The Distancing-Embracing Model of the Enjoyment of Negative Emotions in Art Reception
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
PSYCHOLOGY DEPARTMENTAL SEMINAR Psychological Approaches to Art Appreciation Professor Helmut Leder Department of Psychological Basic Research University of Vienna
PSYCHOLOGY DEPARTMENTAL SEMINAR Psychological approaches to art appreciation Professor Helmut Leder Department of Psychological Basic Research University of Vienna Helmut Leder is Professor of Cognitive Psychology and Head of the Department of Psychological Basic Research at the University of Vienna. His main fi elds of research are aesthetics, psychology of the arts, design – and face perception. His PhD is from the University of Fribourg. He was a visiting Researcher at the University of Stirling, ATR Japan, USC and UCSD, and at the Languages of Emotion-Cluster, FU Berlin. He is the author or co-author of over 100 scholarly publications and was awarded the Berlyne Award for career contributions to the psychology of aesthetics from the American Psychological Association. Abstract: Art is a unique feature of human experience and several approaches aim to understand what the psychological aspects of this uniqueness are. Art appreciation involves the complex interplay among stimuli, perceiver and contexts, which have been discussed as eliciting a special combination of aesthetic judgments and aesthetic emotions. Based on our model of aesthetic appreciation (Leder et al., 2004), we conducted studies to understand the nature of stylistic processing (Augustin et al., 2008), the dependence of art appreciation of the class of artworks (Belke et al. in press) as well as the complex interplay of the variables involved between these factors. For the latt er, we conducted a study in which we measured diff erences in preferences for classical, abstract, and modern artworks (Leder et al., in press). Using structural equation modeling, we assessed the contribution of emotion, arousal, and comprehension as determining factors of art appreciation. -
Sex and Shock Jocks: an Analysis of the Howard Stern and Bob & Tom Shows Lawrence Soley Marquette University, [email protected]
Marquette University e-Publications@Marquette College of Communication Faculty Research and Communication, College of Publications 11-1-2007 Sex and Shock Jocks: An Analysis of the Howard Stern and Bob & Tom Shows Lawrence Soley Marquette University, [email protected] Accepted version. Journal of Promotion Management, Vol. 13, No. 1/2 (November 2007): 73-91. DOI. © 2007 Taylor & Francis (Routledge). Used with permission. NOT THE PUBLISHED VERSION; this is the author’s final, peer-reviewed manuscript. The published version may be accessed by following the link in the citation at the bottom of the page. Sex and Shock Jocks: An Analysis of the Howard Stern and Bob & Tom Shows Lawrence Soley Diederich College of Communication, Marquette University Milwaukee, WI Abstract: Studies of mass media show that sexual content has increased during the past three decades and is now commonplace. Research studies have examined the sexual content of many media, but not talk radio. A subcategory of talk radio, called “shock jock” radio, has been repeatedly accused of being indecent and sexually explicit. This study fills in this gap in the literature by presenting a short history and an exploratory content analysis of shock jock radio. The content analysis compares the sexual discussions of two radio talk shows: Infinity’s Howard Stern Show and Clear Channel’s Bob & Tom Show. Introduction The quantity and explicitness of sexual content in mass media has steadily increased during the past three decades. Greenberg and Busselle (1996) found that sexual activities depicted in soap operas increased between 1985 and 1994, rising from 3.67 actions per hour in 1985 to 6.64 per hour in 1994. -
How Fun Are Your Meetings? Investigating the Relationship Between Humor Patterns in Team Interactions and Team Performance
University of Nebraska at Omaha DigitalCommons@UNO Psychology Faculty Publications Department of Psychology 11-2014 How fun are your meetings? Investigating the relationship between humor patterns in team interactions and team performance Nale Lehmann-Willenbrock Vrije University Amsterdam Joseph A. Allen University of Nebraska at Omaha, [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/psychfacpub Part of the Industrial and Organizational Psychology Commons Recommended Citation Lehmann-Willenbrock, Nale and Allen, Joseph A., "How fun are your meetings? Investigating the relationship between humor patterns in team interactions and team performance" (2014). Psychology Faculty Publications. 118. https://digitalcommons.unomaha.edu/psychfacpub/118 This Article is brought to you for free and open access by the Department of Psychology at DigitalCommons@UNO. It has been accepted for inclusion in Psychology Faculty Publications by an authorized administrator of DigitalCommons@UNO. For more information, please contact [email protected]. In press at Journal of Applied Psychology How fun are your meetings? Investigating the relationship between humor patterns in team interactions and team performance Nale Lehmann-Willenbrock1 & Joseph A. Allen2 1 VU University Amsterdam 2 University of Nebraska at Omaha Acknowledgements The initial data collection for this study was partially supported by a grant from the German Research Foundation, which is gratefully acknowledged. We appreciate the support by Simone Kauffeld and the helpful feedback by Steve Kozlowski. Abstract Research on humor in organizations has rarely considered the social context in which humor occurs. One such social setting that most of us experience on a daily basis concerns the team context. Building on recent theorizing about the humor—performance association in teams, this study seeks to increase our understanding of the function and effects of humor in team interaction settings. -
Spring-And-Summer-Fun-Pack.Pdf
Spring & Summer FUN PACK BUILD OUR KIDS' SUCCESS Find many activities for kids in Kindergarten through Grade 9 to get moving and stay busy during the warmer months. Spring & Summer FUN PACK WHO IS THIS BOOKLET FOR? 1EVERYONE – kids, parents, camps, childcare providers, and anyone that is involved with kids this summer. BOKS has compiled a Spring & Summer Fun Pack that is meant to engage kids and allow them to “Create Their Own Adventure of Fun” for the warmer weather months. This package is full of easy to follow activities for kids to do independently, as a family, or for camp counselors/childcare providers to engage kids on a daily basis. We have included a selection of: BOKS Bursts (5–10 minute activity breaks) BOKS lesson plans - 30 minutes of fun interactive lessons including warm ups, skill work, games and nutrition bits with video links Crafts Games Recipes HOW DOES THIS WORK? Choose two or three activities daily from the selection outlined on page 4: 1. Get physically active with Bursts and/or BOKS fitness classes. 2. Be creative with cooking and crafts. 3. Have fun outdoors (or indoors), try our games! How do your kids benefit? • Give kids time to play and have fun. • Get kids moving toward their 60 minutes of recommended daily activity. • Build strong bones and muscles with simple fitness skills. • Reduce symptoms of anxiety. • Encourage a love of physical activity through engaging games. • We encourage your kids to have fun creating their own BOKS adventure. WHO WE ARE… BOKS (Build Our Kids' Success) is a FREE physical activity program designed to get kids active and establish a lifelong commitment to health and fitness. -
Art and Emotions1
International Journal of Applied Psychoanalytic Studies Int. J. Appl. Psychoanal. Studies 10(2): 100–107 (2013) Published online in Wiley Online Library (wileyonlinelibrary.com) DOI: 10.1002/aps.1352 Art and Emotions1 PINCHAS NOY AND DORIT NOY-SHARAV ABSTRACT The article explores the different routes by which art, and especially music conveys and arouses emotions. Apart from the three formerly discussed routes: the narrative route of narration-identification, the direct route of isomorphism and the indirect route of ego mastery, a fourth route is presented, based on the emotions produced by the listener himself as the result of his active attempt to process the musical input in his mind. This is a “Meta emotion” reflecting the sum-total of all the disparate and opposing emotions conveyed or aroused by means of the other three routes. The point is made that the assimilation of classical polyphonic music, demands an active effort on the part of the listener. The same is true of other higher rank arts, each one of which has developed its specific means to transmit a wide spectrum of diverse emotions simultaneously. Attached to this challenge, there is the promise of earning a new experience – a Meta-emotion emanating from the ability to integrate the contrarieties inside us. Copyright © 2013 John Wiley & Sons, Ltd. Key words: aesthetic experience, polyphonic music, artistic enjoyment, emotional response, creativity, perfect form in art, art and emotions In a former paper “How Music Convey Emotions” (Noy, 1993) I presented three different routes by which the artist may succeed in evoking in his or her audience an emotional response. -
Transportation and Homeric Epic
Transportation and Homeric Epic Michael O’Neill Power A thesis submitted for the degree of Doctor of Philosophy of The Australian National University May 2006 ii — — iii Statement of Originality Except where due acknowledgement is given, this thesis is the result of my own research carried out under the supervision of Dr Elizabeth Minchin of the Classics Program of the Australian National University with the advice of Dr Judith Slee of the Division of Psychology of the Australian National University. _________________________________ Michael O’Neill Power May 2006 iv — — v Acknowledgements I am very grateful to everyone who has made the completion of this thesis possible: to those with whom I have discussed my ideas (whether at conferences or in cafés); to Dr Alan Rumsey of the Research School of Pacific and Asian Studies for his advice; and to the staff of the Classics Program at The Australian National University. I must also voice my thanks to Mrs Mary Harber for her assistance in translating Wilhelm Grimm’s “Die Sage von Polyphem” and for correcting a final copy of the manuscript. Early versions of several chapters of this thesis were presented at a range of conferences and seminars and benefited greatly from the questions they evoked: a version of Chapter 2 was delivered at ASCS XXVI, at the University of Otago, Dunedin, New Zealand in 1995; versions of Chapter 4 were delivered at The Homer Seminar II, at The Australian National University, Canberra, in 2003, and at ASCS XXV, at La Trobe University, Bendigo, in 2004; and a version of Chapter 5 was presented at The Homer Seminar III, at The Australian National University, Canberra, in 2005. -
SELF-CONSCIOUS EMOTIONS in AUTISM 1 Exploring the Subjective
SELF-CONSCIOUS EMOTIONS IN AUTISM 1 Exploring the subjective experience and neural correlAtes of self-conscious emotion processing in autistic adolescents: Over-reliAnce on leArned sociAl rules during heightened perspective- tAking demAnds mAy serve as compensAtory strategy for less reflexive mentAlizing KAthryn F. JAnkowski1 & Jennifer H. Pfeifer1 1 Department of Psychology, University of Oregon Corresponding author: Jennifer H. Pfeifer Department of Psychology University of Oregon 1227 University of Oregon Eugene, OR, 97403 541-346-1984 [email protected] SELF-CONSCIOUS EMOTIONS IN AUTISM 2 Abstract Autistic individuals experience a secondary wAve of sociAl cognitive challenges during Adolescence, which impact interpersonal success (Picci & Scherf, 2015). To better understAnd these challenges, we investigated the subjective experience and neural correlAtes of self- conscious emotion (SCE) processing in autistic adolescent mAles compared to age- And IQ- mAtched neurotypicAl (NT) adolescents (ages 11-17). Study I investigated group differences in SCE attributions (the ability to recognize SCEs) and empathic SCEs (the ability/tendency to feel empathic SCEs) and the potentiAl modulAtory role of heightened perspective-tAking (PT) demAnds. Furthermore, Study I explored associAtions between SCE processing, a triAd of sociAl cognitive abilities (self-AwAreness/introspection, perspective-tAking/cognitive empathy, and Affective empathy), and Autistic feAtures. Study II investigated group differences in neural Activation patterns recruited during SCE processing and the potentiAl modulAtory role of heightened PT demAnds. During an MRI scAn, participants completed the Self-Conscious Emotions TAsk (SCET), which feAtured sAlient, ecologicAl video clips of adolescents in a singing competition. Videos represented two factors: emotion (embarrassment, pride) and PT demAnds (low, high). In low PT clips, singers’ emotions mAtched the situational context (singing quality; sing poorly, act embarrassed); in high PT clips, they did not (sing well, act embarrassed). -
Cause and Affect War Art and Emotion
Canadian Military History Volume 21 Issue 1 Article 5 2015 Cause and Affect War Art and Emotion Laura Brandon Follow this and additional works at: https://scholars.wlu.ca/cmh Part of the Military History Commons Recommended Citation Laura Brandon "Cause and Affect War Art and Emotion." Canadian Military History 21, 1 (2015) This Canadian War Museum is brought to you for free and open access by Scholars Commons @ Laurier. It has been accepted for inclusion in Canadian Military History by an authorized editor of Scholars Commons @ Laurier. For more information, please contact [email protected]. : Cause and Affect War Art and Emotion Cause and Affect War Art and Emotion Laura Brandon ine years ago, I completed a which you bring things you know is a well-known Toronto-based Nhistory PhD here at Carleton and have experienced emotionally artist. She began painting military University. My thesis was published and with which through a dialogue subjects in the aftermath of the 1990 in 2006 as Art or Memorial? The with the artwork, its interpreters, to 1991 Gulf War and, 20 years later, Forgotten History of Canada’s War and other viewers you not only military portraiture remains at the Art.1 Influenced by the then relatively enrich your own understanding of heart of her practice. Her approach new memory theories, especially what you already recognize or have combines a certain accuracy of detail those pertaining to monuments as knowledge of emotionally but you born of her interest in historical “sites of memory,” I argued that also contribute to the emotional documentation combined with the through the act of looking, whether understanding of others. -
What Is the Cognitive Neuroscience of Art… and Why Should We Care? W
What Is the Cognitive Neuroscience of Art… and Why Should We Care? W. P. Seeley Bates College There has been considerable interest in recent years in whether, and if so to what degree, research in neuroscience can contribute to philosophical studies of mind, epistemology, language, and art. This interest has manifested itself in a range of research in the philosophy of music, dance, and visual art that draws on results from studies in neuropsychology and cognitive neuroscience.1 There has been a concurrent movement within empirical aesthet- ics that has produced a growing body of research in the cognitive neuroscience of art.2 However, there has been very little collaboration between philosophy and the neuroscience of art. This is in part due, to be frank, to a culture of mutual distrust. Philosophers of art AMERICAN SOCIETY have been generally skeptical about the utility of empirical results to their research and vocally dismissive of the value of what has come to be called neuroaesthetics. Our counter- for AESThetics parts in the behavioral sciences have been, in turn, skeptical about the utility of stubborn philosophical skepticism. Of course attitudes change…and who has the time to hold a An Association for Aesthetics, grudge? So in what follows I would like to draw attention to two questions requisite for Criticism and Theory of the Arts a rapprochement between philosophy of art and neuroscience. First, what is the cognitive neuroscience of art? And second, why should any of us (in philosophy at least) care? Volume 31 Number 2 Summer 2011 1 What Is the Cognitive Neuroscience of There are obvious answers to each of these questions. -
DISGUST: Features and SAWCHUK and Clinical Implications
Journal of Social and Clinical Psychology, Vol. 24, No. 7, 2005, pp. 932-962 OLATUNJIDISGUST: Features AND SAWCHUK and Clinical Implications DISGUST: CHARACTERISTIC FEATURES, SOCIAL MANIFESTATIONS, AND CLINICAL IMPLICATIONS BUNMI O. OLATUNJI University of Massachusetts CRAIG N. SAWCHUK University of Washington School of Medicine Emotions have been a long–standing cornerstone of research in social and clinical psychology. Although the systematic examination of emotional processes has yielded a rather comprehensive theoretical and scientific literature, dramatically less empirical attention has been devoted to disgust. In the present article, the na- ture, experience, and other associated features of disgust are outlined. We also re- view the domains of disgust and highlight how these domains have expanded over time. The function of disgust in various social constructions, such as cigarette smoking, vegetarianism, and homophobia, is highlighted. Disgust is also becoming increasingly recognized as an influential emotion in the onset, maintenance, and treatment of various phobic states, Obsessive–Compulsive Disorder, and eating disorders. In comparison to the other emotions, disgust offers great promise for fu- ture social and clinical research efforts, and prospective studies designed to improve our understanding of disgust are outlined. The nature, structure, and function of emotions have a rich tradition in the social and clinical psychology literature (Cacioppo & Gardner, 1999). Although emotion theorists have contested over the number of discrete emotional states and their operational definitions (Plutchik, 2001), most agree that emotions are highly influential in organizing thought processes and behavioral tendencies (Izard, 1993; John- Preparation of this manuscript was supported in part by NIMH NRSA grant 1F31MH067519–1A1 awarded to Bunmi O. -
Drawing a Hypothesis Book
Drawing a Edition Angewandte Book Series of the University of Applied Arts Vienna Edited by Gerald Bast, Rector Hypothesis Figures of Thought A Project by Nikolaus Gansterer TABLE OF CONTENTS Nikolaus Gansterer Compiled in the years between 2005 and 2011, while living and working in Maastricht, Nanjing, Rotterdam, Antwerp, Vienna, Mexico City, Los Angeles, Prairie City, Beijing, New York, Berlin and Ghent. This work is subject to copyright. All rights are reserved, whether the whole or part of the material is concerned, specifically those of INDEX OF FIGURES ............................................................................. 9 translation, reprinting, re-use of illustrations, broadcasting, reproduction by photocopying machines or similar means, and storage in data banks. PREFACE ................................................................................................. 21 Product Liability: The publisher can give no guarantee for all the information contained in this Drawing a Hypothesis book. The use of registered names, trademarks, etc. in this publication does not imply, even in the Nikolaus Gansterer absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. © 2011 Springer-Verlag/Wien Printed in Austria SpringerWienNewYork is part of HYPOTHESIS #1 ........................................................................................ 29 Springer Science+Business Media A Line with Variable Direction, which Traces springer.at No -
I. Produits De La Recherche
I. Produits de la recherche 1. Journaux / revues Articles scientifiques Aharon, I., Bourgeois-Gironde, S., and Levin, Y. (2015). Special issue on “Complexity modeling in social science and economics”. Mind & Society, 14(2), pp. 153-154. Alsmith, A. and Vignemont de, F. (2012). Embodying the mind & representing the body. In A. Alsmith, and de F. Vignemont de (Eds.), The body represented/Embodied representation. Review of Philosophy and Psychology, Special issue, 3 (1). Arcangeli, M. (2012). Esperimenti mentali [Thought experiments]”. APhEx (Analytical and Philosophical Explanation), 6, pp. 33-72. Arcangeli, M. (2013). Immaginare è simulare: cosa e come? [Imagining is simulating: what and how?]. Rivista di Estetica, s.i. “Nuove teorie dell’immaginazione”, 53/2, pp. 135-154. Arcangeli, M. (2014). Against cognitivism about supposition. Philosophia, 42/3, pp. 607-624. Arcangeli, M. (2017). De l’autre côté du miroir de l’imagination. Imagination et imagerie mentale. Bulletin d’analyse phénoménologique, XIII/2, pp. 108-128 Arcangeli, M. (2017). Interacting with Emotions: Imagination and Supposition. Philosophical Quarterly. Arnold, G., and Auvray, M. (2014). Perceptual learning: Tactile letter recognition transfers across body surfaces. Multisensory Research, 27(1), pp. 71-90. Atran, S. (2012). Talking to the Enemy: An Alternative Approach to Ending Intractable Conflicts. Solutions 3: pp. 41-51. Atran, S. (2012). Parasite stress is not so critical to the history of religions or major group formations. Behavioral and Brain Sciences 35: pp. 79-80. Atran, S. (2013). From mutualism to moral transcendence. Behavioral and Brain Sciences 36: pp. 81-82. Atran, S. (2014). Martyrdom’s would-be myth buster. Behavioral and Brain Sciences, 37: pp.