Judgements of others’ emotional appropriateness are multidimensional

This study investigated the multidimensional structure of judgements of emotional appropriateness, the degree to which an observer judges a target's emotion to conform to observer-valued expectations for emotion in that context. Participants (N=169) were shown one of two brief video clips of an actor either showing anger or neutral expressions in an anger-evoking situation of either low, medium, or high severity. Participants rated the target's emotion on the Perception of Emotion Appropriateness Rating Scale (PEARS), which taps observers’ perceptions of a target's emotional appropriateness for a specific situation. We found that appropriateness ratings are comprised of three factors, assessment of Type Present (type of emotion in expression); Type Absent (missing key emotions); and Intensity (intensity with which the emotion is felt or expressed). Results are discussed in terms of the usefulness of a multidimensional conceptualisation of emotional appropriateness.     

Emotion,core affect,and psychological construction

As an alternative to using the concepts of emotion, fear, anger, and the like as scientific tools, this article advocates an approach based on the concepts of core affect and psychological construction, expanding the domain of inquiry beyond “emotion”. Core affect is a neurophysiological state that underlies simply feeling good or bad, drowsy or energised. Psychological construction is not one process but an umbrella term for the various processes that produce: (a) a particular emotional episode's “components” (such as facial movement, vocal tone, peripheral nervous system change, appraisal, attribution, behaviour, subjective experience, and emotion regulation); (b) associations among the components; and (c) the categorisation of the pattern of components as a specific emotion.     

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.     

The deliberate control of emotional experience through control of expressions

Recent research suggests that deliberate manipulation of expressive behaviours might self-regulate emotional experiences. Eighty people were first induced to adopt emotional expressions in a successfully disguised procedure that identified whether their feelings were affected by their expressive behaviour when they were unaware of the nature and purpose of that behaviour. They then deliberately attempted to change emotional feelings by adopting or inhibiting emotional behaviours, or by focusing on or being distracted from situational cues for emotion. Participants more responsive to their own behaviour in the disguised procedure felt more intensely when they adopted emotional behaviours, and less intensely when they inhibited those behaviours. In contrast, people identified as unresponsive to their own emotional behaviour were most affected by deliberate focus on or distraction from emotional thoughts. The effectiveness of techniques for emotional self-regulation depends on a match with characteristics of the person.     

The emotional and cognitive effect of immersion in film viewing

This brief report presents an experiment testing the effect of immersion on emotional responses and cognitive genre categorisation of film viewers. Immersion of a film presentation was varied by presenting an animated movie either in a 3D-viewing condition (low immersive condition) or in a CAVE condition (high immersive condition, comparable to virtual reality experience). Viewers rated their emotions and categorised the movies into four basic film genres (action, drama, comedy, and non-fiction). Two distinct types of emotion were measured: Fictional World emotions (e.g., sadness) in response to the presented fictional events and Artefact emotions in response to the film as an artefact (e.g., fascination). Results showed that stronger immersion led to more intense emotions but did not influence genre categorisation. In line with expectations, both types of emotional response were intensified by high immersion. The results are explained by suggesting that highly immersive cinema has its impact on a basic dimension of emotion, namely arousal that underlies both types of emotions.     

Effects of approach and withdrawal motivation on interactive economic decisions

Although recent economic models of human decision making have recognised the role of emotion as an important biasing factor, the impact of incidental emotion on decisions has remained poorly explored. To address this question, we jointly explored the role of emotional valence (i.e., positive vs. negative) and motivational direction (i.e., approach vs. avoidance) on performance in a well-known economic task, the Ultimatum Game. Participants had to either accept or reject monetary offers from other players, offers that vary in their degree of unfairness. A main effect of motivational direction, but not valence, was observed, with withdrawal-based emotion (disgust and serenity) prompting more rejections relative to approach-based emotion (anger and amusement) and a neutral state. These results further confirm that subtle incidental moods can bias decision making, and suggest that motivational state may be a useful framework to study such decisions. Implications with regard to emotion, cognitive neuroscience, and clinical psychology are discussed.     

Towards understanding pleasure at the misfortunes of others: The impact of self-evaluation threat on schadenfreude

In two experiments we demonstrated that a self-evaluation threat intensifies schadenfreude. Moreover, we showed that a self-evaluation threat predicts schadenfreude in both threat-related and threat-unrelated domains and when controlling for feelings of envy and dislike towards the target and evaluations of the misfortune in terms of deservingness. These findings indicate that another's misfortune may be pleasing because it satisfies people's concern for a positive self-view and a sense of self-worth.     

Cognitive-emotional dysfunction among noisy minds: Predictions from individual differences in reaction time variability

Mental noise can be defined as less reliable information processing. Individuals with high levels of mental noise are thought to be disadvantaged in cognitive, emotional, and behavioural realms. The present five studies (total N=298) investigated such potential disadvantages among normally functioning college undergraduates. Mental noise was operationalised in terms of the reaction time coefficient of variation (RTCV), a measure of RT variability that corrects for average levels of mental speed. Individuals with higher RTCV exhibited less effective cognitive control (Studies 1 and 5), less controlled behaviour (Study 2), and were more prone to negative emotional experiences (Study 3) and depressive symptoms (Study 4). Study 5 extended these results and found that individuals higher (versus lower) in RTCV were more adversely affected by their attentional lapses in daily life. Results converge on the idea that mental noise is an important individual difference dimension with multiple adverse correlates and consequences.     

Age and emotion affect how we look at a face: Visual scan patterns differ for own-age versus other-age emotional faces

We investigated how age of faces and emotion expressed in faces affect young (n=30) and older (n=20) adults’ visual inspection while viewing faces and judging their expressions. Overall, expression identification was better for young than older faces, suggesting that interpreting expressions in young faces is easier than in older faces, even for older participants. Moreover, there were age-group differences in misattributions of expressions, in that young participants were more likely to label disgusted faces as angry, whereas older adults were more likely to label angry faces as disgusted. In addition to effects of emotion expressed in faces, age of faces affected visual inspection of faces: Both young and older participants spent more time looking at own-age than other-age faces, with longer looking at own-age faces predicting better own-age expression identification. Thus, cues used in expression identification may shift as a function of emotion and age of faces, in interaction with age of participants.     

How children use drawing to regulate their emotions

We examined two ways in which drawing may function to elevate mood in children—venting (expressing negative feelings) and distraction (expressing something unrelated to the negative feelings). We examined the effectiveness of drawing as an emotion regulator when drawing is used to vent versus distract (Study 1) and tested whether the effects found are specific to the activity of creating one's own drawing or generalisable to a drawing activity in which children had to copy another's drawing (Study 2). To induce a negative mood, we asked children to think of a disappointing event. Mood was assessed before and after the assigned activity. In both studies, mood improved significantly more in the distract than in the vent or copy condition. Study 1 demonstrates that drawing improves mood in children via distraction and not via venting. Study 2 demonstrates that this effect is specific to a drawing task in which an image is freely constructed. When a copying task is used, the effect disappears.