Universal Patterns in Color-Emotion Associations Are Further Shaped by Linguistic and Geographic Proximity

Jonauskaitė, Domicėlė; Abu‐Akel, Ahmad; Dael, Nele; Oberfeld, Daniel; Abdel‐Khalek, Ahmed M.; Al-Rasheed, Abdulrahman S.; Antonietti, Jean‐Philippe; Bogushevskaya, Victoria; Chamseddine, Amer; Chkonia, Eka; Corona, Violeta; Fonseca‐Pedrero, Eduardo; Griber, Yulia A.; Grimshaw, Gina M.; Hasan, Aya Ahmed; Havelka, J; Hirnstein, Marco; Karlsson, Bodil S. A.; Laurent, Éric; Lindeman, Marjaana; Marquardt, Lynn; Mefoh, Philip C.; Παπαδάτου-Παστού, Μαριέττα; Pérez‐Albéniz, Alicia; Pouyan, Niloufar; Roinishvili, Maya; Romanyuk, Lyudmyla; Salgado‐Montejo, Alejandro; Schrag, Yann; Sultanova, Aygun; Uusküla, Mari; Vainio, Suvi; Wąsowicz, Grażyna; Zdravković, Sunčica; Zhang, Meng; Möhr, Christine

doi:10.1177/0956797620948810

Cited by 93 publications

(154 citation statements)

References 41 publications

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“…The results of Experiment 1 showed that the associations across the four languages exhibited a high degree of similarity and followed the same overall direction towards the two dimensions of the emotions. These findings are consistent with other studies that have found large similarities in associations between emotions and colors [ 49 , 82 , 97 , 98 ] and emotions and brightness [ 99 ] across languages. The large similarity in temperature-emotion associations can be the result of highly comparable concepts linked to emotions across languages, which can potentially be captured by broad categories.…”

Section: Discussionsupporting

confidence: 93%

“…To analyze the overall degree of similarity of the associations across the different languages, Pearson’s correlations ( r ) between each pair of language’s 12 (emotions) × 5 (temperatures) ratings matrices were computed. This procedure was similar to the one used by Jonauskaite et al [ 82 ] to analyze the similarity patterns in the associations of colors and emotions across languages.…”

Section: Methodsmentioning

confidence: 99%

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The temperature of emotions

et al. 2021

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Emotions and temperature are closely related through embodied processes, and people seem to associate temperature concepts with emotions. While this relationship is often evidenced by everyday language (e.g., cold and warm feelings), what remains missing to date is a systematic study that holistically analyzes how and why people associate specific temperatures with emotions. The present research aimed to investigate the associations between temperature concepts and emotion adjectives on both explicit and implicit levels. In Experiment 1, we evaluated explicit associations between twelve pairs of emotion adjectives derived from the circumplex model of affect, and five different temperature concepts ranging from 0°C to 40°C, based on responses from 403 native speakers of four different languages (English, Spanish, Japanese, Chinese). The results of Experiment 1 revealed that, across languages, the temperatures were associated with different regions of the circumplex model. The 0°C and 10°C were associated with negative-valanced, low-arousal emotions, while 20°C was associated with positive-valanced, low-to-medium-arousal emotions. Moreover, 30°C was associated with positive-valanced, high-arousal emotions; and 40°C was associated with high-arousal and either positive- or negative-valanced emotions. In Experiment 2 (N = 102), we explored whether these temperature-emotion associations were also present at the implicit level, by conducting Implicit Association Tests (IATs) with temperature words (cold and hot) and opposing pairs of emotional adjectives for each dimension of valence (Unhappy/Dissatisfied vs. Happy/Satisfied) and arousal (Passive/Quiet vs. Active/Alert) on native English speakers. The results of Experiment 2 revealed that participants held implicit associations between the word hot and positive-valanced and high-arousal emotions. Additionally, the word cold was associated with negative-valanced and low-arousal emotions. These findings provide evidence for the existence of temperature-emotion associations at both explicit and implicit levels across languages.

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Section: Discussionsupporting

confidence: 93%

Section: Methodsmentioning

confidence: 99%

The temperature of emotions

et al. 2021

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“…blue towards masculinity and positivity. We expected red to be biased towards masculinity, while having no particular valence bias because red carries both positive and negative connotations [23][24][25][26][27]. To this end, we scored embeddings of the colour terms pink, blue, and red, which we obtained from GloVe [39].…”

Section: Plos Onementioning

confidence: 99%

“…Red, on the contrary, represents being in power, dominant, and of high social status [15][16][17][18]. These representations potentially explain why adult women like red [9,[19][20][21][22] and why red carries both positive and negative connotations [23][24][25][26][27]. When it comes to valence, pink and blue both have been associated with mainly positive emotions [24,[27][28][29], although blue has been also associated with sadness [30][31][32].…”

Section: Introductionmentioning

confidence: 99%

English colour terms carry gender and valence biases: A corpus study using word embeddings

et al. 2021

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In Western societies, the stereotype prevails that pink is for girls and blue is for boys. A third possible gendered colour is red. While liked by women, it represents power, stereotypically a masculine characteristic. Empirical studies confirmed such gendered connotations when testing colour-emotion associations or colour preferences in males and females. Furthermore, empirical studies demonstrated that pink is a positive colour, blue is mainly a positive colour, and red is both a positive and a negative colour. Here, we assessed if the same valence and gender connotations appear in widely available written texts (Wikipedia and newswire articles). Using a word embedding method (GloVe), we extracted gender and valence biases for blue, pink, and red, as well as for the remaining basic colour terms from a large English-language corpus containing six billion words. We found and confirmed that pink was biased towards femininity and positivity, and blue was biased towards positivity. We found no strong gender bias for blue, and no strong gender or valence biases for red. For the remaining colour terms, we only found that green, white, and brown were positively biased. Our finding on pink shows that writers of widely available English texts use this colour term to convey femininity. This gendered communication reinforces the notion that results from research studies find their analogue in real word phenomena. Other findings were either consistent or inconsistent with results from research studies. We argue that widely available written texts have biases on their own, because they have been filtered according to context, time, and what is appropriate to be reported.

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“…Интенсивность можно было оценить по шестибалльной шкале (0 -нет эмоции; 1самая слабая эмоция, 5 -самая сильная) (подробнее см. [Jonauskaite et al, 2020]).…”

Section: Introductionunclassified

Цвет Как Инструмент Управления Эмоциями В Публикациях О Пандемии COVID-19 В Русскоязычных Онлайн-Сми

Griber¹,

Sukhova²

2020

MONITORING OF PUBLIC OPINION

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В статье представлены результаты анализа цвета визуальных репрезентаций пандемии COVID-19 в русскоязычных онлайн СМИ в контексте драматургических, культурных и ритуальных теорий эмоций в социологии. Исследование проводилось в феврале–августе 2020 г. и основано на комплексной методике, включающей контент анализ и оналйн эксперименты. На первом этапе методом контент-анализа изучалась эмоциональная энергия цветовых образов коронавируса. Материалом исследования стали связанные с коронавирусом публикации официально зарегистрированных русскоязычных онлайн СМИ. Отбор единиц исследования (N=1200) проводился с использованием многоступенчатой кластерной стратегии, а для их сортировки применялась функция поиска по ключевым словам и доминирующему цвету Google. Данные второго этапа собирались в ходе двух онлайн экспериментов, в которых приняли участие 344 человека (246 женщин и 98 мужчин в возрасте от 18 до 78 лет), и использовались для анализа эффективности эмоционального менеджмента с помощью русскоязычной версии «Женевского колеса эмоций». Проведенный контент-анализ показал, что наиболее тиражируемым сюжетом визуальной репрезентации пандемии коронавирусной инфекции в российских онлайн медиа является изображение источника инфекции — вируса COVID-19. Цвет изображения используется для поддержания эмоционального тона информационного сообщения и коррелирует с темой, представленной общей оценкой ситуации и оценкой перспектив ее развития. При восприятии цветовых образов коронавируса в разных гендерных и возрастных группах доминируют три базовые эмоции — интерес, страх и отвращение. Сливаясь с отвращением, все качества информации, которые обычно хорошо работают для привлечения внимания (новизна, неопределенность, необычность и неизвестность), вместо этого вызывают совершенно другую эмоцию — страх. Благодарность. Исследование выполнено при финансовой поддержке РФФИ в рамках научного проекта № 17-29-09145 «Картография цвета: диагностика развития цветонаименований русского языка с использованием естественно-научных, историографических, социологических и психологических методов».

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Universal Patterns in Color-Emotion Associations Are Further Shaped by Linguistic and Geographic Proximity

Cited by 93 publications

References 41 publications

The temperature of emotions

The temperature of emotions

English colour terms carry gender and valence biases: A corpus study using word embeddings

Цвет Как Инструмент Управления Эмоциями В Публикациях О Пандемии COVID-19 В Русскоязычных Онлайн-Сми

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