Music can contaminate us. Sometimes, listeners perceive music as expressing some emotion (say, sadness), and this elicits the same emotion in them (they feel sad). What is musical contagion? This entry presents the main theories of musical contagion that crystallize around the challenge to the leading theory of emotions as experiences of values. How and why does music contaminate us? Does musical contagion elicit garden variety emotions, such as sadness, joy, and anxiety? Does music (...) contaminate us by simply moving us? Which role does imagination play in our affective responses to music? Is musical arousal elicited by automatic mimicry? What does musical contagion teach us about emotions? Musical contagion addresses fundamental theoretical and practical issues. (shrink)

Music can infect us. In the dominant approach, music contaminates listeners through emotional mimicry and independently of value appraisal, just like when we catch other people’s feelings. Musical contagion is thus considered fatal to the mainstream view of emotions as cognitive evaluations. This paper criticizes this line of argument and proposes a new cognitivist account: the value metaphor view. Non-cognitivism relies on a contentious model of emotion transmission. In the competing model (social appraisal), we catch people’s emotions by (...) appraising value through their emotional expressions. Social appraisal debunks the main motivation for non-cognitivism and offers fruitful insights into musical contagion. Combining it with metaphor theory, I claim that musical contagion involves experiencing the music as a metaphor for emotions and values. Just like people infect us as we appraise value through their emotional expressions, music contaminates listeners because they hear it metaphorically-as some emotional expression and hereby appraise it metaphorically-as some value. As infectious music “sounds like” emotions and values, cognitivism is safe. (shrink)

We suggest that semantic association may be a further mechanism by which music may elicit emotion. Furthermore, we note that emotional contagion is not always an immediate process requiring little prior information processing; rather, emotional contagion contributing to music processing may constitute a more complex decoding mechanism for information inherent in the music, which may be subject to a time course of activation.

Music has strong emotional powers. How are we to understand affective responses to music? What does music teach us about emotions? Why are musical emotions important? Despite the rich literature in philosophy and the empirical sciences, particularly psychology and neuroscience, little attention has been paid to integrating these approaches. This extensive review aims to redress this imbalance and establish a mutual dialogue between philosophy and the empirical sciences by presenting the main philosophical puzzles from an affective science perspective. The (...) chief problem is contagion. Sometimes, listeners perceive music as expressing some emotion and this elicits the same emotion in them. Contagion is perplexing because it collides with the leading theory of emotions as experiences of values. This article mostly revolves around the critical presentation of the philosophical solutions to this problem in light of recent developments in emotion theory and affective science. It also highlights practical issues, particularly the role of musical emotions in well-being and health, by tackling the paradox of sad music, i.e., the question of why people enjoy sad music. It thus bridges an important gap between theoretical and real-life issues as well as between philosophical and empirical investigations on affective responses to music. (shrink)

Research indicates that people value music primarily because of the emotions it evokes. Yet, the notion of musical emotions remains controversial, and researchers have so far been unable to offer a satisfactory account of such emotions. We argue that the study of musical emotions has suffered from a neglect of underlying mechanisms. Specifically, researchers have studied musical emotions without regard to how they were evoked, or have assumed that the emotions must be based on the mechanism for (...) emotion induction, a cognitive appraisal. Here, we present a novel theoretical framework featuring six additional mechanisms through which music listening may induce emotions: (1) brain stem reflexes, (2) evaluative conditioning, (3) emotional contagion, (4) visual imagery, (5) episodic memory, and (6) musical expectancy. We propose that these mechanisms differ regarding such characteristics as their information focus, ontogenetic development, key brain regions, cultural impact, induction speed, degree of volitional influence, modularity, and dependence on musical structure. By synthesizing theory and findings from different domains, we are able to provide the first set of hypotheses that can help researchers to distinguish among the mechanisms. We show that failure to control for the underlying mechanism may lead to inconsistent or non-interpretable findings. Thus, we argue that the new framework may guide future research and help to resolve previous disagreements in the field. We conclude that music evokes emotions through mechanisms that are not unique to music, and that the study of musical emotions could benefit the emotion field as a whole by providing novel paradigms for emotion induction. (shrink)

In this paper I present an account of musical arousal that takes into account key demands of formalist philosophers such as Peter Kivy and Nick Zangwill. Formalists prioritise our understanding and appreciation of the music itself. As a result, they demand that any feelings we have in response to music must be directed at the music alone, without being distracted by non-musical associations. To accommodate these requirements I appeal to a mechanism of contagion which I synthesize with (...) the expectation-based arousal mechanism proposed by Leonard Meyer. This account connects musical expressivity and arousal in a way that formalists have rejected, but I argue that it provides the best explanation of our observations of listener responses while also focusing on the music itself. (shrink)

We present evidence from neuroimaging and brain lesion studies that emotional contagion may not be a mechanism underlying musical emotions. Our brains distinguish voice from non-voice sounds early in processing, and dedicate more resources to such processing. We argue that super-expressive voice theory currently cannot account for evidence of the dissociation in processing musical emotion and voice prosody.

Filozofija umjetnosti u mišljenju Anande Kentisha Coomaraswamyja povezana je tradicionalnom filozofijom. Estetika, u modernom smislu, nema veze s tradicionalnom filozofijom umjetnosti, čiji temeljni princip nije »umjetnik je posebna vrsta čovjeka«, nego »svaki je čovjek posebna vrsta umjetnika«. Coomaraswamy nastoji redefinirati suvremeni pristup umjetnosti. Suvremeni umjetnici ne stvaraju svoja djela u skladu s Vječnim Istinama. Apstraktna umjetnost nije ikonografija transcendentalnih formi nego stvarna slika razjedinjenog uma. U cilju redefiniranja pristupa umjetnosti, temeljni se jezik umjetnosti mora promijeniti; edukatori i kustosi moraju biti (...) odgovorni za poučavanje o istinskoj prirodi umjetnosti; umjetnost ne može biti jednaka estetskom iskustvu; društvo se mora reorganizirati u društvo bazirano na vokaciji, što je analogno Platonovu mišljenju.Philosophy of Art in the thinking of Anande Kentish Coomaraswamy is connected with traditional philosophy. Aesthetics in modern sense has nothing to do with traditional philosophy of art which basic principle is “The artist is not special kind of man” but “Every man is special kind of artist”. Coomaraswamy wants to redefine contemporary approach to art. Contemporary artist does not create in accordance with Eternal Truth.art is not iconography of transcendental forms but real picture of disoriented mentality. In order to redefine approach to art basic language of art must be changed; educators and curators must have responsibility to teach about true nature of art; art can not be equal with esthetic experience; society must be reorganized into one that is based on vocation in analogy with Plato’s thought. (shrink)

In the near future, vehicles will gradually gain more autonomous functionalities. Drivers’ activity will be less about driving than about monitoring intelligent systems to which driving action will be delegated. Road safety, therefore, remains dependent on the human factor and we should identify the limits beyond which driver’s functional state (DFS) may no longer be able to ensure safety. Depending on the level of automation, estimating the DFS may have different targets, e.g. assessing driver’s situation awareness in lower levels of (...) automation and his ability to respond to emerging hazard or assessing driver’s ability to monitor the vehicle performing operational tasks in higher levels of automation. Unfitted DFS (e.g., drowsiness) may impact the driver ability respond to taking over abilities. This paper reviews the most appropriate psychophysiological indices in naturalistic driving while considering the DFS through exogenous sensors, providing the more efficient trade-off between reliability and intrusiveness. The DFS also originates from kinematic data of the vehicle, thus providing information that indirectly relates to drivers behaviour. The whole data should be synchronously processed, providing a diagnosis on the DFS, and bringing it to the attention of the decision maker in real time. Next, making the information available can be permanent or intermittent (or even undelivered), and may also depend on the automation level. Such interface can include recommendations for decision support or simply give neutral instruction. Mapping of relevant psychophysiological and behavioural indicators for DFS will enable practitioners and researchers provide reliable estimates, fitted to the level of automation. (shrink)

Community-level legal and policy innovations or “experiments” can be important levers to improve health. States and localities are empowered through the 10th Amendment of the United States Constitution to use their police powers to protect the health and welfare of the public. Many legal and policy tools are available, including: the power to tax and spend; regulation; mandated education or disclosure of information, modifying the environment — whether built or natural ; and indirect regulation. These legal and policy interventions can (...) be targeted to specific needs at the community level and are often relatively low-cost, but high impact interventions. As every community is different, effective laws and policies will vary. This freedom allows states and localities to, as Justice Louis Brandeis argued, truly serve as “laboratories of democracy.”. (shrink)

The international pharmaceutical industry has made significant efforts towards ensuring compliant and ethical communication and interaction with physicians and patients. This article presents the current status of the worldwide governance of communication practices by pharmaceutical companies, concentrating on prescription-only medicines. It analyzes legislative, regulatory, and code-based compliance control mechanisms and highlights significant developments, including the 2006 and 2012 revisions of the International Federation of Pharmaceutical Manufacturers and Associations (IFPMA) Code of Practice.

John Bintliff et alii Le Tanagra Project : recherches dans une cité antique de Béotie et son territoire (2000-2002) p.541-606 Cet article présente les résultats préliminaires du Leiden-Ljubljana Field Project dans la cité antique de Tanagra, en Béotie orientale, et dans ses environs immédiats. Les travaux ont débuté en 1999, avec une vaste équipe de chercheurs et d'étudiants des Pays-Bas, de Belgique, de Slovénie et de Grèce, sous la direction de John Bintliff et Bozidar Slapsak et la sous-direction de Kostas (...) Sbonias. Les différents spécialistes présentent ici leur travail en détail, développant les rapports des deux premières campagnes publiés dans Pharos, le périodique annuel de l'Institut néerlandais d'Athènes. (shrink)

A música pode causar emoções fortes. Como havemos de compreender as respostas afetivas à música? Este artigo apresenta os principais enigmas filosóficos atinentes às emoções musicais. O problema principal diz respeito ao chamado "contágio": os ouvintes percebem a música como sendo expressiva de uma certa emoção (por exemplo, tristeza) e a música suscita neles essa mesma emoção. O contágio é desconcertante, pois entra em conflito com a principal teoria da emoção, de acordo com a qual as emoções são experiências de (...) valores (cognitivismo). Este artigo gira, sobretudo, em torno da apresentação crítica das várias respostas a este desafio ao cognitivismo. Apresenta, também, o paradoxo da música triste, isto é, a questão do motivo pelo qual apreciamos música triste. -/- Music can induce strong emotions. How are we to understand affective responses to music? This article presents the main philosophical puzzles pertaining to musical emotions. The chief problem concerns so-called "contagion": listeners perceive music as expressive of some emotion (say, sadness), and the music elicits the same emotion in them. Contagion is perplexing because it collides with the leading theory of emotion, according to which emotions are experiences of values (cognitivism). This article mostly revolves around the critical presentation of the various responses to this challenge to cognitivism. It also presents the paradox of sad music, i.e. the question of why we enjoy sad music. (shrink)

Empathy is one of the most talked about and widely studied concepts of recent years. Some argue it can help create a more just society, improve medical care and even avert global catastrophe. Others object that it is morally problematic. Who is right? And what is empathy anyway? Is it a way of feeling with others, or is it simply feeling sorry for them? Is it a form of knowledge? What is its evolutionary origin? In this thorough and clearly-written introduction (...) to the philosophy of empathy Heidi Maibom explores these questions and more, examining the following topics: The nature of empathy and key themes in the literature Empathy as a way of understanding others, particularly 'simulation theory' and 'perspective-taking' Empathy, emotional contagion, and sympathy Empathy's role in moral understanding or motivation Empathy and art appreciation, with examples from film, music and fiction Empathy and mental disorder, such as psychopathy and autism. Including chapter summaries, annotated further reading and a glossary, Empathy is an excellent resource for students of philosophy of mind and psychology, psychology, and cognitive science, as well as for those in related subjects such as art, literature and politics. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:MARCHING AND RISING: THE RITUALS OF SMALL DIFFERENCES AND GREAT VIOLENCE Byron Bland Center ofInternational Strategic Arms Control What is really needed is the decommissioning of mind-sets in Northern Ireland. (Report of the International Body on Arms Decommissioning: The Mitchell Report, January 24, 1996) The 1996 Orange Marching season brought a major setback to peace process in Northern Ireland. On the Garvaghy Road in the Drumcree community of Portadown, (...) Protestants and Catholics displayed the mutual intolerance and intransigence for which they are notorious. Within each camp, a contagion of ill-will took hold, metamorphosing ancient malice into modern hatred. A volatile fog, toxic with recriminations and threats, descended upon the countryside. The battlelines drawn at Drumcree energized other historical points ofconfrontation across the province. Just as the plucked string of a musical instrument sets the all the others vibrating harmoniously, so the cord struck in Portadown sounded the key to a counterpoint that seemed almost primordial. As the tragic notes of the final measures faded, a numbing silence enveloped a society once again stunned by the violence unleashed within its soul. It was as if the North of Ireland looked at the prospect of peace and announced that it was not going to take it lying down. A strangely 102Byron Bland irrational logic seemed to drive events. Viewed from afar, it never should have happened. Neither Protestants nor Catholics stood to gain anything of tangible value. Only in retrospect—from the finale once the standoff had energized every potential division backwards—do substantive political issues emerge. However, this collapsing of events obscures the interactive process from which this mishap arose and leaves the central and confounding mystery unsolved: how did a dispute about nothing so quickly become a conflict about everything? The answer to this enigma lies in the mimetic theory of René Girard. Sinn Fèin Party Chairman Mitchel McLaughlin parsed correctly, but not insightfully, the social dynamics of this explosive situation. Shortly before the July marching season, he affirmed the right of Protestants to march. Nevertheless, he maintained, Catholics would tolerate no triumphalism. The problem is, of course, that Protestants don't march in the abstract. They march down specific streets, passing through particular communities, toward specified locations. Their Lambeg drums boom out a terrifying cadence. Their Bowler hats, black-thorn canes, and orange sashes shout a silent message for all to hear. Without triumphalism, an Orange march is simply a pointless stroll. It is nothing—a non-event, a momentous occasion that did not happen. Orange triumphalism needs serious nationalist resistance to be more than ludicrous display ofparanoid-driven pomposity. Orange "marching" must provoke a Catholic "rising." It has to find a contumacious partner before the mimetic choreography of "not any inch" can proceed. Only then can the thundering beat of the Lambeg drum transform the contestants into violent doubles, each captivated by a spellbinding obsession with the other. From the pounding rhythms spring forth entranced rivals who are much more than mere competitors. Caught in a tragedy replayed thousands of times, Catholics and Protestants stare across the bloody boundary of small differences that separates them. Their opposition defines the mirrored sameness of their common Irishness as utterly alien. With melodramatic anticipation, both await the moment when violence seals off the expelled other and circumscribes the sacred realm of our metaphysical identity. Fully enshrined, the Protestants and Catholics of Ulster feel the fullness of their humanity. They are now complete, but sadly they are no longer whole. MarchingandRising103 History is a weapon, a poker you keep in your pocket to beat the present senseless and so reorder its alignment to the past andjustify present murder. (Kevin Toolis, Rebel Hearts) Marching and drumming make an Orange parade. The practice first entered Ireland with the arrival of "King Billy"—William of Orange in 1690. His troops—the vanguard of Protestantism—marched to the cadence ofkettle drums strapped to the backs ofhorses. When they routed the Catholic army of James II at the Battle of the Boyne, marching and drumming entered the lexicon of Protestant dominance. When the Orangemen hit the streets, they take on the identity of King Billy's Protestant troops. They triumph over the Catholics in... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Sick with PassionAlfred LouchOpera: Desire, Disease, Death, by Linda and Michael Hutcheon; xvi & 294 pp. Lincoln: University of Nebraska Press, 1996, $40.00.IDriving east from the Auvergne you may chance upon La Chaise-Dieu, a charming village where a very acceptable cafe confronts the fortress-like Abbatiale de St Robert across the village square. The church itself is an imposing monument to the ephemeral glory of the Avignon Pope Clement VI, (...) but its most extraordinary feature is a fresco in the aisle to the left of the choir. Called the Danse Macabre, it depicts death as a sequence of skeletons, each of which beckons, pleads with, consoles, or compels its many victims—young and old, rich and poor, exalted or mean—toward their inevitable end. At times the skeleton’s posture is sinister and threatening, at others, as with children, it seems to turn away, as if to shield them from its fearful aspect. The skeletons seem to catch the movement of a single dancer as they select one partner after another, taking the life of each in a graceful though ghastly movement.The fresco depicts the Black Death—art inspired by disease and contagion. But even if you were as innocent of history as the typical American tourists you would confront in the fresco the undeniable image of death, and the caprice of its visitation, a thought contrasting strangely with the enduring granite of the church. Your experience may be enriched by history and lead you to moralize on the contrast [End Page 155] between the pomp and grandeur of the papal builder and the fresco’s depiction of the vanity of human wishes. But it would be a jarring note if some know-it-all in the company of viewers were to lecture for all to hear on the transmission and symptoms of pasteurella pestis. That is another story, and an interesting one, but not here and now.And so it is, if not so abrasively, with a recent book by Linda and Michael Hutcheon on desire, disease, and death in opera. They hope to shed new light, by combining literary analysis and the medical theory of disease and contagion, on the themes and purposes of opera, or certain operas anyway. Somehow the passages on mycobacterium tuberculosis, treponema pallidum, and vibrio cholerae, together with graphic descriptions of the symptoms caused by these micro-organisms, and an accompanying photograph of syphilitic gummæ seem intrusive, just as talk about the etiology and the pathology of the plague strikes a discordant note as we look upon the Danse Macabre in wonder and fear. The Hutcheons, a husband and wife team who practice, respectively, medicine and literary criticism, tell the reader they are opera lovers. I hope their affection is not prompted only by infection.But why shouldn’t medicine and its history be relevant to literary, artistic, or musical creation? Think here of a question Wittgenstein asks in Zettel (paragraph 610): “Why should there not be a psychological regularity to which no physiological regularity corresponds? If this upsets our concept of causality then it is high time it was upset.” He did not mean to say that it would not be surprising if someone talked and acted and looked like a person but turned out to have an empty skull. But he did mean surely that talk about human projects and emotions is complete as it stands; what is going on in the neurons and what busy microbes are doing are other stories. Literature is about human projects, the skill or clumsiness with which they are pursued, the responses to success and failure, achievement and frustration. Opera, which, ever since someone had the idea of putting story to song, raided literary invention for its subject matter, is the same. Heroes and villains may of course be expected to be vulnerable to the various vicissitudes of life. Diseases may lay them low, as well as passing trains. But disease enters their stories to delay or frustrate or put period to their projects, not as new characters on the stage. If you read about the death of Ivan Illych and come away dissatisfied because Tolstoy failed to identify the... (shrink)

_Coming to Our Senses_ positions affect, or feeling, as our new cultural compass, ordering the parameters and possibilities of what can be known. From Facebook "likes" to Coca-Cola "loves," from "emotional intelligence" in business to "emotional contagion" in social media, affect has become the primary catalyst of global culture, displacing reason as the dominant force guiding global culture. Through examples of feeling in the books, film, music, advertising, cultural criticism, and political discourse of the United States and Latin America, (...) Reber shows how affect encourages the public to "reason" on the strength of sentiment alone. Well-being, represented by happiness and health, and ill-being, embodied by unhappiness and disease, form the two poles of our social judgment, whether in affirmation or critique. We must then re-envision contemporary politics as operating at the level of the feeling body, so we can better understand the physiological and epistemological conditions affirming our cultural status quo and contestatory strategies for emancipation. (shrink)

Qu’est-ce que la circulation mondialisée des biens et des personnes fait à la musique? Deux choses apparemment contradictoires : l’uniformisation des styles et des moyens se conjugue avec leur renouvellement constant, les effets de contagion planétaire avec la multiplication des réappropriations locales. Autrement dit ce qui uniformise peut être aussi ce qui singularise. Ce paradoxe nous conduit à dérouler quelques fils, à suivre de proche en proche des « objets » circulants – un appareil numérique, un style musical, (...) un groupe de pratiques – de manière à saisir les modalités concrètes de leur circulation. Pour que ça circule, il faut que ça se connecte, ce qui ne va pas sans heurts, disputes, larsens, frottements, qui tous affectent voire transforment l’« objet » circulant. Point de circulation sans frictions et boucles de rétroaction et sans une multitude d’agents qui font que ça passe : nous croisons en cheminant des musiciens noise, mais aussi des benders, des shifters, des makers, des repairers. Ces figures de l’interconnexion globale sont également celles qui se glissent dans ses failles et amplifient ses différences. (shrink)

In this paper we elaborate on the question how to bridge the gap between contemporary (New) music and the tradition of the past, often called ‘classical’ music. First we analyze the notion of tradition (in classical music) as being distinct from traditional music, nationalism and traditionalism. A central role in this paper is dedicated to the role of counterpoint education following J.J. Fux’s Gradus ad Parnassum in the development of Central-European classical music between the late Renaissance and late Romantic periods. (...) The developments in the 20th century New Music reveal several important trend breaks. The controversies raised during the early Renaissance, regarding the practice of polyphonic singing, are discussed with respect to their impact on music development in later ages. From these controversies and the re-discovery of Nicholas de Cusa’s view on mysticism, the experience of the non-experience in polyphonic music is elucidated. Herewith, an illuminative heuristic is found in the enfolding-unfolding paradigm both in music and pictural arts, from the Renaissance till the present. (shrink)

In this thought-provoking work, Tony D. Sampson presents a contagion theory fit for the age of networks. Unlike memes and microbial contagions, _Virality_ does not restrict itself to biological analogies and medical metaphors. It instead points toward a theory of contagious assemblages, events, and affects. For Sampson, contagion is not necessarily a positive or negative force of encounter; it is how society comes together and relates. Sampson argues that a biological knowledge of contagion has been universally distributed (...) by way of the rhetoric of fear used in the antivirus industry and other popular discourses surrounding network culture. This awareness is also detectable in concerns over _too much connectivity_, such as problems of global financial crisis and terrorism. Sampson’s “virality” is as established as that of the biological meme and microbe but is not understood through representational thinking expressed in metaphors and analogies. Rather, Sampson interprets contagion theory through the social relationalities first established in Gabriel Tarde’s microsociology and subsequently recognized in Gilles Deleuze’s ontological worldview. According to Sampson, the reliance on representational thinking to explain the social behavior of networking—including that engaged in by nonhumans such as computers—allows language to overcategorize and limit analysis by imposing identities, oppositions, and resemblances on contagious phenomena. It is the power of these categories that impinges on social and cultural domains. Assemblage theory, on the other hand, is all about relationality and encounter, helping us to understand the viral as a positively sociological event, building from the molecular outward, long before it becomes biological. (shrink)

The aim of this article is to expand the diet of examples considered in philosophical discussions of imagination and pretense, and to offer some preliminary observations about what we might learn about the nature of imagination as a result. The article presents a number of cases involving imaginative contagion: cases where merely imagining or pretending that P has effects that we would expect only perceiving or believing that P to have. Examples are offered that involve visual imagery, motor imagery, (...) fictional emotions, and social priming. It is suggested that imaginative contagion is a more prevalent phenomenon than has typically been recognized. (shrink)

Summary In this contribution, I discuss the perceptual potential of certain genres of experimental and contemporary music, commonly grouped under the label “sound-based music”. The sonic patterns typical of this music are mostly associated, during listening, with visual and tactile sensory qualities and can evoke mental representations as shapes in motion. These are the result of physical-acoustic energies organized according to a perceptual grammar whose organization follows a series of Gestalt and kinaesthetic principles. The paper explores the nature of the (...) relationship between sound patterns of sound-based music and their mental images. Based on morphodynamic theory, it is proposed the emergence of cognitive image schemas, which are at the centre of this relationship. The image schemas depict the forces and tensions of our experience of the world (e.g., figure-background, near-far, superimposition, compulsion, blockage), as being the cognitive and experiential response to the incoming sound patterns. The sense of this music activates precisely the basic structures of sensorimotor experience by which we encounter a world that we can understand and act within, leading to a rich series of high-level associations and responses. (shrink)

In two studies we investigated whether people evidence an effect of moral contamination with respect to hypothetical organ transplants. This was achieved by asking participants to make judgements after presenting either positive or negative background information about the donor. In the first study, positive/negative background information had a corresponding effect on three judgements with attitudes to a heart transplant most pronounced by negative background information relative to good information and controls. This effect was replicated in the second study with both (...) heart and liver transplantation. Negative effects were stronger than positive effects in all conditions consistent with a negativity bias, but again stronger with regards to organs than controls. These results confirm findings from surveys that reveal real patients are concerned about moral contamination following organ transplantation and show that this bias in evident even in hypothetical, non-life-threatening scenarios. In a third study we found a significantly stronger moral contagion effect in Japanese relative to English participants, suggesting that concerns about moral contagion may be moderated by culture. (shrink)

In his last book René Girard depicts apocalypse as disclosure of mimetic violence that is world-ending. He claims that in times of violent pandemic we are not called to fight for this world, but follow Christ in his withdrawal from the world. However, such an assertion creates serious theoretical and practical issues for the effort to heal interhuman relations from the virus of mimetic hostility. I argue for the importance of restoring a foundational distinction between passionate love and acquisitive mimetic (...) desire from the forgotten regions of Girard’s oeuvre. With Max Scheler’s interpretation of Stendhal’s concept of l’amour passion, I explore in each thinker a fundamental insight about possibilities of transforming violent contagion through empathy and loving commitment to the world. I conclude that respective “passive” and “active” approaches to the contagion of mimetic rivalry and violence are necessary and equally valuable. (shrink)

Emotional contagion is a phenomenon that has attracted much interest in recent times. However, the main approach on offer, the mimicry theory, fails to properly account for its many facets. In particular, we focus on two shortcomings: the elicitation of emotional contagion is not context-independent, and there can be cases of emotional contagion without motor mimicry. We contend that a general theory of emotion elicitation is better suited to account for these features, because of its multi-level appraisal (...) component. From this standpoint, emotional contagion is viewed as a particular kind of emotional response that involves the same components and processes of emotional responses in general. (shrink)

The dystopian elements of the Alien films display the dark side of social mechanisms. Modern philosophy is not exempt from the temptations of this “authoritarian synthesis”. It also responds to the themes of impurity, whether through religious heresy, mental illness, or bodily invasion or corruption. In the shooting script for Alien, it is clear that Ripley has been “infected” by the Xenomorph Facehugger in the pod; on screen, that fact is held from us until much later in the film for (...) dramatic effect. Ripley's fears about contagion actually fit together well with the thinking of the German Idealist philosophers of the late eighteenth and early nineteenth centuries, who were among the first philosophers of biology. Ripley does not seem much interested in sex throughout the first two Alien films, but she is interested in having a family, especially after Newt's death. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Embodying Contagion: The Viropolitics of Horror and Desire in Contemporary Discourse ed. by Sandra Becker, Megen de Bruin-Molé, and Sara PolakLars SchmeinkSandra Becker, Megen de Bruin-Molé, and Sara Polak, editors. Embodying Contagion: The Viropolitics of Horror and Desire in Contemporary Discourse. Bangor, Wales: The University of Wales Press, 2021. PB, p. 288, ISBN 978-1-78683-690-8, GBP 45,-There is a trend in current humanities writing to point out (...) its relation to the ongoing COVID-19 pandemic, curious on the one hand as we normally do not address the day-to-day of our contemporary moment in time quite as immediately, reasonably needing a few years to position our thinking against the fickleness of the Zeitgeist. But, on the other hand, the pandemic has had such a profound impact on all the work we have been doing that it seems impossible not to mention—from projects cancelled or changed due to travel restrictions and lockdowns or to issues becoming so much more (or sometime less) important as our academic as well as social priorities shift. Embodying Contagion, a volume of collected essays, was already in the process of editorial work when the pandemic struck; in fact, it was already in the final round of edits (xiii). But how would you edit a collection on contagion narratives and not address the big one unfolding right then and there? So, in a way this volume is made even more timely because of its peculiar moment of publication, as the ongoing health crisis of COVID-19 is entering its next stage, and somehow the essays needed to position themselves against this historical backdrop—this, the experience of living through a contagion narrative, is then interwoven into the volume like a thread. [End Page 515]In terms of its original premise, the volume has not lost its pertinence; if anything, it is heightened. In a nutshell, the volume takes up the mantle from Priscilla Wald, who had coined the term "outbreak narrative" and expands it to the idea of "contagion" (1–2), discussing the "viropolitics of horror and desire" (2) linked to these contagions as metaphors and images to cope with social realities. As the editors attest, the fascination with contagion in our culture is omnipresent—more so after COVID-19—and can be read to determine our bodies as posthuman, existing "as shifting and sharing ecosystems rather than isolated and inviolate objects, contemporary culture unveils a seemingly endless series of new ways to be, to behave and to belong alongside other bodies" (3). Contagion narratives reveal our relational existence—through them, "we negotiate the boundaries between bodies that are welcome, bodies that must be confined or silenced, and bodies that must be eradicated" (4). It is this negotiation that is framed as key cultural work in the volume and that the ten essays interrogate—why do we use contagion to explore our relational selves, to each other and to our surroundings?In terms of structure, the essays are divided into two main parts with five essays each, framed by a preface from the inspirational Priscilla Wald, an introduction laying out the idea of the volume, and a centrally important epilogue that addresses the current pandemic and its impacts as a contagion narrative specifically. In her preface, Wald is adamant in sounding the alarm, or better yet sounding out a profound "I told you so" as she discusses how "woefully underprepared" (xvii) we were for the pandemic and how ignored contagions are politically—making clear in the process that the cultural work of these narratives is more pressing to recognize: "As these stories titillate us, they shape experience: who, what and where a culture locates its threats, its definitions of 'us' and 'them,' its response to other cultures and to the planet" (xvii).The first part of the volume, then, addresses "the role of epidemic fantasies in theory and reality" (4), meaning that news reporting, policy measures, or social media take up metaphors and imagery of contagion, generating meaning around these narratives. Consequently, in terms of its interdisciplinary approach, the chapters in this part of the volume are closely related to sociology and communication studies, as... (shrink)

My aim in this chapter is twofold. I attempt to provide an example of how (1) careful analysis in the history of philosophy can (2) elucidate contemporary debates about philosophical issues. My analysis of Hume’s account of the contagion of belief unfolds in three parts. In section one, I offer a summary of Hume’s account of the nature of beliefs concerning matters of fact. In section two, I elucidate his account of the “contagion of opinion” itself, explaining how (...) beliefs are contagious, why the contagious nature of beliefs is so powerful, and how people can resist the contagion. In section three, I elucidate the significance of Hume’s account of contagious beliefs for his account of doxastic virtues and explain the conditions under which it is virtuous to resist contagious beliefs. (shrink)

We conducted an intertemporal online experiment to examine the contagion of others’ positive and negative donation behaviors. We collected two sets of data during and after the peak of the COVID-19 pandemic in China. The participants donated to the charitable fund, “Against COVID-19, The China Charity Federation Is on the Move.” We further investigated the mediating effect of social anxiety on the link between the contagion of donation behaviors and the changes in the COVID-19 situation. A total of (...) 1022 participants participated in the intertemporal online experiment and were considered in the statistical analyses. Our findings were as follows. First, the donation behaviors of others significantly changed these participants’ initial donation decisions, with increased or decreased donation amounts being associated with a positive or negative donation behavior, respectively. Others’ positive donation behavior was more likely to nudge these participants into changing their initial decisions than negative donation behavior during the peak of the pandemic. However, such difference disappeared after the peak because the contagion of positive donation behavior significantly decreased along with the abatement of the pandemic. Second, the participants’ social anxiety decreased along with the abatement of the pandemic, and social anxiety completely mediated the relationship between the pandemic abatement and the decrease in the contagion of positive donation behaviors. These findings advance our understanding of the motivations and influence mechanism of individuals’ donation decisions in the current pandemic situation and help make informed policy making decisions. (shrink)