Aesthetic Emotions and Aesthetic People: Openness Predicts Sensitivity to Novelty in the Experiences of Interest and Pleasure
暂无分享,去创建一个
Paul J. Silvia | Carolyn MacCann | P. Silvia | C. MacCann | N. Tiliopoulos | Kirill Fayn | Kirill Fayn | Niko Tiliopoulos
[1] P. Mussel. Intellect: a theoretical framework for personality traits related to intellectual achievements. , 2013, Journal of personality and social psychology.
[2] Paul J. Silvia,et al. An Introduction to Multilevel Modeling for Research on the Psychology of Art and Creativity , 2007 .
[3] Paul J. Silvia,et al. Artistic Training and Interest in Visual Art: Applying the Appraisal Model of Aesthetic Emotions , 2006 .
[4] C. Chiu,et al. Openness to Experience: Its Lower Level Structure, Measurement, and Cross-Cultural Equivalence , 2014, Journal of personality assessment.
[5] Dacher Keltner,et al. The nature of awe: Elicitors, appraisals, and effects on self-concept , 2007 .
[6] Craig K. Enders,et al. Centering predictor variables in cross-sectional multilevel models: a new look at an old issue. , 2007, Psychological methods.
[7] H. Day. Evaluations of subjective complexity, pleasingness and interestingness for a series of random polygons varying in complexity , 1967 .
[8] K. Scherer,et al. Appraisal processes in emotion. , 2003 .
[9] Lisa F. Smith,et al. The Nature and Growth of Aesthetic Fluency , 2006 .
[10] Rolf Reber,et al. Processing fluency, aesthetic pleasure, and culturally shared taste. , 2012 .
[11] P. Mussel. Epistemic curiosity and related constructs: Lacking evidence of discriminant validity , 2010 .
[12] Slobodan Markovic,et al. Aesthetic experience and the emotional content of paintings , 2010 .
[13] D. Berlyne,et al. Aesthetics and Psychobiology , 1975 .
[14] Paul J. Silvia,et al. Do People Prefer Curved Objects? Angularity, Expertise, and Aesthetic Preference , 2009 .
[15] Brian Detweiler-Bedell,et al. Beauty as an Emotion: The Exhilarating Prospect of Mastering a Challenging World , 2008 .
[16] John A. Johnson. Clarification of Factor Five with the help of the AB5C Model , 1994 .
[17] H. Leder,et al. How art is appreciated. , 2012 .
[18] C. MacCann,et al. Interest in truth versus beauty: Intellect and Openness reflect different pathways towards interest , 2015 .
[19] P. Silvia,et al. On personality and piloerection: Individual differences in aesthetic chills and other unusual aesthetic experiences. , 2011 .
[20] P. Silvia,et al. Finding Movies Interesting: How Appraisals and Expertise Influence the Aesthetic Experience of Film , 2011 .
[21] Moritz Heene,et al. Openness, fluid intelligence, and crystallized intelligence: Toward an integrative model , 2012 .
[22] A Furnham,et al. Aesthetic activities and aesthetic attitudes: influences of education, background and personality on interest and involvement in the arts. , 2006, British journal of psychology.
[23] H. Eysenck. ‘TYPE’‐FACTORS IN AESTHETIC JUDGEMENTS , 1941 .
[24] P. Silvia. Looking past pleasure: Anger, confusion, disgust, pride, surprise, and other unusual aesthetic emotions. , 2009 .
[25] Jeffrey K. Smith. The Museum Effect: How Museums, Libraries, and Cultural Institutions Educate and Civilize Society , 2014 .
[26] P. Silvia. What is interesting? Exploring the appraisal structure of interest. , 2005, Emotion.
[27] Peter Kuppens. The legacy of the person-situation debate for understanding variability in emotional experience , 2009 .
[28] Jordan B. Peterson,et al. From madness to genius: The Openness/Intellect trait domain as a paradoxical simplex , 2012 .
[29] Emily C. Nusbaum,et al. Are openness and intellect distinct aspects of openness to experience? A test of the O/I model. , 2011 .
[30] States, people, and contexts: three psychological challenges for the neuroscience of aesthetics , 2015 .
[31] Paul J. Silvia,et al. Human Emotions and Aesthetic ExperienceAn overview of empirical aesthetics , 2011 .
[32] Benton J. Underwood,et al. Individual differences as a crucible in theory construction. , 1975 .
[33] Murray R. Barrick,et al. META‐ANALYSIS OF THE RELATIONSHIP BETWEEN THE FIVE‐FACTOR MODEL OF PERSONALITY AND HOLLAND'S OCCUPATIONAL TYPES , 2003 .
[34] Adrian Furnham,et al. The influence of personality traits, previous experience of art, and demographic variables on artistic preference , 2001 .
[35] P. Silvia,et al. Must interesting things be pleasant? A test of competing appraisal structures. , 2006, Emotion.
[36] N. Mackintosh,et al. Implicit learning as an ability , 2010, Cognition.
[37] P. Silvia,et al. Taste Sensitivity and Aesthetic Preferences: Is Taste Only a Metaphor? , 2011 .
[38] Anne Hsu,et al. Personality predictors of artistic preferences as a function of the emotional valence and perceived complexity of paintings. , 2010 .
[39] J. Nezlek. Multilevel Modeling for Social and Personality Psychology , 2011 .
[40] Noah A. Shamosh,et al. Intellect as distinct from Openness: differences revealed by fMRI of working memory. , 2009, Journal of personality and social psychology.
[41] G. Cumming. Understanding the New Statistics: Effect Sizes, Confidence Intervals, and Meta-Analysis , 2011 .
[42] Edward A. Vessel,et al. Beauty and the beholder: highly individual taste for abstract, but not real-world images. , 2010, Journal of vision.
[43] L. Cronbach. The two disciplines of scientific psychology. , 1957 .
[44] Paul J. Silvia,et al. Appraisal components and emotion traits: Examining the appraisal basis of trait curiosity , 2008 .
[45] P. Kuppens,et al. An appraisal account of individual differences in emotional experience , 2010 .
[46] H. Day,et al. Some determinants of looking time under different instructional sets , 1968 .
[47] P. Silvia. Confusion and interest: The role of knowledge emotions in aesthetic experience. , 2010 .
[48] Nao Ninomiya,et al. The 10th anniversary of journal of visualization , 2007, J. Vis..
[49] D. Rawlings. Personality correlates of liking for 'unpleasant' paintings and photographs , 2003 .
[50] P. Silvia. Interested Experts, Confused Novices: Art Expertise and the Knowledge Emotions , 2013 .
[51] P. Silvia. Knowledge-based assessment of expertise in the arts: Exploring aesthetic fluency , 2007 .
[52] Jonathan Templin,et al. Are the sources of interest the same for everyone? Using multilevel mixture models to explore individual differences in appraisal structures , 2009 .
[53] Colin G. DeYoung,et al. Openness/intellect: A dimension of personality reflecting cognitive exploration. , 2015 .
[54] P. Silvia,et al. Openness to experience, plasticity, and creativity: Exploring lower-order, high-order, and interactive effects ☆ , 2009 .
[55] Anne S. Hsu,et al. Who art thou? Personality predictors of artistic preferences in a large UK sample: the importance of openness. , 2009, British journal of psychology.
[56] Gregory J. Feist. A Meta-Analysis of Personality in Scientific and Artistic Creativity , 1998, Personality and social psychology review : an official journal of the Society for Personality and Social Psychology, Inc.
[57] Mariette DiChristina,et al. The Sources. , 2006, Clio medica.
[58] P. Silvia,et al. Opposing Art: Rejection as an Action Tendency of Hostile Aesthetic Emotions , 2009 .
[59] J. Hox,et al. Sufficient Sample Sizes for Multilevel Modeling , 2005 .
[60] Jordan B Peterson,et al. Between facets and domains: 10 aspects of the Big Five. , 2007, Journal of personality and social psychology.