The Distancing-Embracing model of the enjoyment of negative emotions in art reception

Can arts-based interventions improve health? A conceptual and methodological critique

Can art improve health and wellbeing? The claim that there is strong evidence that engaging with art ameliorates symptoms of mental and physical disorders and increases wellbeing is gaining acceptance among researchers and clinicians. This claim deserves thorough scrutiny, as it is used to justify a broad range of arts-based clinical interventions and health policies. Here we show that the evidence cited in favor of the efficacy of arts-based interventions is far weaker than it is claimed to be. First, we examined the methodological and statistical quality of studies that have been cited as proof for the efficacy of arts-based interventions. This analysis found that many of these studies lack key clinical trial features, such as defining the therapeutic agent, randomizing group assignment, controlling for patient or researcher allegiance, controlling for the effects of other concurrent interventions and medications, comparing art-based interventions to other kinds of interventions, or conducting and reporting statistical analyses appropriately. Second, in a broader examination of experiments on arts-based interventions, we looked for the experimental designs that would actually allow demonstrating that the putative health benefits owe to the effect of art. This analysis revealed that (i) most studies fail to define what art is, making it impossible to compare the effects of "art" and "non-art" stimuli and activities on health and wellbeing; (ii) fail to demonstrate that art stimuli and activities elicit a distinct class of art-induced physiological processes capable of modulating the cause of targeted disorders; (iii) and fail to manipulate neural processes believed to be mechanisms of action that could prove that arts-based interventions directly affect the etiology of disorders. These methodological weaknesses and inappropriate experimental designs cast serious doubt on claims that engaging with art can induce physiological changes that improve health and wellbeing. We discuss why arts-based interventions have neglected these problems and the ethical implications for patients who are treated with them.

Why do people engage with the suffering of strangers? Exploring epistemic, eudaimonic, social, and affective motives

Reading violent stories or watching a war documentary are examples in which people voluntarily engage with the suffering of others whom they do not know. Using a mixed-methods approach, we investigated why people make these decisions, while also mapping the characteristics of strangers' suffering to gain a rich understanding. In Study 1 (N = 247), participants described situations of suffering and their reasons to engage with it. Using qualitative thematic analysis, we developed a typology of the stranger (who), the situation (what), the source (how), and the reason(s) for engaging with the situation (why). We categorised the motives into four overarching themes - epistemic, eudaimonic, social, and affective - reflecting diversity in the perceived functionality of engaging with a stranger's suffering. Next, we tested the robustness of the identified motives in a quantitative study. In Study 2, participants (N = 250) recalled a situation in which they engaged with the suffering of a stranger and indicated their endorsement with a variety of possible motives. Largely mirroring Study 1, Study 2 participants engaged to acquire knowledge, for personal and social utility, and to feel positive and negative emotions. We discuss implications for understanding the exploration of human suffering as a motivated phenomenon.

Experiencing art together: integrating affect and semiosis

Introduction

Art is ubiquitous in our lives, and its experience and understanding are deeply emotional. Dewey suggested that all human experience, including art experiences, emerges from active engagement with the environment. In this view, affect and interpretation are interconnected processes that unfold together. To examine the integration of these processes, this interdisciplinary study used a multi-method approach.

Methods

Eighteen dyads of adult participants took part in the study. They were instructed to each bring an art object that was meaningful to them. During the experiment participants engaged in an audio-visually recorded, semi-structured conversation, reflecting on both art objects. They also answered pre- and post-questionnaires on their emotions. Affect was measured through self-reported valence and arousal of emotions, and sentiment analysis of the conversation. Semiosis as the process of making sense of the art objects was operationalized in terms of four strategies, namely: perception, imagination, conceptualization, and analysis. Affect was measured through self-reported valence and arousal of emotions, and sentiment analysis of the conversation.

Results and discussion

The results showed that dyadic interactions led to changes, at the group level, in participants' self-reported affect toward the other's art object. An Exploratory Graph Analysis revealed unique weighted networks of sentiment for each strategy. Additionally, a Multinomial Log-linear Model demonstrated that affect and strategies work in tandem during the art experience, to predict perceived affect.

Who Attends the Arts and why? Examining the Role of Personality Across Two Distinct Samples

Previous research in psychological aesthetics has already highlighted the influence of personality on the experience and appreciation of art. And yet, the question of whether personality can manifest itself in arts attendance behavior remains far from settled. We therefore aimed at examining whether personality-measured with the Mini International Personality Item Pool-is linked to arts attendance motivations as well as to the art forms people choose to attend across two distinct samples of 1398 Greek and 408 German students. Results of both studies revealed that all the Big Five traits contributed differentially to arts attendance motivations, implying that people with different personality traits have different reasons for attending the arts. Logistic regression results further suggested the relevance of openness to experience and-to a lesser extent-extraversion to arts attendance, with openness to experience contributing to attendance at several art forms in the Greek sample. We might therefore assume that people do attend the arts to satisfy their personality-related needs or, to put it another way, the experience of art lies in the eyes of the beholder.

Art promotes exploration of negative content

Experiencing negative content through art has a unique power to transform our perceptions and foster engagement. While this idea has been widely discussed, empirical evidence is scarce, since experimental testing of art experiences poses significant challenges. Here, we aimed to fill this gap by quantifying and comparing individuals' preference for engaging with art and nonart depicting matched negative content via two behavioral measures: the choice to engage vs. avoid and the duration of engagement. Across five studies (total N = 1,063), results revealed a preference for engaging with negative content through art as compared to nonart. Specifically, people more frequently chose to view negative art images, and looked at them for longer, as compared to photographs of similar content. To understand what underlies this preference for art, we examined the psychological impact of engaging with negative content through art and nonart depictions. Results showed that art experiences evoked higher aesthetic appreciation, while nonart gave the viewer a more realistic perspective and was emotionally more costly to engage with. Further, our analysis of engagement motives revealed that individuals were driven by expectations of aesthetic appreciation, thought-provocativeness, and an original perspective, both in art and nonart, while they were discouraged by emotional costs, even more strongly when engaging with nonart. These findings align with the idea of aesthetic distance, where art, as an abstraction of reality, facilitates exploration of negative content with less emotional costs and the prospect of aesthetic rewards.

Possible Worlds Theory: How the Imagination Transcends and Recreates Reality

The imagination is central to human social life but undervalued worldwide and underexplored in psychology. Here, we offer Possible Worlds Theory as a synthetic theory of the imagination. We first define the imagination, mapping the mental states it touches, from dreams and hallucinations to satire and fiction. The conditions that prompt people to imagine range from trauma to physical and social deprivation, and they challenge the sense of reality, stirring a need to create possible worlds. We theorize about four cognitive operations underlying the structure of the mental states of the imagination. We then show how people embody the imagination in social behaviors such as pretense and ritual, which give rise to experiences of a special class of feelings defined by their freedom from reality. We extend Possible Worlds Theory to four domains-play, spirituality, morality, and art-and show how in flights of the imagination people create new social realities shared with others.

Sad Art Gives Voice to Our Own Sadness

People tend to show greater liking for expressions of sadness when these expressions are described as art. Why does this effect arise? One obvious hypothesis would be that describing something as art makes people more likely to regard it as fictional, and people prefer expressions of sadness that are not real. We contrast this obvious hypothesis with a hypothesis derived from the philosophical literature. In this alternative hypothesis, describing something as art makes people more inclined to appropriate it, that is, to see it as an expression of their own sadness. Study 1 found that describing the exact same sad text as art (e.g., a monologue) as opposed to not-art (e.g., a diary entry) led to increased liking for the work. Study 2 showed that this effect is not mediated by fictionality. Study 3 showed that the effect is mediated by appropriation. Study 4 looked at the impact of a manipulation of fictionality. Describing a work as fictional did lead to increased liking, but this effect was completely mediated by appropriation. These results provide at least some initial support for the appropriation hypothesis.

Understanding emotional responses to visual aesthetic artefacts: the SECMEA mechanisms

While many models attempt to explain the aesthetic experience, most limit themselves to art as their focal point and only a few look into why we arrive at a certain response to a visual aesthetic object. This article attempts to offer an extension to the current models by focusing on the mechanisms that induce emotions in relation to visual aesthetic objects. It takes Juslin’s (2013) BRECVEM mechanisms – developed for the domain of music – as its basis. In this article, Juslin’s mechanisms are adapted to the visual domain, resulting in six different emotion-evoking mechanisms: startle reflex, evaluative conditioning, emotional contagion, mental imagery, syntactic expectancy and external appraisal. The authors give an overview of frameworks and empirical studies, demonstrating each of these mechanisms in relation to visual aesthetic objects (visual art as well as advertising and product design). The article’s focus on emotion-inducing mechanisms and existing empirical research provides a basis for improving empirical testing of emotional responses to a broad range of visual aesthetic objects.

Beyond beauty: Does visual art facilitate social cognitive skills?

Engaging with art can move individuals through a myriad of emotions, provoke reflective thoughts, and lead to new ideas. Could art also influence interpersonal outcomes pertaining to the ways we interact with others and navigate the social world, that is, our suite of social cognitive skills? Here, we focus on visual art to explore the effect of art engagement on personal aesthetic experience and social cognitive skills. Across two studies, using veridical paintings and matched non-art photos, we examined the effect of art engagement on emotional (e.g., awe, being moved) and eudaimonic experiences (e.g., reflective thoughts), as well as social cognitive skills pertaining to Theory of Mind (ToM) and recognition of other's emotions. Further, we varied the depth with which participants engaged with the experiences of the characters in the artworks, to assess whether deep social information processing could boost the effect of art engagement on social cognitive skills. Our findings showed that art engagement altered personal aesthetic experience through changes in emotional and eudaimonic outcomes. However, we did not find any support for the effect of art engagement on social cognitive skills: Neither engaging with art, nor art in combination with deep social information processing, influenced performance on social cognitive skills of ToM and emotion recognition. The effect of art engagement on personal aesthetic experience and the absence of effect on social cognitive skills highlight the nuanced nature of individuals' interactions with art. We discuss these results considering the varied ways of engagement with different artforms and in relation to different operationalizations of social cognitive skills.

Music Listening as Exploratory Behavior: From Dispositional Reactions to Epistemic Interactions with the Sonic World

Listening to music can span a continuum from passive consumption to active exploration, relying on processes of coping with the sounds as well as higher-level processes of sense-making. Revolving around the major questions of "what" and "how" to explore, this paper takes a naturalistic stance toward music listening, providing tools to objectively describe the underlying mechanisms of musical sense-making by weakening the distinction between music and non-music. Starting from a non-exclusionary conception of "coping" with the sounds, it stresses the exploratory approach of treating music as a sound environment to be discovered by an attentive listener. Exploratory listening, in this view, is an open-minded and active process, not dependent on simply recalling pre-existing knowledge or information that reduces cognitive processing efforts but having a high cognitive load due to the need for highly focused attention and perceptual readiness. Music, explored in this way, is valued for its complexity, surprisingness, novelty, incongruity, puzzlingness, and patterns, relying on processes of selection, differentiation, discrimination, and identification.

Buffering effect of fiction on negative emotions: engagement with negatively valenced fiction decreases the intensity of negative emotions

Previous research has investigated how the context of perception affects emotional response. This study investigated how engagement with perceived fictional content vs perceived everyday-life content affects the way people experience negative emotions. Four studies with an experimental design tested how engagement with perceived fictional content vs perceived everyday life content affects the intensity of negative emotional response to negative emotional content, the motivation to decrease negative emotions, and cognitive reappraisal. Participants were presented with negatively valenced images and were asked to imagine either that they were witnessing them, or that a bystander was witnessing them, or that they were viewing a movie including these scenes. After the manipulation, all participants observed a different set of negatively valenced images or a set of negatively valenced videos and reported their emotional response. We found that the intensity of negative emotions and motivation to decrease them was lower among participants in the fiction condition compared to participants in the everyday life condition. Although perspective-taking had a similar effect on negative emotions, fiction condition was more successful in decreasing negative emotions. This might indicate that fiction plays a buffering role in decreasing the negative emotions people experience when facing negative emotional content.

Nature experiences affect the aesthetic reception of art: The case of paintings depicting aquatic animals

Art is a promising pathway to raise emotional engagement with nature, while enabling an indirect exposure to nature through aesthetic experience. However, the precise relationships between aesthetic experiences of art and experiences of nature remain unclear. The aim of this observational study is to highlight the effect of nature experiences on the aesthetic reception art, based on Early Modern paintings (16th-18th century). By focusing on marine ecosystems, that are difficult to directly interact with, the results presented are intended to explore whether marine activities and fish consumption affect the aesthetic reception of artworks depicting marine biodiversity. A photo-questionnaire survey based on four paintings has been conducted with 332 French participants with a diverse range of marine practices, fish consumption and artistic sensitivity. Fish consumption and value attributed to fish as food had a significant positive impact on the aesthetic reception, suggesting that taste and food consumption could be considered as a relevant nature aesthetic experience that elicits affective and emotional responses. Results also showed an indirect effect of fishing and diving on the aesthetic reception of paintings whose iconography relates with the observers' experiences. These findings are of particular interest in both environmental psychology and ecological mediation through art. This study brings evidences of the connection between art and nature experiences, and that art could be an innovative way of experiencing nature. Finally, this study also highlights the need to broaden the scope of nature experiences, for instance by including food.

How movies move us - movie preferences are linked to differences in neuronal emotion processing of fear and anger: an fMRI study

Introduction

As a source of audio-visual stimulation, movies expose people to various emotions. Interestingly, several genres are characterized by negative emotional content. Albeit theoretical approaches exist, little is known about preferences for specific movie genres and the neuronal processing of negative emotions.

Methods

We investigated associations between movie genre preference and limbic and reward-related brain reactivity to close this gap by employing an fMRI paradigm with negative emotional faces in 257 healthy participants. We compared the functional activity of the amygdala and the nucleus accumbens (NAcc) between individuals with a preference for a particular movie genre and those without such preference.

Results and discussion

Amygdala activation was relatively higher in individuals with action movie preference (p TFCE-FWE = 0.013). Comedy genre preference was associated with increased amygdala (p TFCE-FWE = 0.038) and NAcc activity (p TFCE-FWE = 0.011). In contrast, crime/thriller preference (amygdala: p TFCE-FWE ≤ 0.010, NAcc: p TFCE-FWE = 0.036), as well as documentary preference, was linked to the decreased amygdala (p TFCE-FWE = 0.012) and NAcc activity (p TFCE-FWE = 0.015). The study revealed associations between participants' genre preferences and brain reactivity to negative affective stimuli. Interestingly, preferences for genres with similar emotion profiles (action, crime/thriller) were associated with oppositely directed neural activity. Potential links between brain reactivity and susceptibility to different movie-related gratifications are discussed.

Art perception is affected by negative knowledge about famous and unknown artists

The biographies of some celebrated artists are marked by accounts that paint a far from beautiful portrait. Does this negative-social knowledge influence the aesthetic experience of an artwork? Does an artist's fame protect their paintings from such an influence? We present two preregistered experiments examining the effect of social-emotional biographical knowledge about famous and unknown artists on the reception and perception of their paintings, using aesthetic ratings and neurocognitive measures. In Experiment 1, paintings attributed to artists characterised by negative biographical information were liked less, evoked greater feelings of arousal and were judged lower in terms of quality, than paintings by artists associated with neutral information. No modulation of artist renown was found. Experiment 2 fully replicated these behavioural results and revealed that paintings by artists associated with negative social-emotional knowledge also elicited enhanced early brain activity related to visual perception (P1) and early emotional arousal (early posterior negativity; EPN). Together, the findings suggest that negative knowledge about famous artists can shape not only explicit aesthetic evaluations, but may also penetrate the perception of the artwork itself.

Art therapy masks reflect emotional changes in military personnel with PTSS

Among disabling post-traumatic stress symptoms (PTSS) are irritability, aggressive behavior, distressing memories and general impaired cognition and negative mood. Art therapy interventions, including mask-making, can potentially alleviate these symptoms. We tested the hypothesis that art conveys emotions and predicted that blinded viewers would be able to perceive changes in theoretically derived emotional profiles expressed in art made by military personnel with PTSS from the onset to the end of therapy. Five service members and veterans exhibiting PTSS were enrolled in an 8-session art therapy protocol, during which they artistically transformed papier-mâché masks at the beginning and end of the protocol. We found that blinded viewers without knowledge of the masks' creation stage (onset or end of therapy) read initial masks as conveying more negative emotions (e.g., angry, upset, and challenged) and later masks as conveying more positive emotions (calm and pleasure). Based on the assessments from the blinded evaluators, we infer the emotional transition experienced by the participants was expressed in the masks. In an exploratory arm of the study, we also found that viewers were better able to empathize with the negative emotions experienced by participants with PTSS when asked to explicitly take their perspective.

Order and change in art: towards an active inference account of aesthetic experience

How to account for the power that art holds over us? Why do artworks touch us deeply, consoling, transforming or invigorating us in the process? In this paper, we argue that an answer to this question might emerge from a fecund framework in cognitive science known as predictive processing (a.k.a. active inference). We unpack how this approach connects sense-making and aesthetic experiences through the idea of an 'epistemic arc', consisting of three parts (curiosity, epistemic action and aha experiences), which we cast as aspects of active inference. We then show how epistemic arcs are built and sustained by artworks to provide us with those satisfying experiences that we tend to call 'aesthetic'. Next, we defuse two key objections to this approach; namely, that it places undue emphasis on the cognitive component of our aesthetic encounters-at the expense of affective aspects-and on closure and uncertainty minimization (order)-at the expense of openness and lingering uncertainty (change). We show that the approach offers crucial resources to account for the open-ended, free and playful behaviour inherent in aesthetic experiences. The upshot is a promising but deflationary approach, both philosophically informed and psychologically sound, that opens new empirical avenues for understanding our aesthetic encounters. This article is part of the theme issue 'Art, aesthetics and predictive processing: theoretical and empirical perspectives'.

Parallelisms and deviations: two fundamentals of an aesthetics of poetic diction

Poetic diction routinely involves two complementary classes of features: (i) parallelisms, i.e. repetitive patterns (rhyme, metre, alliteration, etc.) that enhance the predictability of upcoming words, and (ii) poetic deviations that challenge standard expectations/predictions regarding regular word form and order. The present study investigated how these two prediction-modulating fundamentals of poetic diction affect the cognitive processing and aesthetic evaluation of poems, humoristic couplets and proverbs. We developed quantitative measures of these two groups of text features. Across the three text genres, higher deviation scores reduced both comprehensibility and aesthetic liking whereas higher parallelism scores enhanced these. The positive effects of parallelism are significantly stronger than the concurrent negative effects of the features of deviation. These results are in accord with the hypothesis that art reception involves an interplay of prediction errors and prediction error minimization, with the latter paving the way for processing fluency and aesthetic liking. This article is part of the theme issue 'Art, aesthetics and predictive processing: theoretical and empirical perspectives'.

Emotions of subject and object affect beauty differently for images and music

What role do the emotions of subject and object play in judging the beauty of images and music? Eighty-one participants rated perceived beauty, liking, perceived happiness, and perceived sadness of 24 songs, 12 art images, and 12 nature photographs. Stimulus presentation was brief (2 seconds) or prolonged (20 seconds). The stimuli were presented in two blocks, and participants took the Positive and Negative Affect Score (PANAS) mood questionnaire before and after each block. They viewed a mood induction video between blocks either to increase their happiness or sadness or to maintain their mood. Using linear mixed-effects models, we found that perceived object happiness predicts an increase in image and song beauty regardless of duration. The effect of perceived object sadness on beauty, however, is stronger for songs than images and stronger for prolonged than brief durations. Subject emotion affects brief song beauty minimally and prolonged song beauty substantially. Whereas past studies of beauty and emotion emphasized sad music, here we analyze both happiness and sadness, both subject and object emotion, and both images and music. We conclude that the interactions between emotion and beauty are different for images and music and are strongly moderated by duration.

Self-Relevance Predicts the Aesthetic Appeal of Real and Synthetic Artworks Generated via Neural Style Transfer

What determines the aesthetic appeal of artworks? Recent work suggests that aesthetic appeal can, to some extent, be predicted from a visual artwork's image features. Yet a large fraction of variance in aesthetic ratings remains unexplained and may relate to individual preferences. We hypothesized that an artwork's aesthetic appeal depends strongly on self-relevance. In a first study (N = 33 adults, online replication N = 208), rated aesthetic appeal for real artworks was positively predicted by rated self-relevance. In a second experiment (N = 45 online), we created synthetic, self-relevant artworks using deep neural networks that transferred the style of existing artworks to photographs. Style transfer was applied to self-relevant photographs selected to reflect participant-specific attributes such as autobiographical memories. Self-relevant, synthetic artworks were rated as more aesthetically appealing than matched control images, at a level similar to human-made artworks. Thus, self-relevance is a key determinant of aesthetic appeal, independent of artistic skill and image features.

Uncertainty drives exploration of negative information across younger and older adults

Although individuals generally avoid negative information, recent research documents that they voluntarily explore negative information to resolve uncertainty. However, it remains unclear (a) whether uncertainty facilitates exploration similarly when exploration is expected to lead to negative, neutral, or positive information, and (b) whether older adults seek negative information to reduce uncertainty like younger adults do. This study addresses the two issues across four experimental studies (N = 407). The results indicate that individuals are more likely to expose themselves to negative information when uncertainty is high. In contrast, when information was expected to be neutral or positive, the uncertainty surrounding it did not significantly alter individuals' exploration behavior. Furthermore, we found that uncertainty increased the exploration of negative information in both older and younger adults. In addition, both younger and older adults chose to explore negative information to reduce uncertainty, even when there were positive or neutral alternatives. In contrast to the age-related similarities in these behavioral measures, older adults demonstrated reduced scores in questionnaires on sensation seeking and curiosity, relative to their counterparts who were younger. These results suggest that information uncertainty has a selective facilitation effect on exploration for negative information and that normal aging does not alter this tendency, despite age-related reductions in self-reported measures of personality traits relevant to information seeking.

Separating art from the artist: The effect of negative affective knowledge on ERPs and aesthetic experience

Some artists do terrible things. But does knowing something bad about an artist affect the way we perceive the work? Despite increased public interest, this question has yet to be addressed empirically. In this pre-registered study, we used aesthetic ratings and electrophysiological brain responses to shed light on the issue. We found that paintings of artists associated with negative-social biographical knowledge were liked less and found more arousing than paintings of artists associated with neutral information. Such paintings also elicited an enhanced brain response associated with fast and reflexive processing of emotional stimuli (early posterior negativity; EPN). Evaluations of quality and later, more controlled brain responses (late positive potential; LPP) were not affected. Reflecting the complexity of aesthetic experience, this pattern of results became more differentiated when the visual relatedness between the contents of the painting and the artist-related information was taken into account. Overall, our findings suggest that emotional aspects involved in art reception are not spontaneously separated from the artist, whilst evaluative judgments and more elaborate processing may be.

Different routes to liking: how readers arrive at narrative evaluations

When two people read the same story, they might both end up liking it very much. However, this does not necessarily mean that their reasons for liking it were identical. We therefore ask what factors contribute to “liking” a story, and—most importantly—how people vary in this respect. We found that readers like stories because they find them interesting, amusing, suspenseful and/or beautiful. However, the degree to which these components of appreciation were related to how much readers liked stories differed between individuals. Interestingly, the individual slopes of the relationships between many of the components and liking were (positively or negatively) correlated. This indicated, for instance, that individuals displaying a relatively strong relationship between interest and liking, generally display a relatively weak relationship between sadness and liking. The individual differences in the strengths of the relationships between the components and liking were not related to individual differences in expertize, a characteristic strongly associated with aesthetic appreciation of visual art. Our work illustrates that it is important to take into consideration the fact that individuals differ in how they arrive at their evaluation of literary stories, and that it is possible to quantify these differences in empirical experiments. Our work suggests that future research should be careful about “overfitting” theories of aesthetic appreciation to an “idealized reader,” but rather take into consideration variations across individuals in the reason for liking a particular story.

I know what i like when i see it: Likability is distinct from pleasantness since early stages of multimodal emotion evaluation

Liking and pleasantness are common concepts in psychological emotion theories and in everyday language related to emotions. Despite obvious similarities between the terms, several empirical and theoretical notions support the idea that pleasantness and liking are cognitively different phenomena, becoming most evident in the context of emotion regulation and art enjoyment. In this study it was investigated whether liking and pleasantness indicate behaviourally measurable differences, not only in the long timespan of emotion regulation, but already within the initial affective responses to visual and auditory stimuli. A cross-modal affective priming protocol was used to assess whether there is a behavioural difference in the response time when providing an affective rating to a liking or pleasantness task. It was hypothesized that the pleasantness task would be faster as it is known to rely on rapid feature detection. Furthermore, an affective priming effect was expected to take place across the sensory modalities and the presentative and non-presentative stimuli. A linear mixed effect analysis indicated a significant priming effect as well as an interaction effect between the auditory and visual sensory modalities and the affective rating tasks of liking and pleasantness: While liking was rated fastest across modalities, it was significantly faster in vision compared to audition. No significant modality dependent differences between the pleasantness ratings were detected. The results demonstrate that liking and pleasantness rating scales refer to separate processes already within the short time scale of one to two seconds. Furthermore, the affective priming effect indicates that an affective information transfer takes place across modalities and the types of stimuli applied. Unlike hypothesized, liking rating took place faster across the modalities. This is interpreted to support emotion theoretical notions where liking and disliking are crucial properties of emotion perception and homeostatic self-referential information, possibly overriding pleasantness-related feature analysis. Conclusively, the findings provide empirical evidence for a conceptual delineation of common affective processes.

Beauty and Uncertainty as Transformative Factors: A Free Energy Principle Account of Aesthetic Diagnosis and Intervention in Gestalt Psychotherapy

Drawing from field theory, Gestalt therapy conceives psychological suffering and psychotherapy as two intentional field phenomena, where unprocessed and chaotic experiences seek the opportunity to emerge and be assimilated through the contact between the patient and the therapist (i.e., the intentionality of contacting). This therapeutic approach is based on the therapist’s aesthetic experience of his/her embodied presence in the flow of the healing process because (1) the perception of beauty can provide the therapist with feedback on the assimilation of unprocessed experiences; (2) the therapist’s attentional focus on intrinsic aesthetic diagnostic criteria can facilitate the modification of rigid psychopathological fields by supporting the openness to novel experiences. The aim of the present manuscript is to review recent evidence from psychophysiology, neuroaesthetic research, and neurocomputational models of cognition, such as the free energy principle (FEP), which support the notion of the therapeutic potential of aesthetic sensibility in Gestalt psychotherapy. Drawing from neuroimaging data, psychophysiology and recent neurocognitive accounts of aesthetic perception, we propose a novel interpretation of the sense of beauty as a self-generated reward motivating us to assimilate an ever-greater spectrum of sensory and affective states in our predictive representation of ourselves and the world and supporting the intentionality of contact. Expecting beauty, in the psychotherapeutic encounter, can help therapists tolerate uncertainty avoiding impulsive behaviours and to stay tuned to the process of change.

Atonal Music as a Model for Investigating Exploratory Behavior

Atonal music is often characterized by low predictability stemming from the absence of tonal or metrical hierarchies. In contrast, Western tonal music exhibits intrinsic predictability due to its hierarchical structure and therefore, offers a directly accessible predictive model to the listener. In consequence, a specific challenge of atonal music is that listeners must generate a variety of new predictive models. Listeners must not only refrain from applying available tonal models to the heard music, but they must also search for statistical regularities and build new rules that may be related to musical properties other than pitch, such as timbre or dynamics. In this article, we propose that the generation of such new predictive models and the aesthetic experience of atonal music are characterized by internal states related to exploration. This is a behavior well characterized in behavioral neuroscience as fulfilling an innate drive to reduce uncertainty but which has received little attention in empirical music research. We support our proposal with emerging evidence that the hedonic value is associated with the recognition of patterns in low-predictability sound sequences and that atonal music elicits distinct behavioral responses in listeners. We end by outlining new research avenues that might both deepen our understanding of the aesthetic experience of atonal music in particular, and reveal core qualities of the aesthetic experience in general.

Aesthetic Preference for Negatively-Valenced Artworks Remains Stable in Pathological Aging: A Comparison Between Cognitively Impaired Patients With Alzheimer's Disease and Healthy Controls

Background

Despite severe cognitive dysfunction in Alzheimer's disease (AD), aesthetic preferences in AD patients seem to retain some stability over time, similarly to healthy controls. However, the underlying mechanisms of aesthetic preference stability in AD remain unclear. We therefore aimed to study the role of emotional valence of stimuli for stability of aesthetic preferences in patients with AD compared to cognitively unimpaired elderly adults.

Methods

Fifteen AD patients (Mini-Mental State Examination (MMSE) score 12–26) without visual impairment and/or psychiatric disorder, as well as 15 healthy controls without cognitive impairment (MMSE ≥ 27) matched in age, sex, art interest and highest level of education were included in this study. All participants were asked to rank-order eight artworks per stimulus category (positive, negative, neutral in emotional valence) according to their preference twice with a 2-week span in-between. Based on these two rankings a preference change score was calculated. In order to assess explicit recognition memory of the artworks in the second testing session, four artworks of each stimulus category used in the preference ranking task were presented together with a content-matched distractor artwork painted by the same artist. Participants had to indicate which of the stimuli they had seen 2 weeks previously.

Results

AD patients [MMSE (M) = 18.9 ± 3.6; Age (M) = 85.4 ± 6.9; 33.3% male] had no explicit recognition memory of the artworks (recognition at chance level), whereas healthy controls [MMSE (M) = 27.7 ± 1.4; Age (M) = 84.3 ± 6.7; 33.3% male] correctly recognized 85% of stimuli after 2 weeks. AD patients had equally stable preferences compared to the control group for negative artworks, but less stable preferences for positive and neutral images (Bonferroni-corrected significance levels; p < 0.017).

Conclusion

Even in cognitively impaired AD patients, aesthetic preference for negatively-valenced artworks remains relatively stable. Our study provides novel evidence that AD patients may have a somewhat preserved implicit valence system for negative compared to neutral or positive visual information, especially in the domain of aesthetics. However, more studies need to further uncover the details of the underlying neurocognitive mechanisms of preference stability in pathological aging.

Social reputation influences on liking and willingness-to-pay for artworks: A multimethod design investigating choice behavior along with physiological measures and motivational factors

Art, as a prestigious cultural commodity, concerns aesthetic and monetary values, personal tastes, and social reputation in various social contexts—all of which are reflected in choices concerning our liking, or in other contexts, our actual willingness-to-pay for artworks. But, how do these different aspects interact in regard to the concept of social reputation and our private versus social selves, which appear to be essentially intervening, and potentially conflicting, factors driving choice? In our study, we investigated liking and willingness-to-pay choices using—in art research—a novel, forced-choice paradigm. Participants (N = 123) made choices from artwork-triplets presented with opposing artistic quality and monetary value-labeling, thereby creating ambiguous choice situations. Choices were made in either private or in social/public contexts, in which participants were made to believe that either art-pricing or art-making experts were watching their selections. A multi-method design with eye-tracking, neuroendocrinology (testosterone, cortisol), and motivational factors complemented the behavioral choice analysis. Results showed that artworks, of which participants were told were of high artistic value were more often liked and those of high monetary-value received more willingness-to-pay choices. However, while willingness-to-pay was significantly affected by the presumed observation of art-pricing experts, liking selections did not differ between private/public contexts. Liking choices, compared to willingness-to-pay, were also better predicted by eye movement patterns. Whereas, hormone levels had a stronger relation with monetary aspects (willingness-to-pay/ art-pricing expert). This was further confirmed by motivational factors representative for reputation seeking behavior. Our study points to an unexplored terrain highlighting the linkage of social reputation mechanisms and its impact on choice behavior with a ubiquitous commodity, art.

A Special Class of Experience: Positive Affect Evoked by Music and the Arts

A positive experience in response to a piece of music or a work of art (hence ‘music/art’) has been linked to health and wellbeing outcomes but can often be reported as indescribable (ineffable), creating challenges for research. What do these positive experiences feel like, beyond ‘positive’? How are loved works that evoke profoundly negative emotions explained? To address these questions, two simultaneously occurring classes of experience are proposed: the ‘emotion class’ of experience (ECE) and the positive ‘affect class’ of experience (PACE). ECE consists of conventional, discrete, and communicable emotions with a reasonably well-established lexicon. PACE relates to a more private world of prototypical aesthetic emotions and experiences investigated in positive psychology. After a review of the literature, this paper proposes that PACE consists of physical correlates (tears, racing heart…) and varied amounts of ‘hedonic tone’ (HT), which range from shallow, personal leanings (preference, liking, attraction, etc.) to deep ones that include awe, being-moved, thrills, and wonder. PACE is a separate, simultaneously activated class of experience to ECE. The approach resolves long-standing debates about powerful, positive experiences taking place during negative emotion evocation by music/art. A list of possible terms for describing PACE is proposed.

Feeling moved by music: Investigating continuous ratings and acoustic correlates

The experience often described as feeling moved, understood chiefly as a social-relational emotion with social bonding functions, has gained significant research interest in recent years. Although listening to music often evokes what people describe as feeling moved, very little is known about the appraisals or musical features contributing to the experience. In the present study, we investigated experiences of feeling moved in response to music using a continuous rating paradigm. A total of 415 US participants completed an online experiment where they listened to seven moving musical excerpts and rated their experience while listening. Each excerpt was randomly coupled with one of seven rating scales (perceived sadness, perceived joy, feeling moved or touched, sense of connection, perceived beauty, warmth [in the chest], or chills) for each participant. The results revealed that musically evoked experiences of feeling moved are associated with a similar pattern of appraisals, physiological sensations, and trait correlations as feeling moved by videos depicting social scenarios (found in previous studies). Feeling moved or touched by both sadly and joyfully moving music was associated with experiencing a sense of connection and perceiving joy in the music, while perceived sadness was associated with feeling moved or touched only in the case of sadly moving music. Acoustic features related to arousal contributed to feeling moved only in the case of joyfully moving music. Finally, trait empathic concern was positively associated with feeling moved or touched by music. These findings support the role of social cognitive and empathic processes in music listening, and highlight the social-relational aspects of feeling moved or touched by music.

Music Listening and Homeostatic Regulation: Surviving and Flourishing in a Sonic World

This paper argues for a biological conception of music listening as an evolutionary achievement that is related to a long history of cognitive and affective-emotional functions, which are grounded in basic homeostatic regulation. Starting from the three levels of description, the acoustic description of sounds, the neurological level of processing, and the psychological correlates of neural stimulation, it conceives of listeners as open systems that are in continuous interaction with the sonic world. By monitoring and altering their current state, they can try to stay within the limits of operating set points in the pursuit of a controlled state of dynamic equilibrium, which is fueled by interoceptive and exteroceptive sources of information. Listening, in this homeostatic view, can be adaptive and goal-directed with the aim of maintaining the internal physiology and directing behavior towards conditions that make it possible to thrive by seeking out stimuli that are valued as beneficial and worthy, or by attempting to avoid those that are annoying and harmful. This calls forth the mechanisms of pleasure and reward, the distinction between pleasure and enjoyment, the twin notions of valence and arousal, the affect-related consequences of music listening, the role of affective regulation and visceral reactions to the sounds, and the distinction between adaptive and maladaptive listening.

Interruption, work rumination, and stress as indicators of reduced working memory resources affect aesthetic experiences

Do we savour aesthetic experiences less when distracted by interrupted tasks, work rumination, or stress? Evidence suggests that the ability to concentrate on the aesthetic experience is crucial for initiating a processing mode of conscious aesthetic reception that results in more positive emotions. When working memory resources are otherwise occupied, people are less able to concentrate on aesthetic experiences. Aesthetic savouring, in particular-a cognitive form of emotion regulation that is used to maintain and extend aesthetic experiences-is thought to be impaired under those circumstances. We conducted three investigations to examine how conditions that are known to deplete working memory resources affect the savouring of aesthetic experiences. In Study 1, participants rated beauty and savouring felt from encounters with visual stimuli in a controlled laboratory setting after an interruption of a writing task. Aesthetic experience was hampered if participants were interrupted. In two field investigations, we demonstrated that work-related rumination (Study 2, N = 329) and stress (Study 3, N = 368) are inversely related to the savouring felt from opera, theatre, or cabaret pieces. These findings highlight the importance of concentrating on aesthetic experiences so that the perceiver can fully benefit from them. We also discuss implications for cognitive models of working memory and for health and well-being.

Modulation of Negative Affect Predicts Acceptance of Music Streaming Services, While Personality Does Not

Music streaming services (MSS) offer their users numerous ways of choosing and implementing their individual approaches to music listening. Personality, uses of music, and the acceptance of MSS can be conceptualized as interdependent. This study investigates whether negative affect modulation strategies explain differences in the acceptance of MSS and integrates findings from previous research into a structural equation model. As for measurements, the Big Five Inventory 2, the Inventory for the Assessment of Activation and Arousal modulation through Music, and adapted scales from previous research on the Technology Acceptance Model were used. A convenience sample of 825 participants (24.3 years; 74% females and 89% students) successfully completed an online questionnaire. In total, 89 percent of the sample reported using MSS regularly. The results show that the tendency to modulate negative affect through music is positively influenced by openness and neuroticism. In turn, the tendency to modulate negative affect through music is shown to increase the perceived usefulness of MSS. However, this study failed to replicate the previous findings that openness increases the attitude toward using and that neuroticism decreases the perceived usefulness. This implies that uses of music are more effective than personality traits at predicting the individual acceptance of MSS. However, personality can be viewed as a predictor for uses of music. The interwovenness of stable and situational factors of music choices is supported. MSS seem to assist their users in coping with negative affect in everyday life, increasing wellbeing. MSS should expand their personalization features to optimize user experience with respect to individual uses of music.

Emotional news affects social judgments independent of perceived media credibility

How does the credibility we attribute to media sources influence our opinions and judgments derived from news? Participants read headlines about the social behavior of depicted unfamiliar persons from websites of trusted or distrusted well-known German news media. As a consequence, persons paired with negative or positive headlines were judged more negative or positive than persons associated with neutral information independent of source credibility. Likewise, electrophysiological signatures of slow and controlled evaluative brain activity revealed a dominant influence of emotional headline contents regardless of credibility. Modulations of earlier brain responses associated with arousal and reflexive emotional processing show an effect of negative news and suggest that distrusted sources may even enhance the impact of negative headlines. These findings demonstrate that though we may have distinct perceptions about the credibility of media sources, information processing and social judgments rely on the emotional content of headlines, even when they stem from sources we distrust.

Being moved by listening to unfamiliar sad music induces reward-related hormonal changes in empathic listeners

Many people enjoy sad music, and the appeal for tragedy is widespread among the consumers of film and literature. The underlying mechanisms of such aesthetic experiences are not well understood. We tested whether pleasure induced by sad, unfamiliar instrumental music is explained with a homeostatic or a reward theory, each of which is associated with opposite patterns of changes in the key hormones. Sixty-two women listened to sad music (or nothing) while serum was collected for subsequent measurement of prolactin (PRL) and oxytocin (OT) and stress marker (cortisol and adrenocorticotropic hormone) concentrations. Two groups of participants were recruited on the basis of low and high trait empathy. In the high empathy group, PRL and OT levels were significantly lower with music compared with no music. And compared to the low empathy group, the high empathy individuals reported an increase of positive mood and higher ratings of being moved with music. None of the stress markers showed any changes across the conditions or the groups. These hormonal changes, inconsistent with the homeostatic theory proposed by Huron, exhibit a pattern expected of general reward. Our findings illuminate how unfamiliar and low arousal music may give rise to pleasurable experiences.

Dimensions and Clusters of Aesthetic Emotions: A Semantic Profile Analysis

Aesthetic emotions are elicited by different sensory impressions generated by music, visual arts, literature, theater, film, or nature scenes. Recently, the AESTHEMOS scale has been developed to facilitate the empirical assessment of such emotions. In this article we report a semantic profile analysis of aesthetic emotion terms that had been used for the development of this scale, using the GRID approach. This method consists of obtaining ratings of emotion terms on a set of meaning facets (features) which represent five components of the emotion process (appraisal, bodily reactions, action tendencies, expression, and feelings). The aims here were (a) to determine the dimensionality of the GRID features when applied to aesthetic emotions and compare it to published results for emotion terms in general, and (b) to examine the internal organization of the domain of aesthetic emotion terms in order to identify salient clusters of these items based on the similarity of their feature profiles on the GRID. Exploratory Principal Component Analyses suggest a four-dimensional structure of the semantic space consisting of valence, power, arousal, and novelty, converging with earlier GRID studies on large sets of standard emotion terms. Using cluster analyses, 15 clusters of aesthetic emotion terms with similar GRID feature profiles were identified, revealing the internal organization of the aesthetic emotion terms domain and meaningful subgroups of aesthetic emotions. While replication for further languages is required, these findings provide a solid basis for further research and methodological development in the realm of aesthetic emotions.

Memorisation and implicit perceptual learning are enhanced for preferred musical intervals and chords

Is it true that we learn better what we like? Current neuroaesthetic and neurocomputational models of aesthetic appreciation postulate the existence of a correlation between aesthetic appreciation and learning. However, even though aesthetic appreciation has been associated with attentional enhancements, systematic evidence demonstrating its influence on learning processes is still lacking. Here, in two experiments, we investigated the relationship between aesthetic preferences for consonance versus dissonance and the memorisation of musical intervals and chords. In Experiment 1, 60 participants were first asked to memorise and evaluate arpeggiated triad chords (memorisation phase), then, following a distraction task, chords’ memorisation accuracy was measured (recognition phase). Memorisation resulted to be significantly enhanced for subjectively preferred as compared with non-preferred chords. To explore the possible neural mechanisms underlying these results, we performed an EEG study, directed to investigate implicit perceptual learning dynamics (Experiment 2). Through an auditory mismatch detection paradigm, electrophysiological responses to standard/deviant intervals were recorded, while participants were asked to evaluate the beauty of the intervals. We found a significant trial-by-trial correlation between subjective aesthetic judgements and single trial amplitude fluctuations of the ERP attention-related N1 component. Moreover, implicit perceptual learning, expressed by larger mismatch detection responses, was enhanced for more appreciated intervals. Altogether, our results showed the existence of a relationship between aesthetic appreciation and implicit learning dynamics as well as higher-order learning processes, such as memorisation. This finding might suggest possible future applications in different research domains such as teaching and rehabilitation of memory and attentional deficits.

Beauty and the busy mind: Occupied working memory resources impair aesthetic experiences in everyday life

Aesthetic experiences have been distinguished from other experiences based on an aesthetic mode of processing that often entails concentrating working memory resources on the aesthetic stimulus. Since working memory is a limited-capacity system, there should be a trade-off between available resources and the aesthetic experience. To test whether the intensity of the aesthetic experience is reduced if working memory resources are otherwise occupied, we employed an experience sampling method. One hundred and fifteen undergraduate students (45% female; M_age = 23.50 years, SD = 2.72 years) participated in a 2-week experience sampling study and furnished a total of 15,047 reports of their aesthetic experiences. As measures of current working memory resources, participants answered questions regarding their current working memory load and whether they were engaged in a second task. In addition, they reported whether they had had an aesthetic experience and how much they had savored the aesthetic experience. Multilevel modeling was used for data analysis. A higher working memory load was associated with fewer aesthetic experiences and reduced the savoring of aesthetic experiences. Second tasks, however, that were perceived as demanding and requiring a lot of concentration enhanced the savoring of aesthetic experiences. In sum, other goal-oriented behavior that requires working memory resources appears to conflict with aesthetic experiences in everyday life.

Emotion Goals: A Missing Piece in Research on Psychopathy and Emotion Regulation

Psychopathy is associated with profound emotional disturbances. Yet little is known about associations between psychopathic traits and what individuals want to feel (i.e., emotion goals). Associations between psychopathy and emotion goals were investigated in two studies with nonclinical samples (N = 148 undergraduate students; N = 520 community sample). Four emotions often studied in psychopathy research were targeted: anger, fear, sadness, and joy. Furthermore, perceived utility and perceived pleasantness of emotions were assessed to investigate whether potential associations between psychopathy and emotion goals could be partly explained by instrumental or hedonic considerations, respectively. Psychopathic traits were positively related to negative emotion goals (primarily anger). Although joy was the most wanted emotion on average, psychopathy was negatively but less robustly related to the emotion goal of joy. Mediation analyses suggested differential motivational (hedonic and/or instrumental) mechanisms for different emotion goals. These findings provide preliminary evidence for motivated emotion regulation in psychopathy.

A Practice-Inspired Mindset for Researching the Psychophysiological and Medical Health Effects of Recreational Dance (Dance Sport)

“Dance” has been associated with many psychophysiological and medical health effects. However, varying definitions of what constitute “dance” have led to a rather heterogenous body of evidence about such potential effects, leaving the picture piecemeal at best. It remains unclear what exact parameters may be driving positive effects. We believe that this heterogeneity of evidence is partly due to a lack of a clear definition of dance for such empirical purposes. A differentiation is needed between (a) the effects on the individual when the activity of “dancing” is enjoyed as a dancer within different dance domains (e.g., professional/”high-art” type of dance, erotic dance, religious dance, club dancing, Dance Movement Therapy (DMT), and what is commonly known as hobby, recreational or social dance), and (b) the effects on the individual within these different domains, as a dancer of the different dance styles (solo dance, partnering dance, group dance; and all the different styles within these). Another separate category of dance engagement is, not as a dancer, but as a spectator of all of the above. “Watching dance” as part of an audience has its own set of psychophysiological and neurocognitive effects on the individual, and depends on the context where dance is witnessed. With the help of dance professionals, we first outline some different dance domains and dance styles, and outline aspects that differentiate them, and that may, therefore, cause differential empirical findings when compared regardless (e.g., amount of interpersonal contact, physical exertion, context, cognitive demand, type of movements, complexity of technique and ratio of choreography/improvisation). Then, we outline commonalities between all dance styles. We identify six basic components that are part of any dance practice, as part of a continuum, and review and discuss available research for each of them concerning the possible health and wellbeing effects of each of these components, and how they may relate to the psychophysiological and health effects that are reported for “dancing”: (1) rhythm and music, (2) sociality, (3) technique and fitness, (4) connection and connectedness (self-intimation), (5) flow and mindfulness, (6) aesthetic emotions and imagination. Future research efforts might take into account the important differences between types of dance activities, as well as the six components, for a more targeted assessment of how “dancing” affects the human body.

Playing With Fear: A Field Study in Recreational Horror

Haunted attractions are illustrative examples of recreational fear in which people voluntarily seek out frightening experiences in pursuit of enjoyment. We present findings from a field study at a haunted-house attraction where visitors between the ages of 12 and 57 years (N = 110) were equipped with heart rate monitors, video-recorded at peak scare points during the attraction, and asked to report on their experience. Our results show that enjoyment has an inverted-U-shaped relationship with fear across repeated self-reported measures. Moreover, results from physiological data demonstrate that the experience of being frightened is a linear function of large-scale heart rate fluctuations, whereas there is an inverted-U-shaped relationship between participant enjoyment and small-scale heart rate fluctuations. These results suggest that enjoyment is related to forms of arousal dynamics that are “just right.” These findings shed light on how fear and enjoyment can coexist in recreational horror.

Locus of emotion influences psychophysiological reactions to music

It is now widely accepted that the perception of emotional expression in music can be vastly different from the feelings evoked by it. However, less understood is how the locus of emotion affects the experience of music, that is how the act of perceiving the emotion in music compares with the act of assessing the emotion induced in the listener by the music. In the current study, we compared these two emotion loci based on the psychophysiological response of 40 participants listening to 32 musical excerpts taken from movie soundtracks. Facial electromyography, skin conductance, respiration and heart rate were continuously measured while participants were required to assess either the emotion expressed by, or the emotion they felt in response to the music. Using linear mixed effects models, we found a higher mean response in psychophysiological measures for the “perceived” than the “felt” task. This result suggested that the focus on one’s self distracts from the music, leading to weaker bodily reactions during the “felt” task. In contrast, paying attention to the expression of the music and consequently to changes in timbre, loudness and harmonic progression enhances bodily reactions. This study has methodological implications for emotion induction research using psychophysiology and the conceptualization of emotion loci. Firstly, different tasks can elicit different psychophysiological responses to the same stimulus and secondly, both tasks elicit bodily responses to music. The latter finding questions the possibility of a listener taking on a purely cognitive mode when evaluating emotion expression.

Computational Paradigm to Elucidate the Effects of Arts-Based Approaches: Art and Music Studies and Implications for Research and Therapy

Art therapy and music therapy, as well as other arts-based approaches and interventions, help to mitigate symptoms in serious and chronic diseases and to improve the well-being and quality of life for both healthy individuals and patients. Artistic creation is also researched and practiced intending to empower and understand individuals, groups, and communities. However, much research is required in order to learn how arts-based approaches operate and to enhance their effectivity. The complex and simultaneous occurrences involving the dynamics of the creation work, the client, and the therapist in a typical arts setting are difficult to grasp, consequently affecting their objective analyses. Here we employ our Computational Paradigm which enables the quantitative and rigorous tracking, analyzing, and documenting of the underlying dynamic processes, and describe its application in recent past and current real-world art and music studies with human participants. We aim to study emergent artistic behaviors of individuals and collectives in response to art and music making. Significant insights obtained include demographic variation factors such as gender and age, empirical behavioral patterns, and quantitative expressiveness and its change. We discuss the implications of the findings for therapy and research, such as causality for behavioral diversification and audio-visual cross-modality, and also offer directions for future applications and technology enhancements.

On the Enjoyment of Sad Music: Pleasurable Compassion Theory and the Role of Trait Empathy

Drawing on recent empirical studies on the enjoyment of nominally sad music, a general theory of the pleasure of tragic or sad portrayals is presented. Not all listeners enjoy sad music. Multiple studies indicate that those individuals who enjoy sad music exhibit a particular pattern of empathic traits. These individuals score high on empathic concern (compassion) and high on imaginative absorption (fantasy), with only nominal personal distress (commiseration). Empirical studies are reviewed implicating compassion as a positively valenced affect. Accordingly, individuals who most enjoy sad musical portrayals experience a pleasurable prosocial affect (compassion), amplified by empathetic engagement (fantasy), while experiencing only nominal levels of unpleasant emotional contagion (commiseration). It is suggested that this pattern of trait empathy may apply more broadly, accounting for many other situations where spectators experience pleasure when exposed to tragic representations or portrayals.

What Experts Appreciate in Patterns: Art Expertise Modulates Preference for Asymmetric and Face-Like Patterns

This study set out to investigate whether and how aesthetic evaluations of different types of symmetric, as well as abstract vs. representational patterns are modulated by art expertise. To this end, we utilized abstract asymmetric, symmetric, and “broken” patterns slightly deviating from symmetry, as well as more representational patterns resembling faces (also symmetric or broken). While it has already been shown that symmetry preference decreases with art expertise, it was still unclear whether an already established relationship between art expertise and preference for abstract over representational art can be similarly found as a preference for abstract over representational patterns, as these are non-art objects. Nevertheless, we found profound differences in aesthetic preferences between art experts and laypersons. While art experts rated asymmetric patterns higher than laypersons, as expected, they rated face-like patterns lower than laypersons. Also, laypersons rated all other types of patterns higher than asymmetric patterns, while art experts rated the other patterns similar or lower than asymmetric patterns. We found this both for liking and for interest ratings. As no differences between art experts and laypersons were found regarding memory recognition of new and old patterns, this effect is not likely due to differences in memory performance. In sum, this study further extends our knowledge about the influence of art expertise on aesthetic appreciation.

Restorative Narratives for Health Promotion

Stories may provide a useful way of communicating about health and promoting engagement for health promotion campaigns. In this study, we examined the effectiveness of a particular type of narrative, restorative narratives (stories that highlight hope and resilience), relative to negative narratives (stories that focus on suffering or challenges). We also tested the effect of labeling the story as fact or fiction. The results suggested that restorative narratives may foster greater prosocial behavior than negative narratives and effectiveness does not differ depending on whether a story is labeled as "factual" or "fictional." Our findings offer encouraging implications for future promotional efforts by health organizations.

A Farewell to Art: Aesthetics as a Topic in Psychology and Neuroscience

Empirical aesthetics and neuroaesthetics study two main issues: the valuation of sensory objects and art experience. These two issues are often treated as if they were intrinsically interrelated: Research on art experience focuses on how art elicits aesthetic pleasure, and research on valuation focuses on special categories of objects or emotional processes that determine the aesthetic experience. This entanglement hampers progress in empirical aesthetics and neuroaesthetics and limits their relevance to other domains of psychology and neuroscience. Substantial progress in these fields is possible only if research on aesthetics is disentangled from research on art. We define aesthetics as the study of how and why sensory stimuli acquire hedonic value. Under this definition, aesthetics becomes a fundamental topic for psychology and neuroscience because it links hedonics (the study of what hedonic valuation is in itself) and neuroeconomics (the study of how hedonic values are integrated into decision making and behavioral control). We also propose that this definition of aesthetics leads to concrete empirical questions, such as how perceptual information comes to engage value signals in the reward circuit or why different psychological and neurobiological factors elicit different appreciation events for identical sensory objects.

Aesthetic appreciation of musical intervals enhances behavioural and neurophysiological indexes of attentional engagement and motor inhibition

From Kant to current perspectives in neuroaesthetics, the experience of beauty has been described as disinterested, i.e. focusing on the stimulus perceptual features while neglecting self-referred concerns. At a neurophysiological level, some indirect evidence suggests that disinterested aesthetic appreciation might be associated with attentional enhancement and inhibition of motor behaviour. To test this hypothesis, we performed three auditory-evoked potential experiments, employing consonant and dissonant two-note musical intervals. Twenty-two volunteers judged the beauty of intervals (Aesthetic Judgement task) or responded to them as fast as possible (Detection task). In a third Go-NoGo task, a different group of twenty-two participants had to refrain from responding when hearing intervals. Individual aesthetic judgements positively correlated with response times in the Detection task, with slower motor responses for more appreciated intervals. Electrophysiological indexes of attentional engagement (N1/P2) and motor inhibition (N2/P3) were enhanced for more appreciated intervals. These findings represent the first experimental evidence confirming the disinterested interest hypothesis and may have important applications in research areas studying the effects of stimulus features on learning and motor behaviour.

Distinct varieties of aesthetic chills in response to multimedia

The experience of aesthetic chills, often defined as a subjective response accompanied by goosebumps, shivers and tingling sensations, is a phenomenon often utilized to indicate moments of peak pleasure and emotional arousal in psychological research. However, little is currently understood about how to conceptualize the experience, particularly in terms of whether chills are general markers of intense pleasure and emotion, or instead a collection of distinct phenomenological experiences. To address this, a web-study was designed using images, videos, music videos, texts and music excerpts (from both an online forum dedicated to chills-eliciting stimuli and previous musical chills study), to explore variations across chills experience in terms of bodily and emotional responses reported. Results suggest that across participants (N = 179), three distinct chills categories could be identified: warm chills (chills co-occurring with smiling, warmth, feeling relaxed, stimulated and happy), cold chills (chills co-occurring with frowning, cold, sadness and anger), and moving chills (chills co-occurring with tears, feeling a lump in the throat, emotional intensity, and feelings of affection, tenderness and being moved). Warm chills were linked to stimuli expressing social communion and love; cold chills were elicited by stimuli portraying entities in distress, and support from one to another; moving chills were elicited by most stimuli, but their incidence were also predicted by ratings of trait empathy. Findings are discussed in terms of being moved, the importance of differing induction mechanisms such as shared experience and empathic concern, and the implications of distinct chills categories for both individual differences and inconsistencies in the existing aesthetic chills literature.

The Relationship Between Uncertainty and Affect

Uncertainty and affect are fundamental and interrelated aspects of the human condition. Uncertainty is often associated with negative affect, but in some circumstances, it is associated with positive affect. In this article, we review different explanations for the varying relationship between uncertainty and affect. We identify "mental simulation" as a key process that links uncertainty to affective states. We suggest that people have a propensity to simulate negative outcomes, which result in a propensity toward negative affective responses to uncertainty. We also propose the existence of several important moderators of this process, including context and individual differences such as uncertainty tolerance, as well as emotion regulation strategies. Finally, we highlight important knowledge gaps and promising areas for future research, both empirical and conceptual, to further elucidate the relationship between uncertainty and affect.