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  1. Aesthetic Emotions.Jenefer Robinson - 2020 - The Monist 103 (2):205-222.
    This paper investigates what I call aesthetic emotions in the “traditional” sense going back to Burke and Kant. According to Kant, aesthetic pleasure is disinterested, and so maybe for Kant aesthetic emotions would be too, for Kant, but emotions by their very nature cannot be disinterested. After dismissing the idea that aesthetic emotions are a special kind of distanced emotions or refined emotions, I extract from the writings of Clive Bell, Peter Kivy, and Peter Lamarque the view that aesthetic emotions (...)
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  • The CODA Model: A Review and Skeptical Extension of the Constructionist Model of Emotional Episodes Induced by Music.Thomas M. Lennie & Tuomas Eerola - 2022 - Frontiers in Psychology 13.
    This paper discusses contemporary advancements in the affective sciences that can inform the music-emotion literature. Key concepts in these theories are outlined, highlighting their points of agreement and disagreement. This summary shows the importance of appraisal within the emotion process, provides a greater emphasis upon goal-directed accounts of behavior, and a need to move away from discrete emotion “folk” concepts and toward the study of an emotional episode and its components. Consequently, three contemporary music emotion theories are examined through a (...)
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  • Ontological and Conceptual Challenges in the Study of Aesthetic Experience.Ioannis Xenakis & Argyris Arnellos - 2022 - Philosophical Psychology:1-43.
    We explain that most of the explanations that traditionally have been used to conceptually and ontologically differentiate aesthetic experience from any other are not compatible with a naturalistic framework, since they are based on transcendental idealistic metaphysics, reductions, and on the assumption that the aesthetic is an a priori special ontology in the object and the mind. However, contemporary works that propose as an alternative to apply directly evidence and theory from the science of emotions to the problem of aesthetics (...)
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  • Swipes and Saves: A Taxonomy of Factors Influencing Aesthetic Assessments and Perceived Beauty of Mobile Phone Photographs.Helmut Leder, Jussi Hakala, Veli-Tapani Peltoketo, Christian Valuch & Matthew Pelowski - 2022 - Frontiers in Psychology 13.
    Digital images taken by mobile phones are the most frequent class of images created today. Due to their omnipresence and the many ways they are encountered, they require a specific focus in research. However, to date, there is no systematic compilation of the various factors that may determine our evaluations of such images, and thus no explanation of how users select and identify relatively “better” or “worse” photos. Here, we propose a theoretical taxonomy of factors influencing the aesthetic appeal of (...)
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  • Emotions as modulators of desire.Brandon Yip - 2021 - Philosophical Studies 179 (3):855-878.
    We commonly appeal to emotions to explain human behaviour: we seek comfort out of grief, we threaten someone in anger and we hide in fear. According to the standard Humean analysis, intentional action is always explained with reference to a belief-desire pair. According to recent consensus, however, emotions have independent motivating force apart from beliefs and desires, and supplant them when explaining emotional action. In this paper I provide a systematic framework for thinking about the motivational structure of emotion and (...)
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  • Moved by Sad Music: Pleasure and Emotion in Sad Music Listening Experiences.Matthew Dunaway - unknown
    In this thesis, I consider the dialectic surrounding the Puzzle of Musical Tragedy i.e. why do people listen to sad music that makes them sad? I agree with Sizer that the best solutions to this puzzle construe the listening experience itself as pleasant. However, against Sizer, I argue that the feelings music induces are best construed as emotions, not moods. Since sad music can promote the perception of a sad person, I argue that music can be an unconscious object of (...)
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  • Music Listening in Classical Concerts: Theory, Literature Review, and Research Program.Melanie Wald-Fuhrmann, Hauke Egermann, Anna Czepiel, Katherine O’Neill, Christian Weining, Deborah Meier, Wolfgang Tschacher, Folkert Uhde, Jutta Toelle & Martin Tröndle - 2021 - Frontiers in Psychology 12.
    Performing and listening to music occurs in specific situations, requiring specific media. Empirical research on music listening and appreciation, however, tends to overlook the effects these situations and media may have on the listening experience. This article uses the sociological concept of the frame to develop a theory of an aesthetic experience with music as the result of encountering sound/music in the context of a specific situation. By presenting a transdisciplinary sub-field of empirical studies, we unfold this theory for one (...)
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  • On the Good That Moves Us.Julien Deonna - 2020 - The Monist 103 (2):190-204.
    In this article, I provide a detailed characterization of being moved, which I claim is a distinct emotion. Being moved is the experience of being struck by the goodness of some specific positive value being exemplified. I start by expounding this account. Next, I discuss three issues that have emerged in the literature regarding it. These concern respectively the valence of being moved, the scope of the values that may constitute its particular objects, and the cognitive sophistication required for experiencing (...)
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  • Intense Beauty Requires Intense Pleasure.Aenne A. Brielmann & Denis G. Pelli - 2019 - Frontiers in Psychology 10.
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  • The Embodied-Enactive-Interactive Brain: Bridging Neuroscience and Creative Arts Therapies.Sharon Vaisvaser - 2021 - Frontiers in Psychology 12.
    The recognition and incorporation of evidence-based neuroscientific concepts into creative arts therapeutic knowledge and practice seem valuable and advantageous for the purpose of integration and professional development. Moreover, exhilarating insights from the field of neuroscience coincide with the nature, conceptualization, goals, and methods of Creative Arts Therapies, enabling comprehensive understandings of the clinical landscape, from a translational perspective. This paper contextualizes and discusses dynamic brain functions that have been suggested to lie at the heart of intra- and inter-personal processes. Touching (...)
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  • Fractality and Variability in Canonical and Non-Canonical English Fiction and in Non-Fictional Texts.Mahdi Mohseni, Volker Gast & Christoph Redies - 2021 - Frontiers in Psychology 12.
    This study investigates global properties of three categories of English text: canonical fiction, non-canonical fiction, and non-fictional texts. The central hypothesis of the study is that there are systematic differences with respect to structural design features between canonical and non-canonical fiction, and between fictional and non-fictional texts. To investigate these differences, we compiled a corpus containing texts of the three categories of interest, the Jena Corpus of Expository and Fictional Prose. Two aspects of global structure are investigated, variability and self-similar (...)
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  • Dimensions and Clusters of Aesthetic Emotions: A Semantic Profile Analysis.Ursula Beermann, Georg Hosoya, Ines Schindler, Klaus R. Scherer, Michael Eid, Valentin Wagner & Winfried Menninghaus - 2021 - Frontiers in Psychology 12.
    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 which represent five components of (...)
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  • Why and How Should Cognitive Science Care About Aesthetics?Eugen Wassiliwizky & Winfried Menninghaus - 2021 - Trends in Cognitive Sciences 25 (6):437-449.
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  • A Practice-Inspired Mindset for Researching the Psychophysiological and Medical Health Effects of Recreational Dance.Julia F. Christensen, Meghedi Vartanian, Luisa Sancho-Escanero, Shahrzad Khorsandi, S. H. N. Yazdi, Fahimeh Farahi, Khatereh Borhani & Antoni Gomila - 2021 - Frontiers in Psychology 11.
    “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 the effects on the individual (...)
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  • Psychology Meets Archaeology: Psychoarchaeoacoustics for Understanding Ancient Minds and Their Relationship to the Sacred.Jose Valenzuela, Margarita Díaz-Andreu & Carles Escera - 2020 - Frontiers in Psychology 11.
    How important is the influence of spatial acoustics on our mental processes related to sound perception and cognition? There is a large body of research in fields encompassing architecture, musicology, and psychology that analyzes human response, both subjective and objective, to different soundscapes. But what if we want to understand how acoustic environments influenced the human experience of sound in sacred ritual practices in premodern societies? Archaeoacoustics is the research field that investigates sound in the past. One of its branches (...)
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  • Seeing a Work of Art Indirectly: When a Reproduction Is Better Than an Indirect View, and a Mirror Better Than a Live Monitor.Marco Bertamini & Colin Blakemore - 2019 - Frontiers in Psychology 10.
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  • A Theoretical Framework for How We Learn Aesthetic Values.Hassan Aleem, Ivan Correa-Herran & Norberto M. Grzywacz - 2020 - Frontiers in Human Neuroscience 14.