Article contents
Negative emotions in art reception: Refining theoretical assumptions and adding variables to the Distancing-Embracing model
Published online by Cambridge University Press: 29 November 2017
Abstract
While covering all commentaries, our response specifically focuses on the following issues: How can the hypothesis of emotional distancing (qua art framing) be compatible with stipulating high levels of felt negative emotions in art reception? Which concept of altogether pleasurable mixed emotions does our model involve? Can mechanisms of predictive coding, social sharing, and immersion enhance the power of our model?
- Type
- Authors' Response
- Information
- Copyright
- Copyright © Cambridge University Press 2017
References
- 6
- Cited by
Target article
The Distancing-Embracing model of the enjoyment of negative emotions in art reception
Related commentaries (32)
A social dimension to enjoyment of negative emotion in art reception
Art and fiction are signals with indeterminate truth values
Art as emotional exploration
Art enhances meaning by stimulating integrative complexity and aesthetic interest
Art reception as an interoceptive embodied predictive experience
Artistic misunderstandings: The emotional significance of historical learning in the arts
Being moved is a positive emotion, and emotions should not be equated with their vernacular labels
Boredom in art
Considering the filmmaker: Intensified continuity, narrative structure, and the Distancing-Embracing model
Context matters: How macroeconomic forces may alter the reception of negative emotions in art
Distancing, not embracing, the Distancing-Embracing model of art reception
Does art expertise facilitate distancing?
Embracing nonfiction: How to extend the Distancing-Embracing model
Emotional granularity and the musical enjoyment of sadness itself
Empathy as a guide for understanding the balancing of Distancing-Embracing with negative art
Explaining the enjoyment of negative emotions evoked by the arts: The need to consider empathy and other underlying mechanisms of emotion induction
Fiction as a bridge to action
Genre scripts and appreciation of negative emotion in the reception of film
Individual differences in embracing negatively valenced art: The roles of openness and sensation seeking
Live theatre as exception and test case for experiencing negative emotions in art
Orange is the new aesthetic
Parental response to baby cry involves brain circuits for negative emotion Distancing-Embracing
Positivity versus negativity is a matter of timing
Psychological models of art reception must be empirically grounded
Reconciling an underlying contradiction in the Distancing-Embracing model
The enjoyment of negative emotions in the experience of magic
The paradox of tragedy and emotional response to simulation
The urge to judge: Why the judgmental attitude has anything to do with the aesthetic enjoyment of negative emotions
Tuning in to art: A predictive processing account of negative emotion in art
What is art and how does it differ from aesthetics?
You are not alone – Social sharing as a necessary addition to the Embracing factor
“Negative emotions” live in stories, not in the hearts of readers who enjoy them
Author response
Negative emotions in art reception: Refining theoretical assumptions and adding variables to the Distancing-Embracing model