scholarly journals The N170 Marks the End of the process -- Dynamics of Occipito-temporal integration of facial features across spatial frequency bands to categorize facial expressions of emotion

2010 ◽  
Vol 7 (9) ◽  
pp. 996-996
Author(s):  
P. G. Schyns ◽  
L. Petro ◽  
M. Smith
Keyword(s):  
Spatial Frequency ◽  
Facial Expressions ◽  
Temporal Integration ◽  
Facial Features ◽  
Frequency Bands ◽  
Process Dynamics ◽  
Facial Expressions Of Emotion

Nonverbal “Accents”

2003 ◽  
Vol 14 (4) ◽  
pp. 373-376 ◽  
Author(s):  
Abigail A. Marsh ◽  
Hillary Anger Elfenbein ◽  
Nalini Ambady
Keyword(s):  
Cultural Differences ◽  
Facial Expressions ◽  
Japanese Americans ◽  
Emotional Expressions ◽  
Facial Features ◽  
Facial Expressions Of Emotion

We report evidence for nonverbal “accents,” subtle differences in the appearance of facial expressions of emotion across cultures. Participants viewed photographs of Japanese nationals and Japanese Americans in which posers' muscle movements were standardized to eliminate differences in expressions, cultural or otherwise. Participants guessed the nationality of posers displaying emotional expressions at above-chance levels, and with greater accuracy than they judged the nationality of the same posers displaying neutral expressions. These findings indicate that facial expressions of emotion can contain nonverbal accents that identify the expresser's nationality or culture. Cultural differences are intensified during the act of expressing emotion, rather than residing only in facial features or other static elements of appearance. This evidence suggests that extreme positions regarding the universality of emotional expressions are incomplete.

scholarly journals Spatial frequency and facial expressions of emotion

2004 ◽  
Vol 4 (8) ◽  
pp. 905-905 ◽  
Author(s):  
J. D. Swisher ◽  
C. Brooking ◽  
D. Somers
Keyword(s):  
Spatial Frequency ◽  
Facial Expressions ◽  
Facial Expressions Of Emotion

Perception of Emotional Expressions in Adults

2016 ◽  
Vol 37 (1) ◽  
pp. 16-23 ◽  
Author(s):  
Chit Yuen Yi ◽  
Matthew W. E. Murry ◽  
Amy L. Gentzler
Keyword(s):  
Facial Expressions ◽  
Negative Mood ◽  
Emotion Perception ◽  
State Level ◽  
Past Research ◽  
Negative Emotionality ◽  
Basic Emotions ◽  
Perceived Intensity ◽  
Trait Level ◽  
Facial Expressions Of Emotion

Abstract. Past research suggests that transient mood influences the perception of facial expressions of emotion, but relatively little is known about how trait-level emotionality (i.e., temperament) may influence emotion perception or interact with mood in this process. Consequently, we extended earlier work by examining how temperamental dimensions of negative emotionality and extraversion were associated with the perception accuracy and perceived intensity of three basic emotions and how the trait-level temperamental effect interacted with state-level self-reported mood in a sample of 88 adults (27 men, 18–51 years of age). The results indicated that higher levels of negative mood were associated with higher perception accuracy of angry and sad facial expressions, and higher levels of perceived intensity of anger. For perceived intensity of sadness, negative mood was associated with lower levels of perceived intensity, whereas negative emotionality was associated with higher levels of perceived intensity of sadness. Overall, our findings added to the limited literature on adult temperament and emotion perception.

Psychopathy and Identification of Facial Expressions of Emotion

2006 ◽  
Author(s):  
Mark E. Hastings ◽  
June P. Tangney ◽  
Jeffrey Stuewig
Keyword(s):  
Facial Expressions ◽  
Facial Expressions Of Emotion

Capacity-Free Automatic Processing of Facial Expressions of Emotion

2020 ◽  
Author(s):  
Joshua W Maxwell ◽  
Eric Ruthruff ◽  
michael joseph
Keyword(s):  
Facial Expression ◽  
Facial Expressions ◽  
Face Processing ◽  
Emotional Expressions ◽  
Facial Expression Of Emotion ◽  
Expression Of Emotion ◽  
Facial Expressions Of Emotion ◽  
Correspondence Effect ◽  
Experimental Logic ◽  
Face Task

Are facial expressions of emotion processed automatically? Some authors have not found this to be the case (Tomasik et al., 2009). Here we revisited the question with a novel experimental logic – the backward correspondence effect (BCE). In three dual-task studies, participants first categorized a sound (Task 1) and then indicated the location of a target face (Task 2). In Experiment 1, Task 2 required participants to search for one facial expression of emotion (angry or happy). We observed positive BCEs, indicating that facial expressions of emotion bypassed the central attentional bottleneck and thus were processed in a capacity-free, automatic manner. In Experiment 2, we replicated this effect but found that morphed emotional expressions (which were used by Tomasik) were not processed automatically. In Experiment 3, we observed similar BCEs for another type of face processing previously shown to be capacity-free – identification of familiar faces (Jung et al., 2013). We conclude that facial expressions of emotion are identified automatically when sufficiently unambiguous.

What you morph is not what you get: Subjective and neural responses to facial expressions of emotion depend on perceived intensity/arousal (not on amount of morphing)

2020 ◽  
Author(s):  
Fernando Ferreira-Santos ◽  
Mariana R. Pereira ◽  
Tiago O. Paiva ◽  
Pedro R. Almeida ◽  
Eva C. Martins ◽  
...  
Keyword(s):  
Facial Expressions ◽  
Electrophysiological Study ◽  
Objective Measure ◽  
Event Related Potential ◽  
Supporting Evidence ◽  
Emotional Intensity ◽  
Neural Responses ◽  
Facial Stimuli ◽  
Facial Expressions Of Emotion ◽  
Processing Techniques

The behavioral and electrophysiological study of the emotional intensity of facial expressions of emotions has relied on image processing techniques termed ‘morphing’ to generate realistic facial stimuli in which emotional intensity can be manipulated. This is achieved by blending neutral and emotional facial displays and treating the percent of morphing between the two stimuli as an objective measure of emotional intensity. Here we argue that the percentage of morphing between stimuli does not provide an objective measure of emotional intensity and present supporting evidence from affective ratings and neural (event-related potential) responses. We show that 50% morphs created from high or moderate arousal stimuli differ in subjective and neural responses in a sensible way: 50% morphs are perceived as having approximately half of the emotional intensity of the original stimuli, but if the original stimuli differed in emotional intensity to begin with, then so will the morphs. We suggest a re-examination of previous studies that used percentage of morphing as a measure of emotional intensity and highlight the value of more careful experimental control of emotional stimuli and inclusion of proper manipulation checks.

The Glow Still Shows: Effects of Facial Masking on Perceptions of Duchenne Versus Social Smiles

Perception ◽  
2021 ◽  
pp. 030100662110270
Author(s):  
Kennon M. Sheldon ◽  
Ryan Goffredi ◽  
Mike Corcoran
Keyword(s):  
Facial Expressions ◽  
Lower Half ◽  
Communicative Functions ◽  
The Face ◽  
Facial Expressions Of Emotion ◽  
Duchenne Smiles ◽  
Neutral Expression

Facial expressions of emotion have important communicative functions. It is likely that mask-wearing during pandemics disrupts these functions, especially for expressions defined by activity in the lower half of the face. We tested this by asking participants to rate both Duchenne smiles (DSs; defined by the mouth and eyes) and non-Duchenne or “social” smiles (SSs; defined by the mouth alone), within masked and unmasked target faces. As hypothesized, masked SSs were rated much lower in “a pleasant social smile” and much higher in “a merely neutral expression,” compared with unmasked SSs. Essentially, masked SSs became nonsmiles. Masked DSs were still rated as very happy and pleasant, although significantly less so than unmasked DSs. Masked DSs and SSs were both rated as displaying more disgust than the unmasked versions.

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