Ryota Nomura

Emotionally excited eyeblink-rate variability predicts an experience of transportation into the narrative world

Collective spectator communications such as oral presentations, movies, and storytelling performances are ubiquitous in human culture. This study investigated the effects of past viewing experiences and differences in expressive performance on an audience’s transportive experience into a created world of a storytelling performance. In the experiment, 60 participants (mean age = 34.12 years, SD = 13.18 years, range 18–63 years) were assigned to watch one of two videotaped performances that were played (1) in an orthodox way for frequent viewers and (2) in a modified way aimed at easier comprehension for first-time viewers. Eyeblink synchronization among participants was quantified by employing distance-based measurements of spike trains, Dspike and Dinterval (Victor and Purpura, 1997). The results indicated that even non-familiar participants’ eyeblinks were synchronized as the story progressed and that the effect of the viewing experience on transportation was weak. Rather, the results of a multiple regression analysis demonstrated that the degrees of transportation could be predicted by a retrospectively reported humor experience and higher real-time variability (i.e., logarithmic transformed SD) of inter blink intervals during a performance viewing. The results are discussed from the viewpoint in which the extent of eyeblink synchronization and eyeblink-rate variability acts as an index of the inner experience of audience members.

Interactions among Collective Spectators Facilitate Eyeblink Synchronization.

Whereas the entrainment of movements and aspirations among audience members has been known as a basis of collective excitement in the theater, the role of the entrainment of cognitive processes among audience members is still unclear. In the current study, temporal patterns of the audience’s attention were observed using eyeblink responses. To determine the effect of interactions among audience members on cognitive entrainment, as well as its direction (attractive or repulsive), the eyeblink synchronization of the following two groups were compared: (1) the experimental condition, where the audience members (seven frequent viewers and seven first-time viewers) viewed live performances in situ, and (2) the control condition, where the audience members (15 frequent viewers and 15 first-time viewers) viewed videotaped performances in individual experimental settings (results reported in previous study.) The results of this study demonstrated that the mean values of a measure of asynchrony (i.e., D interval) were much lower for the experimental condition than for the control condition. Frequent viewers had a moderate attractive effect that increased as the story progressed, while a strong attractive effect was observed throughout the story for first-time viewers. The attractive effect of interactions among a group of spectators was discussed from the viewpoint of cognitive and somatic entrainment in live performances.