tified a shortlist of possible factors (e.g., life goals, personality, conformity) that might account for any age-related changes in musical consumption. As life expectancy and the proportion of elderly people continue to increase in many countries, the review recommends that future research should seek to reflect how people of all ages consume music and identify factors responsible for any changes as people grow older.

2a:T477,

Priming — exposure to a stimulus that influences responses to a subsequent, related stimulus — has been widely studied in laboratory settings but rarely examined in ecological cultural contexts such as museums. This exploratory study investigated whether different priming modalities influence museum experiences across learning, affect, and pro-environmental attitudes. At the Pinacoteca di Brera in Milan, 161 visitors were randomly assigned to one of four conditions: visual, semantic, visuo-semantic priming or a no priming control condition. One-way ANOVA revealed no overall effect of priming condition on learning; however, exploratory pairwise comparisons indicated that the visuo-semantic condition produced higher learning scores than the visual condition alone (Cohen's d = 0.54, 95% CI [0.13, 0.95]). Unexpectedly, the control condition reported higher recycling intentions and intrinsic motivation than the visual priming condition. Overall, the findings suggest selective differences between priming modalities and underscore both the potential and the limits of applying cognitive principles in cultural settings.

2b:T46a,

This study investigates how auditory, visual, and lyrical features in music videos shape emotional responses, using EEG data from 26 participants. Five widely viewed music videos were selected based on their global popularity and cross-cultural appeal. A CNN–LSTM model classified emotional states with 97.67% accuracy, and complementary regression results showed strong generalization (best model RMSE = 0.15, MAE = 0.10). Feature selection reduced 27 candidates to a sparse set dominated by auditory and visual cues, and SHAP interpretation revealed a clear modality hierarchy: pitch- and dynamics-related auditory features accounted for the largest share of predictive importance, visual color properties (hue, saturation) provided secondary influence, and lyrical sentiment contributed least. These findings support neuroaesthetic accounts in which low-level sensory structure drives rapid affective appraisal, with visual tone refining emotional meaning. Practically, the results suggest that deliberate control of pitch/dynamics can reliably steer emotional engagement in music-video creation for diverse audiences.

2c:T510,

Previous research has often relied on passive observation of external phenomena when exploring technology-mediated self-transcendent experiences, overlooking co-creative, embodied interactivity. This study addresses this gap by investigating how aesthetic awe can be intentionally designed for using a novel Generative AI enabled interactive installation that augments a participant's self-reflection in real-time

We conducted a within-subjects experiment (N = 40) with four scenarios, each employing a distinct artistic design strategy. Experiences were evaluated using psychometric instruments for awe, self-immersion, and individual traits, alongside subjective impact ratings.

Findings suggested two psychological pathways to awe: a ‘Connection-Driven’ pathway, utilising realistic, narrative-led stimuli, fostered higher self-immersion and activated the Connectedness facet of awe; and a ‘Vastness-Driven’ pathway, employing abstract and unpredictable stimuli, activated the perceived Vastness and Accommodation facets of awe, despite lower self-immersion. Furthermore, individual traits were significant predictors of the experience, with Self-Transcendence, Engagement with Beauty, and Neuroticism all positively correlating with reported awe experience.

2d:T462,

Although Artificial Intelligence (AI) can now produce exquisite a