Three experiments were conducted in order to validate 56 musical excerpts that conveyed four intended emotions (happiness, sadness, threat and peacefulness). In Experiment 1, the musical clips were rated in terms of how clearly the intended emotion was portrayed, and for valence and arousal. In Experiment 2, a gating paradigm was used to evaluate the course for emotion recognition. In Experiment 3, a dissimilarity judgement task and multidimensional scaling analysis were used to probe emotional content with no emotional labels. The (...) results showed that emotions are easily recognised and discriminated on the basis of valence and arousal and with relative immediacy. Happy and sad excerpts were identified after the presentation of fewer than three musical events. With no labelling, emotion discrimination remained highly accurate and could be mapped on energetic and tense dimensions. The present study provides suitable musical material for research on emotions.Keywords. (shrink)

Self–other discrimination was investigated with point-light displays in which actions were presented with or without additional auditory information. Participants first executed different actions in time with music. In two subsequent experiments, they watched point-light displays of their own or another participant’s recorded actions, and were asked to identify the agent . Manipulations were applied to the visual information and to the auditory information . Results indicate that self-recognition was better than chance in all conditions and was highest when observing relatively (...) unconstrained patterns of movement. Auditory information did not increase accuracy even with the most ambiguous visual displays, suggesting that judgments of agent identity depend much more on motor cues than on auditory or audiovisual information. (shrink)

The influence of movement skill on action representations and identification of agency was investigated. Point-light displays were created of highly skilled gestures of thirteen orchestral conductors in visual, auditory, and audiovisual versions and compared to two control conditions . In subsequent experimental sessions, participants indicated whether displays presented them or other conductors, whether the soundtrack contained their or others’ musical interpretations, and rated the quality and emotional content of the gestures. Self-recognition was more accurate in conditions presenting highly skilled conducting (...) movements as compared to other displays. Participants judged the quality of their own movements to be better than those of others, independently of whether or not they recognized movement agency. Emotional content was perceived accurately across conditions both for own and others’ actions. These results point to the influence of dynamical characteristics of motor skill, rather than merely type of movement or emotional content, on action representations and self-other identification. (shrink)

Accurate perception of an individual’s identity and emotion derived from their actions and behavior is essential for successful social functioning. Here we determined the role of identity in the representation of emotional whole-body actions using visual adaptation paradigms. Participants adapted to actors performing different whole-body actions in a happy and sad fashion. Following adaptation subsequent neutral actions appeared to convey the opposite emotion. We demonstrate two different emotional action aftereffects showing distinctive adaptation characteristics. For one short-lived aftereffect, adaptation to the (...) emotion expressed by an individual resulted in biases in the perception of the expression of emotion by other individuals, indicating an identity-independent representation of emotional actions. A second, longer lasting, aftereffect was observed where adaptation to the emotion expressed by an individual resulted in longer-term biases in the perception of the expressions of emotion only by the same individual; this indicated an additional identity-dependent representation of emotional actions. Together, the presence of these two aftereffects indicates the existence of two mechanisms for coding emotional actions, only one of which takes into account the actor’s identity. The results that we observe might parallel processing of emotion from face and voice. (shrink)

In this paper we suggest that differing approaches to the science of social cognition mirror the arguments between radical embodied and traditional approaches to cognition. We contrast the use in social cognition of theoretical inference and mental simulation mechanisms with approaches emphasizing a direct perception of others’ mental states. We build from a recent integrative framework unifying these divergent perspectives through the use of dual-process theory and supporting social neuroscience research. Our elaboration considers two complementary notions of direct perception: one (...) primarily stemming from ecological psychology and the other from enactive cognition theory. We use this as the foundation from which to offer an account of the informational basis for social information and assert a set of research propositions to further the science of social cognition. In doing so, we point out how perception of the minds of others can be supported in some cases by lawful information, supporting direct perception of social affordances and perhaps, mental states, and in other cases by cues that support indirect perceptual inference. Our goal is to extend accounts of social cognition by integrating advances across disciplines to provide a multi-level and multi-theoretic description that can advance this field and offer a means through which to reconcile radical embodied and traditional approaches to cognitive neuroscience. (shrink)

Bodily expression of felt emotion has been documented in the literature. However, it is often associated with high motor variability between individuals. This study aimed to identify individual motor signature of emotions. IMS is a new method of motion analysis and visualization able to capture the subtle differences in the way each of us moves, seen as a kinematic fingerprint. We hypothesized that the individual motor signature would be different depending on the induced emotional state and that an emotional motor (...) signature of joy and sadness common to all participants would emerge. For that purpose, we elicited these emotions in 26 individuals using an autobiographical memory paradigm, before they performed a motor improvization task. We extracted the individual motor signature under each emotional condition. Participants completed a self-report emotion before and after each trial. Comparing the similarity indexes of intra- and inter-emotional condition signatures, we confirmed our hypothesis and showed the existence of a specific motor signature for joy and sadness, allowing us to introduce the notion of emotional individual motor signature. Our study indicates that EIMS can reinforce emotion discrimination and constitutes the first step in modeling emotional behavior during individual task performances or social interactions. (shrink)

According to simulation or shared-substrates models of emotion recognition, our ability to recognize the emotions expressed by other individuals relies, at least in part, on processes that internally simulate the same emotional state in ourselves. The term “emotional expressions” is nearly synonymous, in many people's minds, with facial expressions of emotion. However, vocal prosody and whole-body cues also convey emotional information. What is the relationship between these various channels of emotional communication? We first briefly review simulation models of emotion recognition, (...) and then discuss neuroscientific evidence related to these models, including studies using facial expressions, whole-body cues, and vocal prosody. We conclude by discussing these data in the context of simulation and shared-substrates models of emotion recognition. (shrink)