This research investigated the association of cross-modal correspondence between tactile ideophones and color with pleasant/unpleasant affect and bizarreness. In Experiment 1 (N＝30), we used a matching task to examine cross-modal correspondence between tactile ideophones and color, and created cross-modal congruent and incongruent stimuli. In Experiment 2 (N＝52), participants were asked to evaluate each of the congruent, incongruent, tactile ideophones-only, and color-only stimuli presented on the screen for pleasant/unpleasant affect and bizarreness. The results showed that the cross-modal incongruent stimuli evoked stronger unpleasant affect and bizarreness than congruent stimuli. These findings highlight the existence of cross-modal correspondence between tactile ideophones and color and suggest how cross-modal correspondence is associated with affective response.

This study aims to clarify the psychological characteristics that lead to individual differences in the resistance to video-on in video communication. Specifically, I examined whether public self-consciousness and private self-consciousness, and empathy explain resistance to both face presentation to oneself and others, given that video-on produces two states: one in which one’s face is always visible on the screen (face presentation to oneself) and the other in which one’s face is visible to others (face presentation to others). First, I found that not only the resistance to face presentation to others but also the resistance to face presentation to oneself explained to the resistance to video-on. Second, resistance to face presentation to others was negatively correlated with perspective-taking in the Japanese version of the Interpersonal Reactivity Index and was negatively associated with private self-consciousness in multiple regression analysis. Private self-consciousness has an aspect of focusing on the inner self for positive reasons. Therefore, it is possible that the positive aspect of private self-consciousness decreases resistance to face presentation to others.

This study aimed to examine the function of tears in conveying sadness using controlled robot baseline facial expressions, compare this function with facial expressions, and clarify the interaction effects between facial expressions and tears. Images of robots created using three-dimensional computer graphics were used as visual stimuli. The robots’ expressions included neutral and sad patterns, both with and without digital tears, resulting in four patterns. The participants were shown the images of the robots and asked to rate how strongly they thought the robots were expressing the six basic emotions and calm. Results confirmed that tears increased the intensity rating of sadness, and the combination of tears and sad expressions was most effective at conveying sadness. Furthermore, the evaluations of sad expressions without tears and neutral expressions with tears were nearly identical. These findings suggest that giving robots the capacity to cry may be more effective at conveying sadness than introducing facial expressions alone.