Emotion Experience

UN ITINERARIO PSICOLÓGICO DE COMPRENSIÓN Y DE DESARROLLO DEL UNIVERSO PSÍQUICO, DEL MUNDO DE LAS EMOCIONES, DE LA PERSONALIDAD Y DE LAS RELACIONES PSICO-SOCIALES.
El itinerario psicológico EL MUNDO DE LAS EMOCIONES es estructurado en dos partes:
* Parte 1: LAS DINAMICAS PSÍQUICAS donde son tratados los temas siguientes: Asociación Psíquica
de Ideas, Prueba "Arcoíris", Prueba "La Lámpara de Aladino", Prueba "La Edad del Oro", Experiencia Agradable, Experiencia Desagradable, Experiencia Desgradable/ Agradable, Emociones Agradables/ Desagradables.
* Parte 2: LOS CAMPOS EMOCIONALES, donde son tratados los temas siguientes: .  Emociones Habituales, el Miedo, la Ansiedad/Angustia, la Agresividad/Violencia, la Suavidad/Bondad, el Dolor, el Placer, la Serenidad, la Seguridad, la Felicidad, la Tristeza, la Desesperación, los Campos de el Mundo de las Emociones.
Los estímulos propuestos durante el itinerario formativo/cognitivo El MUNDO DE LAS EMOCIONES permiten el desarrollo de la personalidad, la construcción de el Universo Psíquico y la expresión del Mundo de las Emociones en que vive cada sujeto.
Comprender las propias emociones y los propios valores, educarse a vivir intensamente y con profundidad, a personalizar la realidad con el propio modo de ser, es fundamental para promover una vida plena y satisfactoria, para coger el sentido de la propia existencia, para dar una motivación profunda a las actividades que se cumplen cotidianamente.
El itinerario psicológico EL  MUNDO DE LAS EMOCIONES permite, por lo tanto, un progresivo descubrimiento y comprensión de las formas, de las fuerzas y de las dimensiones que caracterizan el Universo Psíquico, il Mundo de las Emociones, la Estructura de Personalidad y las Actitutedes PsicoSociales de cada persona, a través de:
- un autoanálisis psicológico (si hecho individualmente)
- una relación terapéutica (si la experiencia es asistida de experto)
- una relación educativa  de socialización (si realizada con un grupo de personas que comparten el mismo recorrido).

Destinations are more likely to be successful if they recognize the experiential qualities of their offerings. However, with some exceptions, research into the emotional content of the destination experience remains largely underexplored. This current research addresses this lacuna and empirically investigates the dimensions of tourists’ emotional experiences toward hedonic holiday destinations. Adopting a rigorous scale development procedure, exploratory and confirmatory factor analyses identify three salient dimensions to represent the Destination Emotion Scale, namely, joy, love, and positive surprise. In addition, tourists’ emotional experiences are related to satisfaction, which in turn has a significant influence on behavioral intentions. Findings offer important implications for destination marketers in relation to branding and emotional experience management.

By thinking on my personal (som)aesthetic experience as a would-be jazz saxophonist, I will argue that the relationship between musician and instrument can exemplify the "extended self " thesis in the artistic/aesthetic realm. As can happen with a human partner, a special affective relationship may arise between human being and instrument and, through repeated practice, the instrument can become an indispensable element of the aesthetic habits by virtue of which we interact with the environment, thus becoming part of the (extended) self. As I will suggest, this special bodily and affective relationship is due to the affordances offered by the instrumental partner and to the expressive experiences that this encounter makes possible. This affective relationship is one of the reasons behind the regret we feel for the destruction or loss of artifacts. Thanks to the assiduity of a somaesthetic relationship, it happens that these objects become extensions not only of the body but also of the mind or "soul. "

This paper sketches an account of what distinguishes emotional intentionality from other forms of intentionality. I focus on the 'two-sided' structure of emotional experience. Emotions such as being afraid of something and being angry about something involve intentional states with specific contents. However, experiencing an entity, event, or situation in a distinctively emotional way also includes a wider-ranging disturbance of the experiential world within which the object of emotion is encountered. I consider the nature of this disturbance and its relationship to the localized content of an emotional experience.

Martin Jay, renowned intellectual historian from UC Berkeley, here examines these questions in a grand survey of the term’s use throughout the intellectual history of what was once called Western Civilization. Beginning with the ancient Greeks (of course), he reviews the surprising number of variations employed and assumed by philosophers, theologians critical theorists, and right up to the poststructuralists. Jay knows his territory and reading this survey of it — for anyone with any sort of background in the history of philosophy — is often as pleasant as hearing a familiar symphony well-played in a unique way.

While there have been many theoretical and philosophical speculations on the role of emotion and embodiment in the aesthetic experience of architecture, there have been little or no actual empirical support substantiating the claims made. If this lack of hard proof was not an issue in the past, our epoch, profoundly influenced by Modernity, has made increasingly difficult to advance any significant allegation without providing some factual evidence in the scientific sense. This paper reports on work directed to address this challenge. Using a previously documented survey on Extraordinary Architectural Experiences, a large quantity of ‘qualitative measurements’ was collected along 13 categorical variables gauging feeling and embodiment. These data were then thoroughly examined through four levels of statistical analysis. The results empirically demonstrate 69 significant correlations among the variables and thus the central role of embodiment and emotion in extraordinary architectural experiences. Of these correlations, 23 were specifically analyzed to define their psychological and physical characteristics to an unprecedented level of detail. It is hoped that this knowledge sets up a foundation from where to test, develop, and/or apply old and new hypotheses of aesthetic affect and effect in architecture.

Although the Ancients placed great emphasis on delivery, modern rhetorical scholars often overlook the oral dimensions of speech. Speech is powerful because of its ability to elicit a somatic response. Scholars in other disciplines are examining how speech affects the body, but contemporary rhetorical scholarship often overlooks their findings. This essay reviews scholarship both inside and outside of communication studies that demonstrates the interplay between rhetoric and orality, paying particular attention to how scientific scholarship can inform our conception of ethos and pathos. By drawing together scientific and rhetorical scholarship, scholars in all disciplines can gain a greater understanding of how speech affects the mind, body, and soul.

History culture (broadly, the use of history) always reflects changing culture. We now live in a kind of aftermath of the twentieth century, which Eric Hobsbawm called "the age of extremes". This characterisation describes very well the state of western culture today as well: rapidly changing information technology, postmodern relativisation of traditional values and optimistic belief in progressive modernisation, new global problems with nature (climate change, species extinction, Covid) are all signs of extreme times. So far as history always reflects the present, this current state of the world brings many new challenges for historians. I study these problems through conceptual analysis of 'living experience' (Erlebnis) and 'experience society' (Erlebnisgesellschaft).

This study examines how emotion influences revisit intention differently across three emotion-based segments. The research involved a survey 450 individuals who had visited a live show in Macau.  An emotion-based segmentation using cluster analysis followed by discriminant analysis was used to predict visitors’ cluster membership based on their pattern of emotion. Three clusters with distinct patterns of emotional response, namely exhilarated, indifferent and serene were identified. Emotions of calm and relaxation are the most influential factors that differentiate the three clusters. The results revealed that emotion influences revisit intention of the emotion-based segments differently.

What is the significance of our gut feelings? Can they disclose our deep selves or point to a shared human nature? The phenomenon of perpetrator disgust provides a uniquely insightful perspective by which to consider such questions. Across time and cultures, some individuals exhibit signs of distress while committing atrocities. They experience nausea, convulse, and vomit. Do such bodily responses reflect a moral judgment, a deep-seated injunction against atrocity? What conclusions can we draw about the relationship of our gut feelings to human nature and moral frameworks?
Drawing on a broad range of historical examples as well as the latest scholarship from the philosophical and scientific study of emotions, this book explores the relationship of cognition and emotion through the lens of perpetrator disgust. Considering a range of interpretations of this phenomenon, it becomes evident that gut feelings do not carry a straightforward and transparent intentionality in themselves, nor do they motivate any core, specific response; they are templates that can embody a broad range of values and morals. Using this core insight, the book proposes a contextual understanding of emotions, by which an agent’s environment shapes their available hermeneutic equipment—concepts, categories, names—that individuals rely on to make sense of their emotions and navigate the world.

Introduction attached

Previous efforts to understand and predict behavior traditionally categorize tourists into sub-groups using socio-demographic and psychographic variables. Surprisingly, the tourism literature does not profile tourists by the intensity of their emotional associations toward destinations. To address the literature gap, this paper empirically identifies distinguishable patterns of tourist emotional responses and investigates relationships between tourists' emotional profiles and their post-consumption evaluations of satisfaction and intention to recommend. Cluster analysis uncovers five distinct emotional response patterns among tourists: delighted, unemotionals, negatives, mixed, and passionate. Multiple discriminant analysis confirms the validity of the five-cluster solution. The five tourist groups differ by their satisfaction level and propensity to recommend destinations. These findings offer important implications for destination marketers designing segmentation and branding strategies

Our purpose is to examine the possibilities of Bakhtinian dialogical analysis for understanding students’ experiences of medical training. Twenty-three interviews were conducted with eleven British medical students intercalating in psychology. Forty emotionally resonant key moments were identified for analysis. Our analysis illustrates students’ use of the professional genre to present their training as emotionally neutral. However, we show how medical training can be framed in more unofficial and affective-laden ways in which threshold moments of crisis are presented as space-time breaches characteristic of the genres of adventure-wonder and adventure-ordeal. This affect was often depotentiated in the narratives through brief allusion to the professional genre. This cycling between genres suggests that the students were searching for an appropriate way in which to frame their experiences, a central dilemma being the extent to which medical training makes sense within an immediate and affect-laden, or future-orientated and affect-neutral, pedagogy. Finally, we identify how consultants are an important aspect of the affective experience of medical training who, at their best, offer inspiring exemplars of flexible movement between official and unofficial ways of being a doctor. In conclusion, we demonstrate the potential of genres to make sense, and to organize the experience, of medical training spatially in terms of moving between personal and impersonal contact, temporally in terms of moving between the extraordinary and routine, and affectively in terms of moving between potent and neutral affect. Learning to use the professional genre is part of enculturation as a doctor and can be helpful in providing a framework restoring coherence and composure through engaging with, and reformulating, difficult experiences. However, it is important to take seriously the resistance many of the students demonstrated to the professional genre as a possible barometer of its acceptability to the general public.

Dispositional anxiety is a well-established risk factor for the development of psychiatric disorders along the internalizing spectrum, including anxiety and depression. Importantly, many of the maladaptive behaviors characteristic of anxiety, such as anticipatory apprehension, occur when threat is absent. This raises the possibility that anxious individuals are less efficient at gating threat’s access to working memory, a limited capacity workspace where information is actively retained, manipulated, and used to flexibly guide goal-directed behavior when it is no longer present in the external environment. Using a well-validated neurophysiological index of working memory storage, we demonstrate that threat-related distracters were difficult to filter on average and that this difficulty was exaggerated among anxious individuals. These results indicate that dispositionally anxious individuals allocate excessive working memory storage to threat, even when it is irrelevant to the task at hand. More broadly, these results provide a novel framework for understanding the maladaptive thoughts and actions characteristic of internalizing disorders.

Digital games provide the most engaging interactive experiences. Researching gameplay experience is done mainly in the science and technology (e.g., human-computer interaction, physiological and entertainment computing) and social science (e.g., media psychology, psychophysiology, and communication sciences) research communities. This thesis is located at the intersection of these research areas, bringing together emerging methodological and scientific approaches from these multi-faceted communities for an affective ludology; a novel take on game analysis and design with focus on the player.

The thesis contributes to game research with three important results:

1. the establishment of a objective/subjective correlation methodology founded on psychophysiological methods,
2. the creation of a formal theoretical framework in which to conduct user experience (UX) research related to games, and
3. the combination of results regarding cognitive and emotional factors for describing, defining, and classifying the interactive relationship between players and games.

Two approaches for measuring gameplay experience are used in this thesis. First, objective assessment of physiological user responses together with automated event-logging techniques, so called game metrics, allows collecting essential player- and game-related variables for a comprehensive understanding of their interaction. Second, using psychometric questionnaires allows a reliable assessment of players' subjective emotion and cognition during gameplay. The benefit of psychophysiological methods is that they are non-intrusive, covert, reliable, and objective. To fully understand psychophysiological results, a correlation between subjective gameplay experience ratings and psychophysiological responses is necessary and has been done in this thesis and prior work it builds on.

This thesis explores objective and subjective assessment of gameplay experience in several experiments. The experiments focus on:

1. level design implications from psychophysiological and questionnaire measurements,
2. the impact of form and age on subjective gameplay experience,
3. the impact of game audio and sound on objective and subjective player responses, and
4. the impact of game interaction design on and the relationship between experience and electroencephalographic measures.

In addition, the thesis includes a theoretical framework for UX research in games, which classifies gameplay experience along the dimensions of abstraction and time. One remaining conceptual and empirical challenge for this framework is the huge variety of vaguely defined experiential phenomena, such as immersion, flow, presence, and engagement. However, the results from the experimental studies show that by establishing correlations between psychophysiological responses and questionnaire data, we are approaching a better, scientifically grounded, understanding of gameplay experience.

Many possibilities open from here. More detailed analyses of cognition will help us understand to what extent gameplay experience depends on emotional or cognitive processing. In addition, the inclusion of more complex and detailed gameplay metrics data together with psychophysiological metrics will enable a comprehensive analysis of player behavior, attention, and motivation. Finally, the integration of new measurement technologies in interactive entertainment applications will not only allow a detailed assessment of gameplay, but also improve physical and mental interaction with future games.