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Geneva Emotion Wheel

The Geneva Emotion Wheel (GEW) is a semi-visual instrument to assess experienced emotions along the two major dimensions of control/power and valence to become ref: Official website of the Geneva Emotion Wheel [1] accessed 31 May 2015

Affect Valuation Index

[2]

Aesthetic emotions

Aesthetic emotions are emotions that are felt during aesthetic activity or appreciation. These emotions may be of the everyday variety (such as fear, wonder or sympathy) or may be specific to aesthetic contexts. Examples of the latter include the sublime, the beautiful, and the kitsch. In each of these respects, the emotion usually constitutes only a part of the overall aesthetic experience, but may play a more or less definitive function for that state.

Psychological perspectives

The psychologist Richard Lazarus argued that there are no special aesthetic emotions.^[1] Instead, he maintains that aesthetic emotions are the same emotions that we experience any situation. They only differ in that they arise in response to art. In contrast, Klaus Scherer has argued that aesthetic emotions differ from other emotions.^[2] He claims that goal relevance and coping potential are irrelevant for aesthetic emotions. The evidence for either view is mixed. Some studies suggest that negative emotions can be lower for images and films that are presented as fictional as opposed to real events or art.^[3]^[4]^[5] Two of these studies also find that positive emotions remain constant no matter whether the images are shown as art or facts.^[4]^[5] The opposite pattern was found when a different group of researchers showed disgusting images: Positivity ratings were higher when the images were sad to be art, but negativity ratings were unaffected.^[6] Whether an emotion is the same in an aesthetic and real-life context seems to depend on the specific kind of emotion and image.

The model of aesthetic appreciation of art suggested by Helmut Leder and Marcos Nadal views aesthetic emotions as one of two outcomes of processing art.^[7] The model describes aesthetic emotions as the result of emotional processing "that can consist of the feeling of uncertainty, surprise, pleasure and many other emotions that can be experienced in relation to art." This response is distinguished from the cognitive judgments about the artwork's quality (aesthetic judgment).

Types

Visual arts and film

The relation between aesthetic emotions and other emotions is traditionally said to rely on the disinterestedness of the aesthetic experience (see Kant especially). Aesthetic emotions do not motivate practical behaviours in the way that other emotions do (such as fear motivating avoidance behaviours).

The capacity of artworks to arouse emotions such as fear is a subject of philosophical and psychological research.^[8] It raises problems such as the paradox of fiction in which one responds with sometimes quite intense emotions to art, even whilst knowing that the scenario presented is fictional (see for instance the work of Kendall Walton). Another issue is the problem of imaginative resistance, which considers why we are able to imagine many far-fetched fictional truths but experience comparative difficulty imagining that different moral standards hold in a fictional world. This problem was first raised by David Hume, and was revived in current discussion by Richard Moran, Kendall Walton and Tamar Gendler (who introduced the term in its current usage in a 2000 article by the same name).^[9] Some forms of artwork seem to be dedicated to the arousal of particular emotions. For instance horror films seek to arouse feelings of fear or disgust; comedies seek to arouse amusement or happiness, tragedies seek to arouse sympathy or sadness, and melodramas try to arouse pity and empathy.

Music

In the philosophy of music, scholars have argued whether instrumental music such as symphonies are simply abstract arrangements and patterns of musical pitches ("absolute music"), or whether instrumental music depicts emotional tableaux and moods ("program music"). Despite the assertions of philosophers advocating the "absolute music" argument, the typical symphony-goer does interpret the notes and chords of the orchestra emotionally; the opening of a Romantic-era symphony, in which minor chords thunder over low bass notes is often interpreted by layperson listeners as an expression of sadness in music.

Also called "abstract music", absolute music is music that is not explicitly "about" anything, non-representational or non-objective. Absolute music has no references to stories or images or any other kind of extramusical idea. The aesthetic ideas underlying the absolute music debate relate to Kant's aesthetic disinterestedness from his Critique of Aesthetic Judgment, and has led to numerous arguments, including a war of words between Brahms and Wagner. In the 19th century, a group of early Romantics including Johann Wolfgang Goethe and E.T.A. Hoffmann gave rise to the idea of what can be labeled as spiritual absolutism. "Formalism" is the concept of ‘music for music’s sake’ and refers only to instrumental music without words. The 19th century music critic Eduard Hanslick argued that music could be enjoyed as pure sound and form, that it needed no connotation of extra-musical elements to warrant its existence.

References

^ Lazarus, Richard S. (1991). Emotion and Adaptation. Oxford University Press. ISBN 9780195069945.
^ Scherer, Klaus R. (2004-09-01). "Which Emotions Can be Induced by Music? What Are the Underlying Mechanisms? And How Can We Measure Them?". Journal of New Music Research. 33 (3): 239–251. doi:10.1080/0929821042000317822. ISSN 0929-8215.
^ Goldstein, Thalia R. (November 2009). "The pleasure of unadulterated sadness: Experiencing sorrow in fiction, nonfiction, and "in person."". Psychology of Aesthetics, Creativity, and the Arts. 3 (4): 232–237. doi:10.1037/a0015343. ISSN 1931-390X.
^ ^a ^b Mocaiber, Izabela; Perakakis, Pandelis; Pereira, Mirtes Garcia; Pinheiro, Walter Machado; Volchan, Eliane; de Oliveira, Letícia; Vila, Jaime (September 2011). "Stimulus appraisal modulates cardiac reactivity to briefly presented mutilation pictures". International Journal of Psychophysiology. PROCEEDINGS OF THE 15TH WORLD CONGRESS OF PSYCHOPHYSIOLOGY of the International Organization of Psychophysiology (I.O.P.) Budapest, Hungary September 1-4, 2010. 81 (3): 299–304. doi:10.1016/j.ijpsycho.2011.07.014.
^ ^a ^b Gerger, Gernot; Leder, Helmut; Kremer, Alexandra (September 2014). "Context effects on emotional and aesthetic evaluations of artworks and IAPS pictures". Acta Psychologica. 151: 174–183. doi:10.1016/j.actpsy.2014.06.008.
^ Wagner, Valentin; Menninghaus, Winfried; Hanich, Julian; Jacobsen, Thomas (May 2014). "Art schema effects on affective experience: The case of disgusting images". Psychology of Aesthetics, Creativity, and the Arts. 8 (2): 120–129. doi:10.1037/a0036126. ISSN 1931-390X.
^ Leder, Helmut; Nadal, Marcos (2014-11-01). "Ten years of a model of aesthetic appreciation and aesthetic judgments : The aesthetic episode – Developments and challenges in empirical aesthetics". British Journal of Psychology. 105 (4): 443–464. doi:10.1111/bjop.12084. ISSN 2044-8295.
^ Aesthetic emotions | Swiss Center for Affective Sciences Archived January 13, 2009, at the Wayback Machine
^ Tamar Szabó Gendler (2000). The Puzzle of Imaginative Resistance. Journal of Philosophy 97 (2):55-81

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