Human beings respond to their immediate environments in a variety of ways, with emotion playing a cardinal role. In evolutionary theories, emotions are thought to prepare an organism for action. The interplay of acoustic environments, emotions, and evolutionary needs are currently subject to discussion in soundscape research. Universal definitions of emotion and its nature are currently missing, but there seems to be a fundamental consensus that emotions are internal, evanescent, mostly conscious, relational, manifest in different forms, and serve a purpose. (...) Research in this area is expanding, particularly in regards to the context-related, affective, and emotional processing of environmental stimuli. A number of studies present ways to determine the nature of emotions elicited by a soundscape and to measure these reliably. Yet the crucial question—which basic and complex emotions are triggered and how they relate to affective appraisal—has still not been conclusively answered. To help frame research on this topic, an overview of the theoretical background is presented that applies emotion theory to soundscape. Two latent fundamental dimensions are often found at the center of theoretical concepts of emotion: valence and arousal. These established universal dimensions can also be applied in the context of emotions that are elicited by soundscapes. Another, and perhaps more familiar, parallel is found between emotion and music. However, acoustic environments are more subtle than musical arrangements, rarely applying the compositional and artistic considerations frequently used in music. That said, the measurement of emotion in the context of soundscape studies is only of additional value if some fundamental inquiries are sufficiently answered: To what extent does the reporting act itself alter emotional responses? Are all important affective qualities consciously accessible and directly measurable by self-reports? How can emotion related to the environment be separated from affective predisposition? By means of a conceptual analysis of relevant soundscape publications, the consensus and conflicts on these fundamental questions in the light of soundscape theory are highlighted and needed research actions are framed. The overview closes with a proposed modification to an existing, standardized framework to include the meaning of emotion in the design of soundscapes. (shrink)

Throughout his career, Wundt recognized Völkerpsychologie (VP) as (at first) ancillary to experimental psychology or (later) as its required complement. New scholarship from around 1979 highlighted this fact while claiming to correct a picture of Wundt as a pure associationist, attributed to Boring’s History of Experimental Psychology, by instead emphasizing apperception in Wundt’s scheme (sec. 2). The criticisms of Boring, summarized by Blumenthal in 1980, overshot the mark. Boring’s Wundt was no pure associationist. Both Boring and the seventy-niner historians emphasized (...) psychic activity in Wundt. Section 3 considers Wundt’s endorsements of mental chemistry, elements, association, and psychological explanation via combinations of elements. Section 4 follows Wundt’s changing conceptions of VP; looks into the relations between VP and experiment, especially as regards “higher” mental processes; examines the (sometimes cooperative) interactions between individual (including experimental) psychology and VP; and considers how method, not type of mental process, distinguishes the two branches of psychology. Finally, section 5 acknowledges Wundt’s unification of VP and individual psychology and concludes that although he objected to the Würzburgers’ experimental methods in treating higher mental processes, he did not generally exclude the latter from experimental investigation, contrary to the seventy-niner narrative, which has been widely adopted. (shrink)

The interdisciplinary field of emotion studies disregarded historical perspectives on translation and left out a substantial body of scientific research on feelings and emotions that was not published in English. Yet these texts were foundational in forging the scientific concept of emotion in experimental psychology in the 19th century. The current approach to emotion science overlooks that translation issues occurred between three languages, German, French, and English, as physiological psychologists at the time were reading each other in these languages all (...) the while writing about the same topics in their respective language. Historical perspectives are important to clarify the ambiguities of emotion terms and include non-Anglophone frameworks into current transdisciplinary debates. (shrink)

Ever since records began, accounts of other peoples and their institutions and customs have included comments about their mental characteristics. The present article traces this feature from the 18th century to roughly the First World War, with a brief sketch of more recent developments. For most of this period two contrasting positions prevailed: the dominant one attributed human differences to ‘race’, while the other one explained them in terms of psychological, environmental and historical factors. The present account focuses on the (...) latter, among them those who asserted ‘the psychic unity of mankind’. Generally it is shown that from the early period when writings were based almost entirely on secondary sources, to the beginnings of empirical studies, ethnological theories were indissolubly linked to psychological concerns. (shrink)

One reason why the debate about “emotion” runs into a dead end is that the second historical source which considered “emotion” as a cognitive function in the late 19th century was forgotten in Anglo-American psychology.

Illustrations played an important role in the articulation of Wundt’s experimental program. Focusing on the woodcuts of apparatus and experimental designs in the six editions of his Grundzüge der physiologischen Psychologie (published between 1873 and 1911), we investigate the uses and functions of illustrations in the experimental culture of the physiological and psychological sciences. We will first present some statistics on the increasing number of illustrations Wundt included in each new edition of his handbook. Next we will show how Wundt (...) managed to introduce the material and literary technologies of physiology into the ‘new psychology’. The distribution of Wundt’s material technology will be further demonstrated by highlighting the crucial role of technicians and instrument-makers. We will use Shapin and Schaffer’s notions of the ‘three technologies’ and ‘virtual witnessing’, combined with Latour’s concept of ‘immutable mobiles’, as analytical tools to explore the strategic aspects of Wundt’s illustrations. (shrink)

Fechner remains virtually unknown for his psychological research on the unconscious. However, he was one of the most prominent theorists of unconscious cognition of the 19th century, in the context of the rise of scientific investigations on the unconscious in German psychology. In line with the models previously developed by Leibniz and Herbart, Fechner proposes an explanative system of unconscious phenomena based on a modular conception of the mind and on the idea of a functional dissociation between representational and attentional (...) activity. For Fechner, the unconscious is a state of consciousness resulting from the isolation of representational activity from the rest of psychical life. Unconscious mental phenomena are unattended mental states that behave autonomously while remaining able to act on consciousness. This paper aims to revisit Fechner’s contribution to the history of the unconscious, but also the theoretical significance of the Fechnerian unconscious vis-à-vis current research on the cognitive unconscious. (shrink)

In 1955, Norbert Wiener suggested a sociological model according to which all forms of culture ultimately depended on the temporal coordination of human activities, in particular their synchronization. The basis for Wiener’s model was provided by his insights into the temporal structures of cerebral processes. This article reconstructs the historical context of Wiener’s ‘brain clock’ hypothesis, largely via his dialogues with John W. Stroud and other scholars working at the intersection of neurophysiology, experimental psychology, and electrical engineering. Since the 19th (...) century, physiologists and psychologists have been conducting experimental investigations into the relation between time and the brain. Using innovative instruments and technologies, Stroud rehearsed these experiments, in part without paying any attention at all to the experimental traditions involved. Against this background, this article argues that the novelty of Wiener’s model relies largely on his productive rephrasing of physiological and psychological findings that had been established long before the Second World War. (shrink)

During the 1890s William James and Carl Georg Lange's works on emotion were discussed in psychological journals under the heading of the “James–Lange theory” of emotion. Yet Lange's work is much less known because it was linked with James' theory and because later neurophysiological research demonstrated that Lange's proposed mechanism for processing emotion could not be correct. However, a reappraisal of his work is warranted for several reasons: For his attempt to ground the emotions in physiology at a time when (...) psychologists advocated a purely spiritual conception of emotions, for his insights in biological psychiatry, for postulating a neuroanatomical centre for processing emotion. Finally, in the light of contemporary research, because Lange deconstructed the emotions into combinations of components, which makes his work a precursor to component and appraisal theories of emotion. (shrink)