Anger: red 55%, black 15%, …
“In 1978 psychologist John Bassili conducted an experiment in which he painted the faces and necks of several actors and actresses black and then applied one hundred luminescent dots. Participants were then asked to assume different expressions, such as ‘happy’, ‘sad’, ‘surprised’, and ‘angry’. In the final video recording, with only the luminescent dots visible, the outcome was quite revealing: while expressions of anger showed acute downward V shapes (angled eyebrows, cheeks, and chin), expressions of happiness were conveyed by expansive, outward curved patterns (arched cheeks, eyes, and mouth). In other words, happy faces resembled an expansive circle, while angry faces resembled a downward triangle.”
Lima, M. (2017)
Not only the Celtic mind is obsessed with the trinity. The Slavs also showed a special interest in the number three. In temple construction, there are triangular structures (Zuarasici), three entrance gates (Zuarasici), erected on the middle of three mountains (Triglav). The priests of Triglav and Sventovit used to prophesy by leading a sacred horse back and forth between nine lances three times. Also in Slavic epic poetry, just as in Irish, the number three plays a prominent role.
This idea of omnipotence, expressed through multiplicity and polycephaly, is also reflected in the naming. Names like Sventovit, Gerovit are derived from the root jar-, which actually means the same as svent (Slavic jar = strong, severe, angry). In this word lies the idea of “fertilizing power.” The same idea of ‘horny power’ is even more strongly expressed in the concept of Rugievit or Rujevit, derived from the root ruj-: horny. Rujevit thus seems to mean ‘horny lord’. Porevit means ‘the powerful lord’.
It is seen that the very naming of the many-headed idols places a strong emphasis on power, omnipotence, especially on the plan of preserving and propagating the cosmos.
The following keywords derived from this text, related to the number three, and classified in the DSD are: power (red, 8-level keyword), strong (height dimensional keyword), severe (red-on-black, 64-level keyword), anger (black-on-red, 64-level keyword), fertile (red-4, 64-level keyword), horny (purple-on-red, 64-level keyword), in the sense of potent, sexuality, masculine (red-on-red, 64-level keyword). It is noticeable that the red colour code is omnipresent.
Many of us “see red,” “feel blue,” or “turn green with envy.” Are such color-emotion associations fundamental to our shared cognitive architecture, or are they cultural creations learned through our languages and traditions? To answer these questions, we tested emotional associations of colors in 4,598 participants from 30 nations speaking 22 native languages. Participants associated 20 emotion concepts with 12 color terms. Pattern-similarity analyses revealed universal color-emotion associations (average similarity coefficient r = .88). However, local differences were also apparent. A machine-learning algorithm revealed that nation predicted color-emotion associations above and beyond those observed universally. Similarity was greater when nations were linguistically or geographically close. This study highlights robust universal color-emotion associations, further modulated by linguistic and geographic factors. These results pose further theoretical and empirical questions about the affective properties of color and may inform practice in applied domains, such as well-being and design.
Jonauskaite et al. (2020).
De Meijer (1989) investigated the relationships between characteristics of arm movements and emotional expression. He concluded that positive emotions (such as happiness) could be linked to upward movements. Negative emotions (such as anger and sadness) could be linked to downward movements.