Faces and emotions: brain electric field sources during covert emotional processing

Covert brain activity related to task-free, spontaneous (i.e. unrequested), emotional evaluation of human face images was analysed in 27-channel averaged event-related potential (ERP) map series recorded from 18 healthy subjects while observing random sequences of face images without further instructions. After recording, subjects self-rated each face image on a scale from “liked” to “disliked”. These ratings were used to dichotomize the face images into the affective evaluation categories of “liked” and “disliked” for each subject and the subjects into the affective attitudes of “philanthropists” and “misanthropists” (depending on their mean rating across images). Event-related map series were averaged for “liked” and “disliked” face images and for “philanthropists” and “misanthropists”. The spatial configuration (landscape) of the electric field maps was assessed numerically by the electric gravity center, a conservative estimate of the mean location of all intracerebral, active, electric sources. Differences in electric gravity center location indicate activity of different neuronal populations. The electric gravity center locations of all event-related maps were averaged over the entire stimulus-on time (450 ms). The mean electric gravity center for disliked faces was located (significant across subjects) more to the right and somewhat more posterior than for liked faces. Similar differences were found between the mean electric gravity centers of misanthropists (more right and posterior) and philanthropists. Our neurophysiological findings are in line with neuropsychological findings, revealing visual emotional processing to depend on affective evaluation category and affective attitude, and extending the conclusions to a paradigm without directed task.

The Emotions: A Philosophical Introduction

The emotions are at the centre of our lives and, for better or worse, imbue them with much of their significance. The philosophical problems stirred up by the existence of the emotions, over which many great philosophers of the past have laboured, revolve around attempts to understand what this significance amounts to. Are emotions feelings, thoughts, or experiences? If they are experiences, what are they experiences of? Are emotions rational? In what sense do emotions give meaning to what surrounds us? The Emotions: A Philosophical Introduction introduces and explores these questions in a clear and accessible way. The authors discuss the following key topics: the diversity and unity of the emotions the relations between emotion, belief and desire the nature of values the relations between emotions and perceptions emotions viewed as evaluative attitudes the link between emotions and evaluative knowledge the nature of moods, sentiments, and character traits. Including chapter summaries and guides to further reading, The Emotions: A Philosophical Introduction is an ideal starting point for any philosopher or student studying the emotions. It will also be of interest to those in related disciplines such as psychology and the social sciences.

Form Justified Emotions to Justified Evaluative Judgements

Are there justified emotions? Can they justify evaluative judgements? We first explain the need for an account of justified emotions by emphasizing that emotions are states for which we have or lack reasons. We then observe that emotions are explained by their cognitive and motivational bases. Considering cognitive bases first, we argue that an emotion is justified if and only if the properties the subject is aware of constitute an instance of the relevant evaluative property. We then investigate the roles of motivational bases. Finally, we argue that justified emotions are sufficient for justified evaluative judgements.

Expressing and Amplifying Positive Emotions Facilitate Goal Attainment in Workplace Interactions

Expressing emotions has social functions; it provides information, affects social interactions, and shapes relationships with others. Expressing positive emotions could be a strategic tool for improving goal attainment during social interactions at work. Such effects have been found in research on social contagion, impression management, and emotion work. However, expressing emotions one does not feel entails the risk of being perceived as inauthentic. This risk may well be worth taking when the emotions felt are negative, as expressing negative emotions usually has negative effects. When experiencing positive emotions, however, expressing them authentically promises benefits, and the advantage of amplifying them is not so obvious. We postulated that expressing, and amplifying, positive emotions would foster goal attainment in social interactions at work, particularly when dealing with superiors. Analyses are based on 494 interactions involving the pursuit of a goal by 113 employes. Multilevel analyses, including polynomial analyses, show that authentic display of positive emotions supported goal attainment throughout. However, amplifying felt positive emotions promoted goal attainment only in interactions with superiors, but not with colleagues. Results are discussed with regard to the importance of hierarchy for detecting, and interpreting, signs of strategic display of positive emotions.

In What Sense Are Emotions Evaluations?

Abstract: In this chapter, we first introduce the idea that emotions are evaluations. Next, we explore two approaches attempting to account for this idea in terms of attitudes that are alleged to become emotional when taking evaluative contents. According to the first approach, emotions are evaluative judgments. According to the second, emotions are perceptual experiences of evaluative properties. We explain why this theory remains unsatisfactory insofar as it shares with the evaluative judgement theory the idea that emotions are evaluations in virtue of their contents. We then outline an alternative – the attitudinal theory of emotions. It parts with current theorizing about the emotions in elucidating the fact that emotions are evaluations not in terms of what they represent, but in terms of the attitude subjects take towards what they represent. We explore what sorts of attitudes emotions are and claim that they are felt bodily attitudes.

Emotions and Values

There are close links between emotions and values, or at least this is what our ordinary ways of talking suggest. For many, if not all, types of emotion it is thus possible to find a corresponding evaluative term, one often derived from the name of the emotion in question. These are for example evaluative terms such as ‘shameful’, ‘offensive, ‘annoying’, ‘dangerous’, ‘contemptible’, ‘admirable’, ‘amusing’, ‘exciting’, ‘boring’, and the like. Starting perhaps from these linguistic observations, the philosophical task is of course to elucidate the nature of the links between emotions and values, and attempts at doing so have traditionally revolved around the following three questions: first, what is the role of emotions in elucidating the nature of value? For example, should dangerousness be understood in term of the fear response? Second, what is the role of emotions in our getting access to values? For example, what may be the role of fear in becoming aware that a given animal is dangerous? Third, what value do emotions have? For example, is fear of special value because it helps behaving appropriately towards its object? We hall take up these questions in turn and survey the most important answers they have received in the literature. As we shall discover, answering the first question amounts to surveying a variety of theories according to which there is an ontological relation between values and emotions since the former should be elucidated in terms of the latter (Sec. 1). Addressing the second question consists in reviewing theories according to which there is an intentional relation between emotions and values because the former are apprehensions of value or evaluations (Sec. 2). Grappling with the third question, we shall explore some reasons for thinking that emotions can exemplify values (Sec. 3).

From emotion perception to emotion experience: Emotions evoked by pictures and classical music.

Most previous neurophysiological studies evoked emotions by presenting visual stimuli. Models of the emotion circuits in the brain have for the most part ignored emotions arising from musical stimuli. To our knowledge, this is the first emotion brain study which examined the influence of visual and musical stimuli on brain processing. Highly arousing pictures of the International Affective Picture System and classical musical excerpts were chosen to evoke the three basic emotions of happiness, sadness and fear. The emotional stimuli modalities were presented for 70 s either alone or combined (congruent) in a counterbalanced and random order. Electroencephalogram (EEG) Alpha-Power-Density, which is inversely related to neural electrical activity, in 30 scalp electrodes from 24 right-handed healthy female subjects, was recorded. In addition, heart rate (HR), skin conductance responses (SCR), respiration, temperature and psychometrical ratings were collected. Results showed that the experienced quality of the presented emotions was most accurate in the combined conditions, intermediate in the picture conditions and lowest in the sound conditions. Furthermore, both the psychometrical ratings and the physiological involvement measurements (SCR, HR, Respiration) were significantly increased in the combined and sound conditions compared to the picture conditions. Finally, repeated measures ANOVA revealed the largest Alpha-Power-Density for the sound conditions, intermediate for the picture conditions, and lowest for the combined conditions, indicating the strongest activation in the combined conditions in a distributed emotion and arousal network comprising frontal, temporal, parietal and occipital neural structures. Summing up, these findings demonstrate that music can markedly enhance the emotional experience evoked by affective pictures.

Modulation of corticospinal activity by strong emotions evoked by pictures and classical music: a transcranial magnetic stimulation study.

Using transcranial magnetic stimulation and skin conductance responses, we sought to clarify if, and to what extent, emotional experiences of different valences and intensity activate the hand-motor system and the associated corticospinal tract. For that purpose, we applied a newly developed method to evoke strong emotional experiences by the simultaneous presentation of musical and pictorial stimuli of congruent emotional valence. We uncovered enhanced motor-evoked potentials, irrespective of valence, during the simultaneous presentation of emotional music and picture stimuli (Combined conditions) compared with the single presentation of the two modalities (Picture/Music conditions). In contrast, vegetative arousal was enhanced during both the Combined and Music conditions, compared with the Picture conditions, again irrespective of emotional valence. These findings strongly indicate that arousal is a necessary, but not sufficient, prerequisite for triggering the motor system of the brain. We offer a potential explanation for this discrepant, but intriguing, finding in the paper.