Unexpected End Research Articles

Schema-driven prediction effects on episodic memory across the lifespan.

The predictive processing framework posits that one of the main functions of the brain is to anticipate the incoming information. Internal models facilitate interactions with the world by predicting future states against which actual evidence is compared. The difference between predicted and actual states, the prediction error (PE), signals novel information. However, how PE affects cognitive processing downstream is not fully understood: one such aspect pertains to how PE influences episodic memories, and whether those effect on memory differ across the lifespan. We examine the relationship between PE and episodic memory in children, young and older adults. We use a novel paradigm whereby rich visual narratives are used to build action schemas that enable probing different mnemonic aspects. To create different levels of PE, we manipulate the story endings to be either expected, neutral or unexpected with respect to the unfolded action. We show that (i) expected endings are better encoded than neutral endings and (ii) unexpected endings improve the encoding of mismatching events and other aspects of the narrative. These effects are differentially modulated across the lifespan with PE-driven encoding being more prominent in children and young adults and with schema integration playing a larger role on memory encoding in older adults. These results highlight the role of predictions by enriching past experiences and informing future anticipations.This article is part of the theme issue 'Elements of episodic memory: lessons from 40 years of research'.

Linguopoetic analysis of V. M. Shukshin’s short story "The Visitant" (to the 95th anniversary of the birth)

The article studies the poetics of V. M. Shukshin’s short prose. The research aims to present a holistic linguopoetic analysis of a particular work and to describe the author’s image in it. The material for the study was the short story "The Visitant" dating back to the period of V. M. Shukshin’s later writings. The text was examined on the basis of a linguopoetic approach in conjunction with functional-immanent and retrospective-projective methods. The paper characterises the short story genre, analyses its formal and content organisation, compositional and speech structure, as well as the level of the linguistic means representing the narrator’s and the characters’ speech parts. The study has established that, from the standpoint of the genre characteristics, "The Visitant" is a novella. It is characterised by a succinct plot, laconic narrative, retrospective episodes that form the existential chronotope, a paradoxical situation, theatricality, controversial plot dynamics, an unexpected ending, and instantaneous insight into life. The analysis reveals that in the compositional and speech structure of the short story the dominant speech layer is the speech part of the character. It is represented by dialogue or internal dialogised monologue. The dialogue shapes the severity of the conflict between the characters, i. e. the bearers of different chronotopes. The narrator’s speech performs the function of a dramatic commentary remark. The article identifies the peculiarity of the manifestation of the author’s "I" in the story "The Visitant". The author’s image is characterised by dynamism, which is determined, on the one hand, by dialogue as the main form of speech, and on the other hand, by the narrator’s shifting across the spatiotemporal perspective of the text.

The Costs (and Benefits?) of Effortful Listening for Older Adults: Insights from Simultaneous Electrophysiology, Pupillometry, and Memory.

Although the impact of acoustic challenge on speech processing and memory increases as a person ages, older adults may engage in strategies that help them compensate for these demands. In the current preregistered study, older adults (n = 48) listened to sentences-presented in quiet or in noise-that were high constraint with either expected or unexpected endings or were low constraint with unexpected endings. Pupillometry and EEG were simultaneously recorded, and subsequent sentence recognition and word recall were measured. Like young adults in prior work, we found that noise led to increases in pupil size, delayed and reduced ERP responses, and decreased recall for unexpected words. However, in contrast to prior work in young adults where a larger pupillary response predicted a recovery of the N400 at the cost of poorer memory performance in noise, older adults did not show an associated recovery of the N400 despite decreased memory performance. Instead, we found that in quiet, increases in pupil size were associated with delays in N400 onset latencies and increased recognition memory performance. In conclusion, we found that transient variation in pupil-linked arousal predicted trade-offs between real-time lexical processing and memory that emerged at lower levels of task demand in aging. Moreover, with increased acoustic challenge, older adults still exhibited costs associated with transient increases in arousal without the corresponding benefits.

Hiding Away The Ghost of AMITY: The Narrator’s Fake Endings as Screen Memories in Andrea Levy’s The Long Song (2010)

Although studies on trauma have grown exponentially since 1990s with Trauma Studies, in different shapes and identities, trauma has been a part of personal and cultural space for much longer. After the formal recognition of post-traumatic stress disorder as an ailment that affects both the body and the mind, Trauma Studies has expanded to other fields of study including literature. Trauma studies in Literature is a movement that focuses on how trauma is handled in literature both thematically and functionally. Literature can play a performative role in its representation of trauma through literary and narrative devices. This essay aims to explore how Andre Levy imitates the effect of screen memories, which are a symptom of trauma, with her experimentation with metanarration in The Long Song (2010). Screen memories are essentially substitute memories which replace the traumatic events in memory. They are attempts of self-preservation of the mind. Levy’s narrator July tries to replace some traumatic parts of her life in her autobiographical story in order save herself the pain of reliving them through narration. This results in abrupt and unexpected endings to her story at two different parts of the novel, where she tries to break off the narration with a seemingly happy ending. However, her disputes with her son, Thomas, prove that there is more to the story as she picks the story back up only to reveal an increasingly painful and traumatic proceeding. Therefore, this makes her attempts to end the story prematurely screen memories that hide the traumatic truth, not from the reader, but from July herself through a self-imposed alienation from her previous life as a slave in a Jamaica sugar plantation.

중국 근대의 일상과 문학, 그 기억과 표상

Modern China had all the conditions for the development of popular fiction such as detective novels, thanks to the development of various modern media, the expansion of mass education, and urbanization. In addition to the basic principles of presenting a case and resolving it logically, detective novels have secured their own unique territory based on the selection of themes that attract readers' attention, the surprise of unexpected endings, and the scientific knowledge and rational thinking that can convince readers. The popularity of modern detective novels in China is closely related to the daily life of modern society, which dynamically reflects the tastes and hobbies of the times and the specificity of modern thinking and perception. This paper is motivated by the same problem: in order to approach the substance of modern Chinese detective fiction, it is necessary to understand the cultural and literary characteristics of the society in which it is written. Therefore, this paper aims to identify the modern ideas and perceptions that made detective novels possible as a genre of fiction based on a comprehensive set of texts, including detective novels, as well as related novel publicity, event reports, and novel criticism, during this period. Specifically, it explored the daily life and literature of modern China, focusing on the aesthetic phenomena of expectation and fun in detective fiction. Second, it examined detective fiction in terms of the logic of the Enlightenment, represented by scientific knowledge and rational thinking. Third, it explored the possibilities of detective fiction in terms of hobby tastes as a modern reading material. This study, which examines the daily life and literature of modern China, as well as its memory and representation, through the analysis of modern Chinese detective fiction works and extracurricular materials, will provide an opportunity to reestablish the status of detective fiction.

L’espace carcéral comme lieu d’évasion dans Riz noir d’Anna Moï

Dans cette étude, j’explore les descriptions des espaces clos dans le roman Riz noir d’Anna Moï, dont la trame principale se déroule pendant quelques mois après le déclenchement de l’Offensives du Têt au Vietnam. L’imaginaire de la narratrice autodiégétique âgée de 15 ans flâne constamment entre deux espaces opposés par leur fonction : sa maison bourgeoise protégée de ce qui se passe à l’extérieur en plein milieu des tueries violentes et l’espace clos d’une cellule de prison nommée « la cage aux tigres » dans laquelle elle passe dix-sept mois. C’est dans ce dernier espace carcéral que le récit prend forme à l’aide de multiples réminiscences. Les constants va-et-vient entre deux espaces clos, l’un accueillant et l’autre hostile, que la jeune prisonnière fréquente avec autant d’obsession, se confondent en un seul lieu au moment du dénouement inattendu du récit. Ce rapprochement des deux lieux séparés arrive notamment lorsque le lecteur découvre l’allusion à ce qui s’est passé dans la vie de la jeune fille dans son domicile jusqu’à son emprisonnement. En m’appuyant sur l’analyse thématique, je tente de mettre en lumière comment et pourquoi cet espace carcéral devient un lieu d’introspection qui va la sauver paradoxalement de son isolement de l’extérieur en devenant un moyen de s’évader de son abîme intérieur.

모방담에 나타난 서사 확장 패턴의 의미

Imitation tales are often understood as stories that effectively emphasize encouraging goodness and punishing evil. However, considering the narrative structure of folktales, it is not natural to place narratives that encourage goodness and punish evil side by side. In tales such as The Goblin's Bat and The Lumpy Old Man, there is no problem with the work’s composition, even if there is no distinction between good and evil. This shows that there is a layer of contextual understanding that is fundamental to the narrative, separate from the layer of understanding of good and evil in imitation tales. This work demonstrates that imitating actions with a simple cause-and-effect logic without properly understanding the context is foolish.
 The contextual understanding layer is closely linked to the narrative expansion pattern of imitation tales. In imitation tales, the pattern of behavior imitation is composed of simple repetitions of narratives, which provide an insufficient driving force for narrative expansion. To compensate for this, characters are assigned good or evil traits to increase narrative tension. However, the narrative fall, which the ending shows, is actively utilized. In doing so, imitation tales compensate for the lack of a narrative drive and induce laughter through the narrative resonance created by an unexpected ending. This is a characteristic feature of imitation tales, which dramatically enhances their narrative completeness.
 Through this process, imitation tales raise the dialectical awareness of context. It is important to understand that the result of an action can vary according to contextual factors such as character, course of action, place, and time. This implies the need to acknowledge the contextual limitations of unexpected luck and always consider the context. Imitation tales are works that delightfully reveal the dialectical process of understanding context through narrative expansion.

Sexuality, Disability, and Aging: Queer Temporalities of the Phallus

Sexuality, Disability, and Aging: Queer Temporalities of the Phallus

Possibilities of Creating Positive and Negative Emotional Fields in a Fictional Text (based the the 20th century Georgian Brief Fictional Prose)

The only tool for the author to share the feelings and express their spiritual world to the readers is linguistic means; Emotion is transformed in language which, at the same time, represents the principal focus for linguistics i.e. the ways how and for what purpose does the linguistic unit of language and speech denote emotion. The goal of the manuscript is to observe brief fictional prose, in particular, to show the linguistic possibilities of creating a positive and negative emotional field, which are characteristic for this type of texts. The research analysis has revealed that there are two main ways to create a positive or negative emotional mood in the reader: 1. The writer himself offers an assessment of the character's condition or circumstances by using appropriate emotional language means; 2. The writer presents the external world seen by the character, characterized by emotional-evaluative lexical units. It has been revealed that adjectives and verbs are the most frequently used in creating an emotional field; Depending on the context, the noun as the key word of the idea acquires an emotional load. An especially interesting feature was found to be the emotional interjection, as it expresses the characters' mood, feelings and emotions and is most distinguished by high emotional expressiveness; There predominates interjections connected with sadness, pain, surprise. There are also many religious words and phrases serving as interjections. There are the cases when the contrast and superiority of the positive emotions against the negatively painted situation causes emotion and, sometimes, the sudden, unexpected ending of the literary text is characterized by sharp emotionality. Emotionally colored lexical units appear mainly in two ways while creating the emotional field: 1. One word in a sentence or the same part of speech is characterized by more emotionality; 2. Several different parts of speech create an emotional context.

EMOTIONALITY IN THRILLERS

The article is dedicated to the studying of emotions and emotional states of thrillers’ heroes. Emotions play one of the main roles in the life of every person; show the inner state, emotional experiences, attitude towards the surrounding and other things. Negative emotions, in their turn, help to go through the horrific moments in life, as far as they are the reflection of everything unknown and uncertain, what the person can encounter during the lifetime. The most profound and vivid representations of the emotional sphere of obscure and strange are given in works of fiction. Namely in thrillers the atmosphere of unknown and incomprehensible is represented fully and thoroughly, because the main aim of these novels is to surprise the reader, to cause negative and terrific feelings. The purpose of this thesis is to denote means of creation of terrific and obscure atmosphere in thrillers. Based on the analysis it was determined that the main means of the achieving the goal, which lies in the intimidation of the reader and the unexpected ending of the novel, are different stylistic means and devices, such as epithet, metaphor, antithesis, personification. They intensify the effect of the reading of the novel, present the bright picture in the reader’s imagination. The general atmosphere also plays an important role in the establishing of the necessary emotional state. Its creation is accomplished with the help of the general terrific images, descriptions of the outer world, constant remindings about the battle between good and evil, light and darkness. The triumph of the light is always determined in the semantics of lexemes with positive meaning, with the help of which the hope for the better future is represented. It was identified that the main means of creation of the general horrifying emotional state in thrillers are antithesis and personifications, which give life to the scary and dreadful notions, make them active participants of the general picture of the novel.

Common features of the individual artistic worldviews by Elena Garro and Serhiy Osoka (based on the short stories "What time is it...?" and "Midnight guest")

The modern world of communication between representatives of different ethnic groups often requires a deeper understanding of the realities and peculiarities of the cultural worldview by each of the subjects of communication. The linguistic conceptualization of the world of each ethnic group, in turn, is reflected in literature in the form of an individual artistic worldview realised by the author on the pages of his works. That is why the study of the common and distinctive features of different writers' worldview is of interest, especially if at first glance their linguistic, cultural and historical origins seem to be significantly different. The purpose of the article is to analyze the artistic worldview of representatives of Mexican and Ukrainian literature based on the material of two selected stories and to establish their common features. Elena Garro (1916-1998) was a Mexican writer, journalist, and screenwriter. She is considered to be a representative of magical realism in Latin American literature and a champion of feminism. Serhiy Osoka (b. 1980) is a contemporary of ours, a Ukrainian poet and writer from Poltava region, a member of the Ukraine’s National Union of Writers. His prose often refers to rural life or compares rural and urban lifestyles. Nevertheless, in the stories "¿Qué hora es...?" and "The Midnight Guest" by these completely different authors, as a result of the conducted research, the following common features of artistic worldviews were established: - the main characters in both stories are women whose axis of being is love for a man. It is a recurring motif that is closely intertwined with the concept of "waiting"; - distorted perception of time. For both protagonists, time is cyclical and limited to one day. For the other characters, time is linear, which is why the protagonists' behaviour is strange and is perceived by others as a sign of a mental disorder; - both stories are dominated by a sensory perception of reality: there are many descriptions of visual images, smells, and tactile sensations; - both characters are marked by oneiric states (dream and reality are closely intertwined); - both stories have an unexpected ending. The analysis of common features in the individual artistic pictures of the world of both authors indicates the presence of the characteristics inherent to the philosophy of magical realism. However, if magical realism is a widespread phenomenon in Mexican and other Spanish-language literature, it is not typical for Ukrainian literature. Hence the promising problem of further research into the root causes of such closeness of the author's worldview of representatives of Ukrainian-speaking and Spanish-speaking cultures arises.

Opening Up Endings: Action Performance Practice

Endings take multiple forms yet remain under theorised within geography. Informed by Hannah Arendt’s assertion that action has no end, this paper argues for the resonances and elaborations of endings, providing evidence from dance choreography. As an art form, dance has been variously conceived as ephemeral but also transient, thus neither capable of being lost nor destroyed. I explore these ideas through Renail Basail’s re/staging of the choreography Out of the Box, and it’s unexpected ending in March 2020. I ask, what might dance choreography tell scholars of geography and the geohumanities about how to work with such a sense of endings as contingent and open? This paper contributes to this gap in thinking and theorising by outlining four propositions on endings drawn from dance theory and practice. These are: endings and ephemerality, endings as conditional, endings and liveness, and endings as radical. Where endings are open and congruent, two key implications emerge. First, there is need to situate endings within bodies, articulating how they are practiced and performed, whilst always subject to external forces not fully known. Second, if action has no end, there is political possibilities to creative endings.

Georg Joos’ Experimentum Crucis in Jena 1930 and the Fall of the Ethereal Aether

AbstractAfter 1910, the triumph of Einstein's theory of relativity almost came to an unexpected end when Dayton Miller published his measurements in 1922 indicating an ether drift in contrast to all former Michelson–Morley experiments. This attack on Einstein's fundamental principle of the constancy of the vacuum speed of light independently of spatial direction was countered by Georg Joos who found no “Aether wind” using the best optical equipment of the company Carl Zeiss in Jena in 1930. His precision record sealed the fate of the “Ethereal Aether,” against all attempts in Nazi Germany and the Communist Soviet Union to save the ether on ideological grounds.

Historical Anecdotes About Dimitry of Rostov: Biographical Legends and Hagiography

The article offers an analysis of historical anecdotes, or biographical legends, dedicated to St. Dimitry of Rostov. These texts were discovered in the collection No. 828 in the Rostov Museum. Like most historical legends about outstanding personalities of the 18th century, they differ significantly from modern folklore and literary anecdotes. However, they do possess the features characteristic of the term anecdote as a moralizing unfamiliar story about an amazing act, often with an unexpected ending. A claim to historicity and a connection with historiography were their hallmark. Most of the biographical legends about Dimitry of Rostov, both in the collection No. 828 in the Rostov Museum, and in the Life of St. Dimitry, certainly fit into the historical and cultural context. However, they have another genre-related characteristic: they were not only a part of hagiographic texts (as the first of Dimitry’s biographies), but have also transformed into another genre, becoming a narrative about the miraculous, with parallels in Medieval literature.

Can you change your mind? An ERP study of cognitive flexibility and new evidence integration

Cognitive flexibility is an ability that allows individuals to integrate external evidence into previous expectancies. Individual differences in this ability were examined using Event-Related Potentials (ERPs), focusing on the fact that new evidence can either confirm or disprove an initial impression. Written scenarios prompted to make a prediction while either confirmatory or disconfirmatory evidence followed. A final sentence presented participants with a statement congruent with the prediction likely to have been formed based on the first statement or a statement rather congruent with corrective new evidence. A Bias Against Disconfirmatory Evidence (BADE) test rated participants in cognitive flexibility. ERPs revealed that whereas individuals overall typically reacted to unexpected endings (a classical N400 effect) within the confirmatory evidence condition, higher cognitive flexibility scores were associated with smaller N400 effects. Furthermore, individuals showed larger P600s for disconfirmatory than confirmatory evidence conditions, regardless of the final target ending. This result indexes reanalysis processes whenever disconfirmatory evidence was present. Regression analysis of BADE scores and ERP effects are presented and discussed. Late ERP components are sensitive enough to detect new evidence integration capabilities and thus provide a good implicit measure of cognitive flexibility.

Дикі трави / Переклад з китайської, вступна стаття та коментарі Н. О. Черниш

We offer the reader the first Ukrainian translation of Lu Xun’s collection Wild Grass (“野草”), which includes twenty-four short lyrical miniatures, written in the period from 1924 to 1926. Wild Grass is a response to various events in Chinese life, a search for an answer to the challenges of time. It is experimentation with syntactic construction of phrases, violation of grammatical norms, repetitions, unexpected endings, through which one reads the intense inner life of the writer. The translator’s aim is not only to convey the external events of the work, but also to preserve, as far as possible, the text’s intonation, through which the author’s mood is conveyed: from sombre pessimism, from a direct look at ugliness, from ironic and funny, to a tender, sensitive and subtle look at nature and man. Therefore, it is important for the translator to preserve the peculiarities of syntax, repetition, key words of the text, so as not to lose the author’s individual style. In Chinese schools and universities, Lu Xun’s works are read, studied, commented, learned by heart, and essays are written on different themes. But he remains perhaps the most unread author of modern Chinese and world literature who, according to the famous writer Yu Hua, is perceived by many as a nickname – “luxun”: one that everyone has heard of, is considered an authority, but is not read. Lu Xun’s texts are perceived differently at different ages. What at first appears to be convoluted is later a brilliant epiphany. The psychological age of the reader can be determined by Lu Xun. Lu Xun is a modernist, not only working with the new literary language Baihua, but also experimenting with the artistic form, using unusual syntactic turns, which will later become part of the modern standard Chinese language. All the texts are very different: the shortest has just over 280 characters, the longest has 2,533 characters. The text is rich in imagery. The poles collide, the sublime and the inferior, courage and cowardice, light and darkness, truth and lies, life and death, involvement and indifference, the beautiful and the ugly. Between one and the other his wild grass grows.

Late N1 and postimperative negative variation analysis depending on the previous trial history in paradigms of increasing auditory complexity.

Predictive coding reflects the ability of the human brain to extract environmental patterns in order to reformulate previous expectations. The present report analyzes through the late N1 auditory component and the postimperative negative variation (PINV) the updating of predictions regarding the characteristics of a new trial, depending on the previous trial history, complexity, and type of trial (standard or deviant). Data were obtained from 31 healthy subjects recorded in a previous study based on two paradigms composed of stimulus sequences of decreasing or increasing frequencies intermingled with the sporadic appearance of unexpected tone endings. Our results showed a higher amplitude for the most complex condition and deviant trials for both the late N1 and PINV components. Additionally, the N1 and PINV presented a different amplitude response to the standard and deviant trials as a function of previous trial history, suggesting a continuous updating of trial categorization. The results suggest that the late N1 and PINV components are involved in the generation of an internal model about the rules of external auditory stimulation.NEW & NOTEWORTHY The present study showed a higher amplitude for the late N1 and the PINV with reference to both the prediction performed in auditory paradigms of higher abstraction and the unexpected breaking of the extracted rules. Additionally, both components were modulated depending on the local probability, which would suggest that they are continuously being updated by the previous stimulus history.

The Conflict of the Comical and the Rational in Short-Short Film Dialogues

This article considers the conflict of the comical and the rational in the dialogues of the short-short film serial entitled “Tu mourras moins bête” (“You will die less stupid”) produced on the basis of comics of a French artist and caricaturist Marion Montaigne and broadcast by the French-German company ARTE. In the framework of the study we define a short-short film as a comic microfilm text whose structure includes a thesis and an argumentation sentence with an unexpected ending. This meets the specificity of the present popular scientific discourse both to inform and influence the viewer, thus making the interpretation easier.Analyzing the comical in popular scientific discourse, we rely on its conceptualization by the French philosopher Henri Bergson proposed in his essay “Laughter”. He considers the comic as the phenomenon appropriate only to the humans. Defined as the formula of laughter and a way of semiotization of funny aspects, the comical is used to express emotions which reinforce the impression the viewer receives from the information in the text. It is argued that due to frequent usage of the comical (typical of everyday speech) the author manages to convey both the rational and the emotional information in popular scientific discourse.A video sequence provides a good example of the two trends’ interaction in popular scientific discourse. The rational verbal description which already contains the main information needs to be demonstrated as the part of argumentation. In the film it is the borderline symptoms (manifestations) which are discussed and one of them “anger / impulsivity” is demonstrated in a comical form. The dialogue demonstrates the above symptoms of the character’s behavior with his/her usage of slang and vulgar language to make the situation funny and to add a stronger argumentative force to it.Another characteristic form of presenting knowledge in argumentation is realized by means of nonsense which makes the conflict of the rational and the comical possible. A necessary condition for it is the creation of two worlds (planes): one is real and rational, the other is fictional and irrational. Absurdity is supposed to play a game with the viewer in which audio and video sequence shows the absurdity of the naïve worldview in order to get home the knowledge more effectively.

Contact force and torque sensing for serial manipulator based on an adaptive Kalman filter with variable time period

• Mode-switching moving average reduces current noise and improve torque confidence. • Time period adapts to achieve tradeoff between response time and precision. • Calibration routines take motor current noise and speed errors into account. • Adaptive Kalman filter with variable time period facilitates force/torque estimation. Contact force and torque sensing approaches enable manipulators to cooperate with humans and to interact appropriately with unexpected collisions. In this paper, a mode-switching moving average with variable time period is proposed to reduce the effects of measured motor current noise and thus provide improved confidence in joint output torque estimation. The time period of the filter adapts continuously to achieve optimal tradeoff between response time and precision of estimation in real-time. An adaptive Kalman filter that consists of the proposed moving average and the classical Kalman filter is proposed. Calibration routines for the adaptive Kalman filter take the measured motor current noise and errors in the speed data from the individual joints into account. The combination of the proposed adaptive Kalman filter with variable time period and its calibration method facilitates force and torque estimation without force/torque sensors. Contact force/torque sensing and response time assessments from the proposed approach were performed on the Universal Robot 5 manipulator with differing unexpected end effector loads. The combined force and torque sensing method led to a reduction of the estimation errors and response time in comparison with the pioneering method, and the effect is further improved as the payload rises. The proposed method can be applied to any robotic manipulators as long as the motor information (current, joint position, and joint velocities) are available and consequently the cost will be reduced dramatically from methods that require load cells.

Remote identification of psychophysiological parameters for a cognitive-emotional conflict

The contradiction between the conscious and emotional assessment of situations often arises when there is a discrepancy between reality and ideal view. The purpose of this study is to identify a system of remotely diagnosed parameters (by video recording using Skype tools), which can objectively indicate the presence of a cognitive-emotional conflict during a dialogue. The current study has become particularly relevant in the COVID-19 environment, where face-to-face communication is limited, and all interactions must occur in a remote online format. In such an environment, the identification of formal signs indicating latent conflicts in online interactions comes to the fore. To stimulate an outburst and fix the cognitive-emotional conflict remotely, various schemes were used: interviews based on the self-attitude technique, discussions based on the transactional analysis model, free reasoning about situations that were selected by the age, and other parameters of participants, as well as watching video clips with an unexpected end. For automatic marking of people's emotional reactions in video data, a computer program was developed using neural network algorithms based on VGG16.Furthermore, the neural network for emotion recognition was pretrained based on open sources by the P. Ekman FACS model. Finally, video recordings were marked according to the expert assessment results regarding the presence of cognitive-emotional conflict. We conducted 27 interviews with the participation of both genders, including ten high school students (from 12 to 17 years old), a total of 338,075 frames were received. As a result, it was found that the two facial expression parameters identified by the program reliably distinguish the presence of a cognitive-emotional conflict. Furthermore, in all the studied schemes of telecommunication dialogue, the «happy» parameter was significantly more pronounced in a situation of conflict.