From ancient times to the current digital era, the arts and humanities have been a significant part of human experience. They have played important roles in education, leisure, and work for people across diverse backgrounds and cultures, present in their lives from the cradle to the grave. This ubiquity of the arts and humanities in human life has also made them a topic of interest for psychologists. For more than a century, psychologists have conducted theoretical and empirical research on the psychological processes of engaging with art (Tinio & Smith, 2017). More recently, there has also been a call for a humanities approach to psychology that investigates human subjectivity (Teo, 2017). Furthermore, several divisions of the American Psychological Association such as the Society for the Psychology of Aesthetics, Creativity and the Arts (Division 10); the Society for Theoretical and Philosophical Psychology (Division 24); the Society for the Psychology of Religion and Spirituality (Division 36) along with their accompanying peer-reviewed journals are devoted to the promotion of scholarship in this area. This indicates that both the arts and the humanities have substantive psychological significance in our lives. Despite this interest in the psychology of the arts and the humanities, however, our field lacks an integrative understanding of what it means to engage with the arts and humanities. Although psychological research has been undertaken on various forms of arts and humanities such as music, visual arts, literature, film, dance, and theater (Reiter-Palmon & Tinio, 2018; Smith & Tinio, 2014), this work is not grounded in a robust conceptualization of arts and humanities engagement as a whole. One of the core challenges to scientific progress in this area is the lack of a common language and an integrative conceptual framework that can be used across disciplines (Stickley et al., 2017). To better understand the psychological effects of engaging with the arts and humanities, we must first begin with a systematic and integrative approach to its conceptualization and operationalization (Tay, Pawelski, & Keith, 2018). Many scholars and organizations in the arts and humanities (e.g.
