Audience Feedback Research Articles

Louisiana Geriatric Workforce Enhancement Program: Analysis of Learning Outcomes From Dementia Training

A recent Alzheimer’s Association report noted that by year 2050, the number of Americans diagnosed with Alzheimer’s disease and related dementias (ADRD) will triple to over 15 million. The report referred to primary care as the front line for meeting this demand, yet the nation faces a severe shortage of ADRD trained, primary care professionals (PCPs). Louisiana Geriatric Workforce Enhancement Program (LA-GWEP) addresses this demand. The purpose of this study was to examine preliminary data respective to LA-GWEP effectiveness with interdisciplinary education and training seminars, primarily aimed at medical, nursing, and social work PCPs. Three seminars were conducted in south Louisiana: Seminars 1 and 2 addressed effective communication, verbal and nonverbal, among persons with ADRD and caregivers; Seminar 3 offered basic overview of dementia symptomology, stages, and behaviors. Pre- and post-training session data were collected on-site. Participants completed questionnaires that included a 10-item knowledge assessment and 20-item Dementia Attitudes Scale (DAS). These measures contained Likert response formats; higher scores indicating greater levels of ADRD knowledge, in patient and caregiver contexts. Paired sample t-tests were conducted to observe any significant pre-to-post improvement, Cohen’s d for effect size. Seminar 1 revealed no significant pre-to-post difference: t = -1.019, p = 0.320. Adjusting content from audience feedback, Seminar 2 revealed significant pre-to-post difference: t = -7.516, p < .001, Cohen’s d = 1.2. Seminar 3 yielded significant improvement on DAS scores: t = -2.96, p < .01, Cohen’s d = 0.34. Implications for seminars in future years of LA-GWEP are discussed.

Data loop of media and audience

As our digital footprints are collected and analysed by the media and fed back at us as new experiences, providing more data to collect, data circulates in a loop from audiences to media and back. This data loop is for media studies an occasion to revisit the media–audience nexus in an age of datafication. We argue that an audience perspective is needed in order to break with the structure–agency linearity in current understanding of datafication. In this article, we develop a model of the data loop that first presents the fundamentals of data circulation between social actors and digital interfaces, then the moments of agency between actors in a relation of mutual dependence. The article closes with a discussion of previous models within media and communication that have addressed similar ideas, such as audience feedback, mutuality and circularity.

Data Model for Evaluation of Audience Feedback in Lectures

In this article, we discuss the importance of interactivity during lectures and means to evaluate the feedback of the audience. We conduct a literature review on the subject and propose accordingly, a data model for the evaluation of audience feedback in lectures at microscopic and macroscopic levels. We propose a detailed scenario and examine how we are able to simulate such a scenario using the designated data model.

A Process Approach in the Teaching of Writing: Saving 21st Century Learners from Writer's Block

Writing is described by many cognitive psychologists as one of the most complex intellectual activities undertaken by humans. Therefore, it is not surprising that students find it difficult to deal with writing tasks. They often feel anxious about how to write and reach the targeted words—a situation known as ‘writer's block'. This paper describes how the process approach of writing can be used by teachers to assist students in completing a writing exercise. A case study of the implementation of process writing in English for Academic Purposes course at a tertiary institution in Malaysia is presented to illustrate the positive outcome of the process writing approach. The systematic research-based curriculum used in this course allows the authors to observe the process and progress made by the participants in this study. It includes an in-depth discussion on the non-linear and cyclical features of writing, and how the process writing approach can make writing a more flexible, adaptable and enjoyable operation as it allows ample time for intervention procedures, the writing of multiple drafts, audience feedback and delayed attention to editing—to lower students' writer's block. The ability of students to work through their writer's block in stages, enables the teachers to guide them into a step-by-step production of writing through this process.

If the Coronavirus Doesn’t Scare You, the Banners Will—A Case Study of Early COVID-19 Banners

As a crucial element of China’s political and cultural life, “banners”, or biāoyǔ, have been around for decades, in support of national-level policies such as family planning and the governing mottos of Presidents. The banners that have emerged during the Covid-19 pandemic which was also the subject of a national-level driven policy, have been involved in a nation-wide public debate over the language styles of banners used to urge people to stay indoors. Based on the analysis of the early COVID-19 banners and the related online comments, this article analyzes the language style patterns of the banners and the mode of banner circulation. The study found that the manner in which the banners are circulated goes beyond a unidirectional path of on-site instant communication. This process is facilitated by social networks and mass media, which, during circulation, twice created a banner upgrade. The upgrades created decontextualization and function extension of the banners, whereas audience feedback triggered an adaptive adjustment of the language style of the banners. This article suggests that the study of the use and spread of banners, especially the early COVID-19 banners, sheds light on the study of mass communication and discourse style, and also how measures to contain pandemics such as COVID-19 can be communicated.

Strategi Komunikasi Melalui Media Visual Penyuluh Agama Hindu Pada Masa Pandemi Covid-19 di Kota Mataram

The Covid-19 pandemic has a large influence on the social interactions of Hindu religious counselors to communicating Hindus religious teachings. This is due to government policies that apply social distancing or keep a distance of one to two meters, and do not involve large numbers of people who can cause crowds. This policy has led to changes in the social interaction of a Hindu religious counselor in carrying out his duties as an instructor in communicating Hindu"s religious teachings.This study used a qualitative research method that took place in the city of Mataram, with the object of research being Hindu religious extension workers who had a duty area in the city of Mataram.The communication strategy carried out by Hindu religious counselors during the Covid-19 pandemic was to use visual media in the form of pictorial messages containing religious teachings, animations containing stories containing moral messages and religious teachings, and spiritual videos from Hindu saints. This visual media is channeled using whatshap social media because it is considered very effective in disseminating information, is widely used and known to the public. Information is disseminated through group messages, then discussions and questions and answers are held in each group to find out the audience or communicant's feedback. Group communication through whatshap group chat is able to bridge communication between Hindus religious counselors and the assisted community during a pandemic where direct contact and mass gathering in large numbers cannot be carried out.

Understanding the effects of real-time sentiment analysis and morale visualisation in backchannel systems: A case study

When presenting to a large group of students, either in an amphitheatre or through an online platform, effectively connecting to the audience – understanding how well the audience is following the presentation and taking appropriate actions promptly if they experience difficulties – is a serious challenge. Backchannel systems are sometimes deployed to address this issue by allowing audience to give feedback to the presenter without interrupting the current discourse. However, these systems are not designed to immediately aggregate and present the audience's feedback to the presenter in a meaningful way that is easy to quickly digest. To fill this gap, we have explored a proof-of-concept method for analysing the emotions and sentiments from the audience's feedback in real time and displaying to the presenter a morale graph showing a trend of the audience's overall reaction over time. This allows a presenter to effectively connected to their audience in real time, knowing whether their presentation is going well and what issues their audience may have in common at any specific moment. We have further implemented this method in an educational context, using a prototype backchannel system, known as ClasSense, for a lecturer to effectively connect to their students. This paper presents the evaluation of this system, which shows that lecturers accept and prefer the morale graph based user interface developed over other backchannel user interfaces that display all posts in chronological order. Students also positively expressed their agreement that the system not only makes their feedback an important part of the class but also increases their interactions with the lecturers. This is further confirmed with a Markov chain predicting the probability that students’ and lecturers’ survey results lead to their overall positive sentiment towards the tool. The flexibility of the ClasSense system suggests it may also be suitable in contexts other than education.

Plant Fetish: A Creative Challenge to Mental Health Stigma

People of BAMME (Black, Asian, Minority, and Migrant ethnic) heritage in the UK experience various anomalies when engaging with mental health services. Typically concentrated at secondary and secure levels of care, these discrepant experiences interact with a reticence to uptake mental health support at the primary care level. Official, national anti-stigma campaigns often reproduce messages that do not connect with BAMME communities, raising questions about how best to challenge stigma in this context. This research paper describes a case study of an alternative means to address stigma, drawing from a dramatic comedy performance, Plant Fetish, written and performed by an artist who carries a diagnosis of complex post-traumatic stress disorder (Complex PTSD). The study comprised of an individual interview with the artist, audience feedback, and a group discussion conducted after the show. Data were subject to interpretative phenomenological analysis. Findings are discussed in relation to the importance of using creativity to increase public awareness of mental health and inform efforts to reduce stigma. We conclude that such approaches show promise and merit further exploration in a context of growing discursive interest in mental health amidst acknowledged deficiencies of contemporary anti-stigma efforts, especially as they apply to BAMME people, their families, and their communities.

Modern peculiarities of lectures in clinic discipline for english-speaking students

The aim of the study is the improvement of the modern lecture content in clinical discipline Pediatric Propaedeutics for the foreign students with English language of study. Bibliographic, descriptive methods are used in the research, students are anonymously questioned; processing of the obtained results is carried out by methods of mathematical statistics. Based on our own experience in teaching the discipline Pediatric Propaedeutics, we have created the lecture content for the English-speaking foreign students at the department. Well-structured, well-prepared multimedia lectures with a well-established audience feedback mechanism and extensive use of illustrative materials is in the base of this content. According to the standpoint about a student-centered teaching, the students' opinion of the quality of lectures and ways to improve them is a subject to careful study. According to the questionnaire, among 185 surveyed students, 84.9% rate the quality of lectures on a five-point scale as "5" or "4", 13.5% rate it as "3". 90.8% of the respondents name the lectures as interesting and useful, but 27.6% of the surveyed students say that they do not consider the lectures to be a necessary form of study. The most frequently interviewed students make suggestions to increase the amount of illustrative material, to give an opportunity to use lectures during independent preparation and to allow free attendance of lectures. Considering the previous positive experience of placing a text-based version of lectures on the site of the department, posting on the site a full package of multimedia lectures may be useful. Lectures are a well-studied methodical form of classes, but the issues of the organization of lectures remain relevant. The results of the questionnaire of students about the quality of lecture at the department indicate a positive assessment of the majority of respondents. Ways to improve the lecture content are careful methodological and technical support of lectures, the use of innovative technologies. It is advisable to place multimedia lectures on the site of the department for independent work of students

Creating a cross-disciplinary hub for active student learning in the library

Two recent technology-driven tendencies in library-faculty collaboration – (1) embedding librarians in the online components of courses, and (2) repurposing certain library spaces to become makerspaces – often embrace the learning strategy of focusing on students as creators. Booth Library at Eastern Illinois University, in collaboration with a faculty-led Faculty Development office and a Humanities Center, has advanced both the leveraging of technology in learning and the creation of a library makerspace, and added a third component, (3) placing an active learning classroom (ALC) connected to a design lab as the first stage of a Center for Student Innovation (CSI). This process, grounded in research on learning spaces and universal design, had led us to ask: what space best encourages creativity in the learning process?&#x0D; We propose to showcase a “think-pair-share” card game to demonstrate how we are re-centering the library as a center for knowledge creation, and a space for promoting discovery, in a format that invites Creating Knowledge participants to fine-tune our model or advance alternatives. That is, the library is building collaborations for re-thinking space, and re-positioning the library as central to teaching and learning, to foster 21st century skills around information, communication, and ethical/social impact. The card game will demonstrate ways to help students and faculty to create knowledge, and how information as a product is modeled, remodeled and reinterpreted for pedagogically creative teaching and learning. The implementation of the CSI has stimulated larger discussions in the library and across campus about the role of a “future-present” library. How can faculty and students embrace discovery as a means rather than an end? What role does the library play in facilitating teaching and learning? What does the future library look like? The presentation and card game will answer these questions through audience feedback and participation.

Perspectives and Practical Advice About Writing Your Own Letter of Recommendation.

This article was migrated. The article was marked as recommended. Drafting your own letter of recommendation (LoR) is becoming a more common request across all levels of medicine and academia. This can be a daunting task in an environment where metrics for advancement continually increase and meaningful relationships with mentors, supervisors, and leaders are not promoted or easy to come by. The authors recently held a workshop where the challenges, advantages, and pitfalls of writing you own LoR were discussed. In this Personal View article, we took into consideration audience feedback and provide proactive successful approaches based on experience of writing our own LoRs and writing and reviewing LoRs from the level of undergraduate admission to faculty promotion in academic medicine. We acknowledge the advantages and pitfalls of writing your own LoR and offer practical methods/approaches as tools for success.

Earn MOC Credit Through Special Annual Meeting Sessions

Back to table of contents Previous article Next article APA & MeetingsFull AccessEarn MOC Credit Through Special Annual Meeting SessionsSearch for more papers by this authorPublished Online:21 Feb 2020https://doi.org/10.1176/appi.pn.2020.b14Psychopharmacology Master Course to Offer MOC CreditAPA is offering an opportunity to earn Maintenance of Certification (MOC) credit through an innovative and interactive course at this year’s Annual Meeting. Participants in the master course “Essentials of Clinical Psychopharmacology,” directed by Alan F. Schatzberg, M.D., will be eligible to earn both self-assessment credit (Part 2 of MOC) and Performance-in-Practice (PIP) chart review (Part 4 of MOC) credit.The course will be held Tuesday, April 28, from 8 a.m. to 5 p.m. at the Marriott Downtown. It will cover the latest information on the pharmacologic treatment of major psychiatric disorders and include case discussions.For the self-assessment activity, participants will take a pretest using audience feedback technology. A projector will display each multiple-choice question on a large screen. After participants have entered their answer, the course director will reveal the correct answer, as well as the distribution of audience responses.Participants will be eligible to earn up to two hours of self-assessment credit (Part 2 of MOC) by participating in the live multiple-choice question review during the course and by completing a post-course follow-up in the APA Learning Center.For the clinical PIP module activity (completion of three stages fulfills a Part 4 MOC requirement), participants will complete Stage A by reviewing five charts prior to the course using a tool available to course registrants in the APA Learning Center. (Course registrants will be provided with an access code.) They should choose one of the following medication classes for the chart review: SSRIs, benzodiazepines, atypical antipsychotics, or anticonvulsants/lithium and assess on five charts specific quality measures for one of the medication classes.After the meeting, participants who wish to obtain MOC PIP credit must log in again to the APA Learning Center and complete Stage B of the PIP module (the improvement plan). To finish the clinical PIP module, participants must also complete Stage C by reviewing five more charts (of the same patient or different patients) after the initial completion of Stages A and B, note improvements, as well as complete an online evaluation. All stages must be completed by July 29. Course registrants will receive a Learning Center access code to claim credit for these special course elements.Psychiatrists can earn CME credit toward meeting Maintenance of Certification (MOC) requirements by participating in several special educational sessions at this year’s Annual Meeting in Philadelphia.Participants in the master course titled “Essentials of Clinical Psychopharmacology,” directed by renowned psychopharmacologist and past APA President Alan F. Schatzberg, M.D., will be eligible to earn credit toward the Self-Assessment CME (Part 2 of MOC) as well as Performance in Practice (Part 4 of MOC). The course is scheduled for Tuesday, April 28, from 8 a.m. to 5 p.m. (see box). The course includes a self-assessment (2 credits) with a series of questions for participants to answer using audience feedback technology with review of references and rationales post-course in the online APA Learning Center.Additionally, members who attend the popular interactive “Focus Live” educational sessions will be able to test their knowledge of topics in psychiatry and earn self-assessment credit for MOC Part 2. Participants in each session will be able to earn 2 credits toward MOC Part 2. Participants will use their mobile devices to answer board-type multiple-choice questions in sessions moderated by Mark Rapaport, M.D., the editor of FOCUS: The Journal of Lifelong Learning in Psychiatry. Rapaport and A. John Rush, M.D., will lead a “Focus Live” session on “Biomarkers in Psychiatry” on Monday, April 27, from 1 p.m. to 2:30 p.m. From 3 p.m. to 4:30 p.m. that same day, Joseph Goldberg, M.D., will lead the session “Evidence-Based Principles for Bipolar Disorder Treatment.” Both sessions will be held in 201A-C in the Pennsylvania Convention Center.APA has developed a pre-meeting educational activity for Annual Meeting registrants—the 2020 APA Annual Meeting Self-Assessment in Psychiatry—to help attendees assess their strengths and weaknesses and plan their meeting schedule accordingly. ■ ISSUES NewArchived

76 The Cinema and Geriatric Medicine: An Approach to ‘Hard-To-Reach’ Places in the Curriculum

Abstract Introduction Cinema is powerful - it can depict complex stories, spark discussion and foster reflection.1 Potentially, in geriatric medicine, the impact of serious diagnoses could be explored and learners’ preconceptions concerning ageing challenged. Thus, could film be used to explore and assess ‘hard-to-reach’ curriculum areas? The Mental Health in Older Adults module (MSc in Geriatric Medicine - Salford University) uses film in the oral assessed presentation. We wished to explore the utility of this Methods Learners (North-West Speciality Registrars) were allocated different feature films exploring mental health themes. 8 learners each delivered a ten-minute presentation focusing on a topic selected after viewing the film. The audience comprised Speciality Registrars who could ask questions. The content of the presentations was reviewed. The key topics/themes tackled were analysed. Results Learners watched one of the following: Iris, Tokyo Story, Still Alice, My Feral Heart, Firefly Dreams, The Carer, Away from Her and Amour. Each film generated 3 or more topics/themes. These were diverse and included: depression in chronic illness; loneliness; neuropsychological complications of stroke and the management and impact of dementia. Presenters set these into the film’s context and reflected on the interaction between physical health and social and psychological factors. ‘Hard-to-reach’ areas included: culture and social care, filial piety, and preconceptions of intellectual disability. Neglected areas tackled included suicide in older adults and the impact of dementia in younger adults. Audience feedback was positive. The reflective nature of the session provided new insights and was engaging Conclusions Film is a medium that allows ‘hard-to-reach’ (and teach) areas to be tackled and assessed. The use of film was well received and importantly had utility. The topics learners reflected upon were complex and challenged their own and their audiences’ conceptions of clinical problems. Reference 1. Law M, et al, Perspect Med Educ. 2015 4(5): 218–224.

African Film Festivals in Africa: Curating “African Audiences” for “African Films”

African Film Festivals in Africa:Curating "African Audiences" for "African Films" Lindiwe Dovey (bio) Click for larger view View full resolution Figure B. An audience member overlooks the FESPACO ceremony. Courtesy of FESPACO. [End Page 12] The First Film Festivals in Africa: "Educating" the "African Audience" No celebration, no festival, could take place without a public, an audience, writes Odile Goerg.1 If this is the case, then it is quite remarkable that so little scholarly attention has been granted to considering audiences at film festivals.2 Although certain prestigious film festivals (Cannes, in particular) operate mostly as closed, industry events focused on the glamor and business of filmmaking, most of the thousands of film festivals around the world see their main beneficiaries as both filmmakers and audiences.3 In fact, "the curator Neil Young has questioned whether Cannes, which excludes the public from most of its screenings, qualifies as a festival at all" on this basis.4 As a field of study, film festivals offer an ideal opportunity to observe films playing out in public contexts, with live audiences and discussions. The contested meanings of films in these settings challenge the dominant hermeneutic practice of close film analysis as it takes place in professional settings, such as universities and newspapers, where the contexts of a film's screening are rarely taken into account in the critic's judgement of the film. There is particular potential for research on the (dis)sensus communis surrounding African-made films in this respect, given that festivals are among the few public arenas in which such films are screened. Along with the exhibition of Nollywood movies at thousands of video halls across the continent, festivals are among the public spaces awaiting more in-depth research.5 Although there are exceptions, the organizers of many film festivals in Africa put great emphasis on the central value of audiences to their festivals' worth and meaning. As I will show, many Africans have been motivated to found and run their festivals by the structural and institutional barriers to a certain kind of film being accessible to Africa-based audiences, and many curators of these festivals find ways of actually incorporating audience perspectives into their curatorial principles. The kinds of spectators [End Page 13] cultivated by many African curators are a world away from what Shweta Kishore, for example, describes of audience experiences at the first Ladakh International Film Festival in India in 2012: Audiences were restricted to the established position of "viewer," which allowed the consumption of film but excluded contributions to structural aspects of the festival. Opportunities for intervention, such as post-film discussions, interactions with filmmakers, and festival structures that included audience feedback were missing—especially significant given that LIFF was the first film festival in the entire region.6 As Witz explains, if no audience spontaneity is fostered by a festival, there will be little chance of festive excitement. Rather, the festival will assume a unidirectional pedagogical tone. As will become evident in the next few chapters of this book, where film festival directors and curators within Africa have not incorporated audience tastes and desires into their conceptualization of their festivals, audiences have frequently stepped up to claim this power and sense of authorship and ownership over the festivals. It is thus not only the festival organizers who determine whether a festival's culture is participatory or not. As Karin Barber's foundational work on popular culture and audiences in Africa has shown, there are especially porous boundaries between production and reception in many African contexts.7 Ways of thinking about audiences in Africa have come a long way since colonial times. A significant body of scholarship on the practices of colonial film units and missionaries who used film in Africa has revealed the extent to which "the African audience" was constructed by such groups as a homogenous and non-individuated mass to be feared and policed.8 While they did not call themselves film festivals, the mobile film screenings held in different parts of the continent by film units and missionaries from the early 1900s onwards satisfy my definition of a film festival, in that they brought together huge, live audiences at specific...

Experiments with Book Festival People (Real and Imaginary)

While there are multiple approaches to researching cultural events, predominant academic frames tend to be either sociological or situated within a creative industries discourse. Neither of these approaches have supported sustained engagement with individual, interior experience at book festivals. Creative writers have imaginatively depicted these sites of author-reader interaction, and developing scholarship focuses on autoethnography and the phenomenological. In this article, we extend and materialise these approaches through a series of creative, arts-informed interventions: @AuthorsYurt, a personification on Twitter of the Edinburgh International Book Festival’s green room; Paper Dolls, a series of cut-out-and-dress dolls depicting audience members at a variety of book festivals across Europe, North America and Australia; and ClueButeDo, a satirical reworking of the audience feedback form at a small island crime festival in the UK. Each of the three experiments reveals aspects of personhood at book festivals, engaging with ideas of interiority, individuality, and experientiality, as well as of inclusion and exclusion. In pursuing this aim, we are guided by the autoethnographic slogan, “No Insight Without Inside, No Inside Without Outside” (Nunu Otot).

Элементы мобильного обучения в высшем образовании: разработка и проведение онлайн-опросов с помощью интернет-сервиса Kahoot

The article substantiates the relevance of the use of mobile learning technologies in higher education. The essence of the concept of “mobile learning” is revealed, the advantages of using mobile learning technologies for organizing the educational process are described. The work discusses in detail the technology of mobile learning Kahoot. Kahoot is an online service for developing and conducting online surveys. It is suitable for any academic discipline and is a great substitute for buying expensive remotes for the audience feedback system.

The Immersive Theater Experience for Individuals with Autism Spectrum Disorder.

Despite growing public awareness of ASD, many caregivers of children with ASD struggle to find opportunities for participation in community activities with appropriate accommodations. The current study evaluated the experiences of individuals with ASD who attended immersive theater performances specifically designed for individuals with ASD. Parents and teachers of 256 children and adolescents completed questionnaires regarding their pre-show expectations and post-show satisfaction with the performance. Analyses revealed that, on average, parents' and teachers' levels of satisfaction significantly outweighed their pre-show expectations. Based on researcher observations, audience feedback, and past research, a list of best practices for successful theater programming for individuals with ASD was compiled with the goal of widespread dissemination to increase accessibility of theater performances for neurodiverse audiences.

POLICY SERIES: INTERDISCIPLINARY PUBLIC POLICY DISCUSSION SESSION

This session, organized by the GSA Public Policy Committee, will provide both GSA section leadership and attendees an opportunity to have an open dialogue on important public policy issues of significance to the aging population. Section leaders will discuss key policy issues of particular relevance to their section’s mission and purpose. They also will comment on improving physical and mental health to illustrate how their different disciplines and perspectives inform and apply to public policy on that issue. This will be an interactive session with plenty of opportunity for audience feedback and input.

"MEKDI" SCARY DELIVERY ADS: THE ANALYSIS OF RHETORICAL ELEMENTS

Aristotle’s Rhetorical persuasive elements, namely logos, ethos, and pathos, are widely adapted in any kind of business document with the intention to hook the audience’s attention. This paper analyses one McDonald’s (also known as “MEKDI” in Malaysia) video advertisement on the application of rhetorical elements based on Aristotle’s persuasion of appeal. Identifying these three elements is the main purpose of this paper in realising the persuasive content drawn towards the audience in the advertisement, leading this paper to conclude whether the usage of rhetoric element strategies is overwhelming or not, given the author’s specific purpose and specific audience. The document studied is one video advertisement of the famous fast-food chain McDonald’s Malaysia. The rhetorical analysis was used to interpret the meaning of this assessment topic. Based on the findings, the video advertisement uses emotional content to engage with the audience rather than the rational quality of the advertisements where the logic of health and nutrition claims are not salient concerns. Further studies should include audience feedback to enable data triangulation for validation purposes as this paper is only to ascertain the rhetorical elements used in the advertisements and does not consider the rhetorical elements that appeal more to the audience. Article visualizations:

Avoidance of all feedback? Attention allocation during and after public speech in social anxiety

Background and objectivesAttention avoidance of feedback-related stimuli is proposed to be associated with and maintain social anxiety. However, previous research has mainly focused on comparing the attention bias between two types of stimuli, while little is known about attention distribution patterns among positive, neutral, and negative feedback and non-feedback stimuli in individuals with high trait social anxiety (HSA) or low trait social anxiety (LSA). MethodsThe current study assessed eye movement pattern of participants with HSA or LSA during a speech task (high anxiety condition) or while solely watching audience feedback of the speech (low anxiety condition). A pre-recorded audience who displayed approving, neutral, or disapproving gestures was presented as feedback stimuli, while neutral facial photos were used as non-feedback stimuli. ResultsOnly in the high anxiety condition, participants with HSA exhibited longer total fixation on non-feedback stimuli compared to those with LSA; whereas in the low anxiety condition, both groups paid more attention to emotional feedback stimuli. LimitationsThe final sample size was modest due to a high suspicion rate of the reality of the audience. ConclusionsThese findings suggest that only in highly anxious social situations, socially anxious individuals lack the attentional preference toward positive feedback that individuals with low anxious have.