The effects of valence‐based and discrete emotional states on aesthetic response

There is increasing recognition that consumer aesthetics—the responses of consumers to the aesthetic or appearance aspects of products—has become an important area of marketing in recent years. Consumer aesthetic responses to a product are a source of pleasure for the consumer. Previous research into the aesthetic responses to products has often emphasized exterior factors and visual design, but studies have seldom considered the psychological aesthetic experience of consumers, and in particular their emotional state. This study attempts to bridge this gap by examining the link between consumers’ emotions and their aesthetic response to a product. Thus, the major goal of this study was to determine how valence‐based and discrete emotional states influence choice. In Studies 1 and 2, positive and negative emotions were manipulated to implement two different induction techniques and explore the effect of emotions on participants’ choices in two separate experiments. The results of both experiments confirmed the predictions, indicating that aesthetic responses and purchase intention are functions of emotional valence, such that both are stronger for people in a positive emotional state than for those in a negative emotional state. Study 2 also used a neutral affective state to establish the robustness of this observed effect of incidental affect. The results of Study 3 demonstrate that aesthetic response and purchase intention are not only a function of affect valence, but also are affected by the certainty appraisal associated with specific affective states. This research, therefore, contributes to the literature by offering empirical evidence that incidental affect is a determinant of aesthetic response.     

The neural, evolutionary, developmental, and bodily basis of metaphor

We propose that there are four fundamental kinds of metaphor that are uniquely mapped onto specific brain “networks” and present preliterate (i.e., evolutionary, including before the appearance of written language in the historical record), prelinguistic (i.e., developmental, before the appearance of speech in human development), and extralinguistic (i.e., neuropsychological, cognitive) evidence supportive of this view. We contend that these basic metaphors are largely nonconceptual and entail (a) perceptual-perceptual, (b) cross-modal, (c) movement-movement, and (d) perceptual-affective mappings that, at least, in the initial stages of processing may operate largely outside of conscious awareness. In opposition to our basic metaphor theory (B_mT), the standard theory (S_mT) maintains that metaphor is a conceptual mapping from some base domain to some target domain and/or represents class-inclusion (categorical) assertions. The S_mT captures aspects of secondary or conceptual metaphoric relations but not primary or basic metaphoric relations in our view. We believe our theory (B_mT) explains more about how people actually recognize or create metaphoric associations across disparate domains of experience partly because they are “pre-wired” to make these links.     

On the aesthetic potential of sports and physical education

Even though there is a general presence of aesthetics in school curricula in most of western countries, both at the level of terminology and at the level of choice and definition of contents, objectives and skills to be developed, the approach to sports and physical education potential for the development of aesthetic education of students still does not seem to be a reality in the agenda of this subject. Moreover, it is not transversal in terms of its different didactic contents. In order to explore its relevance, the aim of this work was to deepen how aesthetics is internal and central to sports experience, and which elements of sports and physical education lived experiences can be relevant in the promotion and development of the aesthetic sensibility of students. We propose the deepening of the subject through an hermeneutical qualitative research approach, confronting the content collected in 19 semi-structured interviews that enabled the thematic analysis of its content, and through it, the discussion of viewpoints of representative subjects among those that are the main players in the consideration of an aesthetic education through sport, namely physical education teachers and researchers in the context of aesthetics and sports sciences. With the information gathered and after its processing, we could conclude that there are aesthetic elements of sport's experience that should be taken into account in an aesthetic educational point of view of physical education, namely: complexity, diversity, playability, tension between drama and accuracy, overcoming experience, risk and vulnerability, unpredictable storylines and uncertainty, technique and effectiveness.     

The functional role of emotions in aesthetic judgment

Exploring emotions, in terms of their evolutionary origin; their basic neurobiological substratum, and their functional significance in autonomous agents, we propose a model of minimal functionality of emotions. Our aim is to provide a naturalized explanation - mostly based on an interactivist model of emergent representation and appraisal theory of emotions - concerning basic aesthetic emotions in the formation of aesthetic judgment. We suggest two processes the Cognitive Variables Subsystem (CVS) which is fundamental for the accomplishment of the function of heuristic learning; and Aesthetic Appraisal Subsystem (AAS) which primarily affects the elicitation of aesthetic emotional meanings. These two subsystems (CVS and AAS) are organizationally connected and affect the action readiness of the autonomous agent. More specifically, we consider the emotional outcome of these two subsystems as a functional indication that strengthens or weakens the anticipation for the resolution of the dynamic uncertainty that emerges in the particular interaction.     

Viewing artworks: Contributions of cognitive control and perceptual facilitation to aesthetic experience

When we view visual images in everyday life, our perception is oriented toward object identification. In contrast, when viewing visual images as artworks, we also tend to experience subjective reactions to their stylistic and structural properties. This experiment sought to determine how cognitive control and perceptual facilitation contribute to aesthetic perception along with the experience of emotion. Using functional MRI, we show that aesthetic perception activated bilateral insula which we attribute to the experience of emotion. Moreover, while adopting the aesthetic orientation activated the left lateral prefrontal cortex, paintings that facilitated visuospatial exploration activated the left superior parietal lobule. The results suggest that aesthetic experience is a function of the interaction between top-down orienting of attention and bottom-up perceptual facilitation.     

Strategies of control,aggression, and morality in preschoolers: an evolutionary perspective

Moral reasoning, moral affect, social problem solving skills, and social preferences were assessed in 163 ethnically mixed preschoolers (2.86-5.95 years). Participants were rated by their teachers on prosocial and coercive strategies of control, success at resource control, and aggression (overt and relational). Based on their employment of coercive and prosocial strategies of resource control, the children were categorized as bistrategic controllers, coercive controllers, prosocial controllers, noncontrollers, or typicals. Teacher-rated relational aggression was positively associated with moral maturity in girls. Bistrategic controllers, although aggressive, were morally mature and preferred play partners by their peers. The results are discussed in terms of hypotheses that arise from evolutionary theory which suggests that highly effective resource controllers would be simultaneously aggressive and yet well aware of moral norms. The findings are contrasted with alternative hypotheses that might arise variously from traditional and prevailing approaches.     

The role of primordial emotions in the evolutionary origin of consciousness

Primordial emotions are the subjective element of the instincts which are the genetically programmed behaviour patterns which contrive homeostasis. They include thirst, hunger for air, hunger for food, pain and hunger for specific minerals etc.There are two constituents of a primordial emotion—the specific sensation which when severe may be imperious, and the compelling intention for gratification by a consummatory act. They may dominate the stream of consciousness, and can have plenipotentiary power over behaviour.It is hypothesized that early in animal evolution complex reflex mechanisms in the basal brain subserving homeostatic responses, in concert with elements of the reticular activating system subserving arousal, melded functionally with regions embodied in the progressive rostral development of the telencephalon. This included the emergent limbic and paralimbic areas, and the insula. This phylogenetically ancient organization subserved the origin of consciousness as the primordial emotion, which signalled that the organisms existence was immediately threatened. Neuroimaging confirms major activations in regions of the basal brain during primordial emotions in humans. The behaviour of decorticate humans and animals is discussed in relation to the possible existence of primitive awareness.Neuroimaging of the primordial emotions reveals that rapid gratification of intention by a consummatory act such as ingestion causes precipitate decline of both the initiating sensation and the intention. There is contemporaneous rapid disappearance of particular regions of brain activation which suggests they may be part of the jointly sufficient and severally necessary activations and deactivations which correlate with consciousness [Crick, F. & Koch, C. (2003). A framework for consciousness. Nature Neuroscience, 6, 119–126].     

Creative production by angry people peaks early on, decreases over time, and is relatively unstructured

Anecdotes and introspective reports from eminent scientists and artists aside, a systematic test of the putative creativity-enhancing effect of anger is missing. This article fills this void with three experiments examining creativity as a function of anger (vs. sad or a mood-neutral control state). Combining insights from the literatures on creativity and on mood and information processing the authors predicted that anger (vs. sadness and a mood-neutral control state) triggers a less systematic and structured approach to the creativity task, and leads to initially higher levels of creativity (as manifested in original ideation and creative insights). Following work on resource depletion, the authors further predicted that anger more than sadness depletes resources and that, therefore, creative performance should decline over time more for angry than for sad people. Results supported predictions. Implications for creativity, information processing, and resource depletion are discussed.     

<Emphasis Type="Italic">Special Topic:</Emphasis> Confucian and Christian Conceptions of Creativity

In this article the concept of God as creativity (rather than as “the Creator”) is explored. Though creativity is a profound mystery to us humans, it is a plausible concept today because of its interconnectedness with the belief that our cosmos is evolutionary: new orders of reality come into being in the course of time. Three modalities of creativity are explored here: the initial coming into being of the universe (the Big Bang); the creativity manifest in evolutionary processes; the human creation of culture. It is suggested that this creativity itself should be thought of as God: God is creativity. Thus God-talk is given a referent that is specifiable in terms of today’s understandings of the world and the human. God remains a profound mystery here, but one with a significant place in our modern understanding of the world and human life. This article includes text and ideas taken from my book, In the beginning…Creativity (Kaufman 2004).     

Personality and creativity in realistic,investigative, artistic,social, and enterprising college majors

Despite much research on how interests are related to personality and creativity, comparatively little work has focused on how different college majors as categorized by the RIASEC model compare on these constructs. In this study, 3295 college students (207 Realistic, 1945 Investigative, 447 Artistic, 480 Social, and 216 Enterprising) completed a five-factor personality measure, a brief self-report of creativity, and the Compound Remote Associates Task (CRAT). Investigative and Artistic majors scored higher on openness and self-assessed creativity than Realistic and Social majors, and Investigative majors were much more agreeable than other majors.     

Gender difference in emotional reactions and sexual coercion in casual sexual relations: An evolutionary perspective

This study tested four predictions derived from (evolutionary) sexual conflict theory. The central hypothesis was that men and women possess different emotional mechanisms that motivate and evaluate sexual activities. Women’s mechanisms are associated with their perception of partners’ ability and willingness to invest. For men these associations are weaker or inverse. Regression analyses of survey data from 194 college students revealed the following. As incidence of casual sexual relations increased (SOI Behavior), men reported less concern about partners’ intentions and less Worry–Vulnerability in response to casual sexual relations than women did; these gender interactions were significant. Regular sexual relations with partners with whom they did not desire emotional involvement showed the same pattern of gender differences. The Sexual Experiences Survey (SES) measured the incidence of sexual coercion in casual sexual relations. For women, but not for men, SOI Behavior was associated with all levels of sexual coercion. Limitations and implications are discussed.     

Of snakes and faces: An evolutionary perspective on the psychology of fear

Snakes and faces are unique stimuli because they are deeply grounded in evolutionarily shaped behavior systems. Snakes are the prototypical stimulus in a predatory defense system promoting escape from predators, which prepares primates for efficient processing, attentional priority, and rapid fear acquisition to snakes and other stimuli related to predation. The social submissiveness system plays a similar role on the social arena by promoting yielding to dominant individuals without jeopardizing the protection of the group. Supporting these theoretical propositions, empirical data from a research program spanning four decades demonstrate enhanced fear conditioning to snakes and threatening faces compared to neutral stimuli, as well as fast nonconscious processing of, and prioritized attention to, snakes and threatening faces. Human brain‐imaging data show that these effects are mediated by an extensive fear‐network centering on the amygdala.     

Creativity,Society, and the Hidden Subtext of Gender: Toward a New Contextualized Approach

Conventional categories of creativity are being deconstructed after the so-called postmodern debate. This article takes this process deeper, to what we will show is the hidden subtext of gender underlying how creativity has been socially constructed. It also proposes a more contextualized approach to creativity that takes into account both its individual and social dimensions and how this relates to what Eisler (1987) has called a partnership rather than dominator model of society.     

An evolutionary look at oddity and schizotypy: How the rise of social brain informs clinical practice

A prominent facet of schizotypy is the recurrence of odd cognitions, emotions, and behaviors. This paper aims to present an evolutionary interpretation of oddity as a risk-minimizing and uniqueness-maximizing strategy for facing the complexity of our hyper-affiliative species. I discuss this hypothesis by exploring the intertwined role of social safety and social cognition in preventing or triggering psychopathology. Since schizotypy is reputed to be a polygenic dimension, its underlying genes are likely involved in both adaptive and maladaptive traits. Consequently, the oddity is presented as both an evolutionary trade-off and a possible advantage in the rise of our complex social brain. The clinical implications of conceptualizing schizotypy and supporting those struggling with maladaptive forms of oddity are discussed.     

Neurobiological foundations of aesthetics and art

A theory of the neurobiological foundations of aesthetics and art is described. This has its roots in emotion, in which what is pleasant or unpleasant, a reward or punisher, is the result of an evolutionary process in which genes define the (pleasant or unpleasant) goals for action. To this is added the operation of the reasoning, syntactic, brain system which evolved to help solve difficult, multistep, problems, and the use of which is encouraged by pleasant feelings when elegant, simple, and hence aesthetic solutions are found that are advantageous because they are parsimonious, and follow Occam's Razor. The combination of these two systems, and the interactions between them, provide an approach to understanding aesthetics that is rooted in evolution and its effects on brain design and function.     

Dimensional schizotypy,autism, and unusual word associations in artists and scientists

Studies from a range of perspectives provide evidence for a relationship between creativity and the tendency to mental illness. The present study further examined this issue by administering questionnaires measuring the minor features of psychosis and autism to 31 professional “artists” (visual artists and musicians) and 28 professional “scientists” (biological scientists and physical scientists/mathematicians). The Oxford–Liverpool Inventory of Feelings and Experiences (O–LIFE), the Hypomanic Personality Scale, and the Autism-Spectrum Quotient (AQ), were administered, in addition to a shortened form of the Kent–Rosanoff Word Association Scale. The results provided strong support for the connection of artistic creativity to positive schizotypy and hypomania and the tendency to make unusual word associations, and somewhat weaker support for the connection of scientific creativity to certain components of the autism spectrum.     

A psychobiographical analysis of Brian Douglas Wilson: Creativity, drugs, and models of schizophrenic and affective disorders

The suggestion of a relationship between creativity and mental disorder has existed for centuries, and has been advocated by many psychological researchers. The present analysis offers a consideration of the nature of mental disorder present in Brian Wilson, an individual recognised as one of the most creative figures in 20th century popular music. Using converging biographical evidence, and the diagnostic program Opcrit, Wilson’s diagnosis is concluded to be schizoaffective. Employing details of his drug abuse, various models of schizoaffective spectra are examined, in particular a reconsideration of the LSD model of schizophrenia. The model is shown to be useful for positive schizophrenic symptoms including overinclusion, a potentially key element of creativity. In doing so, this psychobiographical analysis allows examination of potential relationships between mental disorder and creativity, the effects of various narcotics on creativity and various elements of mental disorder, the efficacy of various drug models of psychotic disorders, and the overlap between psychotic and affective disorders.     

Cantankerous creativity: Honesty-Humility, Agreeableness, and the HEXACO structure of creative achievement

Creativity research has suggested that creative people are low in agreeableness. To explore this issue, we applied the HEXACO model of personality structure, which offers an expanded representation of interpersonal traits, particularly a distinction between Honesty-Humility and Agreeableness. A sample of 1304 adults completed the HEXACO-60 and several measures of creative achievement and activities. Latent variable models found that Agreeableness had no relationship with creativity, but Honesty-Humility did: people lower in Honesty-Humility had higher creativity scores, consistent with past work on arrogance and pretentiousness among creative people.