Although the influence of affect on creativity has received some theoretical and empirical attention, the role of affect as a consequence of creative problem solving has been neglected. This study is the one of the first to examine empirically the affect that results from creative problem solving. In a 2 (group) × 3 (time period) × 2 (task) factorial design, 122 art and science students were randomly assigned to complete an art or science task and to report on the kind (...) and intensity of affect before, during, and after creative problem solving. It was predicted that art and science students would report different levels of affect only after the insight, not before or during, and that the effects of task, not just group, would contribute to affective variability between art and science students. Science students reported similar levels of (positive) affective intensity before and during creative insight as art students. It was only after the insight that art students reported more intense affective experiences than science students. Task differences accounted for a significant amount of variance in affective intensities, but primarily for art-oriented subjects. These findings suggest that viewing affect as a dependent variable of cognition, rather than primarily as an independent variable, is a direction that would benefit the field of empirical work on cognition and emotion. Current cognitive theories of emotion offer much potential in understanding the affective consequences of creative problem solving. (shrink)

Virtue ethics prescribes cultivating global and behaviorally efficacious character traits, but John Doris and others argue that situationist social psychology shows this to be infeasible. Here, I show how certain versions of virtue ethics that ‘go mental’ can withstand this challenge as well as Doris’ further objections. The defense turns on an account of which psychological materials constitute character traits and which the situationist research shows to be problematically variable. Many situationist results may be driven by impulsive akrasia produced by (...) low-level , emotionally induced ignorance about one’s situation, and some may be driven by a further subtype: modal akrasia. Many subjects in the infamous Milgram experiments, e.g., seem to have recognized what the virtuous thing to do was and that they should do it, and only failed to do it because their emotions prevented them from seeing that they could. If the primary constituents of character traits are higher-level mental dispositions involved in deliberation, though, then the results don’t show that these psychological materials are problematically variable. (shrink)

The main focus of the paper is the role of listeners’ emotion-relevant characteristics and musical expertise in the granularity of affective responses to music. Another objective of the study is to test the consistency of the granularity of affect that is perceived in music and/or experienced in response to it. In Experiment 1, 91 musicians and nonmusicians listened to musical excerpts and grouped them according to the similarity of the affects they experienced while listening. Finer grouping granularity was found in (...) musicians and high rumination scorers. Male musicians with above-median scores in rumination produced a larger number of clusters than the other male participants. Experiment 2 that engaged 23 participants demonstrated moderate consistency with which listeners grouped affects that they perceived in music and affects they experienced while listening to music. The study suggests that affective responses to music are subject to individual differences in musical expertise and rumination. Affects perceived in music and felt in response to it seem to be categorized with reference to the common principles. However, the cues that are used in such instances of categorization seem to be different. The paper encourages further research on the importance of listeners’ personal characteristics for the affective responses to music. (shrink)

Although the literature has focused on individual differences in authenticity, recent findings suggest that authenticity is sensitive to context; that is, it is also a state. We extended this perspective by examining whether incidental affect influences authenticity. In three experiments, participants felt more authentic when in a relatively positive than negative mood. The causal role of affect in authenticity was consistent across a diverse set of mood inductions, including explicit (Experiments 1 and 3) and implicit (Experiment 2) methods. The link (...) between incidental affect and state authenticity was not moderated by ability to down-regulate negative affect (Experiments 1 and 3) nor was it explained by negative mood increasing private self-consciousness or decreasing access to the self system (Experiment 3). The results indicate that mood is used as information to assess one's sense of authenticity. (shrink)