Sentence examples for perceived emotion from inspiring English sources

This paper reports the first large-scale survey of average language users' judgment of perceived emotion type (e.g., anger, happiness), emotional intensity, and valence (e.g., positive, negative) of Chinese emotion words.

The link to the aforementioned literature on embodied emotions is provided by studies that have implied the MNS in the spontaneous mimicry of emotional facial expressions [15] in order to internally simulate the perceived emotion and to aid its understanding.

In order to explore dynamic affective responses of listeners to entire pieces of music, Schubert [24], [27], [28] developed a continuous response paradigm in which listeners report perceived emotion in real-time in a 2-dimensional emotion space [28], with emotional valence and arousal as the orthogonal dimensions [29].

Nonetheless, the perceived emotion is subjective and very much dependent on culture, environment and the pre-emotional state of the listener.

We found, as anticipated, that felt emotion did not correspond exactly to perceived emotion.

In a study published this summer in the journal Frontiers in Psychology, my colleagues and I explored the idea that "musical emotion" encompasses both the felt emotion that the music induces in the listener and the perceived emotion that the listener judges the music to express.

In general, it appears that perceived emotions may be rated higher than felt emotions when it comes to emotional categories characteristically associated with a given key.

Perhaps we should leave the verbalization of felt versus perceived emotions to poets and philosophers (if, in fact, there actually is a discernible difference between the two emotions, which is arguable).

This approach can raise some concerns as to whether or not a professional musician can correctly identify the perceived emotions in the songs.

One should note that although there are recent techniques that employ spatiotemporal features, they could still benefit from the proposed model to infer general perceived emotions in natural interactions.

The inference of evoked emotions in music videos can be regarded as a better formulated problem than emotion detection in movies, in the following sense: in movies, the perceived emotions are mostly depending on the scenario, the high-level semantics and the speech, which is usually the predominant component.