Dimensionality of the Semantic Space for Communication via Facial Expressions

Osgood, Charles E.

doi:10.1111/j.1467-9450.1966.tb01334.x

Cited by 300 publications

(177 citation statements)

References 23 publications

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“…This function can nevertheless be interpreted as attention orientation as represented in the action readiness mode attending, defined by Frijda as wanting to observe well, to understand, to pay attention (Frijda, 1986;Frijda et al, 1989). This function also corresponds to Osgood's Interest factor (Osgood, 1966), which has subsequently been reported in studies on facial expression and labeled as attentional activity (Smith & Ellsworth, 1985). Last, we assessed how well the behavioral model based on our body movement coding is able to predict individual emotions.…”

Section: Emotion Differentiation: Discriminant Analysesmentioning

confidence: 99%

“…Dimensional models (Osgood, 1966;Russell, 1983;Schlosberg, 1952, Schlosberg, 1954 imply that emotions can be defined by their locations on a small number of emotion dimensions (usually two or three). The circumplex model (Russell, 1980, Russell, 2003, for example, states that all possible affective experiences can be represented along a circular structure that is anchored by two independent and bipolar axes, valence or pleasantness, and arousal or activation.…”

Section: Emotion Theories and Predictions On Bodily Expressionmentioning

confidence: 99%

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Emotion expression in body action and posture.

Dael¹,

Mortillaro²,

Scherer³

2012

Emotion

368

282

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Emotion communication research strongly focuses on the face and voice as expressive modalities, leaving the rest of the body relatively understudied. Contrary to the early assumption that body movement only indicates emotional intensity, recent studies have shown that body movement and posture also conveys emotion specific information. However, a deeper understanding of the underlying mechanisms is hampered by a lack of production studies informed by a theoretical framework. In this research we adopted the Body Action and Posture (BAP) coding system to examine the types and patterns of body movement that are employed by 10 professional actors to portray a set of 12 emotions. We investigated to what extent these expression patterns support explicit or implicit predictions from basic emotion theory, bidimensional theory, and componential appraisal theory. The overall results showed partial support for the different theoretical approaches. They revealed that several patterns of body movement systematically occur in portrayals of specific emotions, allowing emotion differentiation. Although a few emotions were prototypically expressed by one particular pattern, most emotions were variably expressed by multiple patterns, many of which can be explained as reflecting functional components of emotion such as modes of appraisal and action readiness. It is concluded that further work in this largely underdeveloped area should be guided by an appropriate theoretical framework to allow a more systematic design of experiments and clear hypothesis testing.

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Section: Emotion Differentiation: Discriminant Analysesmentioning

confidence: 99%

Section: Emotion Theories and Predictions On Bodily Expressionmentioning

confidence: 99%

Emotion expression in body action and posture.

Dael¹,

Mortillaro²,

Scherer³

2012

Emotion

368

282

View full text Add to dashboard Cite

show abstract

“…Three dimensions are commonly found (Bimler & Kirkland, 1997;Frijda, 1969;Lemay, Kirouack, & Lacouture, 1995;Osgood, 1966;Paramei, 1996;Royal & Hays, 1959). Since Schlosberg (1954), there has been consensus about one major dimension-variously described as "Valence," "Positive / Negative," or "Hedonic Tone"-separating expressions of happiness from those of sadness, anger, etc.…”

Section: Geometrical Models For Representing the Affective Attributesmentioning

confidence: 99%

Facial-Expression Affective Attributes and their Configural Correlates: Components and Categories

Bimler

Paramei

2006

Span. J. Psychol.

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The present study investigates the perception of facial expressions of emotion, and explores the relation between the configural properties of expressions and their subjective attribution. Stimuli were a male and a female series of morphed facial expressions, interpolated between prototypes of seven emotions (happiness, sadness, fear, anger, surprise and disgust, and neutral) from Ekman and Friesen (1976). Topographical properties of the stimuli were quantified using the Facial Expression Measurement (FACEM) scheme. Perceived dissimilarities between the emotional expressions were elicited using a sorting procedure and processed with multidimensional scaling. Four dimensions were retained in the reconstructed facial-expression space, with positive and negative expressions opposed along D1, while the other three dimensions were interpreted as affective attributes distinguishing clusters of expressions categorized as "Surprise-Fear," "Anger," and "Disgust." Significant relationships were found between these affective attributes and objective facial measures of the stimuli. The findings support a componential explanatory scheme for expression processing, wherein each component of a facial stimulus conveys an affective value separable from its context, rather than a categorical-gestalt scheme. The findings further suggest that configural information is closely involved in the decoding of affective attributes of facial expressions. Configural measures are also suggested as a common ground for dimensional as well as categorical perception of emotional faces. Keywords: facial expression, emotion, facial configuration, affective dimensionsEste estudio investiga la percepción de las expresiones faciales de la emoción y explora la relación entre las propiedades configurales de las expresiones y su atribución subjetiva. Los estímulos eran una serie de expresiones faciales transformadas por ordenador, interpuestas entre los prototipos de siete emociones (felicidad, tristeza, miedo, ira, sorpresa, asco y neutral) tomados de Ekman y Friesen (1976). Las propiedades topográficas de los estímulos se cuantificaron mediante el esquema Facial Expression Measurement (FACEM). Las disimilaridades percibidas entre las expresiones emocionales se elicitaron mediante un procedimiento de clasificación y se procesaron con escalonamiento multidimensional. Se retuvieron cuatro dimensiones en el espacio facial-expresión reconstruido, con expresiones positivas y negativas contrapuestas a lo largo de D1, y las restantes tres dimensiones se interpretaron como atributos afectivos, distinguiendo clusters de expresiones clasificadas como "Sorpresa/Miedo", "Ira", y "Asco". Se hallaron relaciones significativas entre estos atributos afectivos y las medidas faciales objetivas de los estímulos. Los resultados apoyan un esquema explicativo componencial para el procesamiento de las expresiones, en el que cada componente de un estímulo facial conlleva un valor afectivo separable de su contexto, más que un esquema categórico de tipo Gestalt. Además sugieren ...

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“…Others have extended this model to emotional memory for images, facial expressions, language, and experiences (Bradley, Codispoti, Cuthbert, & Lang, 2001;Osgood, 1966;Robinson, 1980;Russell, 1980). The interaction of these dimensions on memory accuracy, persistence, or quality have been addressed, but rarely in combination.…”

mentioning

confidence: 99%

Emotional intensity predicts autobiographical memory experience

2004

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College students generated autobiographical memories from distinct emotional categories that varied in valence (positive vs. negative) and intensity (high vs. low). They then rated various perceptual, cognitive, and emotional properties for each memory. The distribution of these emotional memories favored a vector model over a circumplex model. For memories of all specific emotions, intensity accounted for significantly more variance in autobiographical memory characteristics than did valence or age of the memory. In two additional experiments, we examined multiple memories of emotions of high intensity and positive or negative valence and of positive valence and high or low intensity. Intensity was a more consistent predictor of autobiographical memory properties than was valence or the age of the memory in these experiments as well. The general effects of emotion on autobiographical memory properties are due primarily to intensity differences in emotional experience, not to benefits or detriments associated with a specific valence.

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Dimensionality of the Semantic Space for Communication via Facial Expressions

Cited by 300 publications

References 23 publications

Emotion expression in body action and posture.

Emotion expression in body action and posture.

Facial-Expression Affective Attributes and their Configural Correlates: Components and Categories

Emotional intensity predicts autobiographical memory experience

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