Experience and expression are orthogonal emotion dimensions: we do not always show what we feel, nor do we always feel what we show. However, the experience and expression dimensions of emotion are rarely considered simultaneously. We propose a model outlining the intersection of goals for emotion experience and expression. We suggest that these goals may be aligned or misaligned. Our model posits these states can be separated into goals to experience and express, experience but not express, express but not experience, (...) or neither experience nor express positive and negative emotion. We contend that considering intersections between experience and expression goals will advance understanding of emotion regulation choice and success. (shrink)

Do basic emotions produce their predicted facial expressions in nonlaboratory settings? Available studies in naturalistic settings rarely test causation, but do show a surprisingly weak correlation between emotions and their predicted facial expressions. This evidence from field studies is more consistent with facial behavior having many causes, functions, and meanings, as opposed to their being fixed signals of basic emotion.

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)

Happiness can be expressed through smiles. Happiness can also be expressed through physical displays that without context, would appear to be sadness and anger. These seemingly incongruent displays of happiness, termed dimorphous expressions, we propose, represent and communicate expressers’ motivational orientations. When participants reported their own aggressive expressions in positive or negative contexts, their expressions represented positive or negative emotional experiences respectively, imbued with appetitive orientations. In contrast, reported sad expressions, in positive or negative contexts, represented positive and negative emotional (...) experiences respectively, imbued with consummatory orientations. In six additional experiments, participant observers interpreted that aggression displayed in positive contexts signalled happy-appetitive states, and sadness displayed in positive contexts signalled happy-consummatory states. Implications for the production and interpretation of emotion expressions are discussed. (shrink)

The aim of the article is to describe the nonverbal communication patterns that passengers of the Delhi Metro use to manage density-induced territorial intrusions, and to identify some of the contextual variables that affect their deployment. After introducing the notion of “interrogative look” and the dataset, the following section depicts the techniques that passengers were observed to employ in order to solve the problem of territorial intrusion without breaking anonymity. The bulk of the analysis deals with the structure and function (...) of “interrogative looks”, an objectively defined pattern of nonverbal behavior that the touched uses to signal her discontent to the toucher. The rest of the section describes a less frequent pattern whereby passengers contagiously signal the playful character of their mischiefs. Next is examined if and how density, i.e., the number of individuals per surface unit, influences as a contextual variable the occurrence of interrogative looks. The closing discussion considers the main findings from the standpoint of their local specificity. (shrink)