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Automaticity and affective responses in valence transfer: Insights from the crossmodal auditory-visual paradigm
Abstract
The current study examined valence transfer in the crossmodal paradigm in order to test the generalizability of the phenomenon and to contribute to a better understanding of the underlying processes. Western European participants evaluated Asian ideographs to be more visually pleasant when in the presence of pleasant sounds than when in the presence of neutral or unpleasant sounds (Experiment 1). Experiment 2 was conducted to reduce the demand characteristics, and to investigate the involvement of affective responses. We measured facial electromyography (EMG) and skin conductance responses (SCR) from participants evaluating ideographs while a piece of music was playing in the background. Evaluative judgments of the ideographs reflected subtle variance of valence within the piece of music. The extent of this valence transfer depended on the extent of SCRs within the respective trial. In addition, ideograph judgments were accompanied by concordant affective responses within facial EMG. The findings suggest that valence transfer from brief stimuli can be generalized to the crossmodal paradigm, occurs even if the experimental procedure obscures the purpose of investigation (i.e., automatically), and that affective responses are involved.
... The order of the two modalities was counterbalanced. Following the task, to test for the possible effect of valence transfer on crossmodal associations (Weinreich & Gollwitzer, 2016) participants were asked to tell us how much they liked the two counterbalanced signals by responding on a five-point visual analog scale developed for pre-literate children (Mouw, Van Leijenhorst, Saab, Danel, & Van den Broek, 2019). We also engaged them in brief conversation to elicit free verbal descriptions of the two signals ("what does this sound like to you?"). ...
... Children preferred the sine wave to the sawtooth, t(67) = 2.25, p = .03, Cohen's d = 0.43, but LLMMs predicting response from preference ratings were non-significant, suggesting that valence transfer (Weinreich & Gollwitzer, 2016) was likely not a factor driving our results. ...
Crossmodal correspondences have been of interest to researchers for nearly a century, although it is only more recently that interactions related to timbre have been examined systematically. Timbre is often described using crossmodal adjectives (e.g., bright, smooth). However, it is not clear whether these semantic conventions are primarily the result of low-level multisensory interactions or are more a product of associative learning and musical training. Do young children exhibit crossmodal correspondences involving timbre? The aim of this study was to investigate the effects of timbre, age, and sensory modality (visual and tactile) on the consistency and congruency of young children’s patterns of crossmodal mappings. Preschool children (N = 69, M age = 4.51) completed a novel audio-visual and audio-tactile association task. Results indicate that children are moderately consistent in their associations; mappings are largely congruent with adult associations; and results suggest a possible developmental time course for the establishment of crossmodal correspondences between approximately ages 3 and 6. However, congruency is dependent on modality, with robust agreement in the tactile-auditory domain but a good deal more variance and a stronger developmental influence on visual-auditory associations. These results are the first to demonstrate that crossmodal correspondences are a feature of timbre perception early in development.
... Although we did not observe that ratings on happy or sad were privileged among semantic terms in predicting color, timbre-color matching might be more generally a product of valence transfer (e.g., Weinreich and Gollwitzer, 2016). Emotion might also influence color choice via participant mood. ...
Crossmodal correspondences, or widely shared tendencies for mapping experiences across sensory domains, are revealed in common descriptors of musical timbre such as bright, dark, and warm. Two experiments are reported in which participants listened to recordings of musical instruments playing major scales, selected colors to match the timbres, and rated the timbres on crossmodal semantic scales. Experiment A used three different keyboard instruments, each played in three pitch registers. Stimuli in Experiment B, representing six different orchestral instruments, were similar to those in Experiment A but were controlled for pitch register. Overall, results were consistent with hypothesized concordances between ratings on crossmodal timbre descriptors and participants’ color associations. Semantic ratings predicted the lightness and saturation of colors matched to instrument timbres; effects were larger when both pitch register and instrument type varied (Experiment A) but were still evident when pitch register was held constant (Experiment B). We also observed a weak relationship between participant ratings of musical stimuli on the terms warm and cool and the warmth-coolness of selected colors in Experiment B only. Results were generally consistent with the hypothesis that instrument type and pitch register are related to color choice, though we speculate that these associations may only be relevant for certain instruments. Overall, the results have implications for our understanding the relationship between music and color, suggesting that while timbre/color matching behavior is in many ways diverse, observable trends in strategy can in part be linked to crossmodal timbre semantics.
... While the ultimate success of a sonic logo certainly isn't dependent on design alone (see Romaniuck, 2018), applying science to the art of sonic logo creation (and sonic branding in general) should help to improve the chances of commercial success, not only for the sonic brand alone, but for the brand itself (cf. Weinrich and Gollwitzer, 2016). Get it right, and sonic branding will enhance consumer evaluations of a given brand (Moosmayer and Melan, 2010), and with it, presumably also their willingness to pay (e.g., Krishnan, Kellaris, and Aurand, 2012). ...
The field of sonic branding has grown rapidly in recent years. While the majority of the developments in this area have thus far been led by practitioners, it is important to understand the cognitive principles underlying the appropriateness and efficacy of sonic branding in order to help develop design principles and practical guidelines that will help to move the field forward, particularly where a brand's distinctive sonic assets are concerned. This narrative historical review focuses on design considerations for one of the most common sonic assets, namely the sonic logo. Crucially, the question of how these sonic logos come to be associated with brands, and the extent to which their perceptual and affective qualities ought to match the attributes and personality of the brand, are experimentally tractable research questions. Principles drawn from the cognitive (neuro-)sciences, including the emerging field of research on crossmodal correspondences, are explored, providing actionable insights for those wanting to design successful sonic brands. The use of the semantic differential technique is also discussed as a means of systematically assessing the connotative alignment between a product, company, or brand and the distinctive sonic assets which together comprise the brand's sonic identity as a whole.
... Growing evidence suggests that musical emotions can bias judgments of the emotion of complex visual stimuli, such as dynamic visual scenes and film (Ansani et al., 2020;Cohen, 2001Cohen, , 2013Herget, 2021;Steffens, 2020), as well as faces (Hanser et al., 2015;Jeong et al., 2011;Jomori et al., 2013;Logeswaran & Bhattacharya, 2009;Marin et al., 2017;Quarto et al., 2014), geometric shapes/figures (Bhattacharya & Lindsen, 2016;Marshall & Cohen, 1988;Weinreich & Gollwitzer, 2016), and pictures (Arriaga et al., 2014;Baumgartner et al., 2006;Campos-Bueno et al., 2015;Marin et al., 2012). It has been shown, for instance, that emotional judgment of neutral facial stimuli can be systematically biased toward the direction of the emotional valence of the music presented a few seconds before the visual stimuli (Logeswaran & Bhattacharya, 2009), and that brightness judgments of geometric shapes can be affected by the emotional valence of the musical primes (Bhattacharya & Lindsen, 2016). ...
Aesthetic evaluations can be highly influenced by a myriad of individual and situational factors. Interestingly, little is yet known about the possible effects of background music on the aesthetic experience of visual art. Here, we examined whether musical emotions would influence different dimensions of the aesthetic experience of a visual artwork displayed in a naturalistic environment. A total of 142 visitors of a contemporary art museum appreciated an abstract painting by Wassily Kandinsky while listening to background music conveying different emotions (happy, sad, peaceful, scary) or silence. Our findings suggest that music valence significantly influenced participants’ judgment of the pleasantness of the painting. In addition, music likability had a significant effect on participants’ judgments of the artwork’s valence, beauty, and liking. Specifically, participants who liked the background music rated these dimensions of the artwork aesthetic experience significantly more positively than those who disliked the music. Overall, these results suggest that aspects associated with the aesthetic experience of music may influence the aesthetic experience of visual art, opening new avenues for the investigation of cognitive processes underlying the aesthetic experience induced by objects across different media.
... Note that complex musical stimuli are affectively richer than the isolated tones used here, so the applicability of these other findings to the present investigation may be somewhat limited. Weinreich and Gollwitzer (2016;Experiment 1) showed that brief pleasant/aversive sounds biased participants' affective responses to unfamiliar Chinese ideographs, so perhaps the interactions documented in our study reflect a similar transfer of valence. However, the emotion mediation account is far from settled (Spence, 2020), and further research is needed to determine what role it might play in timbre perception and semantics. ...
Musical timbre is often described using terms from non-auditory senses, mainly vision and touch; but it is not clear whether crossmodality in tim-bre semantics reflects multisensory processing or simply linguistic convention. If multisensory processing is involved in timbre perception, the mechanism governing the interaction remains unknown. To investigate whether timbres commonly perceived as ''bright-dark'' facilitate or interfere with visual perception (darkness-brightness), we designed two speeded classification experiments. Participants were presented consecutive images of slightly varying (or the same) brightness along with task-irrelevant auditory primes (''bright'' or ''dark'' tones) and asked to quickly identify whether the second image was brighter/darker than the first. Incongruent prime-stimulus combinations produced significantly more response errors compared to congruent combinations but choice reaction time was unaffected. Furthermore, responses in a deceptive identical-image condition indicated subtle semantically congruent response bias. Additionally, in Experiment 2 (which also incorporated a spatial texture task), measures of reaction time (RT) and accuracy were used to construct speed-accuracy tradeoff functions (SATFs) in order to critically compare two hypothesized mechanisms for timbre-based crossmodal interactions, sensory response change vs. shift in response criterion. Results of the SATF analysis are largely consistent with the response criterion hypothesis, although without conclusively ruling out sensory change.
... More generally, color matching might be in part a product of valence transfer (e.g. Weinreich & Gollwitzer, 2016). Emotion might also influence color choice secondarily through participant mood. ...
http://rave.ohiolink.edu/etdc/view?acc_num=osu1586792450387823
This dissertation presents empirical investigations of the cognitive linguistics of musical instrument timbre qualia and explores applications of these results to musical analysis. First, interviews and rating tasks, based on imagined instrument timbres, are used to build a 20-dimensional model of timbre qualia. The final model includes the dimensions airy/breathy, brassy/metallic, direct/loud, focused/compact, hollow, muted/veiled, nasal/reedy, open, percussive, pure/clear, raspy/grainy, resonant/vibrant, ringing/long decay, rumbling/low, shrill/noisy, soft/singing, sparkling/brilliant, sustained/even, watery/fluid, and woody. Further analysis of the interview transcripts and comparison with previous studies in timbre semantics suggests five primary response strategies for describing timbre: Adjectival description, Qualia-metaphor, Onomatopoeia, Mimesis, and Association.
Next, the 20-dimensional model is used in a rating task to generate Timbre Trait Profiles for 34 Western orchestral instruments. These profiles contain ratings for each of the 20 dimensions and are intended for use in musical analysis. Timbre varies not only from instrument to instrument, but also within instruments due to the manipulation of parameters such as pitch, intensity, and articulation. Accordingly, timbral variations with pitch/register and dynamics are mapped for two instruments, the oboe and the French horn, using rating tasks. While some shared trends in dimension variance are observed between the two instruments (e.g. ratings of rumbling/low increase as pitch decreases), much of the timbral variation is apparently idiosyncratic, as is the amount of variation for each instrument on a given dimension.
Next, three studies are reported investigating the relationship between timbre linguistics and cross-modal matching of instrumental timbre to color. Participants’ ratings of timbres on the cross-modal terms high, low, bright, dark, small, big, light (in weight), heavy, happy, and sad were predictive of the lightness and saturation of colors matched to the same timbres. While some differences in instrument timbre were observed, pitch played the most important role in explaining participants’ color choices.
Finally, the dissertation explores techniques for musical analysis using the Timbre Trait Profiles. A close reading of the opening of Barber’s wind quintet Summer Music illustrates how the TTPs can be integrated into theoretical discourse on a fine level of detail. A distant reading of the first movement of Mahler’s Symphony No.1, which relies on computational analysis, demonstrates how qualia related to instrumentation evolve throughout the course of the piece. Instrument qualia changes at formal boundaries and at the Durchbruch, or breakthrough, are examined in greater detail.
... That is, conscious deliberation diverged from implicit association. Moreover, certain timbre-semantic relationships are probably influenced by valence transfer (Weinreich & Gollwitzer, 2016): for example, the association between aversive growled saxophone and "dark" likely relates more to negative valence than vision, since the growl timbre is actually quite "bright" in terms of spectral distribution (see also . This suggests that, at least in certain instances, synesthetic congruity is modulated by cultural context. ...
Many adjectives for musical timbre reflect cross-modal correspondence, particularly with vision and touch (e.g., “dark–bright,” “smooth–rough”). Although multisensory integration between visual/tactile processing and hearing has been demonstrated for pitch and loudness, timbre is not well understood as a locus of cross-modal mappings. Are people consistent in these semantic associations? Do cross-modal terms reflect dimensional interactions in timbre processing? Here I designed two experiments to investigate crosstalk between timbre semantics and perception through the use of Stroop-type speeded classification. Experiment 1 found that incongruent pairings of instrument timbres and written names caused significant Stroop-type interference relative to congruent pairs, indicating bidirectional crosstalk between semantic and auditory modalities. Pre-Experiment 2 asked participants to rate natural and synthesized timbres on semantic differential scales capturing luminance (brightness) and texture (roughness) associations, finding substantial consistency for a number of timbres. Acoustic correlates of these associations were also assessed, indicating an important role for high-frequency energy in the intensity of cross-modal ratings. Experiment 2 used timbre adjectives and sound stimuli validated in the previous experiment in two variants of a semantic-auditory Stroop-type task. Results of linear mixed-effects modeling of reaction time and accuracy showed slight interference in semantic processing when adjectives were paired with cross-modally incongruent instrument timbres (e.g., the word “smooth” with a “rough” timbre). Taken together, I conclude by suggesting that semantic crosstalk in timbre processing may be partially automatic and could reflect weak synesthetic congruency between interconnected sensory domains.
... Such ideographs have been used in previous studies to measure people's evaluation of novel stimuli (e.g., Zajonc, 1968). The specific ideographs used were validated as neutral in valence by Weinreich and Gollwitzer (2016). The prompt and response-scale were identical to the novelty aversion measure in Study 3. ...
Research suggests that people's aversion towards pattern deviancy – distortions of repeated forms or models – contributes to social phenomena, such as prejudice. Yet, the factors motivating pattern deviancy aversion remain unclear. Potentially, anxious attachment, as it entails hypervigilant detection of and reactivity to social inconsistency and unreliability, heightens pattern deviancy aversion. In Studies 1 (N = 137) and 2 (N = 102), anxious but not avoidant attachment predicted aversion towards broken patterns of geometric shapes. In Studies 3 (N = 310) and 4 (N = 470), experimentally inducing anxious versus avoidant and secure attachment (Study 3), and versus a neutral prime (Study 4), heightened pattern deviancy aversion. Controlling for participants’ aversion towards unbroken patterns, novel objects, and negative stimuli did not change these results. Our findings demonstrate that anxious attachment is one antecedent of pattern deviancy aversion, and suggest that pattern deviancy aversion may underlie links between anxious attachment and certain social phenomena.
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Music has a cross-modal influence on the emotional appraisal of pictures, probably due to a misattribution of emotion from music to the visually perceived images. Moreover, dichotic listening studies have demonstrated a left-ear (right-hemisphere) advantage for processing emotional and/or musical stimuli. The present study investigated the role of laterality in cross-modal affect misattribution: that is, whether visual judgments of emotion would be affected differently depending on which ear was presented with music via the dichotic listening task. Participants rated the emotionality of happy, sad, and neutral faces while listening to happy or sad music in one ear and white noise in the other. Baseline ratings without music were used as a comparison to see whether and how emotionality judgments shifted in the music conditions. As predicted, the results showed that happy music played to the left ear had a stronger cross-modal influence on ratings of sad faces than the same music played to the right ear. Furthermore, sad music affected the ratings of all faces regardless of whether it was played to the left or right ear. These results do not fully align with any given lateralized model of emotion processing, suggesting that other factors such as negativity bias may play a role.
In this chapter, I would like to explain how you can use emotion measurement to make online services commercially successful and ensure sustainable economic success. In doing so, I will clarify the following questions: what are emotions anyway? What do emotions have to do with user-centered design? Why does the emotional impact of online services influence user behavior and economic success? What factors determine the emotional impact? How do you achieve a favorable emotional impact? Using emolyzr as an example, I will show how to apply neuroscientific methods to measure emotions in space and time and how you can use such emotion data to realize user-centered design.
In diesem Kapitel möchte ich darlegen, wie Sie Emotionsmessung nutzen können, um Online Dienste wirtschaftlich erfolgreich zu machen, und den wirtschaftlichen Erfolg nachhaltig zu sichern. Ich werde dabei folgende Fragen klären: Was sind Emotionen überhaupt? Was haben Emotionen mit nutzerzentrierter Gestaltung zu tun? Warum hat die emotionale Wirkung von Online Diensten Einfluss auf das Nutzerverhalten und wirtschaftliche Erfolge? Welche Faktoren bestimmen die emotionale Wirkung? Wie erreicht man eine günstige emotionale Wirkung? Am Beispiel von emolyzr werde ich zeigen, wie man neurowissenschaftliche Verfahren anwendet, um Emotionen in Raum und Zeit zu messen, und wie Sie mit Hilfe solcher Emotionsdaten eine nutzerzentrierte Gestaltung realisieren können.
Evaluative conditioning (EC) refers to a change in one's attitude toward an object based on its contiguous pairing with other positive or negative objects. EC can, in principle, occur through multiple mechanisms, some more and some less thoughtful. We argue that one relatively low-thought route through which EC produces evaluative change is implicit misattribution. Our Implicit Misattribution Model (IMM) is premised on research indicating: a) attributional thinking is pervasive and relatively automatic, b) affective experiences are pervasive and relatively automatic, and c) errors in automatic attributional processing can lead to misattribution of affect from one object to another, resulting in the latter object taking on the affect produced by the former. Research employing the "surveillance paradigm" we developed provides support for the model, particularly its key moderating variable, source confusability. We further discuss assumptions of the model in terms of encoding, storage, and retrieval/application of the conditioned attitude, as well as the role of contingency awareness and other central issues in the EC literature. Implicit Misattribution Model 3 The Implicit Misattribution Model of Evaluative Conditioning Opening Observations Attitudes are positive and negative evaluations, stored in memory, that provide a summary of what is good and bad about all manner of objects, from people to products to positions on politics. Under specific conditions, they are reliable predictors of behavior. Thus,
There has long been interest in describing emotional experience in terms of underlying dimensions, but traditionally only two dimensions, pleasantness and arousal, have been reliably found. The reasons for these findings are reviewed, and integrating this review with two recent theories of emotions (Roseman, 1984; Scherer, 1982), we propose eight cognitive appraisal dimensions to differentiate emotional experience. In an investigation of this model, subjects recalled past experiences associated with each of 15 emotions, and rated them along the proposed dimensions. Six orthogonal dimensions, pleasantness, anticipated effort, certainty, attentional activity, self-other responsibility/control, and situational control, were recovered, and the emotions varied systematically along each of these dimensions, indicating a strong relation between the appraisal of one’s circumstances and one’s emotional state. The patterns of appraisal for the different emotions, and the role of each of the dimensions in differentiating emotional experience are discussed.
At the heart of emotion, mood, and any other emotionally charged event are states experienced as simply feeling good or bad, energized or enervated. These states - called core affect - influence reflexes, perception, cognition, and behavior and are influenced by many causes internal and external, but people have no direct access to these causal connections. Core affect can therefore be experienced as free-floating (mood) or can be attributed to some cause (and thereby begin an emotional episode). These basic processes spawn a broad framework that includes perception of the core-affect-altering properties of stimuli, motives, empathy, emotional meta-experience, and affect versus emotion regulation; it accounts for prototypical emotional episodes, such as fear and anger, as core affect attributed to something plus various nonemotional processes.
Emotions can shape decision processes by altering valuation signals, risk perception, and strategic orientation. Although multiple theories posit a role for affective processes in mediating the influence of frames on decision making, empirical studies have yet to demonstrate that manipulated affect modulates framing phenomena. The present study asked whether induced affective states alter gambling propensity and the influence of frames on decision making. In a between-subjects design, we induced mood (happy, sad, or neutral) in subjects (N=91) via films that were interleaved with the framing task. Happy mood induction increased gambling and apparently accentuated framing effects compared to sad mood induction, although the effect on framing could have resulted from the fact that the increased tendency to gamble made the framing measure more sensitive. Happy mood induction increased gambling, but not framing magnitude, compared to neutral mood induction. Subjects experiencing a sad mood induction did not exhibit behavioral differences from those experiencing a neutral mood. For those subjects who experienced the happy mood induction, both gambling propensity and framing magnitude were positively correlated with the magnitude of the change in their mood valence. We discuss the broader implications of mood effects on real-world economic decisions.
This review provides an overview of recent studies that have examined how music influences the judgment of emotional stimuli, including affective pictures and film clips. The relevant findings are incorporated within a broader theory of music and emotion, and suggestions for future research are offered. Music is important in our daily lives, and one of its primary uses by listeners is the active regulation of one's mood. Despite this widespread use as a regulator of mood and its general pervasiveness in our society, the number of studies investigating the issue of whether, and how, music affects mood and emotional behaviour is limited however. Experiments investigating the effects of music have generally focused on how the emotional valence of background music impacts how affective pictures and/or film clips are evaluated. These studies have demonstrated strong effects of music on the emotional judgment of such stimuli. Most studies have reported concurrent background music to enhance the emotional valence when music and pictures are emotionally congruent. On the other hand, when music and pictures are emotionally incongruent, the ratings of the affect of the pictures will in-or decrease depending on the emotional valence of the background music. These results appear to be consistent in studies investigating the effects of (background) music.
We assume that evaluative processes in response to musical stimuli can occur spontaneously without explicit demand, and that these responses are important for the emergence of emotions evoked by music. Two versions of the affective priming paradigm served to study spontaneous evaluation of music. In Experiment 1, a lexical decision task (LDT) and in Experiments 2 and 3, an evaluative decision task (EDT) was employed. A total of 20 original four-part, five-chord piano sequences with no specified harmonic resolution were used as primes. During the LDT, congruency in valence of prime-target pairs did not affect response times to the targets. However, for the EDT, significant effects of priming were obtained, indicating that spontaneous evaluations of primes must have occurred. No moderating influences of music expertise or any other person variable on spontaneous evaluation were observed. The diverging results of LDT and EDT point to the possibility that spontaneous evaluative processes are sensitive to context manipulations. Results are discussed with reference to harmonic and semantic priming studies.
Drawing on recent findings, this study examines whether valence concordant electromyography (EMG) responses can be explained as an unconditional effect of mere stimulus processing or as somatosensory simulation driven by task-dependent processing strategies. While facial EMG over the Corrugator supercilii and the Zygomaticus major was measured, each participant performed two tasks with pictures of album covers. One task was an affective evaluation task and the other was to attribute the album covers to one of five decades. The Embodied Emotion Account predicts that valence concordant EMG is more likely to occur if the task necessitates a somatosensory simulation of the evaluative meaning of stimuli. Results support this prediction with regard to Corrugator supercilii in that valence concordant EMG activity was only present in the affective evaluation task but not in the non-evaluative task. Results for the Zygomaticus major were ambiguous. Our findings are in line with the view that EMG activity is an embodied part of the evaluation process and not a mere physical outcome.
The effects of communicative intent and stimulus affectivity on facial electromyogrqphic (EMG) activity were investigated. Subjects viewed slides of pleasant, neutral, or unpleasant social or nature scenes under no instruction, inhibit-expression instructions, and amplify-expression instructions. Results revealed that facial EMG activity was highest in the amplify and lowest in the inhibit condition; EMG activity over the corrugator supercilii region varied as a function of the affective valence of the stimuli regardless of instructional condition; and facial EMG activity did not differ when subjects were exposed to slides of nature versus social scenes that were matched for rated pleasantness. These results suggest that facial efference can be altered by both affective and communicative processes even when it is too subtle to produce a socially perceptible facial expression.
A recent study of the affect misattribution procedure (AMP) found that participants who retrospectively reported that they intentionally rated the primes showed larger effect sizes and higher reliability. The study concluded that the AMP's validity depends on intentionally rating the primes. We evaluated this conclusion in three experiments. First, larger effect sizes and higher reliability were associated with (incoherent) retrospective reports of both (a) intentionally rating the primes and (b) being unintentionally influenced by the primes. A second experiment manipulated intentions to rate the primes versus targets and found that this manipulation produced systematically different effects. Experiment 3 found that giving participants an option to "pass" when they felt they were influenced by primes did not reduce priming. Experimental manipulations, rather than retrospective self-reports, suggested that participants make post hoc confabulations to explain their responses. There was no evidence that validity in the AMP depends on intentionally rating primes.
In Two Experiments, We Assessed the Experiential and cognitive consequences of seven minutes exposure to music (Experiment 1) and speech (Experiment 2). In Experiment 1, participants listened to music for seven minutes and reported their emotional experiences based on ratings of valence (pleasant-unpleasant) and two types of arousal: energy (energetic-boring) and tension (tense-calm). They were then assessed on two cognitive skills: speed of processing and creativity. Music varied in pitch height (high or low pitched), rate (fast or slow), and intensity (loud or soft). Experiment 2 replicated Experiment 1 using male and female speech. Experiential and cognitive consequences of stimulus manipulations were overlapping in the two experiments, suggesting that music and speech draw on a common emotional code. There were also divergent effects, however, implicating domain-specific influences on emotion induction. We discuss the results in view of a psychological framework for understanding auditory signals of emotion.
The location of verbally reported feelings in a three-dimensional affective space is determined by the results of appraisal processes that elicit the respective states. One group of participants rated their evaluation of 59 pictures from the International Affective Picture System (IAPS) on a profile of nine appraisal criteria. Another group rated their affective reactions to the same pictures on the classic dimensions of affective meaning (valence, arousal, potency). The ratings on the affect dimensions correlate differentially with specific appraisal ratings. These results can be interpreted as showing that the reactions to the IAPS pictures are predictably produced through appraisal of picture content. The relevance of the findings for emotion induction paradigms and for emotion theory in general is discussed.
THE FIELD OF MUSIC AND EMOTION RESEARCH HAS grown rapidly and diversified during the last decade. This has led to a certain degree of confusion and inconsistency between competing notions of emotions, data, and results. The present review of 251 studies describes the focus of prevalent research approaches, methods, and models of emotion, and documents the types of musical stimuli used over the past twenty years. Although self-report approaches to emotions are the most common way of dealing with music and emotions, using multiple approaches is becoming increasingly popular. A large majority (70%) of the studies employed variants of the discrete or the dimensional emotion models. A large proportion of stimuli rely on a relatively modest amount of familiar classical examples. The evident shortcomings of these prevalent patterns in music and emotion studies are highlighted, and concrete plans of action for future studies are suggested.
We constantly integrate the information that is available to our various senses. The extent to which the mechanisms of multisensory integration are subject to the influences of attention, emotion, and/or motivation is currently unknown. The "ventriloquist effect" is widely assumed to be an automatic crossmodal phenomenon, shifting the perceived location of an auditory stimulus toward a concurrently presented visual stimulus. In the present study, we examined whether audiovisual binding, as indicated by the magnitude of the ventriloquist effect, is influenced by threatening auditory stimuli presented prior to the ventriloquist experiment. Syllables spoken in a fearful voice were presented from one of eight loudspeakers, while syllables spoken in a neutral voice were presented from the other seven locations. Subsequently, participants had to localize pure tones while trying to ignore concurrent visual stimuli (both the auditory and the visual stimuli here were emotionally neutral). A reliable ventriloquist effect was observed. The emotional stimulus manipulation resulted in a reduction of the magnitude of the subsequently measured ventriloquist effect in both hemifields, as compared to a control group exposed to a similar attention-capturing, but nonemotional, manipulation. These results suggest that the emotional system is capable of influencing multisensory binding processes that have heretofore been considered automatic.
In the affective misattribution procedure (AMP), pairs of prime and target stimuli appear rapidly in succession. Attitudes toward the prime influence the evaluation of the target despite instructions to avoid this influence. Because this priming effect presumably happens without people's knowledge, the AMP is used to study automatic evaluation. Participants in four studies performed the AMP and reported their perception of the priming effect. The authors found that the priming reflected reliable and valid attitudes toward the primes mostly among participants who reported that the priming occurred and that they intentionally rated the primes instead of the targets. The authors conclude that the AMP hardly captures attitude effects that escape people's knowledge. The AMP's good psychometric qualities as an attitude measure rely mainly on a small subset of participants who believe that they intentionally caused the attitude effect.
Perceiving the affective valence of objects influences how we think about and react to the world around us. Conversely, the speed and quality with which we visually recognize objects in a visual scene can vary dramatically depending on that scene’s affective content. Although typical visual scenes contain mostly “everyday” objects, the affect perception in visual objects has been studied using somewhat atypical stimuli with strong affective valences (e.g., guns or roses). Here we explore whether affective valence must be strong or overt to exert an effect on our visual perception. We conclude that everyday objects carry subtle affective valences – “micro-valences” – which are intrinsic to their perceptual representation.
The Affect Misattribution Procedure (AMP; Payne, Cheng, Govorun, & Stewart, 2005) is an important tool in implicit social cognition research, but little is known about its underlying mechanisms. This paper investigates whether, as the name implies, affect-based processes really underlie the AMP. We used a modified AMP that enabled us to separate the influence of affective and nonaffective processes. In three studies, evidence for the implication of nonaffective processes was consistently found. In contrast, there was no evidence for affect-based processes. Thus, the AMP rather seems cold than hot. The generalizability of the results obtained with the modified AMP is discussed.
Evaluative conditioning (EC) refers to the formation or change of an attitude toward an object, following that object's pairing with positively or negatively valenced stimuli. The authors provide evidence that EC can occur through an implicit misattribution mechanism in which an evaluative response evoked by a valenced stimulus is incorrectly and implicitly attributed to another stimulus, forming or changing an attitude toward this other stimulus. In 5 studies, the authors measured or manipulated variables related to the potential for the misattribution of an evaluation, or source confusability. Greater EC was observed when participants' eye gaze shifted frequently between a valenced and a neutral stimulus (Studies 1 & 2), when the 2 stimuli appeared in close spatial proximity (Study 3), and when the neutral stimulus was made more perceptually salient than was the valenced stimulus, due to the larger size of the neutral stimulus (Study 4). In other words, conditions conducive to source confusability increased EC. Study 5 provided evidence for multiple mechanisms of EC by comparing the effects of mildly evocative valenced stimuli (those evoking responses that might more easily be misattributed to another object) with more strongly evocative stimuli.
Music is one of the most powerful elicitors of subjective emotion, yet it is not clear whether emotions elicited by music are similar to emotions elicited by visual stimuli. This leads to an open question: can music-elicited emotion be transferred to and/or influence subsequent vision-elicited emotional processing? Here we addressed this question by investigating processing of emotional faces (neutral, happy and sad) primed by short excerpts of musical stimuli (happy and sad). Our behavioural experiment showed a significant effect of musical priming: prior listening to a happy (sad) music enhanced the perceived happiness (sadness) of a face irrespective of facial emotion. Further, this musical priming-induced effect was largest for neutral face. Our electrophysiological experiment showed that such crossmodal priming effects were manifested by event related brain potential components at a very early (within 100 ms post-stimulus) stages of neuronal information processing. Altogether, these results offer new insight into the crossmodal nature of music and its ability to transfer emotion to visual modality.
Two experiments ( ) explored the effects of evaluative conditioning on mature brands. Explicit attitudes for mature brands were unaffected by evaluative conditioning. Experiment 1 showed, however, that evaluative conditioning changed implicit attitudes toward Coke and Pepsi. This occurred only for participants who initially had no strong preference for either brand. Contingency awareness was not necessary to change implicit brand attitudes. Experiment 2 showed that brand choice was related to the altered implicit attitudes, but only when choice was made under cognitive load. Implications of these data for evaluative conditioning specifically, and for consumer research in general, are considered. (c) 2008 by JOURNAL OF CONSUMER RESEARCH, Inc..
Physiological measures have traditionally been viewed in social psychology as useful only in assessing general arousal and therefore as incapable of distinguishing between positive and negative affective states. This view is challenged in the present report. Sixteen subjects in a pilot study were exposed briefly to slides and tones that were mildly to moderately evocative of positive and negative affect. Facial electromyographic (EMG) activity differentiated both the valence and intensity of the affective reaction. Moreover, independent judges were unable to determine from viewing videotapes of the subjects' facial displays whether a positive or negative stimulus had been presented or whether a mildly or moderately intense stimulus had been presented. In the full experiment, 28 subjects briefly viewed slides of scenes that were mildly to moderately evocative of positive and negative affect. Again, EMG activity over the brow (corrugator supercilia), eye (orbicularis oculi), and cheek (zygomatic major) muscle regions differentiated the pleasantness and intensity of individuals' affective reactions to the visual stimuli even though visual inspection of the videotapes again indicated that expressions of emotion were not apparent. These results suggest that gradients of EMG activity over the muscles of facial expression can provide objective and continuous probes of affective processes that are too subtle or fleeting to evoke expressions observable under normal conditions of social interaction.
There has long been interest in describing emotional experience in terms of underlying dimensions, but traditionally only two dimensions, pleasantness and arousal, have been reliably found. The reasons for these findings are reviewed, and integrating this review with two recent theories of emotions (Roseman, 1984; Scherer, 1982), we propose eight cognitive appraisal dimensions to differentiate emotional experience. In an investigation of this model, subjects recalled past experiences associated with each of 15 emotions, and rated them along the proposed dimensions. Six orthogonal dimensions, pleasantness, anticipated effort, certainty, attentional activity, self-other responsibility/control, and situational control, were recovered, and the emotions varied systematically along each of these dimensions, indicating a strong relation between the appraisal of one's circumstances and one's emotional state. The patterns of appraisal for the different emotions, and the role of each of the dimensions in differentiating emotional experience are discussed.
Emotional reactions are organized by underlying motivational states--defensive and appetitive--that have evolved to promote the survival of individuals and species. Affective responses were measured while participants viewed pictures with varied emotional and neutral content. Consistent with the motivational hypothesis, reports of the strongest emotional arousal, largest skin conductance responses, most pronounced cardiac deceleration, and greatest modulation of the startle reflex occurred when participants viewed pictures depicting threat, violent death, and erotica. Moreover, reflex modulation and conductance change varied with arousal, whereas facial patterns were content specific. The findings suggest that affective responses serve different functions-mobilization for action, attention, and social communication-and reflect the motivational system that is engaged, its intensity of activation, and the specific emotional context.
Emotion research has become a mature branch of psychology, with its own standardized measures, induction procedures, data-analysis challenges, and sub-disciplines. During the last decade, a number of books addressing major questions in the study of emotion have been published in response to a rapidly increasing demand that has been fuelled by an increasing number of psychologists whose research either focus on or involve the study of emotion. Very few of these books, however, have presented an explicit discussion of the tools for conducting research, despite the facts that the study of emotion frequently requires highly specialized procedures, instruments, and coding strategies, and that the field has reached a place where a large number of excellent elicitation procedures and assessment instruments have been developed and validated. The Handbook of Emotion Elicitation and Assessment corrects this oversight in the literature by organizing and detailing all the major approaches and instruments for the study of emotion. It is the most complete reference for methods and resources in the field, and will serve as a pragmatic resource for emotion researchers by providing easy access to a host of scales, stimuli, coding systems, assessment tools, and innovative methodologies. This handbook will help to advance research in emotion by encouraging researchers to take greater advantage of standard and well-researched approaches, which will increase both the productivity in the field and the speed and accuracy with which research can be communicated.
Physiological measures have traditionally been viewed in social psychology as useful only in assessing general arousal and therefore as incapable of distinguishing between positive and negative affective states. This view is challenged in the present report. Sixteen subjects in a pilot study were exposed briefly to slides and tones that were mildly to moderately evocative of positive and negative affect. Facial electromyographic (EMG) activity differentiated both the valence and intensity of the affective reaction. Moreover, independent judges were unable to determine from viewing videotapes of the subjects' facial displays whether a positive or negative stimulus had been presented or whether a mildly or moderately intense stimulus had been presented. In the full experiment, 28 subjects briefly viewed slides of scenes that were mildly to moderately evocative of positive and negative affect. Again, EMG activity over the brow (corrugator supercilia), eye (orbicularis oculi), and cheek (zygomatic major) muscle regions differentiated the pleasantness and intensity of individuals' affective reactions to the visual stimuli even though visual inspection of the videotapes again indicated that expressions of emotion were not apparent. These results suggest that gradients of EMG activity over the muscles of facial expression can provide objective and continuous probes of affective processes that are too subtle or fleeting to evoke expressions observable under normal conditions of social interaction.
I argue that implicit measures are measurement outcomes that have certain functional properties. The expression "indirect measure," however, refers to an objective property of the measurement procedure, being that the researcher does not assess the attitude on the basis of a self-assessment by the participant but on the basis of another behavior. With regard to the question of why one should use implicit measures, research suggests that they do not allow one to register stable structures in memory. It is also doubtful that they provide an index of implicit attitudes. But to the extent that implicit measures reflect the automatic impact of attitudes and cognitions, they could provide a unique insight into the effects of automatic processing on real-life behavior.
In two experiments, the impact of faking on the affect misattribution procedure (AMP) was examined. Results revealed that faking influences both the overall means and the convergent validity of AMP effects in terms of correlations with self-report measures. Faking effects were very selective in that they affected fake-prime trials only, for which AMP effects were significant, but reversed in direction, while AMP effects for non-fake trials remained intact. Importantly, neither strategic advice nor prior task experience was a necessary prerequisite for successful faking. The discussion focuses on possible processes underlying successful faking in the AMP.
Background music is often used in ads as a means of persuasion. Previous research has studied the effect of music in advertising using neutral or uncontroversial products. The aim of the studies reported here was to examine the effect of music on the perception of products promoting unethical behavior. Each of the series of three studies described examined the effect of background music on recall and evaluation of a fictive radio ad promoting different types of cheating. The studies consider the effect of involvement, attitudes, priming and presentation context, and music's valence. In all the studies, background music led to reduced recall of information. Positive-valence music reduced awareness of the unethical message, and increased acceptance of the product. The results demonstrate the power of music to manipulate and bias moral judgment.
In carefully selected groups of video game playing (VGP) experts and nonexperts, we examined valence-concordant emotional expressivity. We measured electromyographic (EMG) activity over the corrugator supercilii muscle while participants viewed pleasant, neutral, and unpleasant pictures. Potential group differences concerning valence-concordant expressivity may arise from differences concerning the participants' emotional reactivity. To control for such differences, we concomitantly measured skin conductance response (SCR) and, in a separate affect misattribution procedure (AMP), valence transfer from the same set of stimuli. Importantly, we found attenuated valence-concordant EMG activity over the corrugator supercilii muscle in VGP experts compared to nonexperts, but no differences were evident concerning SCR or valence transfer in the AMP. The findings suggest that expertise in VGP is particularly associated with reduced valence-concordant emotional expressivity.
Questionnaire and interview studies suggest that music is valued for its role in managing the listener’s impression of the environment, but systematic investigations on the topic are scarce. We present a field experiment wherein participants were asked to rate their impression of four different environments (a quiet residential area, traveling by train in the suburbs, at a busy crossroads, and in a tranquil park area) on bipolar adjective scales, while listening to music (which varied regarding level of perceived activation and valence) or in silence. Results showed that the evaluation of the environment was in general affected in the direction of the characteristics of the music, especially in conditions where the perceived characteristics of the music and environment were incongruent. For example, highly active music increased the activation ratings of environments which were perceived as inactive without music, whereas inactive music decreased the activation ratings of environments which were perceived as highly active without music. Also, highly positive music increased the positivity ratings of the environments. In sum, the findings suggest that music may function as a prism that modifies the impression of one’s surroundings. Different theoretical explanations of the results are discussed.
This exploratory study was designed to determine the effects of background music of different valence on the perception of tearful faces and other emotional expressions. Participants (154 men, age range 9–64 years, and 208 women, age range 9–77 years) rated photographs of crying, smiling, anger expressing and yawning unique men and women (N = 12 each) on the following three dimensions: kindness, attractiveness and pleasantness, while concurrently being exposed to happy, angry, sad and calm music, or a no-music condition. Mixed models analysis revealed that observers made more favourable judgments about a crier when listening to sad and calm background music. This particularly concerned the ratings on the dimensions kindness and pleasantness, while calm music additionally increased ratings of attractiveness. Opposite effects were found for angry faces, for which lower ratings were obtained on all three dimensions with calm music. We speculate that calm background music may be helpful to boost social bonding and empathy, when people are in tears.
The affect misattribution procedure (AMP) is one of the most promising implicit measures to date, showing high reliability and large effect sizes. The current research tested three potential sources of priming effects in the AMP: affective feelings, semantic concepts, and prepotent motor responses. Ruling out prepotent motor responses as a driving force, priming effects on evaluative and semantic target responses occurred regardless of whether the key assignment in the task was fixed or random. Moreover, priming effects emerged for affect-eliciting primes in the absence of semantic knowledge about the primes. Finally, priming effects were independent of the order in which primes and targets were presented, suggesting that AMP effects are driven by misattribution rather than biased perceptions of the targets. Taken together, these results support accounts that attribute priming effects in the AMP to a general misattribution mechanism that can operate on either affective feelings or semantic concepts.
Based on a model in which the facial muscles can be both automatically/ involuntarily controlled and voluntarily controlled by conscious processes, we explore whether spontaneously evoked facial reactions can be evaluated in terms of criteria for what characterises an automatic process. In three experiments subjects were instructed to not react with their facial muscles, or to react as quickly as possible by wrinkling the eyebrows (frowning) or elevating the cheeks (smiling) when exposed to pictures of negative or positive emotional stimuli, while EMG activity was measured from the corrugator supercilii and zygomatic major muscle regions. Consistent with the proposition that facial reactions are automatically controlled, the results showed that the corrugator muscle reaction was facilitated to negative stimuli and the zygomatic muscle reaction was facilitated to positive stimuli. The results further showed that, despite the fact that subjects were required to not react with their facial muscles at all, they could not avoid producing a facial reaction that corresponded to the negative and positive stimuli.
The last couple of years have seen a rapid growth of interest (especially amongst cognitive psychologists, cognitive neuroscientists, and developmental researchers) in the study of crossmodal correspondences - the tendency for our brains (not to mention the brains of other species) to preferentially associate certain features or dimensions of stimuli across the senses. By now, robust empirical evidence supports the existence of numerous crossmodal correspondences, affecting people's performance across a wide range of psychological tasks - in everything from the redundant target effect paradigm through to studies of the Implicit Association Test, and from speeded discrimination/classification tasks through to unspeeded spatial localisation and temporal order judgment tasks. However, one question that has yet to receive a satisfactory answer is whether crossmodal correspondences automatically affect people's performance (in all, or at least in a subset of tasks), as opposed to reflecting more of a strategic, or top-down, phenomenon. Here, we review the latest research on the topic of crossmodal correspondences to have addressed this issue. We argue that answering the question will require researchers to be more precise in terms of defining what exactly automaticity entails. Furthermore, one's answer to the automaticity question may also hinge on the answer to a second question: Namely, whether crossmodal correspondences are all 'of a kind', or whether instead there may be several different kinds of crossmodal mapping (e.g., statistical, structural, and semantic). Different answers to the automaticity question may then be revealed depending on the type of correspondence under consideration. We make a number of suggestions for future research that might help to determine just how automatic crossmodal correspondences really are.
Previous research suggests that priming of behavioral concepts (e.g., drinking water) motivates consumers outside conscious awareness, but only if primes match a current need (e.g., fluid deprivation). The present article reports two studies testing whether subliminal conditioning (subliminally priming a behavioral concept and linking it to positive affect) can motivate such need-related behaviors even in the absence of deprivation. Both studies showed an interaction effect: Motivation to drink water increased with fluid deprivation, and subliminally conditioning drinking water more positive only motivated drinking in the absence of deprivation. Furthermore, Study 2 suggests that motivation resulting from conditioning is more specific than following deprivation, as only the latter can be reduced by pursuing alternative behaviors (i.e., eating high-liquid foods). Thus, although traditionally the motivation for need-related behaviors is thought to depend on deprivation, this research shows subliminal conditioning can motivate consumers as if they were deprived.
Guidelines are proposed for the collection, analysis, and description of electromyographic (EMG) data. The guidelines cover technological issues in EMG recording, social aspects of EMG experimentation, and limits to inferences that can be drawn in EMG research. An atlas is proposed for facial EMG electrode placements, and standard EMG terminology is suggested.
The role of causal attribution in affect transfer of primes was addressed by examining the consequences of explicit evaluation of primes within the framework of the affect misattribution procedure (AMP; Payne, Cheng, Govorun, & Stewart, 2005). We reasoned that affect transfer occurs when primed affect remains diffuse and not bound to a specific object, hence capable of freely colouring subsequent evaluations of ambiguous objects. Accordingly, we propose that when people explicitly evaluate the prime, affect is clearly bound to the prime and becomes less capable of influencing subsequent judgements. Supporting this notion, affect transfer in the AMP was observed when participants ignored the primes, thereby keeping the primed affect relatively unbound. However, this effect disappeared when participants explicitly evaluated the primes before target stimuli were presented. Implications of these findings in determining how and when affect arising from one object carries over to another is discussed.
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.
In many everyday situations, our senses are bombarded by many different unisensory signals at any given time. To gain the most veridical, and least variable, estimate of environmental stimuli/properties, we need to combine the individual noisy unisensory perceptual estimates that refer to the same object, while keeping those estimates belonging to different objects or events separate. How, though, does the brain "know" which stimuli to combine? Traditionally, researchers interested in the crossmodal binding problem have focused on the roles that spatial and temporal factors play in modulating multisensory integration. However, crossmodal correspondences between various unisensory features (such as between auditory pitch and visual size) may provide yet another important means of constraining the crossmodal binding problem. A large body of research now shows that people exhibit consistent crossmodal correspondences between many stimulus features in different sensory modalities. For example, people consistently match high-pitched sounds with small, bright objects that are located high up in space. The literature reviewed here supports the view that crossmodal correspondences need to be considered alongside semantic and spatiotemporal congruency, among the key constraints that help our brains solve the crossmodal binding problem.
The present ERP study investigated effects of subliminal emotional words on preference judgments about subsequent visual target stimuli (paintings, portraits). Each target was preceded by a masked 17-ms emotional adjective. Four classes of prime words were distinguished according to the combinations of positive/negative valence and high/low arousal. Targets were liked significantly more after positive-arousing primes (e.g., happy), relative to negative-arousing (brutal), positive-nonarousing (mild), and negative-nonarousing primes (lazy). In the target ERP, amplitude of right-hemisphere positive slow wave was increased after positive-arousing compared to negative-arousing primes. Evaluative priming effects on judgments and ERPs were more pronounced in high state-anxious participants. The results suggest that (1) there is indeed affective/semantic processing of unconscious words, (2) evaluative priming operates relatively late during target processing, (3) to be effective, prime words need to score high on the arousal dimension, and (4) individual differences in state anxiety modulate the susceptibility to subliminal evaluative priming.
Earlier research has shown that subjects exposed to different facial expressions react spontaneously with different facial electromyographic (EMG) response patterns. In the present study subjects were exposed to fear-relevant (snakes/spiders) and fear-irrelevant (flowers/mushrooms) stimuli, while facial EMG activity, skin conductance responses (SCRs) and heart rate (HR) were measured. The stimuli evoked different response patterns. Fear-relevant stimuli elicited increased corrugator muscle activity, whereas fear-irrelevant stimuli evoked increased zygomatic muscle activity. Fear-relevant stimuli also evoked HR deceleration and larger SCR magnitudes. The present data are consistent with the theory that the face constitutes an emotional 'readout/output-system'.
Guidelines are proposed for the collection, analysis, and description of electromyographic (EMG) data. The guidelines cover technological issues in EMG recording, social aspects of EMG experimentation, and limits to inferences that can be drawn in EMG research. An atlas is proposed for facial EMG electrode placements, and standard EMG terminology is suggested.
The Psychophysics Toolbox is a software package that supports visual psychophysics. Its routines provide an interface between a high-level interpreted language (MATLAB on the Macintosh) and the video display hardware. A set of example programs is included with the Toolbox distribution.
Studies reveal that when people are exposed to emotional facial expressions, they spontaneously react with distinct facial electromyographic (EMG) reactions in emotion-relevant facial muscles. These reactions reflect, in part, a tendency to mimic the facial stimuli. We investigated whether corresponding facial reactions can be elicited when people are unconsciously exposed to happy and angry facial expressions. Through use of the backward-masking technique, the subjects were prevented from consciously perceiving 30-ms exposures of happy, neutral, and angry target faces, which immediately were followed and masked by neutral faces. Despite the fact that exposure to happy and angry faces was unconscious, the subjects reacted with distinct facial muscle reactions that corresponded to the happy and angry stimulus faces. Our results show that both positive and negative emotional reactions can be unconsciously evoked, and particularly that important aspects of emotional face-to-face communication can occur on an unconscious level.
Affective reactions to briefly presented pictures were investigated to determine whether fleeting stimuli engage the motivational systems mediating emotional responses. Emotional and neutral pictures were presented for 500 ms; heart rate, skin conductance, corrugator EMG, and the evoked startle reflex were measured. The time course of reflex modulation was similar to that obtained with longer (6 s) presentations, suggesting that picture processing continues in the absence of a sensory stimulus. Affective reactions found with more sustained presentation were also obtained, with more corrugator EMG activity for unpleasant pictures, and greater skin conductance reactivity for emotional pictures. Heart rate modulation, however, appears to rely on the presence of a sensory stimulus. The data also suggest that brief presentations of unpleasant pictures may result in less defensive activation than sustained presentation.
At the heart of emotion, mood, and any other emotionally charged event are states experienced as simply feeling good or bad, energized or enervated. These states--called core affect--influence reflexes, perception, cognition, and behavior and are influenced by many causes internal and external, but people have no direct access to these causal connections. Core affect can therefore be experienced as free-floating (mood) or can be attributed to some cause (and thereby begin an emotional episode). These basic processes spawn a broad framework that includes perception of the core-affect-altering properties of stimuli, motives, empathy, emotional meta-experience, and affect versus emotion regulation; it accounts for prototypical emotional episodes, such as fear and anger, as core affect attributed to something plus various nonemotional processes.
Pleasant stimuli typically elicit greater electromyographic (EMG) activity over zygomaticus major and less activity over corrugator supercilii than do unpleasant stimuli. To provide a systematic comparison of these 2 measures, the authors examined the relative form and strength of affective influences on activity over zygomaticus major and corrugator supercilii. Self-reported positive and negative affective reactions and facial EMG were collected as women (n = 68) were exposed to series of affective pictures, sounds, and words. Consistent with speculations based on known properties of the neurophysiology of the facial musculature, results revealed a stronger linear effect of valence on activity over corrugator supercilii versus zygomaticus major. In addition, positive and negative affect ratings indicated that positive and negative affect have reciprocal effects on activity over corrugator supercilii, but not zygomaticus major.