Researchers have proposed that blocking facial feedback via glabellar-region botulinum toxin injections can reduce depression. Random-effects meta-analyses of studies that administered GBTX...

Micro-expressions, as fleeting facial expressions, are very important for judging people’s true emotions, thus can provide an essential behavioral clue for lie and dangerous demeanor detection. From embodied accounts of cognition, we derived a novel hypothesis that facial feedback from upper and lower facial regions has differential effects on micro-expression recognition. This hypothesis was tested and supported across three studies. Specifically, the results of Study 1 showed that people became better judges of intense micro-expressions with a (...) duration of 450 ms when the facial feedback from upper face was enhanced via a restricting gel. Additional results of Study 2 showed that the recognition accuracy of subtle micro-expressions was significantly impaired under all duration conditions (50 ms, 150 ms, 333 ms, and 450 ms) when facial feedback from lower face was enhanced. In addition, the results of Study 3 also revealed that blocking the facial feedback of lower face, significantly boosted the recognition accuracy of subtle and intense micro-expressions under all duration conditions (150 ms and 450 ms). Together, these results highlight the role of facial feedback in judging the subtle movements of micro-expressions. (shrink)

Facial expressions influence our experience and perception of emotions—they not only tell other people what we are feeling but also might tell us what to feel via sensory feedback. We conducted three experiments to investigate the interaction between facial feedback phenomena and different environmental stimuli, by asking participants to remember emotional autobiographical memories. Moreover, we examined how people with schizotypal traits would be affected by their experience of emotional facial simulations. We found that using a (...) directed approach (gripping a pencil with teeth/lips) while remembering a specific autobiographical memory could successfully evoke participants’ positive (e.g. happy and excited)/negative (e.g. angry and sad) emotions (i.e. Experiment 1). When using indirective environmental stimuli (e.g. teardrop glasses), the results of our experiments (i.e. Experiments 2 and 3) investigating facial feedback and the effect of teardrop glasses showed that participants who scored low in schizotypy reported little effect from wearing teardrop glasses, while those with high schizotypy reported a much greater effect in both between- and within-subject conditions. The results are discussed from the perspective of sense of ownership, which people with schizophrenia are believed to have deficits in. (shrink)

_Background:_ Experimental research exploring the sleep/pain-relationship has typically focused on total or partial sleep deprivation, hereby failing to reproduce the mere fragmented sleep pattern typically observed in patients with chronic pain. Further, little research is done on how affect moderates the sleep–pain relationship after sleep fragmentation. The present study sought to clarify the relationship between pain, sleep and positive and negative affect. _Methods:_ In an experimental counterbalanced crossover design, 35 healthy young adults were subjected to several pain measures after one (...) night of fragmented sleep, compared to one control night of normal sleep, both conducted in their own homes, and respectively, positive and negative affect induction using validated film clips and facial feedback procedures. Sleep was monitored using sleep diaries. _Results:_ Increased pain sensitivity after one night of experimentally induced sleep fragmentation was found, compared to after one control night of undisturbed sleep. No main effects of induced affect on pain were found, and sleep x induced affect interaction was not significant. _Conclusion:_ The present study supports the adverse effect of sleep fragmentation on pain sensitivity, however, affect was not found to be a moderator in the sleep–pain relationship. The results underline the need for further research within this field. (shrink)

Research on surprise relevant to the cognitive-evolutionary model of surprise proposed by Meyer, Reisenzein, and Schützwohl is reviewed. The majority of the assumptions of the model are found empirically supported. Surprise is evoked by unexpected events and its intensity is determined by the degree if schema-discrepancy, whereas the novelty and the valence of the eliciting events probably do not have an independent effect. Unexpected events cause an automatic interruption of ongoing mental processes that is followed by an attentional shift and (...) attentional binding to the events, which is often followed by causal and other event analysis processes and by schema revision. The facial expression of surprise postulated by evolutionary emotion psychologists has been found to occur rarely in surprise, for as yet unknown reasons. A physiological orienting response marked by skin conductance increase, heart rate deceleration, and pupil dilation has been observed to occur regularly in the standard version of the repetition-change paradigm of surprise induction, but the specificity of these reactions as indicators of surprise is controversial. There is indirect evidence for the assumption that the feeling of surprise consists of the direct awareness of the schema-discrepancy signal, but this feeling, or at least the self-report of surprise, is also influenced by experienced interference. In contrast, facial feedback probably does contribute substantially to the feeling of surprise and the evidence for the hypothesis that surprise is affected by the difficulty of explaining an unexpected event is, in our view, inconclusive. Regardless of how the surprise feeling is constituted, there is evidence that it has both motivational and informational effects. Finally, the prediction failure implied by unexpected events sometimes causes a negative feeling, but there is no convincing evidence that this is always the case, and we argue that even if it were so, this would not be a sufficient reason for regarding this feeling as a component, rather than as an effect of surprise. (shrink)

Emotions are foremost self-regulating processes that permit rapid responses and adaptations to situations of personal concern. They have biological bases and are shaped ontogenetically via learning and experience. Many situations and events of personal concern are social in nature. Thus, social exchanges play an important role in learning about rules and norms that shape regulation processes. I argue that (a) emotions often are actively auto-regulating—the behavior implied by the emotional reaction bias to the eliciting event or situation modifies or terminates (...) the situation; (b) certain emotion components are likely to habituate dynamically, modifying the emotional states; (c) emotions are typically intra- and interpersonal processes at the same time, and modulating forces at these different levels interact; (d) emotions are not just regulated—they regulate. Important conclusions of my arguments are that the scientific analysis of emotion should not exclude regulatory processes, and that effortful emotion regulation should be seen relative to a backdrop of auto-regulation and habituation, and not the ideal notion of a neutral baseline. For all practical purposes unregulated emotion is not a realistic concept. (shrink)

Recent studies of emotion mindreading reveal that for three emotions, fear, disgust, and anger, deficits in face-based recognition are paired with deficits in the production of the same emotion. What type of mindreading process would explain this pattern of paired deficits? The simulation approach and the theorizing approach are examined to determine their compatibility with the existing evidence. We conclude that the simulation approach offers the best explanation of the data. What computational steps might be used, however, in simulation-style emotion (...) detection? Four alternative models are explored: a generate-and-test model, a reverse simulation model, a variant of the reverse simulation model that employs an “as if” loop, and an unmediated resonance model. (shrink)

ABSTRACTOne prestudy based on a corpus analysis and four experiments in which participants had to invent novel names for persons or objects investigated how the valence of a face or an object affects the phonological characteristics of the respective novel name. Based on the articulatory feedback hypothesis, we predicted that /i:/ is included more frequently in fictional names for faces or objects with a positive valence than for those with a negative valence. For /o:/, the pattern should reverse. An (...) analysis of the Berlin Affective Word List – Reloaded yielded a higher number of occurrences of /o:/ in German words with negative valence than in words with positive valence; with /i:/ the situation is less clear. In Experiments 1 and 2, participants named persons showing a positive or a negative facial expression. Names for smiling persons included more /i:/s and fewer /o:/s than names for persons with a negative facial expression. In Experiments 3 and 4, participant... (shrink)

William James’s theory of emotion has been controversial since its inception, and a basic analysis of Cannon’s critique is provided. Research on the impact of facial expressions, expressive behaviors, and visceral responses on emotional feelings are each reviewed. A good deal of evidence supports James’s theory that these types of bodily feedback, along with perceptions of situational cues, are each important parts of emotional feelings. Extensions to James’s theory are also reviewed, including evidence of individual differences in the (...) effect of bodily responses on emotional experience. (shrink)

Humans have inherited from their remotest mammalian ancestors an integration of the sensory and motor systems that permits the exchange of signals and information, led by an instinctive response to harmonicity. The transition, from capacity for animal communication involving calls, facial expression and gestures, to modern human culture that embraces language, music, and dance, has resulted from anatomical adaptations such as upright posture, a distinct oro-facial and respiratory tract arrangement, and important changes in neural architecture, connectivity and plasticity. (...) A key development on which modern human vocal abilities depend was the achievement of a feedback loop between the perception and production of voiced sound that allows precise matching, imitation, and meaningful variation, of the acoustic properties: fundamental frequency, duration, amplitude, and timbre; all contributing to the capacity to coordinate simultaneous participation. These are the four specific properties that influence our sensations of sound. They play parallel and complementary roles in both language and vocal music, represented in blended synchrony such as unison song and collective speech as well as temporally organised and coordinated sequences such as call-and-response and polyphony. In turn, responding especially to the properties of the Harmonic Series, such features inform the musical employment of tools – musical instruments – that make use of materials available in the local environment (skin, bone, stone, bamboo, wood, etc.) to provide increased range and loudness as well as alternative timbres to those produced by the voice. We propose a framework by which the adaptations essential to such universal behaviours may have arisen, drawing on an extensive and varied literature to explore the potential of this position for illuminating the nature of human musicality and its relationship to language development. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Deeper Than Reason: Emotion and Its Role in Literature, Music, and ArtSusan FeaginDeeper Than Reason: Emotion and Its Role in Literature, Music, and Art, by Jenefer Robinson; 516 pp. Oxford: Clarendon Press, 2005, $35.00.Jenefer Robinson's lucid yet closely-argued book has four parts. The first part presents a theory of the emotions in general. The second part develops and defends the view that "some works of literature... need to (...) be experienced emotionally if they are to be properly understood" (p. 3) and draws some implications for other arts. Part Three develops a new theory of expression, and Part Four examines the expression of emotion in and listeners' emotional responses to music. Robinson applies her theory of emotions and how they arise and are expressed in response to individual works of art throughout, and the extended discussions of Edith Wharton's The Reef and one of the intermezzi from Brahms's Opus 117 set are not to be missed.Robinson's use of psychological research to develop a philosophical theory of emotion is characteristic of an increasingly popular practice in the philosophy of mind. Her descriptions of this often highly technical literature are among the best with respect to accuracy and clarity. On most accounts, emotions are mental states; on Robinson's, they are mental processes. These processes are always initiated by "an automatic 'affective appraisal' [that] induces characteristic physiological and behavioral changes and is succeeded by... 'cognitive monitoring' of the situation" (p. 3). The appraisal is also referred to as a 'non-cognitive' appraisal, which may sound like an oxymoron. Robinson explains: these appraisals are non-cognitive "in the sense that they occur without any conscious deliberation or awareness, and that they do not involve any complex information processing" (p. 45; see also p. 59). Appraisals have a valence, positive or negative, sufficient to induce a characteristic pattern of physiological and (roughly, involuntary) behavioral responses, such as alterations in galvanic skin response and movements of facial muscles. These changes are succeeded by cognitive monitoring of the situation, resulting in conceptually more sophisticated assessments of one's initial response with respect to its suitability to the circumstances and in relation to one's beliefs. Thus, cognitive monitoring generates the more cognitively complex emotions, and here she is in agreement [End Page 420] with the "judgment theorists" (p. 90) that these emotions are individuated by cognitions. Robinson seeks a univocal account of emotions for humans and other sentient creatures, though with humans it is possible for a "complex cognition" to trigger the process that constitutes having an emotion and cognitive feedback may occur in general throughout the process in ways that are not possible for creatures lacking the relevant complex mental capacities (p. 93).The fact that complex cognitions can constitute the initial stage of an emotion makes it possible to respond emotionally to literature. As in emotional situations in real life, emotions are initiated by automatic affective appraisals that have to do with one's own wants and interests, calling our attention to something important in the novel, which may lay down its own memory system, linked with bodily feelings, which is then subject to cognitive appraisal and reappraisal. Cognitive reflection facilitates the understanding of narratives as well as characters, and with respect to the latter, she argues, deploys the same mental systems that are engaged in understanding people. Further, it is not merely the beliefs that one may acquire as a result of the process that is educational, but the process of emotional understanding itself (p. 155). Indeed, Robinson endorses the strong claim that for at least some novels, those that are part of the "Great Tradition" of nineteenth-century realistic British and American literature, it is necessary to experience them emotionally to understand them.Part Three exposits a theory of the expression of emotion simpliciter and then makes adjustments to it to build a theory of expression in art, taking advantage of Romantic theories of expression developed in the works of, for example, Collingwood. Reflection on ordinary expression allows an artist to clarify and articulate "what it is like to go through the emotion process," which may be revealed both in the... (shrink)

Plan-ahead becomes necessary for those movements which are over-and-done in less time than it takes for the feedback loop to operate. Natural selection for one of the ballistic movements (hammering, clubbing, and throwing) could evolve a plan-ahead serial buffer for hand-arm commands that would benefit the other ballistic movements as well. This same circuitry may also sequence other muscles (children learning handwriting often screw up their faces and tongues) and so novel oral-facial sequences may also benefit (as might (...) kicking and dancing). An elaborated version of the sequencer may constitute a Darwin Machine that spins scenarios, evolves sentences, and facilitates insight by offline simulation. An example is given of an evolutionary scenario from an apelike ancestor, demonstrating the transition behaviors and growth curve considerations that any such theory needs to have; this particular scenario (involving throwing improvements) also suggests an explanation for the puzzling design of the Acheulean "handaxe.". (shrink)

Multisensory integration (MSI) allows us to link sensory cues from multiple sources and plays a crucial role in speech development. However, it is not clear whether humans have an innate ability or whether repeated sensory input while the brain is maturing leads to efficient integration of sensory information in speech. We investigated the integration of auditory and somatosensory information in speech processing in a bimodal perceptual task in 15 young adults (age 19–30) and 14 children (age 5–6). The participants were (...) asked to identify if the perceived target was the sound /e/ or /ø/. Half of the stimuli were presented under a unimodal condition with only auditory input. The other stimuli were presented under a bimodal condition with both auditory input and somatosensory input consisting of facial skin stretches provided by a robotic device, which mimics the articulation of the vowel /e/. The results indicate that the effect of somatosensory information on sound categorization was larger in adults than in children. This suggests that integration of auditory and somatosensory information evolves throughout the course of development. (shrink)

We outline three possible shortcomings of the SIMS model and specify these by applying the model to autism. First, the SIMS model assigns a causal role to brain processes, thereby excluding individual and situational factors. Second, there is no room for subjective and high-level conceptual processes in the model. Third, disentangling the different stages in the model is very difficult.