Este relato de experiência discute um eixo de um projeto de ensino, pesquisa e extensão multi e interdisciplinar sobre educação e humanização da morte. Trata-se de ações da Psicologia destinadas à saúde mental dos trabalhadores do serviço funerário da cidade de São Paulo. A intervenção dividiu-se em duas etapas: visitas aos cemitérios, para aproximação daqueles pesquisadores à realidade e às demandas desses servidores; e oficinas com técnicas de dinâmica de grupo. Estas aconteceram por cinco meses, contaram com 130 participantes — (...) motoristas, sepultadores, “veloristas”, supervisores e gestores de recursos humanos — e tiveram como facilitadoras as integrantes da graduação e da pós-graduação em Psicologia. A análise das oficinas evidenciou, da parte dos servidores, sensibilização para suas necessidades em favor da saúde mental, percepção do valor de cuidado e humanização em suas relações profissionais e pessoais. Ademais, ações como essa realçaram a relevância de frequente acolhimento psicólogico a trabalhadores de serviços funerários. (shrink)

Previous studies have highlighted the communicative limitations of artistic visualizations, which are often too conceptual or interpretive to enhance public understanding of (and volition to act upon) scientific climate information. This seems to suggest a need for greater factuality/concreteness in artistic visualization projects, which may indeed be the case. However, in this paper, we synthesize insights from environmental psychology, the psychology of art, and intermediate disciplines like eco-aesthetics, to argue that artworks—defined by their counterfactual qualities—can be effective for stimulating elements (...) of environmental consciousness. We also argue that different artworks may yield different effects depending on how they combine counter/factual strategies. In so doing, we assert that effective artistic perceptualization—here expressed asaffectivization—exceeds the faithful translation of facts from one mode to another, and cannot be encapsulated in a single example of un/successful art. (shrink)

A sense of agency (SoA) is the experience of subjective awareness regarding the control of one’s actions. Humans have a natural tendency to generate prediction models of the environment and adapt their models according to changes in the environment. The SoA is associated with the degree of the adaptation of the prediction models, e.g., insufficient adaptation causes low predictability and lowers the SoA over the environment. Thus, identifying the mechanisms behind the adaptation process of a prediction model related to the (...) SoA is essential for understanding the generative process of the SoA. In the first half of the current study, we constructed a mathematical model in which the SoA represents a likelihood value for a given observation (sensory feedback) in a prediction model of the environment and in which the prediction model is updated according to the likelihood value. From our mathematical model, we theoretically derived a testable hypothesis that the prediction model is updated according to a Bayesian rule or a stochastic gradient. In the second half of our study, we focused on the experimental examination of this hypothesis. In our experiment, human subjects were repeatedly asked to observe a moving square on a computer screen and press a button after a beep sound. The button press resulted in an abrupt jump of the moving square on the screen. Experiencing the various stochastic time intervals between the action execution button-press) and the consequent event square jumping caused gradual changes in the subjects' degree of their SoA. By comparing the above theoretical hypothesis with the experimental results, we concluded that the update (adaptation) rule of the prediction model based on the SoA is better described by a Bayesian update than by a stochastic gradient descent. (shrink)