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Sensitivity to betrayal and new intimate relationship building in survivors of intimate partner violence.
OBJECTIVES: There is evidence that prior experience of intimate partner violence (IPV) can lead to high levels of sensitivity to betrayal, shame and self-criticism and interfere with initiation, development and maintenance of future intimate relationships. We measured these variables in women survivors of IPV, evaluating whether they are associated with the quality of current relationships. DESIGN: A cross-sectional, between-groups design was used, comparing women survivors of IPV divided into those satisfied with current intimate relationships, those dissatisfied and IPV survivors not in such a relationship. Women without a history of IPV were included as a benchmark group. METHOD: Four groups: IPV single (N = 34), IPV dissatisfied (N = 25), IPV satisfied (N = 32) and those who had not experienced IPV (N = 42) were compared for betrayal sensitivity, followed by a secondary comparison of shame and self-criticism. Online questionnaires were completed by participants recruited through social media and screened for IPV and relationship status. RESULTS: All IPV groups had significantly higher scores for betrayal sensitivity than the non-clinical group, with IPV satisfied having significantly lower scores than other IPV groups in two subscales: betrayal causing life change and lack of trust due to betrayal. CONCLUSIONS: Betrayal sensitivity is prominent in survivors of IPV, with evidence of a specific link between survivors' relationship satisfaction/status and their lack of trust and ideas of being permanently changed. Those appraisals may make it more challenging to build and maintain satisfactory relationships, or positive relationships may help survivors change their appraisals about betrayal, leading to a lack of trust and life-altering changes.
Accuracy and Consistency of Visual Analog Scales in Ecological Momentary Assessment and Digital Studies
The ubiquity of digital technologies has increased assessments of thoughts, behaviors, and experiences via electronic devices. Surveys on smartphones or laptops often implement Visual Analogue Scales (VAS), recording responses on a continuous slider (0-100). This is particularly relevant for data collection in daily life, such as ecological momentary assessments (EMA), which repeatedly present items on mobile devices. However, the accuracy of digital VAS has been questioned, particularly regarding tactile precision (e.g., ability to accurately select values) and the consistency of scale interpretation both between- and within-persons over time (e.g., change in scale interpretation or reactivity to repeated measures). Participants (N = 3,761, 67.03% female; Mage = 47.09; SD = 14.41) from the Critical Incidents and Psychological Adaptation (CIPA) Study completed a 30-day EMA assessment. We investigated the accuracy of VAS in terms of (1) tactile precision, (2) respondents’ perception of the neutral point post-EMA, and (3) test-retest consistency of affect ratings pre- and post-EMA. (1) Tactile precision was assessed by asking participants to enter exactly 31 on a 0-100 slider. Results showed high precision (M = 31.01; SD = 3.28; 87.0% scored between 30-32). (2) Between-person agreement on scale perception was assessed by asking participants to determine the neutral score on two affect items (unipolar and bipolar). 82.19% and 88.89% indicated the expected scale midpoint (50 and 0, ± 5) as neutral, respectively. Neutral points deviating from the expected midpoint were correlated (r = .71-.73) with the person-specific means across the EMA period on the respective item. (3) Test-retest consistency was evaluated by asking participants to rate how happy/sad they/others would rate affective events (e.g., a serious argument) pre- and post-EMA. Consistency across time was high (median change = 0-5). Findings support the accuracy and consistency of digital VAS, within the scope of the current methods.
Introspective Access or Retrospective Inference? Mind-Wandering Reports Are Shaped by Performance Feedback.
Most mind-wandering paradigms use self-reports following task performance, but the extent to which these reports are confounded by performance cues is unknown. In two experiments with adult human participants, we examined whether self-reports and confidence therein are influenced by performance indicators during visual metronome response tasks. In Experiment 1 (N = 40), sham feedback modulated reports independently of behavioral performance with participants more likely to report mind wandering after incorrect than correct sham feedback. In Experiment 2 (N = 111), we replicated this pattern using a more implicit manipulation of perceived performance-a surreptitious delay in the onset of response targets. Participants were more likely to report mind wandering after this delay than they were in control trials. In both experiments, confidence in on-task reports was lower when the corresponding indicator (falsely) implied poor performance. These findings suggest that mind-wandering reports and experiential state confidence are partly confounded by performance monitoring and have implications for experience-sampling methodologies.
Augmenting art crossmodally: possibilities and pitfalls.
In this narrative historical review, we take a closer look at the question of whether it is possible to augment works of art through crossmodal (specifically audiovisual) means. We start by highlighting an important distinction between three classes of audiovisual crossmodal correspondence: Namely those operating on individual sensory stimuli (so-called basic correspondences), those operating on dynamically-changing stimuli, or else on combinations of unisensory stimuli (so-called mid-level correspondences), and those operating on complex and often aesthetically-meaningful stimuli, such as music and paintings. We also highlight another important distinction between the literature on crossmodal matching and that dedicated to demonstrating crossmodal effects. The latter distinction aligns, in some sense, onto the distinction between crossmodal mapping and crossmodal effects. Although it may not be possible, in any meaningful sense, to translate works of art from one modality into another, that does not deny the possibility of augmenting a work of art by the deliberate addition of stimulation presented to another sensory modality. The aims and objectives of those who have attempted to augment works of art by introducing additional sensory stimulation are discussed. We also draw attention to a number of challenges and/or pitfalls (such as the distraction offered by recourse to the phenomenon of synaesthesia) for those interested in augmenting auditory/visual art crossmodally.