即興創作也增加了大腦Perisylvian(與語言產生有關)、杏仁核(amygdala,與情緒有關),和扣帶迴動作區(cingulate motor areas)的活化情形,說明了即興創作連結了激發想法、語言、情緒與動作有關的腦區;而未來,透過不同的創意行為在這樣的神經網路上做更多研究,像是創新使用語言在詩詞或是說故事,也許能夠深入了解即興創意的認知歷程。
瞳孔反應的研究顯示,聆聽的時候,瞳孔的大小隨著背景噪音的出現而增加(Keolewijn et al., 2012)。心臟反應方面,研究者常以心跳速率的變化當作觀察指標,也發現了心跳速率的變化會在聆聽活動的要求比較高的時候,有所減少(Mackersie & Calderon-Moultrie, 2016)。膚電反應的研究結果除了顯示反應的強度會隨著活動難度提高而增加,也指出膚電反應在受測者知道活動表現要被評比的時候,會再增強(Mackersie & Kearney, 2017)。
聆聽的足跡還有這裡!
還有其它研究,是觀察受測者外顯的行為表現,而依照研究資料的主觀程度可再分為兩種。一種是採用相對客觀的作法,其類似一個人在真實生活中需要同時做許多事情的狀況,研究者稱之為雙作業派典(Dual-Task Paradigm;Gagné et al., 2017)。一如其名,受測者會進行兩項活動,一項是主要活動,例如讓受測者在噪音中辨認語句,而另一種是次要活動,例如請受測者做單雙數判斷。對於同一位受測者,活動會有三次,一次是主要活動,一次是次要活動,再一次是主要活動與次要活動同時進行,而且會要求受測者在主要活動盡可能做出最佳的表現。
另一種是採用自陳報告(Self-Report),由受測者評估自己:在聆聽的時候是否需要特別使力或容易感到聆聽疲勞。例如,有些研究者會採用視覺類比量尺(visual analog scales)的方式(Kramer et al., 2016),讓受測者選擇 1 到 10 之間的數字,來表達自己在不同的聆聽環境下感到費力的程度。值得留意的是,有研究者指出,自陳報告的結果與行為上或生理上的客觀反應並不全然一致(McGarrigle et al., 2014),意謂著自陳報告的結果可能無法反映出全貌。
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