ArticlePloS one2019
Distinct varieties of aesthetic chills in response to multimedia.
Article in PloS one, 2019. The graph could read no effect estimate from its abstract, so it casts no vote on the map. Cited by 13 papers.
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Who cites it
13 citing papers in PubMed.
- Using chills-inducing music to augment self-transcendence, emotional breakthrough, and psychological insight during mindfulness and loving kindness meditation.Frontiers in psychology · 2026Article
- Predicting individual differences in peak emotional response.PNAS nexus · 2024Article
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- Do we enjoy what we sense and perceive? A dissociation between aesthetic appreciation and basic perception of environmental objects or events.Cognitive, affective & behavioral neuroscience · 2022Review
- Musical Enjoyment and Reward: From Hedonic Pleasure to Eudaimonic Listening.Behavioral sciences (Basel, Switzerland) · 2022Article
- On the etiology of aesthetic chills: a behavioral genetic study.Scientific reports · 2022Article
- Similar but different: High prevalence of synesthesia in autonomous sensory meridian response (ASMR).Frontiers in psychology · 2022Article
- Music Listening and Homeostatic Regulation: Surviving and Flourishing in a Sonic World.International journal of environmental research and public health · 2021Article
- Neural Correlates of Music Listening: Does the Music Matter?Brain sciences · 2021Review
- Corona Concerts: The Effect of Virtual Concert Characteristics on Social Connection andFrontiers in psychology · 2021Article
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Authors and funding
1 author.
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No grant is acknowledged in the PubMed record.
Abstract
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.
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