Organization of Valence and Arousal in Vision-Language Representations of Built Environments: Insights from the EMOIS Dataset

Recent work identified emotion vectors in Claude Sonnet 4.5, which are internal representations that encode emotion concepts, causally influence behavior, and exhibit geometry mirroring human psychological structure. We test the generality of these findings in two open-weight models, Apertus-8B-Instruct-2509 and Gemma-4-E4B-it, extracting emotion contrast vectors across all layers, using two model-generated corpora. We recover valence geometry for both models, with peak PC1--valence correlations of $r = 0.76$ and $r = 0.83$, approaching the $r = 0.81$ reported for Claude.Beyond replication, we observe notable differences in how valence representations emerge across model depth. In Gemma-4-E4B-it, valence is strongly encoded in early layers but collapses towards later layers, whereas Apertus-8B-Instruct-2509 exhibits the opposite pattern, with valence representations absent in early layers, but emerging at mid depths. Arousal encoding, in contrast, is sensitive to the extraction corpus: both models show stronger PC2--arousal alignment with Gemma-generated stories ($r$ up to $0.45$) than Apertus-generated ones ($r \leq 0.21$), suggesting arousal-relevant cues are unevenly distributed across generated corpora. We open-source our experiment code and dataset for reproducible investigation of emotion representations across language model architectures.

Text-to-image diffusion models achieve high visual fidelity, yet fine-grained affective control remains difficult because textual emotion cues often fail to specify the visual perceptual factors underlying affective expression. Existing visual-affect datasets are likewise often limited to discrete labels, specific domains, or limited supervision of perceptual attributes. We introduce EmoScene, a large-scale dual-space dataset for controllable affective image generation, containing 1.2M images across more than 300 scene categories. Its affective space jointly represents discrete emotions and continuous valence--arousal--dominance (VAD), its perceptual space records measurable appearance attributes, and contextual descriptions ground both in scene semantics. EmoScene combines multi-model annotation with human-in-the-loop quality control. A random audit of 30,519 images yields 91.22% agreement on discrete emotion labels, while an independent multi-rater evaluation yields Fleiss' $κ=0.85$. After controlling for source and scene composition, affective dimensions and perceptual attributes exhibit stable associations across data sources, reflecting statistical tendencies rather than deterministic visual rules. To demonstrate the dataset's utility, we further develop AffectCtrl, which learns residuals in the conditioning space of frozen diffusion models to support categorical emotion generation and continuous control over VAD, brightness, and saturation. AffectCtrl achieves 85.75% categorical emotion accuracy, outperforms EmotiCrafter in valence and arousal control under a shared evaluation protocol, and obtains Pearson correlations of 0.673--0.765 across all five continuous axes. These results demonstrate that EmoScene provides a scalable data foundation for analyzing and controlling affective expression in visual generation.

Recent studies suggest that large language models encode emotion concepts as structured internal representations, but most existing work focuses on text and a single architecture. Therefore, we ask, do emotion concepts generalize across sources, modalities, and architectures in vision--language models (VLMs)? To address this, we construct CMES (Cross-Modal Emotion Stimuli), a multi-source collection of emotion-conditioned stories, real facial expressions, synthetic portraits, and synthetic emotion-evoking scenes. For each stimulus source, we extract a separate set of six Ekman emotion vectors from each of three VLMs. We report four main findings as follows: 1) Image-derived emotion vectors form a low-dimensional geometry similar to that of text-derived vectors. Valence is relatively stable across sources, while arousal varies more. 2) Text- and image-derived emotion vectors have modest cosine similarity but still show held-out cross-modal correspondence. Text-derived vectors can also steer image interpretation. 3) Cross-architecture correspondence remains even when native cosine is near zero. Transformations estimated from generic ImageNet activations recover both correspondence and causal transfer without using the six emotion vectors or their labels. 4) After aligning representations across architectures, we construct a shared emotion subspace that preserves affective geometry and selective steering effects. The corresponding consensus emotion vectors also generalize to a held-out fourth architecture at two model sizes. These results suggest that emotion representations can share relational structure and causal effects across sources, modalities, and architectures, even when individual vector directions differ.