Apparently it’s fear, according to researchers from the
City University of New York who have now drawn an uncommon link between danger
and art appreciation. One review of the findings spawned this provocative
headline (from Research Digest): “Why you should watch a horror film before
going to the art gallery,” but fear not, the film doesn’t have to be of
mega-length. Apparently a short video clip will do.
In recent years researchers have confirmed a link
between one’s emotional state and their perception of artwork. But this
was the first study, according to its authors, that examined which emotional
state (fear, happiness or physiological arousal) provides the most juice for
enjoying abstract art.
A Research Digest review of the study asked: “Why should
feeling afraid enhance the sublime power of art?” And the researchers,
quoted in this same review, explained: “The capacity for a work of art to grab
our interest and attention, to remove us from daily life, may stem from its
ability to trigger our evolved mechanisms for coping with danger. . . . Art is
not typically described as scary, but it can be surprising, elicit goose bumps,
and inspire awe. Like discovering a grand vista in nature, artwork presents new
horizons that pose challenges as well as opportunities."
In the study, participants were asked to evaluate a
series of abstract works of art, but before the rating began, they were assigned
to one of five conditions, designed to induce emotions of fear, happiness
and/or arousal (via physical activity). The chief finding, according to
the study abstract: “Only the fear condition resulted in significantly more
positive judgments about the art. These striking findings provide the first
evidence that fear uniquely inspires positively valenced aesthetic judgments.”
Bob Duggan, in a piece published by bigthink.com,
explained that study participants were asked to evaluate the abstract art on how
“inspiring, stimulating, dull, exciting, moving, boring, uninteresting,
rousing/stirring, imposing and forgetful” they were. And Duggan pointed
out that “to control for subject prejudices either for or against a certain
artist or art movement, works by the relatively unknown Russian geometric
abstract artist El Lissitsky were shown.”
The study is titled “Stirring images: Fear, not happiness
or arousal, makes art more sublime” and is co-authored by Eskine, Natalie
Kacinik and Jesse Prinz.
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