scholarly journals Enjoy The Violence: Is appreciation for extreme music the result of cognitive control over the threat response system?

2019 ◽  
Author(s):  
Rosalie Ollivier ◽  
Louise Goupil ◽  
Marco Liuni ◽  
Jean-Julien Aucouturier
Keyword(s):  
Aesthetic Experience ◽  
Emotional Experience ◽  
Higher Order ◽  
Sensory Level ◽  
Cortical Circuits ◽  
Metal Music ◽  
Cortical Level ◽  
The Aesthetic ◽  
Musical Genres ◽  
Do So

AbstractTraditional neurobiological theories of musical emotions explain well why extreme music such as punk, hardcore or metal, whose vocal and instrumental characteristics share much similarity with acoustic threat signals, should evoke unpleasant feelings for a large proportion of listeners. Why it doesn’t for metal music fans, however, remains a theoretical challenge: metal fans may differ from non-fans in how they process acoustic threat signals at the sub-cortical level, showing deactivated or reconditioned responses that differ from controls. Alternatively, it is also possible that appreciation for metal depends on the inhibition by cortical circuits of a normal low-order response to auditory threat. In a series of three experiments, we show here that, at a sensory level, metal fans actually react equally negatively, equally fast and even more accurately to cues of auditory threat in vocal and instrumental contexts than non-fans. Conversely, cognitive load somewhat appears to reduce fans’ appreciation of metal to the level reported by non-fans. Taken together, these results are not compatible with the idea that extreme music lovers do so because of a different low-level response to threat, but rather, highlight a critical contribution of higher-order cognition to the aesthetic experience. These results are discussed in the light of recent higher-order theories of emotional consciousness, which we argue should be generalized to the emotional experience of music across musical genres.

scholarly journals Enjoy The Violence

2019 ◽  
Vol 37 (2) ◽  
pp. 95-110 ◽  
Author(s):  
Rosalie Ollivier ◽  
Louise Goupil ◽  
Marco Liuni ◽  
Jean-Julien Aucouturier
Keyword(s):  
Cognitive Processes ◽  
Aesthetic Experience ◽  
Sensory Response ◽  
Sensory Level ◽  
Potential Contribution ◽  
Cortical Circuits ◽  
Metal Music ◽  
Cortical Level ◽  
Limited Support ◽  
Do So

Traditional neurobiological theories of musical emotions explain well why extreme music such as punk, hardcore, or metal—whose vocal and instrumental characteristics share much similarity with acoustic threat signals—should evoke unpleasant feelings for a large proportion of listeners. Why it doesn't for metal music fans, however, is controversial: metal fans may differ from non-fans in how they process threat signals at the sub-cortical level, showing deactivated responses that differ from controls. Alternatively, appreciation for metal may depend on the inhibition by cortical circuits of a normal low-order response to auditory threat. In a series of three experiments, we show here that, at a sensory level, metal fans actually react equally negatively, equally fast, and even more accurately to cues of auditory threat in vocal and instrumental contexts than non-fans; conversely, we tested the hypothesis that cognitive load reduced fans' appreciation of metal to the level experienced by non-fans, but found only limited support that it was the case. Nevertheless, taken together, these results are not compatible with the idea that extreme music lovers do so because of a different sensory response to threat, and highlight a potential contribution of controlled cognitive processes in their aesthetic experience.

scholarly journals La fenomenología de la razón y la experiencia estética. Edmund Husserl y Vasily SesemanNN

2021 ◽  
pp. 129
Author(s):  
Dalius Yonkus
Keyword(s):  
Aesthetic Experience ◽  
Edmund Husserl ◽  
Necessary Conditions ◽  
Intentional Object ◽  
Phenomenological Reduction ◽  
Phenomenological Method ◽  
Aesthetic Perception ◽  
Aesthetic Object ◽  
The Aesthetic ◽  
Do So

La estética fenomenológica debería ser capaz de revelar cómo la estructura de cualquier objeto estético dado está conectada con la experiencia de ese objeto, así como demostrar las condiciones necesarias para la propia experiencia estética. Para hacerlo, hay que argumentar en contra de los supuestos unilaterales, como por ejemplo la suposición del objetivismo estético que postula la belleza como rasgo exclusivo de la realidad independiente del sujeto; o la creencia opuesta, que la belleza es esencial y únicamente la proyección del gusto subjetivo sobre las cosas en el mundo. Sesemann analiza el objeto estético y el acto estético, enfatizando su conexión. Esta conexión se refiere a lo que se describe en la fenomenología de Husserl como la correlación entre el objeto intencional y el acto intencional. Esta conexión puede ser descubierta sólo mediante el método fenomenológico: realizando la reducción fenomenológica. En este documento se explicará en primer lugar la percepción estética en la estética de Sesemann. Más adelante, se examina la concepción de la estructura del objeto estético en el contexto de la estética de Sesemann: la composición de los elementos, las sensaciones en relación con el significado, etc. Por último, el artículo sugiere que la estética de Sesemann se basa fundamentalmente en el método de la reducción fenomenológica.Phenomenological aesthetics should also be able to show how the structure of any given aesthetic object is connected with the experience of that object, as well as to demonstrate the necessary conditions for the aesthetic experience itself. In order to do so, one must argue against one-sided assumptions, such as the aesthetic objectivism’s supposition that beauty is exclusively the trait of reality not at all dependent on the subject’s experience of it; or its opposite belief that beauty is essentially and solely the projection of the subjective taste onto the things in the world. Sesemann analizes the aesthetic object and aesthetic act by emphasizing their connection. This connection relates to what is described in Husserls phenomenology as the correlation between the intentional object and the intentional act. This connection can be discovered only by using the phenomenological method: by doing phenomenological reduction. This paper will first explain the aesthetic perception in Sesemann‘s aesthetics. Later, it examine the conception of the aesthetic object‘s structure in Sesemann‘s aesthetic: composition of elements, sensations in connection with meaning; etc. Finally, the paper will argue that Sesemann‘s aesthetics is essentially based on the method of phenomenological reduction.

scholarly journals As beautiful inside, as it is outside: On the connection between beauty and morality in the Old English corpus

2019 ◽  
Vol 27 ◽  
pp. 205-221
Author(s):  
Francisco Javier Minaya Gómez
Keyword(s):  
Old English ◽  
Complete Analysis ◽  
Sensory Level ◽  
Anglo Saxon ◽  
Aesthetic Object ◽  
Cognitive Component ◽  
The Aesthetic ◽  
Do So

This paper aims to look into the link between the experience of beauty at a sensory level and its connection with more cognitive considerations in Anglo-Saxon England. To do so, I have carried out a complete analysis of the usage of the Old English adjective fæger, one of the main descriptors of beauty in the linguistic variety. Using the Dictionary of Old English Corpus, I have created a concordance and a database containing all its attested forms, which I have analysed following diverse sociolinguistic criteria. This analysis has proven that the evaluation of beauty as rendered by Old English fæger had a strong cognitive component, mainly related to the moral and spiritual virtues of the aesthetic object and often visually represented by an abundance of light. According to this analysis, the experience of beauty in Anglo-Saxon England constitutes a rare experience that in most cases, goes beyond the sensory and the purely physical.   El propósito de este artículo es investigar la conexión entre la experiencia de la belleza a un nivel sensorial y su conexión con aspectos más cognitivos en la Inglaterra anglosajona. Para ello, he llevado a cabo un análisis completo del uso del adjetivo fægerperteneciente al inglés antiguo, uno de los principales descriptores de belleza en la variedad lingüística. Usando el Dictionary of Old English Corpus, he creado una concordancia y una base de datos con sus distintas atestaciones, las cuales he analizado siguiendo diversos criterios sociolingüísticos. Este análisis ha demostrado que la evaluación de la belleza tal y como es descrita por fæger tenía un fuerte componente cognitivo, principalmente relacionado con las virtudes morales y espirituales del objeto que a menudo son representadas visualmente con una abundancia de luz. De acuerdo con este análisis, la experiencia de la belleza en la Inglaterra anglosajona constituía una experiencia poco frecuente que en la mayoría de casos traspasaba las barreras de lo sensorial y lo puramente físico.

scholarly journals The Art of Feeling Different: Measuring and Exploring the Diversity of Emotions Experienced During a Museum Visit

2021 ◽  
Author(s):  
Rebekah Rodriguez ◽  
Anna Fekete ◽  
Paul Silvia ◽  
Katherine N. Cotter
Keyword(s):  
Aesthetic Experience ◽  
Emotional Experience ◽  
Openness To Experience ◽  
Street Art ◽  
Aesthetic Experiences ◽  
The Arts ◽  
The Aesthetic ◽  
The Individual ◽  
First Time ◽  
Emotional Balance

The aesthetic experience of a collection of works—such as a sculpture garden, a neighborhood filled with street art, or an afternoon spent wandering in a museum—is not simply the sum of experiences of the individual works. In the present research, we explored visit-level aesthetic experiences in a field study of 298 visitors to a museum of modern and contemporary art. In particular, we focused on emotional diversity: the richness, complexity, and heterogeneity of the emotions that people experienced during their visit. After their visit, participants reported the degree to which they experienced, if at all, 10 emotions, for which we calculated diversity metrics reflecting their emotional variety (the number of emotions experienced) and emotional balance (the relative evenness between emotions or dominance of a single emotion) during the visit. Overall, the sample reported a rich aesthetic experience, but there was wide and predictable variability. Among other findings, emotional variety was higher for people with greater openness to experience and among first-time visitors to the museum; emotional balance was higher among people high in openness to experience and people with greater interest in art. The concept of diversity—the richness and complexity of someone’s emotional experience of the arts—appears promising for understanding holistic aesthetic experiences, such as entire museum visits rather than single works, as well as for many other questions in empirical aesthetics.

Aesthetic Conflict in the Couple

2014 ◽  
Vol 4 (1) ◽  
Author(s):  
Barbara Bianchini
Keyword(s):  
Aesthetic Experience ◽  
Human Life ◽  
Intimate Relationship ◽  
Couple Relationship ◽  
The Aesthetic ◽  
The Individual ◽  
Affective Ambivalence ◽  
Do So

At the basis of the union between two partners is the aesthetic turmoil that derives from the manifest beauty of the object, which is unknowable internally, and which arouses both love and hate simultaneously. The tension between love, hate, and knowledge stems from their apparent incompatibility. It is almost impossible to sustain this constellation of intense and contradictory emotional ties with the object; attempting to do so can prove unbearable. This is what Meltzer calls the aesthetic conflict, highlighting that the tragedy of the aesthetic experience lies not in its transience, but in the object's enigmatic quality. The inability to assimilate sufficiently the resulting affective ambivalence means exposing oneself to potentially overwhelming emotions. Trying to erase these emotions deprives one of the vital knowledge and motivation they bring. If, however, the ambiguity of the object is tolerated, the dread of uncertainty of the partner's intentions stimulates psychic growth and creativity, transforming it into compassion for the frailty of human life and all things. I believe that the experience of being in an intimate relationship can be the stage on which these aspects of the aesthetic conflict are played out—crucial aspects for the development of both the couple relationship and the individual. This paper examines and develops aspects of the aesthetic conflict within a couple relationship.

Feeling is Movement: Damasio's Neural Model of Dance Expression

2017 ◽  
Vol 35 (2) ◽  
pp. 258-273
Author(s):  
Susan Pashman
Keyword(s):  
Significant Contribution ◽  
Aesthetic Experience ◽  
Emotional Experience ◽  
Neural Model ◽  
The Aesthetic

This article deals with Antonio Damasio's significant contribution to clarifying the precise way expression works in dance. Damasio's neural model of consciousness, I believe, supplies the precision of terminology that allows aestheticians to link an observed object, the artwork, to the emotional experience of observing it. Damasio's ‘double’ notion of kinaesthesia provides a clear and useful way of distinguishing the neural aspects of the aesthetic experience from those best left to phenomenology.

scholarly journals Bodily Feelings and Aesthetic Experience of Art

2021 ◽  
Author(s):  
Lauri Nummenmaa ◽  
Riitta Hari
Keyword(s):  
Visual Art ◽  
Aesthetic Experience ◽  
Wide Spectrum ◽  
Emotional Experience ◽  
Subjective Feeling ◽  
Large Database ◽  
The World ◽  
Bodily Feelings ◽  
Bodily Sensations ◽  
The Aesthetic

Humans all around the world are drawn to creating and consuming art due to its capability to evoke emotions, but the mechanisms underlying art-evoked emotions remain poorly characterized. Here we show how embodiement contributes to emotions evoked by a large database of visual art pieces. In four experiments, we mapped the subjective feeling space of art-evoked emotions (n = 244), quantified “bodily fingerprints” of these emotions (n = 615), and recorded the subjects’ interest annotations (n = 306) and eye movements (n = 21) while viewing the art. We show that art evokes a wide spectrum of emotional feelings, and that the bodily fingerprints triggered by art are central to these feelings, especially in artworks where human figures are the subjectively most salient Altogether these results support the model that bodily sensations are central to the aesthetic emotional experience.

scholarly journals Aesthetic Experience and Creativity in Interactive Art

2021 ◽  
pp. 1-32
Author(s):  
Esma Betül Savaş ◽  
Thijs Verwijmeren ◽  
Rob van Lier
Keyword(s):  
Cognitive Flexibility ◽  
Creative Process ◽  
Emotional Response ◽  
Aesthetic Experience ◽  
Emotional Experience ◽  
Interactive Art ◽  
Network Analyses ◽  
The Spectator ◽  
The Aesthetic ◽  
The Way

Abstract Interactive art, which is art that relies on the participation of a spectator and in which the spectators enter the creative process, has changed the way people relate with artworks. An experiment was conducted in a laboratory with an interactive artwork (Temporal Perspectives by Doruk Kumkuoğlu and Sadettin Bilal Savaş, 2016) to investigate whether interactivity is a factor that plays a role in the aesthetic emotions and creativity of the spectator. The results indicated a significant increase in beauty, in response to interactive art. Partial correlational network analyses were conducted to further investigate the emotional experience of the artworks in both conditions. These analyses showed differences between the conditions in the emotional response to interactive art. However, cognitive flexibility of participants did not differ between conditions. The results indicate that interactivity should be taken into account as an element that affects the perception of art.

Schopenhauer and the Paradox of the Sublime

2020 ◽  
pp. 237-255
Author(s):  
Bart Vandenabeele
Keyword(s):  
Aesthetic Experience ◽  
Human Being ◽  
Aesthetic Object ◽  
Human Reason ◽  
The Sublime ◽  
The World ◽  
The Aesthetic

Schopenhauer explores the paradoxical nature of the aesthetic experience of the sublime in a richer way than his predecessors did by rightfully emphasizing the prominent role of the aesthetic object and the ultimately affirmative character of the pleasurable experience it offers. Unlike Kant, Schopenhauer’s doctrine of the sublime does not appeal to the superiority of human reason over nature but affirms the ultimately “superhuman” unity of the world, of which the human being is merely a puny fragment. The author focuses on Schopenhauer’s treatment of the experience of the sublime in nature and argues that Schopenhauer makes two distinct attempts to resolve the paradox of the sublime and that Schopenhauer’s second attempt, which has been neglected in the literature, establishes the sublime as a viable aesthetic concept with profound significance.

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