Video Transcript: Emotions

Thank you, grandpa. I always wanted this toy. Oh, wow, this is cool. Oh, thank  you so much. I'm sorry, mom. I I know I said I would clean up. I didn't do it. I'm  sorry. What do you mean Grandpa died? I I just saw him the other day. He  bought me that great toy, Dad, you didn't knock before coming in. I don't believe  it. Emotion, emotion is the human experience feeling emotion. Emotion that the  expression of a feeling connected, yes, emotion, of course, is what we come to  understand, what a person is feeling, it's how God has made us. So what is  emotion specifically? How is it defined? Emotion is quite complex, but important, because, as you of course, are ministering to people where they are emotion  just is, and there's a whole range of emotions, just as I demonstrated with the  examples of grandpa, mom, dad, a colleague, a friend, life circumstances, life  events. There are many emotions that we express. What is an emotion? An  emotion is the mental and physical feeling state that directs our intention and  guides our behavior. Now you can see in these great pictures all the different  emotions of surprise, anger, joy, elation, feeling great, or that whole thing of  shock and awe, or frustration, concern, many different emotions, again, that  mental and physiological feeling state that directs our attention and guides our  behavior. Perhaps today, you have been through a whole range of emotions  when it comes to your parent or your spouse, your children, and, of course, with  kids, if you're the dad, you're the mom, you're saying, Oh, I know just what, just  what I had this morning or what or last night at dinner, and my son didn't want to  tell me what was going on at school because he was annoyed, or the tears of  your daughter because of that breakup. Emotion is tangible, is that state that  that reveals where a person is at and how a person truly is feeling or maybe not, it gets complex. Let's look at some of the dynamics of emotion. The dynamics of emotion relate to these with the whole thing of cognitive appraisal, which is  cognitive meaning the brain the thinking interpretations that accompany  emotions. So you have the stimulus of the growling dog, there's a physiological  arousal. The heart rate increases, the surprise is there in the face. And then the  content label that's scary. You put a value. You put a label on the experience the  dog is growling at you, or the dog is trying to get your attention and giving you a  lot of affection. But in this case, it's fear, and the emotion is fear, and you can fill  in all different kinds of stimuli here when it comes to again, like I was saying  about grandpa and the great toy to the child, or the news that grandpa died, and the whole stimulus is there, and then Mom catching you lying or not following  through what you said you're gonna do. And then there's that response,  emotion. Emotion truly is an indicator of how a person is processing their lives at the moment during the day, for example, when it comes to depression that all  the emotion about depression, being listless, being feeling numb, still in shock,  maybe trauma, the person seems far away, arm's length, as opposed to the  opposite, where the person is joyous, ecstatic. Things have gone great today.  Can't believe it, or there's a number a lot of concerns, and there's stress, and all 

you can see it on the person's face. Psychologists have been measuring and  observing emotion for decades, and as they measure emotion and how it works  with people there, they've come up with a way to measure and understand how  a stimuli will then evoke, bring out an emotional response. There's this tool, this  instrument, that shows us how it's in your textbook, it's right there in the emotion chapter, that shows you, gives you the idea of how intense emotion can be,  bringing therefore unpleasant response, as opposed to a pleasant response or a mild response, or mild emotion that that is not is unpleasant or pleasant. So for  example, in the top left quadrant between intense and unpleasant, there's afraid, alarmed, angry, frustrated, annoyed, distressed. To the flip side with intense,  pleasant responses of being astonished, amused, excited, happy, delighted,  glad and pleased. And below that, you have the other side of the mild response  of miserable, sad, depressed, to the pleasant side of serene, calm, relaxed.  There are many emotions we can measure and begin to categorize how they fit,  how they occur and why. And this is the work thanks to Dr William Cannen and  also Dr Philip Bard. Hence we have the Cannen Bard theory, as well as Dr Carl  Lang and William James, hence the Lang and James theories. Well, what are  they? What are these theories? Well, in your book, we see this graphic as well,  the James Lang theory looks at both stimuli and response, stimulus, response,  emotion coming from the bear. The bear is, was the most intense stimuli that  James and Lang could could see intense response coming again going, back to  our other graphic and also Cannen Bard, using the bear as well, but different in  different ways. James and Lang stuck to one specific response. Hence, the  heart pounds, there's trembling, sweating and a running away response, flight  because of the fear and Cannen and Bard said, Okay, well, we first look at the  fear expression in the face, and then we look at we they separate it out. Then  we look at the heart pounding, trembling, sweating, running away. And those two need to be understood separately, where James and Lang just put it together as  one, and then we have Schachter and Singer that came up with two factor  theory, which we look at here more specifically in a minute, they look at the heart pounding, trembling, sweating, and then they add to it. That is one scary bear. I  am afraid of it. There's a thinking process happening in the whole moment of  fear. So from James Lang Cannen, Bard, Schachter, Singer, we also get another stimulus now, the more modern version of it from the bear. Of course, the  theories are quite old, but relevant and transcendent. And you see this sight of  the uncommon car, the more modern example, the perception of the stimuli is  the car is coming right at me and the car is not slowing down. Well, the James  Lang theory, the pounding heart, there's arousal. Cannen. Bard, arousal with a  pounding heart, and also fear, which is the emotion, and then Schachter Singer,  two factor theory is there's a pounding heart arousal and a cognitive label. I am  afraid of that. Hence, from the pounding heart of arousal, physiological to the  cognitive label I'm afraid of that car to the fear, which is the emotion. So what 

these theorists help us to do? And of course, getting back to James Lang theory  and the other side there, you have done the emotion of fear as the next  response after the arousal response, you can see that these theorists wanted to  break it up for us. What exactly happens with that whole moment of the bear,  whole moment of the car coming on, or, let's say the Mack truck, the big truck,  the lorry coming down that that road and not stopping, and you're standing right  in the middle of the road, and you Freeze. You don't know what to do because of fear, that emotional response and that physiological state and emotional state,  where that shock and awe happen. Well, the theories of emotion are also  expressed here, of course, in that two factor theory, as I referred to from James  and Lang, Cannen and Bard. Now we want to look at the whole two factor  theory by Schachter and Singer. They define, they broke it down even more with these the two factor theory, the two factor theory, they they define as the  experience of emotion is determined by the intensity of the arousal. They begin  to measure more specific, the intensity of the arousal, not just the arousal, like  Lang and Bard and also Cannen and Cannen Bard, rather than James or Lang,  but they they look at the intensity of the arousal to begin with how much. And so  they can say, they look this the experiencing emotion is determined by the  intensity of the arousal we are experiencing. But that the cognitive, the thinking  appraisal of the situation, determines what the emotion will be. So in this  graphic, we see this two factor theory in motion. The site of the oncoming car is  there. It's the perception of stimulus. Then to the kind of label, I am afraid. But  then they break it down into two possible emotive responses, fear, and then also the pounding heart, arousal. But then they can be connected, and the fear may  not be expressed right away with that whole hand up and surprise in the eyes.  Perhaps it's just the pounding heart and that there's that state of freezing. Hence you have the two factor theory in motion. Well, apply this two factor theory, then  to also other situations, because when we interact with each other, as we relate  with each other, with feelings and emotions, with arousal and emotional  response, we then look at nonverbal communication, nonverbal communication  Now this, this, of course, seems quite elementary. However, what theorists and  also practitioners are then saying is we need to we can observe nonverbal  communication. You cannot not communicate. Now this traipses over into the  communication discipline and the communication arts and also the  communication sciences. Because what we then see is we see that there, in  fact, is a definitive response with emotion, maybe not verbal, but nonverbal.  There's body language kind of like this, or kind of. Like this or this or that, sitting  back, not saying a word, observing or engaged. What theorists did with this  nonverbal communication. We're not going to get into a whole nonverbal  communication theory here, but we want to observe and note that there's  nonverbal communication that is very important now, especially when you're in a counseling session as pastoral counselor, or you are in a coaching session with 

coaching and you're seeing someone like this. They're kind of like this, looking  up at the ceiling, looking down at the floor, no eye contact, or they have a lot of  eye contact, they're hanging on your every word, or they notice that you're not  

saying a thing because you're listening, which we need to do effectively, and  they don't know what to say, or they have a lot to say, but not yet, nonverbal, we  can learn a lot with what a person really is feeling and saying. When they say  nothing at all, it's not you cannot not communicate. So what is nonverbal  communication? Technically, let's take a look nonverbal communication is  communication primarily of liking or disliking that does not involve words. So  let's look at the five essential types here in this graphic, the five essential types  of nonverbal communication used by effective leaders, for instance, is they look  at facial expressions, smiling, frowning, the surprise look, the shock look or and  then the body language, as I demonstrated earlier, sitting back and leaning  forward, leans to the side, jumping up for joy. Can see that what one cartoon  character there, or Hands up, hands up on each side, saying, I don't know, or  shrugging body language, gestures with our hands, our fingers, there are  naughty ones, and there are kind ones, as well as proxemics. Proxemics, how  close you stand to the other person. Any person wants to be very far away from  you or close to you as those haptics, haptics using touch to reinforce the  message. Now let's take a look, primarily, just for a moment, at proxemics and  haptics. With proxemics, we look at the example, for instance, of social class.  Again, we're not looking at class necessarily in psychology. However, there's lot  of psychology in class systems. For example, when it comes to the upper class  or the elite class, you are never, ever in the elite class, the top 1% of the  economic class systems. CLASS system in the western society, you never  introduce yourself. You were always introduced Secondly, and it's all based  upon social class study, especially with Ruby Payne and her famous book  understanding a framework for poverty. She discusses the class rules. And then, of course, we look at other study where we look at how people are, then how  they communicate, non verbally in class systems. Again, going back to elite  class, you are introduced by somebody who then says, Who is screening you  with the other people in the class structure, in the class system, saying okay, in  the same class system of the elite, saying this person is okay. In other words,  we can trust this person. They're not after your money. They're not here to scam you. You were introduced. You were then invited into the circle, and you then,  non verbally, are there to be then brought into the circle, as well as there's a  certain amount of distance that you have between you and the other person. It's  not like up here between you and the other person in the elite class, again, with  that example, in terms of of this, of having conversation interpersonally and  intimately. No, it's like this. There's a distance. There is a you. Formal posture,  you do not get right up to their face. Conversely, in the redneck, if you will, that  culture. And then I'm sure you read those of you who consider yourself rednecks

because they're proud as well, and it's I appear the face. Let me tell you  something absolutely and those other cultures and subcultures now, from the  face to being distant, nonverbal communication, that's the proxemics. Because,  for instance, if you then say, well, if you come into a person who is more of a  culture that you don't come up to my face, there is a boundary there. And when  you come up to the person's face, of course, verbally, you're saying things, but  they're not hearing you. It's the nonverbal that they're hearing. And the  nonverbal that they're hearing is you don't respect me. you don't care about me  because my boundary is your arm's length with me until I invite you in, where we can be face to face. More intimate, there's a distance I then demand. I require.  The opposite is true with people who prefer for you to get in their face. Why are  you standing back there? They think, you know, you're only about less than a  foot away. There is a measurement, you know, and they're thinking, if you're not, if you're not close to me, then then you're not respecting me as well. Different  people, different rules, different nonverbals. Nonverbal communication matters.  And then the thing of touch, touching the shoulder, touching the arm, touching  the face, now, touching the face is more intimate. Touching the elbow, that tends to be to some people, very intimate others, not the shoulder, that's pretty well  accepted, although, again, depends on the culture nonverbal communication.  Nonverbal communication can also be seen, of course, in this other graphic  where, again, how do we perceive what the other person is trying to  communicate without saying a word, or what a child to such as this child is trying to communicate with his nonverbals and his fingers, his hand and his head. If  we look at one picture, he's very happy. The other picture, he's laughing. The  other picture, he's confused. Another picture, he's bored. Another picture is  trying to just play. Another picture is kind of shy. Kids are different than adults.  But again, nonverbals, you cannot not communicate because, because when it  comes to body language, body language has many different dynamics to it. It's a fascinating discipline to study in terms of the psychology of it and the  communication side of it when it comes to movement, expression, posture,  physical gesture, fingers, hands, body, facials, handshakes, frustration, through  facial expressions, look ideas, all these great words, astonished. It's quite  surprising to say a lot without saying a word. Hence, emotion, emotion often is  more nonverbal and verbal to especially when it comes to sadness and  expressing our frustrations, the to the with the sadness to the HA, the joy in the  laughter really comes to emotion is a state that guides our physiological and  emotion moment, action, reaction, dynamic and also communication. From here  we then go from emotion then to our next topic, on stress.