Numerous studies have shown that the processes underlying trait judgments can be influenced by concurrent affect processing. The present project explores the role of emotional mimicry in trait attribution. Across three experiments, we asked participants to assess social characteristics of faces expressing happiness, sadness, and anger. In Experiments 1 and 3, we used facial electromyography to predict participants’ inferences about trustworthiness, confidence, and attractiveness (Experiment 1) or their behaviorally assessed trust by asking participants to share virtual points in a “trust/investment game” (Experiment 3). In Experiment 2, we tested the causal relationship between facial activity and trait judgments. Participants were asked to assess trustworthiness while performing facial movements that either enhanced or inhibited muscle activity during mimicry of given emotional expressions. The results indicate that mimicry of happiness not only predicts but is causally linked to perceptions of trustworthiness—the stronger the imitation, the more positive the assessments. The results of Experiments 1 and 3 show that increased sadness mimicry is associated with lower trust ratings, although the results of Experiment 2 do not support a causal relationship. Additionally, we confirmed previous observations that people are more likely to mimic affiliative displays (i.e., happiness and sadness) than antagonistic ones (i.e., anger), with happiness being the most likely to be mimicked. In summary, these studies provide evidence that facial mimicry modulates social trait inferences and underscores the functional role of mimicry in social interactions.
The epidemiological literature on trauma has largely centered on direct exposure, leaving other exposure pathways underexamined. We broaden this perspective by (1) mapping population-wide trauma exposure across four modalities—direct personal exposure, witnessing, indirect exposure via a close other, and work-related indirect exposure—and (2) estimating event-specific conditional risk of PTSD within each trauma exposure modality, with particular attention to indirect and multimodal exposures. Data came from a national sample of Polish adults (N = 808) collected in 2017. Trauma exposure was assessed with the Multidimensional Trauma Exposure Scale (MTES) and PTSD with the PTSD Checklist for DSM-5 (PCL-5). Trauma exposure was nearly universal (95.1%). Modality-specific exposure rates were 89.5% (direct), 78.9% (witnessed), 63.7% (via close other), and 29.4% (occupational), with significant gender-specific patterns. PTSD prevalence was 23.8%, higher in women than men (26.7% vs. 15.1%; OR = 2.09, 95% CI [1.47, 2.97]). Notably, all PTSD cases reported multimodal exposure. Event-specific patterns within modalities were associated with elevated PTSD risk. These findings show the trauma landscape extends far beyond direct events: indirect and multimodal exposures are common and consequential, suggesting PTSD often reflects the cumulative burden of overlapping exposures. Representing the pre-COVID-19 landscape, the findings constitute a critical baseline for evaluating the subsequent surge in mental health challenges. Consequently, public health surveillance should systematically incorporate these broader exposure pathways to monitor epidemiological trends while requiring rigorous operationalization to avoid diagnostic inflation.
de la Fuente Ballesteros, Emanuele Isidori y Ricardo
Spanish writer Carmen de Burgos, also known as "Colombine", was not only a journalist and war correspondent, but also a great traveler interested in discovering other countries and cultures. Among her journeys through Europe, her first trip through France and Italy—which she made between 1905 and 1906 and documented in her work "Viajes por Europa. Impresiones"—stands out. Carmen de Burgos, a great admirer of the ancient world, visited various Italian cities such as Naples, Pompeii, Rome, Florence, Venice, and Milan, leaving behind her written reflections and impressions. The aim of this article is to analyze the image of Italy presented by the author, discussing which realities she focuses on and what aspects she highlights from her travels through these territories.
Justyna Górowska's monograph, "WetMeWild," summarizes eight years of artistic and research activity (2017–2025), developed around the WetMeWild project - a performative and research alter ego operating at the intersection of contemporary art, hydrofeminism, ecology, and new technologies. The publication was published in 2026 by Pamoja Press and the Lokal Sztuki Foundation with financial support from the Jan Matejko Academy of Fine Arts in Krakow. Designed in accordance with the aesthetic and conceptual principles of WetMeWild, the book represents an integral extension of Górowska's artistic language, both editorially and graphically. The publication combines documentation of projects, performances, exhibitions, and social activities with theoretical reflections on hydrofeminism, blue humanities, ecosexuality, interspecies relations, and the ecological aspects of digital technologies. The book's contents include texts commissioned by researchers in the fields of art, visual culture, and environmental humanities, original essays, an interview summarizing the development of the WetMeWild project, an excerpt from a doctoral dissertation, and extensive photographic and archival documentation of artistic achievements from 2017 to 2025. The publication was published in a print run of 300 copies and represents the first comprehensive study of the WetMeWild project.
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