What incited your feelings of anger or stress? Were you already feeling stressed before this incident?

The items we had formulated to measure captivation did not form a single coherent scale. Therefore, we focused instead on fascination, an emotion that is central to theoretical accounts of aesthetic experience [ 24, 29, 30]. While we had originally included fascinated as a potential item to assess interest, our findings showed that fascination is more closely linked to being impressed and overwhelmed and is thus part of the prototypical aesthetic emotions. Another common trigger thought is feeling like something is causing you harm, even in a very general way. For example, being cut off in traffic, having computer issues, and constantly dropping calls on your cellphone happen frequently, but these incidents can carry real, negative consequences that create a worry of experiencing harm. That worry can trigger anger. However, such general emotion measures may not capture the full spectrum of emotions experienced in response to perceived aesthetic virtues of stimuli [ 16, 19, 58, 62]. Crucially, general models include far more negative emotions than positive ones. As a result, they may not offer a sufficiently nuanced basis to account for the great variety of positive aesthetic emotions. More recently, other authors have also suggested that people feel rather than know beauty (cf. [ 134]). In particular, following Kant, Armstrong and Detweiler-Bedell [ 135] argued that the feeling of beauty reflects the exhilarating “prospect of understanding something novel and particularly meaningful” (p. 305). Thus, they consider the feeling of beauty to be linked to a search for meaning (but to differ from interest and awe), rather than a merely pleasing emotion. Such positive aspects of nostalgia may also explain its prominence in marketing research (for an overview of studies on nostalgia and consumer behavior, see [ 199]), at least since the seminal articles of Belk [ 200], Havlena and Holak [ 201], and Holbrook and Schindler [ 202]. Researchers in this area have accorded nostalgic brands an important role in the self-regulation of mood, and, more specifically, mood repair [ 203]. Beyond immediate affect-regulatory functions, nostalgic products have been recognized as means to develop, sustain, and recreate consumers’ identities [ 199].The A esthemos offers several subscales that represent the spectrum of emotions that have been considered as prototypical aesthetic emotions [ 5, 7, 24, 28, 29, 114]. These include (1) feeling of beauty/liking, (2) fascination, (3) being moved, and (4) awe. These emotions capture aesthetic appreciation irrespective of the pleasingness (in terms of purely positive affective valence) of the aesthetic experience. Our project began with the question of which emotions need to be included in a domain-general measure of aesthetic emotions. To answer this question, we started with the Geneva measures of musical emotions (GEMS and GEMIAC; see Table 1). We then extended our search for aesthetic emotions to other art domains beyond music, and finally to aesthetically relevant domains beyond art. Based on a large selection of measures of aesthetic emotions and an integration of theoretical ideas and empirical findings on the range of aesthetic emotions, we arrived at a list of emotions to be included in a preliminary measure of aesthetic emotions. This list includes 24 emotion categories that allow for a highly differentiated characterization of the broader subclasses of aesthetic emotions discussed above. The prototypical aesthetic emotions are: (1) feeling of beauty, (2) liking/attraction, (3) captivation, (4) being moved, (5) awe, (6) enchantment/wonder, and (7) nostalgia/longing; the pleasing emotions are: (8) joy, (9) humor, (10) vitality/arousal, (11) energy, and (12) relaxation; the epistemic emotions are: (13) surprise, (14) interest, (15) intellectual challenge, and (16) insight; the negative emotions are: (17) feeling of ugliness, (18) disliking/displeasure, (19) boredom, (20) confusion, (21) anger, (22) uneasiness/fear, and (23) sadness; and the single self-forgetful emotion is: (24) flow/absorption. Next, we developed an item set based on the existing items reviewed in Table 1 and also our own expertise and understanding of aesthetic emotions. The German item set used in the present study, along with English translations and our a priori categorization, is presented in S1 Table. It should be noted that the measures listed in Table 1 are not limited to measures of subjectively felt emotions. Rather, we also included measures of emotions that are represented or expressed in the respective stimuli or of potential emotional effects that are attributed to the stimuli (e.g., when respondents rate whether a film is moving or music is joyful, without also reporting on whether they actually feel these emotions when watching the film or listening to the music). In several cases, the authors—and probably the participants as well—did not clearly distinguish between felt, expressed, and attributed emotions. Even where the distinction was explicitly made, consideration of expressed or attributed emotions is still informative, as these emotions may also be felt by recipients (see [ 36] on the possible types of relationships that may exist between perceived and induced emotions). That is, although emotions represented or expressed in a stimulus are not aesthetic emotions according to our description, they are still informative with regard to the aesthetic emotions that may be elicited by the stimulus in question. On the other hand, aesthetic emotions play an epistemic role in aesthetic judgment (see, e.g., [ 52]): a person’s felt appreciation of a stimulus serves as an indicator of its perceived aesthetic appeal. To be sure, aesthetic judgment can be influenced by any conceivable emotion. In fact, people’s aesthetic pleasure and resulting aesthetic judgment can be driven by and confused with aesthetically irrelevant factors (such as pleasure associated with status, conformity, or familiarity; cf. [ 52]). However, some emotions cannot reasonably be attributed to the form or content of the stimulus that is being aesthetically evaluated. For instance, emotions like envy and pride are not elicited by objects per se but rather by a person’s values and motivations when interacting with the surrounding social context. The label aesthetic emotion is typically limited to emotions that result from a stimulus’s form or content and thus provide input that is deemed relevant and appropriate for aesthetic judgment.

For me, after bottling up for a while, I release with anger. It’s not pretty, it’s not kind, and it doesn’t feel like I end up communicating what needed to be communicated to begin with. It is possible to explain the inclusion of enchantment together with energy and vitality in F7_4 in terms of animation. That is, energy, vitality, and enchantment all imply the feeling of spirit or energy, yet the energy source is different. Our energy subscale reflects being energized toward the attainment of an objective: The person is energized to perform some action. The energy source, thus, is the motivational pull from an activity or future prospect. Exercise may also have a preventive effect. A Yale study suggested that prolonged bouts of running before an upsetting experience may dampen the extremity of your emotional reaction. [4] X Trustworthy Source PubMed Central Journal archive from the U.S. National Institutes of Health Go to source I liked Fuccboi, and I’m interested in Conroe’s perspective on this, but why shouldn’t our anger be as unfocused and immoral as all of history has allowed men to have it? Maybe it’s not so schooled, maybe it’s not ‘good’. Maybe female rage isn’t something we can celebrate or think well of. The terms and definitions should not label you. So, if you’re not happy with the results, it’s A-Okay to curve them. There are celebrities and social media influencers out there who’re bending the boundaries of fashion. You could be one of them as well. Feel free to combine different styles, think out of the box, and be yourself. Follow these people on social media.Mindfulness meditation focuses on being completely present in the moment and being aware of and accepting your body’s experiences. This type of meditation is similar to the meditation you might do in a yoga class. The subclass of epistemic or knowledge emotions comprises emotions that have been connected to a search for meaning and insight, such as interest, curiosity, and surprise [ 5, 10, 153, 154]. Interest and curiosity arise from the novelty and complexity of an aesthetic stimulus and are independent of the pleasingness of the stimulus. Surprise is a more short-lived emotion of neutral valence that serves to orient people to unexpected events [ 132, 155, 156]. Surprise has been found to intensify other emotions such as interest and amusement as well as confusion and irritation in response to design objects [ 157]. Some brands are trying to change their customers’ personalities. They want to create loyal consumers—and that’s their #1 goal. So, it’s easier these days to fall for their slogans and form the idea of who you are based on what they suggest. The notion that aesthetic enjoyment requires cognitive involvement with the stimulus is particularly well represented in measures designed for narrative formats like literature or film. However, the respective intellectual challenges have mostly been considered to be cognitive rather than affective phenomena [ 86, 87, 158]. In contrast, challenge is among the positive task emotions in [ 81], and Storm and Storm [ 159] included challenged among the emotion terms related to cognitive states. The latter study categorized being challenged with other emotions that indicate determination and confidence. In light of empirical findings like these and theoretical arguments showing that the feeling of challenge or determination is a positive emotion that is separable from interest and surprise [ 155, 160, 161], it is reasonable to include intellectual challenge in an emotion measure. While the motivation for understanding has typically been associated with interest [ 155], we believe that a separate consideration of interest and cognitive challenge could be fruitful in studies of aesthetic emotions. Silvia [ 153] identified two central appraisals of interest, namely, novelty and comprehensibility. When people feel unable to potentially understand a novel stimulus, their interest fades away. However, interest does not depend on how much cognitive effort will be required to comprehend the stimulus. In contrast, the feeling of intellectual challenge is aroused in situations that present obstacles to understanding, and it is clear that great effort (the prototypical appraisal of challenge [ 155, 160]) will be required to find meaning in such a stimulus. The resulting feeling of challenge or determination thus might motivate greater efforts toward understanding than interest alone.

The study was conducted in full accordance with the World Medical Association’s Declaration of Helsinki and the Ethical Guidelines of the German Association of Psychologists (DGPs). Formal ethics approvals for the type of research reported in this paper are not required by these guidelines or by German laws. Moreover, by the time the data were acquired (2014), it was also customary at Freie Universität Berlin and at most other German universities not to seek ethics approvals for simple behavioral studies. The authors evaluated this study as not creating any harm or distress to the participants. Under this assumption—which, according to German law, is at the full discretion of the authors and for which they hence assume full responsibility—and in line with the above-mentioned rules and customary procedures, a formal ethics approval or waiver of such an approval was not required, and hence we did not request these.

Results

Finally, as intellectual challenge does not necessarily lead to insight, we considered it important to have a separate insight scale [ 143, 144]. The study by Hosoya and colleagues [ 183] further showed that people clearly distinguish between terms designating insight and terms designating intellectual challenge.