Power Posing

Carney, Dana R.; Cuddy, Amy J. C.; Yap, Andy J.

doi:10.1177/0956797610383437

Cited by 688 publications

(346 citation statements)

References 29 publications

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“…In 2010 Carney et al asserted that "a person can, by assuming two simple 1-min poses, embody power and instantly become more powerful [which] has real-world, actionable implications" [14] thereby coining the concept of power poses. Yap et al later identified a set of behaviors such as increased risk-taking or cheating which they showed could be induced through incidental power poses, that is, expansive postures imposed by the design of the environment [65].…”

Section: Introductionmentioning

confidence: 99%

How Relevant are Incidental Power Poses for HCI?

Jansen¹,

Hornbæk

2018

Proceedings of the 2018 CHI Conference on Human Factors in Computing Systems

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The concept of power pose originates from a Psychology study from 2010 which suggested that holding an expansive pose can change hormone levels and increase risk-taking behavior. Follow-up experiments suggested that expansive poses incidentally imposed by the design of an environment lead to more dishonest behaviors. While multiple replication attempts of the 2010 study failed, the follow-up experiments on incidental postures have so far not been replicated. As UI design in HCI can incidentally lead to expansive body postures, we attempted two conceptual replications: we first asked 44 participants to tap areas on a wall-sized display and measured their self-reported sense of power; we then asked 80 participants to play a game on a large touch-screen and measured risk-taking. Based on Bayesian analyses we find that incidental power poses had little to no effect on our measures but could cause physical discomfort. We conclude by discussing our findings in the context of theory-driven research in HCI.

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Section: Introductionmentioning

confidence: 99%

How Relevant are Incidental Power Poses for HCI?

Jansen¹,

Hornbæk

2018

Proceedings of the 2018 CHI Conference on Human Factors in Computing Systems

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“…For both tasks, this had to be done while keeping one's index fingers on the respective end points of the manipulated line. Thus, the increase condition did not actually imply taking an expanded initial posture and changing it into a constricted one (or vice versa for the decrease condition), as would be the case for a power posing induction (here, participants usually adopt an expanded vs. constricted posture with their whole body while sitting or standing; Carney, Cuddy, & Yap, 2010;Cuddy, Wilmuth, Yap, & Carney, 2015;Garrison, Tang, & Schmeichel, 2016;Ranehill et al, 2015).…”

Section: Discussionmentioning

confidence: 99%

Magnitude estimation is influenced by social power

Huber¹,

Bloechle²,

Dackermann³

et al. 2017

J. Numer. Cogn.

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The action-specific perception account suggests that how people perceive the environment depends on their ability to act on it, assuming that estimation is influenced by inter-individual traits, but also by situated states. Moreover, several studies revealed that social power affects basic cognitive processes and even influences the way we perceive the physical environment. In the present study, we examined whether social power also influences estimation performance of spatial magnitudes (i.e., line estimation). Participants estimated the line length of a given number in an increase and a decrease condition, after (low versus high) social power had been manipulated between participants via role assignment. In the increase condition, low-power participants overestimated line lengths, whereas such a bias was not observed for high-power participants. In contrast, the power manipulation did not affect performance in the decrease condition, suggesting that proportion-judgement strategies might have been applied here, thereby reducing the overall bias in line estimations. Our findings support the notion that social power has an impact on the perception of the physical environment and that perception can depend on personal as well as situational factors. Moreover, the present research suggests that high (compared to low) social power may help people to overcome biases in overestimating magnitudes.

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“…arms spread wide, chest puffed out) report not only feeling more powerful, but also being more likely to take risks. These participants also show increases in testosterone (Carney, Cuddy, & Yap, 2010). So while the entrance into the emotional state may be different (purposefully feeling an emotion versus physicalizing first), the end result may be the same.…”

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confidence: 99%

Feeling the Emotions of Acted Characters: Commentary on Heisel

Goldstein

2015

EMR

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This commentary addresses the hypothesis that empathy is a tool for embodiment and skillful performance in the presentation of opera and art song. It discusses the need to clearly and effectively define the term "empathy," and considers research from acting and theatre that speaks directly to how embodiment occurs in vocal performance, when that performance is attached to a character specifically. It concludes with some additional acting exercises singers may find useful.Submitted 2014 September 26; accepted 2014 October 28. KEYWORDS: empathy, theory of mind, acting, vocal performance, operaWHERE do great performances come from? This question, in any performative art, whether music, dance, or acting, has almost as many answers as scholars. The question taken in Heisel's article and this commentary is whether "empathy" can be the road into a character, and whether this process is any different in the performance of an opera or art song than in acting in a theatrical work. First, however, empathy must be clearly defined and differentiated from other emotional and cognitive processes in performance. DEFINING EMPATHYEmpathy has long been a complicated term to define in psychology-not least because of its use in lay language as well as scientific writings. In lay language, empathy is used in contexts from cognitively understanding what someone else is feeling and experiencing, to having compassion for another's pain. In between are a variety of definitions, including experiencing the emotions of another person, and regulating ones' own emotions to have an appropriate emotional reaction to another. This has caused some theorists and researchers to call for abandoning empathy as a term in the scientific language. Rather, empathy should be broken into its underlying components, and scholars should study and discuss those components instead. Those components could include: understanding others' mental and emotional states; concurrently feeling the emotions of another person; "catching" the emotions of another person through emotion contagion; and feeling sympathy or compassion for another's states (Batson, 2009;Coplan, 2011;Decety & Cowell, 2014).In trying to define what she means by the term empathy, Heisel (2015) comments directly on the notion of ridding our language of the term empathy, citing Gunkle's (1971) argument on empathy in theatrical audiences' reactions. Gunkle argued that empathy consists of such a large number of processes that using it as a catch-all term is essentially meaningless. Heisel comments that instead of not using the term, it should be placed in the aesthetic realm. Yet Gunkle's argument is not for the abandonment of empathy per se, but instead for clarification of its use and deeper thought about the psychological processes that underlie understanding a character's thoughts and feelings.The idea behind the Gunkle quote is a correct one-we should determine exactly which definition of empathy Heisel is using in her exploration of empathy as a humanizing process for singers of opera an...

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Power Posing

Cited by 688 publications

References 29 publications

How Relevant are Incidental Power Poses for HCI?

How Relevant are Incidental Power Poses for HCI?

Magnitude estimation is influenced by social power

Feeling the Emotions of Acted Characters: Commentary on Heisel

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