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  1. The Embodied-Enactive-Interactive Brain: Bridging Neuroscience and Creative Arts Therapies.Sharon Vaisvaser - 2021 - Frontiers in Psychology 12.
    The recognition and incorporation of evidence-based neuroscientific concepts into creative arts therapeutic knowledge and practice seem valuable and advantageous for the purpose of integration and professional development. Moreover, exhilarating insights from the field of neuroscience coincide with the nature, conceptualization, goals, and methods of Creative Arts Therapies, enabling comprehensive understandings of the clinical landscape, from a translational perspective. This paper contextualizes and discusses dynamic brain functions that have been suggested to lie at the heart of intra- and inter-personal processes. Touching (...)
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  • Tension Experience Induced By Nested Structures In Music.Lijun Sun, Chen Feng & Yufang Yang - 2020 - Frontiers in Human Neuroscience 14.
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  • Musical Tension Associated With Violations of Hierarchical Structure.Lijun Sun, Li Hu, Guiqin Ren & Yufang Yang - 2020 - Frontiers in Human Neuroscience 14.
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  • Music and literature: are there shared empathy and predictive mechanisms underlying their affective impact?Diana Omigie - 2015 - Frontiers in Psychology 6.
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  • Decoding peak emotional responses to music from computational acoustic and lyrical features.Kazuma Mori - 2022 - Cognition 222 (C):105010.
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  • (Why) Do You Like Scary Movies? A Review of the Empirical Research on Psychological Responses to Horror Films.G. Neil Martin - 2019 - Frontiers in Psychology 10.
    Why do we watch and like horror films? Despite a century of horror film-making and en-tertainment, little research has examined the human motivation to watch fictional horror and how horror film influences individuals’ behavioural, cognitive and emotional re-sponses. This review provides the first synthesis of the empirical literature on the psy-chology of horror film using multi-disciplinary research from psychology, psychotherapy, communication studies, development studies, clinical psychology, and media studies. The paper considers the motivations for people’s decision to watch horror, why (...)
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  • Hope and fear in the experience of suspense.Robert Madrigal, Colleen Bee & Johnny Chen - 2022 - Cognition and Emotion 36 (6):1074-1092.
    The topic of mixed emotions has received considerable attention in recent years. However, two limitations in this research are the lack of (a) theoretical prediction regarding the types of conditions likely to cause one emotion to yield to another, and (b) attention given to the moment-to-moment (MTM) experience of mixed emotions. Using the empirical context of competitive contests, the mixed emotions state of suspense was manipulated in a series of studies designed to address these shortcomings. The results indicate that the (...)
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  • Rethinking Low, Middle, and High Art.Ting Cho Lau - 2022 - Journal of Aesthetics and Art Criticism (4):1-12.
    What distinguishes low, middle, and high art? In this article, I give an ameliorative analysis of these concepts. On what I call the Capacity View, the distinction between low, middle, and high art depends on the relation between an artwork’s perceiver (specifically her aesthetic responsive capacities) and the perceived artwork. Though the Capacity View may not align perfectly with folk usage, the view is worth our attention due to three attractive upshots. First, it explains how an artwork’s status level can (...)
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  • Residual Cognitive Capacities in Patients With Cognitive Motor Dissociation, and Their Implications for Well-Being.Mackenzie Graham - 2021 - Journal of Medicine and Philosophy 46 (6):729-757.
    Patients with severe disorders of consciousness are thought to be unaware of themselves or their environment. However, research suggests that a minority of patients diagnosed as having a disorder of consciousness remain aware. These patients, designated as having “cognitive motor dissociation”, can demonstrate awareness by imagining specific tasks, which generates brain activity detectable via functional neuroimaging. The discovery of consciousness in these patients raises difficult questions about their well-being, and it has been argued that it would be better for these (...)
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  • The Impact of Context on Affective Norms: A Case of Study With Suspense.Pablo Delatorre, Alberto Salguero, Carlos León & Alan Tapscott - 2019 - Frontiers in Psychology 10.
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  • Experimental Philosophy of Aesthetics.Florian Cova, Amanda Garcia & Shen-yi Liao - 2015 - Philosophy Compass 10 (12):927-939.
    In the past decade, experimental philosophy---the attempt at making progress on philosophical problems using empirical methods---has thrived in a wide range of domains. However, only in recent years has aesthetics succeeded in drawing the attention of experimental philosophers. The present paper constitutes the first survey of these works and of the nascent field of 'experimental philosophy of aesthetics'. We present both recent experimental works by philosophers on topics such as the ontology of aesthetics, aesthetic epistemology, aesthetic concepts, and imagination, as (...)
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  • Re-Living Suspense: Emotional and Cognitive Responses During Repeated Exposure to Suspenseful Film.Changui Chun, Byungho Park & Chungkon Shi - 2020 - Frontiers in Psychology 11.
    Arguments about the effects of repeated exposure to a suspenseful narrative raise controversial disputes over the paradox of suspense. The lexical meaning and theoretical analyses of suspense imply that suspense cannot be experienced repeatedly because, in such cases, the knowledge from prior viewings and the resolution of outcome will eliminate tension and suspense. However, previous studies have argued that suspense can be re-experienced even when the participants know the outcome or repeatedly confront a suspenseful narrative. This study investigated the effects (...)
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  • Suppressing the Chills: Effects of Musical Manipulation on the Chills Response.Scott Bannister & Tuomas Eerola - 2018 - Frontiers in Psychology 9.
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