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Monday, February 12, 2024

Emotions and culture

From Wikipedia, the free encyclopedia

According to some theories, emotions are universal phenomena, albeit affected by culture. Emotions are "internal phenomena that can, but do not always, make themselves observable through expression and behavior". While some emotions are universal and are experienced in similar ways as a reaction to similar events across all cultures, other emotions show considerable cultural differences in their antecedent events, the way they are experienced, the reactions they provoke and the way they are perceived by the surrounding society. According to other theories, termed social constructionist, emotions are more deeply culturally influenced. The components of emotions are universal, but the patterns are social constructions. Some also theorize that culture is affected by the emotions of the people.

Cultural studies of emotions

Research on the relationship between culture and emotions dates back to 1872 when Darwin argued that emotions and the expression of emotions are universal. Since that time, the universality of the seven basic emotions (i.e., happiness, sadness, anger, contempt, fear, disgust, and surprise) has ignited a discussion amongst psychologists, anthropologists, and sociologists. While emotions themselves are universal phenomena, they are always influenced by culture. How emotions are experienced, expressed, perceived, and regulated varies as a function of culturally normative behavior by the surrounding society. Therefore, it can be said that culture is a necessary framework for researchers to understand variations in emotions.

Pioneers

In Darwin's opening chapter of The Expression of the Emotions in Man and Animals, (1872/1998) Darwin considered the face to be the preeminent medium of emotional expression in humans, and capable of representing both major emotions and subtle variations within each one. Darwin's ideas about facial expressions and his reports of cultural differences became the foundation for ethological research strategies. Silvan Tomkins' (1962) Affect Theory 1963) built upon Darwin's research, arguing that facial expressions are biologically based, and universal manifestations of emotions. The research of Paul Ekman (1971) and Carroll Izard (1971) further explored the proposed universality of emotions, showing that the expression of emotions was recognized as communicating the same feelings in cultures found in Europe, North and South America, Asia, and Africa. Ekman (1971) and Izard (1971) both created sets of photographs displaying emotional expressions that were agreed upon by Americans. These photographs were then shown to people in other countries with the instructions to identify the emotion that best describes the face. The work of Ekman, and Izard, concluded that facial expressions were in fact universal, innate, and phylogenetically derived. Some theorists, including Darwin, even argued that "Emotion ... is the neuromuscular activity of the face". Many researchers since have criticized this belief and instead argue that emotions are much more complex than initially thought. In addition to pioneering research in psychology, ethnographic accounts of cultural differences in emotion began to emerge. Margaret Mead, a cultural anthropologist writes about unique emotional phenomena she experienced while living among a small village of 600 Samoans on the island of Ta'u in her book Coming of Age in Samoa. Gregory Bateson, an English anthropologist, social scientist, linguist, and visual anthropologist used photography and film to document his time with the people of Bajoeng Gede in Bali. According to his work, cultural differences were very evident in how the Balinese mothers displayed muted emotional responses to their children when the child showed a climax of emotion. In displays of both love (affection) and anger (temper) Bateson's notes documented that mother and child interactions did not follow Western social norms. The fieldwork of anthropologist Jean Briggs details her almost two-year experience living with the Utku Inuit in her book Never in Anger: Portrait of an Eskimo Family. Briggs lived as the daughter of a Utku family describing their society as particularly unique emotional control. She rarely observed expressions of anger or aggression and if it were expressed, it resulted in ostracism.

Scholars working on the history of emotions have provided some useful terms for discussing cultural emotion expression. Concerned with distinguishing a society's emotional values and emotional expressions from an individual's actual emotional experience, William Reddy has coined the term emotive. In The Making of Romantic Love, Reddy uses cultural counterpoints to give credence to his argument that romantic love is a 12th-century European construct, built in a response to the parochial view that sexual desire was immoral. Reddy suggests that the opposition of sexual ardor and true love was not present in either Heain Japan or the Indian kingdoms of Bengal and Orissa. Indeed, these cultures did not share the view of sexual desire as a form of appetite, which Reddy suggests was widely disseminated by the Church. Sexuality and spirituality were not conceived in a way which separated lust from love: indeed, sex was often used as a medium of spiritual worship, emulating the divine love between Krishna and Rada. Sexual desire and love were inextricable from one another. Reddy therefore argues that the emotion of romantic love was created in Europe in the 12th century and was not present in other cultures at the time.

Cultural norms of emotions

Culture provides structure, guidelines, expectations, and rules to help people understand and interpret behaviors. Several ethnographic studies suggest there are cultural differences in social consequences, particularly when it comes to evaluating emotions. For example, as Jean Briggs described in the Utku Eskimo population, anger was rarely expressed, and in the rare occasion that it did occur, it resulted in social ostracism. These cultural expectations of emotions are sometimes referred to as display rules. Psychologists (Ekman & Friesen, 1969; Izard, 1980; Sarni, 1999) believe that these rules are learned during a socialization process. Ekman and Friesen (1975) have also suggested that these "unwritten codes" govern the manner in which emotions may be expressed and that different rules may be internalized as a function of an individual's culture, gender, or family background. Miyamoto & Ryff (2011) used the term cultural scripts to refer to cultural norms that influence how people expect emotions to be regulated. Cultural scripts dictate how positive and negative emotions should be experienced and combined. Cultural scripts may also guide how people choose to regulate their emotions which ultimately influences an individual's emotional experience. For example, research suggests that in Western cultures, the dominant social script is to maximize positive emotions and minimize negative emotions. In Eastern cultures, the dominant cultural script is grounded in "dialectical thinking" and seeks to find a middle way by experiencing a balance between positive and negative emotions. Because normative behaviors in these two cultures vary, it should also be expected that their cultural scripts would also vary. Tsai et al. (2007) argue that not only do cultural factors influence ideal effect (i.e., the affective states that people ideally want to feel) but that the influence can be detected very early. Their research suggests that preschool-aged children are socialized to learn ideal effects through cultural products such as children's storybooks. They found that European American preschool children preferred excited (vs. calm) smiles and activities more and perceived an excited (vs. calm) smile as happier than Taiwanese Chinese preschoolers. This is consistent with American best sellers containing more exciting and arousing content in their books than the Taiwanese best sellers. These findings suggest that cultural differences in which emotions are desirable or, ideal affect, become evident very early.

Culture and emotional experiences

A cultural syndrome as defined by Triandis (1997) is a "shared set of beliefs, attitudes, norms, values, and behavior organized around a central theme and found among speakers of one language, in one time period, and in one geographic region". Because cultures are shared experiences, there are obvious social implications for emotional expression and emotional experiences. For example, the social consequences of expressing or suppressing emotions will vary depending upon the situation and the individual. Hochschild (1983) discussed the role of feeling rules, which are social norms that prescribe how people should feel at certain times (e.g., wedding day, at a funeral). These rules can be general (how people should express emotions in general) and also situational (events like birthdays). Culture also influences the ways emotions are experienced depending upon which emotions are valued in that specific culture. For example, happiness is generally considered a desirable emotion across cultures, but is viewed in subtly different ways. In countries with more individualistic views such as America, happiness is viewed as infinite, attainable, and internally experienced. In collectivistic cultures such as Japan, emotions such as happiness are very relational, include a myriad of social and external factors, and reside in shared experiences with other people. Uchida, Townsend, Markus, & Bergsiekers (2009) suggest that Japanese contexts reflect a conjoint model meaning that emotions derive from multiple sources and involve assessing the relationship between others and the self. However, in American contexts, a disjoint model is demonstrated through emotions being experienced individually and through self-reflection. Their research suggests that when Americans are asked about emotions, they are more likely to have self-focused responses "I feel joy" whereas a Japanese typical reaction would reflect emotions between the self and others "I would like to share my happiness with others."

Culture and emotion regulation

Emotions play a critical role in interpersonal relationships and how people relate to each other. Emotional exchanges can have serious social consequences that can result in either maintaining and enhancing positive relationships or becoming a source of antagonism and discord (Fredrickson, 1998; Gottman & Levenson, 1992)). Even though people may generally "want to feel better than worse" (Larsen, 2000)) how these emotions are regulated may differ across cultures. Research by Yuri Miyamoto suggests that cultural differences influence emotion regulation strategies. Research also indicates that different cultures socialize their children to regulate their emotions according to their own cultural norms. For example, ethnographic accounts suggest that American mothers think that it is important to focus on their children's successes while Chinese mothers think it is more important to provide discipline for their children. To further support this theory, a laboratory experiment found that when children succeeded on a test, American mothers were more likely than Chinese mothers to provide positive feedback (e.g. "You're so smart!"), in comparison to Chinese mothers who provided more neutral or task relevant feedback (e.g. "Did you understand the questions or did you just guess?"; Ng, Pomerantz, & Lam, 2007). This shows how American mothers are more likely to "up-regulate" positive emotions by focusing on their children's success whereas Chinese mothers are more likely to "down-regulate" children's positive emotions by not focusing on their success. Americans see emotions as internal personal reactions; emotions are about the self (Markus & Kityama, 1991). In America, emotional expression is encouraged by parents and peers while suppression is often disapproved. Keeping emotions inside is viewed as being insincere as well as posing a risk to one's health and well-being. In Japanese cultures, however, emotions reflect relationships in addition to internal states. Some research even suggests that emotions that reflect the inner self cannot be separated from emotions that reflect the larger group. Therefore, unlike American culture, expression of emotions is often discouraged, and suppressing one's individual emotions to better fit in with the emotions of the group is looked at as mature and appropriate.

Emotional perception and recognition

The role of facial expressions in emotional communication is often debated. While Darwin believed the face was the most preeminent medium of emotion expression, more recent scientific work challenges that theory. Furthermore, research also suggests that cultural contexts behave as cues when people are trying to interpret facial expressions. In everyday life, information from people's environments influences their understanding of what a facial expression means. According to research by Masuda et al. (2008), people can only attend to a small sample of the possible events in their complex and ever- changing environments, and increasing evidence suggests that people from different cultural backgrounds allocate their attention very differently. This means that different cultures may interpret the same social context in very different ways. Since Americans are viewed as individualistic, they should have no trouble inferring people's inner feelings from their facial expressions, whereas Japanese people may be more likely to look for contextual cues in order to better understand one's emotional state. Evidence of this phenomenon is found in comparisons of Eastern and Western artwork. In Western art there is a preoccupation with the face that does not exist in Eastern art. For example, in Western art the figure occupies a larger part of the frame and is clearly noticeably separated from the ground. In East Asian artwork, the central figure is significantly smaller and also appears to be more embedded in the background. In a laboratory setting, Masuda et al. also tested how sensitive both Americans and Japanese would be to social contexts by showing them pictures of cartoons that included an individual in the context of a group of four other people. They also varied the facial expressions of the central figure and group members. They found that American participants were more narrowly focused with judging the cartoon's emotional states than the Japanese participants were. In their recognition task they also observed that the Japanese participants paid more attention to the emotions of the background figures than Americans did.

Individualistic vs. collectivistic cultures

Contemporary literature has traced the influence of culture on a variety of aspects of emotion, from emotional values to emotion regulation. Indeed, culture may be best understood as a channel through which emotions are molded and subsequently expressed. Indeed, this had been most extensively discussed in psychology by examining individualistic and collectivistic cultures.

The individualistic vs. collectivistic cultural paradigm has been widely used in the study of emotion psychology. Collectivistic cultures are said to promote the interdependence of individuals and the notion of social harmony. Indeed, Niedenthal suggests that: "The needs, wishes, and desires of the collectives in which individuals find themselves are emphasized, and the notion of individuality is minimized or even absent from the cultural model". Individualistic cultures, however, promote individual autonomy and independence. Individual needs, wishes, and desires are emphasized, and the possibility of personal attainment is encouraged. Collectivistic cultures include those of Asia and Latin America, whilst individualistic cultures include those of North America and Western Europe. North America, specifically, is seen to be the prototype of an individualistic culture.

Research has shown that the collectivism vs. individualism paradigm informs cultural emotional expression. An influential paper by Markus & Kitayama, on the influence of culture on emotion, established that in more collectivistic cultures, emotions were conceived as relational to the group. Thus, in collectivistic cultures, emotions are believed to occur between people, rather than within an individual. When Japanese school students were asked about their emotions, they usually stated than an emotion comes from their outside social surroundings. When asked about where the emotions they feel originate from, Japanese school students never referred to themselves first. This suggests that Japanese people believe emotions exist within the environment, between individuals, in line with collectivistic values. Individualistic cultures, however, conceive emotions as independent internal experiences, occurring within an individual. When American school students were asked about their emotions, they usually stated that they experienced emotions within themselves. This suggests that Americans consider emotions as personal, experienced internally and independently. Markus & Kitayama purport that emotions like friendliness and shame - which promote interconnectedness - are predominant in Asian culture. Conversely, European-American cultures were shown to be predominated by individualistic emotions, such as pride or anger.

Emotion suppression

Collectivistic cultures are believed to be less likely to express emotions, in fear of upsetting social harmony. Miyahara, referencing a study conducted on Japanese interpersonal communication, purports that the Japanese "are low in self-disclosure, both verbally and non-verbally.... Most of these attributes are ascribed to the Japanese people's collectivistic orientations". The study conducted showed that Japanese individuals have a relatively low expression of emotion. Niedenthal further suggests that: "Emotional moderation in general might be expected to be observed in collectivist cultures more than in individualistic cultures, since strong emotions and emotional expression could disrupt intra-group relations and smooth social functioning".

Individualistic cultures are seen to express emotions more freely than collectivistic cultures. In a study comparing relationships among American and Japanese individuals, it was found that: "People in individualistic cultures are motivated to achieve closer relationships with a selected few and are willing to clearly express negative emotions towards others". Research by Butler et al., found that the social impact of emotion suppression is moderated by the specific culture. Whilst the suppression of emotion by those with European Americans values led to non-responsive reactions and hostility, individuals with bicultural Asian-American values were perceived as less hostile and more engaged when they suppressed their emotions. Thus, individuals with Asian-American values were more skilled in emotional suppression than individuals with European-American values. The article explanation is that Asian-Americans may engage in habitual suppression more often as negative emotions are seen to cause social disharmony and thus contradict cultural values.

Culture and emotion socialization

Research undertaken in the socialization of children cross-culturally has shown how early cultural influences start to affect emotions. Studies have shown the importance of socializing children in order to imbue them with emotional competence. Research by Friedlmeier et al., suggests children must be socialized in order to meet the emotional values and standards of their culture. For instance, in dealing with negative emotions, American parents were more likely to encourage emotion expression in children, thus promoting autonomy and individualistic competence. East Asian parents, however, attempted to minimize the experience of the negative emotion, by either distracting their child or trying to make their child suppress the emotion. This promotes relational competence and upholds the value of group harmony. Children are thus socialized to regulate emotions in line with cultural values.

Further research has assessed the use of storybooks as a tool with which children can be socialized to the emotional values of their culture. Taiwanese values promote ideal affect as a calm happiness, where American ideal affect is excited happiness. Indeed, it was found that American preschoolers preferred excited smiles and perceived them as happier than Taiwanese children did, and these values were seen to be mirrored in storybook pictures. Importantly, it was shown that across cultures, exposure to story books altered children's preferences. Thus, a child exposed to an exciting (versus calm) book, would alter their preference for excited (versus calm) activity. This shows that children are largely malleable in their emotions, and suggests that it takes a period of time for cultural values to become ingrained.

Another study has shown that American culture values high arousal positive states such as excitement, over low arousal positive states such as calmness. However, in Chinese culture low arousal positive states are preferable to high arousal positive states. The researchers provide a framework to explain this, suggesting that high arousal positive states are needed in order to influence someone else, where low arousal positive states are useful for adjusting to someone else. This explanation is in line with the collectivism-individualism dichotomy: American values promote individual autonomy and personal achievement, where Asian values promote relational harmony. Emotion expression is consequently seen to be influenced largely by the culture in which a person has been socialized.

Culture of honor

Nisbett & Cohen's 1996 study Culture of Honor examines the violent honor culture in the Southern states of the US. The study attempts to address why the southern USA is more violent, with a higher homicide rate, than its northern counterpart. It is suggested that the higher rate of violence is due to the presence of a 'culture of honor' in the southern USA. A series of experiments were designed to determine whether southerners got angrier than northerners when they were insulted. In one example, a participant was bumped into and insulted, and their subsequent facial expressions were coded. Southerners showed significantly more anger expressions. Furthermore, researchers measured cortisol levels, which increase with stress and arousal, and testosterone levels, which increase when primed for aggression. In insulted southerners, cortisol and testosterone levels rose by 79% and 12% respectively, which was far more than in insulted northerners. With their research, Nisbett & Cohen show that southern anger is expressed in a culturally specific manner.

Challenges in cultural research of emotions

One of the biggest challenges in cultural research and human emotions is the lack of diversity in samples. Currently, the research literature is dominated by comparisons between Western (usually American) and Eastern Asian (usually Japanese or Chinese) sample groups. This limits our understanding of how emotions vary, and future studies should include more countries in their analyses. Another challenge outlined by Matsumoto (1990) is that culture is ever changing and dynamic. Culture is not static. As the cultures continue to evolve it is necessary that research capture these changes. Identifying a culture as "collectivistic" or "individualistic" can provide a stable as well as inaccurate picture of what is really taking place. No one culture is purely collectivistic or individualistic and labeling a culture with these terms does not help account for the cultural differences that exist in emotions. As Matsumoto argues, a more contemporary view of cultural relations reveals that culture is more complex than previously thought. Translation is also a key issue whenever cultures that speak different languages are included in a study. Finding words to describe emotions that have comparable definitions in other languages can be very challenging. For example, happiness, which is considered one of the six basic emotions, in English has a very positive and exuberant meaning. In Hindi, Sukhi is a similar term however it refers to peace and happiness. Although happiness is a part of both definitions, the interpretation of both terms could lead to researchers to making assumptions about happiness that actually do not exist.

Further research

Studies have shown that Western and Eastern cultures have distinct differences in emotional expressions with respect to hemi-facial asymmetry; Eastern population showed bias to the right hemi-facial for positive emotions, while the Western group showed left hemi-facial bias to both negative and positive emotions.

Recently, the valence and arousal of the twelve most popular emotion keywords expressed on the micro-blogging site Twitter were measured using latent semantic clustering in three geographical regions: Europe, Asia and North America. It was demonstrated that the valence and arousal levels of the same emotion keywords differ significantly with respect to these geographical regions — Europeans are, or at least present themselves as more positive and aroused, North Americans are more negative and Asians appear to be more positive but less aroused when compared to global valence and arousal levels of the same emotion keywords. This shows that emotional differences between Western and Eastern cultures can, to some extent, be inferred through their language style.

Conclusion

Culture affects every aspect of emotions. Identifying which emotions are good or bad, when emotions are appropriate to be expressed, and even how they should be displayed are all influenced by culture. Even more importantly, cultures differently affect emotions, meaning that exploring cultural contexts is key to understanding emotions. Through incorporating sociological, anthropological, and psychological research accounts it can be concluded that exploring emotions in different cultures is very complex and the current literature is equally as complex, reflecting multiple views and the hypothesis.

Emoticon

From Wikipedia, the free encyclopedia
https://en.wikipedia.org/wiki/Emoticon
A smiley-face emoticon
Examples of kaomoji smileys

An emoticon (/əˈmtəkɒn/, ə-MOH-tə-kon, rarely /ɪˈmɒtɪkɒn/, ih-MOTT-ih-kon), short for emotion icon, is a pictorial representation of a facial expression using characters—usually punctuation marks, numbers, and letters—to express a person's feelings, mood, or reaction, without needing to describe it in detail.

The first ASCII emoticons are generally credited to computer scientist Scott Fahlman, who proposed what came to be known as "smileys" – :-) and :-( – in a message on the bulletin board system (BBS) of Carnegie Mellon University in 1982. In Western countries, emoticons are usually written at a right angle to the direction of the text. Users from Japan popularized a kind of emoticon called kaomoji, utilizing the larger character sets required for Japanese, that can be understood without tilting one's head to the left. This style arose on ASCII NET of Japan in 1986.

As SMS mobile text messaging and the Internet became widespread in the late 1990s, emoticons became increasingly popular and were commonly used in texting, Internet forums, and e-mails. Emoticons have played a significant role in communication through technology, and some devices and applications have provided stylized pictures that do not use text punctuation. They offer another range of "tone" and feeling through texting that portrays specific emotions through facial gestures while in the midst of text-based cyber communication. Emoticons were the precursors to modern emojis, which have been in a state of continuous development for a variety of digital platforms. Today, over 90% of the world's online population uses emojis or emoticons.

History

Different uses of text characters (pre-1981)

Cover of the French magazine Le Charivari, text of a legal ruling against it in the shape of a pear, 1834

Modern emoticons were not the first instances of :) or :-) being used in text. In 1648, poet Robert Herrick wrote, "Tumble me down, and I will sit Upon my ruins, (smiling yet:)." Herrick's work predated any other recorded use of brackets as a smiling face by around 200 years. However, experts have since weighed whether the inclusion of the colon in the poem was deliberate and if it was meant to represent a smiling face. English professor Alan Jacobs argued that "punctuation, in general, was unsettled in the seventeenth century ... Herrick was unlikely to have consistent punctuational practices himself, and even if he did he couldn't expect either his printers or his readers to share them."

Precursors to modern emoticons have existed since the 19th century. The National Telegraphic Review and Operators Guide in April 1857 documented the use of the number 73 in Morse code to express "love and kisses" (later reduced to the more formal "best regards"). Dodge's Manual in 1908 documented the reintroduction of "love and kisses" as the number 88. New Zealand academics Joan Gajadhar and John Green comment that both Morse code abbreviations are more succinct than modern abbreviations such as LOL.

The transcript of one of Abraham Lincoln's speeches in 1862 recorded the audience's reaction as: "(applause and laughter ;)". There has been some debate whether the glyph in Lincoln's speech was a typo, a legitimate punctuation construct, or the first emoticon. Linguist Philip Seargeant argues that it was a simple typesetting error.

Before March 1881 the examples of "typographical art" appeared in at least three newspaper articles, including Kurjer warszawski (published in Warsaw) from March 5, 1881, using punctuation to represent the emotions of joy, melancholy, indifference, and astonishment.

Transcript of a speech by Abraham Lincoln in 1862

In a 1912 essay titled "For Brevity and Clarity", American author Ambrose Bierce suggested facetiously that a bracket could be used to represent a smiling face, proposing "an improvement in punctuation" with which writers could convey cachinnation, loud or immoderate laughter: "it is written thus ‿ and presents a smiling mouth. It is to be appended, with the full stop, to every jocular or ironical sentence". In a 1936 Harvard Lampoon article, writer Alan Gregg proposed combining brackets with various other punctuation marks to represent various moods. Brackets were used for the sides of the mouth or cheeks, with other punctuation used between the brackets to display various emotions: (-) for a smile, (--) (showing more "teeth") for laughter, (#) for a frown and (*) for a wink.

The September 1962 issue of MAD magazine included an article titled "Typewri-toons". The piece, featuring typewriter-generated artwork credited to "Royal Portable", was entirely made up of repurposed typography, including a capital letter P having a bigger bust than a capital I, a lowercase b and d discussing their pregnancies, an asterisk on top of a letter to indicate the letter had just come inside from snowfall, and a classroom of lowercase n's interrupted by a lowercase h "raising its hand".

"Typographical art" published in the March 5, 1881 issue of Kurjer Warszawski

A further example attributed to a Baltimore Sunday Sun columnist appeared in a 1967 article in Reader's Digest, using a dash and right bracket to represent a tongue in one's cheek: —). Prefiguring the modern "smiley" emoticon, writer Vladimir Nabokov told an interviewer from The New York Times in 1969, "I often think there should exist a special typographical sign for a smile – some sort of concave mark, a supine round bracket, which I would now like to trace in reply to your question."

In the 1970s, the PLATO IV computer system was launched. It was one of the first computers used throughout educational and professional institutions, but rarely used in a residential setting. On the computer system, a student at the University of Illinois developed pictograms that resembled different smiling faces. Mary Kalantzis and Bill Cope stated this likely took place in 1972, and they claimed these to be the first emoticons. The student's creations likely cover multiple timelines, the creation of computer icons, digital pictograms and emoticons. Since the pictograms were not focused on offering a means to communicate, they are not generally considered important in the history of the emoticon.

ASCII emoticons use in digital communication (1982–mid-1990s)

Carnegie Mellon computer scientist Scott Fahlman is generally credited with the invention of the digital text-based emoticon in 1982. Carnegie Mellon's bulletin board system (BBS) was a forum used by students and teachers for discussing a variety of topics, where jokes often created misunderstandings. As a response to the difficulty of conveying humor or sarcasm in plain text, Fahlman proposed colon–hyphen–right bracket :-) as a label for "attempted humor". The use of ASCII symbols, a standard set of codes representing typographical marks, was essential to allow the symbols to be displayed on any computer. Fahlman sent the following message after an incident where a humorous warning about a mercury spill in an elevator was misunderstood as serious:

19-Sep-82 11:44    Scott E  Fahlman             :-)
From: Scott E  Fahlman <Fahlman at Cmu-20c>
 
I propose that the following character sequence for joke markers:
        
:-)
        
Read it sideways.  Actually, it is probably more economical to mark
things that are NOT jokes, given current trends.  For this, use
        
:-(

Other suggestions on the forum included an asterisk * and an ampersand &, the former meant to represent a person doubled over in laughter, as well as a percent sign % and a pound sign #. Within a few months, the smiley had spread to the ARPANET and Usenet.

Many of those that pre-dated Fahlman either drew faces using alphabetic symbols or created digital pictograms. Scott Fahlman took it a step further, by suggesting that not only could his emoticon communication emotion, but also replace language. Using the emoticons as a form of communication is why Fahlman is seen as the creator of emoticons vs. other earlier claims.

Since the 1990s, emoticons (colon, hyphen and bracket) have become integral to digital communications, and have inspired a variety of other emoticons, including the "winking" face using a semicolon ;-), the "surprised" face with a letter o in place of a bracket :-o, and XD, a visual representation of the Face with Tears of Joy emoji or the acronym LOL.

In 1996, The Smiley Company was established by Nicolas Loufrani and his father Franklin as a way of commercializing the smiley trademark. As part of this, The Smiley Dictionary website focused on ASCII emoticons, where a catalogue was made of them. Hundreds of these basic designs had not been documented in one place, such as :-). Many other people did similar to Loufrani from 1995 onwards, including David Sanderson creating the book Smileys in 1997. James Marshall also hosted an online collection of ASCII emoticons which he completed in 2008. Loufrani's catalogue sorted the ASCII emoticons into 11 different categories, with designs that were more widespread than just representing human emotion.

A researcher at Stanford University surveyed the emoticons used in four million Twitter messages and found that the smiling emoticon without a hyphen "nose" :) was much more common than the original version with the hyphen :-). Linguist Vyvyan Evans argues that this represents a shift in usage by younger users as a form of covert prestige: rejecting a standard usage in order to demonstrate in-group membership.

Graphical emoticons & other developments (1990s–present)

Loufrani went a step further than ASCII emoticons, when he began to use the basic text designs and turned them into graphical representations. Today, they are known as graphical emoticons. His designs based on a newly reinvented 3D Smiley logo were registered at the United States Copyright Office in 1997 and appeared online as .gif files in 1998. For ASCII emoticons that did not exist to convert into graphical form, Loufrani also backward engineered new ASCII emoticons from the graphical versions he created. These were the first graphical representations of ASCII emoticons. He published his Smiley icons as well as emoticons created by others, along with their ASCII versions, in an online Smiley Dictionary in 2001. This dictionary included 640 different smiley icons and was published as a book called Dico Smileys in 2002. In 2017, British magazine The Drum referred to Loufrani as the "godfather of the emoji" for his work in the field.

Fahlman has stated that he sees emojis as "the remote descendants of this thing I did."

On September 23, 2021, it was announced that Scott Fahlman was holding an auction for the original emoticons he created in 1982. The auction was held in Dallas, United States, and sold the two designs as non-fungible tokens (NFT). The online auction ended later that month, with the originals selling for $237,500.

In some programming languages, certain operators are known informally by their emoticon-like appearance. This includes the Spaceship operator <=> (a comparison), Diamond operator <> (for type hinting) and Elvis operator ?: (a shortened ternary operator).

Styles

Western

Usually, emoticons in Western style have the eyes on the left, followed by the nose and the mouth. The two-character version :) which omits the nose is also very popular.

The most basic emoticons are relatively consistent in form, but each of them can be transformed by being rotated (making them tiny ambigrams), with or without a hyphen (nose). There are also some possible variations to emoticons to get new definitions, like changing a character to express a new feeling, or slightly change the mood of the emoticon. For example, :( equals sad and :(( equals very sad. Weeping can be written as :'(. A blush can be expressed as :">. Others include wink ;), a grin :D, smug :->, and can be used to denote a flirting or joking tone, or may be implying a second meaning in the sentence preceding it. ;P, such as when blowing a raspberry. An often used combination is also <3 for a heart, and </3 for a broken heart. :O is also sometimes used to depict shock. :/ is used to depict melancholy, disappointment, or disapproval. :| is used to depict a neutral face.

A broad grin is sometimes shown with crinkled eyes to express further amusement; XD and the addition of further "D" letters can suggest laughter or extreme amusement e.g. XDDDD. The same is true for X3 but the three represents an animal's mouth. There are other variations including >:( for anger, or >:D for an evil grin, which can be, again, used in reverse, for an unhappy angry face, in the shape of D:<. =K for vampire teeth, :s for grimace, and :P tongue out, can be used to denote a flirting or joking tone, or may be implying a second meaning in the sentence preceding it.

As computers offer increasing built-in support for non-Western writing systems, it has become possible to use other glyphs to build emoticons. The 'shrug' emoticon, ¯\_(ツ)_/¯, uses the glyph from the Japanese katakana writing system.

An equal sign is often used for the eyes in place of the colon, seen as =), without changing the meaning of the emoticon. In these instances, the hyphen is almost always either omitted or, occasionally, replaced with an "o" as in =O). In most circles it has become acceptable to omit the hyphen, whether a colon or an equal sign is used for the eyes, but in some areas of usage people still prefer the larger, more traditional emoticon :-) or :^). One linguistic study has indicated that the use of a nose in an emoticon may be related to the user's age, with younger people less likely to use a nose. Similar-looking characters are commonly substituted for one another: for instance, o, O, and 0 can all be used interchangeably, sometimes for subtly different effect or, in some cases, one type of character may look better in a certain font and therefore be preferred over another. It is also common for the user to replace the rounded brackets used for the mouth with other, similar brackets, such as ] instead of ).

Some variants are also more common in certain countries due to keyboard layouts. For example, the smiley =) may occur in Scandinavia, where the keys for = and ) are placed right beside each other. However, the :) variant is without a doubt the dominant one in Scandinavia, making the =) version a rarity. Diacritical marks are sometimes used. The letters Ö and Ü can be seen as an emoticon, as the upright version of :O (meaning that one is surprised) and :D (meaning that one is very happy) respectively.

Some emoticons may be read right to left instead, and in fact, can only be written using standard ASCII keyboard characters this way round; for example D: which refers to being shocked or anxious, opposite to the large grin of :D.

In countries where the Cyrillic alphabet is used, the right parenthesis ) is used as a smiley. Multiple parentheses )))) are used to express greater happiness, amusement or laughter. It is commonly placed at the end of a sentence, replacing the full stop. The colon is omitted due to being in a lesser-known position on the ЙЦУКЕН keyboard layout.

Kaomoji (Japan ASCII movement)

Kaomoji are often seen as the Japanese development of emoticons, which was separate to the Scott Fahlman movement started in 1982. In 1986, a designer began to use brackets and other ASCII text characters to form faces.

A Kaomoji painting in Japan

Over time, these designs became much more complex than western emoticons and why the two are often differentiated from one another, despite both using ASCII characters. Kaomoji also became focused around some Japanese industries, such as anime.

2channel

Users of the Japanese discussion board 2channel, in particular, have developed a wide variety of unique emoticons using characters from various scripts, such as Kannada, as in ಠ_ಠ (for a look of disapproval, disbelief, or confusion). Similarly, the letter ರೃ has been used in emoticons to represent a monocle, while ಥ has been used to represent a tearing eye. These were quickly picked up by 4chan and spread to other Western sites soon after. Some have taken on a life of their own and become characters in their own right, like Monā.

Korean

In South Korea, emoticons use Korean Hangul letters, and the Western style is rarely used. The structures of Korean and Japanese emoticons are somewhat similar, but they have some differences. Korean style contains Korean jamo (letters) instead of other characters. There are countless number of emoticons that can be formed with such combinations of Korean jamo letters. Consonant jamos , or as the mouth/nose component and , or for the eyes. For example: ㅇㅅㅇ, ㅇㅂㅇ, ㅇㅁㅇ and -ㅅ-. Faces such as 'ㅅ', "ㅅ", 'ㅂ' and 'ㅇ', using quotation marks " and apostrophes ' are also commonly used combinations. Vowel jamos such as ㅜ, ㅠ depict a crying face. Example: ㅜㅜ, ㅠㅠ and 뉴뉴 (same function as T in western style). Sometimes ㅡ (not an em-dash "—" but a vowel jamo), a comma or an underscore is added, and the two character sets can be mixed together, as in ㅜ.ㅜ, ㅠ.ㅜ, ㅠ.ㅡ, ㅜ_ㅠ, ㅡ^ㅜ and ㅜㅇㅡ. Also, semicolons and carets are commonly used in Korean emoticons; semicolons mean sweating (embarrassed). If they are used with ㅡ or – they depict a bad feeling. Examples: -;/, --^, ㅡㅡ;;;, -_-;; and -_^. However, ^^, ^오^ means smile (almost all people use this without distinction of sex or age). Others include: ~_~, --a, -6-, +0+.

Chinese ideographic

The character 囧 (U+56E7), which means 'bright', may be combined with posture emoticon Orz, such as 囧rz. The character existed in Oracle bone script, but its use as emoticon was documented as early as January 20, 2005.

Other variants of 囧 include 崮 (king 囧), 莔 (queen 囧), 商 (囧 with hat), 囧興 (turtle), 卣 (Bomberman).

The character 槑 (U+69D1), a variant of 梅 'plum', is used to represent double of 呆 'dull', or further magnitude of dullness. In Chinese, normally full characters (as opposed to the stylistic use of 槑) might be duplicated to express emphasis.

Posture emoticons

Orz

The Japanese custom of dogeza

Orz (other forms include: Or2, on_, OTZ, OTL, STO, JTO, _no, _冂○, ​rz,) is an emoticon representing a kneeling or bowing person (the Japanese version of which is called dogeza) with the "o" being the head, the "r" being the arms and part of the body, and the "z" being part of the body and the legs. This stick figure can represent respect or kowtowing, but commonly appears along a range of responses, including "frustration, despair, sarcasm, or grudging respect".

It was first used in late 2002 at the forum on Techside, a Japanese personal website. At the "Techside FAQ Forum" (TECHSIDE教えて君BBS(教えてBBS)), a poster asked about a cable cover, typing "_| ̄|○" to show a cable and its cover. Others commented that it looked like a kneeling person, and the symbol became popular. These comments were soon deleted as they were considered off-topic. By 2005, Orz spawned a subculture: blogs have been devoted to the emoticon, and URL shortening services have been named after it. In Taiwan, Orz is associated with the phrase "nice guy" – that is, the concept of males being rejected for a date by females, with a phrase like "You are a nice guy."

Orz should not be confused with m(_ _)m, which represents a standing bow directly towards the viewer as a means to say "Thank you" or as an apology.

Multimedia variations

A portmanteau of emotion and sound, an emotisound is a brief sound transmitted and played back during the viewing of a message, typically an IM message or e-mail message. The sound is intended to communicate an emotional subtext. Many instant messaging clients automatically trigger sound effects in response to specific emoticons.

Some services, such as MuzIcons, combine emoticons and music player in an Adobe Flash-based widget.

In 2004, the Trillian chat application introduced a feature called "emotiblips", which allows Trillian users to stream files to their instant message recipients "as the voice and video equivalent of an emoticon".

In 2007, MTV and Paramount Home Entertainment promoted the "emoticlip" as a form of viral marketing for the second season of the show The Hills. The emoticlips were twelve short snippets of dialogue from the show, uploaded to YouTube, which the advertisers hoped would be distributed between web users as a way of expressing feelings in a similar manner to emoticons. The emoticlip concept is credited to the Bradley & Montgomery advertising firm, which hopes they would be widely adopted as "greeting cards that just happen to be selling something".

In 2008, an emotion-sequence animation tool, called FunIcons was created. The Adobe Flash and Java-based application allows users to create a short animation. Users can then email or save their own animations to use them on similar social utility applications.

During the first half of the 2010s, there have been different forms of small audiovisual pieces to be sent through instant messaging systems to express one's emotion. These videos lack an established name, and there are several ways to designate them: "emoticlips" (named above), "emotivideos" or more recently "emoticon videos". These are tiny videos that can be easily transferred from one mobile phone to another. Current video compression codecs such as H.264 allow these pieces of video to be light in terms of file size and very portable. The popular computer and mobile app Skype use these in a separate keyboard or by typing the code of the "emoticon videos" between parentheses.

Emoticons and intellectual property rights

Patented drop down menu for composing phone mail text message with emoticons

In 2000, Despair, Inc. obtained a U.S. trademark registration for the "frowny" emoticon :-( when used on "greeting cards, posters and art prints". In 2001, they issued a satirical press release, announcing that they would sue Internet users who typed the frowny; the joke backfired and the company received a storm of protest when its mock release was posted on technology news website Slashdot.

A number of patent applications have been filed on inventions that assist in communicating with emoticons. A few of these have been issued as US patents. US 6987991, for example, discloses a method developed in 2001 to send emoticons over a cell phone using a drop-down menu. The stated advantage over the prior art was that the user saved on the number of keystrokes though this may not address the obviousness criteria.

The emoticon :-) was also filed in 2006 and registered in 2008 as a European Community Trademark (CTM). In Finland, the Supreme Administrative Court ruled in 2012 that the emoticon cannot be trademarked, thus repealing a 2006 administrative decision trademarking the emoticons :-), =), =(, :) and :(.

In 2005, a Russian court rejected a legal claim against Siemens by a man who claimed to hold a trademark on the ;-) emoticon.

In 2008, Russian entrepreneur Oleg Teterin claimed to have been granted the trademark on the ;-) emoticon. A license would not "cost that much – tens of thousands of dollars" for companies, but would be free of charge for individuals.

Unicode

A different, but related, use of the term "emoticon" is found in the Unicode Standard, referring to a subset of emoji which display facial expressions. The standard explains this usage with reference to existing systems, which provided functionality for substituting certain textual emoticons with images or emoji of the expressions in question.

Some smiley faces were present in Unicode since 1.1, including a white frowning face, a white smiling face, and a black smiling face. ("Black" refers to a glyph which is filled, "white" refers to a glyph which is unfilled).

Miscellaneous Symbols (partial)
Official Unicode Consortium code chart (PDF)
  0 1 2 3 4 5 6 7 8 9 A B C D E F
U+263x












Notes
1.^ As of Unicode version 15.1
2.^ Empty areas indicate code points assigned to non-emoticon characters
3.^ U+263A and U+263B are inherited from Microsoft code page 437 introduced in 1981, although inspired by older systems

The Emoticons block was introduced in Unicode Standard version 6.0 (published in October 2010) and extended by 7.0. It covers Unicode range from U+1F600 to U+1F64F fully.

Emoticons
Official Unicode Consortium code chart (PDF)
  0 1 2 3 4 5 6 7 8 9 A B C D E F
U+1F60x 😀 😁 😂 😃 😄 😅 😆 😇 😈 😉 😊 😋 😌 😍 😎 😏
U+1F61x 😐 😑 😒 😓 😔 😕 😖 😗 😘 😙 😚 😛 😜 😝 😞 😟
U+1F62x 😠 😡 😢 😣 😤 😥 😦 😧 😨 😩 😪 😫 😬 😭 😮 😯
U+1F63x 😰 😱 😲 😳 😴 😵 😶 😷 😸 😹 😺 😻 😼 😽 😾 😿
U+1F64x 🙀 🙁 🙂 🙃 🙄 🙅 🙆 🙇 🙈 🙉 🙊 🙋 🙌 🙍 🙎 🙏
Notes
1.^ As of Unicode version 15.1

After that block had been filled, Unicode 8.0 (2015), 9.0 (2016) and 10.0 (2017) added additional emoticons in the range from U+1F910 to U+1F9FF. Currently, U+1F90C – U+1F90F, U+1F93F, U+1F94D – U+1F94F, U+1F96C – U+1F97F, U+1F998 – U+1F9CF (excluding U+1F9C0 which contains the 🧀 emoji) and U+1F9E7 – U+1F9FF do not contain any emoticons since Unicode 10.0.

Supplemental Symbols and Pictographs
Official Unicode Consortium code chart (PDF)
  0 1 2 3 4 5 6 7 8 9 A B C D E F
U+1F90x
🤀
🤁
🤂
🤃
🤄
🤅
🤆
🤇
🤈
🤉
🤊
🤋
🤌
🤍
🤎
🤏
U+1F91x
🤐
🤑
🤒
🤓
🤔
🤕
🤖
🤗
🤘
🤙
🤚
🤛
🤜
🤝
🤞
🤟
U+1F92x
🤠
🤡
🤢
🤣
🤤
🤥
🤦
🤧
🤨
🤩
🤪
🤫
🤬
🤭
🤮
🤯
U+1F93x
🤰
🤱
🤲
🤳
🤴
🤵
🤶
🤷
🤸
🤹
🤺
🤻
🤼
🤽
🤾
🤿
U+1F94x
🥀
🥁
🥂
🥃
🥄
🥅
🥆
🥇
🥈
🥉
🥊
🥋
🥌
🥍
🥎
🥏
U+1F95x
🥐
🥑
🥒
🥓
🥔
🥕
🥖
🥗
🥘
🥙
🥚
🥛
🥜
🥝
🥞
🥟
U+1F96x
🥠
🥡
🥢
🥣
🥤
🥥
🥦
🥧
🥨
🥩
🥪
🥫
🥬
🥭
🥮
🥯
U+1F97x
🥰
🥱
🥲
🥳
🥴
🥵
🥶
🥷
🥸
🥹
🥺
🥻
🥼
🥽
🥾
🥿
U+1F98x
🦀
🦁
🦂
🦃
🦄
🦅
🦆
🦇
🦈
🦉
🦊
🦋
🦌
🦍
🦎
🦏
U+1F99x
🦐
🦑
🦒
🦓
🦔
🦕
🦖
🦗
🦘
🦙
🦚
🦛
🦜
🦝
🦞
🦟
U+1F9Ax
🦠
🦡
🦢
🦣
🦤
🦥
🦦
🦧
🦨
🦩
🦪
🦫
🦬
🦭
🦮
🦯
U+1F9Bx
🦰
🦱
🦲
🦳
🦴
🦵
🦶
🦷
🦸
🦹
🦺
🦻
🦼
🦽
🦾
🦿
U+1F9Cx
🧀
🧁
🧂
🧃
🧄
🧅
🧆
🧇
🧈
🧉
🧊
🧋
🧌
🧍
🧎
🧏
U+1F9Dx
🧐
🧑
🧒
🧓
🧔
🧕
🧖
🧗
🧘
🧙
🧚
🧛
🧜
🧝
🧞
🧟
U+1F9Ex
🧠
🧡
🧢
🧣
🧤
🧥
🧦
🧧
🧨
🧩
🧪
🧫
🧬
🧭
🧮
🧯
U+1F9Fx
🧰
🧱
🧲
🧳
🧴
🧵
🧶
🧷
🧸
🧹
🧺
🧻
🧼
🧽
🧾
🧿
Notes
1.^ As of Unicode version 15.1

For historic and compatibility reasons, some other heads, and figures, which mostly represent different aspects like genders, activities, and professions instead of emotions, are also found in Miscellaneous Symbols and Pictographs (especially U+1F466 – U+1F487) and Transport and Map Symbols. Body parts, mostly hands, are also encoded in the Dingbat and Miscellaneous Symbols blocks.

Inequality (mathematics)

From Wikipedia, the free encyclopedia https://en.wikipedia.org/wiki/Inequality...