Distinct varieties of aesthetic chills in response to multimedia

Predicting individual differences in peak emotional response

Why does the same experience elicit strong emotional responses in some individuals while leaving others largely indifferent? Is the variance influenced by who people are (personality traits), how they feel (emotional state), where they come from (demographics), or a unique combination of these? In this 2,900+ participants study, we disentangle the factors that underlie individual variations in the universal experience of aesthetic chills, the feeling of cold and shivers down the spine during peak experiences. Here, we unravel the interplay of psychological and sociocultural dynamics influencing self-reported chills reactions. A novel technique harnessing mass data mining of social media platforms curates the first large database of ecologically sourced chills-evoking stimuli. A combination of machine learning techniques (LASSO and SVM) and multilevel modeling analysis elucidates the interacting roles of demographics, traits, and states factors in the experience of aesthetic chills. These findings highlight a tractable set of features predicting the occurrence and intensity of chills-age, sex, pre-exposure arousal, predisposition to Kama Muta (KAMF), and absorption (modified tellegen absorption scale [MODTAS]), with 73.5% accuracy in predicting the occurrence of chills and accounting for 48% of the variance in chills intensity. While traditional methods typically suffer from a lack of control over the stimuli and their effects, this approach allows for the assignment of stimuli tailored to individual biopsychosocial profiles, thereby, increasing experimental control and decreasing unexplained variability. Further, they elucidate how hidden sociocultural factors, psychological traits, and contextual states shape seemingly "subjective" phenomena.

What is autonomous sensory meridian response (ASMR)? A narrative review and comparative analysis of related phenomena

A narrative review of autonomous sensory meridian response (ASMR) was carried out. Definitional factors relevant to ASMR were canvassed. Related, but distinctly unique, sensorial phenomena, including frisson, synaesthesia, and misophonia were considered. Finally, the status of literature with respect to clinical outcomes, individual differences, and current research applications was evaluated. ASMR is a nascent phenomenon that has rapidly progressed in scope and depth of study throughout the past decade; a notable shift from brief-form studies to an increase in formalised trials is noted. Yet, critical questions remain unaddressed, including expectancy and placebo effects, that future research should interrogate.

Do we enjoy what we sense and perceive? A dissociation between aesthetic appreciation and basic perception of environmental objects or events

This integrative review rearticulates the notion of human aesthetics by critically appraising the conventional definitions, offerring a new, more comprehensive definition, and identifying the fundamental components associated with it. It intends to advance holistic understanding of the notion by differentiating aesthetic perception from basic perceptual recognition, and by characterizing these concepts from the perspective of information processing in both visual and nonvisual modalities. To this end, we analyze the dissociative nature of information processing in the brain, introducing a novel local-global integrative model that differentiates aesthetic processing from basic perceptual processing. This model builds on the current state of the art in visual aesthetics as well as newer propositions about nonvisual aesthetics. This model comprises two analytic channels: aesthetics-only channel and perception-to-aesthetics channel. The aesthetics-only channel primarily involves restricted local processing for quality or richness (e.g., attractiveness, beauty/prettiness, elegance, sublimeness, catchiness, hedonic value) analysis, whereas the perception-to-aesthetics channel involves global/extended local processing for basic feature analysis, followed by restricted local processing for quality or richness analysis. We contend that aesthetic processing operates independently of basic perceptual processing, but not independently of cognitive processing. We further conjecture that there might be a common faculty, labeled as aesthetic cognition faculty, in the human brain for all sensory aesthetics albeit other parts of the brain can also be activated because of basic sensory processing prior to aesthetic processing, particularly during the operation of the second channel. This generalized model can account not only for simple and pure aesthetic experiences but for partial and complex aesthetic experiences as well.

Similar but different: High prevalence of synesthesia in autonomous sensory meridian response (ASMR)

Autonomous sensory meridian response (ASMR) is a complex sensory-emotional experience characterized by pleasant tingling sensations initiating at the scalp. ASMR is triggered in some people (called ASMR-responders) by stimuli including whispering, personal attention, and crisp sounds (termed ASMR triggers). Since its inception, ASMR has been likened to synesthesia, but convincing empirical data directly linking ASMR with synesthesia is lacking. In this study, we examined whether the prevalence of synesthesia is indeed significantly higher in ASMR-responders than non-responders. A sample of working adults and students (N = 648) were surveyed about their experience with ASMR and common types of synesthesia. The proportion of synesthetes who were classified as ASMR-responders was 52%, whereas 22% of ASMR-responders were also synesthetes. These results suggest that: (1) over half of those identifying as synesthetes also experience ASMR, and (2) that synesthesia is up to four times as common among ASMR-responders as among non-responders (22% vs. 5%). Findings also suggest a prevalence rate for ASMR of approximately 20%. Overall, the co-occurrence of ASMR and synesthesia lends empirical support to the idea that ASMR may be driven by synesthetic mechanisms, but future research would benefit from examining how ASMR and synesthesia are different, as well as similar.

The physiological study of emotional piloerection: A systematic review and guide for future research

This paper provides an accessible review of the biological and psychological evidence to guide new and experienced researchers in the study of emotional piloerection in humans. A limited number of studies have attempted to examine the physiological and emotional correlates of piloerection in humans. However, no review has attempted to collate this evidence to guide the field as it moves forward. We first discuss the mechanisms and function of non-emotional and emotional piloerection in humans and animals. We discuss the biological foundations of piloerection as a means to understand the similarities and differences between emotional and non-emotional piloerection. We then present a systematic qualitative review (k = 24) in which we examine the physiological correlates of emotional piloerection. The analysis revealed that indices of sympathetic activation are abundant, suggesting emotional piloerection occurs with increased (phasic) skin conductance and heart rate. Measures of parasympathetic activation are lacking and no definite conclusions can be drawn. Additionally, several studies examined self-reported emotional correlates, and these correlates are discussed in light of several possible theoretical explanations for emotional piloerection. Finally, we provide an overview of the methodological possibilities available for the study of piloerection and we highlight some pressing questions researchers may wish to answer in future studies.

Musical Enjoyment and Reward: From Hedonic Pleasure to Eudaimonic Listening

This article is a hypothesis and theory paper. It elaborates on the possible relation between music as a stimulus and its possible effects, with a focus on the question of why listeners are experiencing pleasure and reward. Though it is tempting to seek for a causal relationship, this has proven to be elusive given the many intermediary variables that intervene between the actual impingement on the senses and the reactions/responses by the listener. A distinction can be made, however, between three elements: (i) an objective description of the acoustic features of the music and their possible role as elicitors; (ii) a description of the possible modulating factors—both external/exogenous and internal/endogenous ones; and (iii) a continuous and real-time description of the responses by the listener, both in terms of their psychological reactions and their physiological correlates. Music listening, in this broadened view, can be considered as a multivariate phenomenon of biological, psychological, and cultural factors that, together, shape the overall, full-fledged experience. In addition to an overview of the current and extant research on musical enjoyment and reward, we draw attention to some key methodological problems that still complicate a full description of the musical experience. We further elaborate on how listening may entail both adaptive and maladaptive ways of coping with the sounds, with the former allowing a gentle transition from mere hedonic pleasure to eudaimonic enjoyment.

On the etiology of aesthetic chills: a behavioral genetic study

Aesthetic chills, broadly defined as a somatic marker of peak emotional-hedonic responses, are experienced by individuals across a variety of human cultures. Yet individuals vary widely in the propensity of feeling them. These individual differences have been studied in relation to demographics, personality, and neurobiological and physiological factors, but no study to date has explored the genetic etiological sources of variation. To partition genetic and environmental sources of variation in the propensity of feeling aesthetic chills, we fitted a biometrical genetic model to data from 14,127 twins (from 8995 pairs), collected by the Netherlands Twin Register. Both genetic and unique environmental factors accounted for variance in aesthetic chills, with heritability estimated at 0.36 ([0.33, 0.39] 95% CI). We found females more prone than males to report feeling aesthetic chills. However, a test for genotype x sex interaction did not show evidence that heritability differs between sexes. We thus show that the propensity of feeling aesthetic chills is not shaped by nurture alone, but it also reflects underlying genetic propensities.

Feeling moved by music: Investigating continuous ratings and acoustic correlates

The experience often described as feeling moved, understood chiefly as a social-relational emotion with social bonding functions, has gained significant research interest in recent years. Although listening to music often evokes what people describe as feeling moved, very little is known about the appraisals or musical features contributing to the experience. In the present study, we investigated experiences of feeling moved in response to music using a continuous rating paradigm. A total of 415 US participants completed an online experiment where they listened to seven moving musical excerpts and rated their experience while listening. Each excerpt was randomly coupled with one of seven rating scales (perceived sadness, perceived joy, feeling moved or touched, sense of connection, perceived beauty, warmth [in the chest], or chills) for each participant. The results revealed that musically evoked experiences of feeling moved are associated with a similar pattern of appraisals, physiological sensations, and trait correlations as feeling moved by videos depicting social scenarios (found in previous studies). Feeling moved or touched by both sadly and joyfully moving music was associated with experiencing a sense of connection and perceiving joy in the music, while perceived sadness was associated with feeling moved or touched only in the case of sadly moving music. Acoustic features related to arousal contributed to feeling moved only in the case of joyfully moving music. Finally, trait empathic concern was positively associated with feeling moved or touched by music. These findings support the role of social cognitive and empathic processes in music listening, and highlight the social-relational aspects of feeling moved or touched by music.

Decoding peak emotional responses to music from computational acoustic and lyrical features

Music can evoke strong emotions. Research has suggested that pleasurable chills (shivering) and tears (weeping) are peak emotional responses to music. The present study examines whether computational acoustic and lyrical features can decode chills and tears. The experiment comprises 186 pieces of self-selected music to evoke emotional responses from 54 Japanese participants. Machine learning analysis with L2-norm-regularization regression revealed the decoding accuracy and specified well-defined features. In Study 1, time-series acoustic features significantly decoded emotional chills, tears, and the absence of chills or tears by using information within a few seconds before and after the onset of the three responses. The classification results showed three significant periods, indicating that complex anticipation-resolution mechanisms lead to chills and tears. Evoking chills was particularly associated with rhythm uncertainty, while evoking tears was related to harmony. Violating rhythm expectancy may have been a trigger for chills, while the harmonious overlapping of acoustic spectra may have played a role in evoking tears. In Study 2, acoustic and lyrical features from the entire piece decoded tears but not chill frequency. Mixed emotions stemming from happiness were associated with major chords, while lyric content related to sad farewells can contribute to the prediction of emotional tears, indicating that distinctive emotions in music may evoke a tear response. When considered in tandem with theoretical studies, the violation of rhythm may biologically boost both the pleasure- and fight-related physiological response of chills, whereas tears may be evolutionarily embedded in the social bonding effect of musical harmony and play a unique role in emotional regulation.

Music Listening and Homeostatic Regulation: Surviving and Flourishing in a Sonic World

This paper argues for a biological conception of music listening as an evolutionary achievement that is related to a long history of cognitive and affective-emotional functions, which are grounded in basic homeostatic regulation. Starting from the three levels of description, the acoustic description of sounds, the neurological level of processing, and the psychological correlates of neural stimulation, it conceives of listeners as open systems that are in continuous interaction with the sonic world. By monitoring and altering their current state, they can try to stay within the limits of operating set points in the pursuit of a controlled state of dynamic equilibrium, which is fueled by interoceptive and exteroceptive sources of information. Listening, in this homeostatic view, can be adaptive and goal-directed with the aim of maintaining the internal physiology and directing behavior towards conditions that make it possible to thrive by seeking out stimuli that are valued as beneficial and worthy, or by attempting to avoid those that are annoying and harmful. This calls forth the mechanisms of pleasure and reward, the distinction between pleasure and enjoyment, the twin notions of valence and arousal, the affect-related consequences of music listening, the role of affective regulation and visceral reactions to the sounds, and the distinction between adaptive and maladaptive listening.

Neural Correlates of Music Listening: Does the Music Matter?

The last decades have seen a proliferation of music and brain studies, with a major focus on plastic changes as the outcome of continuous and prolonged engagement with music. Thanks to the advent of neuroaesthetics, research on music cognition has broadened its scope by considering the multifarious phenomenon of listening in all its forms, including incidental listening up to the skillful attentive listening of experts, and all its possible effects. These latter range from objective and sensorial effects directly linked to the acoustic features of the music to the subjectively affective and even transformational effects for the listener. Of special importance is the finding that neural activity in the reward circuit of the brain is a key component of a conscious listening experience. We propose that the connection between music and the reward system makes music listening a gate towards not only hedonia but also eudaimonia, namely a life well lived, full of meaning that aims at realizing one's own "daimon" or true nature. It is argued, further, that music listening, even when conceptualized in this aesthetic and eudaimonic framework, remains a learnable skill that changes the way brain structures respond to sounds and how they interact with each other.

The Relationship Between Valence and Chills in Music: A Corpus Analysis

Chills experienced in response to music listening have been linked to both happiness and sadness expressed by music. To investigate these conflicting effects of valence on chills, we conducted a computational analysis on a corpus of 988 tracks previously reported to elicit chills, by comparing them with a control set of tracks matched by artist, duration, and popularity. We analysed track-level audio features obtained with the Spotify Web API across the two sets of tracks, resulting in confirmatory findings that tracks which cause chills were sadder than matched tracks and exploratory findings that they were also slower, less intense, and more instrumental than matched tracks on average. We also found that the audio characteristics of chills tracks were related to the direction and magnitude of the difference in valence between the two sets of tracks. We discuss these results in light of the current literature on valence and chills in music, provide a new interpretation in terms of personality correlates of musical preference, and review the advantages and limitations of our computational approach.

Corona Concerts: The Effect of Virtual Concert Characteristics on Social Connection and Kama Muta

The popularity of virtual concerts increased as a result of the social distancing requirements of the coronavirus pandemic. We aimed to examine how the characteristics of virtual concerts and the characteristics of the participants influenced their experiences of social connection and kama muta (often labeled “being moved”). We hypothesized that concert liveness and the salience of the coronavirus would influence social connection and kama muta. We collected survey responses on a variety of concert and personal characteristics from 307 participants from 13 countries across 4 continents. We operationalized social connection as a combination of feelings and behaviors and kama muta was measured using the short kama muta scale (Zickfeld et al., 2019). We found that (1) social connection and kama muta were related and predicted by empathic concern, (2) live concerts produced more social connection, but not kama muta, than pre-recorded concerts, and (3) the salience of the coronavirus during concerts predicted kama muta and this effect was completely mediated by social connection. Exploratory analyses also examined the influence of social and physical presence, motivations for concert attendance, and predictors of donations. This research contributes to the understanding of how people can connect socially and emotionally in virtual environments.

'Defrosting' music chills with naltrexone: The role of endogenous opioids for the intensity of musical pleasure

The endogenous opioid system has been implicated during experiences of pleasure (i.e., from food or sex). Music can elicit intense emotional and bodily sensations of pleasure, called 'Chills'. We investigated the effects of an opioid antagonist (50 mg naltrexone) or placebo (40 μg d3-vitamin) while listening to self-selected music or other 'control' music selected by another participant. We used a novel technique of continuous measurement of pleasantness with an eye tracker system, where participants shifted their eyes along a visual analogue scale, in the semblance of a thermometer so that, as the music unfolded, gaze positions indicated the self-reported hedonic experience. Simultaneously, we obtained pupil diameters. Self-reported pleasure remained unchanged by naltrexone, which - however - selectively decreased pupillary diameters during 'Chills'. Hence, the endogenous μ-opioid signaling is not necessary for subjective enjoyment of music but an opioid blockade dampens pupil responses to peak pleasure, consistent with decreased arousal to the music.

"Stopping for knowledge": The sense of beauty in the perception-action cycle

According to a millennial-old philosophical debate, aesthetic emotions have been connected to knowledge acquisition. Recent scientific evidence, collected across different disciplinary domains, confirms this link, but also reveals that motor inhibition plays a crucial role in the process. In this review, we discuss multidisciplinary results and propose an original account of aesthetic appreciation (the stopping for knowledge hypothesis) framed within the predictive coding theory. We discuss evidence showing that aesthetic emotions emerge in correspondence with an inhibition of motor behavior (i.e., minimizing action), promoting a simultaneous perceptual processing enhancement, at the level of sensory cortices (i.e., optimizing learning). Accordingly, we suggest that aesthetic appreciation may represent a hedonic feedback over learning progresses, motivating the individual to inhibit motor routines to seek further knowledge acquisition. Furthermore, the neuroimaging and neuropsychological studies we review reveal the presence of a strong association between aesthetic appreciation and the activation of the dopaminergic reward-related circuits. Finally, we propose a number of possible applications of the stopping for knowledge hypothesis in the clinical and education domains.

Tears of joy, aesthetic chills and heartwarming feelings: Physiological correlates of Kama Muta

Situations involving increased closeness or exceptional kindness are often labeled as moving or touching and individuals often report bodily symptoms, including tears, goosebumps, and warmth in the body. Recently, the kama muta framework has been proposed as a cross-cultural conceptualization of these experiences. Prior research on kama muta has mostly relied on subjective reports. Thus, our main goal of the present project was to examine the pattern of physiological responses to kama muta inducing videos and compare it to the patterns for the similar, though distinct emotions of sadness and awe. One hundred forty-four Portuguese and Norwegian participants were individually exposed to all three emotion conditions. Several psychophysiological indexes of the autonomic nervous system were collected continuously during exposure, including cardiovascular, respiratory, and electrodermal activity, facial EMG, skin temperature, as well as piloerection and lachrymation using cameras. Overall, the results partly replicated previous findings on being moved experiences and self-report studies. Strong self-reported experiences of kama muta were associated with increased phasic skin conductance, skin temperature, piloerection, and zygomaticus activity, while they were associated with reduced heart rate, respiration rate, and tonic skin conductance. The physiological profile of kama muta was successfully distinguished from sadness and awe, partly corroborating self-report evidence. We obtained no clear evidence of a kama muta association with the occurrence of lachrymation or heart rate variability. Our findings provide a systematic overview of psychophysiological response to experiences of kama muta, and help to inform future research on this emotion and positive emotions in general.

Distinct varieties of aesthetic chills in response to multimedia

The experience of aesthetic chills, often defined as a subjective response accompanied by goosebumps, shivers and tingling sensations, is a phenomenon often utilized to indicate moments of peak pleasure and emotional arousal in psychological research. However, little is currently understood about how to conceptualize the experience, particularly in terms of whether chills are general markers of intense pleasure and emotion, or instead a collection of distinct phenomenological experiences. To address this, a web-study was designed using images, videos, music videos, texts and music excerpts (from both an online forum dedicated to chills-eliciting stimuli and previous musical chills study), to explore variations across chills experience in terms of bodily and emotional responses reported. Results suggest that across participants (N = 179), three distinct chills categories could be identified: warm chills (chills co-occurring with smiling, warmth, feeling relaxed, stimulated and happy), cold chills (chills co-occurring with frowning, cold, sadness and anger), and moving chills (chills co-occurring with tears, feeling a lump in the throat, emotional intensity, and feelings of affection, tenderness and being moved). Warm chills were linked to stimuli expressing social communion and love; cold chills were elicited by stimuli portraying entities in distress, and support from one to another; moving chills were elicited by most stimuli, but their incidence were also predicted by ratings of trait empathy. Findings are discussed in terms of being moved, the importance of differing induction mechanisms such as shared experience and empathic concern, and the implications of distinct chills categories for both individual differences and inconsistencies in the existing aesthetic chills literature.