How we recognize angry and happy emotion in people, places, and things

Cross-Cultural Research • Vol/Iss. 40 • Published In • Pages: 83-105 •
By Aronoff, Joel

Abstract

This article presents a series of tests done to determine which geometric patterns in the features of masks, classical ballet, and 17th-century Dutch art evoke emotions of threat. Results suggest that diagonal and angular forms evoke emotions of threat.

Samples

Sample Used Coded Data Comment
OtherResearchers Own

Hypotheses (6)

HypothesisSupported
"Within a diverse set of cultures, masks used to convey threat would more frequently use the components of (previously identified) threatening facial displays than would masks used to convey positive emotions" (85).Supported
Representations of threatening facial features will use angular and diagonal patterns (88).Supported
"Diagonal lines and acute angles [will] elicit subjective emotional responses associated with threat, in comparison to the more positive emotional response evoked by curved or straight lines " (89).Supported
Movements in classical ballet will use angular and diagonal spatial forms to convey threat and use rounded spatial forms to convey affection and warmth (93).Supported
Reduced curvilinearity and increased diagonality will be seen as more bad, more powerful, and/or more active (96).Partially supported
In 17th-century Dutch art, threatening configurations will take meaning from diagonal and angular forms and happy and intimate configurations take meaning from curved forms (99).Supported
Documents and Hypotheses Filed By: Kate Cummings  Megan Farrer