Hostname: page-component-cd9895bd7-q99xh Total loading time: 0 Render date: 2024-12-30T21:16:56.808Z Has data issue: false hasContentIssue false
  • English
  • Français

Does art expertise facilitate distancing?

Published online by Cambridge University Press:  29 November 2017

Helmut Leder  and
Norbert Schwarz
Helmut Leder
Affiliation:
Faculty of Psychology – Cognitive Sciences Research Platform, University of Vienna, 1010 Vienna, Austria. helmut.leder@univie.ac.athttp://ppcms.univie.ac.at/index.php?id=2559
Norbert Schwarz
Affiliation:
Dornsife Mind & Society Center, University of Southern California. Los Angeles, CA 90089-1061norbert.schwarz@usc.edhttps://dornsife.usc.edu/norbert-schwarz/
Get access Rights & Permissions [Opens in a new window]

Abstract

With respect to the Distancing-Embracing model, we discuss whether experts with well-developed and highly accessible schemata that lend themselves to distancing have initial affective reactions similar to those of novices, who lack access to well-developed distancing mechanisms, and whether differences between experts' and novices' responses are apparent only after distancing mechanisms have had a chance to do their work. We revisit findings from Leder et al. (2014) and discuss the role of mixed emotions and fluency.

Type
Open Peer Commentary
Information
Behavioral and Brain Sciences , Volume 40 , 2017 , e370
Copyright
Copyright © Cambridge University Press 2017 

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Forster, M., Leder, H. & Ansorge, U. (2016) Exploring the subjective feeling of fluency. Experimental Psychology 63:45–58. Available at: http://doi.org/10.1027/1618-3169/a000311.Google Scholar
Gernot, G., Pelowski, M. & Leder, H. (2017) Empathy, Einfühlung, and aesthetic experience: The effect of emotion contagion on appreciation of representational and abstract art using fEMG and SCR. Cognitive Processing. Available at: http://doi.org/10.1007/s10339-017-0800-2.Google Scholar
Leder, H. (2003) Familiar and fluent! Style-related processing hypotheses in aesthetic appreciation. Empirical Studies of the Arts 21(2):165–75.Google Scholar
Leder, H., Belke, B., Oeberst, A. & Augustin, M. D. (2004) A model of aesthetic appreciation and aesthetic judgments. British Journal of Psychology 95(4):489–508. Available at: http://dx.doi.org/10.1348/0007126042369811.Google Scholar
Leder, H., Gerger, G., Brieber, D. & Schwarz, N. (2014) What makes an art expert? Emotion and evaluation in art appreciation. Emotion and Cognition 28(6):1137–47. Available at: http://doi.org/10.1080/02699931.2013.870132.Google Scholar
Leder, H., Gerger, G., Dressler, S. G. & Schabmann, A. (2012) How art is appreciated. Psychology of Aesthetics Creativity and the Arts 6(1):2–10. doi: dx.doi.org/10.1037/a0026396.Google Scholar
Reber, R., Schwarz, N. & Winkielman, P. (2004) Processing fluency and aesthetic pleasure: Is beauty in the perceiver's processing experience? Personality and Social Psychology Review 8(4):364–82. Available at: http://dx.doi.org/10.1207/s15327957pspr0804_3.CrossRefGoogle ScholarPubMed
Schneider, I.K., & Schwarz, N. (2017). Mixed feelings: The case of ambivalence. Current Opinion in Behavioral Sciences 15:39–45. DOI: 10.1016/j.cobeha.2017.05.012.Google Scholar
Schneider, I. K., Veenstra, L., van Harreveld, F., Schwarz, N. & Koole, S. (2016) Let's not be indifferent about neutrality: Neutral ratings in the IAPS mask mixed affective responses. Emotion 16:426–30. Available at: http://doi.org/10.1037/emo0000164.Google Scholar