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      Artful terms: A study on aesthetic word usage for visual art versus film and music

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          Abstract

          Despite the importance of the arts in human life, psychologists still know relatively little about what characterises their experience for the recipient. The current research approaches this problem by studying people's word usage in aesthetics, with a focus on three important art forms: visual art, film, and music. The starting point was a list of 77 words known to be useful to describe aesthetic impressions of visual art (Augustin et al 2012, Acta Psychologica 139 187–201). Focusing on ratings of likelihood of use, we examined to what extent word usage in aesthetic descriptions of visual art can be generalised to film and music. The results support the claim of an interplay of generality and specificity in aesthetic word usage. Terms with equal likelihood of use for all art forms included beautiful, wonderful, and terms denoting originality. Importantly, emotion-related words received higher ratings for film and music than for visual art. To our knowledge this is direct evidence that aesthetic experiences of visual art may be less affectively loaded than, for example, experiences of music. The results render important information about aesthetic word usage in the realm of the arts and may serve as a starting point to develop tailored measurement instruments for different art forms.

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          Culture and the categorization of emotions.

          Some writers assume--and others deny--that all human beings distinguish emotions from nonemotions and divide the emotions into happiness, anger, fear, and so on. A review of ethnographic and cross-cultural studies on (a) emotion lexicons, (b) the emotions inferred from facial expressions, and (c) dimensions implicit in comparative judgments of emotions indicated both similarities and differences in how the emotions are categorized in different languages and cultures. Five hypotheses are reviewed: (a) Basic categories of emotion are pancultural, subordinate categories culture specific; (b) emotional focal points are pancultural, boundaries culture specific; (c) emotion categories evolved from a single primitive category of physiological arousal; (d) most emotion categories are culture specific but can be defined by pancultural semantic primitives; and (e) an emotion category is a script with both culture-specific and pancultural components.
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            From emotion perception to emotion experience: emotions evoked by pictures and classical music.

            Most previous neurophysiological studies evoked emotions by presenting visual stimuli. Models of the emotion circuits in the brain have for the most part ignored emotions arising from musical stimuli. To our knowledge, this is the first emotion brain study which examined the influence of visual and musical stimuli on brain processing. Highly arousing pictures of the International Affective Picture System and classical musical excerpts were chosen to evoke the three basic emotions of happiness, sadness and fear. The emotional stimuli modalities were presented for 70 s either alone or combined (congruent) in a counterbalanced and random order. Electroencephalogram (EEG) Alpha-Power-Density, which is inversely related to neural electrical activity, in 30 scalp electrodes from 24 right-handed healthy female subjects, was recorded. In addition, heart rate (HR), skin conductance responses (SCR), respiration, temperature and psychometrical ratings were collected. Results showed that the experienced quality of the presented emotions was most accurate in the combined conditions, intermediate in the picture conditions and lowest in the sound conditions. Furthermore, both the psychometrical ratings and the physiological involvement measurements (SCR, HR, Respiration) were significantly increased in the combined and sound conditions compared to the picture conditions. Finally, repeated measures ANOVA revealed the largest Alpha-Power-Density for the sound conditions, intermediate for the picture conditions, and lowest for the combined conditions, indicating the strongest activation in the combined conditions in a distributed emotion and arousal network comprising frontal, temporal, parietal and occipital neural structures. Summing up, these findings demonstrate that music can markedly enhance the emotional experience evoked by affective pictures.
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              The myth of language universals: language diversity and its importance for cognitive science.

              Talk of linguistic universals has given cognitive scientists the impression that languages are all built to a common pattern. In fact, there are vanishingly few universals of language in the direct sense that all languages exhibit them. Instead, diversity can be found at almost every level of linguistic organization. This fundamentally changes the object of enquiry from a cognitive science perspective. This target article summarizes decades of cross-linguistic work by typologists and descriptive linguists, showing just how few and unprofound the universal characteristics of language are, once we honestly confront the diversity offered to us by the world's 6,000 to 8,000 languages. After surveying the various uses of "universal," we illustrate the ways languages vary radically in sound, meaning, and syntactic organization, and then we examine in more detail the core grammatical machinery of recursion, constituency, and grammatical relations. Although there are significant recurrent patterns in organization, these are better explained as stable engineering solutions satisfying multiple design constraints, reflecting both cultural-historical factors and the constraints of human cognition. Linguistic diversity then becomes the crucial datum for cognitive science: we are the only species with a communication system that is fundamentally variable at all levels. Recognizing the true extent of structural diversity in human language opens up exciting new research directions for cognitive scientists, offering thousands of different natural experiments given by different languages, with new opportunities for dialogue with biological paradigms concerned with change and diversity, and confronting us with the extraordinary plasticity of the highest human skills.
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                Author and article information

                Contributors
                Laboratory of Experimental Psychology, University of Leuven (KU Leuven), Tiensestraat 102, box 3711, 3000 Leuven, Belgium; e-mail: MDorothee.Augustin@ 123456psy.kuleuven.be
                Department of General Psychology and Methodology, University of Bamberg, Markusplatz 3, 96047 Bamberg, Germany, and Department of Psychology, University of Pavia, Piazza Botta 6, 27100 Pavia, Italy; e-mail: ccc@ 123456experimental-psychology.com
                Laboratory of Experimental Psychology, University of Leuven (KU Leuven), Tiensestraat 102, box 3711, 3000 Leuven, Belgium; e-mail: Johan.Wagemans@ 123456psy.kuleuven.be
                Journal
                Iperception
                Iperception
                pmed
                i-Perception
                Pion
                2041-6695
                2012
                18 May 2012
                : 3
                : 5
                : 319-337
                Affiliations
                Laboratory of Experimental Psychology, University of Leuven (KU Leuven), Tiensestraat 102, box 3711, 3000 Leuven, Belgium; e-mail: MDorothee.Augustin@ 123456psy.kuleuven.be
                Department of General Psychology and Methodology, University of Bamberg, Markusplatz 3, 96047 Bamberg, Germany, and Department of Psychology, University of Pavia, Piazza Botta 6, 27100 Pavia, Italy; e-mail: ccc@ 123456experimental-psychology.com
                Laboratory of Experimental Psychology, University of Leuven (KU Leuven), Tiensestraat 102, box 3711, 3000 Leuven, Belgium; e-mail: Johan.Wagemans@ 123456psy.kuleuven.be
                Article
                10.1068/i0511aap
                3485829
                23145287
                9d3d03cf-b189-4fd6-b66c-9750035845b9
                Copyright © 2012 M D Augustin, C C Carbon, J Wagemans

                This open-access article is distributed under a Creative Commons Licence, which permits noncommercial use, distribution, and reproduction, provided the original author(s) and source are credited and no alterations are made.

                History
                : 19 February 2012
                : 20 April 2012
                Categories
                Art and Perception

                Neurosciences
                aesthetic impressions,empirical aesthetics,art forms,word usage,emotiveness
                Neurosciences
                aesthetic impressions, empirical aesthetics, art forms, word usage, emotiveness

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