Hi all,Thanks for your eloquence, George. I am encountering similar problems, particularly in how to interpret the data, what to look for and what it means.So let's start with the beginning then: what do these signals mean and how do heart rate and HRV relate to emotion?You say:> As you can see, its actually a rather complex phenomenon and it would be a> gross distortion to say that an analysis of HRV patterning can ³tell if your> happy, sad, or angry² as many punters (and artists and curators) want it to.It appears that arousal is measurable from HRV, but the problem is that this can be either positive or negative and therefore does not reveal very much about the person's emotional state. Others say that when combined with GSR, one can actually start to make a valid judgement about valence (i.e positive or negative emotion). However, there are contrasting research results from this, most often leading to the conclusion that further physiological data needs to be tracked simultaneously. From what I have read facial expression is the most likely candidate for being able to obtain valence.I am interested however, in how far you in your work make an assessment of the person's emotions or mental state and what exactly are you looking at and how does this change over time? Which bit of information do you get when someone stays wired up for 10 minutes, and why does it take that long to get it? What are the certainties that can be obtained from the heart rate data and which bits remain vague?Sylvain Le Groux (one of the respondents for this theme) has done research in this area of looking at GSR and heart rate simultaneously. (ICMC 2008 proceedings: Implicit Physiological Interaction for the generation of Affective Musical Sounds). Sylvain, perhaps you can share some of your findings with this list?In terms of which and how much information to give to the audience, I think this entirely depends on the artwork, the context, and how scientific or therapeutic it's underpinning are. But over and above that it is a more general issue in curating and exhibiting art works. When I first experience an artwork, I choose not to read any of the written text, so as not to come to the artwork with preconceived ideas. Then, if I find the work interesting, I will read the text and experience the artwork again.thanks to all,Adinda van 't Klooster
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