Despite its long tradition in social psychology, we consider that Cognitive Dissonance Theory presents serious flaws concerning its methodology which question the relevance of the theory, limit breakthroughs, and hinder the evaluation of its core hypotheses. In our opinion, these issues are mainly due to operational and methodological weaknesses that have not been sufficiently addressed since the beginnings of the theory. We start by reviewing the ambiguities concerning the definition and conceptualization of the term cognitive dissonance. We then review the (...) ways it has been operationalized and we present the shortcomings of the actual paradigms. To acquire a better understanding of the theory, we advocate a stronger focus on the nature and consequences of the cognitive dissonance state itself. Next, we emphasize the actual lack of standardization, both in the ways to induce cognitive dissonance and to assess it, which impairs the comparability of the results. Last, in addition to reviewing these limits, we suggest new ways to improve the methodology and we conclude on the importance for the field of psychology to take advantage of these important challenges to go forwards. (shrink)

Research on surprise relevant to the cognitive-evolutionary model of surprise proposed by Meyer, Reisenzein, and Schützwohl is reviewed. The majority of the assumptions of the model are found empirically supported. Surprise is evoked by unexpected events and its intensity is determined by the degree if schema-discrepancy, whereas the novelty and the valence of the eliciting events probably do not have an independent effect. Unexpected events cause an automatic interruption of ongoing mental processes that is followed by an attentional shift and (...) attentional binding to the events, which is often followed by causal and other event analysis processes and by schema revision. The facial expression of surprise postulated by evolutionary emotion psychologists has been found to occur rarely in surprise, for as yet unknown reasons. A physiological orienting response marked by skin conductance increase, heart rate deceleration, and pupil dilation has been observed to occur regularly in the standard version of the repetition-change paradigm of surprise induction, but the specificity of these reactions as indicators of surprise is controversial. There is indirect evidence for the assumption that the feeling of surprise consists of the direct awareness of the schema-discrepancy signal, but this feeling, or at least the self-report of surprise, is also influenced by experienced interference. In contrast, facial feedback probably does contribute substantially to the feeling of surprise and the evidence for the hypothesis that surprise is affected by the difficulty of explaining an unexpected event is, in our view, inconclusive. Regardless of how the surprise feeling is constituted, there is evidence that it has both motivational and informational effects. Finally, the prediction failure implied by unexpected events sometimes causes a negative feeling, but there is no convincing evidence that this is always the case, and we argue that even if it were so, this would not be a sufficient reason for regarding this feeling as a component, rather than as an effect of surprise. (shrink)

ABSTRACTResponses to surprising events are dynamic. We argue that initial responses are primarily driven by the unexpectedness of the surprising event and reflect an interrupted and surprised state in which the outcome does not make sense yet. Later responses, after sense-making, are more likely to incorporate the valence of the outcome itself. To identify initial and later responses to surprising stimuli, we conducted two repetition-change studies and coded the general valence of facial expressions using computerised facial coding and specific facial (...) action using the Facial Action Coding System. Results partly supported our unfolding logic. The computerised coding showed that initial expressions to positive surprises were less positive than later expressions. Moreover, expressions to positive and negative surprises were initially similar, but after some time differentiated depending on the valence of the event. Importantly, these patterns were particularly pronounced in a subset of facially expres... (shrink)

This special issue presents developments in research on the cognitive mechanisms and consequences of surprise. Amidst much progress, surprise research has often been siloed, so, as editors, we have sought to juxtapose insights, theories, and findings, to support cross‐fertilization in future research. The present paper sets the stage by presenting a historical summary, highlighting contrasts in definitions, and tracing major threads running through this issue and the larger surprise literature.

Why are negative emotions so central in art reception far beyond tragedy? Revisiting classical aesthetics in the light of recent psychological research, we present a novel model to explain this much discussed (apparent) paradox. We argue that negative emotions are an important resource for the arts in general, rather than a special license for exceptional art forms only. The underlying rationale is that negative emotions have been shown to be particularly powerful in securing attention, intense emotional involvement, and high memorability, (...) and hence is precisely what artworks strive for. Two groups of processing mechanisms are identified that conjointly adopt the particular powers of negative emotions for art's purposes. The first group consists of psychological distancing mechanisms that are activated along with the cognitive schemata of art, representation, and fiction. These schemata imply personal safety and control over continuing or discontinuing exposure to artworks, thereby preventing negative emotions from becoming outright incompatible with expectations of enjoyment. This distancing sets the stage for a second group of processing components that allow art recipients to positively embrace the experiencing of negative emotions, thereby rendering art reception more intense, more interesting, more emotionally moving, more profound, and occasionally even more beautiful. These components include compositional interplays of positiveandnegative emotions, the effects of aesthetic virtues of using the media of (re)presentation (musical sound, words/language, color, shapes) on emotion perception, and meaning-making efforts. Moreover, our Distancing-Embracing model proposes that concomitant mixed emotions often help integrate negative emotions into altogether pleasurable trajectories. (shrink)

Surprising people can provide an opening for influencing them. Surprises garner attention, are arousing, are memorable, and can prompt shifts in understanding. Less noted is that, as a result, surprises can serve to persuade others by leading them to shifts in attitudes. Furthermore, because stories, pictures, and music can generate surprises and those can be widely shared, surprise can have broad social influence. People also tend to share surprising items with others, as anyone on social media has discovered. This means (...) that in addition to broadcasting surprising information, surprising items can also spread through networks. The joint result is that surprise not only has individual effects on beliefs and attitudes but also collective effects on the content of culture. Items that generate surprise need not be random or accidental. There are predictable methods or recipes for generating surprise. One such recipe is discussed, the repetition-break plot structure, to explore the psychological and social possibilities of examining surprise. Recipes for surprise offer a useful means for understanding how surprise works and offer prospects for harnessing surprise to a wide array of ends. (shrink)

ABSTRACTFilm clips are widely used in emotion research due to their relatively high ecological validity. Although researchers have established various film clip sets for different cultures, the few that exist related to Chinese culture do not adequately address positive emotions. The main purposes of the present study were to establish a standardised database of Chinese emotional film clips that could elicit more categories of reported positive emotions compared to the existing databases and to expand the available film clips that can (...) be used as neutral materials. Two experiments were conducted to construct the database. In experiment 1, 111 film clips were selected from more than one thousand Chinese movies for preliminary screening. After 315 participants viewed and evaluated these film clips, 39 excerpts were selected for further validation. In experiment 2, 147 participants watched and rated these 39 film clips, as well as another 8 excerpts chosen from the existing databases, to compare their validit... (shrink)

Facial race and sex cues can influence the magnitude of the happy categorisation advantage. It has been proposed that implicit race or sex based evaluations drive this influence. Within this account a uniform influence of social category cues on the happy categorisation advantage should be observed for all negative expressions. Support has been shown with angry and sad expressions but evidence to the contrary has been found for fearful expressions. To determine the generality of the evaluative congruence account, participants categorised (...) happiness with either sadness, fear, or surprise displayed on White male as well as White female, Black male, or Black female faces across three experiments. Faster categorisation of happy than negative expressions was observed for female faces when presented among White male faces, and for White male faces when presented among Black male faces. These results support the evaluative congruence account when both positive and negative expressions are presented. (shrink)

Over the last few decades, empirical researchers have become increasingly interested in explaining the formation of “basic” aesthetic judgments, i.e. simple judgments of sensory preferability and the pleasure that seems to accompany them. To that end, Reber et al. have recently defended a “processing-fluency” view, which identifies aesthetic pleasure with one’s ability to easily process an object’s perceptual properties (e.g. Reber 2012 ). While the processing-fluency theory is certainly an improvement over its competitors, it is currently vulnerable to several serious (...) criticisms. In what follows, I aim to provide a more holistic, explanatorily robust, model of the processing-fluency theory of aesthetic pleasure by incorporating what the view neglects: the crucial role of perceptual disfluency, interest, and the underlying values that drive aesthetic appraisal. (shrink)