants of health and the interrelated roles that environment, trauma, stress, and lifestyle all play within an integrative physical therapy plan of care. Examples of current integrative physical therapy practices that embody these principles are described. The 5 guiding principles are designed to elicit interprofessional inquiry into how integrative health models can be applied to the art and science of physical therapy practice. The expansion of integrative health into the field of physical therapy has the potential to improve individual and population health, as integrative physical therapy can be used to address prevention, health promotion, primary care, and wellness while acknowledging the complex, dynamic, and interconnected nature of the human condition.

IMPACT

This perspective article presents 5 guiding principles to establish a framework to define and shape the growing application of an integrative health model to physical therapy practice. These integrative physical therapy guiding principles aim to improve the quality of whole-person, patient-centered care.

Emotion in action: When emotions meet motor circuits

The brain is a remarkably complex organ responsible for a wide range of functions, including the modulation of emotional states and movement. Neuronal circuits are believed to play a crucial role in integrating sensory, cognitive, and emotional information to ultimately guide motor behavior. Over the years, numerous studies employing diverse techniques such as electrophysiology, imaging, and optogenetics have revealed a complex network of neural circuits involved in the regulation of emotional or motor processes. Emotions can exert a substantial influence on motor performance, encompassing both everyday activities and pathological conditions. The aim of this review is to explore how emotional states can shape movements by connecting the neural circuits for emotional processing to motor neural circuits. We first provide a comprehensive overview of the impact of different emotional states on motor control in humans and rodents. In line with behavioral studies, we set out to identify emotion-related structures capable of modulating motor output, behaviorally and anatomically. Neuronal circuits involved in emotional processing are extensively connected to the motor system. These circuits can drive emotional behavior, essential for survival, but can also continuously shape ongoing movement. In summary, the investigation of the intricate relationship between emotion and movement offers valuable insights into human behavior, including opportunities to enhance performance, and holds promise for improving mental and physical health. This review integrates findings from multiple scientific approaches, including anatomical tracing, circuit-based dissection, and behavioral studies, conducted in both animal and human subjects. By incorporating these different methodologies, we aim to present a comprehensive overview of the current understanding of the emotional modulation of movement in both physiological and pathological conditions.

Bodily expressed emotion understanding through integrating Laban movement analysis

Bodily expressed emotion understanding (BEEU) aims to automatically recognize human emotional expressions from body movements. Psychological research has demonstrated that people often move using specific motor elements to convey emotions. This work takes three steps to integrate human motor elements to study BEEU. First, we introduce BoME (body motor elements), a highly precise dataset for human motor elements. Second, we apply baseline models to estimate these elements on BoME, showing that deep learning methods are capable of learning effective representations of human movement. Finally, we propose a dual-source solution to enhance the BEEU model with the BoME dataset, which trains with both motor element and emotion labels and simultaneously produces predictions for both. Through experiments on the BoLD in-the-wild emotion understanding benchmark, we showcase the significant benefit of our approach. These results may inspire further research utilizing human motor elements for emotion understanding and mental health analysis.

Unlocking the Emotional World of Visual Media: An Overview of the Science, Research, and Impact of Understanding Emotion: Drawing Insights From Psychology, Engineering, and the Arts, This Article Provides a Comprehensive Overview of the Field of Emotion Analysis in Visual Media and Discusses the Latest Research, Systems, Challenges, Ethical Implications, and Potential Impact of Artificial Emotional Intelligence on Society

The emergence of artificial emotional intelligence technology is revolutionizing the fields of computers and robotics, allowing for a new level of communication and understanding of human behavior that was once thought impossible. While recent advancements in deep learning have transformed the field of computer vision, automated understanding of evoked or expressed emotions in visual media remains in its infancy. This foundering stems from the absence of a universally accepted definition of "emotion," coupled with the inherently subjective nature of emotions and their intricate nuances. In this article, we provide a comprehensive, multidisciplinary overview of the field of emotion analysis in visual media, drawing on insights from psychology, engineering, and the arts. We begin by exploring the psychological foundations of emotion and the computational principles that underpin the understanding of emotions from images and videos. We then review the latest research and systems within the field, accentuating the most promising approaches. We also discuss the current technological challenges and limitations of emotion analysis, underscoring the necessity for continued investigation and innovation. We contend that this represents a "Holy Grail" research problem in computing and delineate pivotal directions for future inquiry. Finally, we examine the ethical ramifications of emotion-understanding technologies and contemplate their potential societal impacts. Overall, this article endeavors to equip readers with a deeper understanding of the domain of emotion analysis in visual media and to inspire further research and development in this captivating and rapidly evolving field.

A theoretical and clinical perspective of an embodied view in psychotherapy of somatic symptoms disorders

In this paper, we offer some ideas for the treatment of somatoform patients and related pathologies based on the concept of embodiment. Embodiment refers to the interplay between body and mind in behavior. The word refers to giving a body to something, "incarnate". Spinoza wrote extensively about the topic in the 17th century. In the 20th century, picking up on Spinoza's work, Damasio presented extensive and important neuro-scientific evidence that feelings can be direct perceptions of internal body states, substantiating the growing understanding of emotions and feelings as a core component of the embodied experience. Here, we summarize the evidence for the intersection of emotion and cognition in the body, which impinges on the effectiveness of using the body and movement in psychotherapy and the management of somatic symptoms and related disorders. We present evidence indicating that movement would be a way to reach unconscious processes dealing with body-mind interaction and body awareness.

Effects of positive reappraisal and self-distancing on the meaningfulness of everyday negative events

Current work on meaning-making has primarily focused on major negative life events such as trauma and loss, leaving common daily adversities unexplored. This study aimed to examine how utilizing meaning-making strategies such as positive reappraisal and self-distancing (in isolation or in combination) can facilitate an adaptive processing of these daily negative experiences. Overall meaning and facets of meaning (coherence, purpose, and significance/mattering) were assessed at both global and situational levels. Results suggested that positive reappraisal was generally effective for enhancing situational meaning but not under all conditions. Specifically, when negative experiences were high on emotional intensity, reflecting on the experience from a distanced (third-person) perspective enhanced coherence and existential mattering more than engaging in positive reappraisal. However, when negative experiences were low on intensity, distanced reflection led to less coherence and mattering than positive reappraisal. The findings of this study elucidated the importance of examining the multidimensional construct of meaning at the facet level and highlighted the importance of applying different coping strategies to effectively make meaning out of daily negative experiences.

"A source of empowerment and well-being": Experiences of a dance and yoga intervention for young girls with functional abdominal pain disorders

Background

Functional abdominal pain disorders are common among children and adolescents worldwide and effective treatments are needed to alleviate suffering for these children and their families. This study aimed to explore the experience of participating in a combined dance and yoga intervention from the perspectives of girls aged 9-13 years with functional abdominal pain disorders.

Materials and Methods

A randomized controlled trial called Just in TIME (Try, Identify, Move and Enjoy) recruited 121 girls aged 9-13 years with functional abdominal pain disorders. The eight-month intervention combined dance and yoga twice a week, focusing on enjoyment, socialization and playful creativity in an undemanding and non-judgemental environment. The intervention group comprised 64 girls, of whom 25 were purposefully selected for this qualitative interview study. Semi-structured interviews were conducted and analysed using qualitative content analysis with an inductive approach.

Results

The girls' experiences of the Just in TIME intervention can be described as "A source of empowerment and well-being which facilitated personal growth and new ways of engaging in life". The main category was derived from six generic categories: "A sense of belonging", "Joy and emotional expression through movement", "Relief from pain", "More self-confident", "More active in daily life" and "A sense of calm."

Conclusions

Regular participation in an eight-month intervention with combined dance and yoga in a supportive and non-judgemental atmosphere can ease pain and strengthen inner resources, resulting in empowerment, well-being and a more active life for girls with functional abdominal pain disorders.

Trial registration

The Just in TIME study is available online at clinicaltrials.gov, ID: NCT02920268.

The emotions effect on a virtual characters design–A student perspective analysis

Interaction between people and virtual characters through digital and electronic devices is a reality. In this context, the design of virtual characters must incorporate emotional expression at a nonverbal level looking for effective communication with the user. This exploratory study investigates the design features of an avatar functioning as a virtual assistant in educational contexts. From a multidisciplinary approach, the user's research was elaborated by a semi-open questionnaire of self-perception of emotional characteristics: likeability, attractiveness, and applicability of a set of six 2D and 3D characters. The results extracted from a sample of 69 university students provide a relevant information on design features and open new lines for future research. Aspects such as Ekman's basic emotion discrimination and the design of facial expression are analyzed. The incorporation of other body parts, their spatial orientation and contextual elements, seems to contribute to effective emotional communication. The results also highlight how the design of a virtual character should take into consideration the complexity involved in facial gestures and changes in relation to the vertical axis and planes of movement. Finally, this article discusses the complexity involved in expressing a given emotion in a virtual character.

The Influence of Robot’s Expressions on Self-Efficacy in Erroneous Situations

Social robots are increasingly being adopted as companions in educational scenarios. Self-efficacy, a viable construct for comprehending performance, particularly on academic tasks, has lately received great attention. In this study, participants completed four sections of the Wisconsin Card-Sorting Task (WCST) with a social robot Kebbi. The robot performed four kinds of expressions consisting of different combinations of Laban-theory-based motion with a positive voice designed to point out the mistakes the participant made. The impressions of the robot were reported in the post-experimental questionnaires while the bio-signals of the participant including heart rate and brainwave were collected by wearable devices. The results demonstrated that the participants tended to find the robot with the designed motion more likable, and they were less likely to feel frustrated and experienced lower levels of stress when the robot communicated with motion and voice simultaneously.

Postural Correlates of Pollution Perception

In our contemporary societies, environmental issues are more and more important. An increasing number of studies explore the biological processes involved in environment perception and in particular try to highlight the mechanisms underlying the perception of environmental scenes by our brain. The main objective of the present study was to establish whether the visualization of clean and polluted environmental scenes would lead to differential postural reactions. Our hypothesis was based on a differential postural modulation that could be recorded when the subject is confronted with images representing a “polluted” environment, differential modulation which has been reported in previous studies in response to painful-scenes compared to non-painful scenes visualization.Thirty-one subjects participated in this study. Physiological measurements [heart rate variability (HRV) and electrodermal activity] and postural responses (Center Of Pression—COP—displacements) were recorded in response to perception of polluted or clean environmental scenes. We show, for the first time, that images representing polluted scenes evoke a weaker approach movement than images representing clean scenes. The displacement of the COP in the anteroposterior axis reflects an avoidance when subjects visualize “polluted” scenes. Our results demonstrate a clear distinction between “clean” and “polluted” environments according to the postural change they induce, correlated with the ratings of pleasure and approach evoked by images.

Embodied Learning for Well-Being, Self-Awareness, and Stress Regulation: A Randomized Trial with Engineering Students Using a Mixed-Method Approach

The continuous changes in our society require adapted training that encompasses both technical and competency knowledge. There is a high level of demand, especially in areas such as engineering, which can affect the mental health of students, producing high levels of stress and psychological distress, hindering self-efficacy and academic performance. Embodied learning working on self-awareness, stress reduction and self-knowledge can help to generate healthier environments. Creative therapies can be a tool to promote the prevention of health problems in this group of the population. In particular, Dance Movement Therapy has demonstrated its effectiveness in improving health in clinical and non-clinical settings. In this work, a body awareness program based on Dance Movement Therapy is developed and implemented in engineering students. Through a mixed pre-post methodology, its impact is evaluated and analyzed in an experimental group of engineering students. Psychometric tests, physiological variables and reflective diaries are used as data sources. The results show that the experimental group, compared with the control group, increased their levels of body awareness and connectedness, well-being and life satisfaction and reduced their stress levels. The results were supported by cortisol measures. Likewise, the students acknowledged having increased their levels of self-awareness and self-knowledge and considered the inclusion of these bodily approaches in higher education to be necessary.

Can an android's posture and movement discriminate against the ambiguous emotion perceived from its facial expressions?

Expressing emotions through various modalities is a crucial function not only for humans but also for robots. The mapping method from facial expressions to the basic emotions is widely used in research on robot emotional expressions. This method claims that there are specific facial muscle activation patterns for each emotional expression and people can perceive these emotions by reading these patterns. However, recent research on human behavior reveals that some emotional expressions, such as the emotion "intense", are difficult to judge as positive or negative by just looking at the facial expression alone. Nevertheless, it has not been investigated whether robots can also express ambiguous facial expressions with no clear valence and whether the addition of body expressions can make the facial valence clearer to humans. This paper shows that an ambiguous facial expression of an android can be perceived more clearly by viewers when body postures and movements are added. We conducted three experiments and online surveys among North American residents with 94, 114 and 114 participants, respectively. In Experiment 1, by calculating the entropy, we found that the facial expression "intense" was difficult to judge as positive or negative when they were only shown the facial expression. In Experiments 2 and 3, by analyzing ANOVA, we confirmed that participants were better at judging the facial valence when they were shown the whole body of the android, even though the facial expression was the same as in Experiment 1. These results suggest that facial and body expressions by robots should be designed jointly to achieve better communication with humans. In order to achieve smoother cooperative human-robot interaction, such as education by robots, emotion expressions conveyed through a combination of both the face and the body of the robot is necessary to convey the robot's intentions or desires to humans.

Hof P. Understanding Emotions: Origins and Roles of the Amygdala

Emotions arise from activations of specialized neuronal populations in several parts of the cerebral cortex, notably the anterior cingulate, insula, ventromedial prefrontal, and subcortical structures, such as the amygdala, ventral striatum, putamen, caudate nucleus, and ventral tegmental area. Feelings are conscious, emotional experiences of these activations that contribute to neuronal networks mediating thoughts, language, and behavior, thus enhancing the ability to predict, learn, and reappraise stimuli and situations in the environment based on previous experiences. Contemporary theories of emotion converge around the key role of the amygdala as the central subcortical emotional brain structure that constantly evaluates and integrates a variety of sensory information from the surroundings and assigns them appropriate values of emotional dimensions, such as valence, intensity, and approachability. The amygdala participates in the regulation of autonomic and endocrine functions, decision-making and adaptations of instinctive and motivational behaviors to changes in the environment through implicit associative learning, changes in short- and long-term synaptic plasticity, and activation of the fight-or-flight response via efferent projections from its central nucleus to cortical and subcortical structures.

Getting started with virtual reality for sensory and consumer science: Current practices and future perspectives

While virtual reality (VR) has become increasingly popular in food-related research, there has been a lack of clarity, precision, and guidelines regarding what exactly constitutes a virtual reality study, as well as the options available to the researcher for designing and implementing it. This review provides a practical guide for sensory and consumer scientists interested in exploring the emerging opportunities offered by VR. We take a deep dive into the components that make up a VR study, including hardware, software, and response measurement methods, all the while being grounded in immersion and presence theory. We then review how these building blocks are put together to create two major categories of research scenarios: product selection, which can be entirely created in VR, and food evaluation, which involve tasting products in real life. For each category, we review current literature with a focus on experimental design, then highlight future avenues and technical development opportunities within sensory and consumer research. Finally, we evaluate limitations and ethical issues in VR food research, and offer future perspectives which go above and beyond ensuring ecological validity in product testing.

A Practice-Inspired Mindset for Researching the Psychophysiological and Medical Health Effects of Recreational Dance (Dance Sport)

“Dance” has been associated with many psychophysiological and medical health effects. However, varying definitions of what constitute “dance” have led to a rather heterogenous body of evidence about such potential effects, leaving the picture piecemeal at best. It remains unclear what exact parameters may be driving positive effects. We believe that this heterogeneity of evidence is partly due to a lack of a clear definition of dance for such empirical purposes. A differentiation is needed between (a) the effects on the individual when the activity of “dancing” is enjoyed as a dancer within different dance domains (e.g., professional/”high-art” type of dance, erotic dance, religious dance, club dancing, Dance Movement Therapy (DMT), and what is commonly known as hobby, recreational or social dance), and (b) the effects on the individual within these different domains, as a dancer of the different dance styles (solo dance, partnering dance, group dance; and all the different styles within these). Another separate category of dance engagement is, not as a dancer, but as a spectator of all of the above. “Watching dance” as part of an audience has its own set of psychophysiological and neurocognitive effects on the individual, and depends on the context where dance is witnessed. With the help of dance professionals, we first outline some different dance domains and dance styles, and outline aspects that differentiate them, and that may, therefore, cause differential empirical findings when compared regardless (e.g., amount of interpersonal contact, physical exertion, context, cognitive demand, type of movements, complexity of technique and ratio of choreography/improvisation). Then, we outline commonalities between all dance styles. We identify six basic components that are part of any dance practice, as part of a continuum, and review and discuss available research for each of them concerning the possible health and wellbeing effects of each of these components, and how they may relate to the psychophysiological and health effects that are reported for “dancing”: (1) rhythm and music, (2) sociality, (3) technique and fitness, (4) connection and connectedness (self-intimation), (5) flow and mindfulness, (6) aesthetic emotions and imagination. Future research efforts might take into account the important differences between types of dance activities, as well as the six components, for a more targeted assessment of how “dancing” affects the human body.

On the Use of Movement-Based Interaction with Smart Textiles for Emotion Regulation

Research from psychology has suggested that body movement may directly activate emotional experiences. Movement-based emotion regulation is the most readily available but often underutilized strategy for emotion regulation. This research aims to investigate the emotional effects of movement-based interaction and its sensory feedback mechanisms. To this end, we developed a smart clothing prototype, E-motionWear, which reacts to four movements (elbow flexion/extension, shoulder flexion/extension, open and closed arms, neck flexion/extension), fabric-based detection sensors, and three-movement feedback mechanisms (audio, visual and vibrotactile). An experiment was conducted using a combined qualitative and quantitative approach to collect participants’ objective and subjective emotional feelings. Results indicate that there was no interaction effect between movement and feedback mechanism on the final emotional results. Participants preferred vibrotactile and audio feedback rather than visual feedback when performing these four kinds of upper body movements. Shoulder flexion/extension and open-closed arm movements were more effective for improving positive emotion than elbow flexion/extension movements. Participants thought that the E-motionWear prototype were comfortable to wear and brought them new emotional experiences. From these results, a set of guidelines were derived that can help frame the design and use of smart clothing to support users’ emotional regulation.

Move and Be Moved: The Effect of Moving Specific Movement Elements on the Experience of Happiness

Dynamic body feedback is used in dance movement therapy (DMT), with the aim to facilitate emotional expression and a change of emotional state through movement and dance for individuals with psychosocial or psychiatric complaints. It has been demonstrated that moving in a specific way can evoke and regulate related emotions. The current study aimed to investigate the effects of executing a unique set of kinetic movement elements on an individual mover's experience of happiness. A specific sequence consisting of movement elements that recent studies have related to the feeling of happiness was created and used in a series of conditions. To achieve a more realistic reflection of DMT practice, the study incorporated the interpersonal dimension between the dance movement therapist (DMTh) and the client, and the impact of this interbodily feedback on the emotional state of the client. This quantitative study was conducted in a within-subject design. Five male and 20 female participants (mean age = 20.72) participated in three conditions: a solo executed movement sequence, a movement sequence executed with a DMTh who attuned and mirrored the movements, and a solo executed movement sequence not associated with feelings of happiness. Participants were only informed about the movements and not the feelings that may be provoked by these movements. The effects on individuals were measured using the Positive and Negative Affect Schedule and visual analog scales. Results showed that a specific movement sequence based on movement elements associated with happiness executed with a DMTh can significantly enhance the corresponding affective state. An additional finding of this study indicated that facilitating expressed emotion through movement elements that are not associated with happiness can enhance feelings such as empowerment, pride, and determination, which are experienced as part of positive affect. The results show the impact of specific full-body movement elements on the emotional state and the support outcome of DMT on emotion regulation.

Cardiac and Proprioceptive Accuracy Are Not Related to Body Awareness, Perceived Body Competence, and Affect

Interoception in the broader sense refers to the perception of internal states, including the perception of the actual state of the internal organs (visceroception) and the motor system (proprioception). Dimensions of interoception include (1) interoceptive accuracy, i.e., the ability to sense internal changes assessed with behavioral tests, (2) confidence rating with respect to perceived performance in an actual behavioral test, and (3) interoceptive sensibility, i.e., the self-reported generalized ability to perceive body changes. The relationship between dimension of cardioceptive and proprioceptive modalities and their association with affect are scarcely studied. In the present study, undergraduate students (N = 105, 53 males, age: 21.0 ± 1.87 years) filled out questionnaires assessing positive and negative affect (Positive and Negative Affect Schedule), interoceptive sensibility (Body Awareness Questionnaire), and body competence (Body Competence Scale of the Body Consciousness Questionnaire). Following this, they completed a behavioral task assessing cardioceptive accuracy (the mental heartbeat tracking task by Schandry) and two tasks assessing proprioceptive accuracy with respect to the tension of arm flexor muscles (weight discrimination task) and the angular position of the elbow joint (joint position reproduction task). Confidence ratings were measured with visual analog scales after the tasks. With the exception of a weak association between cardioceptive accuracy and the respective confidence rating, no associations between and within modalities were found with respect to various dimensions of interoception. Further, the interoceptive dimensions were not associated with state and trait positive and negative affect and perceived body competence. In summary, interoceptive accuracy scores do not substantially contribute to conscious representations of cardioceptive and proprioceptive ability. Within our data, non-pathological affective states (PANAS) are not associated with the major dimensions of interoception for the cardiac and proprioceptive modalities.

Dance on the Brain: Enhancing Intra- and Inter-Brain Synchrony

Dance has traditionally been viewed from a Eurocentric perspective as a mode of self-expression that involves the human body moving through space, performed for the purposes of art, and viewed by an audience. In this Hypothesis and Theory article, we synthesize findings from anthropology, sociology, psychology, dance pedagogy, and neuroscience to propose The Synchronicity Hypothesis of Dance, which states that humans dance to enhance both intra- and inter-brain synchrony. We outline a neurocentric definition of dance, which suggests that dance involves neurobehavioral processes in seven distinct areas including sensory, motor, cognitive, social, emotional, rhythmic, and creative. We explore The Synchronicity Hypothesis of Dance through several avenues. First, we examine evolutionary theories of dance, which suggest that dance drives interpersonal coordination. Second, we examine fundamental movement patterns, which emerge throughout development and are omnipresent across cultures of the world. Third, we examine how each of the seven neurobehaviors increases intra- and inter-brain synchrony. Fourth, we examine the neuroimaging literature on dance to identify the brain regions most involved in and affected by dance. The findings presented here support our hypothesis that we engage in dance for the purpose of intrinsic reward, which as a result of dance-induced increases in neural synchrony, leads to enhanced interpersonal coordination. This hypothesis suggests that dance may be helpful to repattern oscillatory activity, leading to clinical improvements in autism spectrum disorder and other disorders with oscillatory activity impairments. Finally, we offer suggestions for future directions and discuss the idea that our consciousness can be redefined not just as an individual process but as a shared experience that we can positively influence by dancing together.

Biosensing and Actuation-Platforms Coupling Body Input-Output Modalities for Affective Technologies

Research in the use of ubiquitous technologies, tracking systems and wearables within mental health domains is on the rise. In recent years, affective technologies have gained traction and garnered the interest of interdisciplinary fields as the research on such technologies matured. However, while the role of movement and bodily experience to affective experience is well-established, how to best address movement and engagement beyond measuring cues and signals in technology-driven interactions has been unclear. In a joint industry-academia effort, we aim to remodel how affective technologies can help address body and emotional self-awareness. We present an overview of biosignals that have become standard in low-cost physiological monitoring and show how these can be matched with methods and engagements used by interaction designers skilled in designing for bodily engagement and aesthetic experiences. Taking both strands of work together offers unprecedented design opportunities that inspire further research. Through first-person soma design, an approach that draws upon the designer's felt experience and puts the sentient body at the forefront, we outline a comprehensive work for the creation of novel interactions in the form of couplings that combine biosensing and body feedback modalities of relevance to affective health. These couplings lie within the creation of design toolkits that have the potential to render rich embodied interactions to the designer/user. As a result we introduce the concept of "orchestration". By orchestration, we refer to the design of the overall interaction: coupling sensors to actuation of relevance to the affective experience; initiating and closing the interaction; habituating; helping improve on the users' body awareness and engagement with emotional experiences; soothing, calming, or energising, depending on the affective health condition and the intentions of the designer. Through the creation of a range of prototypes and couplings we elicited requirements on broader orchestration mechanisms. First-person soma design lets researchers look afresh at biosignals that, when experienced through the body, are called to reshape affective technologies with novel ways to interpret biodata, feel it, understand it and reflect upon our bodies.

Free-Form Dance as an Alternative Interaction for Adult Grandchildren and Their Grandparents

Shared leisure activities fulfill a central role in strengthening the relationship with adult grandchildren and provide a vehicle for transmission of values. Thus, it is likely that joint activity alongside support and focused guidance in communication between adult grandchildren and grandparents will help strengthen their relationship. Based on theory and research on dance/movement therapy in old age, and on development processes in the family, the aim of the present study is to discover the significance of free-form dance jointly engaged in by adult grandchildren with their grandparents, for each of the generations. Using action research, 16 dance-movement therapists and their grandmothers participated in three dance meetings in their grandmothers' homes. Based on filmed videos of the sessions, personal diaries, and semi-structured interviews, it was found that among the granddaughters, the meeting aroused concerns about their lack of skill to create a meaningful meeting and to protect their grandmothers throughout the meeting. It was also found that regular free-form dance meetings in which the granddaughter mirrored her grandmother's movements while suggesting expansions to the movements, encouraging eye contact, touch, and playfulness, and empowering her ability, while also granting legitimacy to rest, created a change in the grandmother's state of mind: positive memories and feelings appeared, as did uplifted spirits. For the granddaughters, the meeting altered their perspective on old age and provided a space for processes of parting. The implications of identifying assistive components of joint dancing for creating an intervention model for adult grandchildren's support of the elderly in the community are extensively discussed.

The Alba Method and the Science of Emotions

The Alba Method, also known as Alba Emoting™, is a way to work with emotions by using specific respiratory, postural, and facial behaviors. The Alba Method is based on psychophysiological research. This article reviews the original research that gave rise to the method. Criticisms and limitations of that research are noted. The article then presents relevant recent theory and research. Recent theoretical and empirical work suggests that anger, fear, sadness, joy/laughter, eroticism, and tenderness are distinct emotions and that each includes a specific respiratory, postural, and/or facial pattern. Recent research also shows that somatic feedback can induce anger, fear, sadness, and joy. Of note, there is a lack of studies on the breathing and postural patterns of eroticism. More studies will be needed to solve discrepancies in the description of the breathing patterns of tenderness, laughter, and sadness.

Differential use of emotion regulation strategies when engaging in artistic creative activities amongst those with and without depression

The ability to effectively regulate our emotions has been shown to be impaired in people with depression. Arts activities have been found to improve depression, but whether people with depression make differential use of emotion regulation strategies (ERSs) when engaging in the arts remains unclear. This study analysed data from 11,248 individuals with depression who were matched on demographics, personality and arts experience with a further 11,248 individuals without depression. We found a significantly lower overall use of self-reported ERSs when engaging in arts amongst those with depression; specifically lower use of approach strategies (e.g. reappraisal) and self-development strategies (e.g. improved self-esteem), but the same use of avoidance strategies (e.g. distraction). However, these differences were very slight (very small effect size and <1% difference). This suggests that people with depression still experience benefits for emotion regulation, which could help to explain the beneficial effects of arts interventions reducing symptoms of depression.

How Do We Recognize Emotion From Movement? Specific Motor Components Contribute to the Recognition of Each Emotion

Are there movement features that are recognized as expressing each basic emotion by most people, and what are they? In our previous study we identified sets of Laban movement components that, when moved, elicited the basic emotions of anger, sadness, fear, and happiness. Our current study aimed to investigate if movements composed from those sets would be recognized as expressing those emotions, regardless of any instruction to the mover to portray emotion. Our stimuli included 113 video-clips of five Certified Laban Movement Analysts (CMAs) moving combinations of two to four movement components from each set associated with only one emotion: happiness, sadness, fear, or anger. Each three second clip showed one CMA moving a single combination. The CMAs moved only the combination's required components. Sixty-two physically and mentally healthy men (n = 31) and women (n = 31), ages 19–48, watched the clips and rated the perceived emotion and its intensity. To confirm participants' ability to recognize emotions from movement and to compare our stimuli to existing validated emotional expression stimuli, participants rated 50 additional clips of bodily motor expressions of these same emotions validated by Atkinson et al. (2004). Results showed that for both stimuli types, all emotions were recognized far above chance level. Comparing recognition accuracy of the two clip types revealed better recognition of anger, fear, and neutral emotion from Atkinson's clips of actors expressing emotions, and similar levels of recognition accuracy for happiness and sadness. Further analysis was performed to determine the contribution of specific movement components to the recognition of the studied emotions. Our results indicated that these specific Laban motor components not only enhance feeling the associated emotions when moved, but also contribute to recognition of the associated emotions when being observed, even when the mover was not instructed to portray emotion, indicating that the presence of these movement components alone is sufficient for emotion recognition. This research-based knowledge regarding the relationship between Laban motor components and bodily emotional expressions can be used by dance-movement and drama therapists for better understanding of clients' emotional movements, for creating appropriate interventions, and for enhancing communication with other practitioners regarding bodily emotional expression.

How Shall I Count the Ways? A Method for Quantifying the Qualitative Aspects of Unscripted Movement With Laban Movement Analysis

There is significant clinical evidence showing that creative and expressive movement processes involved in dance/movement therapy (DMT) enhance psycho-social well-being. Yet, because movement is a complex phenomenon, statistically validating which aspects of movement change during interventions or lead to significant positive therapeutic outcomes is challenging because movement has multiple, overlapping variables appearing in unique patterns in different individuals and situations. One factor contributing to the therapeutic effects of DMT is movement's effect on clients' emotional states. Our previous study identified sets of movement variables which, when executed, enhanced specific emotions. In this paper, we describe how we selected movement variables for statistical analysis in that study, using a multi-stage methodology to identify, reduce, code, and quantify the multitude of variables present in unscripted movement. We suggest a set of procedures for using Laban Movement Analysis (LMA)-described movement variables as research data. Our study used LMA, an internationally accepted comprehensive system for movement analysis, and a primary DMT clinical assessment tool for describing movement. We began with Davis's (1970) three-stepped protocol for analyzing movement patterns and identifying the most important variables: (1) We repeatedly observed video samples of validated (Atkinson et al., 2004) emotional expressions to identify prevalent movement variables, eliminating variables appearing minimally or absent. (2) We use the criteria repetition, frequency, duration and emphasis to eliminate additional variables. (3) For each emotion, we analyzed motor expression variations to discover how variables cluster: first, by observing ten movement samples of each emotion to identify variables common to all samples; second, by qualitative analysis of the two best-recognized samples to determine if phrasing, duration or relationship among variables was significant. We added three new steps to this protocol: (4) we created Motifs (LMA symbols) combining movement variables extracted in steps 1-3; (5) we asked participants in the pilot study to move these combinations and quantify their emotional experience. Based on the results of the pilot study, we eliminated more variables; (6) we quantified the remaining variables' prevalence in each Motif for statistical analysis that examined which variables enhanced each emotion. We posit that our method successfully quantified unscripted movement data for statistical analysis.

Computational elucidation of the effects induced by music making

Music making, in the form of free improvisations, is a common technique in music therapy, used to express one’s feelings or ideas in the non-verbal language of music. In the broader sense, arts therapies, and music therapy in particular, are used to induce therapeutic and psychosocial effects, and to help mitigate symptoms in serious and chronic diseases. They are also used to empower the wellbeing and quality of life for both healthy individuals and patients. However, much research is still required to understand how music-based and arts-based approaches work, and to eventually enhance their effectivity. The clinical setting employing the arts constitutes a rich dynamic environment of occurrences that is difficult to capture, being driven by complex, simultaneous, and interwoven behavioral processes. Our computational paradigm is designed to allow substantial barriers in the arts-based fields to be overcome by enabling the rigorous and quantitative tracking, analyzing and documenting of the underlying dynamic processes. Here we expand the method for the music modality and apply it in a proof of principle experimentation to study expressive behavioral effects of diverse musical improvisation tasks on individuals and collectives. We have obtained statistically significant results that include empirical expressive patterns of feelings, as well as proficiency, gender and age behavioral differences, which point to variation factors of these categorized collectives in music making. Our results also suggest that males are more exploratory than females (e.g., they exhibit a larger range of octaves and intensity) and that the older people express musical characterized negativity more than younger ones (e.g., exhibiting larger note clusters and more chromatic transitions). We discuss implications of these findings to music therapy, such as behavioral diversity causality in treatment, as well as future scientific and clinical applications of the methodology.

Force production parameters as behavioural measures for anger expression and control: The Method of Stamp Strike Shout

This study presents first test results of a new performance-based, psychomotor method to measure anger expression and control, based on voice expression and physical force production in directional movement of arms and legs, called the Method of Stamp Strike Shout (MSSS). Recorded are the standardized impact of stamping on a force plate, hitting a punching bag, and the amplitude of shouting in a microphone at various force levels. The premise is, that these body behaviours stand for the ‘urge to act or shout’ that belongs to anger-related emotions. The MSSS is meant to be applied in addition to potentially biased self-report questionnaires and has been designed for diagnostic as well as therapeutic purposes in clinical practice. First, this paper focusses on the instrumentation, internal structure and reliability of the MSSS. An explorative study in a student sample (n = 104) shows correlation patterns between increasing and decreasing levels of force production within each subtest (Stamp, Strike and Shout) and between the three subtests. We found excellent internal consistency of the three subtests and high test-retest reliability. The parameters of increasing and decreasing force levels form the slopes of what we call a force pyramid. To adjust for the clustering within persons, aggregated outcomes were calculated: sum scores per subtest as an indication of total force produced, two linear contrast scores to indicate the rate of increase / decrease, and two quadratic contrast scores as measures of the curvature of the slopes. On all subtests, all aggregated scores showed differences between men and women, also when controlled for weight. To test the validity of the MSSS, the second part of the paper examines the relationship between force parameters and anger coping style, measured by the Self-Expression and Control Scale (SECS). The results suggest that the Shout subtest was the most sensitive indicator for anger coping style, showing negative correlations with Anger In, for women as well as men. For women, higher amplitude was also associated with higher Anger Out and lower amplitude with higher Anger Control. The Stamp subtest showed weak positive correlations with the Anger In subscales, whereas no correlations were found on the Strike subtest. Further, a more robust comparison was made between two groups of participants who reported to have an internalizing versus an externalizing anger coping style. Results indicated that internalizing women as well as men used less force than externalizing participants on all three subtests, especially on the Shout subtest. This was confirmed by lower mean sum scores on the Shout subtest for internalizing women compared with externalizing women. No differences in linear contrast scores were shown between internalizing and externalizing participants. The quadratic contrast scores suggested differences of the curvation of the slopes between women with more or less anger control when stamping, and men with more or less anger control when striking. As this is an explorative study, findings should be interpreted with caution.

Movement Notation Revisited: Syntax of the Common Morphokinetic Alphabet (CMA) System

Advances in the study of non-verbal behavior and communication have generated a need for movement transcription systems capable of incorporating continuous developments in visual and computer technology. Our research team has been working on the construction of a common morphokinetic alphabet (CMA) for the systematic observation of daily life activities. The project, which was launched several years ago, was designed to create a system for describing and analyzing body motion expression, physical activity, and physical appearance. In this paper, we describe an idiosyncratic application of Noam Chomsky’s phrase marker grammar to the morphokinetic phrase, the objective being to establish the grammatical rules and basic order of the symbol string according to a relational tree formed by the breakdown of the syntactic components identified as structuring the visual description of movement. Criteria for using the CMA as a coding system and a free transcription system are proposed.

Understanding Engagement in Dementia Through Behavior. The Ethographic and Laban-Inspired Coding System of Engagement (ELICSE) and the Evidence-Based Model of Engagement-Related Behavior (EMODEB)

Engagement in activities is of crucial importance for people with dementia. State of the art assessment techniques rely exclusively on behavior observation to measure engagement in dementia. These techniques are either too general to grasp how engagement is naturally expressed through behavior or too complex to be traced back to an overall engagement state. We carried out a longitudinal study to develop a coding system of engagement-related behavior that could tackle these issues and to create an evidence-based model of engagement to make meaning of such a coding system. Fourteen elderlies with mild to moderate dementia took part in the study. They were involved in two activities: a game-based cognitive stimulation and a robot-based free play. The coding system was developed with a mixed approach: ethographic and Laban-inspired. First, we developed two ethograms to describe the behavior of participants in the two activities in detail. Then, we used Laban Movement Analysis (LMA) to identify a common structure to the behaviors in the two ethograms and unify them in a unique coding system. The inter-rater reliability (IRR) of the coding system proved to be excellent for cognitive games (kappa = 0.78) and very good for robot play (kappa = 0.74). From the scoring of the videos, we developed an evidence-based model of engagement. This was based on the most frequent patterns of body part organization (i.e., the way body parts are connected in movement) observed during activities. Each pattern was given a meaning in terms of engagement by making reference to the literature. The model was tested using structural equation modeling (SEM). It achieved an excellent goodness of fit and all the hypothesized relations between variables were significant. We called the coding system that we developed the Ethographic and Laban-Inspired Coding System of Engagement (ELICSE) and the model the Evidence-based Model of Engagement-related Behavior (EMODEB). To the best of our knowledge, the ELICSE and the EMODEB constitute the first formalization of engagement-related behavior for dementia that describes how behavior unfolds over time and what it means in terms of engagement.

Can Tai Chi and Qigong Postures Shape Our Mood? Toward an Embodied Cognition Framework for Mind-Body Research

Dynamic and static body postures are a defining characteristic of mind-body practices such as Tai Chi and Qigong (TCQ). A growing body of evidence supports the hypothesis that TCQ may be beneficial for psychological health, including management and prevention of depression and anxiety. Although a variety of causal factors have been identified as potential mediators of such health benefits, physical posture, despite its visible prominence, has been largely overlooked. We hypothesize that body posture while standing and/or moving may be a key therapeutic element mediating the influence of TCQ on psychological health. In the present paper, we summarize existing experimental and observational evidence that suggests a bi-directional relationship between body posture and mental states. Drawing from embodied cognitive science, we provide a theoretical framework for further investigation into this interrelationship. We discuss the challenges involved in such an investigation and propose suggestions for future studies. Despite theoretical and practical challenges, we propose that the role of posture in mind-body exercises such as TCQ should be considered in future research.

Coverage of Emotion Recognition for Common Wearable Biosensors

The present research proposes a novel emotion recognition framework for the computer prediction of human emotions using common wearable biosensors. Emotional perception promotes specific patterns of biological responses in the human body, and this can be sensed and used to predict emotions using only biomedical measurements. Based on theoretical and empirical psychophysiological research, the foundation of autonomic specificity facilitates the establishment of a strong background for recognising human emotions using machine learning on physiological patterning. However, a systematic way of choosing the physiological data covering the elicited emotional responses for recognising the target emotions is not obvious. The current study demonstrates through experimental measurements the coverage of emotion recognition using common off-the-shelf wearable biosensors based on the synchronisation between audiovisual stimuli and the corresponding physiological responses. The work forms the basis of validating the hypothesis for emotional state recognition in the literature and presents coverage of the use of common wearable biosensors coupled with a novel preprocessing algorithm to demonstrate the practical prediction of the emotional states of wearers.

Psychophysiological effects of audiovisual stimuli during cycle exercise

Immersive environments induced by audiovisual stimuli are hypothesised to facilitate the control of movements and ameliorate fatigue-related symptoms during exercise. The objective of the present study was to investigate the effects of pleasant and unpleasant audiovisual stimuli on perceptual and psychophysiological responses during moderate-intensity exercises performed on an electromagnetically braked cycle ergometer. Twenty young adults were administered three experimental conditions in a randomised and counterbalanced order: unpleasant stimulus (US; e.g. images depicting laboured breathing); pleasant stimulus (PS; e.g. images depicting pleasant emotions); and neutral stimulus (NS; e.g. neutral facial expressions). The exercise had 10 min of duration (2 min of warm-up + 6 min of exercise + 2 min of warm-down). During all conditions, the rate of perceived exertion and heart rate variability were monitored to further understanding of the moderating influence of audiovisual stimuli on perceptual and psychophysiological responses, respectively. The results of the present study indicate that PS ameliorated fatigue-related symptoms and reduced the physiological stress imposed by the exercise bout. Conversely, US increased the global activity of the autonomic nervous system and increased exertional responses to a greater degree when compared to PS. Accordingly, audiovisual stimuli appear to induce a psychophysiological response in which individuals visualise themselves within the story presented in the video. In such instances, individuals appear to copy the behaviour observed in the videos as if the situation was real. This mirroring mechanism has the potential to up-/down-regulate the cardiac work as if in fact the exercise intensities were different in each condition.

Self-Active Relaxation Therapy (SART) and Self-Regulation: A Comprehensive Review and Comparison of the Japanese Body Movement Approach

Relaxation programs are known for their versatility, cost-effectiveness, and ability to help people obtain skills to regulate their mental states and promote and maintain health. Self-Active Relaxation Therapy (SART) is a body-oriented approach to psychological rehabilitation that grew out of the suite of movement tasks developed in the Japanese psychotherapy known as Dohsa-hou, or the body movement method. The program for SART is designed to stretch, twist, and release areas of the upper, lower, and whole body through a set of movements which are guided by the practitioner and performed "self-actively" by the client to empower them to learn to recognize points of tension in the body and act on their own to achieve a relaxed state. Numerous studies have showed that SART is associated with reduced negative mood states and enhanced body awareness. A short version of SART has been investigated as a psychological support salon activity for the elderly, mothers raising children, special needs students, and children adapting to school. The full program has also been applied in clinical settings to address or supplement treatments for psychological and developmental conditions, and longitudinally employed in community contexts to assist residents facing long-term disaster recovery circumstances in Japan. This paper reviews the research and applications of SART as a bodymind approach by critically examining evidence and research gaps for future studies, comparing it with techniques established in the literature, and positing a self-regulatory framework for SART as a tool to become aware of bodily states, regulate mood, and manage stress through the deliberate practice of relaxation.

A Somatic Movement Approach to Fostering Emotional Resiliency through Laban Movement Analysis

Although movement has long been recognized as expressing emotion and as an agent of change for emotional state, there was a dearth of scientific evidence specifying which aspects of movement influence specific emotions. The recent identification of clusters of Laban movement components which elicit and enhance the basic emotions of anger, fear, sadness and happiness indicates which types of movements can affect these emotions (Shafir et al., 2016), but not how best to apply this knowledge. This perspective paper lays out a conceptual groundwork for how to effectively use these new findings to support emotional resiliency through voluntary choice of one's posture and movements. We suggest that three theoretical principles from Laban Movement Analysis (LMA) can guide the gradual change in movement components in one's daily movements to somatically support shift in affective state: (A) Introduce new movement components in developmental order; (B) Use LMA affinities-among-components to guide the expansion of expressive movement range and (C) Sequence change among components based on Laban's Space Harmony theory to support the gradual integration of that new range. The methods postulated in this article have potential to foster resiliency and provide resources for self-efficacy by expanding our capacity to adapt emotionally to challenges through modulating our movement responses.

Using Movement to Regulate Emotion: Neurophysiological Findings and Their Application in Psychotherapy

Emotion regulation is a person’s active attempt to manage their emotional state by enhancing or decreasing specific feelings. Peripheral theories of emotion argue that the origins of emotions stem from bodily responses. This notion has been reformulated in neurophysiological terms by Damasio, who claimed that emotions are generated by conveying the current state of the body to the brain through interoceptive and proprioceptive afferent input. The resulting brain activation patterns represent unconscious emotions and correlate with conscious feelings. This proposition implies that through deliberate control of motor behavior and its consequent proprioception and interoception, one could regulate his emotions and affect his feelings. This concept is used in dance/movement (psycho)therapy where, by guiding to move in a certain way, the therapist helps the client to evoke, process, and regulate specific emotions. Exploration and practice of new and unfamiliar motor patterns can help the client to experience new unaccustomed feelings. The idea that certain motor qualities enhance specific emotions is utilized by the therapist also when she mirrors the client’s movements or motor qualities in order to feel what the client feels, and empathize with them. Because of the mirror neurons, feeling what the client feels is enabled also through observation and imagination of their movements and posture. This principle can be used by verbal therapists as well, who should be aware of its bi-directionality: clients seeing the therapist’s motor behavior are unconsciously affected by the therapist’s bodily expressions. Additional implications for psychotherapy, of findings regarding mirror neurons activation, are discussed.