what do different moods specify
Answers
Explanation:
While moods are commonly used to describe how an individual person feels at a given time, they also can be used to describe the atmosphere of groups of people, places, and eras or time periods. When describing how a group is feeling, a collective mood is often used. ... The mood set for this beach is calm and peaceful.
Answer:
... that does not rely on mood measurement, like Paro or the Adaptive Relaxation Space shown in Figure 1. Usage can be initiated by the user (i.e., the user wants to regulate his or her mood) or by some other party (i.e., the user may not be aware that mood-influencing technology has been introduced). Most of the reviewed work that explored the mood-influencing possibilities of design does not report underlying hypotheses surrounding the kind of design features or qualities that might affect mood in a particular way. This limited theoretical substantiation has several unwanted consequences. Firstly, by building on intuitive assumptions about the causes of mood, only a limited repertoire of strategies to influence mood has been explored. Secondly, not all of the explored strategies may be effective because many of the underlying intuitive assumptions have been shown to be unreliable (see introduction for an overview). Thirdly, the lack of precision has created conceptual confusion by enabling design researchers to overlook important differences between causes and manifestations of emotions and moods. Because these three consequences hinder the progression of the field, the next two parts of the manuscript introduce a basic mood theory and a set of theory-based design opportunities. Mood is a diffuse and general feeling state that provides the affective colouring for all day-to-day events (Morris, 1989). Unlike emotions, moods are not directed toward specific targets, but instead have a broad influence on one’s perceptions, judgments, and behaviour (Kelley & Hoffman, 1997; Martin & Clore, 2013). This means that one’s mood is not directed at anyone or anything in particular, but rather at the surroundings in general, or, in the words of Frijda (1994), at “the world as a whole” (p. 60). In other words, moods represent positive and negative frames of mind that subtly influence our responses to all the events we encounter: when ‘in a mood’, a person sees the world – and everything in it – as dim and grey, while when cheerful, the same person sees the world through rose-coloured glasses. Where emotions are usually elicited by an explicit cause (e.g., some event), moods have diffuse or combined causes. Consequently, we are usually unable to specify the cause of a particular mood (Ekman, 1994). Although limited in time, moods tend to have a relatively long-term character. One can be sad or cheerful for several hours, or even for several days (Beedie, Terry & Lane, 2005). The second part of the paper provides a functional explanation of the mood phenomenon. To this end, four basic questions are addressed: how can mood be described? what is the function of mood? what are the manifestations of mood? and how does mood differ from emotion? The approach of this analysis was pragmatic: reviewing theory available in psychology and philosophy, and collecting those insights that enable a functional analysis of human mood in the context of design interventions. The analysis was mostly based on the functional view on mood developed by Morris (1992, 1998, 1999, 2000), complemented with insights from the work on the nature of the mood phenomenon (e.g., Lazarus, 1991; Parkinson, Totterdell, Briner, & Reynolds, 1996), the strategies that people employ to influence their own moods (e.g., Gross, 2007; Larsen, 2000), and techniques to regulate mood (e.g., Martin, 1990; Schneider, Gur, Gur, & Muenz, 1994). So far, we have not explicitly described moods. Naturally, the mood repertoire is far more nuanced than the basic good-bad distinction would have us believe: an individual can experience a range of moods that are perceived as good (e.g., cheerful, relaxed, elated) or bad (e.g., gloomy, grumpy, nervous). A common approach to capturing the breadth of this variety is to use basic dimensions that identify mood categories. In this tradition, Watson and Tellegen (1985) proposed a two-factor model of mood that employs both of the dimensions that consistently emerge in studies on the affective structure of moods, across languages and cultures (Watson & Clark, 1994; Watson, Clark & Tellegen, 1988): valence (pleasure–displeasure; representing the good/bad distinction) and arousal (high energy–low energy).
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