The sharing of emotional experiences, whether in face-to-face interactions or anonymously through written communications, can influence a person's psychological and physical well-being. The mediating mechanisms are, however, poorly understood. The present comment concerns ambiguities that may result when concepts from ordinary language, such as emotion, cognition, and related metaphors, are applied to presumed mediating mechanisms.

Current theories assume that perception and affect are separate realms of the mind. In contrast, we argue that affect is a genuine online-component of perception instantaneously mirroring the success of different perceptual stages. Consequently, we predicted that the success (failure) of even very early and cognitively encapsulated basic visual Processing steps would trigger immediate positive (negative) affective responses. To test this assumption, simple visual stimuli that either allowed or obstructed early visual processing stages without participants being aware of this were (...) presented briefly. Across 5 experiments, we found more positive affective responses to stimuli that allowed rather than obstructed Gestalt completion at certain early visual stages (Experiments 1–3; briefest presentation 100 ms with post-mask), and visual disambiguation in possible vs. impossible Necker cubes (Experiments 4 and 5; briefest presentation 100 ms with post-mask). This effect was observed both on verbal preference ratings (Experiments 1, 2, and 4) and as facial muscle responses occurring within 2–4 s after stimulus onset (zygomaticus activity; Experiments 3 and 7). For instance, in participants unaware of spatial possibility we found affective discrimination between possible and impossible Necker cubes (the famous Freemish Crate) for 100 ms presentation timings, although a conscious discrimination took more than 2000 ms (Experiment 4). (shrink)

Though the commentaries on my review welcomed its focus on the social dimension of emotion and emotion regulation, they also revealed important misinterpretation. The social standpoint was not developed at the expense of the individual. On the contrary, this perspective is in line with dynamic emotions systems views. Despite variations in modalities, I argue that emotion sharing is universal because it concerns culturally-shaped knowledge and constructions when they are shattered by emotional events. Predictions regarding the recovery effects of private disclosure (...) are formulated, particularly in reference to the notions of speech styles and psychological differentiation. Finally, differentiating cognition and emotion is becoming more and more foggy and I agree that the time has come for new, less fuzzy, concepts. (shrink)

The aim of this contribution is to broaden the concept of musical meaning from an abstract and emotionally neutral cognitive representation to an emotion-integrating description that is related to the evolutionary approach to music. Starting from the dispositional machinery for dealing with music as a temporal and sounding phenomenon, musical emotions are considered as adaptive responses to be aroused in human beings as the product of neural structures that are specialized for their processing. A theoretical and empirical background is provided (...) in order to bring together the findings of music and emotion studies and the evolutionary approach to musical meaning. The theoretical grounding elaborates on the transition from referential to affective semantics, the distinction between expression and induction of emotions, and the tension between discrete-digital and analog-continuous processing of the sounds. The empirical background provides evidence from several findings such as infant-directed speech, referential emotive vocalizations and separation calls in lower mammals, the distinction between the acoustic and vehicle mode of sound perception, and the bodily and physiological reactions to the sounds. It is argued, finally, that early affective processing reflects the way emotions make our bodies feel, which in turn reflects on the emotions expressed and decoded. As such, there is a dynamic tension between nature and nurture, which is reflected in the nature-nurture-nature cycle of musical sense-making. (shrink)

I address the questions of whether cognitive methods are suited to the study of emotion, and whether they are suited to the study of the unique aspect of emotion. Based on a definition of cognitive processes as those that mediate between variable input–output relations by means of representations, and the observation that the relation between stimuli and emotions is often variable, I argue that cognition is often involved in emotion and that cognitive methods are suited to study them. I further (...) propose that the unique feature of emotion has to do with the content of the representations involved in the transition from stimulus input to emotion. Emotions are elicited when stimuli contain information about the satisfaction status of goals (i.e., when they are goal relevant). Given that cognitive methods are fit to study any representation-mediated process regardless of their content, they can a fortiori be used to study a process that operates on representations with goal-relevant content. I compare this process to processes that have no or a different relation to goals, including the process that deals with purely valenced information. (shrink)

This article introduces the somatic transform that operationalizes the relation between affect and cognition at the psychological level of analysis by capitalizing on the relation between the cogni...