Neural processing of poems and songs is based on melodic properties.

The neural processing of speech and music is still a matter of debate. A long tradition that assumes shared processing capacities for the two domains contrasts with views that assume domain-specific processing. We here contribute to this topic by investigating, in a functional magnetic imaging (fMRI) study, ecologically valid stimuli that are identical in wording and differ only in that one group is typically spoken (or silently read), whereas the other is sung: poems and their respective musical settings. We focus on the melodic properties of spoken poems and their sung musical counterparts by looking at proportions of significant autocorrelations (PSA) based on pitch values extracted from their recordings. Following earlier studies, we assumed a bias of poem-processing towards the left and a bias for song-processing on the right hemisphere. Furthermore, PSA values of poems and songs were expected to explain variance in left- vs. right-temporal brain areas, while continuous liking ratings obtained in the scanner should modulate activity in the reward network. Overall, poem processing compared to song processing relied on left temporal regions, including the superior temporal gyrus, whereas song processing compared to poem processing recruited more right temporal areas, including Heschl's gyrus and the superior temporal gyrus. PSA values co-varied with activation in bilateral temporal regions for poems, and in right-dominant fronto-temporal regions for songs. Continuous liking ratings were correlated with activity in the default mode network for both poems and songs. The pattern of results suggests that the neural processing of poems and their musical settings is based on their melodic properties, supported by bilateral temporal auditory areas and an additional right fronto-temporal network known to be implicated in the processing of melodies in songs. These findings take a middle ground in providing evidence for specific processing circuits for speech and music in the left and right hemisphere, but simultaneously for shared processing of melodic aspects of both poems and their musical settings in the right temporal cortex. Thus, we demonstrate the neurobiological plausibility of assuming the importance of melodic properties in spoken and sung aesthetic language alike, along with the involvement of the default mode network in the aesthetic appreciation of these properties.

Full throttle: Demonstrating the speed, accuracy, and validity of a new method for continuous two-dimensional self-report and annotation.

Research on fine-grained dynamic psychological processes has increasingly come to rely on continuous self-report measures. Recent studies have extended continuous self-report methods to simultaneously collecting ratings on two dimensions of an experience. For all the variety of approaches, several limitations are inherent to most of them. First, current methods are primarily suited for bipolar, as opposed to unipolar, constructs. Second, respondents report on two dimensions using one hand, which may produce method driven error, including spurious relationships between the two dimensions. Third, two-dimensional reports have primarily been validated for consistency between reporters, rather than the predictive validity of idiosyncratic responses. In a series of tasks, the study reported here addressed these limitations by comparing a previously used method to a newly developed two-handed method, and by explicitly testing the validity of continuous two-dimensional responses. Results show that our new method is easier to use, faster, more accurate, with reduced method-driven dependence between the two dimensions, and preferred by participants. The validity of two-dimensional responding was also demonstrated in comparison to one-dimensional reporting, and in relation to post hoc ratings. Together, these findings suggest that our two-handed method for two-dimensional continuous ratings is a powerful and reliable tool for future research.

The eye tracks the aesthetic appeal of sentences.

Eye-tracking parameters (fixation and pupillary responses) have been shown to be modulated by the aesthetic perception and evaluation of visual and auditory artworks (e.g., paintings, music). The present study investigated whether similar effects can be found in visual text processing. Participants read four groups of short sentences in which a key predictor of aesthetic liking, i.e., familiarity, was systematically modified to four degrees. Across all four groups, the sentences moreover varied with regard to featuring or not featuring meter. During reading, pupil sizes and eye movements were recorded. Aesthetic ratings of all sentences were collected afterwards, and the relationships between the ratings, levels of familiarity, meter, and eye-tracking datasets were tested. The results showed that the rating scores were interactively modulated by both familiarity-driven and meter-driven fluency. Using factor analysis, we extracted two key factors of the aesthetic appeal of the texts: an affective and a cognitive factor. The cognitive factor comprised the rating items "succinctness" and "familiarity," whereas the affective factor reflected the ratings for "beauty" and "liking." A higher cognitive factor predicted shorter dwelling time. Moreover, the two factors modulated the pupillary data antagonistically: A higher affective factor predicted larger pupil dilations, whereas a higher cognitive factor predicted smaller pupil dilations. The study shows a possible application of the eye-tracking method for capturing aesthetically evaluative dimensions of processing sentences.

The Distancing-Embracing model of the enjoyment of negative emotions in art reception.

Why are negative emotions so central in art reception far beyond tragedy? Revisiting classical aesthetics in the light of recent psychological research, we present a novel model to explain this much discussed (apparent) paradox. We argue that negative emotions are an important resource for the arts in general, rather than a special license for exceptional art forms only. The underlying rationale is that negative emotions have been shown to be particularly powerful in securing attention, intense emotional involvement, and high memorability, and hence is precisely what artworks strive for. Two groups of processing mechanisms are identified that conjointly adopt the particular powers of negative emotions for art's purposes. The first group consists of psychological distancing mechanisms that are activated along with the cognitive schemata of art, representation, and fiction. These schemata imply personal safety and control over continuing or discontinuing exposure to artworks, thereby preventing negative emotions from becoming outright incompatible with expectations of enjoyment. This distancing sets the stage for a second group of processing components that allow art recipients to positively embrace the experiencing of negative emotions, thereby rendering art reception more intense, more interesting, more emotionally moving, more profound, and occasionally even more beautiful. These components include compositional interplays of positive and negative emotions, the effects of aesthetic virtues of using the media of (re)presentation (musical sound, words/language, color, shapes) on emotion perception, and meaning-making efforts. Moreover, our Distancing-Embracing model proposes that concomitant mixed emotions often help integrate negative emotions into altogether pleasurable trajectories.

Negative emotions in art reception: Refining theoretical assumptions and adding variables to the Distancing-Embracing model.

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?

Aesthetic appreciation of poetry correlates with ease of processing in event-related potentials.

Rhetorical theory suggests that rhythmic and metrical features of language substantially contribute to persuading, moving, and pleasing an audience. A potential explanation of these effects is offered by "cognitive fluency theory," which stipulates that recurring patterns (e.g., meter) enhance perceptual fluency and can lead to greater aesthetic appreciation. In this article, we explore these two assertions by investigating the effects of meter and rhyme in the reception of poetry by means of event-related brain potentials (ERPs). Participants listened to four versions of lyrical stanzas that varied in terms of meter and rhyme, and rated the stanzas for rhythmicity and aesthetic liking. The behavioral and ERP results were in accord with enhanced liking and rhythmicity ratings for metered and rhyming stanzas. The metered and rhyming stanzas elicited smaller N400/P600 ERP responses than their nonmetered, nonrhyming, or nonmetered and nonrhyming counterparts. In addition, the N400 and P600 effects for the lyrical stanzas correlated with aesthetic liking effects (metered-nonmetered), implying that modulation of the N400 and P600 has a direct bearing on the aesthetic appreciation of lyrical stanzas. We suggest that these effects are indicative of perceptual-fluency-enhanced aesthetic liking, as postulated by cognitive fluency theory.

Effects of empathic social responses on the emotions of the recipient.

Empathy is highly relevant for social behavior and can be verbally expressed by voicing sympathy and concern (emotional empathy) as well as by paraphrasing or stating that one can mentally reconstruct and understand another person's thoughts and feelings (cognitive empathy). In this study, we investigated the emotional effects and neural correlates of receiving empathic social responses after negative performance feedback and compared the effects of emotionally vs. cognitively empathic comments. 20 participants (10 male) underwent functional magnetic resonance imaging while receiving negative performance feedback for a cognitive task. Performance feedback was followed by verbal comments either expressing cognitive and emotional empathy or demonstrating a lack of empathy. Empathic comments in general led to less negative self-reported feelings and calmer breathing. At the neural level, empathic comments induced activity in regions associated with social cognition and emotion processing, specifically in right postcentral gyrus and left cerebellum (cognitively empathic comments), right precentral gyrus, the opercular part of left inferior frontal gyrus, and left middle temporal gyrus (emotionally empathic comments), as well as the orbital part of the left middle frontal gyrus and left superior parietal gyrus (emotionally empathic vs. unempathic comments). The study shows that cognitively and emotionally empathic comments appear to be processed in partially separable neural systems. Furthermore, confirming and expanding on another study on the same subject, the present results demonstrate that the social display of cognitive empathy exerts almost as positive effects on the recipient's feelings and emotions in states of distress as emotionally empathic response does. This can be relevant for professional settings in which strong negative emotions need to be de-escalated while maintaining professional impartiality, which may allow the display of cognitive but not emotional empathy.

Talking about social conflict in the MRI scanner: neural correlates of being empathized with.

This study investigated the emotional effects and neural correlates of being empathized with while speaking about a currently experienced real-life social conflict during fMRI. Specifically, we focused on the effects of cognitive empathy in the form of paraphrasing, a technique regularly used in conflict resolution. 22 participants underwent fMRI while being interviewed on their social conflict and receiving empathic or unempathic responses from the interviewer. Skin conductance response (SCR) and self-report ratings of feeling understood and emotional valence were used to assess emotional responses. Results confirm previous findings indicating that cognitive empathy exerts a positive short-term effect on emotions in social conflict, while at the same time increasing autonomic arousal reflected by SCR. Effects of paraphrasing and unempathic interventions as indicated by self-report ratings varied depending on self-esteem, pre-interview negative affect, and participants' empathy quotient. Empathic responses engaged a fronto-parietal network with activity in the right precentral gyrus (PrG), left middle frontal gyrus (MFG), left inferior parietal gyrus (IPG), and right postcentral gyrus (PoG). Processing unempathic responses involved a fronto-temporal network with clusters peaking in the left inferior frontal gyrus, pars triangularis (IFGTr), and right temporal pole (TP). A specific modeling of feeling misunderstood activated a network consisting of the IFG, left TP, left Heschl gyrus, IFGTr, and right precuneus, extending to several limbic regions, such as the insula, amygdala, putamen, and anterior cingulate cortex/right middle cingulum (ACC/MCC). The results support the effectiveness of a widely used conflict resolution technique, which may also be useful for professionals who regularly deal with and have to de-escalate situations highly charged with negative emotion, e.g. physicians or judges.

Parallelisms and deviations: two fundamentals of an aesthetics of poetic diction.

Poetic diction routinely involves two complementary classes of features: (i) parallelisms, i.e. repetitive patterns (rhyme, metre, alliteration, etc.) that enhance the predictability of upcoming words, and (ii) poetic deviations that challenge standard expectations/predictions regarding regular word form and order. The present study investigated how these two prediction-modulating fundamentals of poetic diction affect the cognitive processing and aesthetic evaluation of poems, humoristic couplets and proverbs. We developed quantitative measures of these two groups of text features. Across the three text genres, higher deviation scores reduced both comprehensibility and aesthetic liking whereas higher parallelism scores enhanced these. The positive effects of parallelism are significantly stronger than the concurrent negative effects of the features of deviation. These results are in accord with the hypothesis that art reception involves an interplay of prediction errors and prediction error minimization, with the latter paving the way for processing fluency and aesthetic liking. This article is part of the theme issue 'Art, aesthetics and predictive processing: theoretical and empirical perspectives'.

Admiration and adoration: their different ways of showing and shaping who we are.

Admiration and adoration have been considered as emotions with the power to change people, yet our knowledge of the specific nature and function of these emotions is quite limited. From an interdisciplinary perspective, we present a prototype approach to admiration and what has variously been labelled adoration, worship, or reverence. Both admiration and adoration contribute to the formation of personal and collective ideals, values, and identities, but their workings differ. We offer a detailed theoretical account of commonalities and differences in the appraisal patterns and action tendencies associated with the two emotions. This analysis reveals that admiration motivates the internalisation and emulation of ideals embodied by an outstanding role model. Adoration motivates adherence to the teachings and expectations of a meaning maker and benefactor perceived as superhuman or sacred. Thus, the primary function of admiration is to promote individual learning and change, whereas adoration primarily serves to bind communities together.

Ironic twists of sentence meaning can be signaled by forward move of prosodic stress.

Prosodic stresses are known to affect the meaning of utterances, but exactly how they do this is not known in many cases. We focus on the mechanisms underlying the meaning effects of ironic prosody (e.g., teasing or blaming through an ironic twist), which is frequently used in both personal and mass-media communication. To investigate ironic twists, we created 30 sentences that can be interpreted both ironically and nonironically, depending on the context. In Experiment 1, 14 of these sentences were identified as being most reliably understood in the two conditions. In Experiment 2, we recorded the 14 sentences spoken in both a literal and an ironic condition by 14 speakers, and the resulting 392 recorded sentences were acoustically analyzed. In Experiment 3, 20 listeners marked the acoustically prominent words, thus identifying perceived prosodic stresses. In Experiment 4, 53 participants rated how ironic they perceived the 392 recorded sentences to be. The combined analysis of irony ratings, acoustic features, and various prosodic stress characteristics revealed that ironic meaning is primarily signaled by a stress shift from the end of a sentence to an earlier position. This change in position might function as a "warning" cue for listeners to consider potential alternative meanings of the sentence. Thus, beyond giving individual words a stronger contrastive or emphatic role, the distribution of prosodic stresses can also prime opposite meanings for identical sentences, supporting the view that the dynamic aspect of prosody conveys important cues in human communication. (PsycInfo Database Record (c) 2023 APA, all rights reserved).

A 5-emotions stimuli set for emotion perception research with full-body dance movements.

Ekman famously contended that there are different channels of emotional expression (face, voice, body), and that emotion recognition ability confers an adaptive advantage to the individual. Yet, still today, much emotion perception research is focussed on emotion recognition from the face, and few validated emotionally expressive full-body stimuli sets are available. Based on research on emotional speech perception, we created a new, highly controlled full-body stimuli set. We used the same-sequence approach, and not emotional actions (e.g., jumping of joy, recoiling in fear): One professional dancer danced 30 sequences of (dance) movements five times each, expressing joy, anger, fear, sadness or a neutral state, one at each repetition. We outline the creation of a total of 150, 6-s-long such video stimuli, that show the dancer as a white silhouette on a black background. Ratings from 90 participants (emotion recognition, aesthetic judgment) showed that intended emotion was recognized above chance (chance: 20%; joy: 45%, anger: 48%, fear: 37%, sadness: 50%, neutral state: 51%), and that aesthetic judgment was sensitive to the intended emotion (beauty ratings: joy > anger > fear > neutral state, and sad > fear > neutral state). The stimuli set, normative values and code are available for download.

Lay conceptions of "being moved" ("bewegt sein") include a joyful and a sad type: Implications for theory and research.

Being moved has received increased attention in emotion psychology as a social emotion that fosters bonds between individuals and within communities. This increased attention, however, has also sparked debates about whether the term "being moved" refers to a single distinct profile of emotion components or rather to a range of different emotion profiles. We addressed this question by investigating lay conceptions of the emotion components (i.e., elicitors, cognitive appraisals, subjective feelings, bodily symptoms, and consequences for thought/action) of "bewegt sein" (the German term for "being moved"). Participants (N = 106) provided written descriptions of both a moving personal experience and their conceptual prototype of "being moved," which were subjected to content analysis to obtain quantitative data for statistical analyses. Based on latent class analyses, we identified two classes for both the personal experiences (joyfully-moved and sadly-moved classes) and the being-moved prototype (basic-description and extended-description classes). Being joyfully moved occurred when social values and positive relationship experiences were salient. Being sadly moved was elicited by predominantly negative relationship experiences and negatively salient social values. For both classes, the most frequently reported consequences for thought/action were continued cognitive engagement, finding meaning, and increased valuation of and striving for connectedness/prosociality. Basic descriptions of the prototype included "being moved" by positive or negative events as instances of the same emotion, with participants in the extended-description class also reporting joy and sadness as associated emotions. Based on our findings and additional theoretical considerations, we propose that the term "being moved" designates an emotion with an overall positive valence that typically includes blends of positively and negatively valenced emotion components, in which especially the weight of the negative components varies. The emotion's unifying core is that it involves feeling the importance of individuals, social entities, and abstract social values as sources of meaning in one's life.

Why and How Should Cognitive Science Care about Aesthetics?

Empirical aesthetics has found its way into mainstream cognitive science. Until now, most research has focused either on identifying the internal processes that underlie a perceiver's aesthetic experience or on identifying the stimulus features that lead to a specific type of aesthetic experience. To progress, empirical aesthetics must integrate these approaches into a unified paradigm that encourages researchers to think in terms of temporal dynamics and interactions between: (i) the stimulus and the perceiver; (ii) different systems within the perceiver; and (iii) different layers of the stimulus. At this critical moment, empirical aesthetics must also clearly identify and define its key concepts, sketch out its agenda, and specify its approach to grow into a coherent and distinct discipline.

Text type attribution modulates pre-stimulus alpha power in sentence reading.

Prior knowledge and context-specific expectations influence the perception of sensory events, e.g., speech, as well as complex higher-order cognitive operations like text reading. Here, we focused on pre-stimulus neural activity during sentence reading to examine text type-dependent attentional bias in anticipation of written stimuli, capitalizing on the functional relevance of brain oscillations in the alpha (8-12 Hz) frequency range. Two sex- and age-matched groups of participants (n = 24 each) read identical sentences on a screen at a fixed per-constituent presentation rate while their electroencephalogram was recorded; the groups were differentially instructed to read "sentences" (genre-neutral condition) or "verses from poems" (poetry condition). Relative alpha power (pre-cue vs. post-cue) in pre-stimulus time windows was greater in the poetry condition than in the genre-neutral condition. This finding constitutes initial evidence for genre-specific cognitive adjustments that precede processing proper, and potentially links current theories of discourse comprehension to current theories of brain function.

Dimensions and Clusters of Aesthetic Emotions: A Semantic Profile Analysis.

Aesthetic emotions are elicited by different sensory impressions generated by music, visual arts, literature, theater, film, or nature scenes. Recently, the AESTHEMOS scale has been developed to facilitate the empirical assessment of such emotions. In this article we report a semantic profile analysis of aesthetic emotion terms that had been used for the development of this scale, using the GRID approach. This method consists of obtaining ratings of emotion terms on a set of meaning facets (features) which represent five components of the emotion process (appraisal, bodily reactions, action tendencies, expression, and feelings). The aims here were (a) to determine the dimensionality of the GRID features when applied to aesthetic emotions and compare it to published results for emotion terms in general, and (b) to examine the internal organization of the domain of aesthetic emotion terms in order to identify salient clusters of these items based on the similarity of their feature profiles on the GRID. Exploratory Principal Component Analyses suggest a four-dimensional structure of the semantic space consisting of valence, power, arousal, and novelty, converging with earlier GRID studies on large sets of standard emotion terms. Using cluster analyses, 15 clusters of aesthetic emotion terms with similar GRID feature profiles were identified, revealing the internal organization of the aesthetic emotion terms domain and meaningful subgroups of aesthetic emotions. While replication for further languages is required, these findings provide a solid basis for further research and methodological development in the realm of aesthetic emotions.

Sound Predicts Meaning: Cross-Modal Associations Between Formant Frequency and Emotional Tone in Stanzas.

Research on the relation between sound and meaning in language has reported substantial evidence for implicit associations between articulatory-acoustic characteristics of phonemes and emotions. In the present study, we specifically tested the relation between the acoustic properties of a text and its emotional tone as perceived by readers. To this end, we asked participants to assess the emotional tone of single stanzas extracted from a large variety of poems. The selected stanzas had either an extremely high, a neutral, or an extremely low average formant dispersion. To assess the average formant dispersion per stanza, all words were phonetically transcribed and the distance between the first and second formant per vowel was calculated. Building on a long tradition of research on associations between sound frequency on the one hand and non-acoustic concepts such as size, strength, or happiness on the other hand, we hypothesized that stanzas with an extremely high average formant dispersion would be rated lower on items referring to Potency (dominance) and higher on items referring to Activity (arousal) and Evaluation (emotional valence). The results confirmed our hypotheses for the dimensions of Potency and Evaluation, but not for the dimension of Activity. We conclude that, at least in poetic language, extreme values of acoustic features of vowels are a significant predictor for the emotional tone of a text.

Aesthetic emotions are a key factor in aesthetic evaluation: Reply to Skov and Nadal (2020).

Our theoretical model (Menninghaus et al., 2019) defines aesthetic emotions by reference to their role in aesthetic evaluation, and specifically as being predictive of aesthetic liking/disliking. Skov and Nadal (2020) dismiss the construct of "aesthetic emotions" as a "dated supposition" adopted from a "speculative" tradition and assert that there are no such emotions. Accordingly, they question all pieces of empirical evidence we referred to as supporting our model. In our response, we rebut these objections point by point and defend as well as expand the empirical evidence in support of our model. (PsycInfo Database Record (c) 2020 APA, all rights reserved).

Contiguity-based sound iconicity: The meaning of words resonates with phonetic properties of their immediate verbal contexts.

We tested the hypothesis that phonosemantic iconicity--i.e., a motivated resonance of sound and meaning--might not only be found on the level of individual words or entire texts, but also in word combinations such that the meaning of a target word is iconically expressed, or highlighted, in the phonetic properties of its immediate verbal context. To this end, we extracted single lines from German poems that all include a word designating high or low dominance, such as large or small, strong or weak, etc. Based on insights from previous studies, we expected to find more vowels with a relatively short distance between the first two formants (low formant dispersion) in the immediate context of words expressing high physical or social dominance than in the context of words expressing low dominance. Our findings support this hypothesis, suggesting that neighboring words can form iconic dyads in which the meaning of one word is sound-iconically reflected in the phonetic properties of adjacent words. The construct of a contiguity-based phono-semantic iconicity opens many venues for future research well beyond lines extracted from poems.

What are aesthetic emotions?

This is the first comprehensive theoretical article on aesthetic emotions. Following Kant's definition, we propose that it is the first and foremost characteristic of aesthetic emotions to make a direct contribution to aesthetic evaluation/appreciation. Each aesthetic emotion is tuned to a special type of perceived aesthetic appeal and is predictive of the subjectively felt pleasure or displeasure and the liking or disliking associated with this type of appeal. Contrary to the negativity bias of classical emotion catalogues, emotion terms used for aesthetic evaluation purposes include far more positive than negative emotions. At the same time, many overall positive aesthetic emotions encompass negative or mixed emotional ingredients. Appraisals of intrinsic pleasantness, familiarity, and novelty are preeminently important for aesthetic emotions. Appraisals of goal relevance/conduciveness and coping potential are largely irrelevant from a pragmatic perspective, but in some cases highly relevant for cognitive and affective coping. Aesthetic emotions are typically sought and savored for their own sake, with subjectively felt intensity and/or emotional arousal being rewards in their own right. The expression component of aesthetic emotions includes laughter, tears, and facial and bodily movements, along with applause or booing and words of praise or blame. Aesthetic emotions entail motivational approach and avoidance tendencies, specifically, tendencies toward prolonged, repeated, or interrupted exposure and wanting to possess aesthetically pleasing objects. They are experienced across a broad range of experiential domains and not coextensive with art-elicited emotions. (PsycINFO Database Record (c) 2019 APA, all rights reserved).