Emotion and Adaptation

Two experiments investigated the idea that individual differences in need for affect are critical for narrative persuasion. Need for affect, that is, the disposition to approach emotions, was assumed to facilitate the experience of being transported into the mental world of the narrative. An intense experience of transportation, in turn, should enhance the persuasive impact of narrative information on readers' beliefs. A mediated moderation analysis was used to test these assumptions. In both experiments (N = 314), need for affect (approach) and transportation moderated the persuasive effects of a fictional narrative compared to a belief-irrelevant control story (Experiment 1) and the persuasive effects of a story with high emotional content compared to a story with low emotional content (Experiment 2). The moderator effects of need for affect were shown to be mediated by the moderator effects of transportation. In sum, the magnitude of a person's need for affect determines whether and to what extent the ...

Transportation and Need for Affect in Narrative Persuasion: A Mediated Moderation Model

Following the idea of using virtual environments (VEs) as mood induction procedures (MIPs), this study set out to examine whether five different virtual park scenarios would each elicit a specific affective state (i.e., joy, sadness, boredom, anger and anxiety). Within this main objective, a subset of two additional goals was identified: first, to analyze whether the sense of presence would differ across emotionally charged VEs, and second, to examine the link between a more objective measure of affective arousal, electrodermal activity (EDA), and presence. Following a between-subject design, 120 students were randomly assigned to one of the five VEs. Results show that almost all of the five virtual park scenarios were able to elicit the intended emotion. Additionally, presence levels were the same across all VEs suggesting that presence did not confound the emotional reaction to the VEs. Furthermore, EDA seems to be a poor indicator of presence as it is not significantly correlated with self-reported presence. The implications of these findings for both future research and practice are addressed in a comprehensive discussion. Four virtual park scenarios elicited the intended emotional states.Presence levels were the same across different virtual environments.Skin conductance level seems to be a poor indicator of presence.

Is virtual reality emotionally arousing? Investigating five emotion inducing virtual park scenarios

The emotional state of being moved, though frequently referred to in both classical rhetoric and current language use, is far from established as a well-defined psychological construct. In a series of three studies, we investigated eliciting scenarios, emotional ingredients, appraisal patterns, feeling qualities, and the affective signature of being moved and related emotional states. The great majority of the eliciting scenarios can be assigned to significant relationship and critical life events (especially death, birth, marriage, separation, and reunion). Sadness and joy turned out to be the two preeminent emotions involved in episodes of being moved. Both the sad and the joyful variants of being moved showed a coactivation of positive and negative affect and can thus be ranked among the mixed emotions. Moreover, being moved, while featuring only low-to-mid arousal levels, was experienced as an emotional state of high intensity; this applied to responses to fictional artworks no less than to own-life and other real, but media-represented, events. The most distinctive findings regarding cognitive appraisal dimensions were very low ratings for causation of the event by oneself and for having the power to change its outcome, along with very high ratings for appraisals of compatibility with social norms and self-ideals. Putting together the characteristics identified and discussed throughout the three studies, the paper ends with a sketch of a psychological construct of being moved.

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Towards a Psychological Construct of Being Moved

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.

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

Audiences are attracted to dramas and horror movies even though negative and ambivalent emotions are likely to be experienced Research into the seemingly paradoxical enjoyment of this kind of media entertainment has typically focused on gender- and genre-specific needs and viewing motivations Extending this line of research, the authors focus the role of the need for affect as a more general, gender- and genre-independent predictor of individual differences in the experience of emotions and meta-emotions (ie, evaluative thoughts and feelings about one’s emotions) The article discusses a field study of moviegoers who attended the regular screening of a drama or a horror film Results support the assumption that individuals high in need for affect experience higher levels of negative and ambivalent emotions and evaluate their emotions more positively on the level of meta-emotions Controlling for the Big Five personality factors does not alter these effects The results are discussed within an extended meta-emotion framework

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Dennis Storch

Papers

Predicting Emotions and Meta-Emotions at the Movies: The Role of the Need for Affect in Audiences’ Experience of Horror and Drama:

Predicting Emotions and Metaemotions at the Movies