著者

浅岡 章一 山本 隆一郎 西村 律子 野添 健太 福田 一彦

雑誌

江戸川大学紀要 = Bulletin of Edogawa University

巻号頁・発行日

vol.32, pp.145-152, 2022-03-15

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これまで反応時間の計測を伴う認知課題は,専用ソフトウェアがインストールされたPC を用いて実験室等において実施されることが殆どであった。しかし,近年では無料で利用可能な認知課題作成ソフトウェアPsychoPy と,認知実験用サーバーサービスであるPavlovia を組み合わせることなどにより,参加者に自身のPC を用いてインターネットブラウザを通じたオンラインでの認知課題参加を求めることが可能となってきている。本稿では,このPsychoPy とPavlovia の利用に関する著者らの近年の取り組みについて報告するとともに,これらを大学での研究および教育に継続的に利用していくにあたっての管理・運営上の課題についても考察した。

著者

西村 律子 岡ノ谷 一夫 川合 伸幸

出版者

日本認知科学会

雑誌

認知科学 (ISSN:13417924)

巻号頁・発行日

vol.17, no.4, pp.750-760, 2010 (Released:2011-06-06)

参考文献数

12

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A Noh mask carved of wood is known to express various emotions as a result of slight changes in the vertical inclination of the mask during traditional Japanese Noh performances. In Noh, a face that looks up expresses happiness, whereas a face that looks down expresses sadness. We investigated whether pictures of a downward tilted Noh mask and body postures in various inclinations could be recognized as expressing sadness. Picture-frames were extracted every two seconds from a movie playing the stylized sad act of Noh drama, known as Shiori. Results indicated that the participants recognized pictures of masks with small inclinations (i.e., the initial movements in the action) as being sad, whereas the evaluation of sadness diminished in response to pictures with larger inclinations. These results were similar to those obtained for pictures of the complete body posture with small inclinations, which were recognized as being sad, whereas those with larger inclinations were recognized as being happy. The evaluation was significantly altered between two successive postures in which the actor's hand made a large movement. In Experiment 2, the actor's hand was concealed by an object used on the Noh stage, but the results were similar to Experiment 1. As expected, participants identified the emotions expressed by identical pictures showing just the Noh mask that was used in Experiment 1, as expressing emotions similar to those identified in Experiment 1. Pictures of the complete body posture were recognized as sad when they had a small inclination, whereas those with a larger inclination were recognized as being happy. These results suggest that emotions expressed by complete body postures during Noh dramas produce larger effects than those expressed by the Noh mask alone. Moreover, the initial movements of a stylized action determine the emotional label of the action.

著者

中村 真 中尾 花奈子 西村 律子

出版者

江戸川大学

雑誌

江戸川大学紀要 = Bulletin of Edogawa University

巻号頁・発行日

no.30, pp.267-280, 2020-03

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本稿は,衝動性が意欲低下を媒介して間接的に適応感の低さに影響するというモデルを考案し,その妥当性を検討することを目的に行われた実証的研究である。首都圏の四年制大学で心理学系学科に所属する学生を対象に質問紙調査を実施し,モデルの検証を行った。まず,衝動性,意欲低下,適応感の3 つの変数のうち,1 つの変数を制御変数とし,他の2 つの変数間の偏相関係数をすべての組み合わせで算出した結果,「衝動性」→「意欲低下」→「適応感の低さ」という因果関係を示唆する結果が得られた。これをふまえて,衝動性が意欲低下を促し,意欲低下が適応感に負の影響をもたらすことを示す因果モデルの検証をパス解析により探索的に行った。その結果,総じて,男女に共通して「思考・行動の制御不全」「熟慮・集中力の欠如」に特徴づけられる衝動性が,大学生活における意欲の低下を媒介して,適応感の低下を促すという想定した通りの因果関係が裏付けられた。 以上の分析結果に基づいて,衝動性から意欲低下および適応感に至る心理的プロセスについて考察し,今後の研究の課題を述べた。

著者

西村 律子 岡ノ谷 一夫 川合 伸幸

出版者

日本認知科学会

雑誌

認知科学 = Cognitive studies : bulletin of the Japanese Cognitive Science Society (ISSN:13417924)

巻号頁・発行日

vol.17, no.4, pp.750-760, 2010-12-01

参考文献数

12

被引用文献数

2

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A Noh mask carved of wood is known to express various emotions as a result of slight changes in the vertical inclination of the mask during traditional Japanese Noh performances. In Noh, a face that looks up expresses happiness, whereas a face that looks down expresses sadness. We investigated whether pictures of a downward tilted Noh mask and body postures in various inclinations could be recognized as expressing sadness. Picture-frames were extracted every two seconds from a movie playing the stylized sad act of Noh drama, known as <I>Shiori</I>. Results indicated that the participants recognized pictures of masks with small inclinations (i.e., the initial movements in the action) as being sad, whereas the evaluation of sadness diminished in response to pictures with larger inclinations. These results were similar to those obtained for pictures of the complete body posture with small inclinations, which were recognized as being sad, whereas those with larger inclinations were recognized as being happy. The evaluation was significantly altered between two successive postures in which the actor's hand made a large movement. In Experiment 2, the actor's hand was concealed by an object used on the Noh stage, but the results were similar to Experiment 1. As expected, participants identified the emotions expressed by identical pictures showing just the Noh mask that was used in Experiment 1, as expressing emotions similar to those identified in Experiment 1. Pictures of the complete body posture were recognized as sad when they had a small inclination, whereas those with a larger inclination were recognized as being happy. These results suggest that emotions expressed by complete body postures during Noh dramas produce larger effects than those expressed by the Noh mask alone. Moreover, the initial movements of a stylized action determine the emotional label of the action.