Facial Expressions and Emotions Research Papers (original) (raw)

Face expression recognition technology is one of the most recently developed fields in machine learning and has profoundly helped its users through forensic, security, and biometric applications. Many researchers and program developers have allocated their time and energy to figure out various techniques which would add to the technology’s functionality and accuracy. Face expression recognition is a complicated computational process in which is implemented via analyzing changes in facial traits that follow different emotional reactions. This paper endeavors to inspect accuracy ratio of six classifiers based on Relief-F feature selection method, relying on the utilization of the minimum quantity of attributes. The classifiers in which the paper attempts to inspect are Multi-Layer Perceptron, Random Forest, Decision Tree, Support Vector Machine, K-Nearest Neighbor, and Radial Basis Function. The experiment illustrates that K-Nearest Neighbor is the most accurate classifier with the to...

- by
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- Engineering, Computer Science, Physics, Facial Recognition

The influence of the sex of the expresser was examined in relation to correct perception of facial expressions by the receiver. Two hundred and twenty-seven college students (114 women, 103 men) judged seven facial expressions, anger, contempt, disgust, fear, happiness, sadness, and surprise, by choosing the appropriate emotion name from a list of six Czech options, on men and women's faces. No significant difference was found between rates of correct perception of facial expressions on the faces of women and on the faces of men. The facial expression of fear was better recognized on the man's face than on the woman's face in this set of subjects. The results do not support the hypothesis of more accurate recognition of facial expressions on women's faces than on men's faces.

- by Radek Trnka and +1
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- Social Psychology, Communication, Facial Recognition, Nonverbal Communication

Previous research has highlighted age-related differences in social perception, in particular emotional expression
processing. To date, such studies have largely focused on approaches that use static emotional stimuli that the participant
has to identify passively without the possibility of any interaction. In this study, we propose an interactive virtual
environment to better address age-related variations in social and emotional perception. A group of 22 young (18–30
years) and 20 older (60–80 years) adults were engaged in a face-to-face conversation with an embodied conversational
agent. Participants were invited to interact naturally with the agent and to identify his facial expression. Their gaze
behaviour was captured by an eye-tracking device throughout the interaction. We also explored whether the Big Five
personality traits (particularly extraversion) and anxiety modulated gaze during the social interaction. Findings suggested
that age-related differences in gaze behaviour were only apparent when decoding social signals (i.e., listening to a
partner’s question, identifying facial expressions) and not when communicating social information (i.e., when speaking).
Furthermore, higher extraversion levels consistently led to a shorter amount of time gazing towards the eyes, whereas
higher anxiety levels led to slight modulations of gaze only when participants were listening to questions. Face-to-face
conversation with virtual agents can provide a more naturalistic framework for the assessment of online socio-emotional
interaction in older adults, which is not easily observable in classical offline paradigms. This study provides novel and
important insights into the specific circumstances in which older adults may experience difficulties in social interactions.

- by Augusta Gaspar
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- Individuality, Chimpanzee, Facial Expressions and Emotions, Bonobo

Road accidents have a significant impact on increasing death rates. In addition to weather, roads, and vehicles, human error constitutes these accidents' main reason. So, driver-safety technology is one of the common research areas, whether in academia or industry. The driver's behavior is influenced by his feelings such as anger or sadness, as well as the physical distraction factors such as using mobile or drinking. Recognition of the driver's emotions is crucial in expecting the driver's behavior and dealing with it. In this work, the Convolutional Neural Network (CNN) model is employed to implement a Facial Expression Recognition (FER) approach to identify the driver's emotions. The proposed CNN model has achieved considerable performance in prediction and classification tasks. However, it is similar to other deep learning approaches that have a lack of transparency and interpretability. We use Explainable Artificial Intelligence (XAI) techniques that generate interpretations for decisions and provide human-explainable representations to address this shortage. We utilize two visualization methods of XAI approaches to support our decision of choosing the architecture of the proposed FER model. Our model achieves accuracies of 92.85%, 99.28%, 88.88%, and 100% for the JAFFE, CK+, KDEF, and KMU-FED datasets, respectively.

This work proposes an automatic human-face expression recognition system that classifies seven different facial expressions: happiness, anger, sadness, surprise, disgust, fear and neutral. The experimental results show that the proposed system achieves the best hit hate using a linear discriminant classifier, 99.71% and 99.55% for MUG and FEEDTUM databases respectively.

- by Raissa Tavares and +2
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- Classification (Machine Learning), Facial expression, Facial Expressions and Emotions, Facial Expression Analysis
- by Alfarabi Imashev
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- Sign Language, Sign Languages, Multidisciplinary, Questions

UN ITINERARIO PSICOLÓGICO DE COMPRENSIÓN Y DE DESARROLLO DEL UNIVERSO PSÍQUICO, DEL MUNDO DE LAS EMOCIONES, DE LA PERSONALIDAD Y DE LAS RELACIONES PSICO-SOCIALES.
El itinerario psicológico EL MUNDO DE LAS EMOCIONES es estructurado en dos partes:
* Parte 1: LAS DINAMICAS PSÍQUICAS donde son tratados los temas siguientes: Asociación Psíquica
de Ideas, Prueba "Arcoíris", Prueba "La Lámpara de Aladino", Prueba "La Edad del Oro", Experiencia Agradable, Experiencia Desagradable, Experiencia Desgradable/ Agradable, Emociones Agradables/ Desagradables.
* Parte 2: LOS CAMPOS EMOCIONALES, donde son tratados los temas siguientes: . Emociones Habituales, el Miedo, la Ansiedad/Angustia, la Agresividad/Violencia, la Suavidad/Bondad, el Dolor, el Placer, la Serenidad, la Seguridad, la Felicidad, la Tristeza, la Desesperación, los Campos de el Mundo de las Emociones.
Los estímulos propuestos durante el itinerario formativo/cognitivo El MUNDO DE LAS EMOCIONES permiten el desarrollo de la personalidad, la construcción de el Universo Psíquico y la expresión del Mundo de las Emociones en que vive cada sujeto.
Comprender las propias emociones y los propios valores, educarse a vivir intensamente y con profundidad, a personalizar la realidad con el propio modo de ser, es fundamental para promover una vida plena y satisfactoria, para coger el sentido de la propia existencia, para dar una motivación profunda a las actividades que se cumplen cotidianamente.
El itinerario psicológico EL MUNDO DE LAS EMOCIONES permite, por lo tanto, un progresivo descubrimiento y comprensión de las formas, de las fuerzas y de las dimensiones que caracterizan el Universo Psíquico, il Mundo de las Emociones, la Estructura de Personalidad y las Actitutedes PsicoSociales de cada persona, a través de:
- un autoanálisis psicológico (si hecho individualmente)
- una relación terapéutica (si la experiencia es asistida de experto)
- una relación educativa de socialización (si realizada con un grupo de personas que comparten el mismo recorrido).

This chapter provides an in-depth analysis and explanation of psychophysiological/neuromarketing research tools such as the eye tracker, fMRI, EEG, HR, and GSR for gaining an insight into consumer behavior in the traditional food and wine market. The chapter particularly investigates the need for the new psychophysiological/neuromarketing research tools compared with traditional methods, a review of the research carried out with modern consumer science tools, and how data could be collected and analyzed in a traditional food and wine market through the use of these tools. The chapter concludes with a case example showing the application of psychophysiological/neuromarketing research tools.

- by Hakan BOZ
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- Marketing, Neuroscience, Eye tracking, Hospitality Management
- by Susan Bandes
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- Cognition and Emotion, Facial Expressions and Emotions, Remorse, Law and Emotion

Descriptions of the formal cultivation of mindfulness in the Satipaṭṭhāna-sutta and its parallels highlight that such practice has "internal" and "external" dimensions. Later traditions reflect a variety of viewpoints on the implications of these dimensions of establishing mindfulness. Perhaps due to the resultant uncertainty, contemporary research on the potential applicability and benefits of mindfulness has so far predominantly focused on the internal aspects. An examination of the Satipaṭṭhāna-sutta and its parallels from the historical viewpoint of their gradual evolution can help to clarify that the chief concern of such external cultivation is directing mindfulness to others.

- by Bhikkhu Anālayo
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- Emotional intelligence, Mindfulness, Facial Expressions and Emotions, Telepathy

This research sets out to examine individual variations in perceptions of display rules. Based upon Mischel and Shoda's model of the Cognitive-Affective Personality System (CAPS), we proposed that extraversion and neuroticism would serve to explain within-cultural individual differences and within-individual differences in endorsement of display rules. To test this hypothesis, participants reported the expressivity level of the display rule they endorsed by responding to the revised version of the Display Rule Assessment Inventory. Multi-level analyses showed that compared to those of introverts, the display rules of extraverts tended to be more suppressive when the relationship was distant rather than close. Extraversion also enhanced a neurotic's degree of suppression in public compared to private situations. Processes describing how personality interacts with situations in personalizing display rules were offered in light of the CAPS model to account for these interactions between personality and situation in the operation of display rules for emotional expression.

- by Chin Ming Hui
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- Personality, Close relationships, Facial Expressions and Emotions
- by Stephen Spencer and +1
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- Medieval Literature, Medieval History, Medieval Studies, History Of Emotions

This study tested the universality hypothesis on facial expression judgment by applying cross-cultural agreement tests on Filipinos. The Facial Action Coding System constructed by Ekman and Friesen (1976) was used as basis for creating stimuli photos that 101 college student observers were made to identify. Contextualization for each emotion was also solicited from subjects to provide qualitative bases for their judgments. The results showed that for five of the six emotions studied, excepting fear, the majority of the observers judged the expressions as predicted. The judgment of happiness supplied the strongest evidence for universality, having the highest correctness rate and inter-observer agreement. There was also high agreement among observers and between Filipinos and other cultures about the most intense and second most intense emotion signaled by each stimulus for these five emotions. Difficulty with the recognition of fear, as well as its common association with the emotio...

- by Richard Jonathan O Taduran
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- Evolution, Nonverbal Communication, Emotions, Facial expressions

We introduce a facial deformation system that allows artists to define and customize a facial rig and later apply the same rig to different face models. The method uses a set of landmarks that define specific facial features and deforms the rig anthropometrically. We find the correspondence of the main attributes of a source rig, transfer them to different three-demensional (3D) face models and automatically generate a sophisticated facial rig. The method is general and can be used with any type of rig configuration. We show how the landmarks, combined with other deformation methods, can adapt different influence objects (NURBS surfaces, polygon surfaces, lattice) and skeletons from a source rig to individual face models, allowing high quality geometric or physically-based animations. We describe how it is possible to deform the source facial rig, apply the same deformation parameters to different face models and obtain unique expressions. We enable reusing of existing animation scripts and show how shapes nicely mix one with the other in different face models. We describe how our method can easily be integrated in an animation pipeline. We end with the results of tests done with major film and game companies to show the strength of our proposal.

Throughout the history, the interest in ability of recognizing diverse facial movements did not disappear. Face conveys many clues about the complexity of personal emotional state, however , as much as a face can reveal, it can also hide and cover. In this article I explore the argument that facial expressions are reliable indicators of an ongoing emotional experience, and that their precise recognition can be used as a tool for improvement of social interactions and observations of psychotherapeutic sessions. In the next pages I will address the contraversal question wheter some facial expression are universal, and examine the power of cultural influence on facial behaviour. Discussions about social influence on facial expressivness have remained a subject of disputes in many scientific fields. There is no doubt that accurate interpretation of facial behavior requires extensive knowledge in many interdisciplinary fields as psychology, neurobiology and cultural anthropology.

- by Ana Mrovlje
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- Psychology, Psychoanalysis, Facial expression, Facial Action Coding System (FACS)

In "Making Comics: Storytelling Secrets of Comics, Manga and Graphic Novels" (2006), Scott McCloud proposes that the use of specific drawing techniques will enable viewers to reliably deduce different degrees of intensity of the six basic emotions from facial expressions in comics. Furthermore, he suggests that an accomplished comics artist can combine the components of facial expressions conveying the basic emotions to produce complex expressions, many of which are supposedly distinct and recognizable enough to be named. This paper presents an empirical investigation and assessment of the validity of these claims, based on the results obtained from three questionnaires. Each of the questionnaires deals with one of the aspects of McCloud’s proposal: face expression intensity, labelling, and compositionality. The data show that the tasks at hand were much more difficult than would have been expected on the basis of McCloud’s proposal, with the intensity matching task being the most successful of the three.

- by Miloš Tasić and +2
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- Comics Studies, Comics, Comics/Sequential Art, Facial expression

This article is part of the continuous effort to understand human emotions and its replication in animated characters. Previous contributions to this matter concluded many interesting aspects like the power of non-verbal communication, the existence of some universal facial expressions, the facial communication choice of many investigators as opposed to the lack of universal body language studies, the need for minimum body gestures to help universal communication, the existence of cliché silhouette body poses, etc. The present article pretends to be a facial and body study about one of Inside-Out's main characters: Fear. The main objective is to understand what kinds of combinations were used to communicate this emotion. This way we pretend to study universal communication details and add valuable information to previous studies, including statistic data.

- by António Ferreira
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- Emotion, Animation, Computer Animation, Emotions (Social Psychology)

Facial expressions play a paramount role in character animation since they reveal
much of a person’s emotions and intentions. Although animation techniques have
become more sophisticated over time, there is still need for knowledge in terms of
what behavior appears emotionally convincing and believable. The present chapter
examines how motion contributes to the perception and interpretation of facial
expressions. This includes a description of the early beginnings in research on
facial motion and more recent work, pointing toward a dynamic advantage in
facial expression recognition. Attention is further drawn to the potential characteristics
(i.e., directionality and speed) that facilitate such dynamic advantage.
This is followed by a review on how facial motion affects perception and behavior more generally, with the neural systems that underlie the processing of
dynamic emotions. The chapter concludes by discussing remaining challenges
and future directions for the animation of natural occurring emotional expressions
in dynamic faces.

- by Eva Krumhuber
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- Emotion, Facial Expressions and Emotions

In recent years, much focus has been put on employing technology to make novel behavioral aids for those with autism. Most of these are digital adaptations of tools used in standard behavioral therapy to enforce normative skills. These digital counterparts are often used outside of both the larger therapeutic context and the real world, in which the learned skills might apply. To address this, we are designing a system of automatic expression recognition on wearable devices that integrates directly into the families' daily social interactions, to give children and their caregivers the tools and information they need to design their own holistic therapy. In order to develop a tool that will be truly useful to families, we proactively include children with autism and their families as co-designers in the development process. By providing an app and interface with interchangeable social feedback options, we aim to produce a framework for therapy that folds into their daily lives, tailored to their specific needs.

- by Titas De and +1
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- Psychology, Clinical Psychology, Cognitive Behavioral Therapy, Cognitive Psychology

A animação facial 3D é um processo minucioso que requer especial atenção e dedicação por parte de todos os envolvidos. No caso de personagens humanoides, todos os comportamentos assemelham-se aos humanos incluindo a face, logo, o estudo de expressões faciais humanas, torna-se um ponto de partida indispensável. A animação 2D, enquanto antecessora da animação 3D, merece igual atenção para perceber se transitaram, se foram adicionados ou completamente remodelados os princípios de animação de uma linguagem para a outra. O presente artigo visa expor áreas de estudo, assim como temas, conceitos e metodologias associadas para presentes ou futuros investigadores de expressões faciais animadas.

- by António Ferreira and +1
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- Animation, Facial expression, Facial Action Coding System (FACS), 3D animation

O presente artigo é parte integrante de um estudo alargado das emoções nas personagens principais de Inside Out, uma longa-metragem da parceria Disney/Pixar. O objetivo principal é estudar as manifestações emocionais via facial e corporal, assim como as combinações mais utilizadas em/entre ambas. Desta forma, constatamos expressões que os autores entenderam como universais, algo que está em constante debate na comunidade científica. O presente estudo partirá de uma recolha de fotogramas das personagens indicadas, recorrendo e comparando a estudos prévios no âmbito social e psicológico, cujo tema principal é a comunicação não-verbal e que atentam comportamentos típicos humanos nos mais variados contextos. As personagens principais são cinco emoções universais e, neste caso, serão analisadas as que surgem com maior frequência, ou seja, as emoções da personagem Riley. Repulsa (Disgust) será a personagem investigada no presente artigo.

- by António Ferreira and +1
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- Emotion, FACS (Facial Action Coding System), Facial expression, Facial Action Coding System (FACS)

There are plenty of softwares that can detect human facial movements and relate them to a definite emotional expression. In its first part, the paper investigates how this can be done, what are the variations and the interpretations of eyebrow movements. In the second part, the possibility of artificial intelligence being able to recognise such human emotions is discussed.

GitHub Repository: https://github.com/SeyedMuhammadHosseinMousavi/Introduction-to-Facial-Micro-Expressions-Analysis-Using-Color-and-Depth-Images-a-Matlab-Coding-Appr The book attempts to introduce a gentle introduction to the field of Facial Micro Expressions Recognition (FMER) using Color and Depth images, with the aid of MATLAB programming environment. FMER is a subset of image processing and it is a multidisciplinary topic to analysis. So, it requires familiarity with other topics of Artifactual Intelligence (AI) such as machine learning, digital image processing, psychology and more. So, it is a great opportunity to write a book which covers all of these topics for beginner to professional readers in the field of AI and even without having background of AI. Our goal is to provide a standalone introduction in the field of MFER analysis in the form of theorical descriptions for readers with no background in image processing with reproducible Matlab practical examples. Also, we describe any basic definitions for FMER analysis and MATLAB library which is used in the text, that helps final reader to apply the experiments in the real-world applications. We believe that this book is suitable for students, researchers, and professionals alike, who need to develop practical skills, along with a basic understanding of the field. We expect that, after reading this book, the reader feels comfortable with different key stages such as color and depth image processing, color and depth image representation, classification, machine learning, facial micro expressions recognition, feature extraction and dimensionality reduction. The book attempts to introduce a gentle introduction to the field of Facial Micro Expressions Recognition (FMER) using Color and Depth images, with the aid of MATLAB programming environment. FMER is a subset of image processing and it is a multidisciplinary topic to analysis. So, it requires familiarity with other topics of Artificial Intelligence (AI) such as machine learning, digital image processing, psychology and more. So, it is a great opportunity to write a book which covers all of these topics for beginner to professional readers in the field of AI and even without having background of AI. My goal is to provide a standalone introduction in the field of FMER analysis in the form of theorical descriptions for readers with no background in image processing with reproducible MATLAB practical examples. Also, the book describes any basic definitions for FMER analysis and MATLAB library which is used in the text, that helps final reader to apply the experiments in the real-world applications. This book is suitable for students, researchers, and professionals alike, who need to develop practical skills, along with a basic understanding of the field. It is expected that, after reading this book, the reader feels comfortable with different key stages such as color and depth image processing, color and depth image representation, classification, machine learning, facial micro expressions recognition, feature extraction and dimensionality reduction. This book is product of several years of researches and experiments and reflects the mindset of the authors for understanding this field as easier as possible. The author encourages the reader to contact him with any comments and suggestions for improvement.

This study tested the universality hypothesis on facial expression judgment by applying cross-cultural agreement tests on Filipinos. The Facial Action Coding System constructed by Ekman and Friesen (1976) was used as basis for creating stimuli photos which 101 college student observers were made to identify. Contextualization for each emotion was also solicited from subjects to provide qualitative bases for their judgments. The results showed that for five of the six emotions studied, excepting fear, majority of the observers judged the expressions as predicted. The judgment of happiness supplies the strongest evidence for universality, having the highest correctness rate and inter-observer agreement. There was also high agreement among observers and between Filipinos and other cultures about the most intense and second most intense emotion signaled by each stimulus for these five emotions. Difficulty with the recognition of fear, as well as its common association with the emotion of sadness, has been found. Such findings shall serve as baseline data for the study of facial expressions in the Philippines.

Στόχος της μελέτης ήταν η διερεύνηση των επιδράσεων οπτικού και ακουστικού σημασιολογικού πλαισίου στην αναγνώριση των συγκινησιακών εκφράσεων προσώπου. Επιχειρήσαμε να ελέγξουμε τις μεθοδολογικές αδυναμίες προηγούμενων μελετών και να προσδιορίσουμε τη φύση του μηχανισμού επίλυσης της συγκινησιακής αμφισημίας. Συνολικά 103 φοιτητές του Πανεπιστημίου Αθηνών συμμετείχαν σε τρία πειράματα. Το πρώτο πείραμα έλεγξε για επιδράσεις του ακουστικού πλαισίου προτάσεων έκλυσης συγκινήσεων, με χρήση στατικών φωτογραφιών των βασικών συγκινησιακών εκφράσεων της χαράς, της λύπης, του φόβου και της έκπληξης, και οι απαντήσεις των συμμετεχόντων δόθηκαν από λίστα κλειστής επιλογής που περιελάμβανε τους αντίστοιχους συγκινησιακούς όρους. Στο δεύτερο πείραμα ακουστικού πλαισίου χρησιμοποιήθηκαν στατικά και δυναμικά ερεθίσματα εκφράσεων χαράς και λύπης και οι απαντήσεις ήταν ελεύθερες. Το τρίτο πείραμα, τροποποιημένη εκδοχή του πειράματος Kuleshov, ήλεγξε για επιδράσεις του πλαισίου οπτικών σκηνών (μωρό, σούπα, νεκρός) στην αναγνώριση των εκφράσεων χαράς, λύπης, φόβου και έκπληξης. Τα αποτελέσματα επιβεβαιώνουν τις υποθέσεις για περιορισμένη επίδραση του πλαισίου στην αναγνώριση των συγκινησιακών εκφράσεων προσώπου και μάλιστα ανεξάρτητα από την αισθητηριακή οδό του πλαισίου, το είδος των ερεθισμάτων εκφράσεων ή τον τρόπο απόκρισης των συμμετεχόντων. Τα ευρήματα υποστηρίζουν τη δράση κανόνων αποκωδικοποίησης στην αναγνώριση των συγκινησιακών εκφράσεων προσώπου (Buck, 1994) και τη διακριτή δράση δύο ειδών μηχανισμών για την επίλυση της συγκινησιακής αμφισημίας: ενός αυτόματου μηχανισμού (de Gelder & Vroomen, 2000) που εμπλέκεται στην επίλυση αμφισημιών με σύγχυση των ημιφυσικών πληροφοριών της συγκίνησης προσώπου και πλαισίου (φόβος-έκπληξη) και ενός εκούσιου μηχανισμού (Massaro & Egan, 1996) που εμπλέκεται στην επίλυση γνωστικών συγκρούσεων μεταξύ της συγκίνησης του προσώπου και του πλαισίου (χαρά-λύπη).

Automatic recognition of spontaneous facial expressions is a major challenge in the field of affective computing. Head rotation, face pose, illumination variation, occlusion etc. are the attributes that increase the complexity of recognition of spontaneous expressions in practical applications. Effective recognition of expressions depends significantly on the quality of the database used. Most well-known facial expression databases consist of posed expressions. However, currently there is a huge demand for spontaneous expression databases for the pragmatic implementation of the facial expression recognition algorithms. In this paper, we propose and establish a new facial expression database containing spontaneous expressions of both male and female participants of Indian origin. The database consists of 428 segmented video clips of the spontaneous facial expressions of 50 participants. In our experiment, emotions were induced among the participants by using emotional videos and simultaneously their self-ratings were collected for each experienced emotion. Facial expression clips were annotated carefully by four trained decoders, which were further validated by the nature of stimuli used and self-report of emotions. An extensive analysis was carried out on the database using several machine learning algorithms and the results are provided for future reference. Such a spontaneous database will help in the development and validation of algorithms for recognition of spontaneous expressions.

- by S L Happy
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- Affective Computing, Facial expression, Affect/Emotion, Facial Expressions and Emotions
- by Alexander Kozintsev
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- Laughter, Ritual, Philosophy of the Emotions, Crying (Psychology)

""As noted in a large number of studies in
different fields (e.g. linguistics, psychology,
sociolinguistics, etc.), the manner of interaction plays
a key role in sharing information in communication.
Discourse is an interactively developing activity
between interlocutors, who express not only factual
information in the form of spoken words but also
their feelings and commitments with regard to what is
being said. In face-to-face communication
participants interact in such a way that they react to
one another’s multimodal positioning in the
conversation. Often this means that they take a
“stance”. The goal of this paper is to explore the
notion of stance through a review and discussion of
some of the relevant literature and then relate this to
what in research on social signal processing (SSP) is
now being called “dispositional social stance”. The
main focus of the review is on the notion of stance in
linguistics. This will be the point of departure for
exploring other fields. In addition, consideration of
the relation between gestural communication and
expression of emotions will give a more complete view
of how a stance is taken and upheld.""

- by Massimo Chindamo
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- Epistemic Value, Facial expression, Affective Piety, Multimodal Communication

L’essere umano è parte (e non al di sopra) del regno animale. Ciò riguarda anche l’emozione, come pure ricorda il titolo, tributo al lavoro di Charles Darwin, in particolare l’Origine delle Specie (1859) e L'Espressione (1872). Le famiglie emotive (i.e. insieme di stati di breve durata che condividono pattern neuro-vegetativi, espressioni e reazioni comportamentali e che sono volti a rispondere a particolari macro-categorie di input) potrebbero essere caratterizzate da una certa diversificazione e varietà inter-specie (ipotesi della divergenza emotiva). In termini filogenetici, l’utilità spiega la funzione, ma la causa dipende da forze (i.e. selezione naturale, accoppiamento non casuale, deriva genetica, mutazione e migrazione) e vincoli (e.g. co-esistenza nell’organismo di diverse strutture) che plasmano l’evoluzione. L’emozione è un processo stocastico o aleatorio, ovvero avviato da input (elicitor) di differenti tipologie (e.g. gli stimoli chiave, ovvero aspetti limitati dell’ambiente) composto da elementi (pre-attivazione coordinata, espressione ed esperienza) che ne rivelano le funzioni principali (coordinamento, comunicazione e informazione) e che produce effetti coordinati sui sistemi che compongono l’organismo (e.g. percezione e attenzione, apprendimento e memoria, obiettivi e priorità, risposte comportamentali complesse). Il modello integrato sopra descritto viene “testato” su tre famiglie emotive (paura, rabbia e gioia) e su altrettanti stimoli chiave come possibili elicitor (Paura del Serpente, Stimolo Zeigarnik, Facelike Pattern). Anche se restano alcuni aspetti da chiarire (e.g. specializzazione emisferica e ontogenesi), un approccio integrato potrebbe permettere di capire perché e quando si avvia il processo emotivo e, di conseguenza, migliorare protocolli di ricerca, trattamenti clinici, benessere delle persone e qualità delle interazioni (anche con gli altri animali).

- by Maurizio Oggiano
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- Emotion, Evolutionary Psychology, History Of Emotions, Evolution

The growing interest in humor within the field of Cognitive Linguistics these past few
years (Brône and Feyaerts 2003; Veale et al. 2006; Brône 2008) shows that humor exploits
inferences through linguistic imagery and that it is highly creative. Following Yus (2003:
1299), we assume that humor uses discourse markers that allow the audience to see that
what is being said should not be taken seriously. In this study, based on a large corpus of
examples extracted from two American television series (House M.D. and The Big Bang
Theory), we add a yet unexplored multimodal perspective, that of facial expressions
accompanying humorous utterances. More specifically, we focus on raised eyebrows
used with sarcasm and hyper-understanding. We present a qualitative and quantitative
analysis of raised eyebrows used in interactional humor, arguing they play a role in the
switch of the context to a humorous interpretation, contributing in this way to meaning
construction. Our study analyzes these humorous utterances against the background of
Clark’s (1996) layering model and Fauconnier’s (1984, 1994) mental spaces theory (cf.
Brône 2008). We show how raised eyebrows function as “gestural triggers” allowing the
hearer to make the connection between explicature (i.e., what is explicitly
communicated by an utterance; cf. Carston 2002, 2004) and implicature (assumptions
that are not explicit and that the hearer has to infer from the contextual environment,
cf. Grice 1989). As such, we show that raised eyebrows play an important role in the
understanding of the humorous message, because they guide the hearer to interpret
utterances in a humorous way and they contribute to meaning construction.
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- by Sabina Tabacaru and +1
- •
- Discourse Analysis, Gesture Studies, Pragmatics, Semantics

In this essay, we provide an account of the basic emotions and their expression. On our view, emotions are experiences that indicate and have the function of indicating how our body is faring and how we are faring in our environment. Emotions are also objects of experience: our perceptual systems are more or less sensitive to the expression of emotion in our environment by features that indicate and have the function of indicating emotions. We apply our account to expression in art. What does it mean to say that an artwork expresses sadness? Is perceiving joy in an artwork the same kind of experience as perceiving joy in a friend’s face? How may artworks express emotions without having emotions or any other mental states? In the next section, we provide an overview of unrestricted representationalism about experience. In section three, we offer a representationalist account of the basic emotions that combines exteroception and interoception. On our view, emotions are perceptual experiences that represent properties of our viscera and properties in our extra-bodily environment. Exteroceptive and interoceptive systems combine to constitute a system whose states—emotions—indicate and have the function of indicating how our body is faring and how we are faring in our environment. In the fourth section, we survey aesthetic theories of expression in art including the resemblance, persona and arousal theories, and argue that each faces significant problems. Building on the work of Dominic Lopes (2005) and Mitchell Green (2007), we offer a teleosemantic account of emotional expression in art that is impersonal and continuous with a representationalist account of the basic emotions. Finally, in section five, we apply our view to an example—Théodore Géricault’s The Raft of the Medusa—in order to illustrate how we experience emotions as represented properties of a painted canvas.

- by Becko Copenhaver and +1
- •
- Philosophy of Mind, Aesthetics, Perception, Mental Representation
- by Caterina Maderna
- •
- Classical Archaeology, Iconography, Art History, Mimesis
- by Augusta Gaspar and +1
- •
- Emotion, Facial expression, Chimpanzees, Facial Expressions and Emotions

Σκοπός της συγκεκριμένης εργασίας είναι να μελετήσει την ενασχόληση των επιστημών και των καλλιτεχνών με τον εσωτερικό κόσμο. Το ασυνείδητο θα προσελκύσει το ενδιαφέρον των ψυχολόγων και ψυχιάτρων και θα αποτελέσει το κύριο μέρος της έρευνας του τον 19ο αιώνα. Οι ψυχολογικές διαταραχές θα εξηγηθούν ως αποτέλεσμα τόσο σωματικών όσο και ψυχικών δυσλειτουργιών. Οι ψυχοπάθειες θα ορθολογικοποιηθούν ενώ θα εισαχθούν νέες μέθοδοι θεραπείας, όπως η ύπνωση. Η τέχνη θα λειτουργήσει επικουρικά στην επιστήμη με τη χρήση της φωτογραφίας στην ψυχολογική έρευνα. Οι θεωρίες που θα διατυπώσουν οι μεγάλοι ψυχαναλυτές του 20ου αιώνα, Freud και Jung θα επηρεάσουν τους καλλιτέχνες. Οι καλλιτέχνες στρέφονται και αυτοί στην αναζήτηση του ασυνειδήτου του και στην αυτο-έκφραση τους. Τα κινήματα του Εξπρεσιονισμού, Σουρεαλισμού και Αφηρημένου Εξπρεσιονισμού θα στηριχθούν ψυχολογικές θεωρίες κάνοντας τες μέρος της εικαστικής δημιουργίας. Τα έργα τέχνης θα έχουν ονειρικούς συμβολισμούς, την έκφραση του ψυχικού κόσμου του καλλιτέχνη, την απελευθέρωση του από taboo, όπως η σεξουαλικότητα κ.α. Οι καλλιτέχνες απορρίπτουν τις παραδοσιακές συμβάσεις, υιοθετώντας νέες τεχνικές (π.χ αυτοματισμός, dripping) ώστε να απελευθερωθούν από τη λογική και να οδηγηθούν στο υποσυνείδητο τους. Αυτό επιφέρει την τέχνη του κολάζ και την αρχή του μοντέρνου χορού.

The current definitions of interjections and onomatopoeias, which are mainly based on semiotic criteria (interjections are indexes, onomatopoeias are icons), are seemingly not precise enough to draw up a list of items belonging to these categories. This results in heterogeneous classifications in the literature and different data extraction strategies, which in turn entails the presence of items that some will regard as “false positives” or “false negatives”. We will defend the idea that the primary function of these words is to enable the speaker to reduce the distance between their actual speaking performance (the actual utterances) and their intended speech (the ideal utterances). We will devise the defining enterprise from the very beginning, starting with the intension of the words interjection and onomatopoeia. Then, we will focus on their extension and will classify different types of interjections and onomatopoeias. The classification will be based on the word formation process they stem from. We will show that interjections and onomatopoeias have different definitions “en langue”, “en parole” and “en corpus”. “En langue”, these words are tools, “en parole”, they are performances, since the speaker reshapes or moulds his/her vocal production, and “en corpus”, interjections and onomatopoeias are imprints of the above-mentioned performance. Our method will also reveal a word formation strategy that we call “Syntactic Adjustment” (“SA”), and which consists in incorporating interjections into syntactic structures. We will show that this SA is merely the syntactic version of a strategy that also exists at the phonemic and at the lexical level. In part III of our dissertation, we will describe the SA and will expose some of the rules that restrict its use. To do this, we will compare the SA with converted interjections (yuck! > yucky ; oh God! > to be oh-Godding at something) and will also analyze a corpus of syntactically integrated interjections. We will make use of concepts developed in different theoretical frameworks, mainly in Cognitive Grammar, Generative Linguistics and Theory of Enunciative Operations.

- by Maruszka E M Meinard
- •
- Semiotics, Epistemology, Syntax, Onomatopoeia

The parallels between Wittgenstein and Merleau-Ponty on expression are most often invoked in the context of both resisting a picture of the mind as an inner private realm and interconnectedly, providing an account of our understanding of, and relationships with, others. Expression, then, is the thread which unravels the distinction between the inner and the outer, self and others. In this context their views are so close that some quotations could come from either writer. These parallels are closest between, for Witt- genstein, Part II of the Philosophical Investigations, Zettel and the Remarks on the Philosophy of Psychology; and for Merleau-Ponty, the Phenomenol- ogy of Perception. It is therefore with the expressiveness of bodily gestures that this paper will start. Despite similarities, even in this area, there are some differences of concern between the two writers. For both, expressions of emotions and thoughts are inter-subjectively perceptible and as expres- sions, form a potential communicative link with others, which the gesture embodies and initiates. Wittgenstein is particularly preoccupied with the way in which the expressiveness of a face can be seen, with the distinc- tion between physiology and physiognomy, with what anchors our judg- ments of similarity and differences between faces. Merleau-Ponty, though addressing these issues, is also concerned with the coming into being of expressive sense, the distinction between instituting and instituted meaning, and the way in which gestures manifest the subjectivity of ourselves and others by making manifest the world which we share. His insistence that gestures capture a world, evident in the Phenomenology, is developed and explored throughout his later work. These differences become more marked when each extends the account of bodily gestures to provide accounts of the expressiveness of works of arts. For both, the expressive character of art works is neither the projection of the pregiven subjectivity of the artist, nor the imitative reproduction of something external to the work; but instead the creation of a content, a gestalt which can be grasped inter-subjectively and integrated into the practices of a culture. Wittgenstein’s account of aesthetic practices sees them as gaining their sense from the cultural forms of life in which they are embedded. But there is nothing here of the artist ‘lending his
body to the world’ (PrP 162) so that it can be expressively accomplished through him, which is at the heart of Merleau-Ponty’s account. Particularly in his later philosophy (and in passages in the Phenomenology), Merleau- Ponty develops a philosophy of expression that is without obvious parallels in Wittgenstein, but invites comparison with later writings of Heidegger. Our bodily, linguistic, and painterly practices are viewed as ‘singing the world’ (PhP 193), a shared perceived world that is ‘accomplished’ in our expression of it.

Aim: Emotional expressions are one of the most widely
studied topics in neuroscience, from both clinical and nonclinical perspectives. Atypical emotional expressions are seen in various psychiatric conditions, including schizophrenia, depression, and autism spectrum conditions. Understanding the basics of emotional expressions and recognition can be crucial for diagnostic and therapeutic procedures. Emotions can be expressed in the face, gesture, posture, voice, and behavior and affect physiological parameters, such as the heart rate or body temperature. With modern technology, clinicians can use a variety of tools ranging
from sophisticated laboratory equipment to smartphones and web cameras. The aim of this paper is to review the currently used tools using modern technology and discuss their usefulness as well as possible future directions in emotional expression research and treatment strategies. Methods: The authors conducted a literature review in the PubMed, EBSCO, and SCOPUS databases, using the following
key words: ‘emotions,’ ‘emotional expression,’ ‘affective
computing,’ and ‘autism.’ The most relevant and up-todate publications were identified and discussed. Search results were supplemented by the authors’ own research in the field of emotional expression.
Results: We present a critical review of the currently available technical diagnostic and therapeutic methods. The most important studies are summarized in a table.
Conclusion: Most of the currently available methods have not been adequately validated in clinical settings. They may be a great help in everyday practice; however, they need further testing. Future directions in this field include more virtual-reality-based and interactive interventions, as well as development and improvement of humanoid robots.

- by Karol Grabowski and +1
- •
- Psychiatry, Technology, Facial Action Coding System (FACS), Emotions
- by Nathalie Gontier and +1
- •
- Semiotics, Cognitive Psychology, Evolutionary Psychology, Experimental Psychology
- by Jyoti Khokhar
- •
- Emotion, Artificial Intelligence, Human Computer Interaction, Image Processing