Cross-cultural studies of emotion recognition in nonverbal vocalizations not only support the universality hypothesis for its innate features, but also an in-group advantage for culture-dependent features. Nevertheless, in such studies, differences in socio-economic-educational status have not always been accounted for, with idiomatic translation of emotional concepts being a limitation, and the underlying psychophysiological mechanisms still un-researched. We set out to investigate whether native residents from Guinea-Bissau (West African culture) and Portugal (Western European culture)—matched for socio-economic-educational status, sex and language—varied in behavioural and autonomic system response during emotion recognition of nonverbal vocalizations from Portuguese individuals. Overall, Guinea–Bissauans (as out-group) responded significantly less accurately (corrected p < .05), slower, and showed a trend for higher concomitant skin conductance, compared to Portuguese (as in-group)—findings which may indicate a higher cognitive effort stemming from higher difficulty in discerning emotions from another culture. Specifically, accuracy differences were particularly found for pleasure, amusement, and anger, rather than for sadness, relief or fear. Nevertheless, both cultures recognized all emotions above-chance level. The perceived authenticity, measured for the first time in nonverbal cross-cultural research, in the same vocalizations, retrieved no difference between cultures in accuracy, but still a slower response from the out-group. Lastly, we provide—to our knowledge—a first account of how skin conductance response varies between nonverbally vocalized emotions, with significant differences (p < .05). In sum, we provide behavioural and psychophysiological data, demographically and language-matched, that supports cultural and emotion effects on vocal emotion recognition and perceived authenticity, as well as the universality hypothesis.

El trabajo aborda el impacto del COVID-19 en las industrias creativas y culturales, para después explorar algunos ejemplos de cómo es que distintas compañías del ecosistema creativo han encarado el desafío de la pandemia, convirtiendo la coyuntura en una oportunidad. Finalmente, se exploran vías como la desmaterialización, la automatización, la colaboración con la Inteligencia Artificial y la Economía gig como posibles respuestas para el sector, concluyendo que la vulnerabilidad del ecosistema es previa a la pandemia y está siendo exacerbada por esta.

This text aims to analyze and compare the creative economy (CE) and the sustainable human development (SHD) so to establish some potential convergences and/or divergences. The point is to see if the creative economy promotes both economic growth and human development, or not, and in a positive scenario, how sustainably it does. The paper defines CE and SHD, and shows how the later constitutes its index - the human development index. Before tabling the potential convergences and divergences at the last section, the creative economy and the human development are put together in a quest for community. Although the already existing well-documented link between economic growth and the creative economy, the conclusion is that there are only inferences in its connection with the human development.

The paper introduces the automata economicus to contrast with the concept of machina economicus: the latter aims to build software-based models that mimic human agents, environments, systems, and tools (i.e. an artificial homo economicus); whereas the former aims autonomous and creative machines capable of new economic value creation/conversion. The paper states that an economy populated with several automata economicus may give birth to an artificially intelligent creative economy (AICE) and class – in reference to Richard Florida’s creative class (exclusively constituted by humans). Finally, the paper sustains that such automata economicus may eventually make fuzzy the economics’ traditional distinction between capital, land, and labor.

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