Sp^^-f^..^ *ç iff, The Aesthetic Trinity: Awe, Being Moved, Thrills

Vladimir .I. Konecni Department of Psychology University of California, San Diego

Abstract

Three related states -aesthetic awe, being moved or touched, and thrills or chills -are proposed as replacements for the imprecise "aesthetic emotions" and "musical emotions." Aesthetic awe is regarded as the ultimate humanistic moment, the prototypical aesthetic response to a sublime stimulus, and one that has been sexually selected. The sublime is pancultural and encompasses great beauty, rarity, and physical grandeur (for music to become sublime, it requires a "colossal" performance setting). Aesthetic awe is a primordial mixture of joy and fear, which. like joy, requires existential safety. It is virtually indistinguishable from the fundamental emotions, yet one that can be more easily "switched off," because the sublime is nonsocial and noninteractive. Aesthetic awe is always accompanied by the responses of being touched and (physiological) chills, but the latter two can also occur in awe's absence. To be moved, a personal associative context is needed; memories, love, or a victory' over mortality fears may play a part. Thrills are the most common aesthetic response, one that can occur without the others. It is argued that there has been a politically motivated campaign oPLdestructivedeconstruction" of the ancient and classical sublime, resulting -in much contemporary art -in a costly clash with the authentic human responses of the aesthetic trinity. The possibilities of changing current trends and of converting the elitist guilt that often accompanies aesthetic awe into aesthetic altruism is discussed.

There is little doubt that human beings can their peak life experiences (cf. Gabrielsson, 2001 ; respond powerfully and profoundly to great works Maslow, 1964,1968; Panzarella, 1980). of art, to extraordinary man-made objects, and to It would seem that such an aesthetic rare wonders of nature. Such "stimuli" (to use a phenomenon, perhaps the ultimate humanistic technical, ifrather pale, term), as well as the various moment (Konecni, 2003 b, p. 3 39), deserves components of the occasions of one's exposure serious inquiry', if not a central place, in a mature to them (including. especially, one's resulting psychological aesthetics. The purpose ofthis paper subjective state), leave deep impressions and are is to identify some key conceptual relations in this highly memorable: People include them in lists of domain of extreme aesthetic experience and to propose heuristically useful definitions and universally acknowledged, beauty, which is also a nomenclature. Specifically, the paper discusses (a) strongly held position ofthis paper. However, the aesthetic awe, (b) being moved or touched, and beautiful (as defined in numerous one- and two- (c) thrills or chills, as the primordial and prototypic factor models -cf Berlyne. 1971) comparatively human responses to the sublime. rarely includes or contains the sublime. Without Among other benefits of this nomenclature, it wishing to enter a laborious and mostly -for the is hoped that the use of the imprecise and purpose of this paper - irrelevant discussion misleading references to "aesthetic emotions" and about the definition, universality, and relativity of 'musical emotions" will hitherto be minimized. A beauty-, the merely beautiful is here assumed to be section of the paper is devoted to a justification of far more common than the sublime, but also to be this plea. one of its obligatory components. The beautiful will be treated as the extreme The Sublime high end of the dimension of aesthetic pleasingness, as an attribute that is located in nature, in human Stimulus-in-Context artefacts, and, especially, in the synergy of an The sublime has been discussed as a artefact and its natural milieu. It can be, at least in partner to the beautiful since at least a (now lost) some contexts, objectively defined and empirically first-century treatise by Caecilius of Calacta measured, for example, in the case of the "golden (referred to by the third-century Longinus or else section" that has been studied from antiquity a later pseudo-Longinus; cf. Berlyne, 1971). (Green. 1995; Konecni, 1997,2001,2003a, in However, it can be documented that almost all the press: Konehi & Cline, 200 1). major commentators on the sublime in the tradition of philosophical aesthetics- from Burke (1757,' Physical Grandeur 1990) to Tarozzi Goldsmith (1999), by way of The rarity of the sublime is presumably a Kant (1 79OA 986) and Lyotard (1 99 1/1994), have statistical concomitant of its often being immense in their various statements confused the concept in size -a relationship that is understandable from of the sublime by alternately (and sometimes the standpoint of logistical baserates and simultaneously) treating it as both an object (or its evolutionary adaptation -and Derrida (1 978). attributes) external to the experiencing person and along with many others, has described the sublime as the subjective. internally felt consequence of as "colossal" (and also as "erect" and "petrified one's exposure to a relevant stimulus array. In -a reference presumably to the Pyramids of El this paper, the sublime is considered to be external Gizeh, especially the Cheops, or Khufu). to the subject, as the ultimate aesthetic stimulus- An object may be sublime despite an in-context - a term which emphasizes that absence of physical grandeur, because of the (especially its spatial) context is often an essential unique or extraordinary context in which it is feature of a sublime stimulus. The Great Wall of encountered. It is here assumed that the Mono China needs rolling hills to be sublime, and so did, Lisa ismore sublime in the Louvre than ifexhibited ephemerally, the Running Fence (inMarin, Napa, in another grand museum (that is. if it ever went and Sonoma Counties, California) by Christo "on tour"). But the contextual contrast can be (Javachefi). expected to play apart, so that its sublime quality would be restored if the painting were placed in, Rarity and Beauty say, the Angkor Wat in Cambodia or in a tiny According to all major commentators Lutheran church in the remote fishing village of from Burke to Tarozzi Goldsmith, the sublime Kulusuk on Greenland. Note that it is here always includes. but is not limited to. exceptional, hypothesized that the multifaceted contrast with Mona Lisa's customary home, rather than the difficult to reach even ifone lives in relative proximity physical size of the new one, would be operative. - have been regarded as the dwellings of the Music, to be a sublime stimulus and induce deities or as their creations from the dawn of time aesthetic awe, may also require physical grandeur in literally every part of the world and in every - of the space in which it is performed - in conceivable "pagan"' and monotheistic religion. addition to having certain structural features and a Admittedly, this is far more likely in the case of significant personal associative context. This issue natural objects, especially mountain peaks and is addressed in a later section of the paper. formations (from Denali to Ayer's Rock, and from Kilimanjaro to Olympus to Tai Shan to Fuji-san). Existential Security than of man-made ones. but there are many In contrast to Tarozzi Goldsmith's critical exceptions. Antiquity may be necessary. There is standpoint (1999. p. 961, the position of this essay no Sydney Opera House or Golden Gate Bridge is in agreement with Burke's and Kant's claims cult (although the San Francisco Bay Area-based that the sublime can be "apprehended" only when Grateful Dead "deadheads" may beg to differ), but the subject (experiencer) is "not in danger" - there is the Parthenon. the Stonehenge, the Wailing though one should add here "apprehended as Wall, St. Sophia, Machu Pichu, the Ka'ba. St. aesthetically relevant." In this view, whether or Peter's -in addition to the Cheops Pyramid. not there is an objective degree of danger in a One may venture to speculate that the stimulus and its context, the subject will respond naturally sublime objects first had an aesthetic to it as a sublime object (that is, aesthetically, impact and only subsequently acquired the legends which would include finding it beautiful), only if and the religious mythology, whereas many ofthe there is no subjectivelyjudged physical threat [cf. man-made sublime structures -all ofwhich were "accommodation" in Keltner and Haidt, 20031. built, until the industrial revolution, at least Berlyne (1 971. p. 93) offers a brief, but lucid, ostensibly as religious objects (except perhaps for analysis of this crucial characteristic of the sublime the Great Wall of China) - incorporated the and the aesthetically-relevant physiological aesthetic sublime from the start, presumably, in part, response to it, to the effect that "in stimulus by intuitively imitating the key attributes of the situations classifiable as art, there are cues that sublime in nature. inhibit the aversion system [in the brain] at least The aesthetic and the religious are therefore partially." often blurred in the sublime, in both the conception The notion of the sublime that involves an and the "consumption"- an idea that would not absence of physical threat is here extended to surprise art historians. Berlyne (1 97 1j may have include a reasonable degree of existential comfort had similar notions when he formulated "ecological" and security in the life of the potential experiencer: stimulus variables, the impact ofwhich arises from Existential well-being is considered asine qua non the classically-conditionedassociations. for experiencing a potentially sublime stimulus as indeed sublime (rather than as simply a source of Commonalities in the Sublime across Cultures income or even as a nuisance). For example, the "The [aesthetic] wisdom in many cultures Cheops and the Great Sphinx may not be sublime has some common features.. ." (Chen, 2004, p. to the desperately poor living at the feet of these 1). The position of this paper with regard to wonders. pancultural aesthetic wisdom is that the commonalities across cultures are due to the fact God's levelling is Sublime that all living humans are products of the It is little wonder that sublime objects - fundamentally similar selective evolutionary immense, beautiful, rare. and often inaccessible or pressures and the same broad laws of supply and ~~....~

demand in the context of finite resources, which significantly, to " '. ..the attitude of a mind subdued has shaped the neuro-mental (brain-mind) to profound reverence in the presence of supreme apparatus of the homo sapiens (including his authority, moral greatness, or sublimity, or aesthetic responsiveness). These pressures mysterious sacredness.'" Keltner and Haidt continue in our timeand it is therefore not surprising (2003) do not pursue the notion of sublimity or of that there are common elements across time and the sublime; they consider awe to be a ""family"of cultures in both the intuitive definition ofthe sublime emotions (e.g., Keltner, 2004) and in the very title and the authentic responses to it -the primordial of their paper mention awe as an "aesthetic" responses of aesthetic awe, of being deeply emotion (as well as a "moral" and "spiritual" one). moved, and of experiencing thrills/chills. Keltner and Haidt (2003, p. 306) think of It is sometimes uncritically assumed that '"primordial awe [as] center[ing] upon the "the modernization of ancient [aesthetic] wisdom emotional reaction of a subordinate to a powerful may offer a solution [to present-day problems]" leader," which would presumably make it closely (Chen, 2004, p. 1). The hope that the ancient or related to one of the fundamental emotions, fear. classical aesthetic ideas (these two terms are used The point of disagreement arises when Keltner and interchangeably in the present essay), especially if Haidt regard aesthetic awe as a culturally- 'modernized," can alleviate some of the blight of elaborated extension of the primordial version (p. contemporary life - "a neo-Chan (neo-Zen) 3 10). The present view is that aesthetic awe is a solution to pollution,'" to coin a mildly plausible, response to the sublime that is as primordial as aesthetics-based, environmental clean-up fear -and joy; in fact, it is assumed in this paper campaign slogan for China and Japan - is that it is composed of some elements experienced probably unrealistic. The problem is that such in both of these fundamental emotions. Whether solutions are in all respects subject to the same the fact that it is a mixture makes aesthetic awe laws of supply and demand that were mentioned less fundamental than fear and joy is an open above and therefore are often superficial at best question. and of limited and ephemeral usefulness. Therefore, the position of this essay is that Aesthetic Awe rather than modernizing the features of the ancient Origin. Aesthetic awe has presumably approach that have led to awe-inspiring and moving occurred from primeval times as a response, initially, aesthetic solutions, one should explore their core to the unexpectedly encountered natural wonders, attributes -while obviously despising the brutal and. later, to human artefacts also. As has already economics involved in the creation of the ancient been implied, it involves a sense of suspense and sublime structures. These issues are further of a controllable, interesting (as opposed to pursued in the final. implications, section of the pleasing, in standard psycho-aesthetic terms) paper. degree of risk. However, existential security cannot be in doubt -as it is not in joy. One is Awe and Aesthetic Awe overwhelmed, but safely so: Niagara is fantastic, powerful, astounding, and extraordinarily beautiful. Awe but 1am safe (and not the one tumbling down the In their far-reaching, systematic paper, falls in a barrel)! Keltner and Haidt (2003, p. 308), analyze the Aesthetic awe and the fundamental etymology of awe and usefully point out that emotions. The centrality of the concept of the according to the Oxford English Dictionary the fundamentalemotions in biopsychology is justified

meaning changed from fear of a divine being to " by their enormous evolutionary significance. They "dread mingled with veneration.. . '" and, are psychologically and metabolically costly and usuallyreserved for emergencies. When they occur. The bad reason is a challenge to aesthetic they are major existential events in human awe on adaptationist grounds. Music itself has been phenomenology. Among many other thus challenged (cf. Huron, 200 1; Pinker, 1997). characteristics. they flood consciousness and are However, in the case of music, Miller (2000; cf. pan-cultural in terms ofexperience and expression: Gurney, 1880) provides a logically defensible they usually have an unambiguous cause as well explanation in terms of sexual selection (although as object toward, or regarding which, to act music's role in primeval dance, with its providing (Konecni, 2003, p. 332). opportunities for display ofhealth and endurance, Aesthetic awe is here proposed as the is not sufficientlyemphasized). prototypical subjective reaction to a sublime Aesthetic awe (with the accompaniment stimulus. It is the most pronounced, the ultimate, of being moved and thrills) is assumed in this paper aesthetic response, in all ways similar to the also to have been sexually selected. The fundamental emotions. One possible difference experiencer's attributes and behaviors of (a) needs to be mentioned. The experiencing person reverence (i.e.. the presumed private access to the can cognitively "switch off" aesthetic awe at will supernatural), (b) the apparent emotional and by altering the focus of attention to other external intellectual sensitivity(useful in child-rearing), and and internal domains. This is because the sublime (c) elite-membership, demonstrated by the stimulus, a non-sentient, non-interacting, object - possession of the economic and physical means unlike the customary human causes of fear. anger, that enable the encounter with the sublime stimulus, joy. and grief- does not press, from existential make the experiencer of aesthetic awe a highly and evolutionary points of view, to be attended to desirable sexual mate. urgently. In the language of legal psychology. Reed/ and the physiological response. aesthetic awe does not have a "knife focus." I .ike the sublime in stimulus sampling, aesthetic awe Aesthetic awe shares with both joy and is, by definition, exceedingly rare in response grief the state of being moved, and, with the former, sampling. It is of limited duration in terms of its thrills also. Its requirement of existential safety acute physiological concomitants. but its immense differentiates it from -but places on the same original phenomenological impact (the flooding of continuum as - fear. With joy it shares the consciousness at the time of the initial occurrence) experience of thrills, which in fear is felt as chills. insures that it can be easily recalled and With all the fundamental emotions it shares a truly remembered forever. dramatic fluctuation in physiological arousal. The ease and vividness of recall of the There are two moot reasons and a bad aesthetic-awe-inspiring occasions may well mean one for the fact that aesthetic awe had not been that the intensively recalled aesthetic awe can hitherto included among the fundamental emotions. produce a physiological reaction (specifically, thrills The first debatable reason is the above-mentioned or chills) -just as the recollections of fear-, ease with which aesthetic awe can presumably be anger-, joy-, and grief-inducing situations produce switched ofY- because the sublime does not react various autonomic (differential) physiological to the experiencer. The second moot reason is a responses (e.g., Ekman, Levenson. & Friesen, statistical one, involving baserates [Berlyne's 1983). An important assumption of the present (1971) "collative variables"]: The sublime is paper, however, is that whereas the intensive recall extremely rare -and therefore a response to it of the sublime and aesthetic-awe can reproduce a has not been deemed important enough in folk tales state of being moved, the Wow! of the original and scientific nomenclature to deserve the status aesthetic awe is irreproducible. of the fundamental. Aesthetic awe, elitism, and (psendo- ?)altruism. One is overwhelmed by the sublime stimulus, but is safe -and special, one should travel is sometimes formalized as pilgrimage add -a member of the chosen survivors, of the (including, for example, the compulsory Muslim elecfi,of an elite -to have managed to be safely, hajj to the 10.5 x 12 x 15-meter Ka'ba in Mecca), and often exclusively, viewing the sublime stimulus. but the religious ones are far from being the only Importantly, to know how to "apprehend it and occasions for exhausting, expensive. and generalize from it, while being joyous: "[F]eeling dangerous travel to the sublime [cf. Loewenstein's privileged to regard Mozart as a brother, ... [sense] 1 999) discussion of extreme mountaineering and the larger truth hidden in the pinnacles of human polar attempts, typically by pairs of people or small achievement, and yet [realize], with some teams; solo attempts on the mountains, the Poles, resignation. [one's] miniscule [place] in the and the oceans are in an even more exclusive universe" (Konecni, 2003b. p. 339). league]. Suggesting that a sense of elitism may be The approach to the sublime object may an aspect of "lofty sentiments'" (Konecni, 2003b, involve a gradual buildup of expectations that is p. 339) may seem cynical, but is realistic from an akin to development in 19th-century musical adaptationist perspective. Instead, Haidt's (2000) compositions, except that it may be spread over idea of "elevation." of "rising up, including hours, days, or much longer periods. There is openness to altruism" (Haidt 2004), implies a belief typically also an increase in thoughts and activities in the existence of "true altruism" that has been that contribute to the eventual state of aesthetic challenged by contemporary biologists on both awe. In the final stage ofthe approach, even though theoretical and empirical grounds (Hamilton, 1964, one may factually know that the sublime is 'lust KoneCni, 1976; Trivers, 1971; Wilson, 1975). around the comer," there is the shock, the '-Wow!," Thinking of oneself as being among the deep and when it is suddenly revealed, or revealed in fall. sensitive electi may move one to some semblance of philanthropic behavior perhaps in part because Being Moved or Touched one may feel guilty, rightly or wrongly, that one has not arrived at that status by chance or through Being Moved: A Genuine Subjective State a "democratic process" (Konecni, 2004~). In the present approach, aesthetic awe is Aesthetic awe and hallucinations. By considered to be always accompanied by the state being defined as a response to a sublime stimulus, of being moved or touched (these terms are used the future potential research on aesthetic awe interchangeably). However, it is hypothesized that should conceptually exclude drug-induced there are many instances of being moved by hallucinations and trance states that have been aesthetic stimuli that do not encompass, or reach, counted by various authors, especially Maslow the ethereal, but powerful, aesthetic awe (1964,1968), as being among "peak experiences." experience. In addition, one can be moved by non- This is not meant to doubt the importance of such aesthetic, usually social, stimuli that are of marginal experiences or the great value of studying them. relevance for this paper. In fact, if one is truly open-minded, one must admit Aesthetic stimuli. Scherer and Zentner that one person's Cheops is another's LSD tablet. (2001, p. 384-385) have provided some Seeking aesthetic awe. The sublime is interesting, albeit very brief and somewhat self- often an object that has been famous since antiquity contradictory, comments on the state of being and people who do not live near it may spend a touched. As they point out, the German noun lifetime hoping and planning to experience it. To Ruhrung has no substantive counterparts in do so, they often travel far and experience great English and French (although there are nouns for inconvenience, expense, and even danger. When both the stimulus and the response sides, for the sublime object has a religious significance, this example, in Serbian: dirljivost and dimtost). They think of being moved both as a good from the present viewpoint, doubtful that one needs descriptor of an intense response to music and as to invoke a new emotion -"elevation"- as Haidt a feeling that is "rather vaguely described." They (2000) does. to deal with the resulting state. point to the absence of a "concrete action In summary. in the present account, the tendency" and bring up the accompanying (though category of events that can induce a state of being not conceptually essential for the Scherer-Zentner moved includes both aesthetic and non-aesthetic position) "...moist eyes, chills, thrills, or members. Among the aesthetic events, very few. gooseflesh.. ." They view the state of being the sublime, can produce aesthetic awe in addition touched as one that should be regarded as a to the state of being moved. Analogously, among genuine emotion- while also saying that it is really the non-aesthetic ones. witnessing certain acts, for not one (by their own Table 16.1, p. 363). example, of extreme (apparent) selflessness may Even without a substantive, and contrary produce awe in the Keltner-Haidt (2003) moral to the Scherer-Zentner characterization of it as a or spiritual sense, in addition to being moving. vague descriptor, "being moved" is actually a very (Witnessing such acts may involve sympathy and distinctive subjective state that, like aesthetic awe, empathy that are usually missing in one's being can be readily, reliably, and accurately reported. moved by aesthetic stimuli.) The term "elevation" However, it is assumed in this paper that being (Haidt, 2000) may become useful if it can be touched is a response to a far greater range of shown that being moved either by aesthetic stimuli stimuli than is the case with aesthetic awe. (e.g., music). or by acts of selflessness, has similar Moreover, the personal associative context plays behavioral consequences, such as an increase in a greater role in being moved than it does in the probability of prosocial acts. Research that aesthetic awe (Konefini, 1995-2004). For these addresses these questions is currently being reasons, being touched is considered to be more pursued (Brown & Konefini, 2004; Haidt 2004). removed from the fundamental emotions both conceptually and phenomenologicallythan is the Epiphany and Love case with aesthetic awe. In the present view. merely witnessing a In the present view, the examples of being beautiful natural spectacle -a sunset. a starry moved, with the accompaniment of chills, can night, a chain of snow-capped mountains -is not come from poetry, theatre (cf. Konecni, 1991 ; sufficient to induce a state of being moved without Shweder & Haidt, 2000; Stanislavky, 1936), film, the involvement of additional factors. Such, non- opera (Stanislavski & Rumyantsev, 1979,and aesthetic, factors, a few of which are mentioned music. When the music-listening situation is below, may predispose the experiencer to be physically ordinary. but a significant personal moved by sights that are indeed objectively associative context exists, music with certain beautiful, but are encountered too frequently and structural elements (Brown & Konecni, 2004; regularly to have (or maintain) the power, on their Sloboda, 1991) can induce a state of being moved own, to move. and thrills. A later section addresses this issue in Victory over mortality fears. One may more detail. be moved by the starry sky that one has frequently Non-aesthetic stimuli. The fact that one encountered on that special occasion when one can undoubtedly be moved by events other than teaches a young child, one's genetic heir, for the those clearly delineated as aesthetic or artistic does first time, about the infinity of cosmos and the not diminish the usefulness of the concept. relativity and continuity of life. Or one may, on Witnessing, in the real world, certain acts of another occasion, finally manage to relate one's forgiveness, sacrifice. and generosity is a frequent moral core to infinite space-time, which one cause of being touched, although it would seem. perhaps finds in Kant's sentence (1 788/1996) that is etched on his tombstone: "A starry sky above within plays) are instructive in the light of this me and a moral law within." Such a personal essay's position, A few illustrative examples follow. victory over mortality fears should perhaps be SauI/St, Paul: Arjuna. A rather detailed considered an epiphany. account of awe, epiphany, and conversion that was Solution ofa complicated problem. A experienced by Saul on the road to Damascus (The fairly common natural sight may move one when it Acts 9.3-7), and the mythical Arjuna in the coincides or follows closely in time one's finding Bhagavadgita section of the Hindu epic the the solution to an important and elusive intellectual Mahabarata, is provided by Keltner and I laidt problem or one's reaching the decision concerning (2003, pp. 298-299). Both Saul/Paul and Arjuna a major issue in one's life. The beauty of the sight are described in the original texts as experiencing "harmonizes'" with the post-solution or post- a great deal of fear, and therefore, from the present decision inner peace. viewpoint -although some ofArjuna's visions Boundless love andfulling in love. It is could be considered aesthetic -portraying these not important whether an average starry night is personages' aesthetic awe was certainly not the genuinely perceived as magnificent by a person primary intent of the two sources' anonymous falling in love or whether one craftily embellishes it authors. (and then perhaps begins to believe it), in order to It is an empirical question, but it would prod one's partner into responding romantically: seem that most present-day readers of the two A starry-night-cum-love idyll is likely to have accounts would experience neither awe nor played a part in the personal history of every reader aesthetic awe. They might, however, be moved of this paper. and experience chills. Natasha Rostova. In Lyov Tolstoy's Being Moved by Reading about BeeMoved (1 869/193 1, pp. 387-388) War andpeace, there Until this point, the experiencer's states is a famous moonlight-cum-love scene involving of aesthetic awe and of being moved were the teenage Countess Natasha Rostova and Prince discussed as responses to real events -to the Andrey Bolkonsky, which is instructive from the real-world sublime and aesthetic stimuli. However, standpoints of both the author's various intentions especially in an article on aesthetic issues, it would and the reader's likely reactions. not do to neglect people's highly relevant responses Natasha is falling in love with Andrey. Late to the described and acted-out events in the worlds at night, she gazes at the moon and says to Sonya, within legends. novels, plays, operas. her teenage companion, ". ..almost with tears in Whereas books and reading them are her voice.. , 'Do you know such an exquisite night obviously real, the events in them are either real, has never, never been before."' Sonya is but described or depicted, or entirely fictional. The unimpressed by the moonlit garden scene and wants experiencer as the direct witness is replaced by to sleep. Andrey, nearby, can "hear the rustle of the reader who is presented with the results of the her garments and even her breathing" but "dare[s] author's interpretive lens. Even more interestingly, not stir for fear of betraying his unintentional the story may describe a character experiencing presence." Natasha continues to Sonya: "' . ..do aesthetic awe and being moved: What does the look. what a moon!. . . One has only to squat on reader feel (other than admiration for the great one heels like this -see -and to hold to one's writing)? The implications of the reader's one- or knees - as tight. as tight as one can - give a even two-step removal from the aesthetic stimulus great spring and one would fly away.'.. (such as, for example, when characters are So, Tolstoy apparently thinks, via Sonya's described as responding to film scenes within fictional behavior, that the beauty of the moonlight novels or actors emotionally respond to plays and starry night in the real world is not sufficient by itself to induce aesthetic awe or being moved The narrator/protagonist is listing sublime or thrills - the states which Natasha is ob-iectsand experiencing anticipatory aesthetic unequivocally described as experiencing, but only awe. The reader does not himself feel aesthetic with the big help from her headlong falling in love. awe, especially because the objects are not even Nor does empathy with her friend in the throes of described. He is, however. being inexorably drawn aesthetic awe move sleepy Sonya. Nor does into the story by the familiarity of the sublime Tolstoy say anything about Andrey's being moved objects and by rooting for the narrator in his quest; -for Andrey, an impeccable gentleman, is too this development (as in music) increases the embarrassed and too scared of being discovered likelihood of subsequently being moved (see to have the mental luxury of being moved. Footnote 1). There is also an element of suspense, On the other hand, the reader (perhaps of a certain unease that something untoward might like Tolstoy himselfwhile writing this short scene) soon happen in the story: The reader is safe, but is moved and gets thrills and a lump in the throat the protagonist -and the author! -are not. from "listening'" to Natasha as she creates aesthetic Indeed the protagonist has a bicycle awe out of average moonlight and true love. accident, for which there is no one and nothing to However, the reader, in the terminology of this blame (except for an aubergine lying in the street), paper, does not experience aesthetic awe. and in a split of a second. his life is changed forever, The sublime, aesthetic awe, and fate. for he is left paralyzed below the waist. In his short story Fate (1991/2001) the To this the adequately primed reader contemporary Chinese writer Jin Shui intuitively, responds with being deeply moved and with chills. and without mentioning any aesthetic issues, It is clear that the reader's reaction is caused largely explores the nature of the sublime, of aesthetic awe, by the magnitude of the protagonist's loss, the and of being moved. There are three key sequential reader's identification with the narrator, and the elements in the story: (a) a mention ofmagnificent consequent empathy. But even though the primary man-made and natural wonders that are located stimulus for the reader is not aesthetic, her empathy worldwide; (b) the narrator's intense anticipation with the protagonist is enabled, in large part, by of seeing them; and (e) a fateful event that forever the latter's response of anticipated awe to the precludes the narrator from fulfilling his dream. sublime objects the reader knows about. has The story is explicitly autobiographical and herself experienced, or would very much want to written in the firtperson. Because cruel fate affects experience. a real person. and moreover one who speaks to The sublime, aesthetic awe, and guilt. the reader directly from the world of the story, the Sigmund Freud saw the Acropolis for the first time reader's empathy is more likely. when he was amature man. at 48 years of age, in A young mainland-Chineseman is riding 1904, but never forgot the aesthetic awe he on his bicycle in his home town, happy because experienced on the occasion. In a letter to Remain he would soon realize his dream of going abroad Rolland in 1936, when Freud was 80 and Rolland to study (he is one of "the chosen"). 70, Freud described a complex state that one can "An ordinary summer night. I whistled a describe as being deeply moved by finally reaching tune. The world is very large. I think I'll go to visit something that had been so grandiose as to appear the Grand Canyon in Arizona on one of my out of reach. vacations and Niagara Falls on another. If I live Writing about this letter, Zbigniew Herbert very frugally, maybe I can also visit the Great (2003), a Polish critic, comments that in reading it fymidof Cheops, St. Mark's Cathedral, Mount he experienced the state of being moved in part Fuji" (p. 24). because, in his own case, when he was confronted by the sublime works of man or nature, he always felt guilt concerning the people dear to him who situationsthat produce the fundamental emotions, could not be present to share his aesthetic awe. and those that produce chills, both cause blood- The guilt, sense of loss, separation from friends, flow changes in the same general areas of the brain, and an evocation of past grieving to which Herbert does not necessarily mean that the respective alludes, may be important for the chills/thrills phenomenological experiences and evolutionary response. implications are the same in the two cases. Thrills The writer of the present paper recalls his sometimes accompany the fundamental emotions, first glimpse of the Acropolis and the Parthenon at but far more frequently occur in their absence. eleven years of age: Aesthetic awe at this In the present approach, thrills are magnificent object, within reach, but so high, considered to be the most frequent response to splendid, and mighty -and the sense of wonder aesthetic stimuli. In response to the sublime, thrills and being moved, accompanied by the thrills - always occur together with aesthetic awe and being all to be remembered forever; and, unlike Freud moved. Additionally, it is assumed that most and Herbert, no sense of regret or guilt - the occurrences of being moved are also accompanied blessing of childhood and immaturity. by chills; the exceptions consist of the relatively rare people who have a lower threshold for Thrills or Chills experiencing (or admitting to) being moved than for experiencing (or admitting to) thrills (Konecni, These terms (see Footnote 2) refer to the 1995-2004). Music with certain structural archaic physiological response of short duration elements (Brown & Konecni, 2004; Sloboda, to aesthetic (and other) stimuli: Piloerection on the 199I), but devoid of personal associations and back of the neck; shivers down the spine that can heard in an ordinary space, is a frequent cause of spread to arms and other parts of the body; chills -without the deeper aesthetic responses sometimes a lump in the throat or even tears. The being present. Finally, there are the horror and tear- state can be reported by the experiencing person jerker movies, in which a person also does not with a high degree of reliability; also, chills can be experience either aesthetic awe or being moved, objectively measured in terms of skin conductivity but only chills or tears. The superficiality of these (Blood & Zatorre, 2001 ;Panksepp, 1998). Since responses from an aesthetic point of view, despite Goldstein's 1980) pioneering study, there has been their appeal to some, is demonstrated by the ease a considerable amount of controlled laboratory with which the experiencer can terminate the work on this phenomenon, especially in response response. to music (e.g., Brown & Konecni, 2004; Konecni, It should be noted that all the aesthetic 1995-2004; Panksepp, 1995; Sloboda, 1991; responses, especially being moved and thrills, Waterman, 1996). require that the experiencer attends closely to the Goldstein (1980) has shown that the relevant stimuli. The paper does not deal with incidence of thrills in response to music can be "background music" (in the broad sense). reduced by drugs that are opiate receptor antagonists, such as naloxone. In addition, Music as a Special Case sophisticated scanning techniques, such as positron emission tomography have been used to monitor Certain psychophysical attributes of spatial the cerebral blood flow, during the experience of stimulus arrays (cf Berlyne, 197I), including vast thrills, in the ventral striaturn, the midbrain, and the size and appealing proportions, contribute to their amy$ala that are also involved in the fundamental sublime quality and capacity to induce aesthetic emotions (Blood & Zatorre, 2001). However, it awe. The question, from the standpoint of the is important to stress that just because the stimulus present approach, is whether music can be sublime and which of its features make it able to move and associative web can also be activated by non- touch the listeners. musical aesthetic and non-aesthetic stimuli, chills Research participants have reported (e.g., are here regarded as far more frequent and KoneCni, 1995-2004; Panksepp, 1995: Sloboda, predictable -archaic, but shallow -than the 1991) that various structural features of music, state of being moved. including crescendos, unusual harmonies, dissonant Finally, can music be sublime? Can it chords, high-pitched solo vocals, guitar "riffs." induce aesthetic awe - a state that is more sudden changes in dynamics, and fast tempo on profound, exhilarating, and elevating than are those percussion instruments. among others, can cause of being moved and experiencing thrills. but them to experience thrills. Surprise and incongruity includes them? In the present view, to be sublime, (Berlyne, 1971), a violation of expectations music must be "colossal." and this status it can (Meyer, 1956), and traditional melodies that are achieve only by being performed in vast typically described as bbbeautiful"(cf. Gurney, architectural spaces that have not only excellent 1880) may also cause chills. acoustic qualities, but arc also of extraordinary However, these structural-temporal beauty. Perhaps the prototypical examples of this, (harmonic, melodic, modal, dynamic, and timbre- and, not surprisingly also the ones with the longest based), and lower-level cognitive. effects are not, tradition of performance of music of the highest in the present view, sufficient to make music caliber, are European mediaeval cathedrals and touching. One often experiences thrills while churches. In them one can encounter a truly listening to music without being moved. In addition, sublime combination of vast space and soaring one can analytically, without being moved. in the music, in addition to various stimuli that can tradition of Eduard Hanslick's dictum "the beautiful produce a wealth of personal associations is and remains beautiful though it arouse[sJ no (including those classically conditioned since emotion whatever" (1 854/1957; cf. Stravinsky, childhood), so that the result can be the "aesthetic 1936). admire the score or the gift and skill ofthc trinity" of awe, being moved, and experiencing composer and performers -as if the sonic stimulus thrills (see Footnote 3). were a chess or mathematical problem. Furthermore, the possi bili ty that music and Implications emotional experience have similar temporal patterns (Gurney, 1880; Langer, 19421, and that Aesthetic and Musical "Emotions" a listener of (even non- "program") music can The nomenclature that has been proposed therefore decipher that it is attempting to evoke or in this paper can perhaps replace the unsystematic, depict an emotional state, does not necessarily imprecise, and sometimes casual references to the move the listener. Being moved is a serious matter aesthetic and musical "emotions,'" with which the and it cannot be cheaply induced. literature is replete, and lead to a conceptual re- Buttressed by research (Konecni, 1995- orientation and methodological improvements. 2004) that has demonstrated enormous individual In the belief system and parlance of many differences. the present contention is that what a Sue Doe and music and art teacher, music and makes a piece of music moving for a particular art induce fundamental emotions in the listener and listener is her personal associative context. The viewer. Such folk views are often echoed by the phenomenological experience of being moved may musicological position that music directly causes be similar, but the associative web that is interposed emotions (e.g.. most chapters in the Juslin and between the sound and the state of being touched Sloboda. 200 1. edited volume: Budd, 1985, p. is unique to each person (cf. Budd, 1985, p. 53; 3 1) and the call for "aesthetic emotions" and Gurney, 1880). And even though this personal "musical emotions" that is returned by the titles of articles published in majorjournals (eg., Keltner Doornen. 1997; Witvliet & Vrana, 1996) have & Haidt, 2003; Kmmhansl, 1997). actually produced rather ambiguous results, yet are The conceptual, methodological, and readily overinterpreted in secondary sources. In terminological problems in the literature, as seen general, music has been too uncritically regarded from the present position, fall in several related as a link between cognition and emotion (e.g., categories (these issues are further pursued in Gaver & Mandler, 1987; Krumhansl, 2002). papers by Brown & Konecni, 2004, and Konecni 5. With the notable exception of the 2004a, 2004b): research by Vaitl, Vehrs, and Sternagel(1993) on 1. A confusion is introduced by many 27 listeners' responses to Wagner's operas at investigators, both conceptually and Bayreuth, the special situations in which music can methodologically, and for both research subjects become sublime are not considered by the papers and readers of articles, between the "emotions" in that claim a causal effect of music on emotion. In the music (which is non-sentient and can only fact, most research studies are set up in such a depict or evoke emotions) and the induced way- in terms of the choice of musical materials, subjective state of the listener (e.g., Kmmhansl, research locations, duration of listening, and other 1998; Sloboda & Lehman, 200 1). methodological details -that even being moved 2. The casual use of the plural in "aesthetic is most unlikely to be experienced by the or musical emotions" suggests that authors participants. What one gets in most studies, at best, frequently ignore the biological significance of the are thrills -and verbal ratings of the music. emotions (cf. Budd, 1985). After all, every It would seem that most researchers are language possesses, for multiple extraneous keen listeners to music and that they have reasons, literally hundreds of labels for things repeatedly experienced aesthetic awe, the state "emotional" - and these labels some authors of being moved, and chills in their private lives. misapply to internal states. However, these profound personal responses to 3. The terms for the emotions that are music, and presumably to other arts, have generally produced by interacting with human beings inrnajor not inspired research that could adequately explore life situationsare too readily used for the effects of them. It is hoped that this essay is a useful step music. Debatable theoretical assumptions about toward rectifying the current research and emotions translate into debatable methods. theoretical trends. Research participants may, for example (Krumhansl, 1997), be asked to rate continuously The Aesthetic Trinity and the Artworld the "amount of sadness [or happiness or fear] they The classical and the modern: A experience" (p. 340) in response to six three- discontinuity. From a musical segment to Iguaqu minute musical excerpts that are "chosen to Falls, and from the droplets on a cobweb below a represent" sadness, happiness, and fear (two leaf in the lower reaches of Mt. Fuji to a Rothko each). In 18 minutes, the subjects are thus implicitly manifold or the Great Wall of China -crumbling

- and highly unrealistically - expected to and reduced to a third of its original size (Xinhud experience two episodes each of the fundamental Reuters, 2004) -aesthetic stimuli, man-made and emotions of sadness, happiness, and fear (in a natural, have been analyzed and thought about by mixed order) and respond during these episodes generations of artists, critics, and both philosophical continuously on a "sadness" (or "happiness" or and empirical aestheticians. "fear") scale. When the evidence is examined, a sharp 4. The few experiments that claim to have discontinuity with the ancient and the classical is demonstrated a causal effect of music on emotion observed in the art of the 20th-century, especially (Krumhansl, 1997; Nyklicek, Thayer, & Van in Europe and America (areas of massive and influential art production), such that many pretense in 20th-century art has had quite real approaches in many art forms -serial and aleatory human and economic costs. music, DADA, postmodern dance. conceptual, To give a pre-postmodern example, "bluff.," and "decay" art, "anti-illusionist" theatre, Bertolt Brecht proved to be too masterful a visual and "nonsense" poetry, to mention just a dramatist to be able to prevent the audiences at few without regard to chronology - have his "epic" (presumably anti-Stanislavskian and systematically severed the link with the ancient and anti-bourgeois)Berlin stagings of Mother Courage classical approaches. In so doing, they have from Aristotelian cathartic sobbing (Konecni, eliminated the sublime:Aesthetic awe and being 991), but another way of viewing his approach moved have become unacceptable responses to is that the entire "distancing" (Veyfremdu~)idea which public art must not cater (see Footnote 4). and the associated removal of empathy The rejection of the sublime and the moving (Einjzihhg) were simply politically expedient. can be labeled "destructive deconstruction." This Note that this disingenuousness of Brecht's art-political agenda has had considerable economic (perhaps itself insincere -which adds another and social costs and detrimental implications for twist, one that was used also by Picasso, and rather how public art is done and financed worldwide. common in 20th-century art) had an immeasurable Aesthetics and politics. In large part, social cost incurred by the explicit support of the especially in the last third of the 20th century, world-famous Berliner Ensemble for the highly destructive deconstruction has been vigorously repressive German Democratic Republic (DDR). promoted by the new art hyper-elite, the highly As an apparent counter-example, it could politicized museum curators and international be claimed that Christo's running fences, wrapped festival directors, with the connivance of islands and coastlines, curtained-off canyons. governmental art bureaucrats. All have striven to thousands of blue and yellow umbrellas dispersed eliminate classical art, treating it as a weapon of simultaneously on hillsides in two countries, and oppression that had been wielded by the dead (and wrapped classical bridges, genuinely inspire half-dead), white (and off-white), (mostly) aesthetic awe and move - yet seem to be the heterosexual, exploitativemales. crystallization of postmodernism. However, the The present position is that these curators point is that they induce aesthetic awe despite their and the postmodern artists shaped by them have tongue-in-cheek ephemerality and. especially, not attacked the exploitative. wasteful, and despite the equally tongue-in-cheek process of militaristic oppressors, but rather the primordial (pseudo-)democratic and ecologically-conscious core of the human aesthetic-emotional response negotiation with the local authorities (among whom -that is, the perceptual, cognitive, and, especially, have been the Paris cZochards and the Marin emotional apparatus that our species uses to deal County, California. farmers) that is supposedly a with the sublime and the deeply moving. crucial part of Christo's works. One's response For this reason, the prediction of this essay to them is aesthetic awe in part because the is that postmodernism (broadly defined) will fail emphatically ephemeral attribute of the works is and that it would have failed even if its political so stunninglyjuxtaposed with their sublime quality. objectives were just and equitable. It remains an open question whether the Although it is true that magnificent art politically-correct blather that surrounds Christo's inspires aesthetic awe and moves deeply regardless works analogously contributes to their impact by of its stated deconstructive intentions, the layers its triviality being juxtaposed with the works' of nonsense that are introduced for selfish or monumentality: Is it necessary to be oblivious to political reasons do not come cheap. The political hype in order to experience aesthetic awe? < d It is instructive to contrast Christo's widely accessible is eminently more just and sublime ephemera with those that can be thought altruistic than is the metaphorical and literal of as the hallmark of recent postmodernism. cultivation of termites for the purpose of namely, the rapidly reproducing examples of demonstrating how allegedly rotten the ancient "decay art." In them one observes an sublime house is. economically, aesthetically, and olphactorily foul This is not the occasion to discuss the paradox of the obscenely expensive, cutting-edge bread part ofpanem et circenses, nor is it possible scientific procedures being used by museums to here to suggest how decency and equity should preserve and restore what, in its original state, be brought into the cynical Roman formula; but shrilly (though disingenuously) insisted on being the sublime is the deadly enemy of the circus as a sticky, messy, and rotting -ephemeral (cf Barnes, crass and violent entertainment. Education that 2003). encourages the quest for aesthetic awe would be This is a joke in the Duchamp tradition, a welcome part of a political agenda that is devoted but one that would offend the grand bluff-master's to a constructiverole of aesthetics in contemporary sense of clarity and order (observed in his excellent life. chess-playing), as well as his purity (the urinal and bicycle wheel were reputedly spotless). One has here a pseudo-progression of the '"new" -but it Footnotes is a costly exercise that is radically dissociated from 1. It is important to re-emphasize that this the tradition that leads back to the ancient sublime. natural/man-made distinction is not a sharp one. Art consumption and altruism. One For example, Mount Fuji is a dead volcano, but might wonder about the broader layers of sensitive also. as "Mount Fuji," it is a symbolic achievement art consumers and their private and genuine, as of the human spirit and this essay's author was opposed to the public and scared, reaction to the acutely aware, while climbing it to the summit from new curatorial dogma. Such people are likely to Fuji Sengen-jinja (a famous Shinto shrine in Fuji- be over-represented among those who, when Yoshida at the volcano's base), of the countless experiencing aesthetic awe, guiltily regard generations of awe- and aesthetic-awe-struck themselves as privileged and "chosen." monks and priests who preceded him and built To convert into aesthetic altruism the temples and shrines along the paths. The author's guilty component of the elitism that has been here aesthetic awe and thrills at the summit were not a hypothesized as an ingredient of aesthetic awe - "mountain high," but in part caused by the sense perhaps experienced precisely by those who most of being privileged to follow in the footsteps of genuinely seek the sublime in art and nature - prior generations of monks in adistant land. seems as a socially responsible alternative to 2. Panksepp (1995,1998, pp. 278-279) destructive deconstruction. One should strive for has argued for the music-induced thrills to be a serious philanthropy with global ambitions that regarded as reflecting the activation of our "ancient would be devoted to financing the contemporary separation-distress response systems," on the creation of the "new old sublime art -in parallel grounds that his data show that "sad music" is a with the conservation of the existing natural and more powerful inducer of chills than "happy music," man-made wonders - as a post-postmodern, and that women -presumably the primary care- enlightened, version of noblesse oblige. givers and thus more attuned than men to distress It might be argued that the project of calls -are differentially more responsive to "sad destructive deconstruction seeks social justice by music" than men. In addition, because his data dismantling the sublime. The contention here, show that women, unlike men, prefer the term however, is that the goal of making the sublime "chills" to "thrills," Panksepp himself prefers the former term. However, there are indications that References these generalizationsmay be limited to Panksepp's subject samples in Ohio. Because of the mixed Barnes, B. (2003). When art of decay decays. results obtained in the present author's laboratory what's a curator to do? Aging dung, regarding these matters (Koneeni, 1995-2004), blood and food give conservators fits. and the fact that Goldstein's (1 980) early paper The Wall Street Journal, October 28, used "thrills" in the title, the terms "thrills'" and p. I. "chills" are used interchangeably in the present Berlyne. D. E. (1 97 1 ). Aesthetics and paper. psvchobiology. New York: Appleton- 3. As just two personal examples (in which Century-Crofts. unique associative and semiotic elements, in Blood, A. J., & Zatorre, R, J. (2001). 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