Poetry in Pandemic: A Multimodal Neuroaesthetic Study on the Emotional Reaction to the Divina Commedia Poem

Poetry elicits emotions, and emotion is a fundamental component of human ontogeny. Although neuroaesthetics is a rapidly developing field of research, few studies focus on poetry, and none address its different modalities of fruition (MOF) of universal cultural heritage works, such as the Divina Commedia (DC) poem. Moreover, alexithymia (AX) resulted in being a psychological risk factor during the Covid-19 pandemic. The present study aims to investigate the emotional response to poetry excerpts from different cantica (Inferno, Purgatorio, Paradiso) of DC with the dual objective of assessing the impact of both the structure of the poem and MOF and that of the characteristics of the acting voice in experts and non-experts, also considering AX. Online emotion facial coding biosignal (BS) techniques, self-reported and psychometric measures were applied to 131 literary (LS) and scientific (SS) university students. BS results show that LS globally manifest more JOY than SS in both reading and listening MOF and more FEAR towards Inferno. Furthermore, LS and SS present different results regarding NEUTRAL emotion about acting voice. AX influences listening in NEUTRAL and SURPRISE expressions. DC’s structure affects DISGUST and SADNESS during listening, regardless of participant characteristics. PLEASANTNESS varies according to DC’s structure and the acting voice, as well as AROUSAL, which is also correlated with AX. Results are discussed in light of recent findings in affective neuroscience and neuroaesthetics, suggesting the critical role of poetry and listening in supporting human emotional processing

Forefront users’ experience evaluation by employing together virtual reality and electroencephalography: a case study on cognitive effects of scents

Scents have the ability to affect peoples’ mental states and task performance with to different extents. It has been widely demonstrated that the lemon scent, included in most all-purpose cleaners, elicits stimulation and activation, while the lavender scent elicits relaxation and sedative effects. The present study aimed at investigating and fostering a novel approach to evaluate users’ experience with respect to scents’ effects through the joint employment of Virtual Reality and users’ neurophysiological monitoring, in particular Electroencephalography. In particular, this study, involving 42 participants, aimed to compare the effects of lemon and lavender scents on the deployment of cognitive resources during a daily life experience consisting in a train journey carried out in virtual reality. Our findings showed a significant higher request of cognitive resources during the processing of an informative message for subjects exposed to the lavender scent with respect to the lemon exposure. No differences were found between lemon and lavender conditions on the self-reported items of pleasantness and involvement; as this study demonstrated, the employment of the lavender scent preserves the quality of the customer experience to the same extent as the more widely used lemon scent

Virtual and Reality: A Neurophysiological Pilot Study of the Sarcophagus of the Spouses

Art experience is not solely the observation of artistic objects, but great relevance is also placed on the environment in which the art experience takes place, often in museums and galleries. Interestingly, in the last few years, the introduction of some forms of virtual reality (VR) in museum contexts has been increasing. This has solicited enormous research interest in investigating any eventual differences between looking at the same artifact either in a real context (e.g. a museum) and in VR. To address such a target, a neuroaesthetic study was performed in which electroencephalography (EEG) and autonomic signals (heart rate and skin conductance) were recorded during the observation of the Etruscan artifact “Sarcophagus of the Spouses”, both in the museum and in a VR reproduction. Results from EEG analysis showed a higher level of the Workload Index during observation in the museum compared to VR (p = 0.04), while the Approach–Withdrawal Index highlighted increased levels during the observation in VR compared to the observation in the museum (p = 0.03). Concerning autonomic indices, the museum elicited a higher Emotional Index response than the VR (p = 0.03). Overall, preliminary results suggest a higher engagement potential of the museum compared to VR, although VR could also favour higher embodiment than the museum