What makes a poem appealing? People prefer poetry that paints a vivid picture, according to a new study from a trio of researchers, including Pomona College President G. Gabrielle Starr, a scholar of English literature and neuroscience.

The research, which appears in the journal Psychology of Aesthetics, Creativity, and the Arts, seeks to answer an age-old question—“Why do we like what we like?”—by gauging what we find aesthetically pleasing in poetry.

The researchers had more than 400 participants read and rate poems of two genres—haiku and sonnet. After reading each poem, participants answered questions about:

• Vividness—How vivid is the imagery evoked by this poem?
• Emotional arousal—How relaxing or stimulating is this poem?
• Emotional valence—How positive or negative is the content of this poem? (For example, a poem about death might be negative, while a poem about beautiful flowers might be positive.)
• Aesthetic appeal—How enjoyable or aesthetically appealing did you find this poem?

The results showed that poems that evoked greater imagery were more aesthetically pleasing. Emotional valence also predicted aesthetic appeal, though to a lesser extent; specifically, poems that were found to be more positive were generally found to be more appealing. By contrast, emotional arousal did not have a clear relationship to aesthetic appeal.

Amy Belfi, a postdoctoral fellow at New York University (NYU) at the time of the research, is the lead author. Her co-authors are President Starr, previously dean of NYU’s College of Arts and Science, and Edward Vessel, a research scientist at the Max Planck Institute for Empirical Aesthetics in Germany. Belfi is now an assistant professor of psychological science at Missouri University of Science and Technology.

Notably, readers differed greatly in what poems they found appealing. Nonetheless, there is common ground—vividness of imagery and emotional valence—in what explains these tastes, even if they vary.

“The vividness of a poem consistently predicted its aesthetic appeal,” notes Starr, author of Feeling Beauty: The Neuroscience of Aesthetic Experience (MIT Press). “Therefore, it seems that vividness of mental imagery may be a key component influencing what we like more broadly.”

“While limited to poetry,” she adds, “our work sheds light into which components most influence our aesthetic judgments and paves the way for future research investigating how we make such judgments in other domains.”

Starr’s research frequently reaches across disciplines, from the humanities into neuroscience. A recipient of the Guggenheim Fellowship, she looks closely at the brain, through the use of fMRI, to get to the heart of how people respond to paintings, music and other forms of art.

She became president of Pomona College in July 2017 after 15 years at NYU, where she conducted research with Belfi.

New Critical Inquiry Courses

Call it Sagehen submersion. Twice a week, first-year students participate in one of 30 Critical Inquiry (ID1) sections—intensive classes that introduce new students to both the joy and the rigor of academia at Pomona. Last fall, there were 30 sections, including10 brand-new courses. Here are a few with intriguing titles.

iSubmit to iSpy

Media Studies Professor Mark Andrejevic says the inspiration for this course came from the recognition that this group of students will be part of the most comprehensively monitored, tracked and data-mined generation in history.

Language and Food

Professor of Linguistics and Cognitive Science Mary Paster wanted to examine the similarities, differences and connections between language and food. “A culture’s entire way of thinking about and interacting with food can communicate much more complicated things,” she says, “like values, religious beliefs and social hierarchies.”

Say It in a Letter

“There is so much to learn from letters of the past,” says Professor of Art Mercedes Teixido. “As artifacts, they are an extension of the hand of the writer; as a document they capture the writer’s mind in a moment of time.” The course was designed to help students find their writing voice in several ways as they read and write letters that are personal and public, local and global.

The First Crusade: Monks of War

Professor of History and Classics Kenneth Wolf’s class was inspired by the involvement of monks with warriors and their “holy violence” between the years 900 and 1150.

Running for Office

Politics Professor Amanda Hollis-Brusky designed her course “to dig deeper into the reasons why we have the elected officials we have and, more importantly, what would need to happen to change our politics by changing who runs for elected office.” She hopes some of her students may eventually throw their hats into the ring.

Into Desert Oneness

One person’s wasteland may be another person’s wonderland, says Professor of Geology Jade Star Lackey, who has crisscrossed the American West for years in his research. The class looked at complex interactions between people and the natural desert.

For Professor of Geology Eric Grosfils, the scorching planet Venus is a “volcanologist’s playground,” where interpreting well-preserved geological records could help lead to better understanding of volcanoes here on Earth.

Now, a $425,000 NASA research grant will allow Grosfils—the Minnie B. Cairns Memorial Professor of Geology at Pomona—and his research colleague, Pat McGovern from the Lunar and Planetary Institute, to push forward with their efforts to better understand the evolution of stresses within and beneath a volcano as it grows.

The grant proposal, “Breaking the barriers: Time-dependent, stress-controlled growth of large volcanoes on Venus and implications for the mechanics of magma ascent, storage and emplacement,” is a continuation of ongoing research started in 2006 by McGovern and Grosfils.

Their latest grant, awarded by NASA’s Solar System Workings division, provides funding for three years of research and will include a range of new opportunities for student involvement. For instance, students who are just starting their geology education can help perform GIS mapping and analysis of Magellan radar data—work that will help the research team “evaluate the sequence of eruptive events, as well as what structures were forming when, at several large volcanoes on Venus.” More advanced undergraduates can take on more challenging tasks, such as numerical modeling.

In his research as a physical volcanologist, Grosfils investigates the mechanics of magma reservoirs—bodies of potentially eruptible molten rock within the subsurface—and what causes them to destabilize. The question is an important one because knowing when and how a reservoir destabilizes and ruptures is critical to efforts to understand whether escaping magma is likely to move toward the surface and erupt.

“When a magma reservoir destabilizes and feeds materials toward the surface, it can produce an eruption, and persistent eruptions gradually build a load—a volcano—sitting at the surface. The addition of that load over time flexes the crust, however, and changes the stresses around the magma reservoir. This can either enhance the ongoing eruption or shut it down,” explains Grosfils, “and we’re striving to decipher what controls how this mechanical process will play out.”

What makes Venus, the closest planet to the sun, a “volcanologist’s playground”?

“Volcanoes on Earth get affected by a lot of different processes: our atmosphere, oceans, erosion, humans, landslides, plate tectonics … but on Venus, the geological record is in essence not compromised by any of those factors—no plate tectonics, minimal erosion, w  no water, no liquid—so when something happens at the surface on Venus, the record is much more likely to be preserved for the long haul.”

The scientists will use observations derived from radar data and topography of Venus to construct numerical models they will use to examine the evolution of stresses within the crust and uppermost mantle as a volcano is growing.

Their research will add to our knowledge about the formation and evolution of the Venusian surface, which in turn helps scientists apply those findings to better understand the long-term evolution of volcanoes on Earth and the hazards they present to surrounding populations.

The attack on Pearl Harbor is familiar history to most Americans, but Pomona College Professor of History Samuel Yamashita has spent years researching little-known aspects of that fateful day.

Poring over prefectural and municipal records and personal diaries, Yamashita chronicles how ordinary Japanese people responded to news of the attack, not only through mass, orchestrated gatherings but also in individual reflections. While “nearly everyone reacted enthusiastically,” with young men the most enthusiastic, Yamashita discovered exceptions that belie the notion of a monolithic response in Japan to news of war.

No one was sorrier that the war had broken out than a Tokyo housewife. Although she was born and raised in Japan, she had spent her 20s and early 30s in Los Angeles. She married and both of her children were born in the U.S. “We firmly believed that no matter how bad our relationship with America got, it would never come to war. … In fighting, one expects that the absolute and final goal was winning. … This was because I thought it was like a child challenging an adult [to fight],” wrote the housewife.

A 48-year-old aeronautical engineer was convinced that Japan could not win a modern war, and he never missed a chance to say so in public. As it happens, he was presenting his views at Tokyo’s Municipal Officials Institute on the morning of the Pearl Harbor attack. “I lectured on my pet theory that Japan was poor in resources, and scientific technique was low; no matter how much we persevered, there would be no victory in modern war,” he said.

Other accounts from young people addressed their ability to continue their schooling if the war continued. “From this point on, I would happily graduate from middle school, but would I be able to enter [ one of ] my choices-Ichiko or Niko [the top high schools in the country]? But if the war situation gets worse while I am a student, I would be drafted and probably would have to go to the battlefield with a weapon,” wrote an anxious middle-school-aged child.

A 13-year old schoolgirl in Tokyo, whose father worked in the U.S., also had mixed feelings about the war. “Today is a very exciting day. At one o’clock the emperor of Japan declared war against England and America. It was so sudden that I could not believe my ears. To fight against the places and friends I love is very hard, because my father is still there. I especially disliked and feared this news.”

A Confucian specialist with mastery of both classical Chinese and classical Japanese, Professor of History Samuel Yamashita has written extensively about early modern and modern Japanese intellectual and cultural history, focusing most recently on Japan during World War II and Japanese and fusion cuisine. He is the author of Daily Life in Wartime Japan 1940–1945 and Leaves from an Autumn of Emergencies: Selections from the Wartime Diaries of Ordinary Japanese.

He plans to continue his Pearl Harbor attack response research in small towns and villages upon returning to Japan this year.

PSYCHOLOGY: Assistant Professor Ajay Satpute

Thinking in Black and White

When people are asked to describe their emotions in black and white terms, it actually changes the way they feel, according to a new study published in the journal Psychological SCIENCE by lead author Ajay Satpute, assistant professor of psychology at Pomona College, and principal investigator Kevin Ochsner, professor of psychology at Columbia University. Given only two extreme answers to choose from with no gray area to ponder, participants’ feelings in turn shifted to whichever extreme they were hovering closest to. The research has implications for everything from the legal system to daily social interactions.

To function in society, it is important for people to be able to perceive and understand emotional experiences—both internally (for example perceiving if you are feeling good or bad) and externally (perceiving if someone else is feeling calm or angry). This emotion perception helps inform our decisions and actions. And according to Satpute, that emotion perception is actually changed when we’re nudged to think categorically.

“If you think about your emotions in black and white terms, you’re more prone to feeling emotions that are consistent with the category you select,” says Satpute. “Extreme thinking about emotions leads to emotions that are more likely to be extreme.”

In one experiment, participants were asked to judge photographs of facial expressions that were morphed from calm to fearful in two ways. In one set of trials, participants had to choose either ‘calm’ or ‘fearful’ to describe each facial expression. In the second set of trials, participants had a continuous range, with ‘calm’ and ‘fearful’ as anchors on a graded scale. Results indicated that categorical thinking (either calm or fearful) shifted the threshold for perceiving fear or calm. In essence, when a person has to think about something categorically it changes how they feel about it—pushing them over the edge, in a manner of speaking—if they didn’t have strong feelings about it beforehand. These shifts correlated with neural activity in the amygdala and the insula, parts of the brain that are considered important for orienting attention to emotionally salient information and responding accordingly.

“While these findings were observed when judging another person’s emotions, they were reproduced in a second study in which participants judged their own feelings in response to aversive graphic photographs,” Satpute explains. “So black and white thinking not only affects how you perceive others’ emotions, but also how you perceive your own.

“You could think of it from an optimism perspective but with a twist,” he adds. “Our results suggest that if you say that the glass is half empty, the water may actually lower, so to speak.”

He explains further in his paper, “Our findings suggest that categorical judgments—especially when made about people, behaviors, or options that fall in the gray zone—may change our perception and mental representation of these targets to be consistent with the category selected.”

Consider a juror who must decide whether a police officer on trial acted out of fear or anger when shooting a suspect. Such a judgment involves thinking about emotions in “black and white” terms rather than in shades of gray. Evidence presented in a trial will lead the juror to make a determination: Did the officer act out of anger or objectively reasonable fear? (Fear of imminent threat to their life or others’ lives or serious bodily harm?) The categorical nature of the decision helps determine how justice is meted out.

Or think of faces. They move in gradations, says Satpute, but people typically talk about these expressions in categorical terms, calling them expressions of “fear” or “calm,” for instance. Similarly, when people perceive their own emotions, their bodily signals may vary continuously, but they often talk about feeling “good” or “bad.”

For a lighter example, consider the 2015 computer-animated movie Inside Out. In the film, each emotion is personified into a character: Joy, Sadness, Anger, Fear and Disgust. There is little room for gray areas—hardly any mixing of emotions—the protagonist is either sad, angry, fearful or happy. The film effectively makes young viewers think about emotions categorically, and thus, may change how they experience emotions.

Satpute is a psychologist and neuroscientist studying the neural basis of emotion and social perception. His research is focused on revealing how people categorize subjective experiences, particularly evaluative categories like good and bad or hedonic categories like pleasant and unpleasant or emotions such as fear, anger or happiness. A long-term goal of his work is to use neuroscience to enable predictions for the kinds of categories people use to describe experience.

HISTORY AND CHICANA/0 LATINA/0 STUDIES: Associate Professor Tomás Summers Sandoval

Vietnam Veteranos

Pomona College Associate Professor of History and Chicana/o Latina/o Studies Tomás Summers Sandoval is working to bring the stories of Latino veterans of the Vietnam War to the stage. The project is a continuation of his multi-year research, collecting and documenting oral histories of the veterans and their families. Summers Sandoval is one of eight humanities scholars from across the country awarded a 2017 Whiting Public Engagement Fellowship. The $50,000 grant will fund “Vietnam Veteranos,” his storytelling theatre project to premiere in spring 2018.

The Whiting Public Engagement Fellowship is a new humanities program for faculty members pursuing projects to engage directly with the public beyond the academy.

“Vietnam Veteranos: Latino Testimonies of the War” takes root from Summers Sandoval’s previous research documenting the oral histories of local Latino veterans who served in the Vietnam War.

This new project centers on the oral histories of these veterans that have been curated by Summers Sandoval. The oral histories will be presented as a staged performance read by some of the veterans themselves as individual historical monologues, also known as “testimonios” in Spanish.

“I feel honored to receive the support of the Whiting Foundation. It’s a humbling thing for me to be part of a cohort of such amazing and engaged scholars,” he says.

Summers Sandoval has worked on the topic of Latinos and the Vietnam War since 2011 and is currently working on a book that delves into the social history of the “brown baby boom” and how the war in Vietnam serves as a prism into the experiences of Latino veterans in the 20th-century U.S. “This project is based on that work, an opportunity for me to connect people to this history in an accessible way as well as a deeply personal one,” he says.

The project “Vietnam Veteranos” will also draw from the expertise and support of Rose Portillo ’75, lecturer in theatre and dance at Pomona (see story on page 42). As a collaborator on the project, Portillo will draw from her experience translating oral histories into theatrical monologues. She will also direct the production and oversee a team of professional actors to serve as coaches for the veterans.

The performance will be staged at Pomona College’s Seaver Theatre and an East Los Angeles-based venue in spring 2018. In addition, Summers Sandoval plans to produce a video and accompanying print and digital publication to be shared with a wider audience.

The topic of the Vietnam War is more than academic for Summers Sandoval, who also serves as chair of Pomona’s History Department.

“My father is a Vietnam veteran,” he says. “His brother, my uncle, are Vietnam veterans. Most of the males I knew growing up were also Vietnam veterans. This work is deeply personal for me. In many ways, it’s a way for me to bring my skills as a historian to better understand not only why Latinos made up such a significant share of the combat troops in Southeast Asia but, as important, how the war framed a long-term impact on their lives and the lives of their communities.

“At a moment when political leaders portray Latinos in the United States as criminals, and as economic and cultural threats, I hope work like mine can serve a purpose,” he adds. On one level, histories like these humanize Latinas and Latinos. It’s both troubling and sad that this is even a need in the 21st century, but it is. The humanities help us understand people within the context of their own complex lives, filled with hopes and desires as well as struggles and contradictions.

“I hope my work presents this generation in this way, as human beings seeking lives of dignity. Perhaps more importantly, Latinas and Latinos represent the future military personnel of the United States. Because of that, I think it’s vital for us all to recognize and better understand the enduring impacts of both military service and war.”

In the past five years, Summers Sandoval has collected more than 50 oral histories of Latino veterans of the Vietnam War and their families. Two years ago, he received a $10,000 grant from the Cal Humanities California Documentary Project for a youth-centered, community history project in partnership with The dA Center for the Arts in downtown Pomona, Calif. The project trained local youth and Pomona College students to conduct oral histories of local Latino veterans and their families.

A free exhibition of that earlier project, “Voices Veteranos: Mexican America and the Legacy of Vietnam 2017,” was to run from March 11 through April 15 at The dA Center for the Arts in downtown Pomona.