Aesthetic emotions

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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.

Contents

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. [1] 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). [2] 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 layman 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.

See also

Related Research Articles

Emotion Conscious subjective experience of humans

Emotions are mental states brought on by neurophysiological changes, variously associated with thoughts, feelings, behavioural responses, and a degree of pleasure or displeasure. There is currently no scientific consensus on a definition. Emotions are often intertwined with mood, temperament, personality, disposition, or creativity.

Suspension of disbelief, sometimes called willing suspension of disbelief, is the intentional avoidance of critical thinking or logic in examining something unreal or impossible in reality, such as a work of speculative fiction, in order to believe it for the sake of enjoyment. Aristotle first explored the idea of the concept in its relation to the principles of theater; the audience ignores the unreality of fiction in order to experience catharsis.

Experience refers to conscious events in general, more specifically to perceptions, or to the practical knowledge and familiarity that is produced by these conscious processes. Understood as a conscious event in the widest sense, experience involves a subject to which various items are presented. In this sense, seeing a yellow bird on a branch presents the subject with the objects "bird" and "branch", the relation between them and the property "yellow". Unreal items may be included as well, which happens when experiencing hallucinations or dreams. When understood in a more restricted sense, only sensory consciousness counts as experience. In this sense, experience is usually identified with perception and contrasted with other types of conscious events, like thinking or imagining. In a slightly different sense, experience refers not to the conscious events themselves but to the practical knowledge and familiarity they produce. In this sense, it is important that direct perceptual contact with the external world is the source of knowledge. So an experienced hiker is someone who actually lived through many hikes, not someone who merely read many books about hiking. This is associated both with recurrent past acquaintance and the abilities learned through them.

The Theory of Moral Sentiments is a 1759 book by Adam Smith. It provided the ethical, philosophical, psychological, and methodological underpinnings to Smith's later works, including The Wealth of Nations (1776), Essays on Philosophical Subjects (1795), and Lectures on Justice, Police, Revenue, and Arms (1763).

Arousal is the physiological and psychological state of being awoken or of sense organs stimulated to a point of perception. It involves activation of the ascending reticular activating system (ARAS) in the brain, which mediates wakefulness, the autonomic nervous system, and the endocrine system, leading to increased heart rate and blood pressure and a condition of sensory alertness, desire, mobility, and readiness to respond.

Absolute music is music that is not explicitly "about" anything; in contrast to program music, it is non-representational. The idea of absolute music developed at the end of the 18th century in the writings of authors of early German Romanticism, such as Wilhelm Heinrich Wackenroder, Ludwig Tieck and E. T. A. Hoffmann but the term was not coined until 1846 where it was first used by Richard Wagner in a programme to Beethoven's Ninth Symphony.

Aesthetics of music

Aesthetics of music is a branch of philosophy that deals with the nature of art, beauty and taste in music, and with the creation or appreciation of beauty in music. In the pre-modern tradition, the aesthetics of music or musical aesthetics explored the mathematical and cosmological dimensions of rhythmic and harmonic organization. In the eighteenth century, focus shifted to the experience of hearing music, and thus to questions about its beauty and human enjoyment of music. The origin of this philosophic shift is sometimes attributed to Baumgarten in the 18th century, followed by Kant.

Emotional reasoning

Emotional reasoning is a cognitive process by which an individual concludes that their emotional reaction proves something is true, despite contrary empirical evidence. Emotional reasoning creates an 'emotional truth', which may be in direct conflict with the inverse 'perceptional truth'. It can create feelings of anxiety, fear, and apprehension in existing stressful situations, and as such, is often associated with or triggered by panic disorder or anxiety disorder. For example, even though a spouse has shown only devotion, a person using emotional reasoning might conclude, "I know my spouse is being unfaithful because I feel jealous."

This is a history of aesthetics.

Persuasive writing intends to convince readers to believe in an idea or opinion and to do an action. Many writings such as criticisms, reviews, reaction papers, editorials, proposals, advertisements, and brochures use different ways of persuasion to influence readers. Persuasive writing can also be used in indoctrination.

Imagination Creative ability

Imagination is the ability to produce and simulate novel objects, sensations, and ideas in the mind without any immediate input of the senses. Stefan Szczelkun characterises it as the forming of experiences in one's mind, which can be re-creations of past experiences, such as vivid memories with imagined changes, or completely invented and possibly fantastic scenes. Imagination helps make knowledge applicable in solving problems and is fundamental to integrating experience and the learning process. As an approach to build theory, it is called "disciplined imagination". A basic training for imagination is listening to storytelling (narrative), in which the exactness of the chosen words is the fundamental factor to "evoke worlds".

Philosophy of music is the study of "fundamental questions about the nature of music and our experience of it". The philosophical study of music has many connections with philosophical questions in metaphysics and aesthetics. The expression was born in the 19th century and has been used especially as the name of a discipline since the 1980s.

Intuition (Bergson)

Intuition is the philosophical method of French philosopher Henri Bergson.

Frisson Psychophysiological response to rewarding auditory or visual stimuli

Frisson, also known as aesthetic chills or musical chills is a psychophysiological response to rewarding auditory and/or visual stimuli that often induces a pleasurable or otherwise positively-valenced affective state and transient paresthesia, sometimes along with piloerection and mydriasis. The sensation commonly occurs as a mildly to moderately pleasurable emotional response to music with skin tingling; piloerection and pupil dilation not necessarily occurring in all cases.

Kendall Walton

Kendall Lewis Walton is an American philosopher, the Emeritus Charles Stevenson Collegiate Professor of Philosophy and Professor of Art and Design at the University of Michigan. His work mainly deals with theoretical questions about the arts and issues of philosophy of mind, metaphysics, and philosophy of language. His book Mimesis as Make Believe: On the Foundations of the Representational Arts develops a theory of make-believe and uses it to understand the nature and varieties of representation in the arts. He has also developed an account of photography as transparent, defending the idea that we see through photographs, much as we see through telescopes or mirrors, and written extensively on pictorial representation, fiction and the emotions, the ontological status of fictional entities, the aesthetics of music, metaphor, and aesthetic value.

Emotion classification Contrast of one emotion from another

Emotion classification, the means by which one may distinguish or contrast one emotion from another, is a contested issue in emotion research and in affective science. Researchers have approached the classification of emotions from one of two fundamental viewpoints:

  1. that emotions are discrete and fundamentally different constructs
  2. that emotions can be characterized on a dimensional basis in groupings
Music and emotion

Research into music and emotion seeks to understand the psychological relationship between human affect and music. The field, a branch of music psychology, covers numerous areas of study, including the nature of emotional reactions to music, how characteristics of the listener may determine which emotions are felt, and which components of a musical composition or performance may elicit certain reactions. The research draws upon, and has significant implications for, such areas as philosophy, musicology, music therapy, music theory and aesthetics, as well as the acts of musical composition and of musical performance.

Paradox of fiction

The paradox of fiction, or the paradox of emotional response to fiction, is a philosophical dilemma that questions how people can experience strong emotions to fictional things. The primary question asked is the following: How are people moved by things which do not exist? The paradox draws upon a set of three premises that seem to be true prima facie but upon closer inspection produce a contradiction. Although the ontology of fictional things in general has been discussed in philosophy since Plato, the paradox was first suggested by Colin Radford and Michael Weston in their 1975 paper How Can We Be Moved by the Fate of Anna Karenina?. Since Radford and Weston's original paper, they and others have continued the discussion by giving the problem slightly differing formulations and solutions.

In psychology of art, the relationship between art and emotion has newly been the subject of extensive study thanks to the intervention of esteemed art historian Alexander Nemerov. Emotional or aesthetic responses to art have previously been viewed as basic stimulus response, but new theories and research have suggested that these experiences are more complex and able to be studied experimentally. Emotional responses are often regarded as the keystone to experiencing art, and the creation of an emotional experience has been argued as the purpose of artistic expression. Research has shown that the neurological underpinnings of perceiving art differ from those used in standard object recognition. Instead, brain regions involved in the experience of emotion and goal setting show activation when viewing art.

Aesthetic illusion is a type of mental absorption which describes a generally pleasurable cognitive state that is frequently triggered by various media or other artifacts. Recipients can be drawn into a represented world imaginatively, emotionally or, to some extent, rationally and experience the world, the characters and the story in a lifelike way. The emergence of aesthetic illusion depends heavily on an authored vision provided by a (media) artifact. Thus, different recipients can be expected to share similar imaginative experiences, which stands in contrast to more recipient-centered illusionist experiences like hallucinations, dreams, daydreams and delusions. Aesthetic illusion (immersion) is always counterbalanced by a rational awareness of the recipient of the difference between the "real" and the "imagined". In other words, aesthetic illusion is a double-layered phenomenon in which recipients constantly fluctuate between their "virtual" body on the level of immersion and their "real" body on the level of rational awareness and distance.

References

  1. Aesthetic emotions | Swiss Center for Affective Sciences Archived January 13, 2009, at the Wayback Machine
  2. Tamar Szabó Gendler (2000). The Puzzle of Imaginative Resistance. Journal of Philosophy 97 (2):55-81

Further reading