Theories of emotion propose that responses to emotional pictures can occur independently of whether or not people are aware of the picture content. Because evidence from dissociation paradigms is inconclusive, we manipulated picture awareness gradually and studied whether emotional responses varied with degree of awareness. Spider fearful and non-fearful participants viewed pictures of spiders and flowers at four levels of backward masking while electrodermal activity and heart rate were measured continuously. Recognition ratings confirmed that participants’ picture (...) awareness decreased with masking. Critically, effects of spider fear on emotion ratings and heart rate also decreased with masking. These findings suggest that effects of spider fear on emotion ratings and heart rate are closely related to picture awareness. (shrink)

Over the years, researchers have enriched the postulation that hedonic products generate deeper emotional reactions and feelings in the consumer than functional products. However, recent research empirically proves that hedonic products are more affect-rich only for some consumers segments or for specific consumption contexts. We argue that such inconsistency may derive from the nature of the emotions assessed, that is strictly dependent on their empirical measurement, and not from the mere existence of emotions themselves. Self-reported methods of evaluating consumer (...) experience, on which prior studies are grounded, only assess conscious emotions the consumer can recognize and report, but not unconscious feelings, happening without individual awareness. The present work takes this challenge by conducting a laboratory experiment in which subjects are exposed to both a utilitarian product and a hedonic product. Physiological measures have been adopted to investigate unconscious emotional responses and self-reported measures to assess conscious emotions toward the products. Specifically, physiological data regarding the subjects' cardiac activity, respiratory activity, electrodermal activity, and cerebral activity have been collected and complemented with a survey. Results confirm that both functional and hedonic products generate emotional responses in consumers. Further, findings show that when a consumer is exposed to a functional product, the physiological emotional responses are disassociated from the self-reported ones. A diverse pattern is depicted for hedonic products. We suggest an alternative explanation for the apparent lack of affect-rich experiences elicited by functional products and the need to re-consider emotional responses for these products. (shrink)

Research indicates that people value music primarily because of the emotions it evokes. Yet, the notion of musical emotions remains controversial, and researchers have so far been unable to offer a satisfactory account of such emotions. We argue that the study of musical emotions has suffered from a neglect of underlying mechanisms. Specifically, researchers have studied musical emotions without regard to how they were evoked, or have assumed that the emotions must be based on the mechanism for emotion induction, a (...) cognitive appraisal. Here, we present a novel theoretical framework featuring six additional mechanisms through which music listening may induce emotions: (1) brain stem reflexes, (2) evaluative conditioning, (3) emotional contagion, (4) visual imagery, (5) episodic memory, and (6) musical expectancy. We propose that these mechanisms differ regarding such characteristics as their information focus, ontogenetic development, key brain regions, cultural impact, induction speed, degree of volitional influence, modularity, and dependence on musical structure. By synthesizing theory and findings from different domains, we are able to provide the first set of hypotheses that can help researchers to distinguish among the mechanisms. We show that failure to control for the underlying mechanism may lead to inconsistent or non-interpretable findings. Thus, we argue that the new framework may guide future research and help to resolve previous disagreements in the field. We conclude that music evokes emotions through mechanisms that are not unique to music, and that the study of musical emotions could benefit the emotion field as a whole by providing novel paradigms for emotion induction. (shrink)

Art therapy encourages the use of art materials to express feelings and thoughts in a supportive environment. Art materials differ in fluidity and are postulated to thus differentially enhance emotional response (the more fluid the material the more emotion). Yet, to the best of our knowledge, this assumption has not been empirically tested. The current study aimed to examine the emotional and physiological responses to art making with different art materials. We were particularly interested in vagal activity, (...) indexed by heart rate variability (HRV), because of its association with numerous health related outcomes. In this study, fifty adults (mean age 33 ± 10.27 years, 52% males) participated in a repeated measures experiment, in which they were requested to draw with three art materials (order randomized) differing in their level of fluidity (pencil, oil-pastels and gouache paint) intermittent with periods of music. We measured the emotional response to art making with each material using a self-report measure and matrices of HRV using a wearable electrocardiogram (ECG) device. We calculated two indices of HRV, one indicative of parasympathetic nervous system (PNS) activity, and one indicative of sympathetic nervous system (SNS) activity. Art making with gouache paint and oil pastels resulted in improved positive mood, while pencil did not. Art making explained approximately 35% of the variability in parasympathetic reactivity, which may indicate changes in emotional regulation processes during the art-making task. Yet, fluidity was not sufficient to explain the reaction to art-making. Surprisingly, the largest suppression of PNS and augmentation of the SNS occurred during art-making with oil-pastels and not with Gouache. Moreover, PNS and SNS reactivity to oil-pastels were related to emotional valance, which may point to emotional engagement. We can conclude that art-making with oil-pastels, first created in Japan in 1924 to increase self-expression of students, results in a unique emotional and physiological responses. These findings might be explained by the enhanced tactile experience of art-making with oil-pastels along with their relative fluidity, triggering an arousal pattern. Further studies that take the format and presentation of the materials as well as the content of the artwork, into account, are needed. (shrink)

Philosophical discussion of emotional responses to fiction has been dominated by work on the paradox of fiction, which is often construed as asking whether and how we can experience genuine emotions in reaction to fiction. One may also ask more generally how we ought to respond to fictional works, a question that has to do both with what we should do when reacting to fiction and with what we should and should not let happen to us. It is (...) possible to delineate any principles regarding the rationality, and more generally, the appropriateness of emotional responses to fiction? (shrink)

This article reports findings of a hermeneutic phenomenological study that explored the clinical learning experience for Malawian undergraduate student nurses. The study revealed issues that touch on both nursing education and practice, but the article mainly reports the practice issues. The findings reveal the emotions that healthcare workers in Malawi encounter as a consequence of practising in resource-poor settings. Furthermore, there is severe nursing shortage in most clinical settings in Malawi, and this adversely affects the performance of nurses because of (...) the excess workload it imposes on them. The results of the study also illustrate loss of professional pride among some of the nurses, and the article argues that such a demeanour is a consequence of burnout. However, despite these problems, the study also reveals that there are some nurses who have maintained their passion to care. (shrink)

‘This class is so [insert expletive] depressing.’ I overheard a student communicating this to a friend upon exiting one of my ethics courses and I wondered how my classes could generate a sense of empowerment rather than depression, a sense of hope rather than despair. Drawing from David Hume's and Martin Hoffman's work on the psychology of empathy and sympathy, I contend that dominant Western philosophical pedagogy is inadequate for facilitating morally empowered students. Moreover, I stipulate that an adequate analysis (...) of the role emotion should play in pedagogy requires tending to the politics of emotional expression and how oppression functions. I argue that ethical educators have a moral responsibility to facilitate not only critical moral thinking but critical moral agency. Part of ethical education should involve the provision of tools for effective citizen engagement, and reasoning alone is insufficient for this goal. The role of emotion in ethical decision-making and action remains devalued and u.. (shrink)

With this commentary, I raise two issues relevant to the theoretical framework from a developmental perspective. First, the infants' emotional responses are induced by the music as well as by the multimodal information they perceive in interaction with their mothers, and these responses change with time. Second, contrary to what is suggested in the target article, musical expectancy is already experienced by young infants.

This paper explores the use of Laban’s effort actions from the field of dance and drama as a means to document user responses to physical product interaction. A range of traditional and modern product pairs were identified and reviewed in two workshops, where participants were asked to discuss and complete worksheets on their emotional response. The results provide qualitative feedback on their reactions to the different movements, and form the beginnings of an ‘emotional vocabulary’ that we plan (...) to use in the development of semantic differentials for future studies. Key factors in emotional response to gesture have been identified, including aligning movement to product function, emotional conflicts in movement, and user readiness and framing a sequence of movements. Keywords: Design research; gesture; human factors; interface design. (shrink)

This paper explores the use of Laban’s effort actions from the field of dance and drama as a means to document user responses to physical product interaction. A range of traditional and modern product pairs were identified and reviewed in two workshops, where participants were asked to discuss and complete worksheets on their emotional response. The results provide qualitative feedback on their reactions to the different movements, and form the beginnings of an ‘emotional vocabulary’ that we plan (...) to use in the development of semantic differentials for future studies. Key factors in emotional response to gesture have been identified, including aligning movement to product function, emotional conflicts in movement, and user readiness and framing a sequence of movements. Keywords: Design research; gesture; human factors; interface design. (shrink)

One of the most difficult decisions a clinician may face is when, if ever, to decline what a patient wants, based on the clinician’s own moral conscience. Regardless of what the clinician decides, the outcome may be deeply emotionally painful for both parties, and the pain may last. I will discuss this pain, how it occurs, and what we can do to try to reduce it before, during, and after a conflict arises. Approaches include explaining how we are like the (...) patient or doctor, that no one is perfect, and that what we do is not who we are. (shrink)

An overview of the computational prediction of emotional responses to music is presented. Communication of emotions by music has received a great deal of attention during the last years and a large number of empirical studies have described the role of individual features (tempo, mode, articulation, timbre) in predicting the emotions suggested or invoked by the music. However, unlike the present work, relatively few studies have attempted to model continua of expressed emotions using a variety of musical features (...) from audio-based representations in a correlation design. The construction of the computational model is divided into four separate phases, with a different focus for evaluation. These phases include the theoretical selection of relevant features, empirical assessment of feature validity, actual feature selection, and overall evaluation of the model. Existing research on music and emotions and extraction of musical features is reviewed in terms of these criteria. Examples drawn from recent studies of emotions within the context of film soundtracks are used to demonstrate each phase in the construction of the model. These models are able to explain the dominant part of the listeners’ self-reports of the emotions expressed by music and the models show potential to generalize over different genres within Western music. Possible applications of the computational models of emotions are discussed. (shrink)

The present study examined the effects of gender on the emotional responses (physiology, self-reports of emotion, and emotional facial behaviour) of European Americans (EA) and Hmong Americans (HA) while they relived past emotional events. Women were more emotionally reactive than men: They demonstrated greater changes in electrodermal reactivity overall, reported experiencing more intense emotion while reliving anger and love, and smiled more while reliving happiness and love. The pattern and magnitude of these differences were similar for (...) EA and HA, suggesting that to some degree, the effects of gender on emotional response may hold across ethnic groups. (shrink)

This article examines one aspect of the criticism of inauthenticity that can be levelled against the trustworthiness of professional relationships in general and nurse-patient relationships in particular. The overall question is: are such relationships inherently trustworthy or untrustworthy, from the patient’s point of view? The author concludes that, in spite of legitimate grounds for concern, and while it remains true that nurse-patient relationships may be untrustworthy, they are not inherently so for reasons of inauthenticity relating to emotional labour. The (...) arguments used to defend this claim take their force from the idea that different criteria may be needed to assess the authenticity of nurse-patient relationships from those used to evaluate authenticity in ordinary social relationships. The utility of Hochschild’s idea of ‘deep’ acting, as offering a useful model for the management of emotions in nursing, is examined and rejected. (shrink)

Some films scare us; some make us cry; some thrill us. Some of the most interesting films, however, leave us suspended between feelings – both joyous and sad, or angry and serene. This paper attempts to explain how this can happen and why it is important. I look closely at one film that creates and exploits these conflicted responses. I argue that cases of conflict in film illuminate a pair of vexing questions about emotion in film: (1) To what (...) extent are emotional responses rational, or in need of rationalization?; and (2) What relationship is there between emotional response and value (moral, filmic, or otherwise)? Conflict, I argue, can be revealing, and can help us better understand emotional responses to narrative film1 in general. The paper is divided into four sections. First, I sketch a theory of emotional engagement that makes sense of the notion of a “conflicted emotional response” to a film. Second, I turn to a particular case of a film that produces this sort of conflict, Fritz Lang’s M (1931), and show that the conflict engendered by that film is both more significant and less unusual than it may appear. In the final two sections, I argue that there is no need to rationalize or make consistent such mixed emotional responses, and that there is real moral, aesthetic, and cognitive value to be had from such conflict. (shrink)

This paper examines the model of the emotions put forward by Reinach and Scheler at the beginning of the 20th century and presents it as a plausible alternative to the contemporary “perceptual model.” According to the Reinach-Scheler view, emotions are not perceptions of value, but possible responses to values given to us in value-feelings. The paper is divided into two parts. The first is an historical investigation of the origins of the model in Reinach’s and Scheler’s works within the (...) broader context of early phenomenology. The second part presents systematic arguments for the distinction between value-feeling and emotional response. (shrink)

This paper argues that emotional inferences about characters in a text are not as specific as previously assumed.

We conducted an online study of projected behavioral and emotional responses to escalating terrorist threat. The study employed scenarios in which terrorists targeted commercial airliners with missiles at an international airport. An important feature of attacks on commercial flights is that unlike many other terrorist threats, exposure to the risk can be controlled simply be refusing to fly. Nine scenarios were constructed by crossing two between-subjects factors, each with three levels: (1) planned government protective actions and (2) social (...) norm, expressed as variation in airline ticket sales. Scenarios also incorporated descriptions of three increasingly severe attacks; this was a within-subjects factor. After each description, we asked respondents to imagine they had planned a vacation to a destination 2,500 km away, and we examined their projected fear and behavior. Fear increased and more trips were canceled as the attacks escalated. Government protective actions and social norm had little impact on either fear or planned flying. (shrink)

Nowadays, the major depressive disorder is a common disease that negatively affects the life quality of many people around the world. As MDD symptoms are closely related with the changes in food and eating, the relation between patients’ emotional responses and food tastes could be used as criteria for diagnostic. Until now, studies on the emotional response to different food tastes for patients affected by MDD have been poorly described in literature. Therefore, the aim of this study (...) was to evaluate the emotional response of patients suffering from MDD to the imagined different food tastes and to compare the results with a control group. Emotional responses in tested participants were induced by using cards with words of basic food tastes such as “sweet,” “salty,” “bitter,” “sour,” and “neutral.” The assessment of emotional response was performed with FaceReader 6 software. The outcome of this study showed that participants with MDD expressed lower “happy” and “contempt” and higher “surprised” emotions, along with a higher negative valence mean, in comparison with controls for all tested basic tastes of food. When Likert scale was used, significant differences in response were only found for “sour” and “salty” imaginary tastes between healthy group and patients with MDD. The findings of this study provide the additional data on food–associated emotion analysis of MDD patients and could be useful for the further development of the contactless method for early diagnosis of MDD. (shrink)

Based on the balance theory, we hypothesized that emotions induced by other person’s outcomes function as responses restoring balance within cognitive units consisting of the perceiver, other persons and their outcomes. As a consequence, emotional reactions towards others’ outcomes depend on the perceiver’s attitudes in such a way that outcomes of a well-liked person rise congruous responses, while outcomes of a disliked other lead to incongruous responses. Our participants recalled a situation from their past in which (...) somebody they liked or disliked had succeed or failed. Additionally, we manipulated whether the outcome referred to a domain where participants’ self-interest was involved or not. We analyzed the participants’ average emotional state as well as specific emotions induced by the recalled events. Consistently with expectations we found that balancing principles played a major role in shaping emotional responses to successes and failures of person who were well-liked or disliked. (shrink)

This paper is designed to help people rationally engage moral issues regarding the treatment of animals, specifically uses of animals in medical and psychological experimentation, basic research, drug development, education and training, consumer product testing and other areas.

To date, the most substantial accounts of our engagement with literature have focused on prose-fiction, in particular the novel, drawing on issues of plot, character and narrative in explaining our understanding of literary works. These accounts do not consider how the poetic features of a literary work may affect our reading experience and how this contributes to the meaning of the work. In this thesis I show the philosophical importance of the experience of reading poetry for the role it can (...) play in inquiry, in particular, how such an experience can facilitate philosophical thinking and active inquiry. Adopting a reader-response view of our engagement with poetry, I argue that the experience of reading lyric poetry can make a valuable contribution to philosophical inquiry by enriching our conceptual understanding. The reading experience helps us to forge explicit awareness of our concepts and the networks of associations and beliefs that determine our use of them. Understanding poetry necessarily requires attending to the unity of form and content, and the particular perspectives on offer in the poem. This complex whole sustains perspectives and emotions where character and narrative are lacking. I argue that the perspectival nature of our reading experience is important for philosophical inquiry into aspects of human life. Encountering the perspectives of the poem helps to activate our own perspectives through our emotional and intellectual responses, bringing into focus what we value. I apply this argument to the moral domain, arguing that poetry can facilitate moral inquiry in particular by exposing moral significance in our concepts, helping us to feel what is at stake, and by testing our moral understanding. The way in which the poetic examples discussed engage us emotionally, imaginatively and cognitively (through the reading experience) help us address moral questions from distinctive and valuable perspectives, which provide us with moral insights of value in philosophical inquiry. (shrink)

This function of die body and mind in creating for a short while their own miniature universes is, in fact, no more than an illusion; yet the fleeting sense of happiness in human life owes much to precisely this type of ‘false order’. It is a kind of protective function of life in face of the chaos around it, and resembles the way a hedgehog rolls itself up into a tight round ball.