Moral Beauty During the COVID-19 Pandemic: Prosocial Behavior Among Adolescents and the Inspiring Role of the Media

In this study, we examined whether adolescents helped others during the COVID-19 pandemic and how stories in the media inspired them in doing so. Using an online daily diary design, 481 younger adolescents (M = 15.29, SD = 1.76) and 404 older adolescents (M = 21.48, SD = 1.91) were followed for 2 weeks. Findings from linear mixed effects models demonstrated that feelings of being moved by stories in the media were related to giving emotional support to family and friends, and to helping others, including strangers. Exposure to COVID-19 news and information was found to spark efforts to support and help as well and keeping physical distance in line with the advised protective behaviors against COVID-19. Moreover, helping others was related to increased happiness. Overall, the findings of this study highlight the potential role of the media in connecting people in times of crisis.

Global heart warming: kama muta evoked by climate change messages is associated with intentions to mitigate climate change

Concern about climate change is often rooted in sympathy, compassion, and care for nature, living beings, and future generations. Feeling sympathy for others temporarily forms a bond between them and us: we focus on what we have in common and feel a sense of common destiny. Thus, we temporarily experience communal sharing relationships. A sudden intensification in communal sharing evokes an emotion termed kama muta, which may be felt through tearing up, a warm feeling in the chest, or goosebumps. We conducted four pre-registered studies (n = 1,049) to test the relationship between kama muta and pro-environmental attitudes, intentions, and behavior. In each study, participants first reported their attitudes about climate change. Then, they received climate change-related messages. In Study 1, they saw one of the two moving video clips about environmental concerns. In Study 2, participants listened to a more or less moving version of a story about a typhoon in the Philippines. In Study 3, they listened to a different, also moving version of this story or an unrelated talk. In Study 4, they watched either a factual or a moving video about climate change. Participants then indicated their emotional responses. Finally, they indicated their intentions for climate mitigation actions. In addition, we measured time spent reading about climate-related information (Studies 1, 2, and 4) and donating money (Study 4). Across all studies, we found that feelings of kama muta correlated positively with pro-environmental intentions (r = 0.48 [0.34, 0.62]) and behavior (r = 0.10 [0.0004, 0.20]). However, we did not obtain evidence for an experimental effect of the type of message (moving or neutral) on pro-environmental intentions (d = 0.04 [-0.09, 0.18]), though this relationship was significantly mediated by felt kama muta across Studies 2-4. The relationship was not moderated by prior climate attitudes, which had a main effect on intentions. We also found an indirect effect of condition through kama muta on donation behavior. In sum, our results contribute to the question of whether kama muta evoked by climate-change messages can be a motivating force in efforts at climate-change mitigation.

Valence, sensations and appraisals co-occurring with feeling moved: evidence on kama muta theory from intra-individually cross-correlated time series

Emotional experiences typically labelled "being moved" or "feeling touched" may belong to one universal emotion. This emotion, which has been labelled "kama muta", is hypothesised to have a positive valence, be elicited by sudden intensifications of social closeness, and be accompanied by warmth, goosebumps and tears. Initial evidence on correlations among the kama muta components has been collected with self-reports after or during the emotion. Continuous measures during the emotion seem particularly informative, but previous work allows only restricted inferences on intra-individual processes because time series were cross-correlated across samples. In the current studies, we instead use a within-subject design to replicate and extend prior work. We compute intra-individual cross-correlations between continuous self-reports on feeling moved and (1) positive and negative affect; (2) goosebumps and subjective warmth and (3) appraisals of closeness and morality. Results confirm the predictions of kama muta theory that feeling moved by intensified communal sharing cross-correlates with appraised closeness, positive affect, warmth and (less so) goosebumps, but not with negative affect. Contrary to predictions, appraised morality cross-correlated with feeling moved as much as appraised closeness did. We conclude that strong inferences on emotional processes are possible using continuous measures, replace earlier findings, and are largely in line with theorising.

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.

Emotional Campaigning in Politics: Being Moved and Anger in Political Ads Motivate to Support Candidate and Party

Political advertising to recruit the support of voters is an inherent part of politics. Today, ads are distributed via television and online, including social media. This type of advertisement attempts to recruit support by presenting convincing arguments and evoking various emotions about the candidate, opponents, and policy proposals. We discuss recent arguments and evidence that a specific social emotion, namely the concept kama muta, plays a role in political advertisements. In vernacular language, kama muta is typically labeled as being moved or touched. We compare kama muta and anger theoretically and discuss how they can influence voters’ willingness to support a candidate. We then, for the first time, compare kama muta and anger empirically in the same study. Specifically, we showed American participants short political ads during the 2018 United States midterm election campaigns. All participants saw both kama muta- and anger-evoking ads from both Democratic or Republican candidates. In total, everybody watched eight ads. We assessed participants’ degree of being moved and angered by the videos and their motivation for three types of political support: ideational, financial, and personal. The emotional impact of an ad depended on its perceived source: Participants felt especially angry after watching the anger-evoking ads and especially moved by moving ads if they identified with the political party that had produced the video. Both emotions mediated were associated with increased intentions to provide support. Importantly, if one of the two emotions was evoked, its effect on political support was enhanced if participants identified with the party that had produced the ad. We discuss limitations of the method and implications of the results for future research and practice.

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.

Tears of joy, aesthetic chills and heartwarming feelings: Physiological correlates of Kama Muta

Situations involving increased closeness or exceptional kindness are often labeled as moving or touching and individuals often report bodily symptoms, including tears, goosebumps, and warmth in the body. Recently, the kama muta framework has been proposed as a cross-cultural conceptualization of these experiences. Prior research on kama muta has mostly relied on subjective reports. Thus, our main goal of the present project was to examine the pattern of physiological responses to kama muta inducing videos and compare it to the patterns for the similar, though distinct emotions of sadness and awe. One hundred forty-four Portuguese and Norwegian participants were individually exposed to all three emotion conditions. Several psychophysiological indexes of the autonomic nervous system were collected continuously during exposure, including cardiovascular, respiratory, and electrodermal activity, facial EMG, skin temperature, as well as piloerection and lachrymation using cameras. Overall, the results partly replicated previous findings on being moved experiences and self-report studies. Strong self-reported experiences of kama muta were associated with increased phasic skin conductance, skin temperature, piloerection, and zygomaticus activity, while they were associated with reduced heart rate, respiration rate, and tonic skin conductance. The physiological profile of kama muta was successfully distinguished from sadness and awe, partly corroborating self-report evidence. We obtained no clear evidence of a kama muta association with the occurrence of lachrymation or heart rate variability. Our findings provide a systematic overview of psychophysiological response to experiences of kama muta, and help to inform future research on this emotion and positive emotions in general.

Emotional State of Being Moved Elicited by Films: A Comparison With Several Positive Emotions

This study investigated the facial and physiological activities that are associated with the emotional state of being moved. We elicited the emotional states of being moved, amusement, attachment, and calmness by presenting participants with film clips; we assessed their electromyographic, electrodermal, and cardiac responses to the films. Further, we used a high- and low-arousal moving film to examine the effect of different levels of arousal on facial and physiological responses to moving films. We compared facial and physiological responses to positive-emotion and emotionally neutral films. Analysis of subjective emotion scale ratings revealed that the films had successfully elicited the target positive emotions and that the high- and low-arousal moving films had elicited the feeling of being moved in accordance with the anticipated level of intensity. In comparison to the other types of positive-emotion films, the two moving films resulted in an increase in corrugator electromyography activity and skin conductance responses, which in turn were modulated by the arousal level of the moving films. However, cardiac measures such as heart rate did not differ across the different film conditions. These results suggest that film clips can elicit different intensities of the emotional state of being moved and that facial muscle and electrodermal activities but not cardiac activity characterize the film-induced emotional state of being moved.

Too Cute for Words: Cuteness Evokes the Heartwarming Emotion of Kama Muta

A configuration of infantile attributes including a large head, large eyes, with a small nose and mouth low on the head comprise the visual baby schema or Kindchenschema that English speakers call “cute.” In contrast to the stimulus gestalt that evokes it, the evoked emotional response to cuteness has been little studied, perhaps because the emotion has no specific name in English, Norwegian, or German. We hypothesize that cuteness typically evokes kama muta, a social-relational emotion that in other contexts is often labeled in English as being moved or touched, heartwarming, nostalgia, patriotic feeling, being touched by the Spirit, the feels, etcetera. What evokes kama muta is sudden intensification of a communal sharing (CS) relationship, either CS between the person and another, or CS between observed others. In accord with kama muta theory, we hypothesize that a kama muta response to cuteness results from a sudden feeling of CS with the cute target. In colloquial terms, the perceiver adores the cute kittens and their heart goes out to them. When a person perceives cute targets interacting affectionately – that is, intensifying CS between them – this should strengthen a kama muta response. We experimentally investigated these predictions in two studies (N = 356). Study 1 revealed that videos of cute targets evoked significantly more kama muta than videos of targets that were not particularly cute. Study 2, pre-registered, found that, as hypothesized, when cute targets interacted affectionately they evoked more kama muta and were humanized more than when they were not interacting. We measured the level of kama muta by self-reports of sensations and signs and of feelings labeled heartwarming, being moved, and being touched. Participants’ ratings of kama muta were positively correlated with reported cuteness. In addition, as in our previous research on kama muta elicited by other types of stimuli, trait empathic concern predicted kama muta responses and perceived cuteness. The studies thus provide first evidence that cute stimuli evoke the heartwarming emotion of kama muta.

Touching the base: heart-warming ads from the 2016 U.S. election moved viewers to partisan tears

Some political ads used in the 2016 U.S. election evoked feelings colloquially known as being moved to tears. We conceptualise this phenomenon as a positive social emotion that appraises and motivates communal relations, is accompanied by physical sensations (including lachrymation, piloerection, chest warmth), and often labelled metaphorically. We surveyed U.S. voters in the fortnight before the 2016 U.S. election. Selected ads evoked the emotion completely and reliably, but in a partisan fashion: Clinton voters were moved to tears by three selected Clinton ads, and Trump voters were moved to tears by two Trump ads. Viewers were much less moved by ads of the candidate they did not support. Being moved to tears predicted intention to vote for the candidate depicted. We conclude that some contemporary political advertising is able to move its audience to tears, and thereby motivates support.

Empathic Concern Is Part of a More General Communal Emotion

Seeing someone in need may evoke a particular kind of closeness that has been conceptualized as sympathy or empathic concern (which is distinct from other empathy constructs). In other contexts, when people suddenly feel close to others, or observe others suddenly feeling closer to each other, this sudden closeness tends to evoke an emotion often labeled in vernacular English as being moved, touched, or heart-warming feelings. Recent theory and empirical work indicates that this is a distinct emotion; the construct is named kama muta. Is empathic concern for people in need simply an expression of the much broader tendency to respond with kama muta to all kinds of situations that afford closeness, such as reunions, kindness, and expressions of love? Across 16 studies sampling 2918 participants, we explored whether empathic concern is associated with kama muta. Meta-analyzing the association between ratings of state being moved and trait empathic concern revealed an effect size of, r(3631) = 0.35 [95% CI: 0.29, 0.41]. In addition, trait empathic concern was also associated with self-reports of the three sensations that have been shown to be reliably indicative of kama muta: weeping, chills, and bodily feelings of warmth. We conclude that empathic concern might actually be a part of the kama muta construct.

The Pleasure Evoked by Sad Music Is Mediated by Feelings of Being Moved

Why do we enjoy listening to music that makes us sad? This question has puzzled music psychologists for decades, but the paradox of “pleasurable sadness” remains to be solved. Recent findings from a study investigating the enjoyment of sad films suggest that the positive relationship between felt sadness and enjoyment might be explained by feelings of being moved (Hanich et al., 2014). The aim of the present study was to investigate whether feelings of being moved also mediated the enjoyment of sad music. In Experiment 1, 308 participants listened to five sad music excerpts and rated their liking and felt emotions. A multilevel mediation analysis revealed that the initial positive relationship between liking and felt sadness (r = 0.22) was fully mediated by feelings of being moved. Experiment 2 explored the interconnections of perceived sadness, beauty, and movingness in 27 short music excerpts that represented independently varying levels of sadness and beauty. Two multilevel mediation analyses were carried out to test competing hypotheses: (A) that movingness mediates the effect of perceived sadness on liking, or (B) that perceived beauty mediates the effect of sadness on liking. Stronger support was obtained for Hypothesis A. Our findings suggest that – similarly to the enjoyment of sad films – the aesthetic appreciation of sad music is mediated by being moved. We argue that felt sadness may contribute to the enjoyment of sad music by intensifying feelings of being moved.

Tears Falling on Goosebumps: Co-occurrence of Emotional Lacrimation and Emotional Piloerection Indicates a Psychophysiological Climax in Emotional Arousal

This psychophysiological study is the first to examine the relationship between emotional tears and emotional piloerection (i.e., goosebumps). Although both phenomena have been related to peak states of being moved, details about their temporal occurrence and the associated levels of physiological arousal have remained unknown. In our study, we used emotionally powerful film scenes that were self-selected by participants. Our findings show that even within peak moments of emotional arousal, a gradation of intensity is possible. The overlap of tears and goosebumps signifies a maximal climax within peak moments. On the side of the stimulus, we found that displays of prosocial behavior play a crucial role in the elicitation of tears and goosebumps. Finally, based on the results of a formal film analysis of the tears-eliciting clips provided by our participants, as compared to randomly extracted, equally long control clips from the same films, we show how the technical and artistic making of the clips was optimized for the display of social interaction and emotional expressions.

Being Moved by Unfamiliar Sad Music Is Associated with High Empathy

The paradox of enjoying listening to music that evokes sadness is yet to be fully understood. Unlike prior studies that have explored potential explanations related to lyrics, memories, and mood regulation, we investigated the types of emotions induced by unfamiliar, instrumental sad music, and whether these responses are consistently associated with certain individual difference variables. One hundred and two participants were drawn from a representative sample to minimize self-selection bias. The results suggest that the emotional responses induced by unfamiliar sad music could be characterized in terms of three underlying factors: Relaxing sadness, Moving sadness, and Nervous sadness. Relaxing sadness was characterized by felt and perceived peacefulness and positive valence. Moving sadness captured an intense experience that involved feelings of sadness and being moved. Nervous sadness was associated with felt anxiety, perceived scariness and negative valence. These interpretations were supported by indirect measures of felt emotion. Experiences of Moving sadness were strongly associated with high trait empathy and emotional contagion, but not with other previously suggested traits such as absorption or nostalgia-proneness. Relaxing sadness and Nervous sadness were not significantly predicted by any of the individual difference variables. The findings are interpreted within a theoretical framework of embodied emotions.

Being moved: linguistic representation and conceptual structure

This study explored the organization of the semantic field and the conceptual structure of moving experiences by investigating German-language expressions referring to the emotional state of being moved. We used present and past participles of eight psychological verbs as primes in a free word-association task, as these grammatical forms place their conceptual focus on the eliciting situation and on the felt emotional state, respectively. By applying a taxonomy of basic knowledge types and computing the Cognitive Salience Index, we identified joy and sadness as key emotional ingredients of being moved, and significant life events and art experiences as main elicitors of this emotional state. Metric multidimensional scaling analyses of the semantic field revealed that the core terms designate a cluster of emotional states characterized by low degrees of arousal and slightly positive valence, the latter due to a nearly balanced representation of positive and negative elements in the conceptual structure of being moved.