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Crying over food: An extraordinary response to a multisensory eating experience
... The practical recorded low-end reached as low as 10 Hz following further refinements (cf. Rottigni & Spence, 2024). These frequencies cannot be heard, but they can be felt. ...
There has long been interest in augmenting cinematic and other forms of public entertainment through tactile and/or bodily (i.e., vestibular) stimulation. In this narrative historical review, the early history of touch (or haptics, as it is sometimes called) and other forms of bodily stimulation (e.g., motion platforms) in the context of entertainment is critically reviewed, with a focus on early cinema as well as other early examples of immersive virtual reality travel experiences. Critically, various challenges have limited the introduction of such additional channels of sensory stimulation. These include technological, financial, cognitive, creative, ethical/artistic, and also legal considerations, given the many patents that currently exist covering commercial digital tactile stimulation (e.g., in the gaming context). Taken together, these challenges help to explain why it is that despite the early interest in “the feelies” (e.g., an envisioning of film that includes tactile sensations by Aldous Huxley, in his novel Brave New World), touch-enhanced cinema and storytelling have never really caught on in the mainstream in the way that, say, the talkies so obviously did following the introduction of sound into cinema in the early decades of the 20th century. Nevertheless, identifying the potential successful use cases that have emerged from previous attempts to augment public entertainments with tactile/bodily stimulation will likely provide useful guidelines for the future tactile augmentation of home entertainment.
This chapter delves into the field of sensory marketing, a rapidly growing discipline. It primarily focuses on the increasing use of multi-sensory experiences as a powerful tool in modern marketing. The chapter emphasizes the significant influence that the five primary senses-sight, hearing, smell, touch, and taste-have on consumer behaviour. It also provides a detailed exploration of each sense and how marketers can effectively use multiple sensory inputs to engage consumers emotionally and foster strong connections between their Brands and them. The chapter further examines various examples and current trends that deliberately incorporate points of contact with different sensory components, leading to enhanced brand differentiation in the dynamic landscape of contemporary marketing.
Nostalgia is a social, self-relevant, and bittersweet (although mostly positive) emotion that arises when reflecting on fond past memories and serves key psychological functions. The majority of evidence concerning the prevalence, triggers, and functions of nostalgia has been amassed in samples from a handful of largely Western cultures. If nostalgia is a fundamental psychological resource, it should perform similar functions across cultures, although its operational dynamics may be shaped by culture. This study (N = 2,606) examined dispositional nostalgia, self-reported triggers of nostalgia, and functions of experimentally induced nostalgia in young adults across 28 countries and a special administrative region of China (i.e., Hong Kong). Results indicated that nostalgia is frequently experienced across cultures, albeit better valued in more-developed countries (i.e., higher national wealth and life-expectancy). Nostalgia is triggered by psychological threats (especially in warmer countries), sensory stimuli (especially in more-developed countries), and social gatherings (especially in less-developed countries). The positive or negative affect prompted by experimentally induced nostalgia varied by country, but was mild overall. More importantly, recalling a nostalgic (vs. ordinary) memory increased social connectedness, self-continuity, and meaning in life across cultures. In less-developed countries, recalling an ordinary memory also conferred some of these functions, reducing the effect size of nostalgia. Finally, recalling a nostalgic (vs. ordinary) memory augmented state satisfaction with life in countries with lower quality of living (i.e., lower life-expectancy and life-satisfaction). Overall, findings confirm the relevance of nostalgia across a wide range of cultures and indicate cultural nuances in its functioning.
The phenomenon of aesthetic chills—shivers and goosebumps associated with either rewarding or threatening stimuli—offers a unique window into the brain basis of conscious reward due to their universal nature and simultaneous subjective and physical counterparts. Elucidating the neural mechanisms underlying aesthetic chills can reveal fundamental insights about emotion, consciousness, and the embodied mind. What is the precise timing and mechanism of bodily feedback in emotional experience? How are conscious feelings and motivations generated from interoceptive predictions? What is the role of uncertainty and precision signaling in shaping emotions? How does the brain distinguish and balance processing of rewards versus threats? Here we review neuroimaging evidence and highlight key questions for understanding how bodily sensations shape conscious feelings of pleasure and meaning. This research stands to advance models of brain-body interactions shaping affect and may lead to novel non-pharmacological interventions for disorders of motivation and pleasure.
This review paper explores auditory tactile (AT) synesthesia, a rare neurological condition where sounds evoke tactile sensations. The paper provides a historical overview of the condition and discusses its epidemiology, with a prevalence of less than 1% of the general population. The neurological basis of AT synesthesia is explored, including the role of cross-modal processing and hyperconnectivity within the brain. The paper also describes the phenomenology of the condition, including the range of tactile sensations that can be experienced in response to different sounds. The occurrence of AT synesthesia in the present-day world is discussed, including its relationship to music and art. Various hypotheses surrounding the development and maintenance of AT synesthesia are reviewed, focusing on genetic and environmental factors. The implications for clinical practice are explored, including potential benefits for individuals with sensory processing disorders. Finally, the paper concludes with a discussion of future directions for research in this field, including the need to explore further the underlying neural mechanisms of AT synesthesia and potential therapeutic interventions.
Aesthetic chills are an embodied peak emotional experience induced by stimuli such as music, films, and speeches and characterized by dopaminergic release. The emotional consequences of chills in terms of valence and arousal are still debated and the existing empirical data is conflicting. In this study, we tested the effects of ChillsDB, an open-source repository of chills-inducing stimuli, on the emotional ratings of 600+ participants. We found that participants experiencing chills reported significantly more positive valence and greater arousal during the experience, compared to participants who did not experience chills. This suggests that the embodied experience of chills may influence one’s perception and affective evaluation of the context, in favor of theoretical models emphasizing the role of interoceptive signals such as chills in the process of perception and decision-making. We also found an interesting pattern in the valence ratings of participants, which tended to harmonize toward a similar mean after the experiment, though initially disparately distributed. We discuss the significance of these results for the diagnosis and treatment of dopaminergic disorders such as Parkinson’s, schizophrenia, and depression.
In three studies, we examined food as an elicitor of nostalgia. Study 1 participants visualised eating either a nostalgic or regularly consumed food. Study 2 participants visualised consuming 12 foods. Study 3 participants consumed 12 flavour samples. Following their food experiences, all participants responded to questions regarding the profile of food-evoked nostalgia (i.e. autobiographical relevance, arousal, familiarity, positive and negative emotions) and several psychological functions (i.e. positive affect, self-esteem, social connectedness, meaning in life). Study 2 and 3 participants also reported their state nostalgia. Results revealed that food is a powerful elicitor of nostalgia. Food-evoked nostalgia has a similar contextual profile to previously examined elicitors, but is a predominantly positive emotional experience. Food-evoked nostalgia served multiple psychological functions and predicted greater state nostalgia.
Human beings are probably the only creatures with a capacity to shed emotional tears. While prior work has mostly used data-driven approaches to identify situational antecedents of adult crying, we present a theory-based taxonomy. Assuming that crying is preceded by the frustration or satisfaction of psychological needs, we postulate that the most common antecedents of crying can be organized into five categories—that is, the Five Reasons to Cry (FRC): loneliness, impotence, overload, harmony, and media. Testing our assumptions in a retrospective study (N = 720, pre-registered) and a thirty-day electronic diary study (N = 91) showed that (i) crying episodes could be reliably assigned to the FRC, (ii) the theorized relations to frustrated/satisfied psychological needs emerged, and (iii) the categories were systematically related to subjective well-being, indicating their criterion validity. In sum, this research provides a valid taxonomy of common situational antecedents of adult emotional crying.
The effects of music on bodily movement and feelings, such as when people are dancing or engaged in physical activity, are well-documented—people may move in response to the sound cues, feel powerful, less tired. How sounds and bodily movements relate to create such effects? Here we deconstruct the problem and investigate how different auditory features affect people’s body-representation and feelings even when paired with the same movement. In three experiments, participants executed a simple arm raise synchronised with changing pitch in simple tones (Experiment 1), rich musical sounds (Experiment 2) and within different frequency ranges (Experiment 3), while we recorded indirect and direct measures on their movement, body-representations and feelings. Changes in pitch influenced people’s general emotional state as well as the various bodily dimensions investigated—movement, proprioceptive awareness and feelings about one’s body and movement. Adding harmonic content amplified the differences between ascending and descending sounds, while shifting the absolute frequency range had a general effect on movement amplitude, bodily feelings and emotional state. These results provide new insights in the role of auditory and musical features in dance and exercise, and have implications for the design of sound-based applications supporting movement expression, physical activity, or rehabilitation.
Lockdowns during the COVID-19 pandemic increased the risk for loneliness. We tested whether nostalgia counteracts loneliness via rises in happiness. We conducted surveys in China ( N = 1,546), the United States ( N = 1,572), and the United Kingdom ( N = 603). Although feeling lonely was associated with unhappiness, it was also associated with nostalgia, which in turn conduced to increased happiness. We complemented these findings with three experiments testing MTurk workers (Study 4, N = 209; Study 5, N = 196; Study 6, N = 190), where we manipulated nostalgia and assessed happiness. Nostalgia increased happiness immediately after the manipulation (Studies 4–6) and, following an induction booster, up to 2 days later (Studies 4–5). Nostalgia is a psychological resource that can be harnessed to raise happiness and help combat loneliness.
Social interactions can trigger emotional contagion between individuals resulting in behavioral synchrony. Emotional contagion can be a very effective and attractive strategy in communication and advertising, and understanding the mechanisms underlying emotional contagion can help marketers to improve their commercial approaches or develop better ones. The purpose of this study is to review and classify the various methodologies and theoretical approaches on emotional contagion, identify the best practices in this domain, and identify ways of gaging and measuring emotional contagion. The study is based on a mini literature review. We identify different mechanisms and approaches to emotional contagion described in the literature. Emotional contagion can be triggered by facial expressions, indirect human interactions, and/or by observing other people's behavior in direct and indirect interactions. Furthermore, emotional contagion can be triggered physiologically or neurologically by synchronizing with the emotional state of others during human interactions. Regarding the assessment and measurement of emotional contagion, we argue that methods based on neuroscience tools are much more accurate and effective than methods based on traditional research approaches. The study identifies guidelines for research on commercial communication through emotional contagion that can be especially interesting for academia and marketing practitioners. The findings are important for field marketers interested in developing new individualized approaches in their commercial strategies and marketing in general. In addition, the study can become the basis of research that further refines and compares the efficacy of the various techniques and tools involved.
Our senses are constantly stimulated in our daily lives but we have only a limited understanding of how they affect our cognitive processes and, especially, our autobiographical memory. Capitalizing on a public science event, we conducted the first empirical study that aimed to compare the relative influence of the five senses on the access, temporal distribution, and phenomenological characteristics of autobiographical memories in a sample of about 400 participants. We found that the access and the phenomenological features of memories varied as a function of the type of sensory cues, but not their temporal distribution. With regard to their influence on autobiographical memory, an overlap between some senses was found, with on one hand, olfaction and taste and, on the other, vision, audition, and touch. We discuss these findings in the light of theories of perception, memory, and the self, and consider methodological implications of the sensory cuing technique in memory research, as well as clinical implications for research in psychopathological and neuropsychological populations.
Crying is an ubiquitous human behavior through which an emotion is expressed on the face together with visible tears and constitutes a slippery riddle for researchers. To provide an answer to the question “How our gaze reacts to another person’s tears?,” we made use of eye tracking technology to study a series of visual stimuli. By presenting an illustrative example through an experimental setting specifically designed to study the “tearing effect,” the present work aims to offer methodological insight on how to use eye-tracking technology to study non-verbal cues. A sample of 30 healthy young women with normal visual acuity performed a within-subjects task in which they evaluated images of real faces with and without tears while their eye movements were tracked. Tears were found to be a magnet for visual attention in the task of facial attribution, facilitating a greater perception of emotional intensity. Moreover, the inspection pattern changed qualitatively and quantitatively, with our participants becoming fully focused on the tears when they were visible. The mere presence of a single tear running down a cheek was associated with an increased emotional inference and greater perception of sincerity. Using normalized and validated tools (Reading the Eyes in the Mind Test and the SALAMANCA screening test for personality disorders), we measured the influence of certain characteristics of the participants on their performance of the experimental task. On the one hand, a higher level of cognitive empathy helped to classify tearful faces with higher emotional intensity and tearless faces with less emotional intensity. On the other hand, we observed that less sincerity was attributed to the tearful faces as the SALAMANCA test scores rose in clusters A (strange and extravagant) and B (immature and emotionally unstable) of our sample. The present findings highlight the advantages of using eye tracking technology to study non-verbal cues and draw attention to methodological issues that should be taken into account. Further exploration of the relationship between empathy and tear perception could be a fruitful avenue of future research using eye tracking.
This paper summarizes the presently available knowledge about the association between low-frequency noise and its effects on health. A database was constructed with a total of 142 articles published between 2016 and 2019 regarding low-frequency noise exposure and its effects on health. A total of 39 articles were analysed in depth. The articles were divided into categories according to the effects on human health addressed. Regarding the emitting source, there was a greater number of articles addressing issues related to sources of environmental noise and noise from wind turbines. As for the effects generated on human health, there was a greater number of articles referring to the effects on sleep disorders, discomfort, sensitivity to and irritability from noise, annoyance, hearing loss, and cardiovascular diseases, and these effects are analysed in more detail in the present article.
Magic and dining have long been popular forms of entertainment. What is more, both involve some kind of transformation, and yet while the more theatrical aspects of dining have grown in popularity in recent decades, there is a surprising paucity of magical food and beverage experiences out there. In this article, we trace the historical appearance of food and drink and culinary items in the performance of magic. We also review some of the more magical elements of food design that have appeared on menus in bars and restaurants in recent years. We introduce the edible lightbulb dish from the menu at Kitchen Theory Chef’s Table and link it to the stage magic of Derren Brown. We also discuss some of the reasons as to why magical food experiences might be rare in the context of dining. In so doing, our hope is to highlight an intriguing area for future research and innovation. Along the way, we identify some possible candidate approaches for the introduction of edible magic onto the menu in the context of modernist cuisine.
Complexity is generally perceived to be a desirable attribute as far as the design/delivery of food and beverage experiences is concerned. However, that said, there are many different kinds of complexity, or at least people use the term when talking about quite different things, and not all of them are relevant to the design of food and drink experiences nor are they all necessarily perceptible within the tasting experience (either in the moment or over time). Consequently, the consumer often needs to infer the complexity of a tasting experience that is unlikely to be perceptible (in its entirety) in the moment. This paper outlines a number of different routes by which the chef, mixologist, and/or blender can both design and signal the complexity in the tasting experience.
Musically induced chills, an emotional response accompanied by gooseflesh, shivers and tingling sensations, are an intriguing aesthetic phenomenon. Although chills have been linked to musical features, personality traits and listening contexts, there exists no comprehensive study that surveys the general characteristics of chills, such as emotional qualities. Thus, the present research aimed to develop a broad understanding of the musical chills response, in terms of emotional characteristics, types of music and chill-inducing features, and listening contexts. Participants (N = 375) completed a survey collecting qualitative responses regarding a specific experience of musical chills, with accompanying quantitative ratings of music qualia and underlying mechanisms. Participants could also describe two more “chills pieces”. Results indicate that chills are often experienced as a mixed and moving emotional state, and commonly occur in isolated listening contexts. Recurring musical features linked to chills include crescendos, the human voice, lyrics, and concepts such as unity and communion in the music. Findings are discussed in terms of theories regarding musical chills, and implications for future empirical testing of the response.
The autonomous sensory meridian response (ASMR) is an atypical sensory phenomenon involving electrostatic-like tingling sensations in response to certain sensory, primarily audio-visual, stimuli. The current study used an online questionnaire, completed by 130 people who self-reported experiencing ASMR. We aimed to extend preliminary investigations into the experience, and establish key multisensory factors contributing to the successful induction of ASMR through online media. Aspects such as timing and trigger load, atmosphere, and characteristics of ASMR content, ideal spatial distance from various types of stimuli, visual characteristics, context and use of ASMR triggers, and audio preferences are explored. Lower-pitched, complex sounds were found to be especially effective triggers, as were slow-paced, detail-focused videos. Conversely, background music inhibited the sensation for many respondents. These results will help in designing media for ASMR induction.
Folk wisdom often refers to odours as potent triggers for autobiographical memory, akin to the Proust phenomenon that describes Proust’s sudden recollection of a childhood memory when tasting a madeleine dipped into tea. Despite an increasing number of empirical studies on the effects of odours on cognition, conclusive evidence is still missing. We set out to examine the effectiveness of childhood and non-childhood odours as retrieval cues for autobiographical memories in a lab experiment. A total of 170 participants were presented with pilot-tested retrieval cues (either odours or images) to recall childhood memories and were then asked to rate the vividness, detail, and emotional intensity of these memories. Results showed that participants indeed reported richer memories when presented with childhood-related odours than childhood-related images or childhood-unrelated odours or images. An exploratory analysis of memory content with Linguistic Inquiry and Word Count did not reveal differences in affective content. The findings of this study support the notion that odours are particularly potent in eliciting rich memories and open up numerous avenues for further exploration.
Music often makes people feel like crying (get a lump in their throat and tears in their eyes) or actually cry. Because crying can co-occur with so many emotions, the present study explored what feeling like crying feels like. A sample of 892 adults reported whether they could remember a time when they cried or felt like crying when listening to music; people who recalled an event then rated it on a wide range of emotional states. A latent class analysis identified two underlying clusters of experiences: a “sad” class defined by feeling sad, upset, and depressed, and an “awe” class defined by feeling euphoric, amazed, happy, and inspired. People high in openness to experience were more likely to recall an event in the “awe” class; people high in neuroticism were more likely to recall an event in the “sad” class. These findings illustrate that feeling like crying from music can reflect different underlying states, and it adds to the growing literature on the complexity of powerful and transcendent aesthetic experiences.
Advances in computing power, natural language processing, and digitization of text now make it possible to study our a culture's evolution through its texts using a "big data" lens. Our ability to communicate relies in part upon a shared emotional experience, with stories often following distinct emotional trajectories, forming patterns that are meaningful to us. Here, by classifying the emotional arcs for a filtered subset of 1,737 stories from Project Gutenberg's fiction collection, we find a set of six core trajectories which form the building blocks of complex narratives. We strengthen our findings by separately applying optimization, linear decomposition, supervised learning, and unsupervised learning. For each of these six core emotional arcs, we examine the closest characteristic stories in publication today and find that particular emotional arcs enjoy greater success, as measured by downloads.
Human beings continuously emit chemicals into the air by breath and through the skin. In order to determine whether these emissions vary predictably in response to audiovisual stimuli, we have continuously monitored carbon dioxide and over one hundred volatile organic compounds in a cinema. It was found that many airborne chemicals in cinema air varied distinctively and reproducibly with time for a particular film, even in different screenings to different audiences. Application of scene labels and advanced data mining methods revealed that specific film events, namely “suspense” or “comedy” caused audiences to change their emission of specific chemicals. These event-type synchronous, broadcasted human chemosignals open the possibility for objective and non-invasive assessment of a human group response to stimuli by continuous measurement of chemicals in air. Such methods can be applied to research fields such as psychology and biology, and be valuable to industries such as film making and advertising.
Ayahuasca is an Amazonian psychoactive brew of two main components. Its active agents are β-carboline and tryptamine derivatives. As a sacrament, ayahuasca is still a central element of many healing ceremonies in the Amazon Basin and its ritual consumption has become common among the mestizo populations of South America. Ayahuasca use amongst the indigenous people of the Amazon is a form of traditional medicine and cultural psychiatry. During the last two decades, the substance has become increasingly known among both scientists and laymen, and currently its use is spreading all over in the Western world. In the present paper we describe the chief characteristics of ayahuasca, discuss important questions raised about its use, and provide an overview of the scientific research supporting its potential therapeutic benefits. A growing number of studies indicate that the psychotherapeutic potential of ayahuasca is based mostly on the strong serotonergic effects, whereas the sigma-1 receptor (Sig-1R) agonist effect of its active ingredient dimethyltryptamine raises the possibility that the ethnomedical observations on the diversity of treated conditions can be scientifically verified. Moreover, in the right therapeutic or ritual setting with proper preparation and mindset of the user, followed by subsequent integration of the experience, ayahuasca has proven effective in the treatment of substance dependence. This article has two important take-home messages: (1) the therapeutic effects of ayahuasca are best understood from a bio-psycho-socio-spiritual model, and (2) on the biological level ayahuasca may act against chronic low grade inflammation and oxidative stress via the Sig-1R which can explain its widespread therapeutic indications.
This paper explores a fundamental similarity between cognitive models for crying and conceptions of insight, enlightenment or, in the context of art, “aesthetic experience.” All of which center on a process of initial discrepancy, followed by schema change, and conclude in a proposed adjustment or “transformation” of one's self image/world-view. Because tears are argued to mark one of the only physical indicators of this cognitive outcome, and because the process is particularly salient in examples with art, I argue that crying may provide an intriguing marker for empirical study of art experience. To explore this parallel, I offer a review of crying theory as well as of tearful cases with art, pointing out the key cognitive elements. I then introduce an expanded crying model, based upon our recent model of art experience which does consider insight and adjustment or application of the self. I also consider multiple emotional and evaluative factors, which may co-vary with crying response. This theoretical discussion is then applied in three exploratory, survey-based studies conducted within U.K., Japan and U.S. museums, and including what is claimed to be the 20th century's most tear-inducing abstract paintings. Results showed—with cross-cultural consistency—significant relation between “feeling like crying” and a collection of responses posited to indicate a full progression to aesthetic experience, as well as to positive assessment of artwork goodness, beauty, understanding of meaning, and to final reported self reflection and epiphany. I argue that, beyond the question of why we may cry, by considering the implications of what tears may indicate within information processing, feeling like crying may indeed offer a compelling basis for empirically identifying outcomes of perceptual (art) experience.
Existing evidence suggests that in social contexts individuals become coupled in their emotions and behaviors. Furthermore, recent biological studies demonstrate that the physiological signals of interacting individuals become coupled as well, exhibiting temporally synchronized response patterns. However, it is yet unknown whether people can shape each other's responses without the direct, face-to-face interaction. Here we investigated whether the convergence of physiological and emotional states can occur among "merely co-present" individuals, without direct interactional exchanges. To this end, we measured continuous autonomic signals and collected emotional responses of participants who watched emotional movies together, seated side-by-side. We found that the autonomic signals of co-present participants were idiosyncratically synchronized and that the degree of this synchronization was correlated with the convergence of their emotional responses. These findings suggest that moment-to-moment emotional transmissions, resulting in shared emotional experiences, can occur in the absence of direct communication and are mediated by autonomic synchronization.
We report the results of three high-powered replications of Troisi and Gabriel's (2011) idea that writing about comfort food reduces feelings of loneliness amongst securely attached individuals after a belongingness threat. We conducted our studies amongst a large group of participants (Total N = 649) amongst American (MTurk), Dutch (Tilburg University; TiU), and Singaporean (Singapore Management University; SMU) samples. Participants first completed an attachment style scale, followed by writing two essays for manipulating a sense of belongingness and salience of comfort food, and then reporting their loneliness levels. We did not confirm the overall effect over all three countries. However, exploratory results provide the preliminary suggestion that (1) the comfort food explanation likely holds amongst the American samples (including Troisi and Gabriel's), but not amongst the TiU and SMU samples, and potentially that (2) the TiU and SMU participants self-regulate through warmer (vs. colder) temperature foods. Both of these should be regarded with great caution as these analyses were exploratory, and because the Ns for the different temperature foods were small. We suspect we have uncovered first cross-cultural differences in self-regulation through food, but further confirmatory work is required to understand the cultural significance of comfort food for self-regulation.
It is well known that feelings of happiness transfer between individuals through mimicry induced by vision and hearing. The evidence is inconclusive, however, as to whether happiness can be communicated through the sense of smell via chemosignals. As chemosignals are a known medium for transferring negative emotions from a sender to a receiver, we examined whether chemosignals are also involved in the transmission of positive emotions. Positive emotions are important for overall well-being and yet relatively neglected in research on chemosignaling, arguably because of the stronger survival benefits linked with negative emotions. We observed that exposure to body odor collected from senders of chemosignals in a happy state induced a facial expression and perceptual-processing style indicative of happiness in the receivers of those signals. Our findings suggest that not only negative affect but also a positive state (happiness) can be transferred by means of odors.
© The Author(s) 2015.
Purpose
– The purpose of this article is to analyze the links between nostalgia and food consumption.
Design/methodology/approach
– Based on an exploratory qualitative analysis of 104 descriptions of nostalgic food consumptions, the use of NVivo helps to substantiate and interpret the textual interview data.
Findings
– The research suggests six themes of food nostalgia (childhood, yearning, substitute, homesickness, special occasions and rediscovery). Prior research suggests that nostalgia is rather a negative or ambivalent emotion; however, the findings of this study suggest that nostalgic food consumption is rather related to positive emotions.
Practical implications
– Perspectives are given for the use of nostalgia in an advertising context and as a reinsurance factor.
Originality/value
– This research integrates marketing and sociological perspectives to better understand links between food consumption and nostalgia.
Exposure to repetitive drumming combined with instructions for shamanic journeying has been associated with physiological and therapeutic effects, such as an increase in salivary immunoglobulin A. In order to assess whether the combination of repetitive drumming and shamanic instructions is specifically associated with these effects, we compared the effect of listening to either repetitive drumming or instrumental meditation music for 15 minutes on salivary cortisol concentration and on self-reported physiological and psychological states. For each musical style, two groups of participants were exposed to two conditions: instructions for shamanic journeying or relaxation instructions. A total of 39 participants (24 females) inexperienced in shamanic journeying completed the experiment. Salivary cortisol concentrations were measured before and after exposure to music. In addition, participants filled out a mood questionnaire before and after the experiment and completed a post experiment questionnaire on their experiences. A significant decrease in the concentration in salivary cortisol was observed across all musical styles and instructions, indicating that exposure to 15 minutes of either repetitive drumming or instrumental meditation music, while lying down, was sufficient to induce a decrease in cortisol levels. However, no differences were observed across conditions. Significant differences in reported emotional states and subjective experiences were observed between the groups. Notably, participants exposed to repetitive drumming combined with shamanic instructions reported experiencing heaviness, decreased heart rate, and dreamlike experiences significantly more often than participants exposed to repetitive drumming combined with relaxation instructions. Our findings suggest that the subjective effects specifically attributed to repetitive drumming and shamanic journeying may not be reflected in differential endocrine responses.
Crying is a unique form of human emotional expression that is associated with both positive and negative evocative antecedents. This article investigates the psychometric properties of a newly developed Crying Proneness Scale by examining the factor structure, test-retest reliability, and theoretically hypothesized relationships with empathy, attachment, age, and gender. Based on an analysis of data provided by a Dutch panel (Time 1: N = 4,916, Time 2: N = 4,874), exploratory and confirmatory factor analyses suggest that crying proneness is a multidimensional construct best characterized by four factors called attachment tears, societal tears, sentimental/moral tears, and compassionate tears. Test-retest reliability of the scale was adequate and associations with age, gender, empathy, and attachment demonstrated expected relations. Results suggest that this scale can be used to measure crying proneness, and that it will be useful in future studies that aim to gain a better understanding of normal and pathological socioemotional development.
Can scents evoke nostalgia; what might be the psychological implications of such an evocation? Participants sampled 12 scents and rated the extent to which each scent was familiar, arousing and autobiographically relevant, as well as the extent to which each scent elicited nostalgia. Participants who were high (compared to low) in nostalgia proneness reported more scent-evoked nostalgia, and scents elicited greater nostalgia to the extent that they were arousing, familiar and autobiographically relevant. Scent-evoked nostalgia predicted higher levels of positive affect, self-esteem, self-continuity, optimism, social connectedness and meaning in life. In addition, scent-evoked nostalgia was characterised by more positive emotions than either non-nostalgic autobiographical memories or non-nostalgic non-autobiographical memories. Finally, scent-evoked nostalgia predicted in-the-moment feelings of personal (general or object-specific) nostalgia. The findings represent a foray into understanding the triggers and affective signature of scent-evoked nostalgia.
Multimodality research has enabled academics to propose and support new ideas in multiple modes for interpretation, communication, and as an important part of art education. In this piece, multimodal listening is situated as a transcendence of ear-centric approaches and the use of vibration as a poetic practice in contemporary art. As a result, sonic arts and sound experience principles are used to talk about everyday sounds in new and immersive ways, encouraging the audience to disrupt established sensorial boundaries. Subsequently, sound-vibration can be interrelated as a mode of multimodality and as a resource for meaning-making in possible contemporary practices. If perception is considered multifaceted, one could notice the world as an integration of conscious or unaware inputs. In the experience of sound installations, one may explore oscillations as a valuable channel for understanding multimodal approaches since, unlike visual or tactile interactions, the relationship between sound and the body hinges on fully embodied situations. The underlying thought in this piece will emerge from two recent art pieces, that produce atmospheres and blur the concrete division of senses, transversely representing the potential of the low frequencies.
Autobiographical memories activated by the senses, particularly smell and taste, can be among the most potent and influential, an experience labelled the Proust Effect. Contemporary research has helped to explain the physiological, neurological, and psychological reasons underlying this phenomenon. Nostalgic memories triggered by taste and smell are especially self-relevant, arousing, and familiar. These memories have an even more positive emotional profile than nostalgic memories elicited by other means, with individuals reporting lower levels of negative or ambivalent emotions. Scent-evoked and food-evoked nostalgia also confer numerous psychological benefits, including enhanced self-esteem, feelings of social connectedness, and deeper meaning in life. Such memories might be harnessed in clinical or other settings.
Some dishes are shocking because of what they contain, such as Korean dog stew to many Western diners, or horsemeat to the British. Others are shocking merely because of what they look like, or resemble: The growing popularity of animate dishes in parts of Asia, for example, or the much-publicized Michelin-starred Hong Kong chef Alvin Leung's ‘Sex on the beach’ dessert, fall into the latter category. There is a growing trend amongst contemporary chefs to develop dishes that their diners will most likely find ‘shocking’. Such a practice appears to represent something of a step change from the ‘search for deliciousness’ that lies behind molecular gastronomy or modernist cuisine. Here, we describe a dish (dessert) that was recently introduced onto the menu at Kitchen Theory, inspired by Barbara Smith’s (1969) edible performance art work entitled ‘Ritual Meal’. Consisting of nothing more than rhubarb and a beetroot juice reduction, the dish is shocking solely because of its visual appearance, both its form and the way in which it is served, cue a human organ that has been removed during surgery. Informal reports suggest that this dish constitutes an especially memorable multisensory component of the diner's experience at Kitchen Theory's Gastrophysics Chef's Table.
Many of the mundane foods that we eat on an everyday basis are consumed in a manner that may be considered stereotypical, conventional, habitual or, on occasion, even a playful ritual. There are a number of reasons for such behaviours, and the potential benefits for the consumer are discussed in the case of vertically asymmetrical foods where the upper and lower surfaces differ. Maximizing the eye appeal of the food product, maximizing the multisensory flavour experience and the ubiquitous benefits of ritual to the enjoyment of consumption experiences are all put forward as possible explanations for such behaviours in this opinion piece. Ultimately, however, the paucity of empirical evidence concerning the influence of the manner of eating such ubiquitous foods (right way-up or upside-down) on the multisensory tasting experience is highlighted. This is a seemingly important lacuna in the food science literature, given the multiple competing explanations concerning how such experiences might be affected, if at all, that suggest themselves. Looking to the future, it would clearly be of great interest, given the growing global obesity crisis, to understand whether it might be possible to increase sensory enjoyment and/or satiety by the better/optimized design of foods and/or food consumption behaviours.
It would seem fair to say that most people in the West remain more than a little apprehensive about eating insects (entomophagy), and the idea of incorporating insect matter into their diet. Rather that telling people that they should eat insects and/or that it is good for the planet, the approach trialled as part of the México dining concept delivered in London in 2015 by Kitchen Theory was to incorporate insect matter (primarily powdered, but also, on occasion, whole) into a number of the courses served as part of the seven-course meal. Importantly, various psychological techniques were built into the design of the multisensory experience in order to help familiarize those diners who were anxious about the prospect of eating bugs and critters. The consumption of insects has long been a (small) part of Mexican cuisine, and thus developing a creative Mexican dining concept seemed to be an appropriate gastronomic vehicle to introduce people to the pleasures and cultural history of entomophagy.
This study aims to examine the role of nostalgia in influencing consumers' loyalty intentions at traditional restaurants in China. Data was collected from 1082 consumers at three representative traditional restaurants in Yangzhou, China. They were then screened and analysed through SPSS and structural equation modelling. The results revealed that consumers who feel more nostalgic at traditional restaurants tend to perceive higher value of their dining experience, which in turn lead to higher loyalty intentions. The study also confirmed the positive effects of restaurant food, environment and service on triggering consumers’ nostalgia at traditional restaurants. Moreover, both theoretical and managerial implications are provided.
A growing number of food and beverage brands have recently started to become interested in trying to link extraordinary emotional experiences to their product offerings. Oftentimes, such extraordinary responses are triggered by product-extrinsic auditory and, to a lesser extent, visual stimuli, such as music or videos having particular sensory qualities or semantic meaning. While much of the interest in this area recently has been linked to the Autonomous Sensory Meridian Response (ASMR), it is worth noting that there are also a number of other responses, such as chills, thrills, and so-called `skin orgasms' that have been documented previously, if not always in a food-related context. Elsewhere, both multisensory dining experiences and experiential events have also been reported to bring people to tears. There are, in other words, a number of extraordinary emotional responses that can or, in some cases, already have been linked to the consumption of food and drink. While such responses to auditory stimuli (increasingly mediated by technology) in the context of food are by no means widespread, they nevertheless hold the potential of delivering dramatic food and beverage experiences that offer the promise of being more stimulating, more memorable, and more emotionally-engaging than anything that has gone before.
Associations between heaviness and bass/low-pitched sounds reverberate throughout music, philosophy, literature, and language. Given that recent research into the field of cross-modal correspondences has revealed a number of robust relationships between sound and flavour, this exploratory study was designed to investigate the effects of lower frequency sound (10 Hz to 200 Hz) on the perception of the mouthfeel character of palate weight/body. This is supported by an overview of relevant cross-modal studies and cultural production. Wines were the tastants — a New Zealand Pinot Noir and a Spanish Garnacha — which were tasted in silence and with a 100 Hz (bass) and a higher 1000 Hz sine wave tone. Aromatic intensity was included as an additional character given suggestions that pitch may influence the perception of aromas, which might presumably affect the perception of wine body. Intensity of acidity and liking were also evaluated. The results revealed that the Pinot Noir wine was rated as significantly fuller-bodied when tasted with a bass frequency than in silence or with a higher frequency sound. The low frequency stimulus also resulted in the Garnacha wine being rated as significantly more aromatically intense than when tasted in the presence of the higher frequency auditory stimulus. Acidity was rated considerably higher with the higher frequency in both wines by those with high wine familiarity and the Pinot Noir significantly better liked than the Garnacha. Possible reasons as to why the tones used in this study affected perception of the two wines differently are discussed. Practical application of the findings are also proposed.
Everyone has heard of comfort foods, but what exactly are they, and what influence, if any, do they actually have over our mood? In this review, I summarize the literature on this important topic, highlighting the role that comfort foods play in alleviating loneliness by priming positive thoughts of previous social interactions, at least amongst those who are securely attached. The evidence concerning individual differences in the kinds of food that are likely to constitute comfort food for different sections of the population is also highlighted. Intriguingly, while most people believe that comfort foods elevate their mood, robust empirical findings in support of such claims is somewhat harder to come by. Such results have led to some influential headlines suggesting that the very notion of comfort food is nothing more than a myth. While this may be overstating matters somewhat, it is clear that many uncertainties still surround if, when, and for whom, the consumption of comfort food really does provide some sort of psychological benefit. This represents something of a challenge for all those marketers out there waiting to associate their products with the appealing notion of comfort food.
The motivational question in media research tries to reach beyond the simple description of who is doing what in which kind of situation; it rather attempts to explain why things are done as they are done. This entry systematizes various answers to the question of why users turn to media, how they differ with regard to the circumstances under which they want to be entertained or informed, and why it is rewarding for them to be engaged with media content. The entry describes different perspectives as to why people turn to media and explains the motivational roots of engaging with media from an intentionalist and from an objectivist perspective. It concludes with an application of established theories of motivation to new forms of media (e.g., social media and mobile media).
We review the evidence suggesting that the bistable/multistable percepts that exist in the so-called higher senses of vision, audition, and touch do not seem to occur in the chemical senses (e.g. taste, aroma, and flavour). While we can undoubtedly be mistaken about our interpretation of chemical stimuli and while certain aromas/flavours do support multiple ‘correct’ interpretations, the perceptual switches occur only rarely rather than repeatedly. In fact, the interpretational changes that chemical stimuli occasionally undergo seem to have more in common with the phenomenon of the Gestalt principle of ‘emergence’ than with multistable perception. We highlight a number of potential differences in information-processing/attention between the senses that may underpin such perceptual differences. Finally, we describe a new dish created by chef Jozef Youssef in order to illustrate the concept of emergence and support discussion of the theme of gastronomy, just like art, as a matter of interpretation. The Picasso dish was served recently at the Gastrophysics dining concept delivered by Kitchen Theory in London.
Many artworks defy determinacy of meaning by inducing a variety of potential meanings. We aim to describe different kinds of such semantic instability (which we call ‘SeIns’) by comparing related concepts as well as specific phenomena in order to arrive at concise definitions. These analyses will be positioned in the framework of Predictive Coding. Furthermore, this article fathoms the specifics of semantic instability in art and presents a psycho-aesthetic account on the appeal of semantic instability in art. We propose that one factor for the appeal of semantic instability might be that it offers the opportunity of rewarding insight. Furthermore, we suggest that positive affect can be gained not only by arriving at an insight but also by anticipating it — a crucial point with regard to those kinds of semantic instability that are not ‘resolvable’ into semantic stability. Current challenges within this field of research include the necessity of an empirical approach to classes of semantic instability, the lack of a specification of psycho-aesthetic theories on the appeal of each class, as well as the need for an integration of context- and person-related facets of the experience of art.
In the quest for better service design, hospitality and service firms have often been frustrated to find that service experiences that are based on what customers say they want are not always successful. A psychological analysis of this phenomenon suggests the following premises: (1) Customers' memory of an experience fades quickly; (2) customers' memory of an experience comprises many sub-experiences; (3) customers' memories of experiences are multidimensional and unintuitive; and (4) consumers cannot accurately predict what they will learn or remember. The goal of an experience design is to create a series of sub-experiences that will "stick" with the customer. This "sticktion" analysis is applied to the practical challenge of redesigning the customer experience at Pizza Hut UK. This consumer research provides a test of the four premises and an application of the underlying sticktion principles. Surveys of Pizza Hut customers found that the existing experience had its bright spots but was generally forgettable. Not only could customers not predict what they would remember about the experience, but one week after visiting the restaurant, the customers also filled in memory gaps with details that did not appear on their initial description of the visit. Even more troublesome was the fact that the invented details tended to be negative. To fill these gaps, the researchers tested specific aspects of the experience that would "stick" and included those in the new restaurant concepts. Using this approach, the chain was able to roll out new concepts that met with initial favorable results.
Purpose
– The purpose of this paper was to develop a framework linking the concept of nostalgia and experiential consumption, articulating the transformation of a mundane activity to a special experience, using the context of the small business and afternoon tea.
Design/methodology/approach
– The methodology is based on a grounded theory approach and draws on multiple methods of data collection including participant observation, in-depth interviews with afternoon tea room managers, researcher introspection and consumer interviews.
Findings
– By employing nostalgia cues through product, ritual and aesthetics, an idealised home can be constructed emphasising belonging and sharing. The small business owner can be effective in transforming an ordinary activity to an experiential event. Contemporary tea rooms do not replicate tradition; they use it as a cultural resource to construct something novel.
Research limitations/implications
– This paper demonstrates how the careful configuration of the retail space can be a key success factor, not only for marketers in large flagship brand stores, but also for smaller, independent and local businesses. The essential interplay between product, ritual and aesthetics creates positive moods of belonging and sharing and may increase satisfaction.
Practical implications
– Understanding the emotional value of everyday experiences is a point of differentiation in a crowded marketplace and may directly influence consumer loyalty. Staging experiences is a key competitive strategy.
Originality/value
– This paper is one of the few to empirically assess links between the nostalgia paradigm and experiential consumption. Existing research has emphasised large retail spaces; in contrast, the authors demonstrate how consumer experiences can be staged in smaller, independent and local businesses.