Yes to gratitude by Debbie Lee

Yes to gratitude
Negativity bias;
Dino threats begone

by Debbie Lee

Brains are both tricky and powerful. In this article, Mark Travers talks to “negativity bias”, how it works and how we can overcome it.

Once upon a time, this bias was a survival mechanism of human psychology. Helped us avoid predators like dinosaurs. However, in modern relationships, negativity bias can erode connection, happiness and trust. This is true even in healthy partnerships, minor annoyances become grievances, plus acts of kindness may be misinterpreted.

Travers suggests 3 ways to counteract negativity bias:

  1. Instead of fixating on problems (rumination or replay), retrain your brain to balance the narrative (reflect, recognise, reframe).
  2. Avoid assuming the worst of intentions, try cognitive reappraisal (a technique that helps us pause and reframe thoughts before reacting).
  3. Strive against a confirmation bias, argue the opposite side. Eg: challenge our own assumptions (try not to default a negative mindset or outlook).

Further reading:

‘3 Ways ‘Negativity Bias’ Harms Your Relationship — By A Psychologist’, 2025, Travers, M., Forbes, available: https://www.forbes.com/sites/traversmark/2025/03/26/3-ways-negativity-bias-harms-your-relationship—by-a-psychologist/

Author bio:

Debbie Lee (@lee_debbie):
Writing from places light and dark,
awkward data nerd,
elegant word nerd,
dreaming in colour,
clumsily balancing love, hope,
kindness with pragmatic realism.

Read more sciku by Debbie: ‘Technomancy’, ‘Toxic Male’, and ‘Language of fungi’.

How sad a solo?

Alone. How tragic.

Unless that’s what’s intended?

How sad a solo?

 

Orchestras have a vast array of instruments, yet composers frequently employ a solo instrument within orchestral passages. Hansen & Huron (2018) have investigated whether a solo is used to convey or enhance a sad effect.

By characterising orchestral passages as featuring a solo or not and then investigating the differences between they were able to assess the impact of a solo on the emotion of the piece. Whilst they acknowledge that composers might use a solo for a number of reasons, their results suggest that there is an association between sadness-related acoustic feature and solos. Indeed, pieces of music with sad characteristics are twice as likely to feature solos.

Original research: http://dx.doi.org/10.1525/mp.2018.35.5.540