While numerous studies have examined the relationships between facial actions and emotions, they have yet to account for the ways that specific spontaneous facial expressions map onto emotional experiences induced without expressive intent. Moreover, previous studies emphasized that a fine-grained investigation of facial components could establish the coherence of facial actions with actual internal states. Therefore, this study aimed to accumulate evidence for the correspondence between spontaneous facial components and emotional experiences. We reinvestigated data from previous research which secretly recorded (...) spontaneous facial expressions of Japanese participants as they watched film clips designed to evoke four different target emotions: surprise, amusement, disgust, and sadness. The participants rated their emotional experiences via a self-reported questionnaire of sixteen emotions. These spontaneous facial expressions were coded using the Facial Action Coding System, the gold standard for classifying visible facial movements. We corroborated each facial action that was present in the emotional experiences by applying stepwise regression models. The results found that spontaneous facial components occurred in ways that cohere to the their evolutionary functions based on the rating values of emotional experiences (e.g., the inner brow raiser might be involved in the evaluation of novelty). This study provided new empirical evidence for the correspondence between each spontaneous facial component and first-person internal states of emotion as reported by the expresser. (shrink)

Drawing on research reviewed in this special section, the present article discusses how various contextual factors impact on production and decoding of emotion-related facial activity. Although emotion-related variables often contribute to activation of prototypical “emotion expressions” and perceivers can often infer emotional meanings from these facial configurations, neither process is invariant or direct. Many facial movements are directed towards or away from events in the shared environment, and their effects depend on these relational orientations. Facial activity is not only a (...) medium for descriptive representation of internal affective states, but also a means of adjusting to, and operating on, external objects, and of influencing other people’s appraisals of those objects. (shrink)

With a few yet increasing number of exceptions, the cognitive sciences enthusiastically endorsed the idea that there are basic facial expressions of emotions that are created by specific configurations of facial muscles. We review evidence that suggests an inherent role for context in emotion perception. Context does not merely change emotion perception at the edges; it leads to radical categorical changes. The reviewed findings suggest that configurations of facial muscles are inherently ambiguous, and they call for a different approach towards (...) the understanding of facial expressions of emotions. Prices of sticking with the modal view, and advantages of an expanded view, are succinctly reviewed. (shrink)

Literary analysis of the blush in Austen's novels identifies three themes, namely the potential ambiguity of a blush, its association with modesty, and its erotic and gendered nature, issues that scarcely figure in current psychological explanations of the phenomenon. I examine these themes and compare them with current psychological accounts which assign a central place to embarrassment and, more specifically, emphasise either unwanted social attention, exposure of the self, or the blush's signalling function. Analysis of Austen's work suggests that greater (...) attention should be paid to self-consciousness as it relates to threats to reputation, to the erotic dimension of the blush, and to potential gender differences. It should encourage researchers to be aware of limitations of psychological accounts and to expand their range of sources of information in order to enhance understanding of this elusive phenomenon. (shrink)

Research on facial emotion expression has mostly focused on emotion recognition, assuming that a small number of discrete emotions is elicited and expressed via prototypical facial muscle configurations as captured in still photographs. These are expected to be recognized by observers, presumably via template matching. In contrast, appraisal theories of emotion propose a more dynamic approach, suggesting that specific elements of facial expressions are directly produced by the result of certain appraisals and predicting the facial patterns to be expected for (...) certain appraisal configurations. This approach has recently been extended to emotion perception, claiming that observers first infer individual appraisals and only then make categorical emotion judgments based on the estimated appraisal patterns, using semantic inference rules. Here we report two related studies to empirically investigate the facial action unit configurations that are used by actors to convey specific emotions in short affect bursts and to examine to what extent observers can infer a person’s emotions from the predicted facial expression configurations. The results show that 1) professional actors use many of the predicted facial action unit patterns to enact systematically specified appraisal outcomes in a realistic scenario setting, and 2) naïve observers infer the respective emotions based on highly similar facial movement configurations with a degree of accuracy comparable to earlier research findings. Based on estimates of underlying appraisal criteria for the different emotions we conclude that the patterns of facial action units identified in this research correspond largely to prior predictions and encourage further research on appraisal-driven expression and inference. (shrink)

For more than a century expressions have been approached as bidimensional, static, instantaneous, self-contained, well-defined, and universal signals. These assumptions are starting to be empirically reconsidered: this special section of Emotion Review includes reviews on the physical, social, and cultural dynamics of expressions, and on the complex ways in which, throughout the lifespan, facial behavior and emotion are perceived and categorized by primates’ and humans’ brain. All these advances are certainly paving the way for new exciting approaches to facial behavior (...) more likely to strike an appropriate balance between description and explanation. (shrink)