Humor and social dilemmas are two disparate areas that have been linked to emotions. However, they tend to have been studied apart from considerations of emotion and emotional expression. We provide an overview of how such areas might be illuminated by Vigil's socio-relational framework, and how capacity and trustworthiness are communicated in humor and social dilemmas.

It is widely assumed that the expression of an emotion is the external bodily manifestation of an internal psychological state. In contrast to this “general view”, this paper presents and discusses an alternative view put forward by Scheler and developed by authors close to the phenomenological tradition. According to the “phenomenological view”, emotional expression is a phenomenon of the lived body. In exploring this view, the paper analyzes four of its main tenets: a) the concept of the (...) lived body as distinct from the physical body; b) the idea that emotional expression functions as a symbol; c) the thesis of the universal grammar of emotions; and d) the distinction between final and expressive movements. In the conclusion, I discuss the value and relevance of the phenomenological view to contemporary research. (shrink)

Investigating social context effects and emotional modulation of attention in a laboratory setting is challenging. Electroencephalography (EEG) requires a controlled setting to avoid confounds, which goes against the nature of social interaction and emotional processing in real life. To bridge this gap, we developed a new paradigm to investigate the effects of social context and emotional expressions on attention in a laboratory setting. We co-registered eye-tracking and EEG to assess gaze behavior and brain activity while participants performed a discrimination task (...) followed by feedback. Video clips of one second in which a confederate displayed either positive, neutral or negative expressions were presented as feedback to the discrimination task. Participants’ belief was manipulated by telling them that the videos were selected either by the computer (non-social condition) or by the experimenter in the adjacent room that observed them via videochat (social condition). We found that emotional expressions modulated late attention processing in the brain (EPN and LPC), but neither early processing (P1) nor saccade latency. Social context did not influence any of the variables studied. We conclude this new paradigm serves as a stepping stone to the development of new paradigms to study social interaction within EEG experiments. (shrink)

Three studies were conducted to assess prevalent stereotypes regarding men's and women's emotional expressivity as well as self-perceptions of their emotional behaviour. Emotion profiles were employed to assess both modal emotional reactions and secondary emotional reactions to hypothetical events and personal experiences. In Study 1 we asked how men and women in general would react to a series of hypothetical emotional events. In Study 2 we asked how participants themselves expected to react to these same situations and in Study (...) 3 we asked participants to report a personal emotional event in narrative form. Two gender differences emerged across all three studies. Specifically, women were expected to be more likely to react with sadness to negative emotion-eliciting events in general. They also expected themselves to be more likely to react with sadness as well as to cry and to withdraw more when experiencing negative emotional events. Finally, women report more sadness when describing personal events. In contrast, men were expected to react with more happiness/serenity during negative emotional situations. Also, they expect themselves to react more frequently this way as well as to laugh and smile more and to be more relaxed in negative situations. Finally, men tend to report more happiness when describing negative personal events. In sum, the present study gives a more detailed portrayal of how men and women are expected and expect themselves to react to specific emotional situations and presents some evidence that these expectations may influence the way they reconstruct emotional events from their past. (shrink)

Interpreting the emotions of others through their facial expressions can provide important social information, yet the way in which we judge an emotion is subject to psychosocial factors. We hypothesized that the age of a face would bias how the emotional expressions are judged, with older faces generally more likely to be viewed as having more positive and less negative expressions than younger faces. Using two-alternative forced-choice perceptual decision tasks, participants sorted young and old faces of which emotional expressions (...) were gradually morphed into one of two categories—“neutral vs. happy” and “neutral vs. angry.” The results indicated that old faces were more frequently perceived as having a happy expression at the lower emotional intensity levels, and less frequently perceived as having an angry expression at the higher emotional intensity levels than younger faces in young adults. Critically, the perceptual decision threshold at which old faces were judged as happy was lower than for young faces, and higher for angry old faces compared to young faces. These findings suggest that the age of the face influences how its emotional expression is interpreted in social interactions. (shrink)

In this article I articulate the Theory of Affective Pragmatics, which combines insights from the Basic Emotion View and the Behavioral Ecology View of emotional expressions. My core thesis is that emotional expressions are ways of manifesting one’s emotions but also of representing states of affairs, directing other people’s behaviors, and committing to future courses of actions. Since these are some of the main things we can do with language, my article’s take home message is that, from a communicative (...) point of view, much of what we can do with language we can also do with nonverbal emotional expressions. (shrink)

BackgroundModern literary appreciation seems to be reading literary works phenomenally. In fact, appreciation is not a general reading, which has an important difference from general reading. It is the identification and appreciation of literary works and a complex spiritual activity for people to feel, understand, and imagine literary and artistic works. At the same time, literary appreciation is also a cognitive activity, an aesthetic activity, and a re-creation activity.MethodIn this paper, the machine learning algorithm was creatively used to classify the (...) emotions of figures in modern literary works, to analyze the emotions of the figures that the writer wanted to depict in modern literary works.ResultsExperimental results verify the accuracy of the emotion classification method through experiments, which is helpful for us to better understand the emotion expression in modern literary works. (shrink)

A special area of human-machine interaction, the expression of emotions gains importance with the continuous development of artificial agents such as social robots or interactive mobile applications. We developed a prototype version of an abstract emotion visualization agent to express five basic emotions and a neutral state. In contrast to well-known symbolic characters (e.g., smileys) these displays follow general biological and ethological rules. We conducted a multiple questionnaire study on the assessment of the displays with Hungarian and Japanese (...) subjects. In most cases participants were successful in recognizing the displayed emotions. Fear and sadness were most easily confused with each other while both the Hungarian and Japanese participants recognized the anger display most correctly. We suggest that the implemented biological approach can be a viable complement to the emotion expressions of some artificial agents, for example mobile devices. (shrink)

In “Moral Luck” Bernard Williams describes a lorry driver who, through no fault of his own, runs over a child, and feels “agent-regret.” I believe that the driver’s feeling is moral since the thought associated with this feeling is a negative moral evaluation of his action. I demonstrate that his action is not morally inadequate with respect his moral obligations. However, I show that his negative evaluation is nevertheless justified since he acted in way that does not live up to (...) his moral values. I then use this distinctive negative moral evaluation to distinguish agent-regret from guilt and mere regret. (shrink)

I propose that accounts of emotional expression can be divided into primary and secondary quality accounts. Primary quality accounts of expression take behaviour to express emotion only if certain perceiver-independent facts about the behaviour or behaving subject obtain. I argue that views of this kind get the extension of expression wrong. I argue instead that behaviour expresses emotion just in case it is disposed to appear to express emotion to standard observers under standard conditions.

We proposed and tested the notion of a bidirectional influence of emotion expressions and context. In two studies, we found that the expressions shown by supporters and opponents...

Work-related satisfaction has critical benefits. To predict work-related satisfaction, we investigated how a counterpart’s expressions of emotional complexity (both positive and negative emotions), positive emotions, and negative emotions influenced a perceiver’s work-related satisfaction during discussions over different work-relevant ideas. We conducted a three-wave coworker survey (N = 529) and an experiment with a confederate as a task partner (N = 378). The results consistently showed significant positive impacts of a counterpart’s emotional complexity and positive emotion expressions on a perceiver’s (...) work-related satisfaction by enhancing the perceiver’s positive emotions and evaluation of the counterpart’s openness. Conversely, a counterpart’s negative emotion expression significantly decreased a perceiver’s work-related satisfaction by reducing perceived counterpart openness. We also did not find a perceiver’s negative emotion as a significant mediator of the associations between the three emotional expressions and work-related satisfaction. Therefore, our investigation highlights similar positive effects of emotional complexity and positive emotion expressions and suggests that an expression of both positive and negative emotions promotes satisfaction by enhancing positive emotions and openness perception. (shrink)

This study aims to further understand children’s capacity to identify and reason about pretend emotions by analyzing which sources of information they take into account when interpreting emotions simulated in pretend play contexts. A total of 79 children aged 3 to 8 participated in the final sample of the study. They were divided into the young group and the older group. The children were administered a facial emotion recognition task, a pretend emotions task, and a non-verbal cognitive ability test. (...) In the pretend emotions task, the children were asked whether the protagonist of silent videos, who was displaying pretend emotions, was displaying a real or a pretend emotion, and to justify their answer. The results show significant differences in the children’s capacity to identify and justify pretend emotions according to age and type of emotion. The data suggest that young children recognize pretend sadness, but have more difficulty detecting pretend anger. In addition, children seem to find facial information more useful for the detection of pretend sadness than pretend anger, and they more often interpret the emotional expression of the characters in terms of pretend play. The present research presents new data about the recognition of negative emotional expressions of sadness and anger and the type of information children take into account to justify their interpretation of pretend emotions, which consists not only in emotional expression but also contextual information. (shrink)

Research on human motion perception shows that people are highly adept at inferring emotional states from body movements. Yet, this process is mediated by a number of individual factors and experie...

ABSTRACTDynamic changes in emotional expressions are a valuable source of information in social interactions. As the expressive behaviour of a person changes, the inferences drawn from the behaviour may also change. Here, we test the possibility that dynamic changes in emotional expressions affect person perception in terms of stable trait attributions. Across three experiments, we examined perceivers’ inferences about others’ personality traits from changing emotional expressions. Expressions changed from one emotion to another emotion, allowing us to disentangle potential (...) primacy, recency, and averaging effects. Drawing on three influential models of person perception, we examined perceptions of dominance and affiliation, competence and warmth, and dominance and trustworthiness. A strong recency effect was consistently found across all trait judgments, that is, the end emotion of dynamic expressions had a strong impact on t... (shrink)

Charles Sanders Peirce famously distinguishes between three types of sign, depending on how the sign refers to its object. An "icon" refers by resemblance. An "index" refers by a physical connection. And a "symbol" refers by habit or convention. Peirce allows for signs to refer in more ways than one—onomatopoeias refer both by resemblance and by convention, for instance 1—but he insists that there are no further ways in which signs can refer to their objects.In this paper I shall argue (...) that emotional expressions—e.g. cries of sadness, laughs of amusement, and scowls of anger—refer to emotions neither by... (shrink)

Research on automatic attention to emotional faces offers mixed results. Therefore we examined validity effects for facial expressions of different emotions with a dot-probe paradigm in seven studies. Systematic variations of type of emotion, CTI, task, cue size, and masking allow for a differentiated assessment of attentional capture by emotions and possible moderating factors. Results indicate a general absence of emotional validity effects as well as a lack of significant interactions with either of the manipulated factors, indicating that facial (...) expressions of emotions do not capture attention in a fully automatic fashion. These findings suggest that situational and contextual factors have to be taken into account when investigating attentional capture of emotional faces. (shrink)

This paper discusses the debate over whether emotional expressions are spontaneous or intentional actions. We describe a variety of empirical evidence supporting these two possibilities. But we argue that the spontaneous-intentional distinction fails to explain the psychological dynamics of emotional expressions. We claim that a complex systems perspective on intentions, as self-organized critical states, may yield a unified view of emotional expressions as a consequence of situated action. This account simultaneously acknowledges the embodied status of environment, evolution, culture and mind (...) in theories of emotion. (shrink)

This paper discusses the debate over whether emotional expressions are spontaneous or intentional actions. We describe a variety of empirical evidence supporting these two possibilities. But we argue that the spontaneous-intentional distinction fails to explain the psychological dynamics of emotional expressions. We claim that a complex systems perspective on intentions, as self-organized critical states, may yield a unified view of emotional expressions as a consequence of situated action. This account simultaneously acknowledges the embodied status of environment, evolution, culture and mind (...) in theories of emotion. (shrink)

A common view in affective neuroscience considers emotions as a multifaceted phenomenon constituted by independent affective and motor components. Such dualistic connotation, obtained by rephrasing the classic Darwin and James’s theories of emotion, leads to the assumption that emotional expression is controlled by motor centers in the anterior cingulate, frontal operculum, and supplementary motor area, whereas emotional experience depends on interoceptive centers in the insula. Recent stimulation studies provide a different perspective. I will outline two sets of findings. (...) First, affective experiences can be elicited also following the stimulation of motor centers. Second, emotional expressions can be elicited by stimulating interoceptive regions. Echoing the original pragmatist theories of emotion, I will make a case for the notion that emotional experience emerges from the integration of sensory and motor signals, encoded in the same functional network. (shrink)

Emotions are personal-level states that occupy causal roles and, as such, have a range of behavioural outputs distinctive of them. Intuitively, some but not all of these outputs qualify as expressions of the emotion. But which ones? I begin by offering a descriptive phenomenology of emotional expression, both from the perspective of the expresser and that of the observer. I then consider answers to the question that focus on each of these perspectives. I argue that the best available (...) versions of observer-perspective views are subject to significant objections. I go on to defend an expresser-perspective view that accords a central role to the expresser's consciousness of the relation of motivation that holds between their emotion and its expression. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Theories of Emotion: Expressing, Feeling, Acting by Pia CAMPEGGIANISabrina B. LittleCAMPEGGIANI, Pia. Theories of Emotion: Expressing, Feeling, Acting. New York: Bloomsbury Publishing, 2023. xiv + 199 pp. Cloth, $80.89; paper, $21.60In Theories of Emotion, Pia Campeggiani provides a philosophical introduction to the emotions. The book is multidisciplinary and empirically informed. It is organized around three “groundbreaking intuitions” of emotion theory—(1) expression, (2) subjectivity, (...) and (3) action. Each section corresponds to a different thinker—Charles Darwin, William James, and John Dewey, respectively—and each section concludes with a discussion of relevant debates. This book is outstanding. It is clearly written, well organized, and impressive in its scope. In what follows, I outline key ideas and raise questions generated by each section, then conclude with general reflections on the text.Campeggiani begins with the “scandal” of emotion research: There is no agreement about what an emotion is. In part, this lack of consensus is due to the imprecise ways we employ concepts like feelings, emotions, affect, and passions in ordinary discourse. In part, it is due to empirical difficulties. For example, Campeggiani describes how implicit assumptions and a forced-choice format compromised an experiment about expression universality.Additionally, Campeggiani points out that the category “emotions” has an internal structure that lacks clear-cut boundaries. There are paradigmatic examples of emotions, such as fear and anger, but there are also ambiguous phenomena, such as respect and modesty, which we may or may not recognize as such. Throughout the text, Campeggiani introduces and evaluates numerous accounts of emotions, drawing our attention to the strengths, limitations, and empirical adequacy of each.Part 1 begins with Charles Darwin’s contributions to emotion theory—an emphasis on the biological origins of emotions and a focus on expression. This section examines emotions in connection to adaptive fitness, exploring phenomena such as blushing when we are ashamed and the biological bases of emotions. A highlight of this section is an exploration of the social or communicative character of the emotions, which Darwin described as “only a secondary effect” of expression. Campeggiani examines emotional contagion and imitation, as well as the [End Page 141] phenomenon of feeling more pain when we express pain on our faces. There is also a rich discussion about constructionism as an alternative to basic emotions theory.Part 2 opens with William James on subjective experience. Campeggiani describes the limitations of James’s position—of understanding emotions to be reducible to feelings. For starters, this position is not empirically well supported. Campeggiani cites Walter Cannon’s observation that “many of the autonomic changes that are symptomatic of a given emotion can also occur in its absence.” Additionally, James fails to “properly flesh out the link between emotions and evaluations.” Campeggiani then describes the cognitive turn in emotion theory that emerged in response to the lack of attention paid to evaluation. Cognitive accounts of emotion deemphasize the bodily dimensions of emotional experiences in favor of the intentional properties, or “aboutness,” of emotions. Emotions see things as things.From my vantage, this was the best part of the book. Campeggiani highlights Damasio’s point that decision-making depends on having a “correct affective perception of the values at stake in a given situation.” For instance, feeling outsized or misdirected fear may undermine our decision-making. Campeggiani also introduces debates about whether emotions are appraisals, and whether emotions entail judgments or make judgments more likely. In the introduction, she mentions that “decision-making processes are always and inevitably underpinned by emotions, for good and for ill.” We see what she means in this section. Emotions participate in reason, impede reason, and have cognitive content themselves.That emotions involve or participate in our judgments raises two kinds of concerns—epistemic and normative. The epistemic worry is that inaccurate appraisals may undermine our understanding of the world. This is especially worrisome for the class of emotions Campeggiani calls “recalcitrant,” or closed off to other mental states, and for the emotions she says are “heavily influenced by our needs and goals.” Emotions are imperfectly truth-tracking, as was made clear earlier, in part 1, regarding their adaptive nature. The normative worry is that certain emotional... (shrink)

ABSTRACTThe present research tested the notion that emotion expression and context perception are bidirectionally related. Specifically, in two studies focusing on moral violations and positive moral deviations respectively, we presented participants with short vignettes describing behaviours that were either moral, polite or unusual together with a picture of the emotional reaction of a person who supposedly had been a witness to the event. Participants rated both the emotional reactions observed and their own moral appraisal of the situation described. (...) In both studies, we found that situational context influenced how emotional reactions to this context were rated and in turn, the emotional expression shown in reaction to a situation influenced the appraisal of the situation. That is, neither the moral events nor the emotion expressions were judged in an absolute fashion. Rather, the perception of one also depended on the other. (shrink)

Small but significant gender differences in emotion expressions have been reported for adults, with women showing greater emotional expressivity, especially for positive emotions and internalizing negative emotions such as sadness. But when, developmentally, do these gender differences emerge? And what developmental and contextual factors influence their emergence? This article describes a developmental bio-psycho-social model of gender differences in emotion expression in childhood. Prior empirical research supporting the model, at least with mostly White middle-class U.S. samples of youth, (...) is presented. Limitations to the extant literature and future directions for research on gender and child emotion are suggested. (shrink)

This research focuses on the complex relationship between the musical narrative and emotional expression in piano works from a philosophical point of view. It aims at identifying how emotions are enacted within music and how they can influence and mold the listener’s experience. Building on the premises of important philosophical theories, the study explores the idea of musical narrative, its origins, and its impact on forming emotions within music. Emotional communication in piano works is also discussed in the study, (...) with an emphasis on how composers incorporate various musical features to portray certain emotions. Furthermore, this research elaborates on the philosophical perspective of musical narrative and emotional expression and contributes to the understanding of the aspects within the framework of piano music. The findings of this research are intended to add to the debates in the philosophy of music, with regard to performance and listener’s reception. (shrink)

Recently much attention has been paid to the concept of expression in Merleau-Ponty’s philosophy and its role in his theories of language, art, history, and truth. However, most authors have considered expression only as a mode of language. This paper attempts to show that a full understanding of Merleau-Ponty’s concept of expression, and in particular the problem of how new meanings can be created out of existing language, is possible only by considering the role of emotional gesture (...) in expression. It does so by interpreting Merleau-Ponty’s writings on emotion and expression through a phenomenology of a particular emotion, specifically joy. (shrink)

The utility of recognising emotion expressions for coordinating social interactions is well documented, but less is known about how continuously changing emotion displays are perceived. The nonlinear dynamic systems view of emotions suggests that mixed emotion expressions in the middle of displays of changing expressions may be decoded differently depending on the expression origin. Hysteresis is when an impression (e.g., disgust) persists well after changes in facial expressions that favour an alternative impression (e.g., anger). In (...) class='Hi'>expression changes based on photographs (Study 1) and avatar images (Studies 2a–c, 3), we found hystereses particularly in changes between emotions that are perceptually similar (e.g., anger–disgust). We also consistently found uncertainty (neither emotion contributing to the mixed expression was perceived), which was more prevalent in expression sequences than in static images. Uncertainty occurred particularly in changes between emotions that are perceptually dissimilar, such as changes between happiness and negative emotions. This suggests that the perceptual similarity of emotion expressions may determine the extent to which hysteresis and uncertainty occur. Both hysteresis and uncertainty effects support our premise that emotion decoding is state dependent, a characteristic of dynamic systems. We propose avenues to test possible underlying mechanisms. (shrink)

ABSTRACTResearch on the development of selective trust has shown that young children do not indiscriminately trust all potential informants. They are likely to seek and endorse information from individuals who have proven competent or benign in the past. However, research on trust among adults raises the possibility that children might also be influenced by the emotions expressed by potential informants. In particular, they might trust individuals expressing more positive emotion. Indeed, young children’s trust in particular informants based on their (...) past behaviour might be undermined by their currently expressed emotions. To examine this possibility, we tested the selective trust of fifty 4- and 5-year-olds in two steps. We first confirmed that children are likely to invest more trust in individuals expressing more positive emotion. We then showed that even if children have already formed an impression of two potential informants based on their behavioural record, their choices about whose claims to trus... (shrink)

This article analyzes the role of emotions in social interaction and their effects on social structuration and the emergence of micro-social order. It argues that facial expressions of emotion are key in generating robust patterns of social interaction. First, the article shows that actors' encoding of facial expressions combines hardwired physiological principles on the one hand and socially learned aspects on the other hand, leading to fine-grained and socially differentiated dialects of expression. Second, it is argued that decoding (...) facial expression is contingent upon this combination so that reciprocal attributions of emotional states, situational interpretations, and action tendencies are more effective within rather than across social units. Third, this conjunction affects the conditions for emotional contagion, which is argued to be more effective within social units exhibiting similar encoding and decoding characteristics, and thus aligns emotions and action tendencies in a coherent, yet socially differentiated way. (shrink)

This paper approaches the topic of visual art in medical education from a philosophical perspective, drawing on arguments from epistemology, philosophy of science, aesthetics, and contemporary ethical theory. Several medical ethicists have noted that the traditional clinical paradigm may increase the epistemic and emotional distance between patient and physician in part by focusing on the physical body and medical technology. Some of these same writers recommend a new approach to patients based on empathy and increased attention to suffering. After reviewing (...) these arguments, supporting examples, and recommendations, I explain how visual art that expresses or symbolizes the emotional response to illness could be used to introduce an additional paradigm into medical education. This would be a paradigm based on empathetic attention to patients' emotional experiences in illness. My own argument is that this additional way of perceiving and relating to patients may reduce the distance between patient and physician and may allow physicians to better meet the ideal of treating the patient as a person. (shrink)

According to the Perceptual Analysis of Emotional Expression, behaviors express emotions by making them perceptually manifest. A smile is an expression of joy because an observer who sees a smile can see joy. A pout is an expression of grief because an observer who sees a pout can see grief. And a growl is an expression of anger because an observer who hears a growl can hear anger. The idea is not simply that expressions can enable (...) the perception of emotion, but that expressions essentially do so. In the course of defending this analysis against challenges, I develop a novel account of the relationship between language and expression. (shrink)

This article describes a research project in which a qualitative research was carried out consisting of 24 semi-structured interviews and a subsequent data analysis using the MAXQDA software in order to investigate a particular dimorphic emotional expression: tears of joy (TOJ). The working hypothesis is that TOJ are not only an atypical expression due to a “super joy,” or that they are only an attempt by the organism to self-regulate the excess of joyful emotion through the (...) class='Hi'>expression of the opposite emotion (sadness), but that it is an emotional experience in its own right—not entirely overlapping with joy—with a specific adaptive function. Through the interviews, conducted in a cross-cultural context (mainly in India and Japan), we explored the following possibility: what if the adaptive function of crying for joy were to signal, to those experiencing it, the meaning of their life; the most important direction given to their existence? The material collected provided positive support for this interpretation. (shrink)

Faces are characterized by the simultaneous presence of several evaluation-relevant features, for example, emotional expression and (prejudiced) ethnicity. The social message account (SMA) hypothesizes the immediate integration of emotion and ethnicity. According to SMA, happy in-group faces should be interpreted as benevolent, whereas happy out-group faces should be interpreted as potentially malevolent. By contrast, fearful in-group faces should be interpreted as signaling an unsafe environment, whereas fearful out-group faces should be interpreted as signaling inferiority. In contrast, the processing (...) conflict account (PCA) assumes that each face conveys two rather independent evaluative features, emotion and ethnicity. Thus, stimuli might be either affectively congruent or incongruent, and thereby exert influences on behavior. The article reviews the evidence with regard to the two accounts before reporting an experiment that aims at disentangling them. In an approach/avoidance task (AAT), either happy/fearful faces of German and Turks were presented or happy/fearful faces of young and old persons. There are prejudices against Turk/Middle-eastern persons (in Germany) as well as against old persons. For SMA, the two prejudices are of different type; thus prediction for the AAT diverge for the two group conditions. In contrast, for PCA both group features (i.e., Turk ethnicity and old age) are negative features (in comparison to their counterparts) which are affectively congruent or incongruent to the emotional expression. Hence, the results pattern in the AAT should be comparable for the two group conditions. In accordance with SMA but in contrast to PCA, we found different patterns for the two group conditions. (shrink)