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 (...) well as research from other disciplines that not only are relevant to philosophy of aesthetics but also open new avenues of research for experimental philosophy of aesthetics. Overall, we conclude that the birth of an experimental philosophy of aesthetics is good news not only for aesthetics but also for experimental philosophy itself, as it contributes to broaden the scope of experimental philosophy. (shrink)

Why is it that most fictions present one and only one ending, rather than multiple ones? Fictions presenting multiple endings are possible, because a few exist; but they are very rare, and this calls for an explanation. We argue that such an explanation is likely to shed light on our engagement with fictions, for fictions having one and only one ending seem to be ubiquitous. After dismissing the most obvious explanations for this phenomenon, we compare the scarcity of multiple endings (...) in traditional kinds of fiction to their profusion in the case of interactive fictions. This contrast poses a challenge to accounts of our engagement with fictions in terms of games of make-believe. We conclude that solving this puzzle is likely to improve our philosophical understanding of fictions. (shrink)

Most theories of suspense implicitly or explicitly have as a background assumption what I call suspense realism, i.e., that suspense is itself a genuine, distinct emotion. I claim that for a theory of suspense to entail suspense realism is for that theory to entail a contradiction, and so, we ought instead assume a background of suspense eliminativism, i.e., that there is no such genuine, distinct emotion that is the emotion of suspense. More precisely, I argue that i) any suspense realist (...) (...) theory must resolve the paradox of suspense, ii) if suspense is itself a genuine, distinct emotion, then in order to resolve the paradox of suspense it must be a radically sui generis genuine, distinct emotion, iii) according to any minimally adequate theory of the emotions, there can be no radically sui generis emotion, and so iv) there can be no genuine, distinct emotion that is the emotion of suspense. Quite simply, if a theory of suspense must entail suspense realism, then we ought to be eliminativists about suspense. This I call the Paradox of Suspense Realism, which I take to constitute a productive viability condition for any theory of suspense, i.e., any viable theory of suspense must be mutatis mutandis compatible with suspense eliminativism. (shrink)

The ultimate success of Hollywood blockbusters is dependent upon repeat viewings. Fans return to theaters to see films multiple times and buy DVDs so they can watch movies yet again. Although it is something of a received dogma in philosophy and psychology that suspense requires uncertainty, many of the biggest box office successes are action movies that fans claim to find suspenseful on repeated viewings. The conflict between the theory of suspense and the accounts of viewers generates a problem known (...) as the paradox of suspense, which we can boil down to a simple question: If suspense requires uncertainty, how can a viewer who knows the outcome still feel suspense? (shrink)

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 (...) of repeated exposure to a suspenseful film by collecting self-reported questionnaires and measuring psychophysiological responses. The participants (N = 50) watched clips of a suspenseful film three times and answered self-reported items regarding suspense, arousal, and enjoyment. Psychophysiological data, including skin conductance level (SCL) and electrocardiogram (ECG), were collected while the participants watched the video clips. It was hypothesized that self-reported suspense, arousal, and enjoyment as well as the physiological indices of arousal (SCL) and attention (ECG) would decrease upon repeated viewing of suspenseful clips. Furthermore, it was postulated that there would be inter-group differences depending on the awareness of potential or definite change in outcome at the end of repeatedly shown suspenseful events. The results showed that self-reported suspense and arousal, as well as physiological measures of SCL, declined with repeated exposure, although there were no significant differences on self-reported enjoyment. No group difference was found in self-reported items, but meaningful significant changes were observed in the group comparison of SCL and ECG. The findings suggest that repeated exposure to suspenseful films could result in affective habituation or desensitization to repeated stimuli. The implications and limitations of the current study and suggestions for future research are discussed. (shrink)

Whereas repeated exposure to communication is a widespread phenomenon, it has so far received little attention in communication research. This article takes a step towards describing, differentiating, and explaining repeated exposure to communication. It discusses different forms of repeated exposure and then focuses on repeated exposure to narrative films. It explores possible motivations for reusing the same media content again and again, while taking processes of repeated exposure as well as situational and personal variables into account. The initially theoretical considerations (...) are then supported, expanded, and specified both by existent empirical evidence and findings from a focus group study. Finally, further questions about repeated exposure to narrative content in media are discussed. (shrink)

Resumen: En este trabajo se aborda lo que en los debates recientes de filosofía del cine se ha denominado la paradoja del suspenso. Esta paradoja radica en el problema de que algunos espectadores sienten suspenso frente a una narración que ya conocían, partiendo del presupuesto de que la incertidumbre es un estado cognitivo necesario para sentir esta emoción. Se analizan varias propuestas recientes y se ofrece una alternativa a la mismas en la que se recupera la simpatía y la anticipación (...) como elementos que permiten explicar esta paradoja de la reincidencia. -/- Abstract: This paper discusses what recent discussions in philosophy of film have called the paradox of suspense. This paradox lies on the fact that it is problematic that some audiences feel suspense when they watch a narration they already knew, based on the assumption that uncertainty is a necessary cognitive state for this emotion. This work presents recent proposals analyzing the paradox and it provides an alternative explanation based on the role sympathy and anticipation play in this paradox of recidivism. (shrink)