How does personality influence the relationship between appraisals and emotions? Recent research suggests individual differences in appraisal structures: people may differ in an emotion's appraisal pattern. We explored individual differences in interest's appraisal structure, assessed as the within-person covariance of appraisals with interest. People viewed images of abstract visual art and provided ratings of interest and of interest's appraisals (novelty–complexity and coping potential) for each picture. A multilevel mixture model found two between-person classes that reflected distinct within-person appraisal styles. For (...) people in the larger class (68%), the novelty–complexity appraisal had a stronger effect on interest; for people in the smaller class (32%), the coping potential appraisal had a stronger effect. People in the larger class were significantly higher in appetitive traits related to novelty seeking (e.g., sensation seeking, openness to experience, and trait curiosity), suggesting that the appraisal classes have substantive meaning. We conclude by discussing the value of within-person mixture models for the study of personality and appraisal. (shrink)

Individual differences related to emotions are typically represented as emotion traits. Although important, these descriptive models often do not address the psychological dynamics that underlie the trait. Appraisal theories of emotion assume that individual differences in emotions can be traced to differences in patterns of appraisal, but this hypothesis has largely gone untested. The present research explored whether individual differences in the emotion of interest, known as trait curiosity, consist of patterns of appraisal. After completing several measures of trait curiosity, (...) participants read complex poems (Experiment 1) or viewed simple and complex pictures (Experiment 2) and then gave ratings of interest and interest's appraisal components. The effect of trait curiosity on interest was fully mediated by appraisals. Multilevel analyses suggested that curious people differ in the amount of appraisal rather than in the kinds of appraisals relevant to interest. Appraisal theories can offer a process-oriented explanation of emotion traits that bridges state and trait emotional experience. (shrink)

In two studies, we explored the frequency and phenomenology of musical imagery. Study 1 used retrospective reports of musical imagery to assess the contribution of individual differences to imagery characteristics. Study 2 used an experience sampling design to assess the phenomenology of musical imagery over the course of one week in a sample of musicians and non-musicians. Both studies found episodes of musical imagery to be common and positive: people rarely wanted such experiences to end and often heard music that (...) was personally meaningful. Several variables predicted musical imagery, including personality, musical preferences, and positive mood. Musicians tended to hear musical imagery more often, but they reported less frequent episodes of deliberately-generated imagery. Taken together, the present research provides new insights into individual differences in musical imagery, and it supports the emerging view that such experiences are common, positive, and more voluntary than previously recognized. (shrink)

Does self-awareness amplify or dampen the intensity of emotional experience? Early research argued that self-awareness makes emotional states salient, resulting in greater emotional intensity. But these studies induced a standard for emotional intensity, confounding the salience of the emotional state with the self-regulation effects of self-awareness. Three experiments suggest high self-awareness can dampen the intensity of emotional experience in the absence of this confound. In Study 1, participants were led to feel sad in the presence or absence of a mirror; (...) a standard for emotionality was or was not induced. High self-awareness amplified sadness when there was a standard for emotionality; it dampened sadness when there was no standard. Additional experiments using a self-novelty writing task (Study 2) and a mirror (Study 3) showed that self-awareness can also dampen positive affect. A fourth study found that trait private self-consciousness did not affect emotional intensity after controlling for the effects of neuroticism. The intersections of self-focused attention and emotional experience are discussed. (shrink)

The ability to distinguish between emotions is considered indicative of well-being, but does emotion differentiation in an aesthetic context also reflect deeper and more knowledgeable aesthetic experiences? Here we examine whether positive and negative ED in response to artistic stimuli reflects higher fluency in an aesthetic domain. Particularly, we test whether knowledge of the arts and curiosity are associated with more fine-grained positive and negative aesthetic experiences. A sample of 214 people rated their positive and negative feelings in response to (...) various artworks including positive and negative themes. Positive ED was associated with the embracing sub-trait of curiosity that reflects engagement and enjoyment of novelty and complexity, but was unrelated to artistic knowledge and perceived comprehension. Negative ED was associated with higher curiosity and particularly more knowledge of the arts. This relationship was mediated by appraised comprehension suggesting that deeper engagement with art, by those with more art knowledge, is associated with more fine-grained emotional experiences. This finding extends ED beyond well-being research and suggests that more nuanced emotional experiences are more likely for those with expertise in the arts and motivation for exploration. (shrink)

This comment proposes that Bullot & Reber's (B&R's) emphasis on historical and intentional knowledge expands the range of emotions that can be properly viewed as aesthetic states. Many feelings, such as anger, contempt, shame, confusion, and pride, come about through complex aesthetic meanings, which integrate conceptual knowledge, beliefs about the work and the artist's intentions, and the perceiver's goals and values.