scholarly journals Sweet Emotion: The Role of Odor-induced Context in the Search Advantage for Happy Facial Expressions

2017 ◽  
Vol 43 (3) ◽  
pp. 139-150 ◽  
Author(s):  
Ljubica Damjanovic ◽  
Heather Wilkinson ◽  
Julie Lloyd
Keyword(s):  
Facial Expressions

Wiser Reasoning and Less Disgust Have the Potential to Better Achieve Suicide Prevention

Crisis ◽  
2020 ◽  
pp. 1-8
Author(s):  
Chao S. Hu ◽  
Jiajia Ji ◽  
Jinhao Huang ◽  
Zhe Feng ◽  
Dong Xie ◽  
...  
Keyword(s):  
High School ◽  
Suicide Prevention ◽  
Cause Of Death ◽  
Facial Expressions ◽  
Emotional Reaction ◽  
Suicide Method ◽  
University Teachers ◽  
Advice Giving ◽  
Prevention Techniques

Abstract. Background: High school and university teachers need to advise students against attempting suicide, the second leading cause of death among 15–29-year-olds. Aims: To investigate the role of reasoning and emotion in advising against suicide. Method: We conducted a study with 130 students at a university that specializes in teachers' education. Participants sat in front of a camera, videotaping their advising against suicide. Three raters scored their transcribed advice on "wise reasoning" (i.e., expert forms of reasoning: considering a variety of conditions, awareness of the limitation of one's knowledge, taking others' perspectives). Four registered psychologists experienced in suicide prevention techniques rated the transcripts on the potential for suicide prevention. Finally, using the software Facereader 7.1, we analyzed participants' micro-facial expressions during advice-giving. Results: Wiser reasoning and less disgust predicted higher potential for suicide prevention. Moreover, higher potential for suicide prevention was associated with more surprise. Limitations: The actual efficacy of suicide prevention was not assessed. Conclusion: Wise reasoning and counter-stereotypic ideas that trigger surprise probably contribute to the potential for suicide prevention. This advising paradigm may help train teachers in advising students against suicide, measuring wise reasoning, and monitoring a harmful emotional reaction, that is, disgust.

scholarly journals Building an Emotionally Responsive Avatar with Dynamic Facial Expressions in Human—Computer Interactions

2021 ◽  
Vol 5 (3) ◽  
pp. 13
Author(s):  
Heting Wang ◽  
Vidya Gaddy ◽  
James Ross Beveridge ◽  
Francisco R. Ortega
Keyword(s):  
Facial Expressions ◽  
Descriptive Analysis ◽  
Uncanny Valley ◽  
Human Computer Interactions ◽  
Basic Emotions ◽  
Subjective Responses ◽  
Dynamic Facial Expressions ◽  
Nasa Tlx ◽  
Computer Interactions

The role of affect has been long studied in human–computer interactions. Unlike previous studies that focused on seven basic emotions, an avatar named Diana was introduced who expresses a higher level of emotional intelligence. To adapt to the users various affects during interaction, Diana simulates emotions with dynamic facial expressions. When two people collaborated to build blocks, their affects were recognized and labeled using the Affdex SDK and a descriptive analysis was provided. When participants turned to collaborate with Diana, their subjective responses were collected and the length of completion was recorded. Three modes of Diana were involved: a flat-faced Diana, a Diana that used mimicry facial expressions, and a Diana that used emotionally responsive facial expressions. Twenty-one responses were collected through a five-point Likert scale questionnaire and the NASA TLX. Results from questionnaires were not statistically different. However, the emotionally responsive Diana obtained more positive responses, and people spent the longest time with the mimicry Diana. In post-study comments, most participants perceived facial expressions on Diana’s face as natural, four mentioned uncomfortable feelings caused by the Uncanny Valley effect.

Oralizations in e-mail consultations: A study of general practitioners’ use of non-verbal cues in written doctor–patient communication

2021 ◽  
Vol 13 (2) ◽  
pp. 195-211
Author(s):  
Maja Nordtug ◽  
Jane Ege Møller ◽  
Signe Schlichting Matthiesen ◽  
Matilde Nisbeth Brøgger
Keyword(s):  
General Practitioners ◽  
Facial Expressions ◽  
Eye Contact ◽  
Spatial Arrangement ◽  
Patient Communication ◽  
Verbal Cues ◽  
Spelling Errors ◽  
Doctor Patient Communication ◽  
E Mail

It is well-known that non-verbal cues are essential in doctor–patient communication. As doctor–patient communication is turning increasingly digital and written, it becomes relevant to explore the role of non-verbal cues in such communication genres. One more recent genre is the doctor–patient e-mail consultation. Research has found that while patients like e-mail consultations, they also miss facial expressions, eye contact, etc. In this study, we explored the different ways in which Danish GPs use non-verbal cues in e-mail consultations. We analysed 633 e-mail consultations written by 22 GPs. We applied the concept of oralization, which includes the use of emoticons and non-standard use of grammar and spatial arrangement. We found that the dominant types of oralizations were non-corrected spelling errors and lack of attention to capitalization. Overall, GPs used a limited number of other non-verbal cues. We discuss how these findings relate to norms of formality and professional context.

scholarly journals Distinct facial expressions represent pain and pleasure across cultures

2018 ◽  
Vol 115 (43) ◽  
pp. E10013-E10021 ◽  
Author(s):  
Chaona Chen ◽  
Carlos Crivelli ◽  
Oliver G. B. Garrod ◽  
Philippe G. Schyns ◽  
José-Miguel Fernández-Dols ◽  
...  
Keyword(s):  
Facial Expressions ◽  
Mental Representations ◽  
Affective States ◽  
Information Theoretic ◽  
Complementary Approach ◽  
Dynamic Facial Expressions ◽  
Negative Affective States ◽  
Affective Experiences ◽  
New Research

Real-world studies show that the facial expressions produced during pain and orgasm—two different and intense affective experiences—are virtually indistinguishable. However, this finding is counterintuitive, because facial expressions are widely considered to be a powerful tool for social interaction. Consequently, debate continues as to whether the facial expressions of these extreme positive and negative affective states serve a communicative function. Here, we address this debate from a novel angle by modeling the mental representations of dynamic facial expressions of pain and orgasm in 40 observers in each of two cultures (Western, East Asian) using a data-driven method. Using a complementary approach of machine learning, an information-theoretic analysis, and a human perceptual discrimination task, we show that mental representations of pain and orgasm are physically and perceptually distinct in each culture. Cross-cultural comparisons also revealed that pain is represented by similar face movements across cultures, whereas orgasm showed distinct cultural accents. Together, our data show that mental representations of the facial expressions of pain and orgasm are distinct, which questions their nondiagnosticity and instead suggests they could be used for communicative purposes. Our results also highlight the potential role of cultural and perceptual factors in shaping the mental representation of these facial expressions. We discuss new research directions to further explore their relationship to the production of facial expressions.

The Role of Facial Expressions in the Art of Musical Conducting

2021 ◽  
Vol 66 (2) ◽  
pp. 247-253
Author(s):  
Aurel Muraru
Keyword(s):  
Nonverbal Communication ◽  
Facial Expressions ◽  
The Body ◽  
Large Array ◽  
Level Of Education ◽  
External Influences ◽  
Unitary System ◽  
Accurate Reflection ◽  
Entire Array

"Facial expressions can be regarded as an accurate reflection of the inner emotions people manifest towards the surrounding reality, filtered through their own emotional „strainer”. The source of these feelings lies not only in external influences, but also in a man's own thoughts, experiences, level of education and culture, as well as the degree of development of their own volitional and emotional capacities, in which muscle movements are merely just a simple mechanical means of rendering. The entire array of facial expressions acts as a unitary system which does nothing but complete the movements of the conductor's hands, filling them with meaning. We can say that this type of communication represents a way of combining the most delicate, vibrant, profound, and subtle feelings. It would be impossible to imagine that the movement of the arms, unsupported by the expression of the eyes and face or by the position of the body, were able to express a large array of emotions (joy, pain, sadness, rage, fear, surprise, or confidence) accurately and unequivocally. Keywords: facial expressions, mimicry, nonverbal communication, conductor, performance. "

scholarly journals The role of interoception in understanding others' affect. Dissociation between superficial and detailed appraisal of facial expressions

Cortex ◽  
2020 ◽  
Vol 130 ◽  
pp. 16-31 ◽  
Author(s):  
Giada Dirupo ◽  
Corrado Corradi-Dell’Acqua ◽  
Maha Kashef ◽  
Martin Debbané ◽  
Deborah Badoud
Keyword(s):  
Facial Expressions

The Auditory Kuleshov Effect: Multisensory Integration in Movie Editing

Perception ◽  
2016 ◽  
Vol 46 (5) ◽  
pp. 624-631 ◽  
Author(s):  
Andreas M. Baranowski ◽  
H. Hecht
Keyword(s):  
Facial Expression ◽  
Facial Expressions ◽  
Multisensory Integration ◽  
Interaction Effect ◽  
Neutral Face ◽  
The Face ◽  
Sad Music ◽  
Ambiguous Situations

Almost a hundred years ago, the Russian filmmaker Lev Kuleshov conducted his now famous editing experiment in which different objects were added to a given film scene featuring a neutral face. It is said that the audience interpreted the unchanged facial expression as a function of the added object (e.g., an added soup made the face express hunger). This interaction effect has been dubbed “Kuleshov effect.” In the current study, we explored the role of sound in the evaluation of facial expressions in films. Thirty participants watched different clips of faces that were intercut with neutral scenes, featuring either happy music, sad music, or no music at all. This was crossed with the facial expressions of happy, sad, or neutral. We found that the music significantly influenced participants’ emotional judgments of facial expression. Thus, the intersensory effects of music are more specific than previously thought. They alter the evaluation of film scenes and can give meaning to ambiguous situations.

The role of cinematic techniques in understanding character affect

2017 ◽  
Vol 7 (2) ◽  
pp. 177-202
Author(s):  
James A. Clinton ◽  
Stephen W. Briner ◽  
Andrew M. Sherrill ◽  
Thomas Ackerman ◽  
Joseph P. Magliano
Keyword(s):  
Facial Expressions ◽  
Visual Input ◽  
Point Of View ◽  
Affective States ◽  
Basic Emotions

Abstract Filmmakers must rely on cinematic devices of perspective (close-ups and point-of-view shot sequencing) to emphasize facial expressions associated with affective states. This study explored the extent to which differences in the use of these devices across two films that have the same content lead to differences in the understanding of the affective states of characters. Participants viewed one of two versions of the films and made affective judgments about how characters felt about one another with respect to saddness and anger. The extent to which the auditory and visual contexts were present when making the judgments was varied across four experiments. The results of the study showed judgments about sadness differed across the two films, but only when the entire context (sound and visual input) were present. The results are discussed in the context of the role of facial expressions and context in inferring basic emotions.

From Movement to Action

2017 ◽  
Author(s):  
Peggy Mason
Keyword(s):  
Cerebral Palsy ◽  
Motor Control ◽  
Facial Expression ◽  
Postural Control ◽  
Facial Expressions ◽  
Body Mass ◽  
Emotional Facial Expressions ◽  
Cortical Regions ◽  
Self Motion

Tracts descending from motor control centers in the brainstem and cortex target motor interneurons and in select cases motoneurons. The mechanisms and constraints of postural control are elaborated and the effect of body mass on posture discussed. Feed-forward reflexes that maintain posture during standing and other conditions of self-motion are described. The role of descending tracts in postural control and the pathological posturing is described. Pyramidal (corticospinal and corticobulbar) and extrapyramidal control of body and face movements is contrasted. Special emphasis is placed on cortical regions and tracts involved in deliberate control of facial expression; these pathways are contrasted with mechanisms for generating emotional facial expressions. The signs associated with lesions of either motoneurons or motor control centers are clearly detailed. The mechanisms and presentation of cerebral palsy are described. Finally, understanding how pre-motor cortical regions generate actions is used to introduce apraxia, a disorder of action.

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