Artistic Training and Interest in Visual Art: Applying the Appraisal Model of Aesthetic Emotions

By Paul J Silvia. 2006

113 citations recorded by the source corpus.

Subfields: Cognitive Neuroscience, Social Psychology, Visual Arts and Performing Arts

View Paper: https://www.semanticscholar.org/paper/d8132fab175288aa78fdcbd25de23466288b6df4

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In Cognitive Neuroscience

In Social Psychology

In Visual Arts and Performing Arts

Citations in the corpus

Furious activity vs. understanding: How much expertise is needed to evaluate creative work? (2013, background): “Silvia (2006) compared novices to quasi-experts (people with some background and training in the arts).”
Are the sources of interest the same for everyone? Using multilevel mixture models to explore individual differences in appraisal structures (2009, methodology): “…on openness: people high in this family of traits prefer complex and unfamiliar stimuli, seek and enjoy novel experiences and intense sensations, tend to feel curious during daily life, and show stronger physiological responses to novelty (Kashdan, 2004; Kashdan & Steger, 2007; Silvia, 2006b, chap.”
Appraisal components and emotion traits: Examining the appraisal basis of trait curiosity (2008, methodology): “In an analogous study (Silvia, 2006a), experts and novices in the arts differed quantitatively in appraisals*experts found complex art more comprehensible and thus more interesting*but not qualitatively.”
Anger, disgust, and the negative aesthetic emotions: Expanding an appraisal model of aesthetic experience. (2007, background): “As a result, it is easy for appraisal theories to explain why people have different emotions to the same event (Roseman & Smith, 2001), why a person's emotional responses to the same event change over time, and why different traits, skills, and values can predict emotions (e.g., Silvia, 2006a).”
Interesting things and curious people: Exploration and engagement as transient states and enduring strengths. (2009, background): “The problem of how momentary experience and stable personality structures relate has been discussed since the earliest works in personality psychology (see Silvia, 2006b), and we cannot solve it here.”
Do People Prefer Curved Objects? Angularity, Expertise, and Aesthetic Preference (2009, background): “…interesting ways: relative to experts, novices prefer simple works (Axelsson, 2007; Hekkert & van Wieringen, 1996; Locher, Smith, & Smith, 2001; Silvia, 2006a), scan visual art for what it depicts rather than for its overall composition (Locher, 2006), and prefer representational art to…”
The Perception and Evaluation of Visual Art (2008, background): “Silvia (2006) similarly noted that although people high and low in training make the same emotional appraisals of art, they differ in their appraisals of what makes art interesting.”
On personality and piloerection: Individual differences in aesthetic chills and other unusual aesthetic experiences. (2011, background): “A large literature shows that expertise moderates many aesthetic processes, such as how people perceive, understand, evaluate, and experience art ( Hekkert & van Wieringen, 1996a, Hekkert & van Wieringen, 1996b; Locher, Smith, & Smith, 2001; Parsons, 1987; Silvia, 2006; Silvia & Berg, in press).”
Interested Experts, Confused Novices: Art Expertise and the Knowledge Emotions (2013, background): “To date, interest has been widely studied in empirical aesthetics (e.g., Silvia, 2005a, 2006a; Tsutsui & Ohmi, 2011), largely due to Berlyne’s (1971) groundbreaking work.”