EFEKAT FACIJALNE EKSPRESIJE EMOCIJA, TIPA I NIVOA MOĆI NA ZAKLJUČIVANJE O DOMINANTNOSTI OPAŽENE OSOBE

Drawing inferences of the perceived dominance of individuals is an important process which helps to regulate social interaction. Existing research indicates that inferences of the dominance of social actors can be drawn based on various social cues, including facial expression of emotion. While perceived anger usually leads to an inference of high, and perceived sadness of low dominance, perceived happiness does not create such unambiguous impressions. To achieve a clearer image, the bases and level of perceived power, specifically reward power and expertise power, were taken into consideration, both of which could be either high or low. The study included 100 participants (women = 71), first and second year psychology students. The within subject 3x2x2 design was used with Expression (happiness vs. anger vs. sadness) x Bases of power (reward power vs. expert power) x Level of power (high vs. low). Dominance was a dependent variable operationalized through the semantic differential scale. The stimuli were photographs of faces, controlled for gender and age, which displayed the aforementioned facial expressions. In the case of reward power, a significant expressed emotion x level of power interaction emerged. In the case of expert power, there was only signifficant main effect of facial expression on dominance perception. The findings were analyzed according to the various expectations of the participants, formed during the process of socialization. It could be concluded that for more insight into the mechanism which lies at the core of the effect that facial expression of emotions has on perceived dominance, the profession of the perceived individual also needs to be taken into consideration. Key words: facial expression, bases of power, level of power, dominance

Affective Context and the Interpretation of Facial Expressions in Portrait Paintings

The present study examined the effects of affective context on evaluation of facial expression of emotion in portrait paintings. Pleasant, unpleasant, and neutral context photographs were presented prior to target portrait paintings. The participants’ task was to view the portrait painting and choose an emotion label that fit the subject of the painting. The results from Experiment 1 indicated that when preceded by pleasant context, the faces in the portraits were labeled as happier. When preceded by unpleasant context, they were labeled as less happy, sadder, and more fearful. In Experiment 2, the labeling effects disappeared when context photographs were presented at a subthreshold 20 ms SOA. In both experiments, context affected processing times, with times slower for pleasant context and faster for unpleasant context. The results suggest that the context effects depend on both automatic and controlled processing of affective content contained in context photographs.

A New Insight on the Role of the Cerebellum for Executive Functions and Emotion Processing in Adults

Objective: We investigated whether the cerebellum plays a critical or supportive role in in executive and emotion processes in adults. Many investigators now espouse the hypothesis that participants with cerebellar lesions experience executive functions and emotions (EE) disorders. But we hypothesized that these disorders would be milder if the damage is relatively limited to the cerebellum compared to damage involving the cerebellum plus additional cortical areas.Methods: We studied veterans with penetrating Traumatic Brain Injury (pTBI) participating in the Vietnam Head Injury Study (VHIS). We selected veterans with a cerebellar lesion (n = 24), a prefrontal cortex lesion (n = 20), along with healthy controls (HC) (n = 55). Tests of executive functions and emotions were analyzed as well as caregiver burden. We performed between-group null hypothesis significance testing, Bayesian hypothesis tests and correlational analyses.Results: Performance of participants with cerebellar lesions which extended to the cerebral cortex was similar to the HC on the Executive Function tests but they were significantly impaired on the Working Memory Index. No differences were found on the emotional processing tasks with one exception—the Facial Expression of Emotion-Test (FEEST). We then examined a sub-group of participants with large cerebellar lesions (>15%) but minimal lesions in the cerebral cortex (<15%). This sub-group of participants performed similarly to the HC on the Working Memory Index and on the FEEST.Conclusions: We suggest that the cerebellar cortex may not be critical for executive functions or processing emotional stimuli in adults as suggested. Instead, we find that the cerebellum has a supportive role characterized by its computing of the motor requirements when EE processing is required.

Capacity-Free Automatic Processing of Facial Expressions of Emotion

Are facial expressions of emotion processed automatically? Some authors have not found this to be the case (Tomasik et al., 2009). Here we revisited the question with a novel experimental logic – the backward correspondence effect (BCE). In three dual-task studies, participants first categorized a sound (Task 1) and then indicated the location of a target face (Task 2). In Experiment 1, Task 2 required participants to search for one facial expression of emotion (angry or happy). We observed positive BCEs, indicating that facial expressions of emotion bypassed the central attentional bottleneck and thus were processed in a capacity-free, automatic manner. In Experiment 2, we replicated this effect but found that morphed emotional expressions (which were used by Tomasik) were not processed automatically. In Experiment 3, we observed similar BCEs for another type of face processing previously shown to be capacity-free – identification of familiar faces (Jung et al., 2013). We conclude that facial expressions of emotion are identified automatically when sufficiently unambiguous.

For Now We See through an AI Darkly; but Then Face-to-Face: A Brief Survey of Emotion Recognition in Biometric Art

Our knowledge about the facial expression of emotion may well be entering an age of scientific revolution. Conceptual models for facial behavior and emotion phenomena appear to be undergoing a paradigm shift brought on at least in part by advances made in facial recognition technology and automated facial expression analysis. And the use of technological labor by corporate, government, and institutional agents for extracting data capital from both the static morphology of the face and dynamic movement of the emotions is accelerating. Through a brief survey, the author seeks to introduce what he terms biometric art, a form of new media art on the cutting-edge between this advanced science and technology about the human face. In the last ten years, an increasing number of media artists in countries across the globe have been creating such biometric artworks. And today, awards, exhibitions, and festivals are starting to be dedicated to this new art form. The author explores the making of this biometric art as a critical practice in which artists investigate the roles played by science and technology in society, experimenting, for example, with Basic Emotions Theory, emotion artificial intelligence, and the Facial Action Coding System. Taking a comprehensive view of art, science, and technology, the author surveys the history of design for biometric art that uses facial recognition and emotion recognition, the individuals who create such art and the institutions that support it, as well as how this biometric art is made and what it is about. By so doing, the author contributes to the history, practice, and theory for the facial expression of emotion, sketching an interdisciplinary area of inquiry for further and future research, with relevance to academicians and creatives alike who question how we think about what we feel.