Reconciling an underlying contradiction in the Distancing-Embracing model.

The Distancing-Embracing model proposes that negative emotions embedded in literary works can be rewarding. This is consistent with a holistic ontology in the German Romantic tradition. However, the application of cognitive psychology to explain experiences of aesthetic pleasure is problematic because it is founded on a mechanistic Enlightenment epistemology. The appreciation of negative emotions requires cognitive elaboration and closure, whereas hedonistic reward is contingent on the reader's needs, in the moment, for pleasure or distraction.

Recognizing odors associated with meaningful places.

Thirty-two undergraduates inhaled odors while outlining episodes, set in 8 living rooms, involving either themselves or the actual inhabitants. They rated odors, rooms, and episodes on 7-point scales and were tested for odor recognition. Episodes were content analyzed, and the frequency of categories was assessed. Separate factor analyses determined relationships between rating scales and content analysis categories. Regression analysis showed greater odor recognition when participants judged the odor to fit the imagined episode but less recognition when an unpleasant odor was incongruously paired with a warm episode. Odor recognition also was greater when the narrative outlines described familiar characters figuring out the scenes. Results supported the congruity hypothesis, whereby odors become markers for meaningful scenes with which they fit.

Viewing artworks: contributions of cognitive control and perceptual facilitation to aesthetic experience.

When we view visual images in everyday life, our perception is oriented toward object identification. In contrast, when viewing visual images as artworks, we also tend to experience subjective reactions to their stylistic and structural properties. This experiment sought to determine how cognitive control and perceptual facilitation contribute to aesthetic perception along with the experience of emotion. Using functional MRI, we show that aesthetic perception activated bilateral insula which we attribute to the experience of emotion. Moreover, while adopting the aesthetic orientation activated the left lateral prefrontal cortex, paintings that facilitated visuospatial exploration activated the left superior parietal lobule. The results suggest that aesthetic experience is a function of the interaction between top-down orienting of attention and bottom-up perceptual facilitation.

Scented memories of literature.

This study examined the effects on recall of story details of congruity or incongruity between the hedonic valence of literary texts and odours inhaled while reading them. During the reading session, 24 undergraduates (12 males and 12 females) read two passages involving positive subject matter and two with negative subject matter while sniffing pleasant or unpleasant odours in a within-subject fully counterbalanced design. Subjects rated their experience of each text on eleven 7-point scales. During the test session 48 hours later, subjects read a two-word title associated with each of the passages and inhaled the odour that was paired with it in the reading session. They also rated their experience on six of the scales that had been used during the reading session. Results showed that hedonic congruence between the passage and the odour fostered enhanced recall during the test session. The combination of positive subject matter and positive odour was reflected in more accurate recall of character details, while pairing negative subject matter and negative odour resulted in more accurate recall of setting details. Regression analysis showed that overall recall accuracy was increased by identifying with the characters in the stories and for passages that were found pleasing and personally meaningful. Consistent with the literature on implicit learning involving odours, recall accuracy varied inversely with perceived odour intensity. Implicit learning involving odours and literary passages is therefore fostered by unity in the reading experience.

Interpretative memories of artworks.

It is well known that memories of self-relevant experiences are reconstructed over time. Artworks often require an elongated period of interpretative meaning-making. Such works were therefore used to study temporal aspects of memory construction. In a longitudinal study, individuals' memories of artworks were examined to explore the idea that only with the passage of time would autobiographical memory and emotion be associated with thematic integration of the artwork memory. We also expected that integrated artwork memories would be more differentiated (in terms of number of details) than memories that were not integrated. Memories of artworks were collected from visitors to an art gallery in person as they left the gallery, and 5 months later in a phone interview. Participants were also asked, at both interviews, whether the memory recollection was associated with an autobiographical memory and with an emotion. Associations among the elements of autobiographical memory, emotion, differentiation, and integrated artwork memories were significant only at the time of the longer-term recollection. The data suggest that, during an incubation period, these elements moved from a state of disconnection to interconnection.