2013
DOI: 10.1016/j.jecp.2012.06.003
|View full text |Cite
|
Sign up to set email alerts
|

Wide eyes and drooping arms: Adult-like congruency effects emerge early in the development of sensitivity to emotional faces and body postures

Abstract: Adults' and 8-year-old children's perception of emotional faces is disrupted when faces are presented in the context of incongruent body postures (e.g., when a sad face is displayed on a fearful body) if the two emotions are highly similar (e.g., sad/fear) but not if they are highly dissimilar (e.g., sad/happy). The current research investigated the emergence of this adult-like pattern. Using a sorting task, we identified the youngest age at which children could accurately sort isolated facial expressions and … Show more

Help me understand this report

Search citation statements

Order By: Relevance

Paper Sections

Select...
2
1
1

Citation Types

2
23
0

Year Published

2013
2013
2023
2023

Publication Types

Select...
8
1

Relationship

1
8

Authors

Journals

citations
Cited by 35 publications
(25 citation statements)
references
References 56 publications
2
23
0
Order By: Relevance
“…Greater weighting of the valence dimension also makes adaptive sense; it is probably most important to know whether someone else is feeling positive or negative than it is to know whether they are highly aroused (although of course both dimensions are informative). Although this refinement to the dimensional theory would not alter our interpretation of the data presented here, heavier weighting of the valence dimension may explain evidence that happy faces are protected from congruency effects when paired with sad, fearful, and angry bodies ( [32,42,71,72]; see also catch trials in Experiments 1a and b in which happy faces were presented on congruent and incongruent bodies). Varying the relative weights of the underlying dimensions would alter the shape of the circumplex, thereby changing similarities among expressions.…”
Section: Discussionmentioning
confidence: 71%
“…Greater weighting of the valence dimension also makes adaptive sense; it is probably most important to know whether someone else is feeling positive or negative than it is to know whether they are highly aroused (although of course both dimensions are informative). Although this refinement to the dimensional theory would not alter our interpretation of the data presented here, heavier weighting of the valence dimension may explain evidence that happy faces are protected from congruency effects when paired with sad, fearful, and angry bodies ( [32,42,71,72]; see also catch trials in Experiments 1a and b in which happy faces were presented on congruent and incongruent bodies). Varying the relative weights of the underlying dimensions would alter the shape of the circumplex, thereby changing similarities among expressions.…”
Section: Discussionmentioning
confidence: 71%
“…This suggests that individuals of all ages were integrating facial and contextual information when making emotion decisions but to different extents. This strategy has also been found to emerge early and vary across development (Mondloch, 2012; Mondloch et al, 2013). …”
Section: Discussionmentioning
confidence: 99%
“…Yet, some research is beginning to address these gaps, raising questions about potential developmental changes in how individuals integrate facial and contextual information. For example, similar to adults, young children show difficulties in recognizing familiar emotional faces when paired with incongruent contextual information early in development (Mondloch, Horner, & Mian, 2013). However, they rely heavily on bodily cues when identifying emotions they are uncertain about (Mondloch, 2012).…”
Section: Changes In Processes Underlying the Perception Of Emotionmentioning
confidence: 99%
“…On the other hand, contextual cues often appear to drive affective cognition even when paired with facial expressions. For instance, observers often rely on written descriptions of a situation (Carroll & Russell, 1996;Goodenough & Tinker, 1931) body postures (Aviezer, Trope, & Todorov, 2012;Aviezer et al, 2008;Mondloch, 2012;Mondloch, Horner, & Mian, 2013;Van den Stock, Righart, & de Gelder, 2007), background scenery (Barrett & Kensinger, 2010;Barrett, Mesquita, & Gendron, 2011;Lindquist, Barrett, Bliss-Moreau, & Russell, 2006), and cultural norms (Masuda et al, 2008) when deciding how agents feel.…”
Section: Integrating Sources Of Emotional Evidencementioning
confidence: 99%