Two Flavors of Aesthetic Tasting: <i>Rasa</i> and Savoring a Cross-Cultural Study with Implications for Psychology of Emotion

Sundararajan, Louise

doi:10.1037/a0018122

Cited by 22 publications

(14 citation statements)

References 43 publications

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“…They are the two opposite ends of the cosmic ladder, with preservation as the center of the balance" (Mookerjee, 1987, p. 6). Thus consistent with the finding of Sundararajan (2010) in another context, India seems to fall in be- Recall that we have refuted the dichotomy between the art and science accounts of creativity by pointing out how the discovery narrative has been the paradigm for aesthetics in China. The real difference between these two accounts of creativity, we believe, lies in the varying degrees of egotism or what Weisberg refers to as subjectivity.…”

Section: Creativity a Tale Of Two Narrativessupporting

confidence: 76%

“…Resolution of tension lies in the hero's conquest-the creative individual goes against the prevailing tastes and prejudices of the field, and eventually conquers the field by taking the domain into uncharted waters, making major breakthroughs in the field. In contrast to Gardner's (1996) tension resolution model of revolutionary creativity in which the new vanquishes the old, the Chinese classical notions of harmony (Frijda & Sundararajan, 2007;Sundararajan, 2010;Sundararajan, 2013) suggest a model of creativity that thrives on perpetuating, rather than eliminating, the tension between the old and the new. If the convention-ridden tradition may be compared with a river, harmony-based creativity entails going both with and against the flow, as in crossing a river diagonally rather than struggling against the current or letting oneself go (Sabelli, 2005).…”

Section: A Process Account Of Revolutionary Creativitymentioning

confidence: 88%

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Revolutionary creativity, East and West: A critique from indigenous psychology.

Sundararajan¹,

Raina²

2015

Journal of Theoretical and Philosophical Psychology

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Why are Asians deficient in radical, revolutionary creativity, as experts are telling us? Our analysis suggests that the problem lies not in collectivism so much as in the biased sampling of cross-culture psychology that renders certain phenomena of non-Western creativity invisible. More specifically, we argue that cross-cultural comparisons of creativity are prone to the forecast asymmetry of overestimating the influence of social norms on creativity, thereby failing to take into consideration the fact that creativity entails a choice at the individual level even in collectivistic cultures. To counterbalance the population forecast of cross-cultural psychology, we offer a matched comparison of revolutionary creativity, informed by perspectives from indigenous psychology. Implications of this analysis for cross-cultural psychology, and future research directions for the indigenous psychology of Asian creativity, are discussed.

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Section: Creativity a Tale Of Two Narrativessupporting

confidence: 76%

Section: A Process Account Of Revolutionary Creativitymentioning

confidence: 88%

Revolutionary creativity, East and West: A critique from indigenous psychology.

Sundararajan¹,

Raina²

2015

Journal of Theoretical and Philosophical Psychology

Self Cite

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“…Since aesthetic emotions are key outcome variables of aesthetic experiences [ 1 , 6 , 14 ], we chose to measure an aesthetic emotion. For this purpose, we chose savoring as a “time-tested model of aesthetic emotion” [ 20 ](p. 1) that refers to the appreciation and extensive processing of personal emotional information in aesthetic contexts. Savoring involves clear focusing on the experience [ 21 ].…”

Section: Introductionmentioning

confidence: 99%

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

Weigand

Jacobsen

2021

PLoS ONE

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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; Mage = 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.

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“…In this context, savoring has been referred to as a cognitive form of emotion regulation used to maintain and extend positive experiences [4]. Savoring has been described as a "time-tested model of aesthetic emotion" [5] (p. 1) that refers to the appreciation and extensive processing of personal emotional information in aesthetic contexts. Savoring involves a clear focus on the experience, and has been shown to contribute to well-being, a reduction of negative affect and depression [6,7] as well as more positive physical health outcomes [8].…”

Section: Introductionmentioning

confidence: 99%

Does self-reported chronic pain influence savoring of aesthetic experiences?

2021

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Background Aesthetic experiences elicit a wide range of positive emotions and have a positive impact on various health outcomes. In this context, savoring refers to a cognitive form of emotion regulation used to maintain and extend positive emotional experiences and is considered to contribute to health and well-being. Chronic pain has been linked to reduced reward-seeking behavior. This is the first study to investigate the relationship between self-reported chronic pain and savoring. Methods We conducted an anonymous cross-sectional survey in a large non-clinical sample (opera, theater, and cabaret visitors; n = 322). The variables were assessed with a two-item-questionnaire. Results Self-reported chronic pain was significantly negatively correlated with savoring (r = -.547) Conclusion Altogether, this result helps to develop a better understanding of the effects of chronic pain in humans and to shed light on state-dependent differences in aesthetic experiences.

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Two Flavors of Aesthetic Tasting: Rasa and Savoring a Cross-Cultural Study with Implications for Psychology of Emotion

Cited by 22 publications

References 43 publications

Revolutionary creativity, East and West: A critique from indigenous psychology.

Revolutionary creativity, East and West: A critique from indigenous psychology.

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

Does self-reported chronic pain influence savoring of aesthetic experiences?

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