Context: The current study of emotions is based on theoretical models that limit the emotional experience. The collection of emotional data is through self-report questionnaires, restricting the description of emotional experience to broad concepts or induced preconceived qualities of how an emotion should be felt. Problem: Are the emotional experiences responding exclusively to these concepts and dimensions? Method: Music was used to lead participants into an emotional experience. Then a micro-phenomenological interview, a methodology with a phenomenological approach, was used to (...) guide their descriptions. Results: The descriptions of emotional experiences revealed a temporal structure that could have a linear or circular development. Moreover the qualitative aspects disclosed that these experiences are characterized by corporal sensations and marked variations of emotional intensity. Additionally, the emotional experience was embodied. Implications: The emotional experience is a dynamic process in which bodily sensations take a primary role, allowing the identification of such emotions. The integration of these first-person features of emotional experience with third-person data could lead to a better understanding and interpretation of emotional processes. Constructivist content: This article highlights the need to integrate first-person and third-person methodologies to study and explain human behavior in a comprehensive manner. Key Words: Emotion, experience, micro-phenomenological interview, body, music, affective neuroscience. (shrink)

: We offer a response to four themes that result from the commentators’ inquiries and critiques: the psychodynamic perspective in contemplative research; the limitations of self-….

Context: Research in the contemplative field has focused on trainable capacities that foster self-regulation and integration. From a psychological perspective, mindfulness and personality research ….

Imagine a scenario where you are cooking and suddenly, the contents of the pot start to come out, and the oven bell rings. You would have to stop what you are doing and start responding to the changing demands, switching between different objects, operations and mental sets. This ability is known as cognitive flexibility. Now, add to this scenario a strong emotional atmosphere that invades you as you spontaneously recall a difficult situation you had that morning. How would you behave? (...) Recent studies suggest that emotional states do modulate cognitive flexibility, but these findings are still controversial. Moreover, there is a lack of evidence regarding the underlying brain processes. The purpose of the present study was, therefore, to examine such interaction while monitoring changes in ongoing cortical activity using EEG. In order to answer this question, we used two musical stimuli to induce emotional states (positive/high arousal/open stance and negative/high arousal/closed stance). Twenty-nine participants performed two blocks of the Madrid Card Sorting Task (MCST) in a neutral silence condition and then four blocks while listening to the counterbalanced musical stimuli. To explore this interaction, we used a combination of first-person (micro-phenomenological interview) and third-person (behavior and EEG) approaches. Our results show that compared to the positive stimuli and silence condition, negative stimuli decrease reaction times (RTs) for the shift signal. Our data show that the valance of the first emotional block is determinant in the RTs of the subsequent blocks. Additionally, the analysis of the micro-phenomenological interview and the integration of first- and third-person data show that the emotional disposition generated by the music could facilitate task performance for some participants or hamper it for others, independently of its emotional valence. When the emotional disposition hampered task execution, RTs were slower, and the P300 potential showed a reduced amplitude compared to the facilitated condition. These findings show that the interaction between emotion and cognitive flexibility is more complex than previously thought and points to a new way of understanding the underlying mechanisms by incorporating an in-depth analysis of individual subjective experience. (shrink)

Context: More than 20 years ago Varela initiated a research program to advance in the scientific study of consciousness, neurophenomenology. Problem: Has Varela’s neurophenomenology, the solution to the “hard problem,” been successful? Which issues remain unresolved, and why? Method: This introduction sketches the progress that has been made since then and links it to the contributions to this special issue. Results: Instead of a unified research field, today we find a variety of different interpretations and implementations of neurophenomenology. We argue (...) that neurophenomenology needs to give additional attention to its experiential dimension by addressing first-person methods’ specific challenges and by rethinking the relationship between the frameworks of the first- and third-person approaches. (shrink)

Upshot: The micro-phenomenological interview is a methodology that enables us to accurately guide subjects in describing an emotional experience. With this guide, it is possible to know the structure of a particular experience, which is helpful to understand the different processes related to it. The incorporation of the micro-phenomenological interview into emotion research can extend the limits set until now by third-person methodologies and give an integral comprehension of emotions.