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Rooted in the novel and the mysterious, awe is a common experience in childhood, but research is almost silent with respect to the import of this emotion for children. Awe makes individuals feel small, thereby shifting their attention to the social world. Here, we studied the effects of art-elicited awe on children’s prosocial behavior toward an out-group and its unique physiological correlates. In two preregistered studies (Study 1: N = 159, Study 2: N = 353), children between 8 and 13 years old viewed movie clips that elicited awe, joy, or a neutral (control) response. Children who watched the awe-eliciting clip were more likely to spend their time on an effortful task (Study 1) and to donate their experimental earnings (Studies 1 and 2), all toward benefiting refugees. They also exhibited increased respiratory sinus arrhythmia, an index of parasympathetic nervous system activation associated with social engagement. We discuss implications for fostering prosociality by reimagining children’s environments to inspire awe at a critical age.

We seek to completely revise current models of airborne transmission of respiratory viruses by providing never-before-seen atomic-level views of the SARS-CoV-2 virus within a respiratory aerosol. Our work dramatically extends the capabilities of multiscale computational microscopy to address the significant gaps that exist in current experimental methods, which are limited in their ability to interrogate aerosols at the atomic/molecular level and thus ob-scure our understanding of airborne transmission. We demonstrate how our integrated data-driven platform provides a new way of exploring the composition, structure, and dynamics of aerosols and aerosolized viruses, while driving simulation method development along several important axes. We present a series of initial scientific discoveries for the SARS-CoV-2 Delta variant, noting that the full scientific impact of this work has yet to be realized.ACM Reference FormatAbigail Dommer1†, Lorenzo Casalino1†, Fiona Kearns1†, Mia Rosenfeld1, Nicholas Wauer1, Surl-Hee Ahn1, John Russo,2Sofia Oliveira3, Clare Morris1, AnthonyBogetti4, AndaTrifan5,6, Alexander Brace5,7, TerraSztain1,8, Austin Clyde5,7, Heng Ma5, Chakra Chennubhotla4, Hyungro Lee9, Matteo Turilli9, Syma Khalid10, Teresa Tamayo-Mendoza11, Matthew Welborn11, Anders Christensen11, Daniel G. A. Smith11, Zhuoran Qiao12, Sai Krishna Sirumalla11, Michael O’Connor11, Frederick Manby11, Anima Anandkumar12,13, David Hardy6, James Phillips6, Abraham Stern13, Josh Romero13, David Clark13, Mitchell Dorrell14, Tom Maiden14, Lei Huang15, John McCalpin15, Christo- pherWoods3, Alan Gray13, MattWilliams3, Bryan Barker16, HarindaRajapaksha16, Richard Pitts16, Tom Gibbs13, John Stone6, Daniel Zuckerman2*, Adrian Mulholland3*, Thomas MillerIII11,12*, ShantenuJha9*, Arvind Ramanathan5*, Lillian Chong4*, Rommie Amaro1*. 2021. #COVIDisAirborne: AI-Enabled Multiscale Computational Microscopy ofDeltaSARS-CoV-2 in a Respiratory Aerosol. InSupercomputing ‘21: International Conference for High Perfor-mance Computing, Networking, Storage, and Analysis. ACM, New York, NY, USA, 14 pages.https://doi.org/finalDOI

In this article, I argue that the ritual experience of water-baptism plays an essential role in Paul's metaphorical expression and rhetorical purpose in 1 Corinthians 12:13. To explore the role of baptism, I use conceptual blending theory from cognitive linguistics to define and demonstrate the metaphorical ways in which ritual functions in the human mind. In so doing, I emphasize the performance of a ritual itself and the contextual perception of its performance, arguing for a metaphorical relationship between the two. I apply conceptual blending analysis to interpret the complex interplay of three metaphors in 1 Corinthians 12:13. I argue that Paul forms a conceptual blend of three metaphors in this verse, and that baptism, the water-rite, plays a pivotal role in this blend by providing the physical pattern of immersion and the cultural understanding of this immersion as a new belonging. Using baptism, Paul achieves his purpose of re-picturing the reception of the Spirit and appealing for social union. This verse thus presents an excellent case of the role of ritual in the emergence of early Christianity and the explanatory power of ritual studies to the New Testament texts.

Pierre Bourdieu’s conceptual framework offers a productive means of making sense of statistical regularities and correspondences. When it comes to explaining the intricacies of individual biographies, however, including something as seemingly personal as one’s choice of occupation, Bourdieu offers only a starting point in need of elaboration. Above all, there is a need to pay greater attention to the multiplicity of fields in which individuals are situated and the interplay between them in shaping desires and strategies. These include class, family relations and, in some cases, employment-based fields such as art, religion or specific organisations. To demonstrate the argument, this article takes as a case study the trajectory of Vincent van Gogh, highlighting the ongoing interaction between class, family and other fields in generating his eventual decision to become an artist.

AimsRecent reviews have demonstrated broad links between performing arts participation (e.g. music-making; dancing; acting) and receptive engagement (e.g. listening to music; attending a dance/theatre performance) and improved health, including reduced disease and mortality risk. However, no investigations to date have interrogated the links between community-level performing arts activity (i.e. participation + receptive engagement) and health outcomes – i.e. do the performing arts help create healthy communities? This study aims to address this question by examining links between performing arts activity and health outcomes across 500 cities in the United States.MethodsSecondary analysis of demographic, health outcome, performing arts activity (estimated by annual performing arts revenue), and preventive/unhealthy behaviour data for 500 large cities in the United States – data extracted from the US Centers for Disease Control 500 Cities Project, Dun & Bradstreet Hoovers Database, and US Census. Links between performing arts activity and 12 health/disease outcomes were evaluated using a series of hierarchical beta regression models which progressively controlled for demographic variables and preventive/unhealthy behaviour prevalence.ResultsThe 500 analysed US cities comprise 33.4% of the total US population and 84,010 performing arts businesses (total annual revenue $27.84 billion). No significant associations were found between performing arts activity and nine of twelve health outcomes in fully adjusted models (p≥.17). Statistically significant relationships (pConclusionsThis study contributes to a growing body of conflicting epidemiologic evidence regarding the impact of the performing arts on health/disease and mortality outcomes, evaluated using a range of disparate methodologies. A consensus, psychometrically rigorous approach is required to address this prevailing uncertainty in future epidemiologic studies examining effects of performing arts activities both within and across countries and communities.

Art is a rich area in which to study psychological life through the lens of cultural psychology. While any kind of art can be studied within cultural psychology, in the current piece we argue that an art form known as the donor portrait, and more particularly a subcategory thereof known as the contact portrait, visually depicts core aspects of our psychological lives that constitute matters of fundamental interest within cultural psychology. After briefly discussing this particular art form, we focus on how these portraits visually depict four core aspects of cultural psychology. We first explore how the contact portrait navigates the “frontier problem” found at the intersection of individuality and commonality. We then examine how contact portraits catalyze, but do not cause, the viewer’s emotional engagement. The third aspect concerns the human struggle to make sense out of an unknown future. Finally, we discuss the search for meaningfulness beyond meaning-making depicted within these images and lying at the core of our psychological lives. These characteristics of the contact portrait attest to our human striving towards what lies beyond our current state, something that finds expression in the idea of Schaufrömmigkeit—a pious, humble need to see that which is ultimately unseeable.

While the connection between arts, culture, and public health is not new, intentional efforts toward cross-sector collaboration in these areas are being lifted as timely and transformative. This is a call to artists, creatives, culture bearers, and activators. This is a call to public health practitioners, doctors, educators, and the myriad of peoples whose work touches the public’s health. In this piece, I propose a marriage of these two seemingly disparate disciplines—arts and public health—their actors and engagements. In this piece, I propose this marriage as dance, as movement, as evolution, even revolution. What could our world look like if more of the people and the sectors of arts and public health worked together to advance our most pressing public health priorities? I offer this work to help us imagine the possibilities of growing this intentional collaboration. This piece both proposes and marries; iterates and exemplifies. By presenting this work as poetry, I propose that art not be the afterthought, the accent, the cherry on top as we strive to address public health issues, a multitude exacerbated and illuminated in the face of COVID-19. I posit that art is the consistency, the substance, the forethought, and a vehicle through which we can come to realize the positive change that we hope to see. As we ponder our next potential public health engagements, know this. Not only can this marriage soothe us and move us; but it can literally improve us. This is the proposal. Will you accept? To view the original version of this poem, see the supplemental material section of this article online.

The recent evolution of capitalism has shifted the ground on which developmentalism stood as a civilizing utopia in Latin America, making the neodevelopmentalism that inspired different nuances of progressivism in the twenty-first century an idea “out of place.” Starting from this premise, the notions of progressivism as regression and containment as accelerating desocialization form the foundations of an interpretation of the Pink Tide that emphasizes the contradictions inherent in its own dynamics, which reinforced the neoliberal rationale. The attempt to govern social tensions through containment of the ongoing dissociative movement did not stop the regression of the structure of production and the intensification of a self-destructive social dynamic. Progressivism is revealed as a political rationale that is different from but not contradictory to its opponents in a reality in which capital governs as a totalizing extraparliamentary force. A evolução recente do capitalismo modificou as bases materiais que davam sentido ao desenvolvimentismo como utopia civilizatória na América Latina, tornando o neodesenvolvimentismo que inspirou diferentes nuances de progressismo no século XXI, uma ideia fora do lugar. A partir desta premissa, são discutidas as noções de progressismo como regressão e de contenção como aceleracion de dissocializacion, como alicerces de uma interpretação da onda progressista que enfatiza as contradições inerentes à sua própria dinâmica que reforçou a razão neoliberal. A pretensão de governar as tensões sociais por meio de políticas de contenção do movimento dissocializante em curso não evitou a regressão da estrutura produtiva e o aprofundamento de uma dinâmica social autofágica. O progressismo revela-se como uma racionalidade política diferente, mas não contraditória em relação aos seus opositores em uma realidade em que o capital se impõe como uma força extra-parlamentar totalizante.

A traditional account of the beatific vision has focused attention on our vision of the divine essence. However, little attention has been paid to the trinitarian aspects of the vision. This article proposes a trinitarian account of the beatific vision drawing on the work of Bernard Lonergan and Robert Doran and the so-called four-point hypothesis. It concludes that, so conceived, the beatific vision is analogous to an exchange of wedding vows.

This essay aims to analyze the significance of Canadian “eco-horror” film within the so-called “Anthropocene” era, wherein it functions as a form of nostalgia and vehicle for imagining the liberation of nature from under the yoke of cultural repression. Assuming Canadian director Adam MacDonald’s critically lauded natural horror film Backcountry as its centerpiece, this essay surveys eco-horror’s reversal of heteropatriarchal masculinity and settler thinking by confronting it with a monstrous image of nature wholly distinct from the Canadian mythos of “beneficent” natural world submitted to the will of Man.

In the field of runestone research, the importance of multimodal understanding has been downplayed although it is obvious that several semiotic resources interact when it comes to carving a stone and erecting it in the landscape. This study examines if it is possible to deal with the methodological challenges of a historical material and make a multimodal approach deepen our understanding of the Rök runestone, one of the most famous and enigmatic Viking Age runestones. The study applies Scollon and Scollon’s geosemiotic framework (2003). Through an investigation of how the visual semiotics interacts with place semiotics and interaction order, it turns out that the marked reading direction of the lines of the inscription symbolizes the movement of the sun, and that the change of font size in two lines probably mimics the change of solar brightness at sunrise and sunset. Further, it is suggested that the big crosses of cipher runes and the small crosses between some information units may represent the sun and stars, respectively. The conclusion is that the monument was risen for the enactment of a counsel of the gods with the aim of securing the rhythm of celestial light. Finally, implications for multimodal research are discussed.

By introducing a wider understanding of the discourse of modernism at the time that record covers were introduced, this article investigates record covers as a means through which various actors in the Swedish jazz scene connected jazz with modernist art forms. In the 1950s, specific designs for record sleeves became integrated into the ways in which jazz was mediated in Sweden, which coincided with wider debates about whether jazz could be seen as an art form. The main question of this article is: How did the artwork on record covers influence the acceptance of jazz as an art form in Sweden? In responding to this question, the article aims to demonstrate that, in addition to written discourse, visual objects – in this case record covers – were of great importance to the rising status of jazz in Sweden in the 1950s and 1960s. More broadly, I argue that the visual elements in music cultures can be just as important, if not more so, than written forms of discourse, for negotiating the social status of music.

I trace the musical performances and life of Black, queer composer Julius Eastman, considering Eastman’s oeuvre as a heterotopia defined by both revolutionary freedom and tragic capture. Eastman lived on the margins of 1970s and 1980s avant-garde minimalist music scenes unable and unwilling to comport to white norms of esthetic innovation and cultural acceptability. Eastman’s infusion of camp performativity with minimalist music and his Blackness and queerness challenged (and ultimately nullified) the avant-garde esthetic claims made by white composers. Whereas the white avant-garde insisted upon a tabula rasa, a separation from history to create (supposedly) new sonic forms, Eastman’s melding of genres, provocative song titles, playful disposition to the world, and his very presence in concert halls and university auditoriums challenged the racialized norms embedded within minimalist music. Eastman ruptured assumed codes of composition and performance yet was punished for these transgressions, barred from work and ultimately dying alone and homeless at the age of 49. Pursuing a creative life encased by erasure exemplifies the ways in which Blackness is parantological, constantly escaping from the fixity of racial ontologies that erase Blackness in the name of white supremacy. Examining Eastman’s artistic work and conflict with minimalist music prefigures the contemporary moment in which efforts to prioritize materiality, affective reality, and being over culture, signification, and discourse often belie white racialized standpoints. Intertwined with these theoretical concerns, I sketch how Eastman disrupts overwrought notions of scale, direction, rigidity, and intent through what Camilla Hawthorne calls ‘everyday practices of Black space-making’.

This essay offers an appreciation of Stuart Cunningham's substantial and diverse contributions to ‘reframing culture’ in Australian research, policy and industry practice, from his early reformulations of Australian film history to his recent work on digital media disruption. The essay discusses the range of Cunningham's institutional and intellectual legacies, suggesting that his advocacy for cultural policy and the creative industries together with his leadership of major collaborative research initiatives in the humanities and social sciences have been especially important for media and cultural studies in Australia. Further, his approach to the project of ‘reframing culture’ is likely to remain a critical task.

The article focuses on Dārā Shukoh’s Majma‘-ul-Baḥrain (written, 1654–55), which is basically a comparative and systematic study of modes of Hindu thought and belief from the view point of Islamic Sufism. There is thus the need to establish the degree of authenticity achieved in Dārā Shukoh’s exploration of the different Hindu philosophical and religious beliefs, especially keeping in view his own preference for pantheistic aspects. This naturally involves also a partial re-exploration of the field in which Dārā Shukoh had sought what he deemed to be the ultimate truth.

The brilliant and erudite scholar and public intellectual of the state, genocide and ‘wars in Africa in the post-1966 epoch, beginning with the Igbo genocide, 29 May 1966 to 12 January 1970’, which he aptly designated as ‘the foundational and most gruesome genocide of post (European) conquest Africa’, Herbert Ekwe-Ekwe, who passed in 17 October 2019, was one of the select slate of scholars who were invited to contribute to this Special Issue of the journal. Characteristic of him and his dedication to the seriousness of purpose in scholarship, he was the first to complete and submit his contributed piece, which appears here in the Special Issue under the title, ‘Africans had no business fighting in either the 1914–1918 war or the 1939–1945 war’. That was a mere 4 months prior to his passing. This is a deserving tribute to him that captures his scholarship in all of its essence and complexity – Ekwe-Ekwe wrote more than 15 insightful books and published numerous articles in top-ranked academic journals and general interest publications in both the English and Portuguese languages, all of which are well-received in the communities of scholars and lay people. Rethinking Africa is the ‘forward looking blog’ that he founded and ‘dedicated to the exchange of innovative thinking on issues affecting the advancement of African peoples wherever they are’. It is indeed a medium that he used to provide ‘rigorous and insightful analyses on the issues affecting Africans and their vision of the world’. He was until his transition a ‘visiting professor in graduate programme of constitutional law at Universidade de Fortaleza, Brazil’.

Attending Mass and helping the suffering are not two separate things. In Christian life, the former should directly lead to the latter. In order to clarify this deep connection, first I will turn to Johann Baptist Metz, especially the centrality of the concept of anamnesis in his theology and hence how his political theology is deeply linked with or actually grounded in the Eucharist and liturgy, for which anamnesis is an essential concept. Metz points out the centrality of the “dangerous” memory of the crucified Lord for the Christian faith and suggests that when we remember the suffering of Christ we also remember all of the victims of history. Further, this memory of accumulated suffering should prepare us for socially emancipatory action. Thus, through the concept of anamnesis, we can see how participating in Mass should directly lead to political action on behalf of the suffering. As a concrete example of this connection realized, I will look at Dorothy Day in the second half of the paper. The Eucharist was central to her conversion, her spirituality, and her Catholic Worker Movement. In her, we can see a concrete example of the living memory of the suffering constantly nourished by the Eucharist and realized as a socially emancipatory action. Thus, by looking at Day through the lens provided by Metz with a focus on the living memory of suffering, I will stress that the Eucharist, “the source and summit of the Christian life,” is the key to bring theology into action.

At the end of the prayer with which he begins Works of Love (1847), Søren Kierkegaard notes that while ‘works of love’ might normally be viewed as a subset of worthwhile human endeavours or ‘works’, from heaven's perspective no work can be pleasing unless it is a work of love. From this arises the question—which Kierkegaard himself moves swiftly to address—of what distinguishes a work of ‘love’ from other, non-loving works? In this article, and with particular reference to Jacob Boehme (1575–1624), I highlight how Kierkegaard's answer to this question draws upon the theological tradition that Bernard McGinn has called ‘the mysticism of the ground’.

With the publication of Georg Simmel’s Essays on Art and Aesthetics there is now an illuminating collection of Simmel’s essays that makes a decisive dimension of Simmel’s thought available to English readers. Austin Harrington’s masterfully curated selection, introduced with a thorough and informative discussion, presents Simmel’s thought on art and aesthetics in a way that makes it now for the first time possible to fully appreciate the essayistic yet coherently critical thrust of Simmel’s thought in its extraordinary range and detail.

This article will suggest how the audience interpreted the music and messages held within Verdi's La Battaglia di Legnano and suggest how far the sentiment within the opera was understood, in turn asking how effective a canone of nationalist images within culture would have been. The use of musical psychological and philosophical studies – such as those by Peter Kivy and Anthony Storr, among others – will offer an insight into the effect of music on the mind, and suggest how music affects the audience.

This paper aims at unpacking the cultural, historical and political significance behind the representations (including pictures, caricatures, journalistic articles, etc.) and self-representations of Rachel Félix (1821–1858), the first prominent Jewish performer on the French and British and American stage, as a prism which may afford a broader discussion about the literary formations of the figure the Jewish female artist Félix, renowned for her exquisite beauty and daring sensuality, serves as an excellent paradigm of how Jewish artists used and, at times, manipulated their “biblical"/"oriental"/ “sensual” beauty with the aim of promoting their artistic career. My discussion, adopting a New Historicist outlook, also aims at explaining the correlation between such literary formations and their political implications with regards to the representation of Jewish artists. Since the identity of an actress is so obviously “constructed,” and because of the intricate relationship between the Jewishness, artistic vocation and femininity, the figure of Félix provides a direct engagement with a particular set of cultural and political assumptions about Jewish female artists. Looking at Félix's literary and artistic representations by her contemporaries and at her own self-representation as reflected on the stage and in her letters leads us to a better understanding of the relationship between the cultural, political and artistic constructs of Jewish female artists.

The Ottoman defeat of the British and French imperial forces during the Gallipoli campaign of 1915, known in Turkish as the Çanakkale Wars, had already shown how the theatres of war would extend beyond Europe. While much of the poetry in English that came from Gallipoli is well known in the Anglophone world, the Turkish poetry from Çanakkale is less well known outside Turkey itself. This article analyses selected Gallipoli poems written in both languages in order to show how they had similar recourse to overlapping narratives of history and myth in their efforts to place the experience of war within a wider transhistorical and transcultural framework. By reflecting on the different uses of this double palimpsest, it aims to show how a transnational and transcultural approach to memorial culture can develop our understanding of how the Great War was written.

Feminist activist, novelist, literary critic, bio-ethnographer, legal autodidact, and political writer: Rebecca West (1892–1983) was a 20th-century phenomenon. She was also a lifelong critic of communism’s appeal to the intelligentsia. Communism, West claimed, was attractive to three groups of intellectuals outside the Soviet bloc: a minority of scientists who viewed politics as merely a sum of technical problems to solve; the emotionally devastated for whom communism was a means of mental reorientation; and a déclassé segment of the middle class who envisaged communism as a means of material and status advancement. I examine West’s three explanations for communism’s allure, and then proceed to evaluate her account. My assessment is both empirical, using sociological data on American and European communist parties, and methodological, examining the techniques of West’s style, a mix of novelistic empathy and unmasking political partisanship. This mixture I consider fatal because while the novel, like historical interpretation, allows a generous understanding of human agents, unmasking tends towards caricature and denunciation.

There is a tendency in animation studies to discuss sound in the language of images, stressing sound’s alignment with visual cues (as in mickey mousing and leitmotifs). But sounds do not only mimic images: they add textures and emotions that change what we see. This article explores grain (texture) and timbre (tone color produced by specific instruments and techniques) as qualities shared by visual and sonic material. To do so, the author closely reads Sand or Peter and the Wolf (1969), where Caroline Leaf’s haptic sand animation is matched by Michael Riesman’s electroacoustic score. Leaf painstakingly molds animals by scraping away individual sand grains, and Riesman sculpts sonic textures with tiny adjustments to knobs and touch-sensitive pads on the Buchla modular synthesizer. Their collective improvisation with sands and sounds reveals new ways to think about artists’ material practices and the friction and interplay between images and sounds. They encourage spectators to perceive the animals as not merely plasmatic, or Sergei Eisenstein’s notion of contour-bending character animation. Instead, Leaf and Riesman deploy what the author calls ‘granular modulation’, expressing sand and animals with sensuous materiality. In Leaf’s and Riesman’s improvisations, grainy textures are the seeds of understanding how sound and vision become symbiotic – and encounter friction – in animation.