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Related Concept Videos

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Emotional labeling is a cognitive process that involves identifying and naming one's emotions, such as anger, fear, happiness, or sadness. It allows individuals to recognize and express their internal emotional states, a critical aspect of emotional regulation and communication. Labeling emotions requires more than mere recognition; it also involves drawing upon memory and contextual cues to understand the current situation and apply a corresponding emotional label. For instance, feeling...
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Stanley Schachter and Jerome Singer proposed the two-factor theory of emotion, which emphasizes the interplay between physiological arousal and cognitive labeling in forming emotional experiences. This theory suggests that emotions are not simply a result of physiological responses but rather a combination of these responses and the individual's cognitive interpretation of them.
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Do we need to reconceptualize emotions?

Franziska Hartung1

  • 1UK School of Psychology, Institute of Population Health Sciences, Tyne, UK.

Cognitive Neuroscience
|February 13, 2023
PubMed
Summary
This summary is machine-generated.

Empirical aesthetics research reveals current emotional models are outdated. New conceptualizations are needed to understand aesthetic emotional experiences.

Keywords:
Aesthetic emotionsdimensionalityemotionsmentalizingneuroaestheticssimulation

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Area of Science:

  • Empirical Aesthetics
  • Psychology of Art
  • Neuroaesthetics

Background:

  • Extensive research in empirical aesthetics over recent decades highlights significant limitations in existing frameworks.
  • Current models struggle to adequately capture the complexity and nuances of emotional experiences related to art and aesthetics.

Purpose of the Study:

  • To critically evaluate the efficacy of prevailing models of emotional experience in the context of empirical aesthetics.
  • To identify the shortcomings of current conceptualizations and propose a direction for future research.

Main Methods:

  • Systematic review of empirical aesthetics literature.
  • Conceptual analysis of established theories of emotion.
  • Identification of gaps between theoretical models and empirical findings.

Main Results:

  • Existing models of emotion, largely developed outside of aesthetic contexts, fail to account for the unique characteristics of aesthetic emotions.
  • Key dimensions of emotional experience, such as valence, arousal, and specific feeling states, are inadequately represented in current frameworks.

Conclusions:

  • The current theoretical landscape in the psychology of emotion is insufficient for understanding aesthetic experiences.
  • A paradigm shift is necessary, necessitating the development of novel conceptualizations and models tailored to empirical aesthetics.