Confusion and interest: The role of knowledge emotions in aesthetic experience.

By Paul J Silvia. 2010

225 citations recorded by the source corpus.

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

View Paper: https://www.semanticscholar.org/paper/ea968a4dd4d94132164b403551457002e84c32f5

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Citations in the corpus

Interesting things and curious people: Exploration and engagement as transient states and enduring strengths. (2009, background): “To date, this line of work has found strong evidence for the roles of novelty–complexity and comprehension in the experience of interest: each appraisal significantly and independently predicts interest (Silvia, 2008a, 2009; Turner & Silvia, 2006).”
The Two Dimensions of Motivation and a Reciprocal Model of the Creative Process (2013, background): “Research on emotions such as confusion (Silvia, 2010), anger and disgust (Silvia & Brown, 2007), and fear (Eskine, Kacinik, & Prinz, 2012) has supported the conclusion that viewers experience both positive and negative emotions, with different appraisal structures, in response to art.”
Openness to experience and awe in response to nature and music: Personality and profound aesthetic experiences. (2015, background): “…with interest, surprise, and confusion—that share the core feature of involving appraisals of one’s own knowledge, such as whether something violates one’s mental model of the world and whether one has the ability to understand what is happening (Keltner & Shiota, 2003; Silvia, 2009, 2010).”
Revisiting the Conceptualization, Measurement, and Generation of Interest (2011, methodology): “Following the work of Berlyne (1960) and focusing specially on perceptual appraisal in the arts, Silvia (2006, 2010) argued that interest is generated by collative variables such as novelty, unfamiliarity and complexity.”
Awe Enhances Creative Thinking: An Experimental Study (2018, background): “Regarding this latter aspect, most scholars conceived this emotion as one of the mechanisms at the base of human knowledge (i.e., Shiota et al., 2007; Silvia 2010).”
The Role of Epistemic Emotions in Personal Epistemology and Self-Regulated Learning (2018, background): “Although D’Mello and Graesser (2012) focus primarily on confusion, frustration, and boredom, others have focused on curiosity (Litman, 2005; Silvia, 2010), surprise (Foster & Keane, 2015), joy and anxiety (Chevrier, Muis, Trevors, Pekrun, & Sinatra, 2015; D’Mello & Graesser, 2011; Muis, Pekrun, et a”
Understanding Difficulties and Resulting Confusion in Learning: An Integrative Review (2018, background): “While confusion is common in educational practice and learning research, generally speaking, it has been poorly defined and understood in the educational literature (Silvia, 2010).”
Next steps in neuroaesthetics: Which processes and processing stages to study? (2013, background): “In a study in which he systematically varied the novelty and comprehensibility of artworks (Silvia, 2010), he also demonstrated the strengths of his approach: he showed that confusion, similarly to interest, is the result of specific classifications along those two dimensions, and that appraisal the”
Interested Experts, Confused Novices: Art Expertise and the Knowledge Emotions (2013, background): “The results replicated recent work (Silvia, 2010; Silvia & Berg, 2011) and supported the appraisal space in Figure 1.”