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The Blob Tree was created by Pip Wilson & Ian Long. Recognising the need for a non-verbal, universally accessible tool for emotional expression and communication, they developed the Blob Tree as a way to bridge language and cultural barriers and make emotional expression more accessible to people of different ages and backgrounds.
Nowadays, most research into emotions in the clinical and well-being context focuses on emotion dynamics in daily life, predominantly the intensity of specific emotions and their variability, instability, inertia, and differentiation, as well as whether and how emotions augment or blunt each other over time and differences in these dynamics ...
Emotion classification, the means by which one may distinguish or contrast one emotion from another, is a contested issue in emotion research and in affective science. Researchers have approached the classification of emotions from one of two fundamental viewpoints: [citation needed] that emotions are discrete and fundamentally different constructs
Normative ratings were also obtained from children ages 7–9 years, 10-12, and 13-14. The rating procedure for children was mildly adapted; among other modifications, children were tested in classrooms, given instructions in a more child-friendly language, and they were allotted 20 seconds to rate each picture instead of 15.
Emotion recognition is the process of identifying human emotion. People vary widely in their accuracy at recognizing the emotions of others. Use of technology to help people with emotion recognition is a relatively nascent research area. Generally, the technology works best if it uses multiple modalities in context.
Affect labeling is an implicit emotional regulation strategy that can be simply described as "putting feelings into words". Specifically, it refers to the idea that explicitly labeling one's, typically negative, emotional state results in a reduction of the conscious experience, physiological response, and/or behavior resulting from that emotional state. [1]
The PAD model, and the corresponding PAD Space have been used in the construction of animated agents that exhibit emotions. For instance, Becker et al. describes how primary and secondary emotions can be mapped via the PAD space to features in the faces of animated characters to reflect happiness, boredom, frustration or annoyance. [9]