| Literature DB >> 21276827 |
Mathias Benedek1, Christian Kaernbach.
Abstract
Piloerection is known as an indicator of strong emotional experiences. However, little is known about the physiological and emotional specificity of this psychophysiological response. In the presented study, piloerection was elicited by audio stimuli taken from music and film episodes. The physiological response accompanying the incidence of piloerection was recorded with respect to electrodermal, cardiovascular and respiratory measures and compared to a matched control condition. The employment of an optical recording system allowed for a direct and objective assessment of visible piloerection. The occurrence of piloerection was primarily accompanied by an increase of phasic electrodermal activity and increased respiration depth as compared to a matched control condition. This physiological response pattern is discussed in the context of dominant theories of human piloerection. Consideration of all available evidence suggests that emotional piloerection represents a valuable indicator of the state of being moved or touched.Entities:
Mesh:
Year: 2011 PMID: 21276827 PMCID: PMC3061318 DOI: 10.1016/j.biopsycho.2010.12.012
Source DB: PubMed Journal: Biol Psychol ISSN: 0301-0511 Impact factor: 3.251
Fig. 1A sample recording of relative piloerection intensity is depicted over the time course of a single trial including baseline period (30 s), stimulus description (20 s), stimulus presentation (variable duration) and rating (variable duration). The initial stable level of piloerection intensity indicates no visible piloerection. In this trial, piloerection occurs shortly after the onset of stimulus presentation; after some time it fades away, before it occurs for a second period of time. The asterisk marks the first detected onset of piloerection within this trial. This point in time is used for the analysis of the short-term physiological response.
Fig. 2General physiological response (standardized change from baseline to stimulus) of trials which elicited visible piloerection (dark bars) as compared to matched trials (no piloerection, light bars). Whiskers indicate the standard error of mean. ISCR: integrated skin conductance response, SCL: skin conductance level, HR: heart rate, PVA: pulse volume amplitude, RR: respiratory rate, RD: respiration depth.
Fig. 3Time course of the short-term response of physiological measures for a time range of ±15 s around the first onset of piloerection within a trial. The bars indicate the standardized change (relative to the averaged value in the 15–10 s period before piloerection onset) at 1-s time steps. Dark bars indicate significant deviations from zero; white bars indicate non-significant deviations. ISCR: integrated skin conductance response, SCL: skin conductance level, HR: heart rate, PVA: pulse volume amplitude, RR: respiratory rate, RD: respiration depth.
Audio track stimulus pool: pieces of music.
| ID | Title (interpreter or composer) | Duration | Selection ratio (%) | Chill ratio (%) | Piloerection ratio (%) |
|---|---|---|---|---|---|
| M01 | My Heart will go on (Celine Dion) | 03:00 | 100 | 50 | 14 |
| M02 | Only Time (Enya) | 03:00 | 100 | 46 | 8 |
| M03 | Pirates of the Caribbean-theme (Hans Zimmer) | 01:30 | 20 | 50 | 10 |
| M04 | Canon in D major (Johann Pachelbel) | 03:00 | 0 | – | – |
| M05 | Postwar Dream (Pink Floyd) | 03:02 | 0 | – | – |
| M06 | Dieser Weg [This way] (Xavier Naidoo) | 04:08 | 4 | 50 | 0 |
| M07 | Last Unicorn (America) | 03:07 | 4 | 50 | 50 |
| M08 | Back to Black (Amy Winehouse) | 04:01 | 0 | – | – |
| M09 | Streets of Philadelphia (Bruce Springsteen) | 03:16 | 4 | 0 | 0 |
| M10 | Wicked Games (Chris Isaak) | 04:05 | 0 | – | – |
| M11 | The Scientist (Coldplay) | 05:09 | 6 | 33 | 0 |
| M12 | Colorblind (Counting Crows) | 03:25 | 14 | 57 | 0 |
| M13 | Zombie (The Cranberries) | 04:45 | 8 | 50 | 25 |
| M14 | Time after Time (Cindy Lauper) | 04:01 | 0 | – | – |
| M15 | Lacrimosa (W.A. Mozart) | 03:49 | 2 | 100 | 0 |
| M16 | The Best of You (Foo Fighters) | 04:13 | 2 | 100 | 0 |
| M17 | Tears in Heaven (Eric Clapton) | 04:36 | 8 | 50 | 0 |
| M18 | Wonderwall (Oasis) | 04:18 | 12 | 67 | 17 |
| M19 | Against all Odds (Phil Collins) | 03:27 | 4 | 100 | – |
| M20 | Purple Rain (Prince) | 04:12 | 4 | 100 | 50 |
| M21 | Hallelujah (Rufus Wainwright) | 04:08 | 22 | 55 | 18 |
| M22 | Angel (Sarah McLachlan) | 04:30 | 4 | 50 | 0 |
| M23 | Nothing Compares to You (Sinead O’Connor) | 05:07 | 14 | 57 | 14 |
| M24 | Hedonism (Skunk Anansie) | 03:27 | 0 | – | – |
| M25 | Fields of Gold (Sting) | 03:40 | 6 | 100 | 33 |
| M26 | Bittersweet Symphony (The Verve) | 03:00 | 20 | 60 | 0 |
| M27 | Hey there Delilah (Plain white Ts) | 03:52 | 4 | 100 | 0 |
| M28 | Fast Car (Tracy Chapman) | 04:58 | 2 | 100 | 0 |
| M29 | Walking in Memphis (Marc Cohn) | 04:10 | 2 | 100 | 0 |
| M30 | Total Eclipse of the Heart (Bonnie Tyler) | 03:00 | 10 | 100 | 20 |
| M31 | Vincent (Don McLean) | 04:02 | 2 | 0 | 0 |
| M32 | Flugzeuge im Bauch [Airplanes in the tummy] (Herbert Grönemeyer) | 03:54 | 4 | 100 | 0 |
| M33 | Heartbeats (Jose Gonzalez) | 02:40 | 2 | 0 | 0 |
| M34 | Streets of London (Ralph McTell) | 04:08 | 2 | 0 | 0 |
| M35 | The Sound of Silence (Simon and Garfunkel) | 04:31 | 10 | 100 | 0 |
| M36 | Time of My Life (Bill Medley) | 03:00 | 4 | 50 | 50 |
| M37 | Confutatis (W.A. Mozart) | 02:19 | 0 | – | – |
Note: The stimuli M01 and M02 were preselected in this experiment; all other stimuli were offered for self-selection.
Probability that the stimulus was selected from the stimulus pool.
Probability that the stimulus elicited a subjective experience of chill.
Probability that the stimulus elicited visible piloerection.
This audio track was truncated after 3 min including a fade-out.
Audio track stimulus pool: film audio tracks.
| ID | Title | Duration | Selection ratio (%) | Chill ratio (%) | Piloerection ratio (%) |
|---|---|---|---|---|---|
| F01 | Armageddon | 01:41 | 100 | 72 | 26 |
| F02 | Braveheart | 01:22 | 100 | 54 | 20 |
| F03 | Titanic | 02:20 | 26 | 84 | 54 |
| F04 | Dead Poets Society | 02:28 | 18 | 78 | 33 |
| F05 | Forrest Gump | 01:41 | 24 | 83 | 17 |
| F06 | Gladiator | 01:19 | 4 | 100 | 50 |
| F07 | Lord of the Rings I | 01:02 | 10 | 80 | 40 |
| F08 | Lord of the Rings III | 01:02 | 14 | 71 | 29 |
| F09 | Independence Day | 01:45 | 2 | 100 | 0 |
| F10 | King Arthur | 00:46 | 4 | 0 | 0 |
| F11 | Knocking on Heaven's Door | 00:41 | 10 | 40 | 0 |
| F12 | Ransom | 02:14 | 2 | 0 | 0 |
| F13 | Moulin Rouge | 01:46 | 14 | 57 | 43 |
| F14 | Romeo and Juliet | 02:03 | 14 | 86 | 0 |
| F15 | 8 MM | 01:48 | 10 | 80 | 40 |
| F16 | Troy | 01:18 | 2 | 0 | 0 |
| F17 | Hook | 01:13 | 0 | – | – |
| F18 | Brokeback Mountain | 00:55 | 2 | 100 | 0 |
| F19 | Grey‘s Anatomy | 02:43 | 10 | 60 | 20 |
| F20 | City of Angels | 02:26 | 18 | 67 | 11 |
| F21 | The Sixth Sense | 01:39 | 10 | 40 | 20 |
| F22 | Seven | 02:21 | 4 | 100 | 0 |
| F23 | Shakespeare in Love | 02:03 | 2 | 0 | 0 |
Note: The stimuli F01 and F02 were preselected in this experiment; all other stimuli were offered for self-selection. The episode description used in the experiment can be obtained on request from the authors.
Probability that the stimulus that the stimulus was selected from the stimulus pool.
Probability that the stimulus elicited a subjective experience of chill.
Probability that the stimulus elicited visible piloerection.