In general, sad music is thought to cause us to experience sadness, which is considered an unpleasant emotion. As a result, the question arises as to why we listen to sad music if it evokes sadness. One possible answer to this question is that we may actually feel positive emotions when we listen to sad music. This suggestion may appear to be counterintuitive; however, in this study, by dividing musical emotion into perceived emotion and felt emotion, we investigated this potential emotional response to music. We hypothesized that felt and perceived emotion may not actually coincide in this respect: sad music would be perceived as sad, but the experience of listening to sad music would evoke positive emotions. A total of 44 participants listened to musical excerpts and provided data on perceived and felt emotions by rating 62 descriptive words or phrases related to emotions on a scale that ranged from 0 (not at all) to 4 (very much). The results revealed that the sad music was perceived to be more tragic, whereas the actual experiences of the participants listening to the sad music induced them to feel more romantic, more blithe, and less tragic emotions than they actually perceived with respect to the same music. Thus, the participants experienced ambivalent emotions when they listened to the sad music. After considering the possible reasons that listeners were induced to experience emotional ambivalence by the sad music, we concluded that the formulation of a new model would be essential for examining the emotions induced by music and that this new model must entertain the possibility that what we experience when listening to music is vicarious emotion.
Reactions to memorable experiences of sad music were studied by means of a survey administered to a convenience (N = 1577), representative (N = 445), and quota sample (N = 414). The survey explored the reasons, mechanisms, and emotions of such experiences. Memorable experiences linked with sad music typically occurred in relation to extremely familiar music, caused intense and pleasurable experiences, which were accompanied by physiological reactions and positive mood changes in about a third of the participants. A consistent structure of reasons and emotions for these experiences was identified through exploratory and confirmatory factor analyses across the samples. Three types of sadness experiences were established, one that was genuinely negative (Grief-Stricken Sorrow) and two that were positive (Comforting Sorrow and Sweet Sorrow). Each type of emotion exhibited certain individual differences and had distinct profiles in terms of the underlying reasons, mechanisms, and elicited reactions. The prevalence of these broad types of emotional experiences suggested that positive experiences are the most frequent, but negative experiences were not uncommon in any of the samples. The findings have implications for measuring emotions induced by music and fiction in general, and call attention to the non-pleasurable aspects of these experiences.
Takotsubo syndrome (TTS) is typically provoked by negative stressors such as grief, anger, or fear leading to the popular term ‘broken heart syndrome’. However, the role of positive emotions triggering TTS remains unclear. The aim of the present study was to analyse the prevalence and characteristics of patients with TTS following pleasant events, which are distinct from the stressful or undesirable episodes commonly triggering TTS.
Efficient detection and reaction to negative signals in the environment is essential for survival. In social situations, these signals are often ambiguous and can imply different levels of threat for the observer, thereby making their recognition susceptible to contextual cues - such as gaze direction when judging facial displays of emotion. However, the mechanisms underlying such contextual effects remain poorly understood. By computational modeling of human behavior and electrical brain activity, we demonstrate that gaze direction enhances the perceptual sensitivity to threat-signaling emotions - anger paired with direct gaze, and fear paired with averted gaze. This effect arises simultaneously in ventral face-selective and dorsal motor cortices at 200 ms following face presentation, dissociates across individuals as a function of anxiety, and does not reflect increased attention to threat-signaling emotions. These findings reveal that threat tunes neural processing in fast, selective, yet attention-independent fashion in sensory and motor systems, for different adaptive purposes.
Life satisfaction refers to a somewhat stable cognitive assessment of one’s own life. Life satisfaction is an important component of subjective well being, the scientific term for happiness. The other component is affect: the balance between the presence of positive and negative emotions in daily life. While affect has been studied using social media datasets (particularly from Twitter), life satisfaction has received little to no attention. Here, we examine trends in posts about life satisfaction from a two-year sample of Twitter data. We apply a surveillance methodology to extract expressions of both satisfaction and dissatisfaction with life. A noteworthy result is that consistent with their definitions trends in life satisfaction posts are immune to external events (political, seasonal etc.) unlike affect trends reported by previous researchers. Comparing users we find differences between satisfied and dissatisfied users in several linguistic, psychosocial and other features. For example the latter post more tweets expressing anger, anxiety, depression, sadness and on death. We also study users who change their status over time from satisfied with life to dissatisfied or vice versa. Noteworthy is that the psychosocial tweet features of users who change from satisfied to dissatisfied are quite different from those who stay satisfied over time. Overall, the observations we make are consistent with intuition and consistent with observations in the social science research. This research contributes to the study of the subjective well being of individuals through social media.
People sometimes experience a strong emotional response to artworks. Previous studies have demonstrated that the peak emotional experience of chills (goose bumps or shivers) when listening to music involves psychophysiological arousal and a rewarding effect. However, many aspects of peak emotion are still not understood. The current research takes a new perspective of peak emotional response of tears (weeping, lump in the throat). A psychophysiological experiment showed that self-reported chills increased electrodermal activity and subjective arousal whereas tears produced slow respiration during heartbeat acceleration, although both chills and tears induced pleasure and deep breathing. A song that induced chills was perceived as being both happy and sad whereas a song that induced tears was perceived as sad. A tear-eliciting song was perceived as calmer than a chill-eliciting song. These results show that tears involve pleasure from sadness and that they are psychophysiologically calming; thus, psychophysiological responses permit the distinction between chills and tears. Because tears may have a cathartic effect, the functional significance of chills and tears seems to be different. We believe that the distinction of two types of peak emotions is theoretically relevant and further study of tears would contribute to more understanding of human peak emotional response.
- Proceedings of the National Academy of Sciences of the United States of America
- Published over 5 years ago
Understanding the different categories of facial expressions of emotion regularly used by us is essential to gain insights into human cognition and affect as well as for the design of computational models and perceptual interfaces. Past research on facial expressions of emotion has focused on the study of six basic categories-happiness, surprise, anger, sadness, fear, and disgust. However, many more facial expressions of emotion exist and are used regularly by humans. This paper describes an important group of expressions, which we call compound emotion categories. Compound emotions are those that can be constructed by combining basic component categories to create new ones. For instance, happily surprised and angrily surprised are two distinct compound emotion categories. The present work defines 21 distinct emotion categories. Sample images of their facial expressions were collected from 230 human subjects. A Facial Action Coding System analysis shows the production of these 21 categories is different but consistent with the subordinate categories they represent (e.g., a happily surprised expression combines muscle movements observed in happiness and surprised). We show that these differences are sufficient to distinguish between the 21 defined categories. We then use a computational model of face perception to demonstrate that most of these categories are also visually discriminable from one another.
Although a great deal of research has tested the longitudinal effects of regularly practicing gratitude, much less attention has been paid to the emotional landscape directly following engagement in gratitude exercises. In three studies, we explored the array of discrete emotions people experience after being prompted to express or recall gratitude. In Studies 1 and 2, two different gratitude exercises produced not only greater feelings of gratitude relative to two positive emotion control conditions (i.e., recalling relief), but also higher levels of other socially relevant states like elevation, connectedness, and indebtedness. In a third study, conducted in both the U.S. and S. Korea, we compared a gratitude exercise to another positive emotion elicitation (i.e., recalling a kind act) and to a neutral task, and again found that the gratitude exercise prompted greater gratitude, elevation, indebtedness, and guilt, but no more embarrassment or shame, than the two comparison conditions. Additionally, in all three studies, emodiversity and cluster analyses revealed that gratitude exercises led to the simultaneous experience of both pleasant and unpleasant socially-relevant states. In sum, although it may seem obvious that gratitude exercises would evoke grateful, positive states, a meta-analysis of our three studies revealed that gratitude exercises actually elicit a mixed emotional experience-one that simultaneously leads individuals to feel uplifted and indebted.
Previous research has shown that in response to a monotonous, boring lab situation, non-clinical participants voluntarily self-administer electric shocks. The shocks probably served to disrupt the tedious monotony: they were the only available external source of stimulation. Alternatively, the shocks might have functioned to regulate the negative emotional experience caused by the induction of boredom, consistent with theories on the function of non-suicidal self-injury (NSSI). According to this latter explanation, induction of other negative emotions would also increase the administration of shocks. To test this explanation, 69 participants watched a monotonous, sad or neutral film fragment, during which they could self-administer electric shocks. Participants in the boredom condition self-administered more shocks and with higher intensity, compared to both the neutral and sadness condition. Sadness had no effect on the self-administration of shocks. The effect of boredom was more pronounced in participants with a history of NSSI: they administered more shocks in the first 15min. The results indicate that the shocks function to disrupt monotony and not to regulate negative emotional experience in general. Moreover, boredom appears an important impetus for NSSI.
Social emotions are affective states elicited during social interactions and integral for promoting socially-appropriate behaviors and discouraging socially-inappropriate ones. Social emotion-processing deficits significantly impair interpersonal relationships, and play distinct roles in the manifestation and maintenance of clinical symptomology. Elucidating the neural correlates of discrete social emotions can serve as a window to better understanding and treating neuropsychiatric disorders. Moral cognition and social emotion-processing broadly recruit a fronto-temporo-subcortical network, supporting empathy, perspective-taking, self-processing, and reward-processing. The present review specifically examines the neural correlates of embarrassment, guilt, envy, and schadenfreude. Embarrassment and guilt are self-conscious emotions, evoked during negative evaluation following norm violations and supported by a fronto-temporo-posterior network. Embarrassment is evoked by social transgressions and recruits greater anterior temporal regions, representing social conceptual knowledge. Guilt is evoked by moral transgressions and recruits greater prefrontal regions, representing perspective-taking and behavioral change demands. Envy and schadenfreude are fortune-of-other emotions, evoked during social comparison and supported by a prefrontal-striatal network. Envy represents displeasure in others' fortunes, and recruits increased dorsal anterior cingulate cortex, representing cognitive dissonance, and decreased reward-related striatal regions. Schadenfruede represents pleasure in others' misfortunes, and recruits reduced empathy-related insular regions and increased reward-related striatal regions. Implications for psychopathology and treatment design are discussed.