Open biological negative image set

Scientists conducting affective research often use visual, emotional images, to examine the mechanisms of defensive responses to threatening and dangerous events and objects. Many studies use the rich emotional images from the International Affective Picture System (IAPS) to facilitate affective research. While IAPS images can be classified into emotional categories such as fear or disgust, the number of images per discrete emotional category is limited. We developed the Open Biological Negative Image Set (OBNIS) consisting of 200 colour and greyscale creature images categorized as disgusting, fearful or neither. Participants in Experiment 1 ( N = 210) evaluated the images' valence and arousal and classified them as disgusting , fearful or neither. In Experiment 2, other participants ( N = 423) rated the disgust and fear levels of the images. As a result, the OBNIS provides valence, arousal, disgust and fear ratings and ‘disgusting,’ 'fearful' and ‘neither’ emotional categories for each image. These images are available to download on the Internet ( https://osf.io/pfrx4/?view_only=911b1be722074ad4aab87791cb8a72f5 ).

Individual differences in music reward sensitivity influence the perception of emotions represented by music

Although music is one of the most important sources of pleasure for many people, there are considerable individual differences in music reward sensitivity. Behavioral and neurobiological characterizations of music reward variability have been topics of increasing scientific interest over the last two decades. However, it is not clear how differences in music reward sensitivity might influence the perception of emotions represented by music and, specifically, how music reward sensitivity could influence subjective music evaluation when the affective valence of music is considered. In the present study, we investigated the relationship between music reward sensitivity and the perception of emotions in music, taking into account the emotional category of stimuli (pleasant, neutral, or unpleasant music clips). Music reward and emotion perception were also explored as a function of gender, musicianship, and music discrimination skills. We used the Barcelona Music Reward Questionnaire and the previously validated Film Music Stimulus Set (FMSS); participants rated FMSS excerpts for affective dimensions (valence, energy, and tension arousal) and discrete emotions (happiness, anger, fear, tenderness, and sadness). Our results showed that music reward was the main factor influencing FMSS evaluation, particularly for excerpts associated with positive affect. Gender had an important influence on evaluations linked to the negative pole of emotions, and music discrimination skills seemed to be associated with cognitive aspects of music analysis, rather than with the emotional architecture of pleasant music excerpts. Our findings highlight the need to consider music reward sensitivity and gender in studies of music and emotion, and open the possibility of using the FMSS in studies exploring the neurobiological and psychosocial bases of music emotion.

A lyrical discourse/text as a speech genre crossover

The author of the article understands lyrical discourses/texts as holistic speech acts, generated by inflamed emotions and a wide range of strong emotional affects which are certainly essentially interactive by nature. The notion of an authocommunicative (in a broader sense – lyrical) speech genre crossover embraces literary and colloquial, primary and secondary speech genres in the form of monologues and dialogues. The permanent feature of all of them is their special insightful stylistic expressiveness. Internal speech, in case it is used by a competent user capable of creative figurative thinking, when addressed to the proper addressee turns from the thing in itself to the thing (discourse/text) for those who are entitled and those who know. The proper addressee is a desirable communicative and emotional category which in this case presupposes openness to those whose are ready for a thorough sincere internal dialogue with the given lyrically coloured speech act. Lyrical discourses/texs of a speech genre crossover may be characterized through the universal psychological-semantic triad of attention – joint participation – discovery. Absorbing selflessly into a lyrical text we wire up our attention to the original intonations of the author’s state of mind and mood. This is followed by a noticeably updated personal experience of the addressee, initiating new individual evaluative feelings, directly or indirectly related to the dynamics of the author’s intentions. Eventually, comes the final chord which is able to transfer the discovery of sensory and conceptual author’s intentions. The integral perception of perfect lyrical discourses/texts introduces us to numerous cultural practices of phatic and informational interactions invigoratingly influencing authocommunictive aptitudes of the person, which at long last facilitates their free emotional and intellectual enhancement.

Categories

This chapter explores five musical emotions, describing their behavioral properties in analytical detail across Baroque, Classical, and Romantic styles. It begins by reconsidering the popular circumplex model of musical emotion. It then develops the attitudinal theory by bringing into play the notion of cognitive processing styles (after Galen Bodenhausen): the idea that emotions are also ways of thinking and hearing—indeed, that thinking and hearing are types of behavior. The major part of the chapter then uses these tools to analyze five musical emotions. Each section constitutes a “very short history of emotion” focusing on a basic emotional category (happiness, anger, sadness, tenderness, and fear) and ranging across analytical examples from the entire common practice period, in broadly chronological order.

rythme dans la poésie africaine : entre monotonie et dynamisme

El ritmo, en el centro del texto, es una cuestión que rara vez se aborda por su cuenta. Sin embargo, aunque carece de sentido, el papel del ritmo en la construcción del sentido en el texto es sumamente esencial. Así pues, el ritmo, aunque no tenga sentido, tiene sentido por la forma en que interviene en la secuencia de texto. A este respecto, se resuelven muchas cuestiones dentro del texto, en particular las relativas a la fijación del sentido, así como las vinculadas a la expresión de la obsesión y de la emoción. Todas estas son cuestiones que preocupan nuestra reflexión actual, a través de dos puntos esenciales a este respecto y que nos llevan, en primer lugar, a interrogarnos sobre la problemática de la construcción del equilibrio entre el contenido y la forma en las secuencias de texto; en segundo lugar, el proceso al término del cual nace la categoría emocional, condición del placer estético del texto. Rhythm, at the heart of the text, is an issue that is rarely addressed for its own sake. Yet, although it has no meaning, the role of rhythm in the construction of meaning in the text is most essential. It is thus that the rhythm, in the absence of meaning, makes sense, however, by the way it intervenes in the sequence of text. It is in this respect that a number of questions are resolved within the text, particularly those relating to the fixing of meaning, as well as those relating to the expression of obsession and emotion. These are all questions which concern our present reflection, through two essential points on this subject and which lead us, in the first place, to question the problem of the construction of the balance between the content and the form in the textual sequences; second, the process at the end of which the emotional category takes birth, condition of the aesthetic pleasure of the text. Le rythme, au cœur du texte, est un problème rarement abordé pour lui-même. Pourtant, bien qu'il n'ait aucun sens, le rôle du rythme dans la construction du sens dans le texte est le plus essentiel. C'est ainsi que le rythme, en l'absence de sens, prend tout son sens, par sa façon d'intervenir dans la séquence du texte. C'est à cet égard qu'un certain nombre de questions sont résolues dans le texte, notamment celles relatives à la fixation du sens, ainsi que celles relatives à l'expression de l'obsession et de l'émotion. Autant de questions qui concernent notre réflexion actuelle, à travers deux points essentiels sur ce sujet et qui nous conduisent, en premier lieu, à questionner le problème de la construction de l'équilibre entre le contenu et la forme dans les séquences textuelles; deuxièmement, le processus au terme duquel prend naissance la catégorie émotionnelle, condition du plaisir esthétique du texte.

EXPLORING ONLINE NEWS AS COMPARATIVE STUDY BETWEEN VENDATU AT INDIA AND RUANGGURU FROM INDONESIA IN COVID-19 PANDEMIC

To prevent the spread of COVID-19, schools are closed in India and Indonesia. Governments have to make hard decisions which result in students are having a hard time studying. They have to stay and study at home. Not all schools are ready for online school as the tools or systems are not ready. Fortunately, Vedantu and RuangGuru as education platforms based on mobile applications and computers give free access to students in times of COVID-19. Through this research the authors find many ideations come up back and forth through the process from the decision which the governments made until solutions come from the support of Vedantu and RuangGuru application. In this journal, the authors try to compare two news reported by NewIndianExpress.com and JakartaGlobe.id where the authors find three parts of news that have similar ideations and the three categories which in part of ideation (cognitive, emotional, social). To analyze the news the authors use Mayring methodology as the tools to analyze textual content and ideations as the theory to compare between the two news. There are three similarities being compared between India and Indonesia. Firstly, the governments‘ policy to prevent the spread COVID-19 where they want to establish beliefs, values, and self-image through cognitive categories, Secondly Decision making to close the school and start online learning which is not well-prepared as their emotional category involved to bring self-efficacy and responses, Lastly Vedantu and Ruangguru come to support and influence (Social category).

Tensor-Based Emotional Category Classification via Visual Attention-Based Heterogeneous CNN Feature Fusion

The paper proposes a method of visual attention-based emotion classification through eye gaze analysis. Concretely, tensor-based emotional category classification via visual attention-based heterogeneous convolutional neural network (CNN) feature fusion is proposed. Based on the relationship between human emotions and changes in visual attention with time, the proposed method performs new gaze-based image representation that is suitable for reflecting the characteristics of the changes in visual attention with time. Furthermore, since emotions evoked in humans are closely related to objects in images, our method uses a CNN model to obtain CNN features that can represent their characteristics. For improving the representation ability to the emotional categories, we extract multiple CNN features from our novel gaze-based image representation and enable their fusion by constructing a novel tensor consisting of these CNN features. Thus, this tensor construction realizes the visual attention-based heterogeneous CNN feature fusion. This is the main contribution of this paper. Finally, by applying logistic tensor regression with general tensor discriminant analysis to the newly constructed tensor, the emotional category classification becomes feasible. Since experimental results show that the proposed method enables the emotional category classification with the F1-measure of approximately 0.6, and about 10% improvement can be realized compared to comparative methods including state-of-the-art methods, the effectiveness of the proposed method is verified.

Complex Scenes From the International Affective Picture System (IAPS)

Complex scenes from standardized stimuli databases such as the International Affective Picture System (IAPS) are organized dimensionally rather than discretely. Further, the potentially unique function of socially relevant scenes is often overlooked. This study sought to identify discrete categories of complex scenes from the IAPS and to explore if there were qualitative features that make the emotional content of some social scenes identifiable with higher levels of agreement. One hundred and three participants (53.4% female, mean age 24.4) judged 118 IAPS scenes as reflecting fear, happy, sad, or neutral. A second judgment study was conducted with a separate group of participants ( N = 117; 79.2% female; mean age 30.41) to further characterize valid affective scenes across the full range of basic emotions. Sixty images received agreement on their emotional category from >70% of judges and were considered valid. IAPS identifier codes for these images are available for reference (along with the supplementary material from the second judgment study), organized by emotional and social content. An incidental observation was such that compared to nonsocial scenes, lower agreement rates were observed for social scenes across the board. Qualitative features of social scenes that were classified into emotional categories based on higher levels of agreement are discussed.

What kind of emotions do emoticons communicate?

Purpose The purpose of this paper is to study the nature and concept of emoticons/emojis. Instead of taking for granted that these user-generated formats are necessarily emotional, we empirically assessed in what extent are they and the specificity of each one. Drawing on congruent mood state, valence core and emotion appraisal theories we expected a compatible statistical association between positive/negative/neutral emotional valence expressions and emoticons of similar valence. The positive emoticons were consistently associated with positive valence posts. Added to that analysis, 21 emotional categories were identified in posts and correlated with eight emoticons. Design/methodology/approach Two studies were used to address this question. The first study defined emoticon concept and interpreted their meaning highlighting their communication goals and anticipated effects. The link between emojis and emoticons was also obtained. Some emoticons types present more ambiguity than others. In the second study, three years of real and private (Facebook) posts from 82 adolescents were content analyzed and coded. Findings Only the neutral emoticons always matched neutral emotional categories found in the written interaction. Although the emoticon valence and emotional category congruence pattern was the rule, we also detected a combination of different valence emoticons types and emotion categories valence expressions. Apparently the connection between emoticon and emotion are not so obviously straightforward as the literature used to assume. The created objects designed to communicate emotions (emoticons) have their specific corresponding logic with the emotional tone of the message. Originality/value Theoretically, we discussed the emotional content of emoticons/emojis. Although this king of signals have an Asian origin and later borrowed from the western countries, their ambiguity and differing specificity have never been analyzed.

Emotions after stroke: A narrative update

Aim In this narrative review we aimed to describe how stroke affects emotions and update the readers on the emotional disturbances that occur after stroke. Methods We searched Medline from 1.1.2013 to 1.7.2019, personal files and references of selected publications. All retrieved systematic reviews and randomized controlled trials were included. Other references were selected by relevance. Summary of review The emotional response includes a reactive behavior with arousal, somatic, motivational and motor components, and a distinctive cognitive and subjective affective experience. Emotional category responses and experiences after stroke can show dissociations between the behavioral response and the cognitive and affective experiences. Emotional disturbances that often occur after stroke include fear, anger, emotional indifference, lack of understanding of other emotions, and lack of control of emotional expression. Emotional disturbances limit social reintegration of the persons with stroke and are a source of caregiver burnout. The evidence to support the management of the majority of emotional disorders in stroke survivors is currently weak and of low or very low methodologic quality. An exception are the disorders of emotional expression control where antidepressants can have a strong beneficial effect, by reducing the number and duration of the uncontrollable episodes of crying or laughing. Conclusion Our current knowledge of the emotional disorders that occurs in acute stroke patients and in stroke survivors is heterogeneous and limited. Joint efforts of different research approaches, methodologies and disciplines will improve our current understanding on emotional disorder after stroke and indicate rational pathways to manage them.