Emotional Responses to Art: From Collation and Arousal to Cognition and Emotion

By Paul J Silvia. 2005

375 citations recorded by the source corpus.

Subfields: Cognitive Neuroscience, Experimental and Cognitive Psychology, Social Psychology

View Paper: https://www.semanticscholar.org/paper/839042fd0797c00d4f46360a15c4fe94d8fcdf00

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Citations in the corpus

A taste of Kandinsky: assessing the influence of the artistic visual presentation of food on the dining experience (2014, background): “It is reasonable to assume that since art involves, at least in part, the ability to communicate feelings and sensations [30,31], the art-inspired presentation of the food could have been an edible rendition of the message originally intended by Kandinsky on the canvas ‘Painting number 201’.”
Appraisal components and emotion traits: Examining the appraisal basis of trait curiosity (2008, methodology): “In an earlier study (Silvia, 2005a), interest’s appraisals predicted interest for 100% of the participants, and variability in the within-person slopes was unexplained by trait PA or NA.”
On personality and piloerection: Individual differences in aesthetic chills and other unusual aesthetic experiences. (2011, background): “The second strand, based in emotion psychology, studies discrete emotional states, such as enjoyment, interest, anger, and disgust ( Silvia, 2005, Silvia, 2009).”
Understanding Reading Anxiety: New Insights from Neuroscience (2010, background): “It is important to note that appraisal emotions are the result of the child’s perceptions of those interactions and events, not necessarily the interactions/events themselves ( Silvia 2005 ).”
Artistic Training and Interest in Visual Art: Applying the Appraisal Model of Aesthetic Emotions (2006, methodology): “In each experiment, participants completed measures of individual differences in a class of curiosity traits (sensation seeking, openness to experience, trait curiosity; see Silvia, 2005a).”
Different Strokes for Different Folks: How Individual Interest Moderates the Effects of Situational Factors on Task Interest. (2007, neutral): “In these studies, collative features, such as complexity, vividness, and novelty increased attention and arousal and led to higher interest ratings (Berlyne, 1963, 1970; Berlyne, Ogilvie, & Parham, 1968; Silvia, 2005).”
Discrete emotions predict changes in cognition, judgment, experience, behavior, and physiology: a meta-analysis of experimental emotion elicitations. (2011, methodology): “…be willing to engage in the fictional reality, and it is debatable whether emotions elicited by film viewing are similar to daily emotional experience (even the most devout horror buff would presumably not enjoy being chased by an axe-wielding maniac; e.g., Silvia, 2005; Walters, 1989).”
Aesthetic responses to music: A questionnaire study (2009, background): “A recent model introduced by Silvia (2005) emphasizes the close connection between aesthetic responses and emotions by referring to modern appraisal theories of emotions.”
Cognitive Fluency: High-Level Processing Dynamics in Art Appreciation (2010, methodology): “Similar to appraisal theories of emotions (e.g., Silvia, 2005; Scherer, 2003) the model directly links the affective evaluation of the stimulus target to the underlying cognitive processing dynamics.”
A self‐determination theory approach to understanding stress incursion and responses (2011, background): “Interest relates to exploration, intrinsic motivation and information seeking (Deci & Ryan, 1985a; Fredrickson, 1998; Izard & Ackerman, 2000; Sansone & Smith, 2000; Silvia, 2005; Tomkins, 1962), all of which refl ect a tendency towards expanding oneself and responding fl exibly to new situations.”
Exploring the Link Between Mind Wandering, Mindfulness, and Creativity: A Multidimensional Approach (2018, neutral): “Originality is strictly associated with the ability to feel and recognize intense new internal feelings that must be externalized, especially when associated with the artistic creative production (Silvia, 2005).”
Confusion and interest: The role of knowledge emotions in aesthetic experience. (2010, methodology): “Most of the pictures have been used in past research on interest (Silvia, 2005a, 2005c, 2006a, 2008a).”