Johnny R. J. Fontaine, Klaus R. Scherer, Etienne B. Roesch & Phoebe C. Ellsworth (2007), Psychological Science 18(12):1050–1057 — DOI-10.1111/j.1467-9280.2007.02024.x

Key takeaways

Registered, not read. From the abstract:

  • “Today, many researchers focus exclusively on two-dimensional models involving valence and arousal.”
  • “We show for three languages that four dimensions are needed to satisfactorily represent similarities and differences in the meaning of emotion words. In order of importance, these dimensions are evaluation-pleasantness, potency-control, activation-arousal, and unpredictability.”
  • “They were identified on the basis of the applicability of 144 features representing the six components of emotions”: appraisals, psychophysiological changes, motor expressions, action tendencies, subjective experiences and emotion regulation.

What could not be checked without the text: the languages, the loadings, how the potency-control dimension is defined, and whether the paper discusses Mehrabian and Russell’s dominance axis by name.

Standing in the record

Filed on 2026-10-23 for a terminological reason. The record’s account of valence (CLAIM-440, TERM-076) used “dominance” for an ordering that wins a system’s internal negotiation. The same word names the third axis of Mehrabian and Russell’s pleasure–arousal–dominance model, and the component process model’s own school uses it for Fontaine et al.’s second dimension: “other dimensions that characterize the affective space are arousal, dominance, and novelty (e.g., Fontaine et al., 2007, in press)” (Shuman et al. 2013, p. 4, NOTE-1108). That dimension corresponds to the power and control appraisals, the agent’s capacity to influence its situation. It is a different thing from the record’s notion, which concerns which of the system’s own orderings prevails. The rename to “potential” keeps them apart. How the two interact is noted in NOTE-1106: high control amplifies the efferent effects of goal congruence.

No instruction for machine-learning practice; nothing here belongs in the anthology.