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ABSTRACT: We highlight the need to focus on the underlying determinants and production mechanisms to fully understand the nature of facial expression of emotion and to settle the theoretical debate about the meaning of motor expression. Although emotion theorists have generally remained rather vague about the details of the process, this has been a central concern of componential appraisal theories. We describe the fundamental assumptions and predictions of this approach regarding the patterning of facial expressions for different emotions. We also review recent evidence for the assumption that specific facial muscle movements may be reliable symptoms of certain appraisal outcomes and that facial expressions unfold over time on the basis of a sequence of appraisal check results.
Emotion Review 01/2013; 5(1):47-53.
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ABSTRACT: Using an appraisal framework, the present experiment tested the hypothesis that goal relevance and goal conduciveness have an interactive effect on emotional responding. We expected that elicitation of positive or negative emotions in response to events that are conducive or obstructive to attainment of one's goals depends on the level of goal relevance. To test this hypothesis, we presented 119 participants with positive (success) or negative (failure) performance feedback of high or low relevance in an achievement context. Feeling self-report showed effects of conduciveness, but no interaction with relevance. Physiological reactivity showed the predicted interaction effect on cardiac autonomic regulation (CAR), with higher CAR for high-relevance conducive than obstructive conditions. Moreover, mean arterial pressure (MAP) and skin conductance level (SCL) differed between conducive and obstructive conditions, and heart rate (HR) and SCL differed between relevance conditions. Implications for the plausibility and current empirical support of the interaction hypothesis are discussed.
Biological psychology 08/2012; 91(3):365-375. · 4.36 Impact Factor
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ABSTRACT: We tested Ekman's (2003) suggestion that movements of a small number of reliable facial muscles are particularly trustworthy cues to experienced emotion because they tend to be difficult to produce voluntarily. On the basis of theoretical predictions, we identified two subsets of facial action units (AUs): reliable AUs and versatile AUs. A survey on the controllability of facial AUs confirmed that reliable AUs indeed seem more difficult to control than versatile AUs, although the distinction between the two sets of AUs should be understood as a difference in degree of controllability rather than a discrete categorization. Professional actors enacted a series of emotional states using method acting techniques, and their facial expressions were rated by independent judges. The effect of the two subsets of AUs (reliable AUs and versatile AUs) on identification of the emotion conveyed, its perceived authenticity, and perceived intensity was investigated. Activation of the reliable AUs had a stronger effect than that of versatile AUs on the identification, perceived authenticity, and perceived intensity of the emotion expressed. We found little evidence, however, for specific links between individual AUs and particular emotion categories. We conclude that reliable AUs may indeed convey trustworthy information about emotional processes but that most of these AUs are likely to be shared by several emotions rather than providing information about specific emotions. This study also suggests that the issue of reliable facial muscles may generalize beyond the Duchenne smile.
Emotion 05/2012; 12(4):701-15. · 3.88 Impact Factor
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ABSTRACT: Several methods are available for coding body movement in nonverbal behavior research, but there is no consensus on a reliable
coding system that can be used for the study of emotion expression. Adopting an integrative approach, we developed a new method,
the body action and posture coding system, for the time-aligned micro description of body movement on an anatomical level
(different articulations of body parts), a form level (direction and orientation of movement), and a functional level (communicative
and self-regulatory functions). We applied the system to a new corpus of acted emotion portrayals, examined its comprehensiveness
and demonstrated intercoder reliability at three levels: (a) occurrence, (b) temporal precision, and (c) segmentation. We
discuss issues for further validation and propose some research applications.
KeywordsBody movement–Expression–Coding–Method–Emotion
Journal of Nonverbal Behavior 05/2012; 36(2):97-121. · 1.77 Impact Factor
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ABSTRACT: 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 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.
Cognition and Emotion 05/2012; 26(7):1273-300. · 2.52 Impact Factor
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ABSTRACT: Despite extensive research activity on the recognition of emotional expression, there are only few validated tests of individual
differences in this competence (generally considered as part of nonverbal sensitivity and emotional intelligence). This paper
reports the development of a short, multichannel, version (MiniPONS) of the established Profile of Nonverbal Sensitivity (PONS)
test. The full test has been extensively validated in many different cultures, showing substantial correlations with a large
range of outcome variables. The short multichannel version (64 items) described here correlates very highly with the full
version and shows reasonable construct validity through significant correlations with other tests of emotion recognition ability.
Based on these results, the role of nonverbal sensitivity as part of a latent trait of emotional competence is discussed and
the MiniPONS is suggested as a convenient method to perform a rapid screening of this central socioemotional competence.
KeywordsNonverbal sensitivity–Emotional competence–Emotional intelligence–Assessment
Journal of Nonverbal Behavior 05/2012; 35(3):189-204. · 1.77 Impact Factor
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ABSTRACT: To investigate the perception of emotional facial expressions, researchers rely on shared sets of photos or videos, most often
generated by actor portrayals. The drawback of such standardized material is a lack of flexibility and controllability, as
it does not allow the systematic parametric manipulation of specific features of facial expressions on the one hand, and of
more general properties of the facial identity (age, ethnicity, gender) on the other. To remedy this problem, we developed
FACSGen: a novel tool that allows the creation of realistic synthetic 3D facial stimuli, both static and dynamic, based on
the Facial Action Coding System. FACSGen provides researchers with total control over facial action units, and corresponding
informational cues in 3D synthetic faces. We present four studies validating both the software and the general methodology
of systematically generating controlled facial expression patterns for stimulus presentation.
KeywordsEmotion–Facial expression–Software–Research material–Facial action coding system–FACS
Journal of Nonverbal Behavior 04/2012; 35(1):1-16. · 1.77 Impact Factor
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ABSTRACT: The neurophysiological study of emotion regulation focused on the strategy of reappraisal-i.e., the cognitive reinterpretation of a stimulus. Reappraisal reduces emotional expression, the experience of both negative and positive feelings, and the amplitude of an event-related potential (ERP)-the late positive potential (LPP). In contrast, the strategy of expressive suppression (ES), being the inhibition of emotional expression, has been reported to reduce subjective feelings of positive, but not negative emotion, and has not yet been investigated with ERPs. We focused on the LPP to assess the correlates of ES in the context of humor perception. Twenty-two female participants rated sequences of humorous (H) and non-humorous (NH) pictures, while their zygomaticus muscle was recorded. A spontaneous (SP) condition, in which participants attended naturally to the pictures, resulted in higher ratings of funniness, increased smiling, and increased LPP amplitude for H compared to NH stimuli. An ES condition, in which participants suppressed their facial reactions, resulted in reduced smiling, without affecting subjective ratings. LPP amplitude did not differ between H and NH stimuli during ES, suggesting equal allocation of processing resources to both stimuli. These results suggest that, similarly to reappraisal, ES modifies the way the brain processes positive emotional stimuli.
Social neuroscience 02/2012; 7(5):510-24. · 3.17 Impact Factor
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ABSTRACT: The investigation of the semantic space associated with subjective affective experiences or feelings linked to odour perception has recently emerged. Because of the specificity of the emotional effects of odours, the terms derived from traditional models of emotion are unlikely to optimally account for odour-associated feelings. In this study, sets of terms derived from two traditional models, basic emotions and valence by arousal by dominance dimensional emotions, were compared with a recently elaborated olfaction-specific set of terms (Geneva Emotion and Odour Scale; GEOS). Three main criteria were considered: (1) the feeling's intensity reported in response to odours; (2) the inter-rater agreement concerning the reported feelings; and (3) the power to discriminate feelings evoked by various odorous substances. The evidence strongly suggested that the set of terms proposed by GEOS outperformed the terms derived from the two classical models in measuring the subjective affective experience elicited by odours. These results are interpreted with respect to a good correspondence between the functions of olfaction and the meaning conveyed by GEOS terms.
Cognition and Emotion 02/2012; 26(5):885-98. · 2.52 Impact Factor
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ABSTRACT: In this article, we present FACSGen 2.0, new animation software for creating static and dynamic three-dimensional facial expressions on the basis of the Facial Action Coding System (FACS). FACSGen permits total control over the action units (AUs), which can be animated at all levels of intensity and applied alone or in combination to an infinite number of faces. In two studies, we tested the validity of the software for the AU appearance defined in the FACS manual and the conveyed emotionality of FACSGen expressions. In Experiment 1, four FACS-certified coders evaluated the complete set of 35 single AUs and 54 AU combinations for AU presence or absence, appearance quality, intensity, and asymmetry. In Experiment 2, lay participants performed a recognition task on emotional expressions created with FACSGen software and rated the similarity of expressions displayed by human and FACSGen faces. Results showed good to excellent classification levels for all AUs by the four FACS coders, suggesting that the AUs are valid exemplars of FACS specifications. Lay participants' recognition rates for nine emotions were high, and comparisons of human and FACSGen expressions were very similar. The findings demonstrate the effectiveness of the software in producing reliable and emotionally valid expressions, and suggest its application in numerous scientific areas, including perception, emotion, and clinical and neuroscience research.
Emotion 01/2012; 12(2):351-63. · 3.88 Impact Factor
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ABSTRACT: Do members of different cultures express (or "encode") emotions in the same fashion? How well can members of distinct cultures recognize (or "decode") each other's emotion expressions? The question of cultural universality versus specificity in emotional expression has been a hot topic of debate for more than half a century, but, despite a sizeable amount of empirical research produced to date, no convincing answers have emerged. We suggest that this unsatisfactory state of affairs is due largely to a lack of concern with the precise mechanisms involved in emotion expression and perception, and propose to use a modified Brunswikian lens model as an appropriate framework for research in this area. On this basis we provide a comprehensive review of the existing literature and point to research paradigms that are likely to provide the evidence required to resolve the debate on universality vs. cultural specificity of emotional expression. Applying this fresh perspective, our analysis reveals that, given the paucity of pertinent data, no firm conclusions can be drawn on actual expression (encoding) patterns across cultures (although there appear to be more similarities than differences), but that there is compelling evidence for intercultural continuity in decoding, or recognition, ability. We also note a growing body of research on the notion of ingroup advantage due to expression "dialects," above and beyond the general encoding or decoding patterns. We furthermore suggest that these empirical patterns could be explained by both universality in the underlying mechanisms and cultural specificity in the input to, and the regulation of, these expression and perception mechanisms. Overall, more evidence is needed, both to further elucidate these mechanisms and to inventory the patterns of cultural effects. We strongly recommend using more solid conceptual and theoretical perspectives, as well as more ecologically valid approaches, in designing future studies in emotion expression and perception research.
International Journal of Psychology 12/2011; 46(6):401-35. · 0.40 Impact Factor
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ABSTRACT: Research on the perception of emotional expressions in faces and voices is exploding in psychology, the neurosciences, and affective computing. This article provides an overview of some of the major emotion expression (EE) corpora currently available for empirical research and introduces a new, dynamic, multimodal corpus of emotion expressions, the Geneva Multimodal Emotion Portrayals Core Set (GEMEP-CS). The design features of the corpus are outlined and justified, and detailed validation data for the core set selection are presented and discussed. Finally, an associated database with microcoded facial, vocal, and body action elements, as well as observer ratings, is introduced. (PsycINFO Database Record (c) 2012 APA, all rights reserved).
Emotion 11/2011; 12(5):1161-79. · 3.88 Impact Factor
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ABSTRACT: Emotion communication research strongly focuses on the face and voice as expressive modalities, leaving the rest of the body relatively understudied. Contrary to the early assumption that body movement only indicates emotional intensity, recent studies have shown that body movement and posture also conveys emotion specific information. However, a deeper understanding of the underlying mechanisms is hampered by a lack of production studies informed by a theoretical framework. In this research we adopted the Body Action and Posture (BAP) coding system to examine the types and patterns of body movement that are employed by 10 professional actors to portray a set of 12 emotions. We investigated to what extent these expression patterns support explicit or implicit predictions from basic emotion theory, bidimensional theory, and componential appraisal theory. The overall results showed partial support for the different theoretical approaches. They revealed that several patterns of body movement systematically occur in portrayals of specific emotions, allowing emotion differentiation. Although a few emotions were prototypically expressed by one particular pattern, most emotions were variably expressed by multiple patterns, many of which can be explained as reflecting functional components of emotion such as modes of appraisal and action readiness. It is concluded that further work in this largely underdeveloped area should be guided by an appropriate theoretical framework to allow a more systematic design of experiments and clear hypothesis testing. (PsycINFO Database Record (c) 2012 APA, all rights reserved).
Emotion 11/2011; 12(5):1085-101. · 3.88 Impact Factor
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ABSTRACT: The expression of emotions results in a number of changes to the acoustic signal. Considering that prosodic events may be encoded into the speech signal using multiple acoustic features, many acoustic variations may be redundant for listeners. An understanding of the acoustic changes that listeners can reliably use to differentiate emotional speech will help in the modeling emotions, for example, from a Brunswikian perspective. In the Brunswikian model of emotion communication, the acoustic features are represented as "distal cues" and the subjective perception of these changes are represented as "proximal percepts." Few attempts have been made to understand the proximal percepts of emotional speech in relation to the acoustic properties they represent. In this study, 19 listeners were asked to rate a set of 160 samples (2 sentences expressed in 8 emotions by 10 speakers) using 12 visual-analog scales (8 prosodic scales and 4 emotion dimensions). Results showed high reliability for all scales except roughness, articulation, and intonation. The emotions were especially differentiated on the dimensions of loudness, sharpness, and speech rate. Regression analysis was used to determine the underlying acoustic cues represented by these scales. The results of this analysis will be discussed.
The Journal of the Acoustical Society of America 10/2011; 130(4):2574. · 1.55 Impact Factor
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ABSTRACT: Reports an error in "Affect bursts: Dynamic patterns of facial expression" by Eva G. Krumhuber and Klaus R. Scherer (Emotion, 2011, np). There were several errors in Table 1, and in Table 4 spaces were omitted from the rows between data for anger, fear, sadness, joy, and relief. All versions of this article have been corrected, and the corrections to Table 1 are provided in the erratum. (The following abstract of the original article appeared in record 2011-12872-001.) Affect bursts consist of spontaneous and short emotional expressions in which facial, vocal, and gestural components are highly synchronized. Although the vocal characteristics have been examined in several recent studies, the facial modality remains largely unexplored. This study investigated the facial correlates of affect bursts that expressed five different emotions: anger, fear, sadness, joy, and relief. Detailed analysis of 59 facial actions with the Facial Action Coding System revealed a reasonable degree of emotion differentiation for individual action units (AUs). However, less convergence was shown for specific AU combinations for a limited number of prototypes. Moreover, expression of facial actions peaked in a cumulative-sequential fashion with significant differences in their sequential appearance between emotions. When testing for the classification of facial expressions within a dimensional approach, facial actions differed significantly as a function of the valence and arousal level of the five emotions, thereby allowing further distinction between joy and relief. The findings cast doubt on the existence of fixed patterns of facial responses for each emotion, resulting in unique facial prototypes. Rather, the results suggest that each emotion can be portrayed by several different expressions that share multiple facial actions. (PsycINFO Database Record (c) 2011 APA, all rights reserved).
Emotion 08/2011; 11(4):742. · 3.88 Impact Factor
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ABSTRACT: Affect bursts consist of spontaneous and short emotional expressions in which facial, vocal, and gestural components are highly synchronized. Although the vocal characteristics have been examined in several recent studies, the facial modality remains largely unexplored. This study investigated the facial correlates of affect bursts that expressed five different emotions: anger, fear, sadness, joy, and relief. Detailed analysis of 59 facial actions with the Facial Action Coding System revealed a reasonable degree of emotion differentiation for individual action units (AUs). However, less convergence was shown for specific AU combinations for a limited number of prototypes. Moreover, expression of facial actions peaked in a cumulative-sequential fashion with significant differences in their sequential appearance between emotions. When testing for the classification of facial expressions within a dimensional approach, facial actions differed significantly as a function of the valence and arousal level of the five emotions, thereby allowing further distinction between joy and relief. The findings cast doubt on the existence of fixed patterns of facial responses for each emotion, resulting in unique facial prototypes. Rather, the results suggest that each emotion can be portrayed by several different expressions that share multiple facial actions.
Emotion 06/2011; 11(4):825-41. · 3.88 Impact Factor
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ABSTRACT: Do affective responses to odors vary as a function of culture? To address this question, we developed two self-report scales in the United Kingdom (Liverpool: LEOS) and in Singapore (city of Singapore: SEOS), following the same procedure as used in the past to develop the Geneva Emotion and Odor Scale (GEOS: Chrea, Grandjean, Delplanque et al., 2009). The final scales were obtained by a three-step reduction of an initial pool of 480 affective terms, retaining only the most relevant terms to describe odor-related subjective affective states and comprised of six (GEOS) or seven affective dimensions (LEOS and SEOS). These included dimensions that were common to the three cultures (Disgust, Happiness Well-being, Sensuality Desire, and Energy), common to the two European samples (Soothing Peacefulness), and dimensions that were culture specific (Sensory Pleasure in Geneva; Nostalgia and Hunger Thirst in Liverpool; Intellectual Stimulation, Spirituality, and Negative Feelings in Singapore). A comparative approach showed that the dimensional organization of odor-related affective terms in a given culture better explained data variability for that culture than data variability for the other cultures, thus highlighting the importance of culture-specific tools in the investigation of odor-related affect.
Emotion 05/2011; 11(5):1168-81. · 3.88 Impact Factor
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ABSTRACT: Positive emotions are crucial to social relationships and social interaction. Although smiling is a frequently studied facial action, investigations of positive emotional expressions are underrepresented in the literature. This may be partly because of the assumption that all positive emotions share the smile as a common signal but lack specific facial configurations. The present study investigated prototypical expressions of four positive emotions—interest, pride, pleasure, and joy. The Facial Action Coding System was used to microcode facial expression of representative samples of these emotions taken from the Geneva Multimodal Emotion Portrayal corpus. The data showed that the frequency and duration of several action units differed between emotions, indicating that actors did not use the same pattern of expression to encode them. The authors argue that an appraisal perspective is suitable to describe how subtly differentiated positive emotional states differ in their prototypical facial expressions.
Social Psychological and Personality Science. 05/2011; 2(3):262-271.
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ABSTRACT: In emotional research, efficient designs often rely on successful emotion induction. For visual stimulation, the only reliable database available so far is the International Affective Picture System (IAPS). However, extensive use of these stimuli lowers the impact of the images by increasing the knowledge that participants have of them. Moreover, the limited number of pictures for specific themes in the IAPS database is a concern for studies centered on a specific emotion thematic and for designs requiring a lot of trials from the same kind (e.g., EEG recordings). Thus, in the present article, we present a new database of 730 pictures, the Geneva Affective PicturE Database, which was created to increase the availability of visual emotion stimuli. Four specific negative contents were chosen: spiders, snakes, and scenes that induce emotions related to the violation of moral and legal norms (human rights violation or animal mistreatment). Positive and neutral pictures were also included: Positive pictures represent mainly human and animal babies as well as nature sceneries, whereas neutral pictures mainly depict inanimate objects. The pictures were rated according to valence, arousal, and the congruence of the represented scene with internal (moral) and external (legal) norms. The constitution of the database and the results of the picture ratings are presented.
Behavior Research Methods 03/2011; 43(2):468-77. · 2.12 Impact Factor
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ABSTRACT: Research on the vocal expression of emotion has long since used a "fishing expedition" approach to find acoustic markers for emotion categories and dimensions. Although partially successful, the underlying mechanisms have not yet been elucidated. To illustrate that this research can profit from considering the underlying voice production mechanism, we specifically analyzed short affect bursts (sustained/a/vowels produced by 10 professional actors for five emotions) according to physiological variations in phonation (using acoustic parameters derived from the acoustic signal and the inverse filter estimated voice source waveform). Results show significant emotion main effects for 11 of 12 parameters. Subsequent principal components analysis revealed three components that explain acoustic variations due to emotion, including "tension," "perturbation," and "voicing frequency." These results suggest that future work may benefit from theory-guided development of parameters to assess differences in physiological voice production mechanisms in the vocal expression of different emotions.
Biological psychology 02/2011; 87(1):93-8. · 4.36 Impact Factor
