Four ways to see the same 402 feelings. One search and one set of family filters steer all of them. Scroll to walk the page, or jump with the dots at the edge.
The full lexicon in one ring, grouped by family. Opposites face across, and stronger feelings sit nearer the rim.
Every feeling placed by how pleasant it feels and how much energy it carries.
What each feeling is for.
Each feeling on the line between its two opposite poles.
The notes from each view, gathered in one place.
Each feeling sits in its family wedge. The radius shows intensity: the centre holds the mildest, the rim the strongest. Dot size also rises with intensity. Each dot keeps its own colour, and a faint wash marks each family. The grouping follows the dictionary's emotion families.
Each feeling sits on a valence and arousal map, after Russell's circumplex. Left to right is valence, from unpleasant to pleasant. Bottom to top is arousal, from low energy to high. Dot size shows intensity, and colour shows the family. Positions come from the valence and arousal values held for each feeling in the dictionary.
All 402 emotions are placed by their primary function. Direct family mappings are used where the family clearly carries the function (fear → protect, anger → defend, etc). Ambiguous families (mixed, untranslatable, social, existential, positive, negative) are assigned to the function whose centroid they sit closest to in valence/arousal space. Dots are arranged from low intensity at the inner ring to high intensity at the outer rim.
Sources: Plutchik (1980), 'A general psychoevolutionary theory of emotion'. Keltner & Gross (1999), 'Functional accounts of emotions'. Greenberg (2002), 'Emotion-Focused Therapy'. Porges (2011), 'The Polyvagal Theory'. Tracy & Robins (2004), 'Putting the Self Into Self-Conscious Emotions'. Lazarus (1991), 'Emotion and Adaptation'. Frijda (1986), 'The Emotions'. Ekman (1992), 'An argument for basic emotions'.
Each spectrum is a pair of opposite poles. Every feeling is placed by how close it sits to each pole, from its meaning and its valence and arousal values. Levels change how many spectrums show. Lenses regroup the same feelings through different frames. Levels draw on Plutchik's wheel (1980) and Russell's circumplex model (1980). The pride and shame opposition draws on Tracy and Robins (2004) on self-conscious emotions.
Each view is the live tool, embedded whole. The bar above steers all four. Tap a dot in any view to open that feeling's page.