Peripheral feedback effects of facial expressions, bodily postures, and vocal expressions on emotional feelings

Flack, William F.

doi:10.1080/02699930500359617

Cited by 63 publications

(72 citation statements)

References 21 publications

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“…Relatively high scores of self-reported disgust in the anger block were also present, as were elevated levels of self-reported irritation in the disgust block. These "bleed-over" effects have previously been observed following facial feedback manipulations (e.g.. Duelos et al, 1989;Flack, 2006), and findings from other studies have suggested that these two emotions often co-occur (Fischer & Roseman. 2007).…”

Section: Discussionmentioning

confidence: 81%

Face the noise: Embodied responses to nonverbal vocalizations of discrete emotions.

Hawk¹,

Fischer²,

Kleef³

2012

Journal of Personality and Social Psychology

122

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Extensive prior research has shown that the perception of an emotional facial expression automatically elicits a corresponding facial expression in the observer. Theories of embodied emotion, however, suggest that such reactions might also occur across expressive channels, because simulation is based on integrated motoric and affective representations of that emotion. In the present studies, we examined this idea by focusing on facial and experiential reactions to nonverbal emotion vocalizations. In Studies 1 and 2, we showed that both hearing and reproducing vocalizations of anger, disgust, happiness, and sadness resulted in specific facial behaviors, as well as congruent self-reported emotions (Study 2). In Studies 3 and 4, we showed that the inhibition of congruent facial actions impaired listeners' processing of emotion vocalizations (Study 3), as well as their experiences of a concordant subjective state (Study 4). Results support the idea that cross-channel simulations of others' states serve facilitative functions similar to more strict imitations of observed expressive behavior, suggesting flexibility in the motoric and affective systems involved in emotion processing and interpersonal emotion transfer. We discuss implications for embodiment research and the social consequences of expressing and matching emotions across nonverbal channels.

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Section: Discussionmentioning

confidence: 81%

Face the noise: Embodied responses to nonverbal vocalizations of discrete emotions.

Hawk¹,

Fischer²,

Kleef³

2012

Journal of Personality and Social Psychology

122

View full text Add to dashboard Cite

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“…The relationship between the expression and experience of emotions is a long-standing topic of heated disagreement in the field of psychology (10,29,30). Central to this debate, studies on facial feedback have shown that forced induction of a smile or a frown or temporary paralysis of facial muscles by botulinum injection leads to congruent changes in the participants' emotional reactions (11,(31)(32)(33). Although these experiments support the general notion that emotional expression influences experience, they all suffer from problems of experimental peculiarity and demand.…”

Section: Discussionmentioning

confidence: 99%

“…If not, it would provide a unique opportunity to study the effects of peripheral emotional feedback. As hypothesized by James-Lange-type theories of emotion (10)(11)(12), participants might then come to believe that the emotional tone was their own and align their feelings with the manipulation.…”

mentioning

confidence: 99%

Covert digital manipulation of vocal emotion alter speakers’ emotional states in a congruent direction

Aucouturier

Johansson

Häll

et al. 2016

Proc. Natl. Acad. Sci. U.S.A.

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Research has shown that people often exert control over their emotions. By modulating expressions, reappraising feelings, and redirecting attention, they can regulate their emotional experience. These findings have contributed to a blurring of the traditional boundaries between cognitive and emotional processes, and it has been suggested that emotional signals are produced in a goaldirected way and monitored for errors like other intentional actions. However, this interesting possibility has never been experimentally tested. To this end, we created a digital audio platform to covertly modify the emotional tone of participants' voices while they talked in the direction of happiness, sadness, or fear. The result showed that the audio transformations were being perceived as natural examples of the intended emotions, but the great majority of the participants, nevertheless, remained unaware that their own voices were being manipulated. This finding indicates that people are not continuously monitoring their own voice to make sure that it meets a predetermined emotional target. Instead, as a consequence of listening to their altered voices, the emotional state of the participants changed in congruence with the emotion portrayed, which was measured by both self-report and skin conductance level. This change is the first evidence, to our knowledge, of peripheral feedback effects on emotional experience in the auditory domain. As such, our result reinforces the wider framework of self-perception theory: that we often use the same inferential strategies to understand ourselves as those that we use to understand others. emotion monitoring | vocal feedback | self-perception | digital audio effects | voice emotion

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“…Congruence between a motor expression and an emotion provides positive feedback to that emotion, which increases the disposition to have and intensity of that emotion ( Figure 2A). This is found across the emotion components, for instance: smiling increases the pleasantness associated with pleasant pictures [27]; arm flexion increases positive feelings when it suggests pulling something towards you that you desire, facilitating approach action tendencies [6]; smiling is shown to activate reward structures in the brain [29]; and mimicking emotion expressions increases the consciously experienced feelings of these emotions [12]. Suppression of a motor expression can lead to negative feedback, which decreases the disposition to have, and the intensity of an emerging emotion ( Figure 2B).…”

Section: Motion and Emotionmentioning

confidence: 99%

(E)Motion and Creativity

Rooij

Jones

2015

Proceedings of the Ninth International Conference on Tangible, Embedded, and Embodied Interaction

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Positive emotion can help augment human creativity. To utilize this potential in an interactive system, we propose that such a system should be designed to regulate the emotions that are caused by a creative task. We argue that this can be done by hacking the function of motor expressions in emotion regulation. To this end, we have conceived and made an interactive system that is designed to regulate positive emotion during an idea generation and an insight problem solving task. The system regulates emotion by letting users interact using arm gestures that are designed based on motor expressions, choreographed in a way that enables emotion regulation. Using this interactive system we experimentally test the hypotheses that positive approaching, rather than negative avoiding arm gestures, used to interact with a system, can heighten positive emotion, and augment creativity. The findings demonstrate that an interactive system can be designed to use the function of motor expressions in emotion regulation to help people perform better on certain creative tasks.

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Peripheral feedback effects of facial expressions, bodily postures, and vocal expressions on emotional feelings

Cited by 63 publications

References 21 publications

Face the noise: Embodied responses to nonverbal vocalizations of discrete emotions.

Face the noise: Embodied responses to nonverbal vocalizations of discrete emotions.

Covert digital manipulation of vocal emotion alter speakers’ emotional states in a congruent direction

(E)Motion and Creativity

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