Doctor of Philosophy / This thesis investigates the role of colour in the cognitive processesing of emotional information. The research is guided by the effect of colour diagnosticity which has been shown previously to influence recognition performance of several types of objects as well as natural scenes. The research presented in Experiment 1 examined whether colour information is considered a diagnostic perceptual feature of seven emotional categories: happiness, sadness, anger, fear, disgust, surprise and neutral. Participants (N = 119), who were naïve to the specific purpose and expectations of the experiment, chose colour more than any other perceptual quality (e.g. shape and tactile information) as a feature that describes the seven emotional categories. The specific colour features given for the six basic emotions were consistently different from those given to the non-emotional neutral category. While emotional categories were often described by chromatic colour features (e.g. red, blue, orange) the neutral category was often ascribed achromatic colour features (e.g. white, grey, transparent) as the most symptomatic perceptual qualities for its description. The emotion 'anger' was unique in being the only emotion showing an agreement higher that 50% of the total given colour features for one particular colour - red. Confirming that colour is a diagnostic feature of emotions led to the examination of the effect of diagnostic colours of emotion on recognition memory for emotional words and faces: the effect, if any, of appropriate and inappropriate colours (matched with emotion) on the strength of memory for later recognition of faces and words (Experiments 2 & 3). The two experiments used retention intervals of 15 minutes and one week respectively and the colour-emotion associations were determined for each individual participant. Results showed that regardless of the subject’s consistency level in associating colours with emotions, and compared with the individual inappropriate or random colours, individual appropriate colours of emotions significantly enhance recognition memory for six basic emotional faces and words. This difference between the individual inappropriate colours or random colours and the individual appropriate colours of emotions was not found to be significant for non-emotional neutral stimuli. Post hoc findings from both experiments further show that appropriate colours of emotion are associated more consistently than inappropriate colours of emotions. This suggests that appropriate colour-emotion associations are unique both in their strength of association and in the form of their representation. Experiment 4 therefore aimed to investigate whether appropriate colour-emotion associations also trigger an implicit automatic cognitive system that allows faster naming times for appropriate versus inappropriate colours of emotional word carriers. Results from the combined Emotional-Semantic Stroop task confirm the above hypothesis and therefore imply that colour plays a substantial role not only in our conceptual representations of objects but also in our conceptual representations of basic emotions. The resemblance of the present findings collectively to those found previously for objects and natural scenes suggests a common cognitive mechanism for the processing of emotional diagnostic colours and the processing of diagnostic colours of objects or natural scenes. Overall, this thesis provides the foundation for many future directions of research in the area of colour and emotion as well as a few possible immediate practical implications.

Univ., Diss.--Amsterdam, 2006. / Zsfassung in niederländ. Sprache.

Both human and animal research has demonstrated that acute stress affects memory, and the nature of this effect depends on when the stress occurs. Stress during consolidation consistently enhances memory, but there is disagreement as to whether memory for emotional or neutral information is improved. The animal research suggests that only memory for emotionally arousing information is enhanced following stress during consolidation. However, human studies have found memory improvements for both emotional and neutral information. According to theory based on animal research, memory for the most arousing material should be enhanced as a result of stress during consolidation. Because of this discrepancy between the animal and the human literature, the current study investigated the effect of acute psychological stress on memory for both low arousal and high arousal negative stimuli. We predicted that stress during consolidation would enhance memory, particularly for the high arousal negative stimuli. We found that stress did not have an effect on item memory performance and that stress actually reduced participant’s confidence in their memory.

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Affective computing is becoming more and more popular, and the need to find a user-friendly and reliable method of estimating people’s emotions, in their everyday life, is growing. Traditional methods have reached their limits, and this thesis presents a new system of emotion recognition, though physiological signals. With a user-friendly, wearable device, the system can be deployed in a number of fields. A model for our emotion classification is presented and includes the following emotions: cheerfulness, sadness, erotic, horror, and neutral. An experiment of emotion elicitation is also described in this work. Three analysis models applied in our system in order to recognize emotions, including nearest neighbor, discriminant analysis, and multi-layer perception, are discussed in detail. The final test results show that the system has the average recognition rates of 40%, 55.7%, and 77.34% for nearest neighbor, discriminant analysis, and multi-layer perception respectively.

This thesis comprises four essays on the economic analysis of conflict, with an emphasis on non-traditional motivation among parties to the conflict. The first chapter surveys the literature on emotions and conflict economics. The second chapter proposes a theory of peaceability in conflict. Peaceability captures the willingness of a contenting party to fight and is arguably an important dimension of conflict not previously identified. The third chapter presents a theory of resource use and conflict, in which blame is an important motivation for conflict. Finally, the fourth chapter explores incomplete information as a potential source of conflict, wherein a contending party is uncertain about his opponent’s true willingness to fight.

Stereotypical beliefs about emotion have been shown to influence perceptions of competence. While emotional White women are often presumed to be generally less competent, emotional Black women receive variable competence ratings due to the intersecting stereotypes concerning both their race and gender. However, it is unclear how perceptions of competence fluctuate in response to anger, a stereotypically male emotion, in comparison to sadness, a stereotypically female emotion. The project at hand utilized participants' responses to a scenario of White and Black leaders engaging with subordinates in their workplace expressing either neutral, angry, or sad responses to an interaction. We aimed to identify if a Black woman leader's expression of anger garnered a more favorable response than a White woman leader's expression of anger in addition to whether both leader's expression of sadness would garner similarly low ratings of competence. Results reveal that perceptions of a woman leader's competence can be influenced by race alone with no significant influence from emotional expression. Specifically, a Black woman leader's competence can on average be rated lower than a White woman's competence regardless of emotional expression. This study provides further evidence that group stereotypes manifest differentially based on context.

Dance-based physical theatre as a sub-strand of Physical Theatre, is positioned as a continuum of dance. Dance-based physical theatre performers are encouraged to embrace their personal uniqueness and previous dance training, when creating and expressing movement. The intended meaning embedded in dance-based physical theatre is often misunderstood or not grasped by audience members. This study incorporates emotion into a dance-based physical theatre performance to determine whether audience members are able to perceive the emotions as intended by the choreographer and portrayed by the performer. The thesis statement of this study is that both the meaning as well as the intent of a physical theatre performance can be enhanced through the incorporation and deliberate application of emotion. The investigative question of this study is: How does an audience perceive and distinguish the intended emotions in a dance-based physical theatre performance? The aim of this study is to determine whether a South African audience can perceive the intended emotions portrayed in a dance-based physical theatre performance. This study suggests that there are two primary scholarly discourses relating to how human beings perceive emotions in themselves and in others. One discourse regards emotion as humanly congruent, suggesting that humans are able to express and perceive emotions such as fear, anger, disgust, happiness, sadness and surprise, regardless of cultural and personal differences (Roether et al. 2009:1); the second discourse regards emotion as personally unique, suggesting that cultural differences, as well as personal circumstances and unique bodily and facial features play a role in how emotion is expressed and perceived (Masuda et al. 2008:378). These two discourses on emotion are considered throughout the study. It is further suggested that emotion is perceived through ‘four domains’ namely: facial expressions; body attitude and orientation; breathing patterns; as well as voice and sounds that are produced. This study draws on qualitative, quantitative and practice-based research approaches in order to answer the investigative question. Elements of accepted scholarly approaches, such as: Effector Patterns (EP) drawing on the work of Bloch (2015) and Bond (2017); Laban Movement Studies (LMS) drawing from the Effort Elements and Factors, as well as the Shape category (Wahl 2019; Bradley 2009); and Lessac Kinesensics (LK) drawing from the body NRG’s (Lessac 2019; Lessac & Kinghorn 2014) are integrated to formulate ‘three strategies’ to facilitate the embodiment of three emotions: anger, fear and disgust. These three emotions are portrayed randomly throughout the dance-based physical theatre performance choreographed specifically for this study. Combining the two opposed discourses concerning emotion turned out to be valuable. This study concludes that emotion in performance comprises both humanly congruent and personally unique aspects. A significant number of audience members perceived emotion through both a humanly congruent and a personally unique lens. The audience recognised the different emotions portrayed in the performance. The final conclusion of this study was based on the analysis of the raw data collected by the Mobile Application that was specifically designed for this study. It was deduced from the analysed data that 51% of the audience members perceived more than 50% of the emotions that were portrayed in the performance. The conclusion my thus be drawn that emotion is both humanly congruent and personally unique, and that the intent of a dance-based physical theatre performance can possibly be enhanced by embracing and applying emotion. / Dissertation (MA Drama)--University of Pretoria, 2020. / Drama / MA (Drama) / Unrestricted

Rezension zu Klaus Rothermund/ Andreas Eder: Motivation und Emotion. Lehrbuch. Basiswissen Psychologie. Wiesbaden: VS-Verlag, 2011