Within the depth-psychology corpus, Embodied Aesthetic Experience — encompassing the phenomena catalogued under terms such as frissons, aesthetic chills, thrills, skin orgasms, and piloerection — occupies a distinctive intersection between somatic sensation, emotional arousal, and psychological transformation. The field does not converge on a single interpretive framework. Neuroscientific investigators such as Schoeller, Jain, and Reggente treat aesthetic chills as precision-weighted interoceptive signals whose timing reveals how bodily feedback constitutes — rather than merely accompanies — conscious emotion. Harrison and Loui situate frissons within an evolutionary and cross-cultural frame, arguing that the full-body, transcendent response to music is phylogenetically ancient and culturally universal, demanding an integrative model that spans psychophysiology, ethnomusicology, and phenomenology. Williams and colleagues reorient the question toward individual differences, establishing that proneness to aesthetic chill is the single strongest behavioral correlate of Openness to Aesthetics in major personality taxonomies and serves as a physiological marker of awe. Bannister introduces taxonomic nuance, distinguishing ‘warm’ from ‘cold’ chills on the basis of valence, bodily response, and social-stimulus type. Fogel’s embodied self-awareness framework provides a complementary developmental account, foregrounding interoceptive absorption as the substrate through which aesthetic states achieve their distinctive phenomenal depth. The central theoretical tension across these positions concerns whether such experiences are primarily reward-circuit events, social-bonding responses, or vehicles for self-transcendence — a tension unresolved but productively generative.