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dc.contributor.authorTiihonen, Marianne
dc.contributor.authorJacobsen, Thomas
dc.contributor.authorTrusbak Haumann, Niels
dc.contributor.authorSaarikallio, Suvi
dc.contributor.authorBrattico, Elvira
dc.date.accessioned2022-09-16T12:12:45Z
dc.date.available2022-09-16T12:12:45Z
dc.date.issued2022
dc.identifier.citationTiihonen, M., Jacobsen, T., Trusbak Haumann, N., Saarikallio, S., & Brattico, E. (2022). I know what i like when i see it : Likability is distinct from pleasantness since early stages of multimodal emotion evaluation. <i>PLoS ONE</i>, <i>17</i>(9), Article e0274556. <a href="https://doi.org/10.1371/journal.pone.0274556" target="_blank">https://doi.org/10.1371/journal.pone.0274556</a>
dc.identifier.otherCONVID_156517455
dc.identifier.urihttps://jyx.jyu.fi/handle/123456789/83273
dc.description.abstractLiking and pleasantness are common concepts in psychological emotion theories and in everyday language related to emotions. Despite obvious similarities between the terms, several empirical and theoretical notions support the idea that pleasantness and liking are cognitively different phenomena, becoming most evident in the context of emotion regulation and art enjoyment. In this study it was investigated whether liking and pleasantness indicate behaviourally measurable differences, not only in the long timespan of emotion regulation, but already within the initial affective responses to visual and auditory stimuli. A cross-modal affective priming protocol was used to assess whether there is a behavioural difference in the response time when providing an affective rating to a liking or pleasantness task. It was hypothesized that the pleasantness task would be faster as it is known to rely on rapid feature detection. Furthermore, an affective priming effect was expected to take place across the sensory modalities and the presentative and non-presentative stimuli. A linear mixed effect analysis indicated a significant priming effect as well as an interaction effect between the auditory and visual sensory modalities and the affective rating tasks of liking and pleasantness: While liking was rated fastest across modalities, it was significantly faster in vision compared to audition. No significant modality dependent differences between the pleasantness ratings were detected. The results demonstrate that liking and pleasantness rating scales refer to separate processes already within the short time scale of one to two seconds. Furthermore, the affective priming effect indicates that an affective information transfer takes place across modalities and the types of stimuli applied. Unlike hypothesized, liking rating took place faster across the modalities. This is interpreted to support emotion theoretical notions where liking and disliking are crucial properties of emotion perception and homeostatic self-referential information, possibly overriding pleasantness-related feature analysis. Conclusively, the findings provide empirical evidence for a conceptual delineation of common affective processes.en
dc.format.mimetypeapplication/pdf
dc.language.isoeng
dc.publisherPublic Library of Science (PLoS)
dc.relation.ispartofseriesPLoS ONE
dc.rightsCC BY 4.0
dc.titleI know what i like when i see it : Likability is distinct from pleasantness since early stages of multimodal emotion evaluation
dc.typearticle
dc.identifier.urnURN:NBN:fi:jyu-202209164617
dc.contributor.laitosMusiikin, taiteen ja kulttuurin tutkimuksen laitosfi
dc.contributor.laitosDepartment of Music, Art and Culture Studiesen
dc.contributor.oppiaineMusiikkikasvatusfi
dc.contributor.oppiaineMusic Educationen
dc.type.urihttp://purl.org/eprint/type/JournalArticle
dc.type.coarhttp://purl.org/coar/resource_type/c_2df8fbb1
dc.description.reviewstatuspeerReviewed
dc.relation.issn1932-6203
dc.relation.numberinseries9
dc.relation.volume17
dc.type.versionpublishedVersion
dc.rights.copyright© 2022 the Authors
dc.rights.accesslevelopenAccessfi
dc.subject.ysohavaintopsykologia
dc.subject.ysomieltymykset
dc.subject.ysohavainnot
dc.subject.ysomultimodaalisuus
dc.subject.ysotunteet
dc.subject.ysoaistit
dc.format.contentfulltext
jyx.subject.urihttp://www.yso.fi/onto/yso/p4033
jyx.subject.urihttp://www.yso.fi/onto/yso/p22910
jyx.subject.urihttp://www.yso.fi/onto/yso/p5284
jyx.subject.urihttp://www.yso.fi/onto/yso/p25633
jyx.subject.urihttp://www.yso.fi/onto/yso/p3485
jyx.subject.urihttp://www.yso.fi/onto/yso/p1938
dc.rights.urlhttps://creativecommons.org/licenses/by/4.0/
dc.relation.datasethttps://www.psycharchives.org/en/item/c6187696-1035-4a71-b517-fdc13b8b3710
dc.relation.doi10.1371/journal.pone.0274556
jyx.fundinginformationThe authors received funding from the following sources during the conduct of the study: M.T., N.T.H., E.B: Center for Music in the Brain funded by the Danish National Research Foundation (DNRF117). URL: https://dg.dk/en/ T. J.: Landesforschungsförderung Hamburg (LFF-FV38) URL: https://wissenschaft.hamburg.de/landesforschungsfoerderung-hamburg/ M.T., S.S: Kone Foundation (32881-9). URL: https:// koneensaatio.fi/en/
dc.type.okmA1


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