Emotional palette: a computational mapping of aesthetic experiences evoked by visual art.

Despite the evolutionary history and cultural significance of visual art, the structure of aesthetic experiences it evokes has only attracted recent scientific attention. What kinds of experience does visual art evoke? Guided by Semantic Space Theory, we identify the concepts that most precisely describe people's aesthetic experiences using new computational techniques. Participants viewed 1457 artworks sampled from diverse cultural and historical traditions and reported on the emotions they felt and their perceived artwork qualities.

How emotion is experienced and expressed in multiple cultures: a large-scale experiment across North America, Europe, and Japan.

Core to understanding emotion are subjective experiences and their expression in facial behavior. Past studies have largely focused on six emotions and prototypical facial poses, reflecting limitations in scale and narrow assumptions about the variety of emotions and their patterns of expression. We examine 45,231 facial reactions to 2,185 evocative videos, largely in North America, Europe, and Japan, collecting participants' self-reported experiences in English or Japanese and manual and automated annotations of facial movement.

Deep learning reveals what facial expressions mean to people in different cultures.

Cross-cultural studies of the meaning of facial expressions have largely focused on judgments of small sets of stereotypical images by small numbers of people. Here, we used large-scale data collection and machine learning to map what facial expressions convey in six countries. Using a mimicry paradigm, 5,833 participants formed facial expressions found in 4,659 naturalistic images, resulting in 423,193 participant-generated facial expressions.

The nature and neurobiology of fear and anxiety: State of the science and opportunities for accelerating discovery.

Fear and anxiety play a central role in mammalian life, and there is considerable interest in clarifying their nature, identifying their biological underpinnings, and determining their consequences for health and disease. Here we provide a roundtable discussion on the nature and biological bases of fear- and anxiety-related states, traits, and disorders. The discussants include scientists familiar with a wide variety of populations and a broad spectrum of techniques.

Deep learning reveals what vocal bursts express in different cultures.

Human social life is rich with sighs, chuckles, shrieks and other emotional vocalizations, called 'vocal bursts'. Nevertheless, the meaning of vocal bursts across cultures is only beginning to be understood. Here, we combined large-scale experimental data collection with deep learning to reveal the shared and culture-specific meanings of vocal bursts.

How emotions, relationships, and culture constitute each other: advances in social functionalist theory.

Social Functionalist Theory (SFT) emerged 20 years ago to orient emotion science to the social nature of emotion. Here we expand upon SFT and make the case for how emotions, relationships, and culture constitute one another. First, we posit that emotions enable the individual to meet six "relational needs" within social interactions: security, commitment, status, trust, fairness, and belongingness.

Intersectionality in emotion signaling and recognition: The influence of gender, ethnicity, and social class.

Emotional expressions are a language of social interaction. Guided by recent advances in the study of expression and intersectionality, the present investigation examined how gender, ethnicity, and social class influence the signaling and recognition of 34 states in dynamic full-body expressive behavior. One hundred fifty-five Asian, Latinx, and European Americans expressed 34 emotional states with their full bodies.

Semantic Space Theory: A Computational Approach to Emotion.

Within affective science, the central line of inquiry, animated by basic emotion theory and constructivist accounts, has been the search for one-to-one mappings between six emotions and their subjective experiences, prototypical expressions, and underlying brain states. We offer an alternative perspective: semantic space theory. This computational approach uses wide-ranging naturalistic stimuli and open-ended statistical techniques to capture systematic variation in emotion-related behaviors.

Sixteen facial expressions occur in similar contexts worldwide.

Understanding the degree to which human facial expressions co-vary with specific social contexts across cultures is central to the theory that emotions enable adaptive responses to important challenges and opportunities. Concrete evidence linking social context to specific facial expressions is sparse and is largely based on survey-based approaches, which are often constrained by language and small sample sizes. Here, by applying machine-learning methods to real-world, dynamic behaviour, we ascertain whether naturalistic social contexts (for example, weddings or sporting competitions) are associated with specific facial expressions across different cultures.

Universal facial expressions uncovered in art of the ancient Americas: A computational approach.

Central to the study of emotion is evidence concerning its universality, particularly the degree to which emotional expressions are similar across cultures. Here, we present an approach to studying the universality of emotional expression that rules out cultural contact and circumvents potential biases in survey-based methods: A computational analysis of apparent facial expressions portrayed in artwork created by members of cultures isolated from Western civilization. Using data-driven methods, we find that facial expressions depicted in 63 sculptures from the ancient Americas tend to accord with Western expectations for emotions that unfold in specific social contexts.

The Neural Representation of Visually Evoked Emotion Is High-Dimensional, Categorical, and Distributed across Transmodal Brain Regions.

Central to our subjective lives is the experience of different emotions. Recent behavioral work mapping emotional responses to 2,185 videos found that people experience upward of 27 distinct emotions occupying a high-dimensional space, and that emotion categories, more so than affective dimensions (e.g.

What music makes us feel: At least 13 dimensions organize subjective experiences associated with music across different cultures.

What is the nature of the feelings evoked by music? We investigated how people represent the subjective experiences associated with Western and Chinese music and the form in which these representational processes are preserved across different cultural groups. US ( = 1,591) and Chinese ( = 1,258) participants listened to 2,168 music samples and reported on the specific feelings (e.g.

What Basic Emotion Theory Really Says for the Twenty-First Century Study of Emotion.

Basic emotion theory (BET) has been, perhaps, the central narrative in the science of emotion. As Crivelli and Fridlund (J Nonverbal Behav 125:1-34, 2019, this issue) would have it, however, BET is ready to be put to rest, facing "last stands" and "fatal" empirical failures. Nothing could be further from the truth.

Emotional Expression: Advances in Basic Emotion Theory.

In this article, we review recent developments in the study of emotional expression within a basic emotion framework. Dozens of new studies find that upwards of 20 emotions are signaled in multimodal and dynamic patterns of expressive behavior. Moving beyond word to stimulus matching paradigms, new studies are detailing the more nuanced and complex processes involved in emotion recognition and the structure of how people perceive emotional expression.

Mapping the Passions: Toward a High-Dimensional Taxonomy of Emotional Experience and Expression.

What would a comprehensive atlas of human emotions include? For 50 years, scientists have sought to map emotion-related experience, expression, physiology, and recognition in terms of the "basic six"-anger, disgust, fear, happiness, sadness, and surprise. Claims about the relationships between these six emotions and prototypical facial configurations have provided the basis for a long-standing debate over the diagnostic value of expression (for review and latest installment in this debate, see Barrett et al., p.

What the face displays: Mapping 28 emotions conveyed by naturalistic expression.

What emotions do the face and body express? Guided by new conceptual and quantitative approaches (Cowen, Elfenbein, Laukka, & Keltner, 2018; Cowen & Keltner, 2017, 2018), we explore the taxonomy of emotion recognized in facial-bodily expression. Participants ( = 1,794; 940 female, ages 18-76 years) judged the emotions captured in 1,500 photographs of facial-bodily expression in terms of emotion categories, appraisals, free response, and ecological validity. We find that facial-bodily expressions can reliably signal at least 28 distinct categories of emotion that occur in everyday life.

The recognition of 18 facial-bodily expressions across nine cultures.

An enduring focus in the science of emotion is the question of which psychological states are signaled in expressive behavior. Based on empirical findings from previous studies, we created photographs of facial-bodily expressions of 18 states and presented these to participants in nine cultures. In a well-validated recognition paradigm, participants matched stories of causal antecedents to one of four expressions of the same valence.

The primacy of categories in the recognition of 12 emotions in speech prosody across two cultures.

Central to emotion science is the degree to which categories, such as Awe, or broader affective features, such as Valence, underlie the recognition of emotional expression. To explore the processes by which people recognize emotion from prosody, US and Indian participants were asked to judge the emotion categories or affective features communicated by 2,519 speech samples produced by 100 actors from 5 cultures. With large-scale statistical inference methods, we find that prosody can communicate at least 12 distinct kinds of emotion that are preserved across the 2 cultures.

Mapping 24 emotions conveyed by brief human vocalization.

Emotional vocalizations are central to human social life. Recent studies have documented that people recognize at least 13 emotions in brief vocalizations. This capacity emerges early in development, is preserved in some form across cultures, and informs how people respond emotionally to music.

Clarifying the Conceptualization, Dimensionality, and Structure of Emotion: Response to Barrett and Colleagues.

We present a mathematically based framework distinguishing the dimensionality, structure, and conceptualization of emotion-related responses. Our recent findings indicate that reported emotional experience is high-dimensional, involves gradients between categories traditionally thought of as discrete (e.g.

Self-report captures 27 distinct categories of emotion bridged by continuous gradients.

Emotions are centered in subjective experiences that people represent, in part, with hundreds, if not thousands, of semantic terms. Claims about the distribution of reported emotional states and the boundaries between emotion categories-that is, the geometric organization of the semantic space of emotion-have sparked intense debate. Here we introduce a conceptual framework to analyze reported emotional states elicited by 2,185 short videos, examining the richest array of reported emotional experiences studied to date and the extent to which reported experiences of emotion are structured by discrete and dimensional geometries.

Neural portraits of perception: reconstructing face images from evoked brain activity.

Recent neuroimaging advances have allowed visual experience to be reconstructed from patterns of brain activity. While neural reconstructions have ranged in complexity, they have relied almost exclusively on retinotopic mappings between visual input and activity in early visual cortex. However, subjective perceptual information is tied more closely to higher-level cortical regions that have not yet been used as the primary basis for neural reconstructions.