ABSTRACTAdults perceive emotional expressions categorically, with discrimination being faster and more accurate between expressions from different emotion categories than between two stimuli from the same category. The current study sought to test whether facial expressions of happiness and fear are perceived categorically by pre-verbal infants, using a new stimulus set that was shown to yield categorical perception in adult observers. These stimuli were then used with 7-month-old infants using a habituation and visual preference paradigm. Infants were first habituated to an (...) expression of one emotion, then presented with the same expression paired with a novel expression either from the same emotion category or from a different emotion category. After habituation to fear, infants displayed a novelty preference for pairs of between-category expressions, but n... (shrink)

Basic Emotion theory has had a tremendous influence on the affective sciences, including music psychology, where most researchers have assumed that music expressivity is constrained to a limited set of basic emotions. Several scholars suggested that these constrains to musical expressivity are explained by the existence of a shared acoustic code to the expression of emotions in music and speech prosody. In this article we advocate for a shift from this focus on basic emotions to a constructionist account. This approach (...) proposes that the phenomenon of perception of emotions in music arises from the interaction of music’s ability to express core affects and the influence of top-down and contextual information in the listener’s mind. We start by reviewing the problems with the concept of Basic Emotions, and the inconsistent evidence that supports it. We also demonstrate how decades of developmental and cross-cultural research on music and emotional speech have failed to produce convincing findings to conclude that music expressivity is built upon a set of biologically pre-determined basic emotions. We then examine the cue-emotion consistencies between music and speech, and show how they support a parsimonious explanation, where musical expressivity is grounded on two dimensions of core affect (arousal and valence). Next, we explain how the fact that listeners reliably identify basic emotions in music does not arise from the existence of categorical boundaries in the stimuli, but from processes that facilitate categorical perception, such as using stereotyped stimuli and close-ended response formats, psychological processes of construction of mental prototypes, and contextual information. Finally, we outline our proposal of a constructionist account of perception of emotions in music, and spell out the ways in which this approach is able to make solve past conflicting findings. We conclude by providing explicit pointers about the methodological choices that will be vital to move beyond the popular Basic Emotion paradigm and start untangling the emergence of emotional experiences with music in the actual contexts in which they occur. -/- . (shrink)

In this paper, we examine whether affect influences higher level cognitive processes. We review research on the effect of emotion on interpretation, judgement, decision making, and reasoning. In all cases, we ask first whether there is evidence that emotion affects each of these processes, and second what mechanisms might underlie these effects. Our review highlights the fact that interpretive biases are primarily linked with anxiety, while more general mood-congruent effects may be seen in judgement. Risk perception is also affected by (...) negative and positive affect. Research shows complex effects of emotion on decision making and reasoning, with emotion sometimes hindering normatively correct thinking and sometimes promoting it. There are also important effects of emotion on reasoning style. We discuss key differences between the effects of incidental affect (feeling states not related to the semantic contents of the cognitive task) and integral affect (where the feeling state is caused by or linked to the contents of the cognitive task). In the conclusion, we suggest that focusing on some of the constituent mechanisms involved in interpretation, judgement, decision making and reasoning provides a way to link some of the diverse findings in the field. We also highlight important areas for future research. (shrink)

The utility of recognising emotion expressions for coordinating social interactions is well documented, but less is known about how continuously changing emotion displays are perceived. The nonlinear dynamic systems view of emotions suggests that mixed emotion expressions in the middle of displays of changing expressions may be decoded differently depending on the expression origin. Hysteresis is when an impression (e.g., disgust) persists well after changes in facial expressions that favour an alternative impression (e.g., anger). In expression changes based on photographs (...) (Study 1) and avatar images (Studies 2a–c, 3), we found hystereses particularly in changes between emotions that are perceptually similar (e.g., anger–disgust). We also consistently found uncertainty (neither emotion contributing to the mixed expression was perceived), which was more prevalent in expression sequences than in static images. Uncertainty occurred particularly in changes between emotions that are perceptually dissimilar, such as changes between happiness and negative emotions. This suggests that the perceptual similarity of emotion expressions may determine the extent to which hysteresis and uncertainty occur. Both hysteresis and uncertainty effects support our premise that emotion decoding is state dependent, a characteristic of dynamic systems. We propose avenues to test possible underlying mechanisms. (shrink)

We review evidence that language is involved in the establishment and maintenance of adult categories of facial expressions of emotion. We argue that individual and group differences in facial expression interpretation are too great for a fully specified system of categories to be universal and hardwired. Variations in expression categorization, across individuals and groups, favor a model in which an initial “core” system recognizes only the grouping of positive versus negative emotional expressions. The subsequent development of a rich representational structure (...) may require the integration of a verbal categorization system with a perceptual processing system that is category-agnostic. Such a model may reconcile many strands of apparently conflicting behavioral, physiological, and neuroscience evidence concerning our understanding of facial expressions of emotion. (shrink)

This paper proposes that human expression of pain in the presence or absence of caregivers, and the detection of pain by observers, arises from evolved propensities. The function of pain is to demand attention and prioritise escape, recovery, and healing; where others can help achieve these goals, effective communication of pain is required. Evidence is reviewed of a distinct and specific facial expression of pain from infancy to old age, consistent across stimuli, and recognizable as pain by observers. Voluntary control (...) over amplitude is incomplete, and observers can better detect pain that the individual attempts to suppress rather than amplify or simulate. In many clinical and experimental settings, the facial expression of pain is incorporated with verbal and nonverbal vocal activity, posture, and movement in an overall category of pain behaviour. This is assumed by clinicians to be under operant control of social contingencies such as sympathy, caregiving, and practical help; thus, strong facial expression is presumed to constitute an attempt to manipulate these contingencies by amplification of the normal expression. Operant formulations support skepticism about the presence or extent of pain, judgments of malingering, and sometimes the withholding of caregiving and help. To the extent that pain expression is influenced by environmental contingencies, however, could equally plausibly constitute the release of suppression according to evolved contingent propensities that guide behaviour. Pain has been largely neglected in the evolutionary literature and the literature on expression of emotion, but an evolutionary account can generate improved assessment of pain and reactions to it. (shrink)

This study was designed to test three competing hypotheses (impaired configural processing; impaired Theory of Mind; atypical amygdala functioning) to explain the basic facial expression recognition profile of adults with autism spectrum disorders (ASD). In Experiment 1 the Ekman and Friesen (1976) series were presented upright and inverted. Individuals with ASD were significantly less accurate than controls at recognising upright facial expressions of fear, sadness and disgust and their pattern of errors suggested some configural processing difficulties. Impaired recognition of inverted (...) facial expressions suggested some additional difficulties processing the facial features. Unexpectedly, the clinical group misidentified fear as anger. In Experiment 2 feature processing of facial expressions was investigated by presenting stimuli in a piecemeal fashion, starting with either just the eyes or the mouth. Individuals with ASD were impaired at recognising fear from the eyes and disgust from the mouth; they also confused fearful eyes as being angry. The findings are discussed in terms of the three competing hypotheses tested. (shrink)

Categorical perception (CP) refers to how similar things look different depending on whether they are classified as the same category. Many studies demonstrate that adult humans show CP for human emotional faces. It is widely debated whether the effect can be accounted for solely by perceptual differences (structural differences among emotional faces) or whether additional perceiver-based conceptual knowledge is required. In this review, I discuss the phenomenon of CP and key studies showing CP for emotional faces. I then discuss a (...) new model of emotion which highlights how perceptual and conceptual knowledge interact to explain how people see discrete emotions in others’ faces. In doing so, I discuss how language (emotion words included in the paradigm) contribute to CP. (shrink)