Emotional experiences typically labelled “being moved” or “feeling touched” may belong to one universal emotion. This emotion, which has been labelled “kama muta”, is hypothesised to have a positive valence, be elicited by sudden intensifications of social closeness, and be accompanied by warmth, goosebumps and tears. Initial evidence on correlations among the kama muta components has been collected with self-reports after or during the emotion. Continuous measures during the emotion seem particularly informative, but previous work allows only restricted inferences on (...) intra-individual processes because time series were cross-correlated across samples. In the current studies, we instead use a within-subject design to replicate and extend prior work. We compute intra-individual cross-correlations between continuous self-reports on feeling moved and (1) positive and negative affect; (2) goosebumps and subjective warmth and (3) appraisals of closeness and morality. Results confirm the predictions of kama muta theory that feeling moved by intensified communal sharing cross-correlates with appraised closeness, positive affect, warmth and (less so) goosebumps, but not with negative affect. Contrary to predictions, appraised morality cross-correlated with feeling moved as much as appraised closeness did. We conclude that strong inferences on emotional processes are possible using continuous measures, replace earlier findings, and are largely in line with theorising. (shrink)

When do people say that they are moved, and does this experience constitute a unique emotion? We review theory and empirical research on being moved across psychology and philosophy. We examine feeling labels, elicitors, valence, bodily sensations, and motivations. We find that the English lexeme being moved typically (but not always) refers to a distinct and potent emotion that results in social bonding; often includes tears, piloerection, chills, or a warm feeling in the chest; and is often described as pleasurable, (...) though sometimes as a mixed emotion. While we conclude that it is a distinct emotion, we also recommend studying it in a more comprehensive emotion framework, instead of using the ambiguous vernacular term being moved as a scientific term. (shrink)

Research on musical chills has linked the response to multiple musical features; however, there exists no study that has attempted to manipulate musical stimuli to enable causal inferences, meaning current understanding is based mainly on correlational evidence. In the current study, participants who regularly experience chills ( N = 24) listened to an original and manipulated version of three pieces reported to elicit chills in a previous survey. Predefined chills sections were removed to create manipulated conditions. The effects of these (...) manipulations on the chills response were assessed through continuous self-reports, and skin conductance measurements. Results show that chills were significantly less frequent following stimulus manipulation across all three pieces. Continuous measurements of chills intensity were significantly higher in the chills sections compared with control sections in the pieces; similar patterns were found for phasic skin conductance, although some differences emerged. Continuous measurements also correlated with psychoacoustic features such as loudness, brightness and roughness in two of the three pieces. Findings are discussed in terms of understanding structural and acoustic features and chills experiences within their local music contexts, the necessity of experimental approaches to musical chills, and the possibility of different features activating different underlying mechanisms. (shrink)

Musical frissons (or chills) have been at the forefront of both philosophical and psychological research on audience responses to music. The aim of this article is to argue that frissons also play an important role in the experience of dance performances. Following Jerrold Levinson’s distinction between sound-quality frissons and sound-structure frissons, the article zooms in on the concept of conflict-induced frissons, which feature prominently in a variety of art forms besides music, from film to literature, and it is of crucial (...) importance for understanding the audience reaction to some dance performances. A case study of Pina Bausch’s choreographies is given to illustrate this point. (shrink)

The current paper investigates the value and application of a range of physiological and neuroscientific techniques in applied marketing research and consumer science, highlighting new insights from research in social psychology and neuroscience. We review measures of sweat secretion, heart rate, facial muscle activity, eye movements, and electrical brain activity, using techniques including skin conductance, pupillometry, eyetracking, and magnetic brain imaging. For each measure, after a brief explanation of the underlying technique, we illustrate concepts and mechanisms that the measure allows (...) researchers in marketing and consumer science to investigate, with a focus on consumer attitudes and behavior. By providing reviews on recent research that applied these methods in consumer science and relevant related fields, we also highlight methodological and theoretical strengths and limitations, with an emphasis on ecological validity. We argue that the inclusion of physiological and neuroscientific techniques can advance consumer research by providing insights into the often unconscious mechanisms underlying consumer behavior. Therefore, such technologies can help researchers and marketing practitioners understand the mechanisms of consumer behavior and improve predictions of consumer behavior. (shrink)