Dimensional Emotion Model Research Articles

A comparison of dimensional models of emotion: Evidence from emotions, prototypical events, autobiographical memories, and words

The intensity and valence of 30 emotion terms, 30 events typical of those emotions, and 30 autobiographical memories cued by those emotions were each rated by different groups of 40 undergraduates. A vector model gave a consistently better account of the data than a circumplex model, both overall and in the absence of high-intensity, neutral valence stimuli. The Positive Activation – Negative Activation (PANA) model could be tested at high levels of activation, where it is identical to the vector model. The results replicated when ratings of arousal were used instead of ratings of intensity for the events and autobiographical memories. A reanalysis of word norms gave further support for the vector and PANA models by demonstrating that neutral valence, high-arousal ratings resulted from the averaging of individual positive and negative valence ratings. Thus, compared to a circumplex model, vector and PANA models provided overall better fits.

Multi-stage classification of emotional speech motivated by a dimensional emotion model

This paper deals with speech emotion analysis within the context of increasing awareness of the wide application potential of affective computing. Unlike most works in the literature which mainly rely on classical frequency and energy based features along with a single global classifier for emotion recognition, we propose in this paper some new harmonic and Zipf based features for better speech emotion characterization in the valence dimension and a multi-stage classification scheme driven by a dimensional emotion model for better emotional class discrimination. Experimented on the Berlin dataset with 68 features and six emotion states, our approach shows its effectiveness, displaying a 68.60% classification rate and reaching a 71.52% classification rate when a gender classification is first applied. Using the DES dataset with five emotion states, our approach achieves an 81% recognition rate when the best performance in the literature to our knowledge is 76.15% on the same dataset.

The functional organization of preschool-age children's emotion expressions and actions in challenging situations.

Although functional links between emotion and action are implied in emotion regulation research, there is limited evidence that specific adaptive actions for coping with a challenge are more probable when certain negative emotions are expressed. The current study examined this question among 3- and 4-year-olds (N = 113; M age = 47.84 months, SD = 6.19). Emotion expressions and actions were observed during 2 challenging tasks: children waited for a gift while the mother worked, and children worked alone to retrieve a prize from a locked box with the wrong key. Angry and happy expressions, compared with sad expressions, were associated with more actions. These actions varied with the nature of the task, reflecting appreciation of situational appropriateness. In addition, when waiting with the mother, happiness was associated with the broadest range of actions, whereas when working alone on the locked box, anger was associated with the broadest range of actions. Results are discussed in terms of the adaptive function of negative emotions and in terms of functional and dimensional models of emotion. Findings have implications for the development of emotion regulation and social-emotional competence.

Emotions evoked by the sound of music: Characterization, classification, and measurement.

One reason for the universal appeal of music lies in the emotional rewards that music offers to its listeners. But what makes these rewards so special? The authors addressed this question by progressively characterizing music-induced emotions in 4 interrelated studies. Studies 1 and 2 (n=354) were conducted to compile a list of music-relevant emotion terms and to study the frequency of both felt and perceived emotions across 5 groups of listeners with distinct music preferences. Emotional responses varied greatly according to musical genre and type of response (felt vs. perceived). Study 3 (n=801)--a field study carried out during a music festival--examined the structure of music-induced emotions via confirmatory factor analysis of emotion ratings, resulting in a 9-factorial model of music-induced emotions. Study 4 (n=238) replicated this model and found that it accounted for music-elicited emotions better than the basic emotion and dimensional emotion models. A domain-specific device to measure musically induced emotions is introduced--the Geneva Emotional Music Scale.

The Facial Expression Coding System (FACES): Development, validation, and utility.

This article presents information on the development and validation of the Facial Expression Coding System (FACES; A. M. Kring & D. Sloan, 1991). Grounded in a dimensional model of emotion, FACES provides information on the valence (positive, negative) of facial expressive behavior. In 5 studies, reliability and validity data from 13 diverse samples, including students, psychiatric patients, and community adults, are presented, and results indicate that raters can reliably agree on instances of positive and negative expressive behavior. Validity studies indicate that FACES ratings are related in predictable ways to another observational coding system, facial muscle activity, individual-difference measures of expressiveness and personality, skin conductance, heart rate, and reports of experienced emotion. FACES can be a useful tool for assessing expressive behavior in a variety of contexts.

Emotion perceived and emotion felt: Same and different

The goal of the present study was to examine the relationships and differences between emotion perceived ( i.e., the emotional quality expressed by music) and emotion felt ( i.e., the individual's emotional response to music). Thirty-two participants listened to 12 music pieces differing in terms of a priori basic emotional quality, and rated the music from two points of view ( i.e., emotion felt and emotion perceived) using 16 adjectives from dimensional models of emotion. As expected, in general, music seemed to arouse emotions similar to the emotional quality perceived in music. However, the affect ratings were significantly moderated by the point of view from which the emotions were assessed. Felt emotions were stronger than perceived emotions in connection with pleasure, but weaker in connection with arousal, positive activation, and negative activation. As also expected, negative perceived quality in music elicited less or an opposite felt emotion. That is, fearful music was perceived as negative but felt as positive.

Airways, respiration, and respiratory sinus arrhythmia during picture viewing

Emotional stimuli can cause airway constriction; however, it is uncertain whether a dimensional or categorical model of emotion can better describe airway changes. Also, little is known about the affective modulation of respiration and vagal activity, which can influence airway tone. We studied changes in oscillatory resistance (Ros), respiration, and respiratory sinus arrhythmia (RSA) in asthmatics and controls during viewing of affective pictures eliciting anxiety, depression, disgust, happiness, contentment, erotic tension, or neutral affect. Ros, respiration, cardiac activity, and self-report were measured during picture presentations. Ros increased monotonically with picture unpleasantness mainly due to disgust pictures. RSA and respiratory timing parameters were particularly sensitive to erotic pictures. Differences between asthmatics and controls were minimal, suggesting that airway responses to unpleasant pictures are not specific to asthma.

A systems approach to appraisal mechanisms in emotion

While artificial neural networks are regularly employed in modeling the perception of facial and vocal emotion expression as well as in automatic expression decoding by artificial agents, this approach is yet to be extended to the modeling of emotion elicitation and differentiation. In part, this may be due to the dominance of discrete and dimensional emotion models, which have not encouraged computational modeling. This situation has changed with the advent of appraisal theories of emotion and a number of attempts to develop rule-based models can be found in the literature. However, most of these models operate at a high level of conceptual abstraction and rarely include the underlying neural architecture. In this contribution, an appraisal-based emotion theory, the Component Process Model (CPM), is described that seems particularly suited to modeling with the help of artificial neural network approaches. This is due to its high degree of specificity in postulating underlying mechanisms including efferent physiological and behavioral manifestations as well as to the possibility of linking the theoretical assumptions to underlying neural architectures and dynamic processes. This paper provides a brief overview of the model, suggests constraints imposed by neural circuits, and provides examples on how the temporal unfolding of emotion can be conceptualized and experimentally tested. In addition, it is shown that the specific characteristics of emotion episodes can be profitably explored with the help of non-linear dynamic systems theory.

Neuropsychology of fear and loathing.

For over 60 years, ideas about emotion in neuroscience and psychology have been dominated by a debate on whether emotion can be encompassed within a single, unifying model. In neuroscience, this approach is epitomized by the limbic system theory and, in psychology, by dimensional models of emotion. Comparative research has gradually eroded the limbic model, and some scientists have proposed that certain individual emotions are represented separately in the brain. Evidence from humans consistent with this approach has recently been obtained by studies indicating that signals of fear and disgust are processed by distinct neural substrates. We review this research and its implications for theories of emotion.