Drolet, Matthis

[["dc.bibliographiccitation.artnumber","144"],["dc.bibliographiccitation.firstpage","1"],["dc.bibliographiccitation.issue","1"],["dc.bibliographiccitation.journal","Frontiers in Human Neuroscience"],["dc.bibliographiccitation.lastpage","11"],["dc.bibliographiccitation.volume","8"],["dc.contributor.author","Drolet, Matthis"],["dc.contributor.author","Schubotz, Ricarda I."],["dc.contributor.author","Fischer, Julia"],["dc.date.accessioned","2017-09-07T11:47:39Z"],["dc.date.available","2017-09-07T11:47:39Z"],["dc.date.issued","2014"],["dc.description.abstract","Authenticity of vocal emotion expression affects emotion recognition and brain activity in the so-called Theory of Mind (ToM) network, which is implied in the ability to explain and predict behavior by attributing mental states to other individuals. Exploiting the variability of the fundamental frequency (F0 contour), which varies more (higher contour) in play-acted expressions than authentic ones, we examined whether contour biases explicit categorization toward a particular authenticity or emotion category. Moreover, we tested whether contour modulates blood-oxygen-level dependent (BOLD) response in the ToM network and explored the role of task as a top-down modulator. The effects of contour on BOLD signal were analyzed by contrasting high and low contour stimuli within two previous fMRI studies that implemented emotion and authenticity rating tasks. Participants preferentially categorized higher contour stimuli as play-acted and lower contour stimuli as sad. Higher contour was found to up-regulate activation task-independently in the primary auditory cortex. Stimulus contour and task were found to interact in a network including medial prefrontal cortex, with an increase in BOLD signal for low-contour stimuli during explicit perception of authenticity and an increase for high-contour stimuli during explicit perception of emotion. Contour-induced BOLD effects appear to be purely stimulus-driven in early auditory and intonation perception, while being strongly task-dependent in regions involved in higher cognition."],["dc.format.extent","11"],["dc.identifier.doi","10.3389/fnhum.2014.00144"],["dc.identifier.gro","3150679"],["dc.identifier.pmid","24701202"],["dc.identifier.purl","https://resolver.sub.uni-goettingen.de/purl?gs-1/11699"],["dc.identifier.uri","https://resolver.sub.uni-goettingen.de/purl?gro-2/7462"],["dc.language.iso","en"],["dc.notes.intern","Merged from goescholar"],["dc.notes.status","final"],["dc.relation.issn","1662-5161"],["dc.rights","CC BY 3.0"],["dc.rights.uri","https://creativecommons.org/licenses/by/3.0"],["dc.subject","uthenticity; context; emotion; prosody; speech; theory of mind"],["dc.title","Recognizing the authenticity of emotional expressions: F0 contour matters when you need to know"],["dc.type","journal_article"],["dc.type.internalPublication","unknown"],["dc.type.peerReviewed","no"],["dc.type.version","published_version"],["dspace.entity.type","Publication"]]

[["dc.bibliographiccitation.firstpage","318"],["dc.bibliographiccitation.issue","2"],["dc.bibliographiccitation.journal","Cognitive, Affective, & Behavioral Neuroscience"],["dc.bibliographiccitation.lastpage","329"],["dc.bibliographiccitation.volume","13"],["dc.contributor.author","Drolet, Matthis"],["dc.contributor.author","Schubotz, Ricarda I."],["dc.contributor.author","Fischer, Julia"],["dc.date.accessioned","2017-09-07T11:47:11Z"],["dc.date.available","2017-09-07T11:47:11Z"],["dc.date.issued","2013"],["dc.description.abstract","Context has been found to have a profound effect on the recognition of social stimuli and correlated brain activation. The present study was designed to determine whether knowledge about emotional authenticity influences emotion recognition expressed through speech intonation. Participants classified emotionally expressive speech in an fMRI experimental design as sad, happy, angry, or fearful. For some trials, stimuli were cued as either authentic or play-acted in order to manipulate participant top-down belief about authenticity, and these labels were presented both congruently and incongruently to the emotional authenticity of the stimulus. Contrasting authentic versus play-acted stimuli during uncued trials indicated that play-acted stimuli spontaneously up-regulate activity in the auditory cortex and regions associated with emotional speech processing. In addition, a clear interaction effect of cue and stimulus authenticity showed up-regulation in the posterior superior temporal sulcus and the anterior cingulate cortex, indicating that cueing had an impact on the perception of authenticity. In particular, when a cue indicating an authentic stimulus was followed by a play-acted stimulus, additional activation occurred in the temporoparietal junction, probably pointing to increased load on perspective taking in such trials. While actual authenticity has a significant impact on brain activation, individual belief about stimulus authenticity can additionally modulate the brain response to differences in emotionally expressive speech."],["dc.identifier.doi","10.3758/s13415-013-0151-0"],["dc.identifier.gro","3150643"],["dc.identifier.pmid","23404563"],["dc.identifier.purl","https://resolver.sub.uni-goettingen.de/purl?gs-1/10981"],["dc.identifier.uri","https://resolver.sub.uni-goettingen.de/purl?gro-2/7423"],["dc.language.iso","en"],["dc.notes.intern","Merged from goescholar"],["dc.notes.status","final"],["dc.relation.issn","1530-7026"],["dc.rights","CC BY 4.0"],["dc.rights.uri","https://creativecommons.org/licenses/by/4.0"],["dc.title","Explicit authenticity and stimulus features interact to modulate BOLD response induced by emotional speech"],["dc.type","journal_article"],["dc.type.internalPublication","unknown"],["dc.type.peerReviewed","yes"],["dc.type.version","published_version"],["dspace.entity.type","Publication"]]

[["dc.bibliographiccitation.firstpage","195"],["dc.bibliographiccitation.issue","3"],["dc.bibliographiccitation.journal","Journal of Nonverbal Behavior"],["dc.bibliographiccitation.lastpage","214"],["dc.bibliographiccitation.volume","39"],["dc.contributor.author","Jürgens, Rebecca"],["dc.contributor.author","Grass, Annika"],["dc.contributor.author","Drolet, Matthis"],["dc.contributor.author","Fischer, Julia"],["dc.date.accessioned","2017-09-07T11:47:14Z"],["dc.date.available","2017-09-07T11:47:14Z"],["dc.date.issued","2015"],["dc.description.abstract","Both in the performative arts and in emotion research, professional actors are assumed to be capable of delivering emotions comparable to spontaneous emotional expressions. This study examines the effects of acting training on vocal emotion depiction and recognition. We predicted that professional actors express emotions in a more realistic fashion than non-professional actors. However, professional acting training may lead to a particular speech pattern; this might account for vocal expressions by actors that are less comparable to authentic samples than the ones by non-professional actors. We compared 80 emotional speech tokens from radio interviews with 80 re-enactments by professional and inexperienced actors, respectively. We analyzed recognition accuracies for emotion and authenticity ratings and compared the acoustic structure of the speech tokens. Both play-acted conditions yielded similar recognition accuracies and possessed more variable pitch contours than the spontaneous recordings. However, professional actors exhibited signs of different articulation patterns compared to non-trained speakers. Our results indicate that for emotion research, emotional expressions by professional actors are not better suited than those from non-actors."],["dc.identifier.doi","10.1007/s10919-015-0209-5"],["dc.identifier.gro","3150659"],["dc.identifier.pmid","26246649"],["dc.identifier.purl","https://resolver.sub.uni-goettingen.de/purl?gs-1/11622"],["dc.identifier.uri","https://resolver.sub.uni-goettingen.de/purl?gro-2/7439"],["dc.language.iso","en"],["dc.notes.intern","Merged from goescholar"],["dc.notes.status","final"],["dc.relation.issn","0191-5886"],["dc.rights","CC BY 4.0"],["dc.rights.uri","https://creativecommons.org/licenses/by/4.0"],["dc.subject","Acoustics; Actors; Emotion; Play-acting; Vocal expressions"],["dc.title","Effect of Acting Experience on Emotion Expression and Recognition in Voice: Non-Actors Provide Better Stimuli than Expected"],["dc.type","journal_article"],["dc.type.internalPublication","unknown"],["dc.type.peerReviewed","yes"],["dc.type.version","published_version"],["dspace.entity.type","Publication"]]

[["dc.bibliographiccitation.artnumber","14"],["dc.bibliographiccitation.firstpage","1"],["dc.bibliographiccitation.issue","1"],["dc.bibliographiccitation.journal","BMC Neuroscience"],["dc.bibliographiccitation.lastpage","9"],["dc.bibliographiccitation.volume","10"],["dc.contributor.author","Fischer, Julia"],["dc.contributor.author","Teufel, Christoph"],["dc.contributor.author","Drolet, Matthis"],["dc.contributor.author","Patzelt, Annika"],["dc.contributor.author","Rübsamen, Rudolf"],["dc.contributor.author","von Cramon, D. Yves"],["dc.contributor.author","Schubotz, Ricarda I."],["dc.date.accessioned","2017-09-07T11:47:13Z"],["dc.date.available","2017-09-07T11:47:13Z"],["dc.date.issued","2009"],["dc.description.abstract","BackgroundLateralized processing of speech is a well studied phenomenon in humans. Both anatomical and neurophysiological studies support the view that nonhuman primates and other animal species also reveal hemispheric differences in areas involved in sound processing. In recent years, an increasing number of studies on a range of taxa have employed an orienting paradigm to investigate lateralized acoustic processing. In this paradigm, sounds are played directly from behind and the direction of turn is recorded. This assay rests on the assumption that a hemispheric asymmetry in processing is coupled to an orienting bias towards the contralateral side. To examine this largely untested assumption, speech stimuli as well as artificial sounds were presented to 224 right-handed human subjects shopping in supermarkets in Germany and in the UK. To verify the lateralized processing of the speech stimuli, we additionally assessed the brain activation in response to presentation of the different stimuli using functional magnetic resonance imaging (fMRI).ResultsIn the naturalistic behavioural experiments, there was no difference in orienting behaviour in relation to the stimulus material (speech, artificial sounds). Contrary to our predictions, subjects revealed a significant left bias, irrespective of the sound category. This left bias was slightly but not significantly stronger in German subjects. The fMRI experiments confirmed that the speech stimuli evoked a significant left lateralized activation in BA44 compared to the artificial sounds.ConclusionThese findings suggest that in adult humans, orienting biases are not necessarily coupled with lateralized processing of acoustic stimuli. Our results – as well as the inconsistent orienting biases found in different animal species – suggest that the orienting assay should be used with caution. Apparently, attention biases, experience, and experimental conditions may all affect head turning responses. Because of the complexity of the interaction of factors, the use of the orienting assay to determine lateralized processing of sound stimuli is discouraged."],["dc.identifier.doi","10.1186/1471-2202-10-14"],["dc.identifier.gro","3150652"],["dc.identifier.purl","https://resolver.sub.uni-goettingen.de/purl?gs-1/5849"],["dc.identifier.uri","https://resolver.sub.uni-goettingen.de/purl?gro-2/7432"],["dc.language.iso","en"],["dc.notes.intern","Merged from goescholar"],["dc.notes.status","final"],["dc.relation.issn","1471-2202"],["dc.rights","Goescholar"],["dc.rights.uri","https://goescholar.uni-goettingen.de/licenses"],["dc.title","Orienting asymmetries and lateralized processing of sounds in humans"],["dc.type","journal_article"],["dc.type.internalPublication","unknown"],["dc.type.peerReviewed","no"],["dc.type.version","published_version"],["dspace.entity.type","Publication"]]

[["dc.bibliographiccitation.firstpage","140"],["dc.bibliographiccitation.issue","1"],["dc.bibliographiccitation.journal","Cognitive, Affective, & Behavioral Neuroscience"],["dc.bibliographiccitation.lastpage","150"],["dc.bibliographiccitation.volume","12"],["dc.contributor.author","Drolet, Matthis"],["dc.contributor.author","Schubotz, Ricarda I."],["dc.contributor.author","Fischer, Julia"],["dc.date.accessioned","2017-09-07T11:47:15Z"],["dc.date.available","2017-09-07T11:47:15Z"],["dc.date.issued","2012"],["dc.description.abstract","The aim of the present study was to determine how authenticity of emotion expression in speech modulates activity in the neuronal substrates involved in emotion recognition. Within an fMRI paradigm, participants judged either the authenticity (authentic or play acted) or emotional content (anger, fear, joy, or sadness) of recordings of spontaneous emotions and reenactments by professional actors. When contrasting between task types, active judgment of authenticity, more than active judgment of emotion, indicated potential involvement of the theory of mind (ToM) network (medial prefrontal cortex, temporoparietal cortex, retrosplenium) as well as areas involved in working memory and decision making (BA 47). Subsequently, trials with authentic recordings were contrasted with those of reenactments to determine the modulatory effects of authenticity. Authentic recordings were found to enhance activity in part of the ToM network (medial prefrontal cortex). This effect of authenticity suggests that individuals integrate recollections of their own experiences more for judgments involving authentic stimuli than for those involving play-acted stimuli. The behavioral and functional results show that authenticity of emotional prosody is an important property influencing human responses to such stimuli, with implications for studies using play-acted emotions."],["dc.identifier.doi","10.3758/s13415-011-0069-3"],["dc.identifier.gro","3150666"],["dc.identifier.uri","https://resolver.sub.uni-goettingen.de/purl?gro-2/7447"],["dc.language.iso","en"],["dc.notes.status","final"],["dc.relation.issn","1530-7026"],["dc.title","Authenticity affects the recognition of emotions in speech: behavioral and fMRI evidence"],["dc.type","journal_article"],["dc.type.internalPublication","unknown"],["dc.type.peerReviewed","yes"],["dspace.entity.type","Publication"]]

[["dc.bibliographiccitation.artnumber","111"],["dc.bibliographiccitation.firstpage","1"],["dc.bibliographiccitation.issue","1"],["dc.bibliographiccitation.journal","Frontiers in Psychology"],["dc.bibliographiccitation.lastpage","10"],["dc.bibliographiccitation.volume","4"],["dc.contributor.author","Jürgens, Rebecca"],["dc.contributor.author","Drolet, Matthis"],["dc.contributor.author","Pirow, Ralph"],["dc.contributor.author","Scheiner, Elisabeth"],["dc.contributor.author","Fischer, Julia"],["dc.date.accessioned","2017-09-07T11:47:40Z"],["dc.date.available","2017-09-07T11:47:40Z"],["dc.date.issued","2013"],["dc.description.abstract","Although the expression of emotions in humans is considered to be largely universal, cultural effects contribute to both emotion expression and recognition. To disentangle the interplay between these factors, play-acted and authentic (non-instructed) vocal expressions of emotions were used, on the assumption that cultural effects may contribute differentially to the recognition of staged and spontaneous emotions. Speech tokens depicting four emotions (anger, sadness, joy, fear) were obtained from German radio archives and re-enacted by professional actors, and presented to 120 participants from Germany, Romania, and Indonesia. Participants in all three countries were poor at distinguishing between play-acted and spontaneous emotional utterances (58.73% correct on average with only marginal cultural differences). Nevertheless, authenticity influenced emotion recognition: across cultures, anger was recognized more accurately when play-acted (z = 15.06, p < 0.001) and sadness when authentic (z = 6.63, p < 0.001), replicating previous findings from German populations. German subjects revealed a slight advantage in recognizing emotions, indicating a moderate in-group advantage. There was no difference between Romanian and Indonesian subjects in the overall emotion recognition. Differential cultural effects became particularly apparent in terms of differential biases in emotion attribution. While all participants labeled play-acted expressions as anger more frequently than expected, German participants exhibited a further bias toward choosing anger for spontaneous stimuli. In contrast to the German sample, Romanian and Indonesian participants were biased toward choosing sadness. These results support the view that emotion recognition rests on a complex interaction of human universals and cultural specificities. Whether and in which way the observed biases are linked to cultural differences in self-construal remains an issue for further investigation."],["dc.identifier.doi","10.3389/fpsyg.2013.00111"],["dc.identifier.gro","3150671"],["dc.identifier.pmid","23493452"],["dc.identifier.purl","https://resolver.sub.uni-goettingen.de/purl?gs-1/10679"],["dc.identifier.uri","https://resolver.sub.uni-goettingen.de/purl?gro-2/7454"],["dc.language.iso","en"],["dc.notes.intern","Merged from goescholar"],["dc.notes.status","final"],["dc.relation.issn","1664-1078"],["dc.rights","Goescholar"],["dc.rights.uri","https://goescholar.uni-goettingen.de/licenses"],["dc.title","Encoding Conditions Affect Recognition of Vocally Expressed Emotions Across Cultures"],["dc.type","journal_article"],["dc.type.internalPublication","unknown"],["dc.type.peerReviewed","yes"],["dc.type.version","published_version"],["dspace.entity.type","Publication"]]