Culture shapes preschoolers’ emotion recognition but not emotion comprehension: a cross-cultural study in Germany and Singapore

Contemporary approaches suggest that emotions are shaped by culture. Children growing up in different cultures experience culture-specific emotion socialization practices. As a result, children growing up in Western societies (e.g., US or UK) rely on explicit, semantic information, whereas children from East Asian cultures (e.g., China or Japan) are more sensitive towards implicit, contextual cues when confronted with others’ emotions. The aim of the present study was to investigate two aspects of preschoolers’ emotion understanding (emotion recognition and emotion comprehension) in a cross-cultural setting. To this end, Singaporean and German preschoolers were tested with an emotion recognition task employing European-American and East Asian child’s faces and the Test of Emotion Comprehension (TEC; Pons et al., 2004). In total, 129 German and Singaporean preschoolers (mean age 5.34 years) participated. Results indicate that preschoolers were able to recognize emotions of child’s faces above chance level. In line with previous findings, Singaporean preschoolers were more accurate in recognizing emotions from facial stimuli compared to German preschoolers. Accordingly, Singaporean preschoolers outperformed German preschoolers in the Recognition component of the TEC. The overall performance in TEC did not differ between the two samples. Findings of this study provide further evidence that emotion understanding is culturally shaped in accordance with culture-specific emotion socialization practices.

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.

An Interactive Approach to Emotional Expression Through Musical Cues

Previous literature suggests that structural and expressive cues affect the emotion expressed in music. However, only a few systematic explorations of cues have been done, usually focussing on a few cues or a limited amount of predetermined arbitrary cue values. This paper presents three experiments investigating the effect of six cues and their combinations on the music's perceived emotional expression. Twenty-eight musical pieces were created with the aim of providing flexible, ecologically valid, unfamiliar, new stimuli. In Experiment 1, 96 participants assessed which emotions were expressed in the pieces using Likert scale ratings. In Experiment 2, a subset of the stimuli was modified by participants (N = 42) via six available cues (tempo, mode, articulation, pitch, dynamics, and brightness) to convey seven emotions (anger, sadness, fear, joy, surprise, calmness, and power), addressing the main aim of exploring the impact of cue levels to expressions. Experiment 3 investigated how well the variations of the original stimuli created by participants in Experiment 2 expressed their intended emotion. Participants (N = 91) rated them alongside the seven original pieces, allowing the exploration of similarities and differences between the two sets of related pieces. An overall pattern of cue combinations was identified for each emotion. Some findings corroborate previous studies: mode and tempo were the most impactful cues in shaping emotions, and sadness and joy were amongst the most accurately recognised emotions. Novel findings include soft dynamics being used to convey anger, and dynamics and brightness being the least informative cues. These findings provide further motivation to investigate the effect of cues on emotions in music as combinations of multiple cues rather than as individual cues, as one cue might not give enough information to portray a specific emotion. The new findings and discrepancies are discussed in relation to current theories of music and emotions.

Machine learning classification of conduct disorder with high versus low levels of callous-unemotional traits based on facial emotion recognition abilities

Conduct disorder (CD) with high levels of callous-unemotional traits (CD/HCU) has been theoretically linked to specific difficulties with fear and sadness recognition, in contrast to CD with low levels of callous-unemotional traits (CD/LCU). However, experimental evidence for this distinction is mixed, and it is unclear whether these difficulties are a reliable marker of CD/HCU compared to CD/LCU. In a large sample (N = 1263, 9–18 years), we combined univariate analyses and machine learning classifiers to investigate whether CD/HCU is associated with disproportionate difficulties with fear and sadness recognition over other emotions, and whether such difficulties are a reliable individual-level marker of CD/HCU. We observed similar emotion recognition abilities in CD/HCU and CD/LCU. The CD/HCU group underperformed relative to typically developing (TD) youths, but difficulties were not specific to fear or sadness. Classifiers did not distinguish between youths with CD/HCU versus CD/LCU (52% accuracy), although youths with CD/HCU and CD/LCU were reliably distinguished from TD youths (64% and 60%, respectively). In the subset of classifiers that performed well for youths with CD/HCU, fear and sadness were the most relevant emotions for distinguishing them from youths with CD/LCU and TD youths, respectively. We conclude that non-specific emotion recognition difficulties are common in CD/HCU, but are not reliable individual-level markers of CD/HCU versus CD/LCU. These findings highlight that a reduced ability to recognise facial expressions of distress should not be assumed to be a core feature of CD/HCU.

The role of emotion regulation in eating disorders: a network meta-analysis approach

Background: Previous theoretical models and reviews have documented a strong connection between emotion dysregulation eating disorder (ED) psychopathology among the general and clinical populations. The aim of this review was to build on this previous work by conducting a network meta-analysis to explore associations between specific emotion regulation strategies and ED psychopathology trans-diagnostically across the ED spectrum to identify areas of emotion dysregulation that have the strongest association with symptomatology.Methodology: A total of 105 studies were included in the meta-analysis and correlation coefficient representing the associations between specific emotion regulation strategies and ED symptomatology were extracted. We ran a Bayesian random effects network meta-analysis and the initial network was well connected with each emotion regulation strategy being linked to at least one other strategy. We also conducted a network meta-regression to explore whether between-study differences in body mass index (BMI), age, and whether the sample consisted of solely female participants explained any possible network inconsistency. Results: The network meta-analysis revealed that ruminations and non-acceptance of emotions were most closely associated with ED psychopathology. There was no significant network inconsistency but two comparisons approached significance and thus meta-regressions were conducted. The meta-regressions revealed a significant effect of BMI such that the associations between different emotion regulation strategies and ED symptomatology were weaker among those with low BMI. Discussion: The present findings build on previous work and highlight the role of rumination and difficulties with accepting emotions as key emotion regulation difficulties in EDs. Additionally, the finding that the associations were weaker among ED patients with low BMI may point towards a complex relationship between ED behaviours and emotion regulation. Taken together, our findings call for interventions that target emotion regulation, specifically rumination and difficulties accepting emotions, in the treatment of EDs.

Infants are sensitive to cultural differences in emotions at 11 months

A myriad of emotion perception studies has shown infants’ ability to discriminate different emotional categories, yet there has been little investigation of infants’ perception of cultural differences in emotions. Hence little is known about the extent to which culture-specific emotion information is recognised in the beginning of life. Caucasian Australian infants of 10–12 months participated in a visual-paired comparison task where their preferential looking patterns to three types of infant-directed emotions (anger, happiness, surprise) from two different cultures (Australian, Japanese) were examined. Differences in racial appearances were controlled. Infants exhibited preferential looking to Japanese over Caucasian Australian mothers’ angry and surprised expressions, whereas no difference was observed in trials involving East-Asian Australian mothers. In addition, infants preferred Caucasian Australian mothers’ happy expressions. These findings suggest that 11-month-olds are sensitive to cultural differences in spontaneous infant-directed emotional expressions when they are combined with a difference in racial appearance.

Being Moved: Motion and Emotion in Classical Antiquity and Today

Efforts to identify in the expression “being moved” a new emotion have found a hospitable environment in the recent turn to the body in emotion and cognitive studies, exemplified herein affect theory, with a particular focus on the effects of music. Although classical Greek and Latin had comparable expressions, however, they did not single out a specific emotion. Given that music played an important role in ancient educational theories, and was imagined as having arousing powerful reactions, this might seem a curious absence. The reason, at least in part, maybe the strong cognitive conception of emotions characteristic of classical theories. But this should not discourage the search for emotions that are not included in the ancient canons.

Emotional Gaze: The Effects of Gaze Direction on the Perception of Facial Emotions

Previous research has found that when gaze direction matches the underlying behavioral intent communicated by the expression of a specific emotion, it enhances or facilitates the perception of that emotion; this is called the shared signal hypothesis (SSH). Specifically, a direct gaze shares an approach-orientated signal with the emotions of anger and joy, whereas an averted gaze shares an avoidance-orientated signal with fear and sadness. In this research, we attempted to verify the SSH by using different materials on Asian participants. In Experiment 1 we employed photos of models exhibiting direct and averted gazes for rating tasks, in order to study the effects of gaze direction on participants’ perception of emotion. In Experiment 2 we utilized smiling faces in a similar investigation. The results show that for neutral and smiling faces, a direct gaze (relative to a gaze of avoidance) increased the likelihood of a subject perceiving a happy mood; a gaze of avoidance increased the likelihood that anger and fear would be perceived. The effect of gaze direction on emotional expression perception was verified, but a “facilitating-impairing” pattern was not. The difference between our work and previous research may be attributable to the materials employed (which were more ecological), as well as the participants, who were from a different culture.

Gender Differences in Identifying Facial, Prosodic, and Semantic Emotions Show Category- and Channel-Specific Effects Mediated by Encoder's Gender

Purpose The nature of gender differences in emotion processing has remained unclear due to the discrepancies in existing literature. This study examined the modulatory effects of emotion categories and communication channels on gender differences in verbal and nonverbal emotion perception. Method Eighty-eight participants (43 females and 45 males) were asked to identify three basic emotions (i.e., happiness, sadness, and anger) and neutrality encoded by female or male actors from verbal (i.e., semantic) or nonverbal (i.e., facial and prosodic) channels. Results While women showed an overall advantage in performance, their superiority was dependent on specific types of emotion and channel. Specifically, women outperformed men in regard to two basic emotions (happiness and sadness) in the nonverbal channels and only the anger category with verbal content. Conversely, men did better for the anger category in the nonverbal channels and for the other two emotions (happiness and sadness) in verbal content. There was an emotion- and channel-specific interaction effect between the two types of gender differences, with male subjects showing higher sensitivity to sad faces and prosody portrayed by the female encoders. Conclusion These findings reveal explicit emotion processing as a highly dynamic complex process with significant gender differences tied to specific emotion categories and communication channels. Supplemental Material https://doi.org/10.23641/asha.15032583

Investigating Emotion Perception via the Two-Dimensional Affect and Feeling Space: An Example of a Cross-Cultural Study Among Chinese and Non-Chinese Participants

The categorical approach to cross-cultural emotion perception research has mainly relied on constrained experimental tasks, which have arguably biased previous findings and attenuated cross-cultural differences. On the other hand, in the constructionist approach, conclusions on the universal nature of valence and arousal have mainly been indirectly drawn based on participants' word-matching or free-sorting behaviors, but studies based on participants' continuous valence and arousal ratings are very scarce. When it comes to self-reports of specific emotion perception, constructionists tend to rely on free labeling, which has its own limitations. In an attempt to move beyond the limitations of previous methods, a new instrument called the Two-Dimensional Affect and Feeling Space (2DAFS) has been developed. The 2DAFS is a useful, innovative, and user-friendly instrument that can easily be integrated in online surveys and allows for the collection of both continuous valence and arousal ratings and categorical emotion perception data in a quick and flexible way. In order to illustrate the usefulness of this tool, a cross-cultural emotion perception study based on the 2DAFS is reported. The results indicate the cross-cultural variation in valence and arousal perception, suggesting that the minimal universality hypothesis might need to be more nuanced.