Cognitive Appraisals and Interest in Visual Art: Exploring an Appraisal Theory of Aesthetic Emotions

By Paul J Silvia. 2005

210 citations recorded by the source corpus.

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

View Paper: https://www.semanticscholar.org/paper/f3679aff69bc4858afbde05fd350be66c5b92a46

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Citations in the corpus

Aesthetic package design: A behavioral, neural, and psychological investigation (2010, unknown): “Within these various research streams, aesthetics and related terms of aesthetic appreciation, experience, judgment, perception, and preference have been related to arousal (Berlyne, 1974), prototypicality (Martindale, 1988), and appraisals (Silvia, 2005).”
Faces of Product Pleasure: 25 Positive Emotions in Human-Product Interactions (2012, background): “Fascination creates the urge to explore, which is aimed at increasing knowledge of the target of interest (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).”
Interest—The Curious Emotion (2008, background): “In my research, I have suggested that interest comes from two appraisals (Silvia, 2005b; Silvia, 2006).”
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.”
Appraisal components and emotion traits: Examining the appraisal basis of trait curiosity (2008, methodology): “As in Experiment 1, three measures of trait curiosity were used.”
The perceptual fluency effect on pleasurable online shopping experience (2010, background): “Researchers have shown that high (as compared to low) perceptual fluency could induce higher aesthetic evaluations such as attractiveness or prettiness of stimuli (Martindale et al., 1990; Reber et al., 1998; Silvia, 2005) and affect (e.”
Interesting things and curious people: Exploration and engagement as transient states and enduring strengths. (2009, background): “Several experiments have manipulated variables that foster or impede comprehension, such as the presence of informative titles (Millis, 2001), clues about the text's broader meaning (Silvia, 2005b), or textual features such as concreteness and coherence (Sadoski, Goetz, & Rodriguez, 2000).”
Emotional Responses to Art: From Collation and Arousal to Cognition and Emotion (2005, methodology): “In arousal and drive models, motivational outcomes were “rewarding” or Th is d oc um en t i s c op yr ig ht ed b y th e A m er ic an P sy ch ol og ic al A ss oc ia tio n or o ne o f i ts a lli ed p ub lis he rs .”
The Appeal of Challenge in the Perception of Art: How Ambiguity, Solvability of Ambiguity, and the Opportunity for Insight Affect Appreciation (2015, methodology): “The appraisal approach to aesthetic emotions as proposed, for example, by Silvia (2005a) essentially defines aesthetic emotions as based on cognitive evaluations (that are expected to be, most often but not necessarily, unconscious and automatic).”
The inner speech of behavioral regulation: Intentions and task performance strengthen when you talk to yourself as a You (2014, background): “Events appraised as relevant are further evaluated (Silvia, 2005) and elicit positive attitudes such as interest and joy (Ellsworth & Smith, 1988; Kreibig, Gendolla, & Scherer, 2010).”
The Perception and Evaluation of Visual Art (2008, background): “A more nuanced approach to experimental aesthetics is that of appraisal theory (Silvia, 2005a, 2005b), which assumes that evaluations of events, rather than the events themselves, cause the emotional experience.”
Physiological Correlates of Aesthetic Perception of Artworks in a Museum (2012, background): “The latter research tradition has capitalized on top-down patterns found in artworks (Arnheim, 1954), on arousal aspects of aesthetic stimuli in a bottom-up "behaviorist" framework (Berlyne, 1960; Krupinski & Locher, 1988), or a cognitive-appraisal framework (Silvia, 2005).”
Are the sources of interest the same for everyone? Using multilevel mixture models to explore individual differences in appraisal structures (2009, methodology): “These pictures have been used in past research on interest and aesthetics (Silvia, 2005a, 2005b, 2006a, 2008a).”
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).”