The aesthetic trinity: Awe, being moved, thrills

Konečni, Vladimir J.

doi:10.1037/e674862010-005

Cited by 157 publications

(292 citation statements)

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“…They then completed the items with reference to that area of the arts, using a 1 ( Never or Rarely) to 7 ( Nearly Always) scale. The 12 items were developed based on the items, concepts, and descriptions from past work on these states (e.g., Grewe et al, 2007;Konečni, 2005;Sloboda, 1991). The Appendix lists the final 10 items; the two omitted items (as described in the Results) were "feel moved" and "feel a lump in your throat.…”

Section: Methodsmentioning

confidence: 99%

“…Of these, aesthetic chills have been the most widely studied. It's hard to find a label for such a motley band of experiences: they don't have much in common except that they aren't simple preferences or discrete emotions ( Konečni, 2005, Konečni, 2008, they seem to be common responses to music ( Grewe, Kopiez, & Altenmüller, 2009), and they are often part of powerful aesthetic experiences ( Gabrielsson, 2006;Strange & Taylor, 2008).…”

Section: The Three Strands Of Aesthetics Researchmentioning

confidence: 99%

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On personality and piloerection: Individual differences in aesthetic chills and other unusual aesthetic experiences.

Silvia¹,

Nusbaum²

2011

Psychology of Aesthetics, Creativity, and the Arts

166

154

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Relatively little is known about aesthetic chills, the experience of goose bumps and shivers in response to the arts. The present study explored how often people report such experiences and what people who often experience them are like. After noting which domain of the arts they encountered most often in daily life, young adults (n ϭ 188) rated how often they experienced aesthetic chills and related states. Latent variable models suggested three latent factors-aesthetic chills, feeling touched, and absorption-that shared a higher-order factor. As expected, people high in openness to experience and expertise in the arts consistently reported experiencing aesthetic chills more often. The Big Five personality factors accounted for about half of the variance, whereas cognitive and demographic variables were relatively unimportant. The individualdifferences approach thus seems like a promising complement to experimental work on aesthetic chills.

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Section: Methodsmentioning

confidence: 99%

Section: The Three Strands Of Aesthetics Researchmentioning

confidence: 99%

On personality and piloerection: Individual differences in aesthetic chills and other unusual aesthetic experiences.

Silvia¹,

Nusbaum²

2011

Psychology of Aesthetics, Creativity, and the Arts

166

154

View full text Add to dashboard Cite

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“…Frijda (1988) characterized sentimentality as evoked by a precise sequence: Attachment concerns are awakened; expectations regarding their nonfulfillment are evoked, and then they are abruptly fulfilled (see also Kuehnast, Wagner, Wassiliwizky, Jacobsen, & Menninghaus, 2014;Tan, 2009). Appraised situations such as these can arouse strong feelings of being moved or touched (Konečni, 2005;Scherer & Zentner, 2001;Sloboda, 1991). These emotion constructs have typically been posited to occur empathically through narratives, theater, movies, or music, rather than resulting from firsthand encounters.…”

Section: Being Moved: Phenomenology Elicitors and Outcomesmentioning

confidence: 99%

Kama Muta: Similar Emotional Responses to Touching Videos Across the United States, Norway, China, Israel, and Portugal

Seibt

Schubert

Zickfeld

et al. 2017

Journal of Cross-Cultural Psychology

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Ethnographies, histories, and popular culture from many regions around the world suggest that marked moments of love, affection, solidarity, or identification everywhere evoke the same emotion. Based on these observations, we developed the kama muta model, in which we conceptualize what people in English often label being moved as a culturally implemented social-relational emotion responding to and regulating communal sharing relations. We hypothesize that experiencing or observing sudden intensification of communal sharing relationships universally tends to elicit this positive emotion, which we call kama muta. When sufficiently intense, kama muta is often accompanied by tears, goosebumps or chills, and feelings of warmth in the center of the chest. We tested this model in seven samples from the United States, Norway, China, Israel, and Portugal. Participants watched short heartwarming videos, and after each video reported the degree, if any, to which they were “moved,” or a translation of this term, its valence, appraisals, sensations, and communal outcome. We confirmed that in each sample, indicators of increased communal sharing predicted kama muta; tears, goosebumps or chills, and warmth in the chest were associated sensations; and the emotion was experienced as predominantly positive, leading to feeling communal with the characters who evoked it.

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“…They found that the initial positive correlation between sadness and beauty was fully mediated by movingness, and that movingness -rather than 845 beauty -also mediated the relationship between sadness and liking (see subsection 3.1 for a discussion on empathy and being moved). "Being moved" has been conceptualised both as an interpersonally significant emotion that activates (and is activated by) pro-social behaviour and the value of social bonds [47,139], as well as a pleasurable aesthetic emotion [200] often accompanied by 850 chills or frissons [201,202]. This dual nature of "being moved" suggests that percepts of beauty must conform with with prosocial norms and ideals, and that, in order to be experienced as beautiful, music may have to be perceived as conveying prosocial intentions [203].…”

Section: Aesthetic Appreciation and Beautymentioning

confidence: 99%

An integrative review of the enjoyment of sadness associated with music

Eerola

Vuoskoski

Peltola

et al. 2018

Physics of Life Reviews

106

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Citation for published item:ierolD F nd uoskoskiD tF uF nd eltolD rFEF nd utkinenD F nd h¤ ferD uF @PHIUA 9en integrtive review of the enjoyment of sdness ssoited with musiF9D hysis of life reviewsF F Further information on publisher's website: httpsXGGdoiForgGIHFIHITGjFplrevFPHIUFIIFHIT Publisher's copyright statement:Additional information: Use policyThe full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that:• a full bibliographic reference is made to the original source • a link is made to the metadata record in DRO • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders.Please consult the full DRO policy for further details. AbstractThe recent surge of interest towards the paradoxical pleasure produced by sad music has generated a handful of theories and an array of empirical explorations on the topic. However, none of these have attempted to weigh the existing evidence in a systematic fashion. The present work puts forward an integrative framework laid out over three levels of explanation -biological, psycho-social, and cultural -to compare and integrate the existing findings in a meaningful way. First, we review the evidence pertinent to experiences of pleasure associated with sad music from the fields of neuroscience, psychophysiology, and endocrinology. Then, the psychological and interpersonal mechanisms underlying the recognition and induction of sadness in the context of music are combined with putative explanations ranging from social surrogacy and nostalgia to feelings of being moved. Finally, we address the cultural aspects of the paradox -the extent to which it is embedded in the Western notion of music as an aesthetic, contemplative object -by synthesising findings from history, ethnography, and empirical studies. Furthermore, we complement these explanations by considering the particularly significant life meanings that sadness portrayed in art can evoke in some perceivers. Our central claim is that one cannot attribute the enjoyment of sadness fully to any one of these levels, but to a chain * Corresponding author Email address: tuomas.eerola@durham.ac.uk (Tuomas Eerola)Preprint submitted to Physics of Life Reviews November 10, 2017 of functionalities afforded by each level. Each explanatory level has several putative explanations and its own shift towards positive valence, but none of them deliver the full transformation from a highly negative experience to a fully enjoyable experience alone. The current evidence within this framework ranges from weak to non-existent at the biological level, moderate at the psychological level, and suggestive at the cultural level. We propose a series of focussed topics for future investigation that would allow to deconstruct the drivers and constraints of the processes leading to pleasurable music-related sad...

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The aesthetic trinity: Awe, being moved, thrills

Cited by 157 publications

References 0 publications

On personality and piloerection: Individual differences in aesthetic chills and other unusual aesthetic experiences.

On personality and piloerection: Individual differences in aesthetic chills and other unusual aesthetic experiences.

Kama Muta: Similar Emotional Responses to Touching Videos Across the United States, Norway, China, Israel, and Portugal

An integrative review of the enjoyment of sadness associated with music

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