Research on the Influence of Visual Factors on Emotion Regulation Interaction

To guide the design direction of emotion regulation products that improve the positive emotions of users, investigation into the correlation between relevant visual factors and multi-dimensional complex emotions is needed. In the present study, an extended product emotion measurement method was adopted to describe the multi-dimensional emotional set of each influencing factor and calculate their weight according to the order. The positive and negative emotion indicators of all influencing factors were compared and the evaluation and ranking factors that affect users’ emotional value of emotion regulation products were analyzed. The experimental results reveal that specific emotion mapping scenes on positive emotion are the most significant among the key factors affecting user emotion. Further, the influence of emotional stickers, interactive data visualization, and text on positive emotions decreased in turn. The influence of emotional text on positive emotion was the lowest. Through investigating the visual factors that affect the psychological emotions of users, the development of emotion regulating products could be guided in a more scientific and reasonable manner.

FACTORS OF SEMANTIC EMOTION OF COVID-19 NEWS AFTER INTRODUCTORY VACCINE ON TWITTER

This study is based on the fact that the readers get words emotion after reading the tweets of covid-19 news. Various emotions found on the tweets of twitter relate to the Covid-19 news. Some of them make the readers being fear or sad of this pandemic. This study deals with semantic emotion of covid-19 news in twitter account of CNN Breaking News. The objectives of the study is to investigate how the semantic emotions realized in Covid-19 news. The study was conducted by using descriptive qualitative. The data of this study were words from tweets which contain semantic emotion of Covid-19 news in twitter. The sources of data in this study were Covid-19 news in twitter, after vaccine Covid-19 distributed since beginning of January 2021. It was found that emotions were realized in covid-19 news, namely: basic emotion, emotional relations, caused emotions, causative, emotional goals, and complex emotions. Contrary with the expectation, happiness was the dominant emotion found in covid-19 news on twitter. Happiness is an emotion to show pleasant, while covid-19 in unpleasant situation. But in this research, it was found that happiness had a high frequency.Keywords: Semantic Emotion, Covid-19, Twitter, Vaccine

Spatialising Grief. A Landscape-based investigation of atmosphere and recovery

<p>I consider atmosphere as a spatial layer of a site and as such, a critical aspect of how urban landscapes are experienced. In this way atmosphere is understood as more than a feeling or sense of connection to a place, thus an intangible fixture that allows spaces to be both unique and general to a person at a given moment (Andersson 73 - 76) .Atmospheric space is thus nonphysical and engages a sensation of emotion and thought rather than the senses of sight, touch, and sound. I identify this layer of space lacks coherence within the urban fabric of cities which tend to focus on landscape as a focus of movement and functions. Spaces for reflection are most often formalised within the city, reflecting on a general scale rather than allowing for individual reflection. Memorials are designed to represent the grief of the city in regards to a specific event and work as a symbolic statement. In this way whilst memorials prompt a form of reflection on collective grief, they do not make a context for individuals personal connections to their own grieving process..This design considers how landscape architecture can design urban spaces that carry such influence. To approach this issue the project uses atmosphere, an ethereal layer of design, to create spaces that allow for positive reflection for those grieving by way of small triggers or ‘vignettes’. These subtle aspects of design prompt a walker experiencing grief to transcend the space, if only for a moment, and aid their recovery process. The project draws on both landscape design discourse and psychology. Research on grief clinically and emotionally has demonstrated a general process of one’s relationship to grief and its eventual transition from a hostile antagonist relation to a friendly companion (Vaughn 36 - 40). This recovery process, yielded in distinct shifts and changes,has formed the basis for the ‘vignettes’ in this design. These moments have informed the design and driven the composition of connection between space and griever. The project explores how atmosphere can be used in design (method) as a ‘connector’ between the user and site. Existing atmospherics of the site are identified and used as a foundation with subtle and minimally noticeable elements. This design approach allows for both a more general engagement for the everyday user whilst creating a canvas for the more reflective walker to interpret. This design research contributes to discourse that uses emotions to create subtle and light handed landscapes. It shows that when engaging with complex emotions, such as grief, joy, and fear, bold or literal gestures in the landscape are not always required.</p>

Spatialising Grief. A Landscape-based investigation of atmosphere and recovery

<p>I consider atmosphere as a spatial layer of a site and as such, a critical aspect of how urban landscapes are experienced. In this way atmosphere is understood as more than a feeling or sense of connection to a place, thus an intangible fixture that allows spaces to be both unique and general to a person at a given moment (Andersson 73 - 76) .Atmospheric space is thus nonphysical and engages a sensation of emotion and thought rather than the senses of sight, touch, and sound. I identify this layer of space lacks coherence within the urban fabric of cities which tend to focus on landscape as a focus of movement and functions. Spaces for reflection are most often formalised within the city, reflecting on a general scale rather than allowing for individual reflection. Memorials are designed to represent the grief of the city in regards to a specific event and work as a symbolic statement. In this way whilst memorials prompt a form of reflection on collective grief, they do not make a context for individuals personal connections to their own grieving process..This design considers how landscape architecture can design urban spaces that carry such influence. To approach this issue the project uses atmosphere, an ethereal layer of design, to create spaces that allow for positive reflection for those grieving by way of small triggers or ‘vignettes’. These subtle aspects of design prompt a walker experiencing grief to transcend the space, if only for a moment, and aid their recovery process. The project draws on both landscape design discourse and psychology. Research on grief clinically and emotionally has demonstrated a general process of one’s relationship to grief and its eventual transition from a hostile antagonist relation to a friendly companion (Vaughn 36 - 40). This recovery process, yielded in distinct shifts and changes,has formed the basis for the ‘vignettes’ in this design. These moments have informed the design and driven the composition of connection between space and griever. The project explores how atmosphere can be used in design (method) as a ‘connector’ between the user and site. Existing atmospherics of the site are identified and used as a foundation with subtle and minimally noticeable elements. This design approach allows for both a more general engagement for the everyday user whilst creating a canvas for the more reflective walker to interpret. This design research contributes to discourse that uses emotions to create subtle and light handed landscapes. It shows that when engaging with complex emotions, such as grief, joy, and fear, bold or literal gestures in the landscape are not always required.</p>

Wilder Penfield dreams of the Nobel Prize

This essay investigates the relationship the Canadian neurosurgeon Wilder Penfield had, in old age, with honours and accolades, including the Nobel Prize. Documents from the Nobel Prize Archives shed light on his nominations and on the assessments the Committee took into consideration, illuminating the professional networks the nomination process activated and the values underwriting the adjudication process. Meanwhile, Penfield's correspondence and personal diary reveal the complex emotions that such a prestigious award can engender. Penfield expressed a reticence to fully embrace the Prize, although he had once actively worked to gather support for his own nomination. This essay also considers a little-studied phenomenon—the rejection of prizes. While mundane considerations such as wishing not to travel may have played a role, Penfield expressed a deeper disconnect between his own sense of self and the prizes he rejected, declaring a feeling of personal unworthiness vis-à-vis their particularities. Moreover, he also expressed a more general ambivalence regarding awards because they tended to single out individuals, and for him this stood in tension with the reality of the collective, communal nature of scientific work and medical practice.

Emotion Dynamics as Hierarchical Bayesian Inference in Time

What fundamental property of our environment would be most valuable and optimal in characterizing the emotional dynamics we experience in our daily life? Empirical work has shown that an accurate estimation of uncertainty is necessary for our optimal perception, learning, and decision-making. However, the role of this uncertainty in governing our affective dynamics remains unexplored. Using Bayesian encoding, decoding and computational modelling, we show that emotional experiences naturally arise due to ongoing uncertainty estimations in a hierarchical neural architecture. This hierarchical organization involves a number of prefrontal sub-regions, with the lateral orbitofrontal cortex having the highest representational complexity of uncertainty. Crucially, this representational complexity, was sensitive to temporal fluctuations in uncertainty and was predictive of participants predisposition to anxiety. Furthermore, the temporal dynamics of uncertainty revealed a distinct functional double dissociation within the OFC. Specifically, the medial OFC showed higher connectivity with the DMN, while the lateral OFC with that of the FPN in response to the evolving affect. Finally, we uncovered a temporally predictive code updating individual beliefs swiftly in the face of fluctuating uncertainty in the lateral OFC. A biologically relevant and computationally crucial parameter in theories of brain function, we extend uncertainty to be a defining component of complex emotions.

Ephemeral/Material

This piece examines the transfer of Barbara Hammer's archive to the Beinecke Rare Book and Manuscript Library at Yale University. The archivist working with the collection highlights the complex emotions involved with this process and reflects on how her own archival work was influenced by Hammer.

Emotions, Simulation, and Abstract Art

Some people feel emotions when they look at abstract art. This article presents a ‘simulation’ theory that predicts which emotions they will experience, including those based on their aesthetic reactions. It also explains the mental processes underlying these emotions. This new theory embodies two precursors: an account of how mental models represent perceptions, descriptions, and self-reflections, and an account of the communicative nature of emotions, which distinguishes between basic emotions that can be experienced without knowledge of their objects or causes, and complex emotions that are founded on basic ones, but that include propositional contents. The resulting simulation theory predicts that abstract paintings can evoke the basic emotions of happiness, sadness, anger, and anxiety, and that they do so in several ways. In mimesis, models simulate the actions and gestures of people in emotional states, elicited from cues in the surface of paintings, and that in turn evoke basic emotions. Other basic emotions depend on synaesthesia, and both association and projection can yield complex emotions. Underlying viewers’ awareness of looking at a painting is a mental model of themselves in that relation with the painting. This self-reflective model has access to knowledge, enabling people to evaluate the work, and to experience an aesthetic emotion, such as awe or revulsion. The comments of artists and critics, and experimental results support the theory.

A Semantic Analysis of the Top Ten Network Buzzwords of China in 2020 from the Perspective of the Prototype Theory

With the further development of the Internet and the rapid growth of the number of netizens, there are always new network buzzwords appearing during online communication. Most of these buzzwords don’t come out of nowhere but are variants of the extant words or expressions. They inherit, extend or sometimes overturn the original meanings. To some extent, these semantic variations not only influence the language system, expanding the semantic category of words, but also reflect people’s cognition and emotions. Therefore, based on the prototype theory, this paper aims to analyze the semantic variations of the top ten network buzzwords of China in 2020 from three aspects: horizontally, the extension of meanings of the basic-level words; vertically, the emergence of new subordinate-level words; and the combination of the two ways of variation. The analysis of these words shows complex emotions of people, including positive life attitudes, nostalgia to the past and helplessness under huge pressures in real life.

Implementation and Evaluation of a Grip Behavior Model to Express Emotions for an Android Robot

In this study, we implemented a model with which a robot expressed such complex emotions as heartwarming (e.g., happy and sad) or horror (fear and surprise) by its touches and experimentally investigated the effectiveness of the modeled touch behaviors. Robots that can express emotions through touching behaviors increase their interaction capabilities with humans. Although past studies achieved ways to express emotions through a robot’s touch, such studies focused on expressing such basic emotions as happiness and sadness and downplayed these complex emotions. Such studies only proposed a model that expresses these emotions by touch behaviors without evaluations. Therefore, we conducted the experiment to evaluate the model with participants. In the experiment, they evaluated the perceived emotions and empathies from a robot’s touch while they watched a video stimulus with the robot. Our results showed that the touch timing before the climax received higher evaluations than touch timing after for both the scary and heartwarming videos.