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Background: Obesity is a multifactorial disease reaching pandemic proportions with increasing healthcare costs, advocating the development of better prevention and treatment strategies. Previous research indicates that the gut microbiome plays an important role in metabolic, hormonal, and neuronal cross-talk underlying eating behavior. We therefore aim to examine the effects of prebiotic and neurocognitive behavioral interventions on food decision-making and to assay the underlying mechanisms in a Randomized Controlled Trial (RCT). Method: This study uses a parallel arm RCT design with a 26-week intervention period. We plan to enroll 90 participants (male/diverse/female) living with overweight or obesity, defined as either a Waist-to-Hip Ratio (WHR) ≥ 0.9 (male)/0.85 (diverse, female) or a Body Mass Index (BMI) ≥ 25 kg/m2. Key inclusion criteria are 18–60 years of age and exclusion criteria are type 2 diabetes, psychiatric disease, and Magnetic Resonance Imaging (MRI) contraindications. The interventions comprise either a daily supplementary intake of 30 g soluble fiber (inulin), or weekly neurocognitive behavioral group sessions, compared to placebo (equicaloric maltodextrin). At baseline and follow-up, food decision-making is assessed utilizing task-based MRI. Secondary outcome measures include structural MRI, eating habits, lifestyle factors, personality traits, and mood. Further, we obtain fecal and blood samples to investigate gut microbiome composition and related metabolites. Discussion: This study relies on expanding research suggesting that dietary prebiotics could improve gut microbiome composition, leading to beneficial effects on gut-brain signaling and higher-order cognitive functions. In parallel, neurocognitive behavioral interventions have been proposed to improve unhealthy eating habits and metabolic status. However, causal evidence on how these "bottom-up" and "top-down" processes affect food decision-making and neuronal correlates in humans is still scarce. In addition, microbiome, and gut-brain-axis-related mediating mechanisms remain unclear. The present study proposes a comprehensive approach to assess the effects of these gut-brain-related processes influencing food decision-making in overweight and obesity. Trial registration: ClinicalTrials.gov NCT05353504. Retrospectively registered on 29 April 2022. [ABSTRACT FROM AUTHOR]

The law assumes that healthy adults are generally responsible for their actions and have the ability to control their behavior based on rational and moral principles. This contrasts with some recent neuroscientific accounts of action control. Nevertheless, both law and neuroscience acknowledge that strong emotions including fear and anger may "trigger" loss of normal voluntary control over action. Thus, "Loss of Control" is a partial defense for murder under English law, paralleling similar defenses in other legal systems. Here we consider the neuroscientific evidence for such legal classifications of responsibility, particularly focussing on how emotional states modulate voluntary motor control and sense of agency. First, we investigate whether neuroscience could contribute an evidence-base for law in this area. Second, we consider the societal impact of some areas where legal thinking regarding responsibility for action diverges from neuroscientific evidence: should we be guided by normative legal traditions, or by modern understanding of brain functions? In addressing these objectives, we propose a translation exercise between neuroscientific and legal terms, which may assist future interdisciplinary research. [ABSTRACT FROM AUTHOR]

Results remain mixed regarding the effects of incubation tasks on divergent thinking, a type of creativity, generally assessed via the Unusual Uses Task (UUT). Using a within-subjects design, we compared 64 participants' performance on the UUT, after four different incubation tasks: copy a simple painting, copy a complex painting, 0-back-task, and rest. We hypothesized that an arts-related activity during incubation (here: copy a painting) would boost subsequent creativity. Five different creativity scores were computed from the raw UUT data, and we provide a step-by-step guide for how to compute these: fluency, flexibility, originality, subjective creativity, and usefulness. Creativity was only modulated by sex; women outperformed men on creative fluency. No other variables, nor the incubations, modulated any of participants' creativity scores. A within-group comparison showed that the unusual uses of our all-Iranian participants were more useful than unique, echoing previous work suggesting differences between Eastern and Western conceptions of creativity. [ABSTRACT FROM AUTHOR]

Grouping research participants by culture or language proficiency may no longer suffice to investigate cognitive universals and differences cross-culturally, due to the interconnectedness of our multicultural world. Based on immigration psychology research, we provide a 'proof of principle' for three culture screening tools. Across five online experiments (total N = 440), we developed (1) The Cultural Traditions Questionnaire (CTQ), (2) the Arts Engagement in Childhood Questionnaire (AECQ), and (3) the Enculturation and Acculturation Quiz (EAQ). While these screening tools are tailored to Iranian and English cultures, the procedures provided here are expandable to other cultures. The screening scores predicted emotional attachment to a culture better than traditional variables used in cross-cultural research (self-ascribed culture group, country of residence during formative years, mother tongue). Continuous measures of enculturation and acculturation are potentially better predictors for downstream variables of interest, due to their finer granularity and capability to capture multifaceted cultural identities. [ABSTRACT FROM AUTHOR]

Dance has entered mainstream empirical research: dance as an experimental stimulus, and dancers as movement experts. Informed by several sources, including primary sources (original, historical documents, and oral reports, such as interviews with practitioners and academic scholars of Iranian dance genres) and secondary sources (research literature), we describe what we label "Iranian classical dance" within this paper as an important resource for empirical research, not only in humanities scholarship but also, and importantly, for empirical aesthetics, emotion psychology, cross‐cultural psychology, and affective neuroscience. For this purpose, we (1) describe the aesthetics, characteristics, and history of Iranian classical dance; (2) outline issues of definition and systematization; and (3) give an overview of the cultural complexities and sociopolitical issues regarding Iranian classical dance in the past 40 years, which have shaped its current form. After the political revolution of 1979 (Iranian solar calendar year: 1358), dance in Iran—both as everyday practice and as a cultural heritage—was first forbidden, and now remains heavily restricted. International, interdisciplinary research teams can contribute to safeguarding Iranian classical dance in the future by firmly enshrining it into empirical research on human dance. We outline empirical research perspectives on Iranian classical dance, dataset resources, and expert communities. [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]

People differ in their responsiveness to aesthetic experiences. It is important to understand the role of culture in such individual differences, yet existing tools for assessing aesthetic responsiveness largely focus on North American and European cultures. We created a Farsi translated and culturally adapted version of the Aesthetic Responsiveness Assessment (AReA) and evaluated its psychometric properties. Construct validity and internal consistency were evaluated in a sample of 1,586 participants. Moreover, convergent and discriminant validity were investigated using the Behavioral Avoidance/Inhibition Scales (BIS-BAS), Big Five Inventory-2, Barcelona Music Reward Questionnaire (BMRQ), and the Temporal Experience of Pleasure Scale (TEPS). Further, the test–retest reliability of AReA was examined for the first time in a subsample of participants (n = 160) who answered the questionnaire again after 6 months. In addition to an acceptable structural validity (comparative fit index, CFI =.905), the Farsi version of AReA showed good internal consistency. Cronbach's α for the overall score was.848 and varied between.64 and.81 for subscales. Concerning convergent and discriminant validity, AReA subscales were positively correlated with subscales of TEPS, the Emotion Evocation subscale of BMRQ, Behavioral Avoidance, and Openness, and were unrelated to Behavioral Inhibition, Conscientiousness, and Negative Emotionality. Moreover, AReA subscales showed different patterns of correlations with other questionnaires. Finally, all subscales of AReA showed high test–retest reliability, ranging from.715 to.778. Our results confirm the validity of the Farsi version of AReA and provide a new measure of aesthetic responsiveness, useful in Farsi-speaking communities, which facilitates cross-cultural research in empirical aesthetics. [ABSTRACT FROM AUTHOR]

Is the use of psychological and neuroscientific methods for neuromarketing research always aligned with the principles of ethical research practice? Some neuromarketing endeavours have passed from informing consumers about available options, to helping to market as many products to consumers as possible. Needs are being engineered, using knowledge about the human brain to increase consumption further, regardless of individual, societal and environmental needs and capacities. In principle, the ground ethical principle of any scientist is to further individual, societal and environmental health and well-being with their work. If their findings can be used for the opposite, this must be part of the scientist's considerations before engaging in such research and to make sure that the risks for misuse are minimised. Against this backdrop, we provide a series of real-life examples and a non-exhaustive literature review, to discuss in what way some practices in the neuromarketing domain may violate the Helsinki Declaration of Experimentation with Human Subjects. This declaration was set out to regulate biomedical research, but has since its inception been applied internationally also to behavioural and social research. We illustrate, point by point, how these ground ethical principles should be applied also to the neuromarketing domain. Indisputably, the growth in consumption is required due to current prevalent economical models. Thus, in the final part of the paper, we discuss how alternative models may be promotable to a larger public, aided by more ethical marketing endeavours, based on neuroscientific discoveries about the human brain. We propose this as a philosophical question, a point of discussion for the future, to make neuromarketing as a discipline, fit for the future, respecting the ethical implications of this research. [ABSTRACT FROM AUTHOR]

Moral dilemmas are a useful tool to investigate empirically, which parameters of a given situation modulate participants' moral judgment, and in what way. In an effort to provide moral judgment data from a non-WEIRD culture, we provide the translation and validation of 48 classical moral dilemmas in Persian language. The translated dilemma set was submitted to a validation experiment with N = 82 Iranian participants. The four-factor structure of this dilemma set was confirmed; including Personal Force (Personal, Impersonal), Benefit Recipient (Self, Other), Evitability (Avoidable, Inevitable), and Intentionality (Accidental, Instrumental). When comparing moral judgments of Iranian participants to those of Spanish and Italian participants' from previous research with the same dilemma set, differences emerged. Iranian participants' moral judgments were more deontological (i.e., they refrained from harm), than Spanish and Italian participants. Religiosity made participants' moral judgments more deontological, and also dysphoric mood resulted in a more deontological response style. [ABSTRACT FROM AUTHOR]

"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. [ABSTRACT FROM AUTHOR]

Destruction of cultural heritage and artworks e.g. by terrorist groups has significant psychological effects for individuals and communities. This article outlines how the negative psychological effects of iconoclasm and arts destruction may be rooted in the human social brain. The proposed neurocognitive mechanisms include: (1) associative learning mechanisms (memory-reward links), (2) neuroendocrine mechanisms (oxytocin and prolactin reward links) and (3) social touch mechanisms (CT cutaneous mechanoreceptor-reward links). Iconoclasm and arts destruction are a threat to the stability of human psychological systems. [ABSTRACT FROM AUTHOR]

The Warburg Dance Movement Library is a validated set of 234 video clips of dance movements for empirical research in the fields of cognitive science and neuroscience of action perception, affect perception and neuroaesthetics. The library contains two categories of video clips of dance movement sequences. Of each pair, one version of the movement sequence is emotionally expressive (Clip a), while the other version of the same sequence (Clip b) is not expressive but as technically correct as the expressive version (Clip a). We sought to complement previous dance video stimuli libraries. Facial information, colour and music have been removed, and each clip has been faded in and out. We equalised stimulus length (6 seconds, 8 counts in dance theory), the dancers' clothing and video background and included both male and female dancers, and we controlled for technical correctness of movement execution. The Warburg Dance Movement Library contains both contemporary and ballet movements. Two online surveys (N = 160) confirmed the classification into the two categories of expressivity. Four additional online surveys (N = 80) provided beauty and liking ratings for each clip. A correlation matrix illustrates all variables of this norming study (technical correctness, expressivity, beauty, liking, luminance, motion energy). [ABSTRACT FROM AUTHOR]

Abstract: Interoception is the process of perceiving afferent signals arising from within the body including heart rate (HR), gastric signals, etc., and has been described as a mechanism crucially involved in the creation of self‐awareness and selfhood. The heartbeat perception task is a tool to measure individuals' interoceptive accuracy (IAcc). IAcc correlates positively with measures of self‐awareness and with attributes including emotional sensitivity, empathy, prosocial behavior, and efficient decision making. IAcc is only moderate in the general population, and attempts to identify groups of people who might have higher IAcc due to their specific training (e.g., yoga, meditation) have not been successful. However, a recent study with musicians suggests that those trained in the arts might exhibit high IAcc. Here, we tested IAcc in 20 professional dancers and 20 female control participants on a heartbeat perception task. Dancers had a higher IAcc, and this effect was independent of their lower heart rates (a proxy measure of physical fitness), counting ability, and knowledge about HR. An additional between‐groups analysis after a median split in the dancer group (based on years of dance experience) showed that junior dancers' IAcc differed from controls, and senior dancers' IAcc was higher than both junior dancers and controls. General art experience correlated positively with IAcc. No correlations were found between IAcc and questionnaire measures of empathy, emotional experience, and alexithymia. These findings are discussed in the context of current theories of interoception and emotion—highlighting the features of arts training that might be related to IAcc. [ABSTRACT FROM AUTHOR]

This paper provides an integrative review of neuroscientific and biobehavioral evidence about the effects of dance on the individual across cultural differences. Dance moves us, and many derive aesthetic pleasure from it. However, in addition-and beyond aesthetics-we propose that dance has noteworthy, deeper neurobiological effects. We first summarize evidence that illustrates the centrality of dance to human life indirectly from archaeology, comparative psychology, developmental psychology, and cross-cultural psychology. Second, we review empirical evidence for six neural and biobehavioral functions of dance: (1) attentional focus/flow, (2) basic emotional experiences, (3) imagery, (4) communication, (5) self-intimation, and (6) social cohesion. We discuss the reviewed evidence in relation to current debates in the field of empirical enquiry into the functions of human dance, questioning the positions that dance is (1) just for pleasure, (2) all about sex, (3) just for mood management and well-being, and (4) for experts only. Being a young field, evidence is still piecemeal and inconclusive. This review aims to take a step toward a systematization of an emerging avenue of research: a neuro- and biobehavioral science of dance. [ABSTRACT FROM AUTHOR]

The present study shows how motor expertise increases individuals' sensitivity to others' affective body movement. This enhanced sensitivity is evident in the experts' behavior and physiology. Nineteen affective movement experts (professional ballet dancers) and 24 controls watched 96 video clips of emotionally expressive body movements while they performed an affect rating task (subjective response), and their galvanic skin response was recorded (physiological response). The movements in the clips were either sad or happy, and in half of the trials, movements were played in the order in which they are learned (forward presentation), and in the other half, movements were played backward (control condition). Results showed that motor expertise in affective body movement specifically modulated both behavioral and physiological sensitivity to others' affective body movement, and that this sensitivity is particularly strong when movements are shown in the way they are learnt (forward presentation). The evidence is discussed within current theories of proprioceptive arousal feedback and motor simulation accounts. [ABSTRACT FROM AUTHOR]

The present paper proposes an alternative experimental procedure for studies on empathy. It is intended as a simple and reliable alternative to the commonly used designs, which are certainly very elegant, but costly, as they require delicate real-life experimental manipulations. We advocate that studies using simple well-formulated text stimuli can be methodologically as reliable and valid as game task approaches. To underscore our claim, we report first behavioural evidence that supports this conclusion. The clear advantage of the method we present is that it is less susceptible to bias and, more importantly, more accessible to laboratories that do not have the financial means and the spatial infrastructure to manoeuvre complex and costly experimental setups and techniques. It is an easy to use, computer-based paradigm. [ABSTRACT FROM AUTHOR]

We propose a revised set of moral dilemmas for studies on moral judgment. We selected a total of 46 moral dilemmas available in the literature and fine-tuned them in terms of four conceptual factors (Personal Force, Benefit Recipient, Evitability and Intention) and methodological aspects of the dilemma formulation (word count, expression style, question formats) that have been shown to influence moral judgment. Second, we obtained normative codings of arousal and valence for each dilemma showing that emotional arousal in response to moral dilemmas depends crucially on the factors Personal Force, Benefit Recipient, and Intentionality. Third, we validated the dilemma set confirming that people's moral judgment is sensitive to all four conceptual factors, and to their interactions. Results are discussed in the context of this field of research, outlining also the relevance of our RT effects for the Dual Process account of moral judgment. Finally, we suggest tentative theoretical avenues for future testing, particularly stressing the importance of the factor Intentionality in moral judgment. Additionally, due to the importance of cross-cultural studies in the quest for universals in human moral cognition, we provide the new set dilemmas in six languages (English, French, German, Spanish, Catalan and Danish). The norming values provided here refer to the Spanish dilemma set. [ABSTRACT FROM AUTHOR]

Dance stimuli have been used in experimental studies of (i) how movement is processed in the brain; (ii) how affect is perceived from bodily movement; and (iii) how dance can be a source of aesthetic experience. However, stimulus materials across -- and even within -- these three domains of research have varied considerably. Thus, integrative conclusions remain elusive. Moreover, concerns have been raised that the movements selected for such stimuli are qualitatively too different from the actual art form dance, potentially introducing noise in the data. We propose a library of dance stimuli which responds to the stimuli requirements and design criteria of these three areas of research, while at the same time respecting a dance art -- historical perspective, offering greater ecological validity as compared with previous dance stimulus sets. The stimuli are 5-6 s long video clips, selected from genuine ballet performances. Following a number of coding experiments, the resulting stimulus library comprises 203 ballet dance stimuli coded in (i) 25 qualitative and quantitative movement variables; (ii) affective valence and arousal; and (iii) the aesthetic qualities beauty, liking, and interest. An Excel spreadsheet with these data points accompanies this manuscript, and the stimuli can be obtained from the authors upon request. [ABSTRACT FROM AUTHOR]

There is a broad agreement that the most notorious traits that set our species apart from any other, those that define our humanity, include language as a means of communication and mental representation, a highly developed moral cognition, and appreciation of beauty, together with art and aesthetics. The greatest obstacle for research on the evolution of such cognitive traits is the absence of substantial direct physical evidence in the fossil and archaeological records that can ground testable hypotheses. However, we believe that the comparative method provides a powerful tool to overcome this limitation and that it can provide a rich starting point to characterize the evolution of human cognitive apomorphies. In this paper we review the most significant facts derived from the comparative literature relevant to human language, morality, and appreciation of beauty. We use these facts to assemble a tentative picture of their evolution and we discuss possible common underlying processes and trends. Only an integrated perspective can fully account for the evolutionary history of human language, morality, and appreciation of beauty. [ABSTRACT FROM AUTHOR]

Fine art can be visually pleasing or displeasing; moreover, it can touch us, move us, make us shiver or think. Thus, when looking at a piece of art, different sensory experiences may occur altogether in a multisensory cocktail. Still little is known about what evokes such particular multisensory experience in the art spectator. For instance, Calvo-Merino et al. (2008) found enhanced activity in visual and motor brain areas for dance movements that were liked more; however, these movements mostly consisted of vertical displacements of the dancers' body. Therefore, we conducted a behavioural experiment to study the effect of apparent movement direction on the kinesthetic experience to visual stimuli. We further enquired where in the body participants felt their reactions. Participants rated their responses to a piloted collection of dance photographs which showed snapshots of either vertical or horizontal dance movements. Ratings were made on Likert-scales from 0–10, referring to the participants' subjective experience (visual, kinesthetic, arousal, liking) and perception (difficulty, motion). We expected vertical displacements to enhance the kinesthetic experience in the passive viewer. Further, we compared dancers with non-dancers and Spanish with UK students. Our results confirmed that looking at stills of vertical movements increases kinesthetic sensation. We also found predicted cultural enhancement of the levels of subjective arousal responses in the Spanish sample. The differences between dancers and non-dancers were, however, smaller than expected. We will discuss these findings in view of the existing neuro-aesthetics (Calvo-Merino et al., 2010 ; Cross et al., 2011) and neuroscientific studies (Sedvalis and Keller, 2011) using dance to probe the mirror mechanism in action observation. [ABSTRACT FROM AUTHOR]

Creativity research commonly involves recruiting human raters to judge the originality of responses to divergent thinking tasks, such as the alternate uses task (AUT). These manual scoring practices have benefited the field, but they also have limitations, including labor-intensiveness and subjectivity, which can adversely impact the reliability and validity of assessments. To address these challenges, researchers are increasingly employing automatic scoring approaches, such as distributional models of semantic distance. However, semantic distance has primarily been studied in English-speaking samples, with very little research in the many other languages of the world. In a multilab study (N = 6,522 participants), we aimed to validate semantic distance on the AUT in 12 languages: Arabic, Chinese, Dutch, English, Farsi, French, German, Hebrew, Italian, Polish, Russian, and Spanish. We gathered AUT responses and human creativity ratings (N = 107,672 responses), as well as criterion measures for validation (e.g., creative achievement). We compared two deep learning-based semantic models—multilingual bidirectional encoder representations from transformers and cross-lingual language model RoBERTa—to compute semantic distance and validate this automated metric with human ratings and criterion measures. We found that the top-performing model for each language correlated positively with human creativity ratings, with correlations ranging from medium to large across languages. Regarding criterion validity, semantic distance showed small-to-moderate effect sizes (comparable to human ratings) for openness, creative behavior/achievement, and creative self-concept. We provide open access to our multilingual dataset for future algorithmic development, along with Python code to compute semantic distance in 12 languages. [ABSTRACT FROM AUTHOR]

We examined the influence of affective priming on the appreciation of abstract artworks using an evaluative priming task. Facial primes (showing happiness, disgust or no emotion) were presented under brief (Stimulus Onset Asynchrony, SOA = 20ms) and extended (SOA = 300ms) conditions. Differences in aesthetic liking for abstract paintings depending on the emotion expressed in the preceding primes provided a measure of the priming effect. The results showed that, for the extended SOA, artworks were liked more when preceded by happiness primes and less when preceded by disgust primes. Facial expressions of happiness, though not of disgust, exerted similar effects in the brief SOA condition. Subjective measures and a forced-choice task revealed no evidence of prime awareness in the suboptimal condition. Our results are congruent with findings showing that the affective transfer elicited by priming biases evaluative judgments, extending previous research to the domain of aesthetic appreciation. [ABSTRACT FROM AUTHOR]

Quattrocki and Friston (2014) argued that abnormalities in interoception-the process of representing one's internal physiological states-could lie at the heart of autism, because of the critical role interoception plays in the ontogeny of social-affective processes. This proposal drew criticism from proponents of the alexithymia hypothesis, who argue that social-affective and underlying interoceptive impairments are not a feature of autism per se, but of alexithymia (a condition characterized by difficulties describing and identifying one's own emotions), which commonly co-occurs with autism. Despite the importance of this debate for our understanding of autism spectrum disorder (ASD), and of the role of interoceptive impairments in psychopathology, more generally, direct empirical evidence is scarce and inconsistent. Experiment 1 examined in a sample of 137 neurotypical (NT) individuals the association among autistic traits, alexithymia, and interoceptive accuracy (IA) on a standard heartbeat-tracking measure of IA. In Experiment 2, IA was assessed in 46 adults with ASD (27 of whom had clinically significant alexithymia) and 48 NT adults. Experiment 1 confirmed strong associations between autistic traits and alexithymia, but yielded no evidence to suggest that either was associated with interoceptive difficulties. Similarly, Experiment 2 provided no evidence for interoceptive impairments in autistic adults, irrespective of any co-occurring alexithymia. Bayesian analyses consistently supported the null hypothesis. The observations pose a significant challenge to notions that interoceptive impairments constitute a core feature of either ASD or alexithymia, at least as far as the direct perception of interoceptive signals is concerned. (PsycINFO Database Record [ABSTRACT FROM AUTHOR]

There has been a controversy on the moral import of music and art in general. On the one hand, the moralist view contends that there is some sort of link between art and morality, even if the way to specify this link may be highly diverse. It comprises most of the classical views of art, from Schiller's view of the role of artistic education in moral development, to any view that declares a form of art as corrupt or degenerated, or enlightening. What it is assumed minimally in all of them is that the moral import of an artwork contributes to its aesthetic value. On the other hand, formalist views claim that the aesthetic value of an artwork is genuine and autonomous, and therefore it is independent of any other value. In this chapter we focus on music, as the most difficult case for the moralist standpoint, given the lack of representational content of music. We argue for a variety of the moralist's view according to which the moral import of a musical artwork is not derived from its content (obviously, as it lack any), but from its pragmatics: the context and the intentions that guide its composition and performance, by analogy with any other intentional action, and point to the emotional impact of music as the common ground that bridges moral and aesthetic values. As a provisional conclusion, we outline a research program for brain studies that follows from this proposal, as a way test its predictions, focusing both on the emotional grounds of valuation and their context-dependency., (© 2018 Elsevier B.V. All rights reserved.)

It is well established that emotional responses to stimuli presented to one perceptive modality (e.g., visual) are modulated by the concurrent presentation of affective information to another modality (e.g., auditory)-an effect known as the cross-modal bias. However, the affective mechanisms mediating this effect are still not fully understood. It remains unclear what role different dimensions of stimulus valence and arousal play in mediating the effect, and to what extent cross-modal influences impact not only our perception and conscious affective experiences, but also our psychophysiological emotional response. We addressed these issues by measuring participants' subjective emotion ratings and their Galvanic Skin Responses (GSR) in a cross-modal affect perception paradigm employing videos of ballet dance movements and instrumental classical music as the stimuli. We chose these stimuli to explore the cross-modal bias in a context of stimuli (ballet dance movements) that most participants would have relatively little prior experience with. Results showed (i) that the cross-modal bias was more pronounced for sad than for happy movements, whereas it was equivalent when contrasting high vs. low arousal movements; and (ii) that movement valence did not modulate participants' GSR, while movement arousal did, such that GSR was potentiated in the case of low arousal movements with sad music and when high arousal movements were paired with happy music. Results are discussed in the context of the affective dimension of neuroentrainment and with regards to implications for the art community.