唤醒定义探析及其认知神经生理基础

唤醒是衡量机体清醒程度和做出反应前准备程度的指标, 其水平可从睡眠到觉醒的连续体上变化, 具有独特的生理机制与神经回路。由于唤醒与情绪关联密切, 唤醒度这个概念常被认为等同于情绪强度, 但情绪强度实际上是唤醒和效价的和向量。受到Lazarus提出的“刺激”定义情绪思想的启发, 对唤醒的内含和心理机制进行了探析, 发现对不符合预期刺激出现的紧急准备是唤醒系统的主要功能, 预期性相关机制是唤醒的重要认知加工机制。其它因素(刺激属性、个体差异等)可能存在以下影响唤醒的原因：改变处理刺激时所需的资源量、影响预期机制。未来研究可从心理唤醒与生理唤醒的关系、唤醒的测量方法、唤醒度与情绪强度的关系、人类临床精神疾病的唤醒特征等角度推动唤醒的基础和应用研究。     

Probabilistic models of expectation violation predict psychophysiological emotional responses to live concert music

We present the results of a study testing the often-theorized role of musical expectations in inducing listeners’ emotions in a live flute concert experiment with 50 participants. Using an audience response system developed for this purpose, we measured subjective experience and peripheral psychophysiological changes continuously. To confirm the existence of the link between expectation and emotion, we used a threefold approach. (1) On the basis of an information-theoretic cognitive model, melodic pitch expectations were predicted by analyzing the musical stimuli used (six pieces of solo flute music). (2) A continuous rating scale was used by half of the audience to measure their experience of unexpectedness toward the music heard. (3) Emotional reactions were measured using a multicomponent approach: subjective feeling (valence and arousal rated continuously by the other half of the audience members), expressive behavior (facial EMG), and peripheral arousal (the latter two being measured in all 50 participants). Results confirmed the predicted relationship between high-information-content musical events, the violation of musical expectations (in corresponding ratings), and emotional reactions (psychologically and physiologically). Musical structures leading to expectation reactions were manifested in emotional reactions at different emotion component levels (increases in subjective arousal and autonomic nervous system activations). These results emphasize the role of musical structure in emotion induction, leading to a further understanding of the frequently experienced emotional effects of music.     

Psychoacoustic cues to emotion in speech prosody and music

There is strong evidence of shared acoustic profiles common to the expression of emotions in music and speech, yet relatively limited understanding of the specific psychoacoustic features involved. This study combined a controlled experiment and computational modelling to investigate the perceptual codes associated with the expression of emotion in the acoustic domain. The empirical stage of the study provided continuous human ratings of emotions perceived in excerpts of film music and natural speech samples. The computational stage created a computer model that retrieves the relevant information from the acoustic stimuli and makes predictions about the emotional expressiveness of speech and music close to the responses of human subjects. We show that a significant part of the listeners’ second-by-second reported emotions to music and speech prosody can be predicted from a set of seven psychoacoustic features: loudness, tempo/speech rate, melody/prosody contour, spectral centroid, spectral flux, sharpness, and roughness. The implications of these results are discussed in the context of cross-modal similarities in the communication of emotion in the acoustic domain.     

Emotions induced by operatic music: psychophysiological effects of music, plot, and acting: a scientist's tribute to Maria Callas

Operatic music involves both singing and acting (as well as rich audiovisual background arising from the orchestra and elaborate scenery and costumes) that multiply the mechanisms by which emotions are induced in listeners. The present study investigated the effects of music, plot, and acting performance on emotions induced by opera. There were three experimental conditions: (1) participants listened to a musically complex and dramatically coherent excerpt from Tosca; (2) they read a summary of the plot and listened to the same musical excerpt again; and (3) they re-listened to music while they watched the subtitled film of this acting performance. In addition, a control condition was included, in which an independent sample of participants succesively listened three times to the same musical excerpt. We measured subjective changes using both dimensional, and specific music-induced emotion questionnaires. Cardiovascular, electrodermal, and respiratory responses were also recorded, and the participants kept track of their musical chills. Music listening alone elicited positive emotion and autonomic arousal, seen in faster heart rate, but slower respiration rate and reduced skin conductance. Knowing the (sad) plot while listening to the music a second time reduced positive emotions (peacefulness, joyful activation), and increased negative ones (sadness), while high autonomic arousal was maintained. Watching the acting performance increased emotional arousal and changed its valence again (from less positive/sad to transcendent), in the context of continued high autonomic arousal. The repeated exposure to music did not by itself induce this pattern of modifications. These results indicate that the multiple musical and dramatic means involved in operatic performance specifically contribute to the genesis of music-induced emotions and their physiological correlates.     

Relationships between musical structure and psychophysiological measures of emotion

Psychophysiological studies with music have not examined what exactly in the music might be responsible for the observed physiological phenomena. The authors explored the relationships between 11 structural features of 16 musical excerpts and both self-reports of felt pleasantness and arousal and different physiological measures (respiration, skin conductance, heart rate). Overall, the relationships between musical features and experienced emotions corresponded well with those known between musical structure and perceived emotions. This suggests that the internal structure of the music played a primary role in the induction of the emotions in comparison to extramusical factors. Mode, harmonic complexity, and rhythmic articulation best differentiated between negative and positive valence, whereas tempo, accentuation, and rhythmic articulation best discriminated high arousal from low arousal. Tempo, accentuation, and rhythmic articulation were the features that most strongly correlated with physiological measures. Music that induced faster breathing and higher minute ventilation, skin conductance, and heart rate was fast, accentuated, and staccato. This finding corroborates the contention that rhythmic aspects are the major determinants of physiological responses to music.     

Evidence for early arousal‐based differentiation of emotions in children’s musical production

Accurate perception and production of emotional states is important for successful social interactions across the lifespan. Previous research has shown that when identifying emotion in faces, preschool children are more likely to confuse emotions that share valence, but differ in arousal (e.g. sadness and anger) than emotions that share arousal, but differ on valence (e.g. anger and joy). Here, we examined the influence of valence and arousal on children's production of emotion in music. Three‐, 5‐ and 7‐year‐old children recruited from the greater Hamilton area (N = 74) ‘performed’ music to produce emotions using a self‐pacing paradigm, in which participants controlled the onset and offset of each chord in a musical sequence by repeatedly pressing and lifting the same key on a MIDI piano. Key press velocity controlled the loudness of each chord. Results showed that (a) differentiation of emotions by 5‐year‐old children was mainly driven by arousal of the target emotion, with differentiation based on both valence and arousal at 7 years and (b) tempo and loudness were used to differentiate emotions earlier in development than articulation. The results indicate that the developmental trajectory of emotion understanding in music may differ from the developmental trajectory in other domains.     

Physiological Arousal and Political Beliefs

It is by now well known that political attitudes can be affected by emotions. Most earlier studies have focused on emotions generated by some political event (e.g., terrorism or increased immigration). However, the methods used in previous efforts have made it difficult to untangle the various causal pathways that might link emotions to political beliefs. In contrast, we focus on emotions incidental (i.e., irrelevant) to the decision process, allowing us to cleanly trace and estimate the effect of experimentally induced anxiety on political beliefs. Further, we build upon innovative new work that links physiological reactivity (Hatemi, McDermott, Eaves, Kendler, & Neale, 2013; Oxley et al., 2008a) to attitudes by using skin conductance reactivity as a measure of emotional arousal. We found that anxiety—generated by a video stimulus—significantly affected physiological arousal as measured by tonic skin‐conductance levels, and that higher physiological reactivity predicted more anti‐immigration attitudes. We show that physiological reactivity mediated the relationship between anxiety and political attitudes.     

Influence of emotional valence and arousal on the spread of activation in memory

Controversy still persists on whether emotional valence and arousal influence cognitive activities. Our study sought to compare how these two factors foster the spread of activation within the semantic network. In a lexical decision task, prime words were varied depending on the valence (pleasant or unpleasant) or on the level of emotional arousal (high or low). Target words were carefully selected to avoid semantic priming effects, as well as to avoid arousing specific emotions (neutral). Three SOA durations (220, 420 and 720 ms) were applied across three independent groups. Results indicate that at 220 ms, the effect of arousal is significantly higher than the effect of valence in facilitating spreading activation while at 420 ms, the effect of valence is significantly higher than the effect of arousal in facilitating spreading activation. These findings suggest that affect is a sequential process involving the successive intervention of arousal and valence.     

Differential subjective and psychophysiological responses to socially and nonsocially generated emotional stimuli

Sociality may determine the subjective experience and physiological response to emotional stimuli. Film segments induced socially and nonsocially generated emotions. Comedy (social positive), bereavement (social negative), pizza scenes (nonsocial positive), and wounded bodies (nonsocial negative) elicited four distinct emotional patterns. Per subjective report, joy, sadness, appetite, and disgust were elicited by the targeted stimulus condition. The social/nonsocial dimension influenced which emotional valence(s) elicited a skin conductance response, a finding that could not be explained by differences in subjective arousal. Heart rate deceleration was more responsive to nonsocially generated emotions. Taken together, these findings suggest that sociality affects the physiological profile of responses to emotional valence.     

Validating an interlingual metanorm for emotional analysis of texts

In this article, we present a set of 12 norms that characterize emotional terms in French, English, German, Spanish, Italian, and Finnish. The high correlation between the norm values in the two emotional dimensions of valence and arousal suggests an interlingual homogeneity of emotional representations and allows a significant metanorm??EMONORM??to be established with 6,383 terms characterized in valence and 4,345 terms characterized in arousal. This metanorm is a resource for creating experimental materials in studies on language and emotions. Furthermore, we perform three tests using EMONORM, with the objectives of (1) identifying basic emotions from their valence and arousal values, (2) determining the orientation of texts referring to positive and negative emotions, and (3) evaluating the intensity of emotions expressed in texts. The results are highly similar to those for human judgments. Finally, we present EMOVAL/SEMOTEX, a Web application for static and dynamic valence and arousal emotional analysis of texts using EMONORM (http://www.semotex.fr).     

Emotional response to musical repetition

Two experiments examined the effects of repetition on listeners' emotional response to music. Listeners heard recordings of orchestral music that contained a large section repeated twice. The music had a symmetric phrase structure (same-length phrases) in Experiment 1 and an asymmetric phrase structure (different-length phrases) in Experiment 2, hypothesized to alter the predictability of sensitivity to musical repetition. Continuous measures of arousal and valence were compared across music that contained identical repetition, variation (related), or contrasting (unrelated) structure. Listeners' emotional arousal ratings differed most for contrasting music, moderately for variations, and least for repeating musical segments. A computational model for the detection of repeated musical segments was applied to the listeners' emotional responses. The model detected the locations of phrase boundaries from the emotional responses better than from performed tempo or physical intensity in both experiments. These findings indicate the importance of repetition in listeners' emotional response to music and in the perceptual segmentation of musical structure.     

情绪对延迟折扣的影响：现状、机制与展望

延迟折扣研究领域日益重视情绪的影响作用。本文基于三类研究取向对情绪与延迟折扣关系研究进行了回顾。情绪效价和唤醒度均影响延迟折扣,但是研究结果并不一致;具体情绪类型不同,其对延迟折扣影响也存在差异。除此之外,本文就情绪信息理论、情绪动机维度理论和评估倾向理论如何解释延迟折扣进行了详细阐述。未来的研究需要进一步深入考察情绪影响延迟折扣的认知神经机制,从而为延迟折扣的负性情绪效应的干预提供可靠的科学依据。     

Dimensional emotions are represented by distinct topographical brain networks

The ability to recognize others’ facial emotions has become increasingly important after the COVID-19 pandemic, which causes stressful situations in emotion regulation. Considering the importance of emotion in maintaining a social life, emotion knowledge to perceive and label emotions of oneself and others requires an understanding of affective dimensions, such as emotional valence and emotional arousal. However, limited information is available about whether the behavioral representation of affective dimensions is similar to their neural representation. To explore the relationship between the brain and behavior in the representational geometries of affective dimensions, we constructed a behavioral paradigm in which emotional faces were categorized into geometric spaces along the valence, arousal, and valence and arousal dimensions. Moreover, we compared such representations to neural representations of the faces acquired by functional magnetic resonance imaging. We found that affective dimensions were similarly represented in the behavior and brain. Specifically, behavioral and neural representations of valence were less similar to those of arousal. We also found that valence was represented in the dorsolateral prefrontal cortex, frontal eye fields, precuneus, and early visual cortex, whereas arousal was represented in the cingulate gyrus, middle frontal gyrus, orbitofrontal cortex, fusiform gyrus, and early visual cortex. In conclusion, the current study suggests that dimensional emotions are similarly represented in the behavior and brain and are presented with differential topographical organizations in the brain.     

Age similarities in matching pro- and contra-hedonic emotional strategies to everyday scenarios

ABSTRACT

Older adults are motivated to maximize positive affect in the present. Young adults will purposely feel negative and high arousal emotions in order to achieve a goal. However, this type of contra-hedonic emotional alignment has not been extensively studied with older adults. We expected older adults are less likely than young adults to select high arousal and negative emotions within specific scenarios where those states could be useful. In two studies, participants selected the emotion they preferred in hypothetical problems that varied on the arousal and valence best suited for goal achievement. Young and older adults were equally likely to endorse affective strategies that matched both pro and contra-hedonic scenarios. While older adults may be generally motivated to avoid negative and high-arousing emotions, they are just as likely as young adults to indicate that these states could be helpful in certain situations.     

Autonomic and subjective responsivity to emotional images in people with dissociative seizures

People with dissociative seizures (DS) report a range of difficulties in emotional functioning and exhibit altered responding to emotional facial expressions in experimental tasks. We extended this research by investigating subjective and autonomic reactivity (ratings of emotional valence, arousal and skin conductance responses [SCRs]) to general emotional images in 39 people with DS relative to 42 healthy control participants, whilst controlling for anxiety, depression, cognitive functioning and, where relevant, medication use. It was predicted that greater subjective negativity and arousal and increased SCRs in response to the affective pictures would be observed in the DS group. The DS group as a whole did not differ from controls in their subjective responses of valence and arousal. However, SCR amplitudes were greater in ‘autonomic responders’ with DS relative to ‘autonomic responders’ in the control group. A positive correlation was also observed between SCRs for highly arousing negative pictures and self‐reported ictal autonomic arousal, in DS ‘autonomic responders’. In the DS subgroup of autonomic ‘non‐responders’, differences in subjective responses were observed for some conditions, compared to control ‘non‐responders’. The findings indicate unaffected subjective responses to emotional images in people with DS overall. However, within the group of people with DS, there may be subgroups characterized by differences in emotional responding. One subgroup (i.e., ‘autonomic responders’) exhibit heightened autonomic responses but intact subjective emotional experience, whilst another subgroup (i.e., ‘autonomic non‐responders’) seem to experience greater subjective negativity and arousal for some emotional stimuli, despite less frequent autonomic reactions. The current results suggest that therapeutic interventions targeting awareness and regulation of physiological arousal and subjective emotional experience could be of value in some people with this disorder.     

Perceiving arousal and valence in facial expressions: Differences between children and adults

Arousal and valence have long been studied as the two primary dimensions for the perception of emotional stimuli such as facial expressions. Prior correlational studies that tested emotion perception along these dimensions found broad similarities between adults and children. However, few studies looked for direct differences between children and adults in these dimensions beyond correlation. We tested 9-year-old children and adults on rating positive and negative facial stimuli based on emotional arousal and valence. Despite high significant correlations between children’s and adults’ ratings, our findings also showed significant differences between children and adults in terms of rating values: Children rated all expressions as significantly more positive than adults in valence. Children also rated positive emotions as more arousing than adults. Our results show that although perception of facial emotions along arousal and valence follows similar patterns in children and adults, some differences in ratings persist, and vary by emotion type.     

个体对他人的权力感知与情绪体验

他人不同的权力水平会引发个体不同的权力感知,带来不同的情绪体验。以往关于权力与情绪的研究多关注的是个体自身作为权力目标时的情况,而研究通过两个实验来探究个体对他人的权力感知与情绪体验之间的关系。实验一采用回忆法,从情绪效价和趋近/回避动机的角度分析个体唤起的情绪反应,发现个体在与不同水平的权力目标交互过程中均表现出了明显的混合情绪,且相比于远距离的高权力目标,个体与近距离的权力目标进行交互时容易产生更多的积极情绪和趋近动机倾向; 实验二通过观看视频的方式启动被试的混合情绪,发现以积极情绪为主的混合情绪的唤起会影响个体对他人的权力感知,具体表现为对一定社会距离内的权力目标表现出更高水平的权力感知。     

The impact of changes in spatial distance on emotional responses

Drawing on motivational approaches to emotion, the authors propose that the perceived change in spatial distance to pictures that arouse negative emotions exerts an influence on the significance of these pictures. Two experiments induced the illusion that affective pictures approach toward the observer, recede from the observer, or remain static. To determine the motivational significance of the pictures, emotional valence and arousal ratings as well as startle responses were assessed. Approaching unpleasant pictures were found to exert an influence on both the valence and the arousal elicited by the pictures. Furthermore, movement of pleasant or neutral pictures did not influence startle responses, while the second experiment showed that approaching unpleasant pictures elicited enhanced startle responses compared to receding unpleasant pictures. These findings support the view that a change of spatial distance influences motivational significance and thereby shapes emotional responses.     

Running in fear: an investigation into the dimensional account of emotion in discriminating emotional expressions

Emotion can be conceptualized by the dimensional account of emotion with the dimensions of valence and arousal. There is little discussion of the difference in discriminability across the dimensions. The present study hypothesized that any pair of emotional expressions differing in the polarity of both valence and arousal dimensions would be easier to distinguish than a pair differing in only one dimension. The results indicate that the difference in the dimensions did not affect participants’ reaction time. Most pairs of emotional expressions, except those involving fear, were similarly discriminative. Reaction times to pairs with a fearful expression were faster than to those without. The fast reaction time to fearful facial expressions underscores the survival value of emotions.