Autonomous Sensory Meridian Response Research Articles

Sonic sensations: Navigating the mixed outcomes of ASMR in retail advertising

This paper investigates the influence of Autonomous Sensory Meridian Response (ASMR) elements in advertising on consumer attitudes. Through three experimental studies, we assess the impact of ASMR on attitudes toward ads and brands across hedonic and utilitarian product categories, and for known and unknown brands. Our findings reveal a generally negative effect of ASMR on ad attitudes among the wider population but identify a positive impact among those who experience ASMR's physiological sensations, as serially mediated through physiological and emotional responses. Notably, negative brand attitudes were observed only with unknown brands. This research underscores the nuanced role of ASMR in advertising, highlighting the potential for positive effects within a specific consumer segment, while cautioning against its broader application.

Autonomous Sensory Meridian Response (ASMR) and the Functions of Consciousness.

"Autonomous Sensory Meridian Response" (ASMR) refers to a sensory-emotional experience that was first explicitly identified and named within the past two decades in online discussion boards. Since then, there has been mounting psychological and neural evidence of a clustering of properties common to the phenomenon of ASMR, including convergence on the set of stimuli that trigger the experience, the properties of the experience itself, and its downstream effects. Moreover, psychological instruments have begun to be developed and employed in an attempt to measure it. Based on this empirical work, we make the case that despite its nonscientific origins, ASMR is a good candidate for being a real kind in the cognitive sciences. The phenomenon appears to have a robust causal profile and may also have an adaptive evolutionary history. We also argue that a more thorough understanding of the distinctive type of phenomenal experience involved in an ASMR episode can shed light on the functions of consciousness, and ultimately undermine certain "cognitive" theories of consciousness. We conclude that ASMR should be the subject of more extensive scientific investigation, particularly since it may also have the potential for therapeutic applications.

Beyond Words

Introduction Despite the expansive and multimodal realm of Chinese Boys’ Love (BL) culture (also known as danmei in Chinese), audio works have been notably absent from scholarly discussions, with the focus predominantly being on novels (e.g. Bai; Zhang). This article aims to fill this gap by delving into the transformative impact of sound on narrative engagement within the Chinese BL culture. Focussing on the audio drama adaptations of Grandmaster of Demonic Cultivation (modao zushi, hereafter Grandmaster), originally a serialised Chinese BL novel, this analysis aims to unravel the meticulously crafted BL fantasy in these auditory renditions. The audio drama format delivers an intimate storytelling experience directly to the listener’s ears. Unlike textual media, audio dramas allow listeners to immerse themselves in narratives during various daily activities, deepening their connection with the content. The audio drama Grandmaster, produced by the renowned Chinese platform MissEvan, has garnered a vast fan base and over 640 million plays across three seasons (the episodes and numbers of plays can be found on MissEvan: Season 1, Season 2, and Season 3). Unlike the serialised Web-drama adaption diluted by censorship regulations, the audio drama retains the utmost BL fidelity to the original novel, highlighting the significant potential of this medium in the Chinese BL culture. BL culture has surged in popularity within China, partly due to the export of Japanese culture and the burgeoning Chinese Internet accessibility (Feng). The BL genre encompasses diverse media forms such as novels, fanfiction, comics, animation, and audio/Web dramas, rooted in shared fantasies of romantic love between men. The growing interest in BL culture reflects a response to societal structures like Confucianism and the oppressive education system, which, due to their restrictedness, inadvertently foster the exploration of alternative narratives and identities within the genre (Kwon). While initially inspired by Japanese subculture, Chinese BL has evolved under diverse global influences, including American and other Asian subcultures (Lavin et al.). Chinese BL narratives delve into themes of identity, sexuality, power dynamics, and societal norms, reflecting a rich blend of modern and traditional Chinese culture (Madill and Zhao). Moreover, the rise of BL fandom has empowered female readers to engage in questions about gendered politics, questions that enable them to turn a voyeuristic gaze upon men (Zhang). The versatility of Chinese BL media reflects not only the evolving nature of the genre but also its enduring appeal and cultural significance within contemporary Chinese society. This article initiates a concise review of audio drama in China and the transformative impact of earphone technology, shifting listening experiences from public to intimate settings. It subsequently explores the intricate interplay between Chinese BL novels and audio dramas, elucidating the unique dynamics involved. The analysis then examines specific scenes from Grandmaster, providing insights into its role in facilitating a mesmerising BL audio fantasy. Grandmaster, originating as an Internet novel, has gained a dedicated following. MissEvan, recognising its potential, secured copyrights and commissioned Triones Penguin Studio for a radio drama adaptation in Mandarin. This full-cast dramatisation involves skilled editors, playwrights, and composers, thereby enriching character portrayals and interactions. The professional teamwork and meticulous oversight at each production stage guaranteed regular updates and high audio quality (Shao). Despite the collaborative nature of teamwork, I argue that the power of sound technology personalises the auditory journey as it creates an immersive experience for individual listeners. My analyses mainly rely on research involving actual listeners, along with examinations of specific content within Grandmaster with an idealised listener in consideration, to elucidate the factors contributing to its auditory allure. This examination contributes to a nuanced understanding of Chinese BL culture and its constitutive relationship to audio. From Public Broadcasting to Intimate Voicing: Audio Drama in China Radio broadcasting in China, with roots dating back to the early twentieth century, initially served as a propaganda instrument for mass mobilisation and communication. Chinese storytelling, rooted in acoustics, emphasises the sensory appeal of sound (Chan). It intertwines oral and written traditions in classical literature, particularly fiction and drama (Børdahl). Local vernaculars commonly feature in oral storytelling traditions, whereas Chinese radio programs adopt Mandarin to foster a cohesive national identity via linguistic uniformity. The Communist Party tactically expanded its audience through a radio reception network, establishing a wired broadcasting infrastructure with over 100 million loudspeakers by the 1970s. This revolutionised politics, everyday life, and perceptions of time and space (Li). The interplay between radio and social change reflected China’s pursuit of modernity, as the Communist Party utilised radio to institute a national communication system and monopolise news production. Radio thus served as a crucial tool for constructing and sustaining revolutionary fervor (Lei; He). Radio dramas, often cross-media adaptations from edited films in the 1970s, contributed to everyday sensory pleasure amidst a totalising revolutionary soundscape (Huang). The growth of radio and loudspeaker infrastructure played diverse roles in the revolution, fostering political communication, labour mobilisation, propaganda, surveillance, and even nurturing the Mao cult, turning radio drama into a potent tool for mass mobilisation and communication (Li). As a result, before the widespread availability of televisions in the 1990s, radio structured Chinese people’s daily activities and served as the primary information medium. Technological advancements in earphones, transitioning from larger wired headphones to smaller wireless earbuds like AirPods, have shifted auditory experiences in China from a collective identity tool used in political propaganda to a medium for individualistic entertainment. This change is marked by the personal nature of headphone usage, which can extend social interactions in and beyond physical dimensions (Grusin). The transition from wired headphones to wireless earbuds implements the interiorisation of one person’s body/voice within another, initiating a profound connection that transcends physical limitations (Stankievech). Since 2018, wireless earbuds have exceeded wired headphones in output value in China (Insight and Info), with the online audio market surging to 22 billion yuan in 2021, a 67.9% increase year-on-year. Audiobooks and audio dramas are the most popular genres, with a predominantly female audience under forty who prefer listening at night after work (iimedia). Among audio dramas, BL works generate the most traffic and revenue in China (Y. Wang). Along with such content, putting wireless earbuds inside the ear intensifies the intimacy of listening, transmitting voices directly into the listener’s head and sitting alongside their thoughts (Weldon). This physical closeness underscores the exclusive bond between the listener and the audio content, redefining oral narratives and transforming public and political audio content into a more personal and intimate medium. The use of wireless earbuds even extends listening beyond mere auditory experience, empowering haptic sensations that create an intimate bond. The acousmatic voice envelops the listener’s ears, establishing a connection even before the message’s content is considered (Madsen and Potts). The ear’s sensitivity prompts consciousness and memory, unlocking the imaginative world (C. Wang 91-94). This sensory engagement surpasses traditional auditory limits, resembling a physical encounter where listeners feel like their body has joined with the body of sound. Dermot Rattigan, discussing radio drama, notes how listeners fill the void with mental visualisations and imagination, entering a state of individual ‘virtual reality’ through aural stimulation (Rattigan 118). Drawing from visual psychology, Shaffer likens the soundscape to a dynamic landscape painting, emphasising the fluidity of auditory experiences (Schafer). Listening becomes a multi-dimensional journey involving the entire body and mind, a compelling tool for reception and connection that transcends reality’s boundaries. The advent of MP3 technologies and the podcasting boom also extends the former spatial and temporal limitations of listening. In contrast to traditional real-time broadcasting, MP3 technologies enable voices to persist indefinitely into the future (Madsen and Potts). This temporal flexibility further builds a private sound sphere for listeners (Euritt). Listeners no longer need to share time and space with others around loudspeakers or radios, so they can freely indulge in their subcultural preferences, such as BL stories, without concern for societal judgment. Many listeners strategically incorporate audio dramas into their daily schedule, choosing moments of solitude such as before sleep or upon waking, where they can detach from the expectations of their physical space and identity roles. This is particularly evident among devoted fans of Chinese BL audio dramas, who carve out personal time for these works and seek a quiet space for focussed engagement (Wang 55). This intentional, focussed engagement differs from the typical mode of everyday radio listening as it serves an expanded, widespread dissemination environment that is also highly intimate (Madsen and Potts). Thus, the convergence of temporal flexibility and immersive technology shapes listener engagement and interaction dynamics. The fusion of intimacy, physical closeness, and temporal flexibility heightens the allure of the voice in programs with erotic undertones, such as BL audio dramas. Euritt introduces the concept of ‘breathing out into you’ to explain queer eroticism in podcasts, emphasising shared breaths and potential haptic exchanges that enhance the sensual dimensions of sound (Euritt 27-53). This wireless, intimately riveting auditory experience transforms the soundscape and reshapes contemporary social interactions. This shift is particularly noteworthy for popular Chinese radio and audio content as they began as a public, propaganda-oriented tool and transitioned into forms as novel as the intimate domain of BL audio dramas. This change underscores the transformative power of sound in shaping interactions, surpassing conventional storytelling boundaries, and ushering in a new era of engaging narratives. The 2.5-Dimensional: Auralising Chinese Boys’ Love Fiction The BL genre emerges as a cultural and social force that can potentially challenge traditional Chinese values. Its focus on male-male love inherently questions societal expectations around gender and sexuality in ways that disrupt Confucian ideology’s emphasis on heterosexual marriage and lineage (Welker). Furthermore, the genre’s similarity to the melodramatic ‘soap opera’ storytelling style resonates with Western ideals of individualism and aligns more with a feminist viewpoint that contrasts with the male-dominant heterosexism often found in traditional Chinese narratives (Mumford). This emphasis on individual desires also implicitly disputes the collectivist and socialist values, as well as the importance of the extended family, traditionally embraced in Chinese cultures. In short, the love, sex, and romance depicted in BL represent a departure from traditional Chinese values, positioning the BL genre as a vehicle for cultural exchange and societal transformation in terms of gender norms. The surge of Internet radio and social media in the 2010s has substantially contributed to the professionalisation and commercialisation of Chinese BL audio dramas. MissEvan, a prominent barrage-audio and live-broadcasting Website, has been crucial to this proliferation (Hu et al.). Before the advent of commercial dubbing, enthusiasts of BL novels voluntarily recorded non-profit Chinese audio dramas and disseminated them online. The popularity of BL novels subsequently prompted their adaptation into animation and television dramas, creating a demand for dubbing services. This demand inaugurated a niche for professional voice actors to hone and showcase their skills. The integration of technology and capital by commercial production teams has markedly elevated the quality of Chinese BL audio dramas. Amidst tightening censorship in 2021, Chinese BL online novels and their television/Web-drama adaptations faced restrictions. Audio drama emerged as a less restrictive medium, which can relatively directly present explicit gay relationships (Hu et al.). Listeners of Chinese BL audio dramas typically read the online novel beforehand, engaging in dual consumption for pleasure in both reading and listening (Wang 58). Their engagement transcends plot comprehension, focussing instead on appreciating sophisticated voice performances. Exploring how audio dramas derived from novels can transcend textual narratives and captivate audiences has become a central focus in the production process, highlighting the flourishing landscape of audio drama. The listening process provides informed listeners with a re-experience, offering multiple sensory and emotional pleasures by translating words into voice and sounds. Unlike film and television dubbing, which requires synchronisation with actors’ lip movements and speech rhythms, dubbing for animation, audio dramas, and games gives greater creative autonomy to voice actors. The thriving market for audio dramas has shaped the Chinese dubbing industry, cultivating a devoted fan base for previously overlooked voice actors. The character voices (CVs, also known as voice actors, or VAs) have emerged as central figures, attracting fans and driving media traffic. In the late 2010s, collaborations between MissEvan and renowned CVs resulted in the adaptation of popular online fiction into paid audio dramas, exemplified by Grandmaster, which aired in 2017 and 2018 (Hu et al.). Fans’ motivation for engaging with BL audio dramas extends beyond intertextual and trans-media entertainment but incorporates an appreciation for their beloved CVs, thereby fostering a culture of support within the burgeoning Chinese BL audio drama market. In the storytelling of aural media, CVs are crucial in bridging the auditor’s BL imagination between the text and the characters as their performances breathe life into characters. CVs fill a gap between two-dimensional works (fiction, comic, and animation) and the three-dimensional real world, forging ‘2.5-dimensional’ content. This term originated in the 1970s-80s to describe anime voice actors, who imbue two-dimensional characters with a sense of existence and generate interrelations between the real, fictional, and cyber worlds (Sugawa-Shimada and Annett). In BL audio dramas, CVs commonly stimulate listeners’ sensations through male moans that facilitate an erotic flow between sound and body, arousing desire through the auditory channel. The incorporation of scenes with sexual innuendo between the male protagonists creates a space for listeners to indulge in these moments with earphones on, enveloped in their own private, eroticised sphere of engagement between fiction and reality. The deliberate pauses, gasps, and panting become the silent dialogue that intertwines inner voices with external narratives, enhancing comprehensive sensory engagement for listeners. Audio Fantasy in Grandmaster of Demonic Cultivation Grandmaster is a seminal Chinese BL novel that blends martial arts, supernatural fantasies, and emotional depth. Set in a richly imagined world where immortal cultivation techniques bestow individuals with extraordinary powers, the story follows protagonists Wei Wuxian’s and Lan Wangji’s intertwined fates. Its captivating narrative and nuanced characters have garnered a global fanbase, solidifying its place as a cornerstone of Chinese BL literature and media. The audio drama Grandmaster faithfully mirrors the novel’s narrative structure, unfolding from the protagonist Wei’s perspective after his reincarnation, weaving memories of his past and present life, including his romantic involvement with Lan. Wei’s establishment of the forbidden Demonic Path leads to his death, but he is reincarnated thirteen years later and reunites with Lan. After his reincarnation, Wei gradually realises Lan’s concealed profound affection and scarification for him. Diverging from the television/Web-drama adaptation, which replaces the romance with platonic ‘bromance’ due to censorship (Lei), the audio drama accentuates the impassioned soundscapes of their relationship. The three-season series, comprising episodes of 30-40 minutes, offers the first three episodes for free, with subsequent content requiring payment (approximately four to six dollars per season). Impressively, the series has driven earnings exceeding $1.5 million (Asia Business Leaders). This success highlights the captivating and profitable potential of audio dramas as a BL storytelling medium. Unlike the original novel, which uses an omniscient narrator, the audio drama advances the plot solely through character dialogue. Consequently, listeners navigate the storyline guided by the rhythm of the CVs’ delivery and the accompanying music. Different from Japanese BL audio dramas that feature as ‘voice porn’ for women (Ishida), Grandmaster subtly implies the romance between Lan and Wei, with the most intimate interactions limited to kisses. Rather than sexually explicit content, the drama focusses on the characters’ affective fulfillment after a prolonged thirteen-year anticipation. For instance, in Season 1, Episode 4, Wei attempts to hide his identity and flee from Lan. When Wei creeps back towards Lan’s bed to steal the pass for exiting Lan’s residence, Lan catches him. Rather than simply saying ‘Get off’ as in the novel, Lan instructs Wei in the audio drama to ‘Get off from my body,’ offering listeners additional physical contact cues (the quotes from the novel and audio drama in this article are translations from Chinese to English). Following Wei’s intentional refusal, the CV Wei Chao, portraying Lan, strategically breathes before his next line, ‘then stay like this for the whole night’. The breath conveys Lan’s deep, restrained affection and evokes the listener’s nuanced emotional resonance. To represent Lan’s affection within his minimal and often monosyllabic lines requires the CV to convey emotions through breaths and intonations, which commonly elicit an autonomous sensory meridian response (ASMR) in listeners. ASMR is a tingling sensation often triggered by soft low-tone spoken or whispered voices (Barratt and Davis). Wei Chao intentionally lowers his voice to interpret how Lan’s sighs encapsulate unspoken sentiments (Wei). In contrast, the CV Lu Zhixing employs a playful and sweet tone in his portrayal of Wei Wuxian. When Lu delivers flirtatious lines, online real-time comments frequently express listeners’ admiration, suggesting that his voice is even more captivating than women’s. The contrasting restraint and playfulness intensify the listener’s empathy for Lan’s unspeakable passion. Thus, Lan’s subtle expressions of his restrained love become the primary attraction for listeners (KikuHonda). The high-quality sound further amplifies the breath sounds, making each of Lan’s ‘hmm’ responses—indifferent, melancholy, or indulgent—a nuanced emotional trigger. Listeners, through their wireless earbuds, engage in the meticulously crafted expressions of Lan within a profoundly personal soundscape. This listening mode is a crucial component of the overall enthralling auditory voyage, augmenting the appreciation of the characters’ subdued emotions. The layered integration of music and sound in Grandmaster constructs a three-dimensional sonic storytelling landscape. Effective soundscapes for storytelling are crafted by multiple dimensions: sound source, temporal progression, simultaneous layers, and spatialisation. Sound editing allows for source selection, with listeners experiencing these dimensions as integrated, not separate or sequential (Stedman et al.). The audio drama Grandmaster distinguishes itself from the novel by using voice flashbacks for narrative enhancement. In Season Three, Episode 12, when Lan’s brother recounts Lan’s sacrifice for Wei, particularly the moment when Lan endured severe punishment to save Wei thirteen years ago, the soundscape instantly transports listeners to that intense scene. Listeners vividly hear the swishing force of the whip and its impact, immersing them in the sounds of Lan’s anguish and unwavering love. This direct auditory impact allows listeners to feel as if they are experiencing the events firsthand, physically sensing the hardships encountered by the protagonists in understanding each other’s affection, intensifying their hard-won love. The musical orchestration and vocal interplay are also pivotal to conveying the story. In the storyline, Wei and Lan showcase proficiency in their respective instruments: Wei with the flute and Lan with the guqin (a seven-string Chinese zither). The tonal features of these instruments—the flute’s melodious brightness and the guqin’s deep lingering resonance—symbolise the protagonists’ distinct personalities, adding ingenious layers to their relationship. In the Guanyin Temple scene (Season Three, Episode 13), as Wei confesses to Lan, the initial background music features the flute, guqin, and rain sounds, foreshadowing the confessional moment with Wei’s worries that Lan will not believe his words. As Wei promises to remember Lan’s every word from now on, the music incorporates the guzheng, a Chinese string instrument with a brighter timbre than guqin. The tremolo technique of guzheng is reminiscent of the characters’ heartstring vibrations. Through auditory cues, the narrative climaxes with Wei’s heartfelt confession of love for Lan. When Wei straightforwardly confesses, ‘I fancy you, I love you, I want you, I cannot leave you. … I do not want anyone but you—it cannot be anyone but you’ (Season Three, Episode 13), his heartfelt words are accompanied by layered sounds, including the duet of the flute and guqin, and the sound of thunder and rain, accelerating the affective climax. Lan echoes Wei’s words, underscored by erhu, thereby showing how this string instrument resembles humans’ sobbing voices through its sliding technique, rendering the touching melody. The heartbeat and rain sound with Lan’s panting highlight the painful loneliness of Lan’s thirteen-year wait. The intricate fusion of musical and vocal elements enables listeners to not only hear but also to feel the mutual affection between the characters, culminating in a sense of delight upon the disclosure of their reciprocal love following numerous adventures. Using earbuds amplifies listeners’ capacity to fully receive auditory details and stereo effects, thereby contributing to the popularity of BL audio dramas that skillfully convey unspoken love through detailed soundscapes. Epilogue The Grandmaster audio dramas provide crafted episodes that fulfill fans’ passionate needs that exceed the novel’s scope. In addition to adapting the novel, the team has conceived original mini-dramas that enrich the character images. Listeners can access additional content such as iconic quotes, ringtones, and ‘lullaby’ episodes recorded by the leading CVs, maximising the captivating power of sound and justifying listeners’ investment. The multi-layered use of sounds and instrumental arrangements effectively constructs a three-dimensional soundscape, reinforcing the audience’s understanding of the story and characters. Unlike television/Web-drama adaptations, the audio drama fully amplifies the tragic elements of the novel, pushing the immersed listener’s imagination past textual limitations. While casting choices and modelling in visual adaptions may disappoint viewers’ expectations at times, the audio drama leverages the power of sound to stimulate listeners’ imaginations, encouraging them to visualise their own specific character images. Skillful orchestration, along with sound effects, breaths, and dialogues in Grandmaster intensifies emotional expression, forming a rich and dimensional soundscape and unlocking new possibilities for audio drama artistic expression for Chinese BL fantasy. Reference Asia Business Leaders. “魔道祖師收益驚人, 中國廣播劇市場逾百億 [The Astonishing Earnings of Grandmaster of Demonic Cultivation, China’s Radio Drama Market Exceeds 10 Billion].” 19 Jan. 2022. <https://www.asiabusinessleaders.com/posts/%E4%B8%AD%E5%9C%8B%E7%B7%9A%E4%B8%8A%E9%9F%B3%E8%A8%8A %E5%B8%82%E5%A0%B4%E9%80%BE%E7%99%BE%E5%84%84>. Bai, Meijiadai. “Regulation of Pornography and Criminalization of BL Readers and Authors in Contemporary China (2010–2019).” Cultural Studies 36.2 (Mar. 2022): 279–301. Barratt, Emma L., and Nick J. Davis. “Autonomous Sensory Meridian Response (ASMR): A Flow-Like Mental State.” PeerJ 3 (Mar. 2015). <https://doi.org/10.7717/peerj.851>. Børdahl, Vibeke. Wu Song Fights the Tiger: The Interaction of Oral and Written Traditions in the Chinese Novel, Drama and Storytelling. NIAS Press, 2013. Chan, Leo Tak-hung. “Text and Talk: Classical Literary Tales in Traditional China and the Context of Casual Oral Storytelling.” Asian Folklore Studies 56.1 (1997): 33–63. Euritt, Alyn. Podcasting as an Intimate Medium. Routledge, 2022. Feng, Jin. “‘Addicted to Beauty’: Consuming and Producing Web-Based Chinese ‘Danmei’ Fiction at Jinjiang.” Modern Chinese Literature and Culture 21.2 (2009): 1–41. Grusin, Richard A. Premediation: Affect and Mediality after 9/11. Palgrave Macmillan, 2010. He, Bixiao. “ ‘Yelling at the Masses’: Making Propaganda Audible in the Communist Revolution.” China Report 58.1 (2022): 28–40. Hu, Tingting, Jing Jin, and Lin Liao. “A Transmedia ‘Third’ Space: The Counterculture of Chinese Boys” Love Audio Dramas.” Asian Studies Review 47.4 (2023): 836–54. Huang, Nicole. “Listening to Films: Politics of the Auditory in 1970s China.” Journal of Chinese Cinemas 7.3 (2013): 187–206. Hunn, Nick. “The Market for Hearable Devices 2016-2020.” Wearable Technologies. 7 Dec. 2016. <https://wt-obk.wearable-technologies.com/2016/12/the-market-for-hearable-devices-2016-2020-and-then-there-were-airpods/>. iimedia. “2021年中国在线音频行业发展及用户行为研究报告 [2021 China Online Audio Industry Development and User Behaviour Research Report].” 21 Nov. 2021. <https://www.iimedia.cn/c400/82048.html>. Insight and Info. “中国无线耳机行业发展现状分析与投资前景研究报告 (2022-2029 年) [Analysis and Investment Prospect Research Report on the Development of China's Wireless Earphone Industry (2022-2029)].” 2022. <https://www.chinabaogao.com/detail/607742.html>. Ishida, Minori. “Sounds and Sighs: 'Voice Porn' for Women.”  In Shōjo across Media: Exploring “Girl” Practices in Contemporary Japan, eds. Jaqueline Berndt et al. Springer International, 2019. 283–99. KikuHonda. “[閒聊] 廣播劇魔道祖師 [[Chat] The Audio Drama Grandmaster].” 18 Jan. 2020. <https://www.ptt.cc/bbs/YuanChuang/M.1579362798.A.49D.html>. Kwon, Jungmin. “The Past, Present, and Future of Boys Love (BL) Cultures in East Asia.” In Transnational Convergence of East Asian Pop Culture. Routledge, 2021. Lavin, Maud, et al. Boys’ Love, Cosplay, and Androgynous Idols: Queer Fan Cultures in Mainland China, Hong Kong, and Taiwan. Hong Kong UP, 2017. Lei, Jun. “Taming the Untamed Politics and Gender in BL-Adapted Web Dramas.” In Queer TV China: Televisual and Fannish Imaginaries of Gender, Sexuality, and Chineseness, ed. Jamie J. Zhao. Hong Kong UP, 2023. 105–23. Lei, Wei. Radio and Social Transformation in China. Routledge, 2019. Li, Jie. “Revolutionary Echoes: Radios and Loudspeakers in the Mao Era.” Twentieth-Century China 45.1 (2020): 25–45. Madill, A., and Y. Zhao. “Engagement with Female-Oriented Male-Male Erotica in Mainland China and Hong Kong: Fandom Intensity, Social Outlook, and Region.” Participations: Journal of Audience and Reception Studies 18.1 (May 2021): 111–31. Madsen, Virginia, and John Potts. “Voice-Cast: The Distribution of the Voice via Podcasting.” In VOICE: Vocal Aesthetics in Digital Arts and Media, eds. Norie Neumark et al. MIT P, 2010. Mumford, Russell E. Love and Ideology in the Afternoon: Soap Opera, Women and Television Genre. Indiana UP, 1995. Rattigan, Dermot. Theatre of Sound: Radio and the Dramatic Imagination. Carysfort, 2002. Schafer, R. Murray. The Soundscape. Destiny, 1993. Shao, Maomao. “魔道祖师广播剧播放2000万 [The Audio Drama Grandmaster of Demonic Cultivation Has Been Played 20 Million Times].” JMedia 2018. <https://www.jiemian.com/article/2324030.html>. Stankievech, Charles. “From Stethoscopes to Headphones: An Acoustic Spatialisation of Subjectivity.” Leonardo Music Journal 17 (Dec. 2007): 55–59. Stedman, Kyle D., et al. "Tuning into Soundwriting." Intermezzo, 2020. <http://intermezzo.enculturation.net/14-stedman-et-al/index.html>. Sugawa-Shimada, Akiko, and Sandra Annett. “Introduction.” Mechademia: Second Arc 15.2 (Spring 2023): 1–7. Wang, Chien Hua. “聲音的「腐」能量：宅宅腐眾的跨國bl廣播劇聆聽與妄想 [The Voice Fantasies of Boy’s Love: How Otaku and Fujoshi Listen to and Consume Boy’s Love Audio Drama].” Master's thesis. National Taiwan Normal University, 2021. Wang, Ying. “ ‘耳朵经济’ 时代下猫耳FM广播剧发展策略研究 [Research on the Development Strategy of Maoer FM Radio Drama in the Era of ‘Ear Economy’].” 新闻传播科学 [Journalism and Communications] 11.4 (2023): 847–51. Wei, Chao. Interview. In “Free Talk of the Voice Actors I”, Grandmaster of Demonic Cultivation Season 2. 14 Mar. 2019. <https://www.missevan.com/sound/player?id=1185150>. Weldon, Glen. “It’s All in Your Head: The One-Way Intimacy of Podcast Listening.” NPR, 2 Feb. 2018. <https://www.npr.org/2018/02/02/582105045/its-all-in-your-head-the-one-way-intimacy-of-podcast-listening>. Welker, James, ed. Queer Transfigurations: Boys Love Media in Asia. U of Hawai'i P, 2023. Zhang, Chunyu. “Loving Boys Twice as Much: Chinese Women’s Paradoxical Fandom of ‘Boys’ Love’ Fiction.” Women’s Studies in Communication 39.3 (July 2016): 249–67.

Banning “braingasm”: an investigation of misogynistic politics in 8Chan’s, U.S. platforms’ and CCP’s regulation of ASMR

ABSTRACT This article analyses a global attack on ASMR women producers who produce “Autonomous Sensory Meridian Response” videos initiated by 8Chan, U.S. platforms and the Chinese Communist Party (CCP). We consider ASMR as a form of feminine labour that employs bodily and sensory effects to generate affective pleasures, and it troubles boundaries and expectations about women’s social positions. The very fact that such labour became the target of 8Chan men, deemed as a risk to creditor policies and was subjected to a national blanket ban raises the question of why ASMR is the target of these diverse political-economic entities. Drawing on 8Chan, U.S. platforms and CCP’s discussions around ASMR, this paper contends ASMR became the target across the two most prominent political contexts because it challenges these entities’ claimed legitimacy in excluding feminine enjoyment. Our research politicises the misogynistic aspects of regulating/deplatforming sex: the three political-economic entities’ regulation of ASMR is driven by the desire to monopolise the rights to define “correct” forms of enjoyment, to profit from enjoyment, and the rights to enjoy, respectively.

Autonomous sensory Meridian response as a physically felt signature of positive and negative emotions.

Current research on Autonomous Sensory Meridian Response (ASMR) assumes that ASMR is always accompanied by contentment, and it is distinct from frisson due to positive emotions. Thus, research investigations tend to limit their scope to solely focusing on the sensation of relaxation that ASMR induces. This study explores whether it is possible to have a different emotional experience and still perceive ASMR, testing the theory of ASMR as an amplifier of pre-existing emotion instead of a determination of positive affect. The emotional arousal and valence, and mood changes of 180 ASMR-capable and incapable individuals were analysed using questionnaires after altering the affective interpretation associated with auditory ASMR (tapping) with visual priming to examine whether the primed emotion (fearful, relaxing, or neutral) could be amplified. It was found that an ASMR response occurred in all priming conditions, including the fear priming group. No significant difference was found in the emotional outcome or mood of the neutral and relaxing priming groups. Upon comparison with ASMR-incapable individuals, both the relaxing and neutral priming groups demonstrated the same affect, but greater potent for ASMR-capable. Individuals who appraised ASMR after visual fear priming demonstrated a significant decrease in positive emotional valence and increased arousal. The findings suggest that ASMR occurs in both positive and negative emotional situations, suppressing contentment induction if ASMR stimuli are interpreted negatively and amplifying contentment when interpreted positively. While more research is needed, the results highlight that ASMR and frisson might describe the same phenomenon, both a physically felt signature of emotion. Therapeutic usage of ASMR should carefully select appropriate stimuli that emphasise contentment to avoid potential health risks associated with negative emotions until a further understanding of ASMR's affective parameters has been established.

Autonomous sensory meridian response in service experience: an exploratory study

ABSTRACT This paper evaluates the role of Autonomous Sensory Meridian Response (ASMR) in service experience. ASMR is an enjoyable and relaxing sensation accompanied by head and/or body ‘tingles’ in response to a large variety of triggers. The paper studies the effects of six ASMR triggers (touch, sound, watching hands, soft speech, caring attention, soft temper) on customers’ service experience in six service settings with different nature of the interaction (hairdresser, coffee shop, hotel check-in, doctor, cashier, customer service call). The sample includes 2709 respondents: 2269 ASMR-sensitive and 440 ASMR-non-sensitive. The findings include: (i) the effect of each trigger depends on the service; (ii) experiencing ASMR increases the likelihood of a repeat purchase; (iii) experiencing ASMR enhances customer experience in high contact-long duration services but hinders it for low contact-short duration ones.

Personality-related characteristics of artists creating Autonomous Sensory Meridian Response (ASMR) videos and their role in evoking ASMR sensation in others

Personality-related characteristics of artists creating Autonomous Sensory Meridian Response (ASMR) videos and their role in evoking ASMR sensation in others

Autonomous Sensory Meridian Response as a Second Learning Area in Teaching Turkish as a Foreign Language (ASMR)

Çalışmada amaç, son dönemlerde YouTube’da yükselen bir fenomen olan Otonom Duyusal Meridyen Tepkisi (ODMT) kültüründeki dil öğretimine ilişkin içeriklerin, uzman öğreticilerin fenomenolojik yapısal değerlendirmeleri çerçevesinde yabancı dil olarak Türkçe öğretiminde formal bir Bilgisayar Destekli Dil Eğitimi (BDDE) uygulama ortamı olarak kullanıma uygunluğunu tartışmaktır. Çalışmanın veri tedariği yorumlayıcı fenomenolojik analiz metodunun esasları bağlamında Türkiye’de yabancı dil olarak Türkçe öğreten 13 uzman öğretici ile derinlemesine anlık mesajlaşmalı görüşme yapılması yoluyla toplanmış ve elde edilen veriler yapısal betimleme ilkeleri çerçevesinde analiz edilmiştir. ODMT ’ye ilişkin sistemik yapı yaklaşımını anlamak için belirlenen beş kategori ve alt kategorilere ilişkin bireysel ve ortak kanaatler, nitel olarak yapılandırılmış; olumsuz ve olumsal kanaatlerin gerekçeleri üzerinden sürecin anlamlandırma sistemi tespit edilmiştir. Bireysel kanaatlerin ortak görünümlerini kavramayı hedefleyen çalışmada elde edilen bulgular, deneyimlenen videolardaki aktörün kimliği, yöntemsel eksiklikler, özensizlik, amatörlük, sesletim hataları, amaçsızlık ve spesifik kültürün riskleri gibi gerekçelerin kararsızlığı tetikleyen gerekçeler olmalarına karşın genel bir olumsal ortak kanaatin varlığına işaret etmiştir. Ortak kanaat, ODMT kültüründe üretilen amatör dil öğretimi videolarının profesyonel ve iyi hazırlanmış içerikler biçiminde kurgulanmasının yabancı dil olarak Türkçe öğretim süreçlerine niteliksel katkı sağlayacak ikinci bir Bilgisayar Destekli Dil Eğitimi (BDDE) uygulama ortamı olacağı yönündedir.

Attention and purchase intention of sounding advertisements—A study on autonomous sensory meridian response of towel sound

AbstractIn the face of Taiwan's declining textile industry, companies strive to enhance product visibility but to little avail. Emphasizing personalized marketing in online advertising, they are exploring consumer‐preferred streaming adverts. However, the distracting nature of streaming media presents an obstacle. Herein, our research offers a solution. Utilizing audio autonomous sensory meridian response (ASMR), evidenced to significantly amplify skin conductance rate and brainwave activity, consumer attention can be effectively garnered. Studies have found that watching videos with the sound effect of ASMR can help the audience concentrate. Changes in brainwaves and skin conductance rates, when consumers use towel product, can be used to explore whether the participants are affected by ASMR. The results showed that audio ASMR streaming significantly increased the skin conductance rate and the brainwave of left anterior frontal area. This means that audio ASMR can attract consumer attention. The survey results have shown that all hypotheses were supported.Practical ApplicationsThis research explores the use of autonomous sensory meridian response (ASMR) in online advertising for the declining textile industry in Taiwan. ASMR, a unique sound that captures attention and induces relaxation, has been shown to increase consumer concentration and purchase intention. By integrating ASMR into towel advertisements and analyzing participants' physiological signals, such as skin conductance rate and brainwave activity, the study found that audio ASMR significantly attracted consumer attention and increased purchase intentions. The findings suggest that textile companies should incorporate ASMR into their marketing strategies to effectively engage consumers and boost sales. Moreover, understanding audience preferences for specific ASMR sounds is crucial for achieving the desired advertising effects.

The relaxation effect of autonomous sensory meridian response depends on personal preference.

Autonomous sensory meridian response (ASMR) is a sensory response such as tingling and pleasantness from audiovisual stimuli. ASMR videos come in a wide variety of types, and personal preferences are biased. There are many reports of the effects os ASMR on sleep onset, anxiety relief, and other relaxation effects. However, prior task-oriented studies have used ASMR videos provided by the experimenter. We hypothesized that ASMR movies of a personal preference would show significantly increased activity in the nucleus accumbens, frontal cortex, and insular cortex, which are brain areas associated with relaxation. Therefore, the purpose of this study was to elucidate the neuroscientific basis for the relaxation effects of ASMR videos that match someone's personal preferences. This study included 30 healthy individuals aged ≥18 years. ASMR enthusiasts were included as the target population due to the need to have a clear preference for ASMR videos. A control video (1 type) and ASMR videos (20 types) were used as the stimulus tasks. Among the ASMR videos, those with high and low evaluation scores were considered liked and dislikedASMR videos, respectively. Functional magnetic resonance imaging was performed while the participants viewed a block design with a resting task in between. The data were analyzed using Statistical Parametric Mapping 12 to identify the areas activated by control, disliked, and liked ASMR videos. Emotion-related areas (the amygdala, frontal cortex, and insular cortex) not activated by control and unliked ASMR videos were activated only by liked ASMR videos. The amygdala, frontal cortex, and insular cortex may be involved in the limbic dopamine circuits of the amygdala and middle frontal gyrus and the autonomic balance of the left and right insular cortices. This suggests the potential of positive mood and its use as a treatment for patients with anxiety and depression. These results suggest that the use of ASMR videos to match individual preferences may induce relaxation and have beneficial effects on depression and other disorders, and also support the introduction of ASMR videos in mental health care.

Autonomous sensory meridian response (ASMR): A PRISMA-guided systematic review.

Autonomous sensory meridian response (ASMR): A PRISMA-guided systematic review.

Multiple interactions in new media sound art: A case study of ASMR

<p>The constant renewal and development of emerging technologies and new media offer more possibilities for the innovation and development of sound art. ASMR (autonomous sensory meridian response), as a new product of auditory culture, is an example of the innovative development of literature and art in the context of the fusion of new technologies and new media. The dependence on the medium is a prominent feature of this kind of auditory art, and the background conditions and unique aesthetic implications of ASMR auditory art offer the possibility of a shift towards auditory culture.</p>

Caresses, whispers and affective faces: A theoretical framework for a multimodal interoceptive mechanism underlying ASMR and affective touch: An evolutionary and developmental perspective for understanding ASMR and affective touch as complementary processes within affiliative interactions.

Autonomous sensory meridian response (ASMR) and affective touch (AT) are two phenomena that have been independently investigated from separate lines of research. In this article, Iprovide a unified theoretical framework for understanding and studying them as complementary processes. I highlight their shared biological basis and positive effects on emotional and psychophysiological regulation. Drawing from evolutionary and developmental theories, Ipropose that ASMR results from the development of biological mechanisms associated with early affiliative behaviour and self-regulation, similar to AT. I also propose a multimodal interoceptive mechanism underlying both phenomena, suggesting that different sensory systems could specifically respond to affective stimulation (caresses, whispers and affective faces), where the integration of those inputs occurs in the brain's interoceptive hubs, allowing physiological regulation. The implications of this proposal are discussed with a view to future research that jointly examines ASMR and AT, and their potential impact on improving emotional well-being and mental health.

Pengaruh Relaksasi Autonomous Sensory Meridian Response (Asmr)terhadap Tingkat Kecemasan Mahasiswa dalam Menghadapi Skripsi pada Mahasiswa Keperawatan Reguler Tingkat Akhir di Universitas Indonesia Maju Jakarta Tahun 2023

Background: Students who are writing their theses experience several psychological disorders, one of which is anxiety disorders. One suitable treatment for treating anxiety disorders is to carry out Autonomous Sensory Meridian Response relaxation or commonly known as (ASMR). Watching ASMR videos can make students who feel anxious become calmer and more relaxed so that they can reduce their anxiety level and can complete their thesis according to the desired time. Objective: This research is to determine the effect of Autonomous Sensory Meridian Response (ASMR) relaxation on students' anxiety levels in facing a thesis for final year regular nursing students at the University of Indonesia Maju in 2023. Method: This research uses a quantitative research design with a one-group pre-test design approach before the treatment is given and a post-test after the treatment is given. Results: The majority of respondents are women (86.7%) and the majority of respondents were aged 21-22 years (86.7%). The majority of respondents before being given the intervention were in the mild anxiety category (46.7%) and the majority of respondents after being given the intervention were in the no anxiety category (73.3%). The Wilcoxon test result was p = 0.001 < 0.05, which means HA was accepted. Conclusion: There is an influence of Autonomous Sensory Meridian Response (ASMR) relaxation on final year regular nursing students in preparing their thesis at the Advanced Indonesia University.
  

From touch to tingles: Assessing ASMR triggers and their consistency over time with the ASMR Trigger Checklist (ATC)

Autonomous Sensory Meridian Response (ASMR) is a term describing a complex sensory-perceptual phenomena characterised by relaxing and pleasurable scalp tingling sensations. A central defining feature of ASMR is that the sensation is elicited by a core set of stimuli or so-called “triggers”. The idea that ASMR is triggered by specific external stimuli is frequently invoked in conceptual definitions of ASMR and implicit in its operationalisation as a trait and state; however, it is rarely explicitly measured. In this paper, we present the 37-item ASMR Trigger Checklist (ATC), a new tool to assist researchers in ASMR-responder identification and to capture individual differences in the number and intensity of ASMR triggers across auditory (vocal, non-vocal), visual, and tactile/interpersonal stimulus domains. The ATC is related to existing measures of trait-ASMR that tap into the sensations and phenomenological aspects of the experience (ASMR-15 and AEQ) and provides a complementary assessment for researchers interested in common ASMR elicitors. Importantly, the ATC addresses concerns regarding the over-reliance of audio-visual ASMR stimuli in existing measures and conceptualisations of ASMR by emphasising tactile and interpersonal stimuli. Physical touch to the body was both the most endorsed (98%) and intense (average 5/6) ASMR trigger. 24 of the 37 ATC items were endorsed by 75% of the sample and might therefore be considered prototypical ASMR triggers. The ATC has appropriate convergent validity through its association with other individual differences known to be related to ASMR (e.g., absorption, openness to experience, aesthetic experiences). Re-administration of the ATC after 5 months showed high consistency in reports of ASMR triggers with 84% of endorsements remaining the same over time. We hope that the ATC will prove a useful tool for researchers in participant selection and recruitment as well as for measuring individual differences within the ASMR population.

The Physiological Effects of ASMR on Anxiety

Purpose: Autonomous Sensory Meridian Response is a novel phenomenon that is very popular these days on Youtube and Reddit to its anti-anxiety effects. As the name suggests, ASMR is a relaxing warm sensation that begins on the scalp and spreads throughout the body. This technique is also known as "brain massage," and it relies on soothing sights and sounds, like whispers and slow movements. Investigating these videos is primarily motivated by the desire to determine their scientific origins, which can be derived from a variety of approaches.
 Materials and Methods: In this paper, we intended to examine the physiological changes such as Heart Rate (HR) as well as Galvanic Skin Conductance (GSC) levels before and after watching a single session ASMR video.
 Results: The dependent t-test statistical analysis by SPSS results with P-value <=0.01 indicated that after a single session of ASMR watching, the heart rate decreased significantly comparing the baseline data. In addition, the skin conductance was slightly reduced as well, but not significantly.
 Conclusion: These physiological findings prove that ASMR could be an affordable, portable, and immediate anxiety relief for those struggling with anxiety-based disorders, especially for patients who do not respond well to medication or seek alternatives to anti-anxiety medications due to the wide range of side effects or would like to try it for better results along with the prescribed drugs.

The effects of autonomous sensory meridian response (ASMR) on modality, mood, and mindfulness (3Ms).

The effects of autonomous sensory meridian response (ASMR) on modality, mood, and mindfulness (3Ms).

From the Outside in: ASMR Is Characterised by Reduced Interoceptive Accuracy but Higher Sensation Seeking.

Autonomous Sensory Meridian Response (ASMR) is a complex sensory-perceptual phenomenon characterised by relaxing and pleasurable scalp-tingling sensations. The ASMR trait is nonuniversal, thought to have developmental origins, and a prevalence rate of 20%. Previous theory and research suggest that trait ASMR may be underlined by atypical multisensory perception from both interoceptive and exteroceptive modalities. In this study, we examined whether ASMR responders differed from nonresponders in interoceptive accuracy and multisensory processing style. Results showed that ASMR responders had lower interoceptive accuracy but a greater tendency towards sensation seeking, especially for tactile, olfactory, and gustatory modalities. Exploratory mediation analyses suggest that sensation-seeking behaviours in trait ASMR could reflect a compensatory mechanism for either deficits in interoceptive accuracy, a tendency to weight exteroceptive signals more strongly, or both. This study provides the foundations for understanding how interoceptive and exteroceptive mechanisms might explain not only the ASMR trait, but also individual differences in the ability to experience complex positive emotions more generally.

DETERMINING AUTONOMOUS SENSORY MERIDIAN RESPONSE (ASMR) EFFECT ON ADVERTISING EFFECTIVENESS BY USING CONTENT ANALYSIS

Autonomous Sensory Meridian Response which is abbreviated as ASMR, is emerging as a content that brands prefer to use in their ads recently. However, the effects of ASMR contents on consumers can be positive as well as negative, making ASMR contents a risky choice for brands. In the literature, the outputs on the advertising effectiveness of ASMR contents are quite insufficient. Based on this gap, it is aimed to reveal the effect of ASMR on advertising effectiveness by obtaining consumer insights into ASMR contents in ads. For this purpose, ASMR-containing Permolit Paint and LC Waikiki (LCW) ads published in Turkey were determined and the comments for these ads in the digital media platforms were analyzed by content analysis. The results showed that both ASMR ads were mostly evaluated as relaxing and positive, but also provided a positive behavioral attitude such as using the brand and voluntarily watching the ads repeatedly. Yet, some auditory triggers, especially whispering and contact with the product surface, were found to be a prominent source of negative attitude towards LCW's advertisement.

Relax Your Fear—The role of autonomous sensory meridian response (ASMR) in green advertising

As a novel approach in green advertising, the autonomous sensory meridian response (ASMR), which induces relaxation and pleasure, is expected to relieve the excessive negativity caused by a negative environmental message. Drawing from the fear-relief theory, mating attraction strategy, and rational choice theory, this experimental study investigated the effectiveness of embedding ASMR within a negative green ad in controlling viewers' fear. It also explored the effects of ASMR on buying intention between two different perceived-difficulty eco-friendly products. The study involved 240 young adults. The findings reveal that, compared to non-ASMR exposures, interplaying negative appeal with ASMR could significantly decrease young adults' fear. Young male adults experienced lower fear than females when seeing a female ASMR-tist. In contrast, male and female adults' fears were relatively equal when seeing male ASMR-tist in a negative green message. Yet, no direct and indirect effects of lower fear on green buying intention mediated by attitude toward the ad were observed. Findings are discussed in terms of theoretical and practical contributions.