1 00:00:05,720 --> 00:00:08,000 Speaker 1: Hey, welcome to Stuff to Blow your Mind. My name 2 00:00:08,039 --> 00:00:11,240 Speaker 1: is Robert Lamb and I'm Joe McCormick. And who do 3 00:00:11,240 --> 00:00:14,000 Speaker 1: you feel that tingling? I think it's Saturday. It's time 4 00:00:14,040 --> 00:00:16,600 Speaker 1: for a Vault episode and this one is about that warm, 5 00:00:16,640 --> 00:00:20,919 Speaker 1: tingly feeling of Kama Muda. Yes, here come the warm fields. 6 00:00:21,000 --> 00:00:25,360 Speaker 1: This was an episode that originally published one and I 7 00:00:25,400 --> 00:00:28,040 Speaker 1: do remember this one. I remember this one being a 8 00:00:28,080 --> 00:00:33,160 Speaker 1: lot of fun. Welcome to Stuff to Blow your Mind, 9 00:00:33,200 --> 00:00:42,040 Speaker 1: a production of I Heart Radios How Stuff Works. Hey, 10 00:00:42,200 --> 00:00:44,080 Speaker 1: welcome to Stuff to Blow your Mind. My name is 11 00:00:44,159 --> 00:00:47,440 Speaker 1: Robert Lamb and I'm Joe McCormick. And today we're going 12 00:00:47,479 --> 00:00:50,559 Speaker 1: to be looking at a subject that that I started 13 00:00:50,560 --> 00:00:53,519 Speaker 1: thinking about in terms of a broader question, And the 14 00:00:53,600 --> 00:00:59,480 Speaker 1: question is this, are there unexplored frontiers in an understanding 15 00:01:00,080 --> 00:01:04,000 Speaker 1: what human emotions are? When you think about human emotions, 16 00:01:04,000 --> 00:01:07,399 Speaker 1: that that is something that's studied by psychology and sometimes 17 00:01:07,440 --> 00:01:11,240 Speaker 1: by neuroscience. But it seems like territory where we just 18 00:01:11,319 --> 00:01:13,560 Speaker 1: assume we've got all the basics down right. We know 19 00:01:13,680 --> 00:01:16,560 Speaker 1: what all we know happy, sad, we know contempt, we 20 00:01:16,640 --> 00:01:20,640 Speaker 1: know disgust. You know, there's a broad range of basic emotions, 21 00:01:20,680 --> 00:01:23,319 Speaker 1: and we just think it's intuitive that, yeah, we we've 22 00:01:23,360 --> 00:01:26,280 Speaker 1: got names for all of them, we understand basically what 23 00:01:26,319 --> 00:01:29,760 Speaker 1: they are, we've felt them before. But there is of 24 00:01:29,800 --> 00:01:32,680 Speaker 1: course something that we all know that that there is 25 00:01:32,760 --> 00:01:37,919 Speaker 1: a a feeling understanding gap, that we can feel things 26 00:01:37,959 --> 00:01:41,840 Speaker 1: without necessarily understanding what they are or why we're feeling them. 27 00:01:41,840 --> 00:01:45,640 Speaker 1: It's why we're sometimes like surprised by our own emotions, 28 00:01:45,680 --> 00:01:48,760 Speaker 1: like when you discover without realizing it, that you've been 29 00:01:48,840 --> 00:01:52,520 Speaker 1: falling in love with someone, or you discover without realizing 30 00:01:52,520 --> 00:01:55,480 Speaker 1: it that someone actually really gets on your nerves and 31 00:01:55,520 --> 00:01:58,120 Speaker 1: you know it's finally all coming into focus, or you know, 32 00:01:58,280 --> 00:02:01,160 Speaker 1: all kinds of feelings like that that you can feel 33 00:02:01,240 --> 00:02:03,200 Speaker 1: for a long time before you have any kind of 34 00:02:03,240 --> 00:02:07,000 Speaker 1: cognitive awareness or ability to describe or put a name 35 00:02:07,040 --> 00:02:10,600 Speaker 1: to it. And it makes you wonder if there are 36 00:02:10,680 --> 00:02:14,760 Speaker 1: whole emotional states that we go through. We feel them, 37 00:02:14,800 --> 00:02:18,560 Speaker 1: but we don't necessarily have a language for them, or 38 00:02:18,680 --> 00:02:22,680 Speaker 1: or an understanding of their relationship to external stimuli and 39 00:02:22,720 --> 00:02:25,640 Speaker 1: the symptoms they produced in the body and the mind. Yeah, 40 00:02:25,680 --> 00:02:27,920 Speaker 1: there's a great deal of complexity to this because on 41 00:02:27,919 --> 00:02:31,399 Speaker 1: one hand, yeah, there's just the awareness of self being 42 00:02:31,400 --> 00:02:34,200 Speaker 1: able to enter at least into moments of awareness, moments 43 00:02:34,200 --> 00:02:37,000 Speaker 1: of self awareness. And then there's of course this idea 44 00:02:37,000 --> 00:02:40,040 Speaker 1: of being aware of your awareness and how that changes 45 00:02:40,120 --> 00:02:44,400 Speaker 1: your ability to self reflect and you know, varying degrees 46 00:02:44,440 --> 00:02:46,760 Speaker 1: of awareness as well. But uh, you know, I was, 47 00:02:46,919 --> 00:02:48,520 Speaker 1: I was thinking a little bit on this, and I 48 00:02:48,560 --> 00:02:50,560 Speaker 1: feel like to a certain extent, it's kind of like 49 00:02:51,040 --> 00:02:55,800 Speaker 1: transparent anatomical overlays that you'll find in like an anatomy book, 50 00:02:55,840 --> 00:02:59,200 Speaker 1: you know, where like the base is the skeleton, and 51 00:02:59,200 --> 00:03:02,000 Speaker 1: then you have like a transparent overlay that then puts 52 00:03:02,200 --> 00:03:05,120 Speaker 1: um I don't know, the circulatory system, and then you know, 53 00:03:05,160 --> 00:03:07,880 Speaker 1: add other systems or muscular layers on top of that. 54 00:03:08,000 --> 00:03:10,960 Speaker 1: You're getting very tool album art on me, right right, Obviously, 55 00:03:11,040 --> 00:03:15,160 Speaker 1: I know your mind. Obviously this has also been explored 56 00:03:15,200 --> 00:03:17,800 Speaker 1: in in tool album art as well, Yes, by the 57 00:03:17,800 --> 00:03:21,320 Speaker 1: excellence of the excellent visionary artist Alex Gray, of course. 58 00:03:21,480 --> 00:03:23,800 Speaker 1: But there is actually something pretty interesting about that art, 59 00:03:23,840 --> 00:03:27,000 Speaker 1: which is that it layers real anatomical strata of things 60 00:03:27,040 --> 00:03:29,440 Speaker 1: you would see like muscles and blood, vessels and nerves 61 00:03:29,440 --> 00:03:32,400 Speaker 1: and all that with other things that are non physical. 62 00:03:32,480 --> 00:03:35,520 Speaker 1: They're you know, abstracted layers on sort of concepts of 63 00:03:35,560 --> 00:03:39,280 Speaker 1: the soul on top of the body, and another transparent overlay, right, 64 00:03:39,320 --> 00:03:41,360 Speaker 1: And so I can't help but think about that in 65 00:03:41,480 --> 00:03:45,680 Speaker 1: terms of feelings, language, and awareness, because there's certainly the 66 00:03:45,720 --> 00:03:48,400 Speaker 1: experience of an emotional state that we have, and then 67 00:03:48,440 --> 00:03:51,040 Speaker 1: there's another transparent lay page that we can put on 68 00:03:51,080 --> 00:03:54,080 Speaker 1: top of that, representing like a person shaped word cloud 69 00:03:54,400 --> 00:03:58,040 Speaker 1: that provides a definition and an analysis as well of 70 00:03:58,160 --> 00:04:01,200 Speaker 1: what I'm feeling. Though perhaps so, you know, we also 71 00:04:01,240 --> 00:04:04,440 Speaker 1: needed a second overlay to really have the captured that 72 00:04:04,480 --> 00:04:06,400 Speaker 1: second part, you know what that what our culture is 73 00:04:06,400 --> 00:04:09,640 Speaker 1: saying about what we think we're feeling and how we 74 00:04:09,680 --> 00:04:12,080 Speaker 1: should feel about it. And then on top of all 75 00:04:12,120 --> 00:04:14,520 Speaker 1: of this we have awareness and the awareness of awareness, 76 00:04:14,520 --> 00:04:17,919 Speaker 1: and the knowledge that this entire page is going to 77 00:04:18,000 --> 00:04:22,000 Speaker 1: turn that this state, whatever it is, if it is 78 00:04:22,040 --> 00:04:24,000 Speaker 1: going to be fleeting, no matter how much we want 79 00:04:24,000 --> 00:04:26,680 Speaker 1: it to last forever or how much we dread that 80 00:04:26,720 --> 00:04:30,839 Speaker 1: it will last forever. And I think it can sometimes 81 00:04:30,880 --> 00:04:33,880 Speaker 1: go something like this, Right, I feel something, and then 82 00:04:33,920 --> 00:04:37,479 Speaker 1: my language gives that feeling a name, say sadness, and 83 00:04:37,520 --> 00:04:40,920 Speaker 1: then my culture tells me that's say sadness, that sadness 84 00:04:40,920 --> 00:04:44,280 Speaker 1: that I'm feeling is inappropriate for my gender or inappropriate 85 00:04:44,279 --> 00:04:48,120 Speaker 1: for a given situation, etcetera. And um, and then I 86 00:04:48,200 --> 00:04:52,400 Speaker 1: yearned for other labeled emotional states and somehow this, uh, 87 00:04:52,440 --> 00:04:56,400 Speaker 1: this linguistic tag does not summon the emotion I want. 88 00:04:56,480 --> 00:04:59,560 Speaker 1: It doesn't generated out of nowhere. And then I'm sad 89 00:04:59,600 --> 00:05:04,080 Speaker 1: in a shaw aimed for being sad. Um. So basically 90 00:05:04,560 --> 00:05:08,839 Speaker 1: the short of it is, there's there's this relationship between 91 00:05:09,000 --> 00:05:12,200 Speaker 1: how we label our emotions and the emotions we feel. Uh. 92 00:05:12,240 --> 00:05:15,680 Speaker 1: And also it does that thing that that language does. Right, 93 00:05:15,960 --> 00:05:19,080 Speaker 1: We're able to tag something for further study. We're able 94 00:05:19,120 --> 00:05:23,279 Speaker 1: to take something that is difficult to explain, we put 95 00:05:23,560 --> 00:05:26,200 Speaker 1: a single label on it, and then we can discuss 96 00:05:26,240 --> 00:05:30,920 Speaker 1: that label in comparison to other subjects and other examples, etcetera. Well, yeah, 97 00:05:31,000 --> 00:05:33,440 Speaker 1: once you name something, you can start to figure out 98 00:05:33,520 --> 00:05:36,000 Speaker 1: what it is and what it is not. Uh. If 99 00:05:36,000 --> 00:05:37,720 Speaker 1: you didn't have a name for the thing, it's a 100 00:05:37,760 --> 00:05:41,880 Speaker 1: lot harder to start trying to describe the characteristics it 101 00:05:41,920 --> 00:05:44,520 Speaker 1: does or doesn't possess. Yeah, and like, as a as 102 00:05:44,560 --> 00:05:46,720 Speaker 1: a parent, I have encountered this. You know, where my 103 00:05:47,080 --> 00:05:50,400 Speaker 1: son is feeling something and either you know, he doesn't 104 00:05:50,400 --> 00:05:54,240 Speaker 1: have the self awareness and self reflection to really think 105 00:05:54,240 --> 00:05:56,719 Speaker 1: about it yet, or or perhaps he doesn't even have 106 00:05:56,760 --> 00:05:59,600 Speaker 1: a good word, a good description for what it is 107 00:05:59,640 --> 00:06:02,040 Speaker 1: he's healing, and you have to sort of try and 108 00:06:02,400 --> 00:06:04,680 Speaker 1: try and walk them through what they're feeling and try 109 00:06:04,720 --> 00:06:06,880 Speaker 1: to get them to identify it so that you can 110 00:06:07,520 --> 00:06:10,680 Speaker 1: discuss it, so you can get to the bottom of 111 00:06:10,760 --> 00:06:13,760 Speaker 1: it to whatever extent you can. I think that naming 112 00:06:13,800 --> 00:06:17,320 Speaker 1: of things, especially naming of internal states, can have tremendous 113 00:06:17,360 --> 00:06:21,800 Speaker 1: and often well tremendous positive and negative power. One example 114 00:06:21,800 --> 00:06:24,080 Speaker 1: of positive power I think of is I'm not going 115 00:06:24,120 --> 00:06:26,800 Speaker 1: to say who, but just somebody I know at one 116 00:06:26,839 --> 00:06:32,000 Speaker 1: point when they became aware of the psychological concept of rumination, uh, 117 00:06:32,040 --> 00:06:36,120 Speaker 1: you know, the process of repeatedly going over cycles of 118 00:06:36,160 --> 00:06:40,159 Speaker 1: negative thoughts in your mind and entertaining worst possible scenarios. 119 00:06:41,160 --> 00:06:44,960 Speaker 1: Just becoming aware that that was a concept that was 120 00:06:45,000 --> 00:06:48,320 Speaker 1: already known of and had a name, had a lot 121 00:06:48,360 --> 00:06:52,159 Speaker 1: of power for this person to help them overcome when 122 00:06:52,200 --> 00:06:55,279 Speaker 1: it was affecting them, because suddenly they didn't just think, oh, 123 00:06:55,360 --> 00:06:58,839 Speaker 1: I'm doing this terrible thing again. They thought I'm ruminating. 124 00:06:59,560 --> 00:07:02,680 Speaker 1: This is a psychological symptom that's negative, and they felt 125 00:07:02,680 --> 00:07:05,160 Speaker 1: it was easier to break out of the cycle after 126 00:07:05,839 --> 00:07:08,680 Speaker 1: knowing the word for it exactly, and to come back 127 00:07:08,720 --> 00:07:11,360 Speaker 1: to sadness for example, like it's one thing that's to 128 00:07:11,400 --> 00:07:14,920 Speaker 1: realize I am feeling sad, but then language allows us 129 00:07:15,000 --> 00:07:18,520 Speaker 1: then to focus in on more specific versions of that, saying, 130 00:07:19,000 --> 00:07:21,800 Speaker 1: you know, not only am I feeling sadness, perhaps I'm 131 00:07:21,800 --> 00:07:26,280 Speaker 1: feeling the particular sadness of loss or rejection or homesickness 132 00:07:26,360 --> 00:07:30,360 Speaker 1: or defeat or alienation. Um. And then we can we 133 00:07:30,880 --> 00:07:36,120 Speaker 1: we can better utilize our our own minds and even resources, 134 00:07:36,200 --> 00:07:38,560 Speaker 1: either in the community or in just sort of the 135 00:07:38,560 --> 00:07:41,880 Speaker 1: the general human um in a world around us to 136 00:07:42,000 --> 00:07:44,560 Speaker 1: try and figure out how we should react, uh, and 137 00:07:44,800 --> 00:07:47,960 Speaker 1: or solve the situation at hand. Yeah, exactly. I mean 138 00:07:48,080 --> 00:07:49,600 Speaker 1: that makes me think of another thing you're sort of 139 00:07:49,640 --> 00:07:52,120 Speaker 1: alluding to there, which is that when you have a 140 00:07:52,240 --> 00:07:55,760 Speaker 1: name for an internal state, that helps you find other 141 00:07:55,840 --> 00:07:59,040 Speaker 1: people who also experience the internal state, because you sort 142 00:07:59,040 --> 00:08:01,760 Speaker 1: of have a common search term or something that you 143 00:08:01,800 --> 00:08:04,400 Speaker 1: can use to get together and figure out oh okay, 144 00:08:04,400 --> 00:08:07,760 Speaker 1: and you can compare your experiences with others uh. And 145 00:08:07,800 --> 00:08:10,200 Speaker 1: of course, you know again, this cuts both ways. I'd 146 00:08:10,200 --> 00:08:13,400 Speaker 1: say overall is probably a positive thing to have names 147 00:08:13,440 --> 00:08:15,760 Speaker 1: for internal states like this, because it can help people 148 00:08:15,800 --> 00:08:18,800 Speaker 1: find solidarity get advice from other people who feel the 149 00:08:18,840 --> 00:08:21,120 Speaker 1: same way they do. But it can also lead to 150 00:08:21,360 --> 00:08:25,000 Speaker 1: you know, people finding one another based on like anger 151 00:08:25,040 --> 00:08:28,560 Speaker 1: based or you know, negative internal states and and building 152 00:08:28,560 --> 00:08:32,719 Speaker 1: a kind of negative solidarity of stoking one another's bad emotions, right, 153 00:08:32,920 --> 00:08:36,600 Speaker 1: Or what happens when you have a legitimate emotional state 154 00:08:37,200 --> 00:08:40,800 Speaker 1: but the terminology end up using to describe it is 155 00:08:40,800 --> 00:08:44,439 Speaker 1: is not helpful, say, say that you end up using 156 00:08:44,480 --> 00:08:48,520 Speaker 1: like say, highly religious terminology to describe these things that 157 00:08:49,280 --> 00:08:52,200 Speaker 1: in some cases may not provide a lot of tools 158 00:08:52,200 --> 00:08:54,760 Speaker 1: for dealing with it. Like what if you broadly categorize 159 00:08:55,160 --> 00:09:00,160 Speaker 1: various emotional states as being sinful? Um, well, then that 160 00:09:00,200 --> 00:09:03,720 Speaker 1: means that you're only ways of really addressing whatever you're 161 00:09:03,760 --> 00:09:09,080 Speaker 1: feeling lie within the religious doctrine that you are in 162 00:09:09,080 --> 00:09:13,080 Speaker 1: which you're classifying everything, uh and limits you in that respect. 163 00:09:13,360 --> 00:09:16,640 Speaker 1: Or believing that say a state like depression or something 164 00:09:16,760 --> 00:09:21,080 Speaker 1: consists of having a demon which you know you can 165 00:09:21,120 --> 00:09:24,000 Speaker 1: certainly understand why it could feel that way, And yet 166 00:09:24,080 --> 00:09:27,800 Speaker 1: on the other side, there are examples of personifying negative 167 00:09:27,800 --> 00:09:31,160 Speaker 1: emotional states that can be liberating, you know, being able 168 00:09:31,200 --> 00:09:35,920 Speaker 1: to say, personify one's fear and then reject it. So 169 00:09:36,000 --> 00:09:38,679 Speaker 1: it's it's it's certainly when you're talking about human emotional 170 00:09:38,679 --> 00:09:41,520 Speaker 1: states and our awareness of them and our dealings with them, 171 00:09:41,600 --> 00:09:44,720 Speaker 1: there's a great deal of complexity here. There's not necessarily 172 00:09:44,720 --> 00:09:47,120 Speaker 1: a one size fits all. We're not going to be 173 00:09:47,200 --> 00:09:50,600 Speaker 1: able to unwrap all of these questions today, but we 174 00:09:50,640 --> 00:09:54,960 Speaker 1: will discuss an emotional state that has largely gone unnamed, 175 00:09:54,960 --> 00:09:57,960 Speaker 1: at least in the English language. Yeah, at least if 176 00:09:58,360 --> 00:10:00,160 Speaker 1: this group of researchers that we're gonna be talking thinking 177 00:10:00,200 --> 00:10:03,360 Speaker 1: about today are onto something. So I came to this 178 00:10:03,440 --> 00:10:06,640 Speaker 1: topic today of of emotions that we don't yet have 179 00:10:06,760 --> 00:10:09,920 Speaker 1: names for, by reading an article and eon by the 180 00:10:10,000 --> 00:10:14,000 Speaker 1: psychological anthropologist Alan Fisk, who is a professor at the 181 00:10:14,080 --> 00:10:18,800 Speaker 1: University of California, Los Angeles. And in this article, Fisk 182 00:10:19,040 --> 00:10:21,720 Speaker 1: summarizes a bunch of research that's been going on in 183 00:10:21,760 --> 00:10:23,120 Speaker 1: the past few years of a lot a lot of 184 00:10:23,160 --> 00:10:25,880 Speaker 1: which he's been a co author on um, which he 185 00:10:26,120 --> 00:10:31,640 Speaker 1: believes identifies an extremely important everyday emotion, not something unusual, 186 00:10:31,679 --> 00:10:33,880 Speaker 1: but something we all know we feel all the time 187 00:10:33,960 --> 00:10:37,000 Speaker 1: that's incredibly important to our lives, that's been with us 188 00:10:37,000 --> 00:10:41,280 Speaker 1: all along, but that, he argues, has not been recognized 189 00:10:41,400 --> 00:10:45,320 Speaker 1: as distinct and unified as an emotion in itself, and 190 00:10:45,360 --> 00:10:47,360 Speaker 1: instead has been called a lot of kind of other 191 00:10:47,480 --> 00:10:51,160 Speaker 1: things in its different facets. And the term he uses 192 00:10:51,280 --> 00:10:54,960 Speaker 1: for this emotion is karma muta k a m a 193 00:10:55,240 --> 00:10:58,680 Speaker 1: m u t a. So what exactly is karma muta? 194 00:10:58,840 --> 00:11:02,559 Speaker 1: As Fisk would are you, the term karmamuda comes from 195 00:11:02,720 --> 00:11:07,679 Speaker 1: ancient Sanskrit, in which it means moved by love. So 196 00:11:07,760 --> 00:11:11,200 Speaker 1: this emotion of karmamuda is a social emotion, and Fisk 197 00:11:11,360 --> 00:11:16,520 Speaker 1: describes it as an emotion evoked by the sudden intensification 198 00:11:17,040 --> 00:11:21,120 Speaker 1: of communal sharing. Now, this doesn't just mean sharing in 199 00:11:21,160 --> 00:11:23,240 Speaker 1: the sense of like sharing your toys or sharing your 200 00:11:23,320 --> 00:11:27,160 Speaker 1: kitcat bar, or you know, sharing the payout from the banks, uh, 201 00:11:27,280 --> 00:11:30,559 Speaker 1: though all of those could probably be moments that would 202 00:11:30,559 --> 00:11:33,560 Speaker 1: evoke karmamuda. But this is a broader sense of sharing. 203 00:11:33,640 --> 00:11:36,800 Speaker 1: This is what Alan Fisk has called another work communal 204 00:11:37,080 --> 00:11:40,880 Speaker 1: sharing relationships, and that's briefly defined in one of his 205 00:11:40,960 --> 00:11:46,280 Speaker 1: papers as relationships quote in which participants feel that in 206 00:11:46,320 --> 00:11:51,640 Speaker 1: some distinctive way, they are equivalent belong together, care for 207 00:11:52,000 --> 00:11:54,959 Speaker 1: and trust each other. So it's sort of like a 208 00:11:55,400 --> 00:11:59,360 Speaker 1: a strengthening of social bonds and a signaling of trust 209 00:11:59,440 --> 00:12:02,960 Speaker 1: and and mutual caring. This is why you do trust 210 00:12:02,960 --> 00:12:06,520 Speaker 1: false at your place of work, right, you know you 211 00:12:06,520 --> 00:12:08,720 Speaker 1: would think this makes me think of a funny thing 212 00:12:08,840 --> 00:12:10,760 Speaker 1: I kind of want to come back to and later 213 00:12:10,800 --> 00:12:13,240 Speaker 1: in the episode, which is like ways that if this 214 00:12:13,400 --> 00:12:17,000 Speaker 1: is truly a unified emotional experience in the way they're describing, 215 00:12:17,920 --> 00:12:22,000 Speaker 1: ways that it is definitely exploited in in like in 216 00:12:22,120 --> 00:12:24,880 Speaker 1: business and in media. One thing that I know you 217 00:12:24,920 --> 00:12:26,920 Speaker 1: and I have talked about before is all the things 218 00:12:27,000 --> 00:12:29,920 Speaker 1: that love to tell you they're your family, but are 219 00:12:29,960 --> 00:12:33,480 Speaker 1: not your family, like your workplace that says like we're 220 00:12:33,480 --> 00:12:36,120 Speaker 1: a family, and it's like, I understand that can be 221 00:12:36,160 --> 00:12:38,200 Speaker 1: a nice thing to say, like you're trying to say, 222 00:12:38,240 --> 00:12:40,440 Speaker 1: you know, you should feel belonging here, but you know 223 00:12:40,480 --> 00:12:43,560 Speaker 1: people actually have families that are families. Or you know, 224 00:12:43,640 --> 00:12:46,840 Speaker 1: if Olive Garden says when you're here your family, there's 225 00:12:46,840 --> 00:12:49,400 Speaker 1: something in common there. They're trying to do something to you. 226 00:12:49,440 --> 00:12:53,400 Speaker 1: What is that thing they're trying to do yeah, they Yeah, 227 00:12:53,360 --> 00:12:55,880 Speaker 1: they're they're co operating the idea of family. Or and 228 00:12:55,920 --> 00:12:59,920 Speaker 1: here's another one, the Sawe family that Tai Chansaw Master 229 00:13:00,200 --> 00:13:05,040 Speaker 1: or um Uh series franchise will sometimes pull that one out, 230 00:13:05,080 --> 00:13:07,080 Speaker 1: and I'm like, I don't know, maybe maybe it is, 231 00:13:07,280 --> 00:13:10,280 Speaker 1: but probably not. Oh No, Drayton's being manipulative when he 232 00:13:10,320 --> 00:13:12,560 Speaker 1: says that he's trying to turn leather Face into a 233 00:13:12,600 --> 00:13:16,280 Speaker 1: bitter old woman hater like he is. But okay, okay, okay. 234 00:13:16,360 --> 00:13:20,040 Speaker 1: So there there are lots of separate emotional states that 235 00:13:20,160 --> 00:13:25,400 Speaker 1: we recognize that Fisk argues, actually all share the features 236 00:13:25,520 --> 00:13:29,760 Speaker 1: of this one unified thing that he's proposing, this unified 237 00:13:29,840 --> 00:13:34,200 Speaker 1: state of kama muta, And so different examples of words 238 00:13:34,280 --> 00:13:36,760 Speaker 1: people use for this thing that he actually says is 239 00:13:36,760 --> 00:13:45,120 Speaker 1: all the same thing is being moved, being touched team pride, patriotism, 240 00:13:45,160 --> 00:13:49,480 Speaker 1: being touched by the spirit burning in the bosom the 241 00:13:49,559 --> 00:13:54,280 Speaker 1: fields like that, or he says also when evoked by memory, 242 00:13:54,679 --> 00:13:57,400 Speaker 1: it's nostalgia. So that's a lot of ground to cover. 243 00:13:57,640 --> 00:14:00,200 Speaker 1: I feel, for instance, I feel nostalgic when I think 244 00:14:00,200 --> 00:14:04,360 Speaker 1: about movies from six I feel a sense of communal 245 00:14:04,360 --> 00:14:06,840 Speaker 1: belonging when I am saying church, where I'm in a 246 00:14:06,960 --> 00:14:10,079 Speaker 1: yoga class, and when I'm hugging my wife and child, 247 00:14:10,120 --> 00:14:13,000 Speaker 1: I feel something that I might describe as his loved 248 00:14:13,320 --> 00:14:17,760 Speaker 1: belonging or to some extent, you know, structural completeness. Yeah, 249 00:14:17,800 --> 00:14:20,200 Speaker 1: there are obviously a lot of different scenarios here that 250 00:14:20,240 --> 00:14:22,920 Speaker 1: he's saying, are all going to evoke this one emotion 251 00:14:23,040 --> 00:14:25,920 Speaker 1: he's talking about. So maybe we should drill down into 252 00:14:25,960 --> 00:14:28,880 Speaker 1: the details of how he describes this emotion and its 253 00:14:28,880 --> 00:14:32,480 Speaker 1: symptoms in order to understand better what exactly it is 254 00:14:32,520 --> 00:14:34,960 Speaker 1: he's talking about. All right, let's roll through it. Well, wait, no, 255 00:14:35,080 --> 00:14:36,800 Speaker 1: maybe we should take a break first, and then when 256 00:14:36,800 --> 00:14:38,480 Speaker 1: we come back, we can we can look at the 257 00:14:38,600 --> 00:14:46,040 Speaker 1: features he lists. All right, we're back. So we're talking 258 00:14:46,080 --> 00:14:49,160 Speaker 1: about kama muta, and we're gonna begin to roll into 259 00:14:49,160 --> 00:14:54,359 Speaker 1: the six features that occur together in this broad categorization 260 00:14:54,400 --> 00:14:58,320 Speaker 1: of emotional states. Right, as argued by the anthropologist Alent Fisk. 261 00:14:59,000 --> 00:15:00,840 Speaker 1: So there's been a bunch of studies on this. We 262 00:15:00,840 --> 00:15:02,880 Speaker 1: we're gonna look at a few of the studies individually 263 00:15:03,000 --> 00:15:05,120 Speaker 1: and in a moment here, But just to start off 264 00:15:05,320 --> 00:15:08,640 Speaker 1: at the top level, what are the main takeaways? Fisk 265 00:15:08,760 --> 00:15:11,560 Speaker 1: argues that kama muda is described by six features that 266 00:15:11,600 --> 00:15:14,400 Speaker 1: occur together, and he says so, first of all, it's 267 00:15:14,480 --> 00:15:20,000 Speaker 1: evoked by quote the sudden intensification of communal sharing and 268 00:15:20,040 --> 00:15:23,320 Speaker 1: again sharing this not just like sharing materials, but this 269 00:15:23,400 --> 00:15:27,040 Speaker 1: thing that I mentioned earlier, situations where participants feel in 270 00:15:27,120 --> 00:15:31,520 Speaker 1: some distinctive way that their equivalent belong together, care for 271 00:15:31,680 --> 00:15:35,840 Speaker 1: and trust each other. Broadly, situations that we describe as 272 00:15:35,880 --> 00:15:38,560 Speaker 1: examples of love, and to a circ extent, you could 273 00:15:38,600 --> 00:15:40,440 Speaker 1: you could think of this as you can think of 274 00:15:40,480 --> 00:15:43,680 Speaker 1: communion as an example of this, right sure, um, Or 275 00:15:43,720 --> 00:15:46,000 Speaker 1: you could think of a potluck banner as an example 276 00:15:46,000 --> 00:15:48,960 Speaker 1: of this. You know, I don't know. I guess one 277 00:15:48,960 --> 00:15:51,040 Speaker 1: of the things is that it has to spark that 278 00:15:51,120 --> 00:15:53,480 Speaker 1: feeling right for it to be real. You could have 279 00:15:53,520 --> 00:15:57,440 Speaker 1: an overly ritualized version of anything that is then devoid 280 00:15:57,480 --> 00:15:59,880 Speaker 1: of the emotional residence. It makes me think of the 281 00:16:00,080 --> 00:16:02,920 Speaker 1: he is aar joke about us singing Hollelujah and the 282 00:16:02,960 --> 00:16:05,960 Speaker 1: Anglican Church. No no offense to Anglicans. You know, I 283 00:16:06,000 --> 00:16:08,560 Speaker 1: have great love for the Anglicans, but you know, he's 284 00:16:08,600 --> 00:16:15,320 Speaker 1: got this whole bit about them singing h I think 285 00:16:15,320 --> 00:16:17,000 Speaker 1: the point he makes is a good one, which is 286 00:16:17,040 --> 00:16:20,760 Speaker 1: that like something that's supposed to be an overwhelming outpouring 287 00:16:20,800 --> 00:16:24,960 Speaker 1: of spontaneous joy can, if ritualized in a certain kind 288 00:16:24,960 --> 00:16:28,080 Speaker 1: of way, become rather drab. Yeah, that's a good point 289 00:16:28,120 --> 00:16:31,240 Speaker 1: because on the other end and of it, um, when 290 00:16:31,280 --> 00:16:33,600 Speaker 1: people come together in song like that is a that 291 00:16:33,760 --> 00:16:37,160 Speaker 1: is a great way to potentially feel this shared emotional state, 292 00:16:37,320 --> 00:16:40,920 Speaker 1: absolutely because we're becoming one voice. Okay, So it's evoked 293 00:16:40,960 --> 00:16:43,960 Speaker 1: by this sudden moment of communal sharing where you feel 294 00:16:44,000 --> 00:16:46,720 Speaker 1: a belonging, a trust, and a love with other people. 295 00:16:47,240 --> 00:16:50,320 Speaker 1: But the next point he says is that it very 296 00:16:50,360 --> 00:16:54,400 Speaker 1: crucially this emotion is brief. He says, it typically lasts 297 00:16:54,480 --> 00:16:57,160 Speaker 1: less than a minute or two, though it can keep 298 00:16:57,200 --> 00:17:00,600 Speaker 1: repeating in rapid succession, so like you'll get a burst 299 00:17:00,680 --> 00:17:02,640 Speaker 1: of it, it's less than a minute or two long. 300 00:17:02,720 --> 00:17:05,440 Speaker 1: You can do it again. But it's not something that 301 00:17:05,480 --> 00:17:08,239 Speaker 1: you know, lasts all day. And I think this is 302 00:17:08,440 --> 00:17:11,720 Speaker 1: one thing that uh that makes it very important here. 303 00:17:12,480 --> 00:17:17,159 Speaker 1: It's distinct from love itself the way Fisk describes it. Uh. 304 00:17:17,359 --> 00:17:20,960 Speaker 1: Fisk says the important distinction is that love is an 305 00:17:21,080 --> 00:17:24,040 Speaker 1: enduring sentiment. It's more like a kind of like semi 306 00:17:24,080 --> 00:17:27,800 Speaker 1: permanent state of affairs that sticks with you, but beyond 307 00:17:27,840 --> 00:17:30,280 Speaker 1: the moment to moment. Yeah, I mean, it's always important 308 00:17:30,320 --> 00:17:32,960 Speaker 1: to remember that the love endures even as a variety 309 00:17:32,960 --> 00:17:35,840 Speaker 1: of emotions play out. Uh, not to say that love 310 00:17:35,920 --> 00:17:39,600 Speaker 1: is impervious to fleeting emotional states, but it does not 311 00:17:39,720 --> 00:17:44,280 Speaker 1: inherently vanish when happiness fades or anger seeps in, etcetera. Yeah, 312 00:17:44,320 --> 00:17:46,800 Speaker 1: and that's one of the really interesting and special things 313 00:17:46,840 --> 00:17:49,440 Speaker 1: about love, right, that you can like love somebody even 314 00:17:49,520 --> 00:17:53,119 Speaker 1: when you're angry at them or something like that. But 315 00:17:53,119 --> 00:17:56,480 Speaker 1: but in contrast to that, he says, kama muta is 316 00:17:56,560 --> 00:18:01,280 Speaker 1: this intense, momentary flare up of emotion and that occurs 317 00:18:01,400 --> 00:18:05,720 Speaker 1: when love is shared. So when something happens, that signals 318 00:18:05,760 --> 00:18:09,439 Speaker 1: that the sharing of love has intensified. And again, this 319 00:18:09,520 --> 00:18:11,920 Speaker 1: love can be between two people, it can be between 320 00:18:11,960 --> 00:18:15,320 Speaker 1: a deer and a dog, it can be between it. Seriously, 321 00:18:15,359 --> 00:18:17,520 Speaker 1: you know all these videos on the Internet of like 322 00:18:17,560 --> 00:18:20,680 Speaker 1: a deer and a dog playing together. In fisks terms, 323 00:18:20,720 --> 00:18:24,560 Speaker 1: these are pure karma muda porn. We're we're just watching 324 00:18:24,600 --> 00:18:29,280 Speaker 1: these moments of like of social reciprocal trust and bonding 325 00:18:29,680 --> 00:18:33,119 Speaker 1: between you know, species that you might not expect or something, 326 00:18:33,440 --> 00:18:35,640 Speaker 1: or it can be not even that personal. It can 327 00:18:35,680 --> 00:18:38,960 Speaker 1: be between a large group of people who feel solidarity 328 00:18:39,000 --> 00:18:41,800 Speaker 1: and common purpose. A big thing that features into this 329 00:18:42,480 --> 00:18:45,359 Speaker 1: is the invocation of karma muda and political context, like 330 00:18:45,440 --> 00:18:49,080 Speaker 1: say in a demonstration or a march, people will often 331 00:18:49,119 --> 00:18:52,119 Speaker 1: feel the exact same symptoms were about to get into 332 00:18:52,240 --> 00:18:55,000 Speaker 1: that that are described as typical of karma muda. This, 333 00:18:55,119 --> 00:18:58,000 Speaker 1: you know, burning in the bosom for for a feeling 334 00:18:58,040 --> 00:19:00,760 Speaker 1: of togetherness with all these people who share a common purpose. 335 00:19:01,200 --> 00:19:04,879 Speaker 1: Now on the detail of it being fleeting, uh, I 336 00:19:04,960 --> 00:19:08,040 Speaker 1: wonder if it is fleeting, because like other emotional states, 337 00:19:08,320 --> 00:19:11,600 Speaker 1: it kind of eludes awareness. I always come back to 338 00:19:11,760 --> 00:19:14,560 Speaker 1: the Cormick McCarthy quote. I think this was from all 339 00:19:14,600 --> 00:19:18,160 Speaker 1: the pretty horses, Uh that goes quote. If you want 340 00:19:18,200 --> 00:19:20,000 Speaker 1: to see it, you have to see it on its 341 00:19:20,000 --> 00:19:23,120 Speaker 1: own ground. If you catch it, you lose it. And 342 00:19:23,119 --> 00:19:25,680 Speaker 1: where it goes there's no coming back from. Not even 343 00:19:25,720 --> 00:19:28,040 Speaker 1: God can bring it back. And the metaphor that he's 344 00:19:28,040 --> 00:19:30,040 Speaker 1: exploring here is that of a snowflake that you cannot 345 00:19:30,119 --> 00:19:33,359 Speaker 1: catch the snowflake. You can only experience it in the moment, 346 00:19:33,480 --> 00:19:36,480 Speaker 1: and you can't catch or keep it. And that's often 347 00:19:36,520 --> 00:19:38,640 Speaker 1: what it feels like with happiness. Right, You're feeling good, 348 00:19:38,800 --> 00:19:40,919 Speaker 1: then you think, hey, I'm feeling good, and then you 349 00:19:41,080 --> 00:19:43,159 Speaker 1: then it begins to run away. You know. It's like, 350 00:19:43,280 --> 00:19:47,480 Speaker 1: don't look directly at the happening happiness, or you'll scare it. Uh. Yeah, 351 00:19:47,560 --> 00:19:50,040 Speaker 1: I think that's a really good point. I mean, one 352 00:19:50,080 --> 00:19:52,680 Speaker 1: of the things is that I don't think you can 353 00:19:52,720 --> 00:19:56,679 Speaker 1: improve a moment of happiness by examining it. But I 354 00:19:56,720 --> 00:20:00,800 Speaker 1: do think by examining happiness generally, maybe that can be 355 00:20:00,880 --> 00:20:02,800 Speaker 1: a good thing. Like if if you try to look 356 00:20:02,840 --> 00:20:07,080 Speaker 1: at any individual moment and become analytical about it, it 357 00:20:07,160 --> 00:20:10,280 Speaker 1: undercuts the emotional power of it. But maybe it is 358 00:20:10,320 --> 00:20:14,480 Speaker 1: good to have a pre existing uh understanding or awareness 359 00:20:14,480 --> 00:20:18,320 Speaker 1: of emotional states that come from examining previous versions of 360 00:20:18,480 --> 00:20:22,440 Speaker 1: that emotion. Oh. Absolutely, I think understanding the fleeting nature 361 00:20:22,480 --> 00:20:26,359 Speaker 1: of happiness is key to being able to have a 362 00:20:26,400 --> 00:20:30,000 Speaker 1: healthy relationship with happiness. Um Like you you don't get 363 00:20:30,000 --> 00:20:33,280 Speaker 1: happy by by thinking about wanting to be happy, right, 364 00:20:33,720 --> 00:20:36,160 Speaker 1: But I also don't want to make it. I don't 365 00:20:36,200 --> 00:20:41,440 Speaker 1: want to imply though, that happiness is disrupted by awareness 366 00:20:41,520 --> 00:20:45,280 Speaker 1: that you would necessarily just remain on this happiness high 367 00:20:45,359 --> 00:20:47,639 Speaker 1: if you weren't able to then to self reflect on it. 368 00:20:47,640 --> 00:20:51,040 Speaker 1: Because I don't think that's the case. I get the 369 00:20:51,040 --> 00:20:54,880 Speaker 1: impression that these bursts of common moot, if we're going 370 00:20:54,920 --> 00:20:58,960 Speaker 1: to use that that term, um, they are supposed to 371 00:20:59,040 --> 00:21:02,400 Speaker 1: be bursts. Yeah. Well, like all emotions, I mean, all 372 00:21:02,400 --> 00:21:05,879 Speaker 1: these emotions are fleeting. That's what makes again, these individual 373 00:21:05,880 --> 00:21:09,199 Speaker 1: emotions different than these longer sentiments or states that we 374 00:21:09,280 --> 00:21:11,320 Speaker 1: hold in our minds, like love. Right. I mean it 375 00:21:11,320 --> 00:21:13,960 Speaker 1: comes back to sensory information as well. It's like when 376 00:21:13,960 --> 00:21:17,080 Speaker 1: you taste of strawberry, you're not happy for six years 377 00:21:17,160 --> 00:21:19,960 Speaker 1: straight following the year it's a burst of flavor, a 378 00:21:20,080 --> 00:21:24,199 Speaker 1: burst of understanding, And you know, it makes sense to 379 00:21:24,440 --> 00:21:28,760 Speaker 1: that our emotional states would would follow similar patterns. Okay, 380 00:21:28,800 --> 00:21:32,399 Speaker 1: what are the next four characteristics? So we've got that 381 00:21:32,440 --> 00:21:35,000 Speaker 1: it's evoked by the sudden communal sharing. We've got that 382 00:21:35,119 --> 00:21:37,760 Speaker 1: it is brief and fleeting. Uh. The next thing is, 383 00:21:37,840 --> 00:21:42,480 Speaker 1: of course, that it feels good. This emotion is inherently pleasurable, 384 00:21:42,720 --> 00:21:46,080 Speaker 1: and people seek whenever, whenever they're able to repeat it. 385 00:21:46,240 --> 00:21:48,600 Speaker 1: They want to keep having it over and over. Right, 386 00:21:48,720 --> 00:21:51,000 Speaker 1: And if you can monetize it all the better, right, no, 387 00:21:51,320 --> 00:21:55,400 Speaker 1: all the more evil. Um. So, so it feels good. 388 00:21:55,440 --> 00:21:59,640 Speaker 1: It's naturally pleasurable, even though and though there's a thing 389 00:21:59,720 --> 00:22:02,560 Speaker 1: that um it's often part of a bitter sweet kind 390 00:22:02,560 --> 00:22:04,760 Speaker 1: of feeling something that we do have a name for, 391 00:22:05,119 --> 00:22:08,119 Speaker 1: that it feels good even when being kind of in 392 00:22:08,200 --> 00:22:12,920 Speaker 1: the near proximity to or the context of recognizable negative 393 00:22:12,920 --> 00:22:15,879 Speaker 1: emotions like sadness. Yeah, we've talked about this in the 394 00:22:15,880 --> 00:22:19,600 Speaker 1: show before, in context to say nostalgia. Um, there's something 395 00:22:19,600 --> 00:22:22,600 Speaker 1: else we talked about recently there being like the bitter 396 00:22:22,600 --> 00:22:27,040 Speaker 1: sweet aspect to it. Um, was it? Oh it was thankfulness? Oh, yes, 397 00:22:27,119 --> 00:22:30,119 Speaker 1: of course, gratitude. Yeah, absolutely, there's a sense of it 398 00:22:30,240 --> 00:22:33,879 Speaker 1: is a vulnerability to these moments, uh, such as like 399 00:22:33,960 --> 00:22:37,399 Speaker 1: embracing family members, Like there is like this sort of 400 00:22:37,520 --> 00:22:42,120 Speaker 1: hyper like meta feeling like all the all the possibilities, 401 00:22:42,160 --> 00:22:46,760 Speaker 1: all the potential potential and an actual past and future 402 00:22:46,880 --> 00:22:49,880 Speaker 1: joys and sadness and tragedies all just bundled up into 403 00:22:49,880 --> 00:22:53,120 Speaker 1: a single snap of the finger. You know, you kind 404 00:22:53,119 --> 00:22:56,879 Speaker 1: of feel all that at once, which can be overwhelming. 405 00:22:56,920 --> 00:22:59,919 Speaker 1: Like imagine if that didn't that wasn't just a burst 406 00:23:00,560 --> 00:23:03,320 Speaker 1: that would be. I mean if it can be overwhelming 407 00:23:03,400 --> 00:23:05,920 Speaker 1: even as a burst of emotion. Okay. The next thing 408 00:23:05,920 --> 00:23:08,320 Speaker 1: that the research has found here is that kama mudha 409 00:23:08,600 --> 00:23:13,680 Speaker 1: is accompanied by a very consistent, characteristic set of physical 410 00:23:13,800 --> 00:23:17,920 Speaker 1: sensations in the body and physical symptoms and behaviors. So 411 00:23:18,040 --> 00:23:21,639 Speaker 1: one is a warm, fuzzy feeling in the center of 412 00:23:21,680 --> 00:23:26,159 Speaker 1: the chest. Another is is tearing up. Of course is 413 00:23:26,160 --> 00:23:30,000 Speaker 1: crying moistenus in the eyes. Another is being choked up 414 00:23:30,280 --> 00:23:32,359 Speaker 1: lump in the throat, which often goes along with the 415 00:23:32,640 --> 00:23:37,320 Speaker 1: tears in the eyes. Another is chills or goose bumps. Uh. 416 00:23:37,560 --> 00:23:41,080 Speaker 1: One is a smile or putting, putting a palm on 417 00:23:41,160 --> 00:23:44,360 Speaker 1: the chest. And one is the expression, especially in English 418 00:23:44,400 --> 00:23:48,560 Speaker 1: of awe. Yeah. Ah is a big one because when 419 00:23:48,600 --> 00:23:51,400 Speaker 1: we when we we we coup awe at the side 420 00:23:51,440 --> 00:23:54,679 Speaker 1: of a kitten, we are we are generally inviting those 421 00:23:54,720 --> 00:23:58,359 Speaker 1: among us to share in this moment with us, or 422 00:23:58,480 --> 00:24:03,159 Speaker 1: we are you know, we're sitting solidarity with the kitten, 423 00:24:03,320 --> 00:24:05,760 Speaker 1: with the kitten or the you know, whatever the cute 424 00:24:06,359 --> 00:24:08,880 Speaker 1: embodiment happens to be. That's a good point. We should 425 00:24:08,920 --> 00:24:10,400 Speaker 1: come back to that in a minute, because I feel 426 00:24:10,400 --> 00:24:15,000 Speaker 1: like cuteness doesn't fit into this framework quite as obviously 427 00:24:15,080 --> 00:24:16,919 Speaker 1: as most of the other things that trigger it do. 428 00:24:17,240 --> 00:24:18,800 Speaker 1: But I think there might be good reasons, and I 429 00:24:18,800 --> 00:24:22,640 Speaker 1: think you're definitely onto something there. Uh. So the next 430 00:24:22,720 --> 00:24:26,200 Speaker 1: thing is that it actually is a motivating emotion. It 431 00:24:26,280 --> 00:24:31,400 Speaker 1: motivates devotion, and Fisk says, uh, compassion to communal sharing 432 00:24:31,600 --> 00:24:36,000 Speaker 1: also known as loving kindness. So it generally like what 433 00:24:36,320 --> 00:24:37,920 Speaker 1: these studies have found. One of the studies I was 434 00:24:37,960 --> 00:24:41,560 Speaker 1: looking at so is if you show people video of 435 00:24:41,600 --> 00:24:45,919 Speaker 1: two people having like a communal sharing experience that causes 436 00:24:45,960 --> 00:24:49,159 Speaker 1: this emotion in the viewer. The viewer also feels an 437 00:24:49,240 --> 00:24:52,880 Speaker 1: increased sense of community with the two characters, these these 438 00:24:52,920 --> 00:24:56,399 Speaker 1: other characters being observed. And then another one is that 439 00:24:56,400 --> 00:24:59,840 Speaker 1: there are common types of expressions across many languages the 440 00:25:00,000 --> 00:25:03,720 Speaker 1: that that basically translate to something like this. It means 441 00:25:04,240 --> 00:25:08,600 Speaker 1: like being moved in its various translations, or being touched 442 00:25:09,119 --> 00:25:12,800 Speaker 1: in in various translations like that all often refers to 443 00:25:12,960 --> 00:25:15,720 Speaker 1: something having to do with this idea. So I want 444 00:25:15,760 --> 00:25:18,800 Speaker 1: to say, at first glance, in reading about this, I 445 00:25:19,200 --> 00:25:23,159 Speaker 1: resonate strongly like I know exactly what he's talking about, 446 00:25:23,760 --> 00:25:26,520 Speaker 1: but I don't know if it is that we needed 447 00:25:26,560 --> 00:25:29,720 Speaker 1: a new term for it. Maybe we did. I'm not 448 00:25:29,760 --> 00:25:32,120 Speaker 1: sure if I'm decided on that issue or not, But 449 00:25:33,080 --> 00:25:35,240 Speaker 1: I'm not sure what term you would use otherwise. Maybe 450 00:25:35,280 --> 00:25:37,040 Speaker 1: you could just try to lump it under one of 451 00:25:37,080 --> 00:25:40,040 Speaker 1: these sort of capturing it pre existing things like like 452 00:25:40,359 --> 00:25:44,320 Speaker 1: feeling moved or something that might be kind of broader 453 00:25:44,400 --> 00:25:48,399 Speaker 1: than than what exactly this is talking about. But this, 454 00:25:48,400 --> 00:25:51,760 Speaker 1: this experience, in all of the aspects of it that 455 00:25:51,840 --> 00:25:56,159 Speaker 1: he lists, feel absolutely real in my own experience. Oh absolutely, 456 00:25:56,200 --> 00:26:00,600 Speaker 1: the the the the emotional experience is certainly real. Any 457 00:26:00,640 --> 00:26:03,520 Speaker 1: disagreement we have is just about like, to what extent 458 00:26:03,600 --> 00:26:07,119 Speaker 1: this categorization is useful, To what extent we can actually 459 00:26:07,160 --> 00:26:09,600 Speaker 1: a group all of these things under this big umbrella 460 00:26:10,000 --> 00:26:13,040 Speaker 1: of Kama muda. Yeah, I think I'm undecided about that, 461 00:26:13,040 --> 00:26:14,760 Speaker 1: but we can explore it more as we go on. 462 00:26:15,320 --> 00:26:17,400 Speaker 1: By the way, none of this is to be confused 463 00:26:17,400 --> 00:26:21,800 Speaker 1: with the Mooda scale scale, yes, which anyone out there 464 00:26:21,800 --> 00:26:24,400 Speaker 1: who is a pro wrestling fan might be familiar with. 465 00:26:25,000 --> 00:26:28,600 Speaker 1: Mooda scale is an unofficial means of measuring how much 466 00:26:28,640 --> 00:26:32,640 Speaker 1: blood a pro wrestler has bled via blading or juicing. 467 00:26:32,800 --> 00:26:38,760 Speaker 1: That's when a professional wrestler will intentionally cut their forehead 468 00:26:38,800 --> 00:26:42,080 Speaker 1: with a razor or sometimes there is more like a 469 00:26:42,119 --> 00:26:45,480 Speaker 1: hard juicing technique where it's by actually bumping into something, 470 00:26:45,680 --> 00:26:50,720 Speaker 1: but they will intentionally usually um cut themselves on the forehead. 471 00:26:51,280 --> 00:26:54,040 Speaker 1: The blood will flow, the blood will mix with with 472 00:26:54,160 --> 00:26:57,720 Speaker 1: sweat and create quite a visual display of a bloody 473 00:26:57,720 --> 00:27:01,000 Speaker 1: face or crimson mask. Is it's sometimes called I feel 474 00:27:01,000 --> 00:27:02,560 Speaker 1: like this is not something you're supposed to do in 475 00:27:02,600 --> 00:27:06,720 Speaker 1: the main circuits, right um or is it's not done 476 00:27:06,760 --> 00:27:11,920 Speaker 1: as much these days, certainly in modern pro wrestling companies, 477 00:27:11,960 --> 00:27:15,000 Speaker 1: like mainstream pro wrestling companies, because of course, there are 478 00:27:15,240 --> 00:27:18,040 Speaker 1: a number of objections one can make to intentionally bleeding 479 00:27:18,040 --> 00:27:20,720 Speaker 1: all over the place, right, But on the other hand, 480 00:27:21,520 --> 00:27:24,640 Speaker 1: it is a highly physical performance and therefore people will 481 00:27:24,680 --> 00:27:28,560 Speaker 1: get busted open accidentally, and sometimes the show goes on 482 00:27:28,800 --> 00:27:32,160 Speaker 1: despite a little blood. Now is the Muda scale named after? 483 00:27:32,520 --> 00:27:36,120 Speaker 1: Does it come from Sanskrit? No, it comes basically it's 484 00:27:36,119 --> 00:27:39,920 Speaker 1: of Japanese origin because it's referring to a pro wrestler, 485 00:27:40,080 --> 00:27:42,399 Speaker 1: legendary pro wrestler out of Japan by the name of 486 00:27:42,480 --> 00:27:46,439 Speaker 1: Keji Muto who would also performed especially in the the United States. 487 00:27:46,440 --> 00:27:49,800 Speaker 1: Has the Great Muda, and it's referring in particular to 488 00:27:49,840 --> 00:27:53,400 Speaker 1: a nineteen nine New Japan Pro Wrestling match with Hiroshi 489 00:27:53,440 --> 00:27:57,520 Speaker 1: Heise in which Muda blades and just gets a really 490 00:27:57,680 --> 00:28:01,440 Speaker 1: brilliant crimson mask all over his face. His face is 491 00:28:01,520 --> 00:28:05,160 Speaker 1: just covered in blood and so a lot of like Caine. Yeah, 492 00:28:05,440 --> 00:28:07,639 Speaker 1: it does have that kind of a way. It reminds 493 00:28:07,640 --> 00:28:11,240 Speaker 1: one a lot of various um, you know, uh face painting, 494 00:28:11,680 --> 00:28:14,840 Speaker 1: uh scenarios, but it had such an impact on pro 495 00:28:14,880 --> 00:28:17,720 Speaker 1: wrestling fans of that time period they kind of decided 496 00:28:17,800 --> 00:28:20,840 Speaker 1: this would be the starting point for considerations of any 497 00:28:20,840 --> 00:28:23,399 Speaker 1: blade job. Uh. You know, where is it on the 498 00:28:23,440 --> 00:28:26,480 Speaker 1: mooda scale? Like a three here of four? Is it 499 00:28:26,560 --> 00:28:30,280 Speaker 1: go beyond? Uh? The type of blood letting that that 500 00:28:30,400 --> 00:28:34,880 Speaker 1: Muda shows off in this match? Um so yeah, it's 501 00:28:34,880 --> 00:28:38,080 Speaker 1: different from Karma Muda. But at the same time, I 502 00:28:38,160 --> 00:28:42,160 Speaker 1: think the given scenario, like this match, you could have 503 00:28:42,320 --> 00:28:45,440 Speaker 1: the performer themselves feeling a sense of Karma Muda. You 504 00:28:45,480 --> 00:28:49,680 Speaker 1: could have the audience viewing this spectacle, uh, certainly feeling 505 00:28:50,240 --> 00:28:52,560 Speaker 1: this communal sense of Karmamuda. You know, you're all a 506 00:28:52,640 --> 00:28:55,280 Speaker 1: part of this big sporting event. There's kind of a 507 00:28:55,280 --> 00:28:58,400 Speaker 1: almost a you know, it's not quite patriotism, but like 508 00:28:58,440 --> 00:29:02,760 Speaker 1: a unity of love or the performance or for one 509 00:29:02,800 --> 00:29:05,280 Speaker 1: of the two or both performers. Oh, I think it's 510 00:29:05,320 --> 00:29:08,640 Speaker 1: absolutely there. In fan communities of things, you know, people 511 00:29:08,840 --> 00:29:12,000 Speaker 1: feel a solidarity with their fellow fans based on their 512 00:29:12,040 --> 00:29:15,200 Speaker 1: shared interests. There's an there's an inference of kind of 513 00:29:15,240 --> 00:29:18,160 Speaker 1: like shared values and common cause, even if that might 514 00:29:18,200 --> 00:29:20,640 Speaker 1: not necessarily be the case, kind of feels that way, 515 00:29:20,960 --> 00:29:23,200 Speaker 1: right Like when if you're a pro wrestling fan, if 516 00:29:23,240 --> 00:29:25,320 Speaker 1: you knew what the Muda scale was, you knew who 517 00:29:25,320 --> 00:29:28,640 Speaker 1: the great Muda uh is, then perhaps when I mentioned it, 518 00:29:28,680 --> 00:29:30,920 Speaker 1: you felt a little bit of that. You felt this 519 00:29:30,960 --> 00:29:32,920 Speaker 1: connection to me, and you knew that we we shared 520 00:29:33,000 --> 00:29:37,240 Speaker 1: something in this uh this brotherhood of blood. All right, 521 00:29:37,320 --> 00:29:38,840 Speaker 1: on that note, we're going to take a break, but 522 00:29:38,880 --> 00:29:41,840 Speaker 1: when we come back, we will jump back in to 523 00:29:41,960 --> 00:29:48,200 Speaker 1: the Kama muda. All right, we're back. I figured we 524 00:29:48,200 --> 00:29:50,200 Speaker 1: should just take a brief glance and a few of 525 00:29:50,200 --> 00:29:52,880 Speaker 1: the studies out there in uh in the journals about 526 00:29:52,960 --> 00:29:56,640 Speaker 1: karma muda, this this emerging idea of this this unifying 527 00:29:56,680 --> 00:30:00,920 Speaker 1: emotion based on the intensification of communal share ring uh 528 00:30:01,000 --> 00:30:03,600 Speaker 1: so the first one is that I wanted to bring 529 00:30:03,680 --> 00:30:06,920 Speaker 1: up is by fisk at All in Emotion Review published 530 00:30:06,920 --> 00:30:11,000 Speaker 1: in twenty nineteen called The Sudden Devotion, Emotion and Karma 531 00:30:11,040 --> 00:30:15,000 Speaker 1: Muda and the Cultural Practices whose function is to evoke it. 532 00:30:15,480 --> 00:30:19,280 Speaker 1: And this paper briefly, it just it argues that quote, 533 00:30:19,320 --> 00:30:26,000 Speaker 1: cultures have evolved diverse practices, institutions, roles, narratives, arts and 534 00:30:26,160 --> 00:30:30,560 Speaker 1: artifacts whose core function is to evoke karma muda. And 535 00:30:30,960 --> 00:30:34,520 Speaker 1: it also argues that karma muda quote mediates much of 536 00:30:34,600 --> 00:30:38,480 Speaker 1: human sociality. Uh. And I think this is probably right, right, 537 00:30:38,520 --> 00:30:40,840 Speaker 1: I mean, whether whether or not like the term is 538 00:30:40,880 --> 00:30:44,800 Speaker 1: the right term to use a huge amount of media 539 00:30:44,880 --> 00:30:47,760 Speaker 1: and culture and art is based on this. It's like 540 00:30:48,040 --> 00:30:52,320 Speaker 1: watching people in the act of this sudden intensification of 541 00:30:52,360 --> 00:30:55,600 Speaker 1: communal emotion and bonding. Yeah. Like I'm reminded of the 542 00:30:55,680 --> 00:30:58,400 Speaker 1: very Super Bowl ads that come out, like the really 543 00:30:58,560 --> 00:31:03,280 Speaker 1: emotionally manipulative that have like animals coming together, people and 544 00:31:03,320 --> 00:31:07,480 Speaker 1: their pets, etcetera. Um And and yeah, it brings people together, 545 00:31:07,560 --> 00:31:10,040 Speaker 1: perhaps in the you know, so you can sell a 546 00:31:10,080 --> 00:31:14,280 Speaker 1: product to them, but still the the the images themselves, 547 00:31:14,400 --> 00:31:16,400 Speaker 1: the idea of the story, the music, it all comes 548 00:31:16,440 --> 00:31:19,680 Speaker 1: together to create this, uh, this shared feeling. Now, this 549 00:31:19,720 --> 00:31:24,280 Speaker 1: paper in particular does specifically mention cuteness as one of 550 00:31:24,280 --> 00:31:27,880 Speaker 1: these cultural models. Oh yeah, and we certainly discussed cuteness 551 00:31:27,880 --> 00:31:31,000 Speaker 1: on our our podcast in the past, especially as it 552 00:31:31,040 --> 00:31:35,680 Speaker 1: concerns monsters and the cutification of formally horrifying monsters. Yeah, 553 00:31:35,880 --> 00:31:39,400 Speaker 1: this is an interesting question, like why does cuteness seem 554 00:31:39,520 --> 00:31:43,280 Speaker 1: to evoke all the same psychological and physiological symptoms as 555 00:31:43,360 --> 00:31:46,760 Speaker 1: kalma muda brought on by more traditional stimuli, which would 556 00:31:46,800 --> 00:31:50,280 Speaker 1: include either like communal sharing between one person and another, 557 00:31:50,440 --> 00:31:54,880 Speaker 1: communal sharing between observed others. Um, just to go quickly 558 00:31:54,880 --> 00:31:56,640 Speaker 1: to another paper and then we can come back to us. 559 00:31:56,920 --> 00:31:59,760 Speaker 1: Because this has to do with cuteness. There's this other 560 00:32:00,520 --> 00:32:04,000 Speaker 1: called too cute for Words. Cuteness evokes the heartwarming emotion 561 00:32:04,040 --> 00:32:08,840 Speaker 1: of common muda, published in Frontiers and Psychology in twenty nineteen, 562 00:32:08,880 --> 00:32:12,360 Speaker 1: and the authors they're hypothesized the cuteness is a type 563 00:32:12,400 --> 00:32:16,800 Speaker 1: of stimulus that makes people feel an automatic sense of 564 00:32:16,880 --> 00:32:20,320 Speaker 1: communal sharing with the cute entity just based on the 565 00:32:20,360 --> 00:32:23,120 Speaker 1: aesthetics of cuteness alone. It's it's in line with some 566 00:32:23,200 --> 00:32:26,280 Speaker 1: of the biological theory about the nature of Cuteness, which 567 00:32:26,280 --> 00:32:30,040 Speaker 1: says that cuteness is a series of visual schema designed 568 00:32:30,080 --> 00:32:33,680 Speaker 1: to make adults feel like obligated to take care of 569 00:32:33,760 --> 00:32:36,720 Speaker 1: the cute thing and to watch out for its best interests. 570 00:32:37,040 --> 00:32:40,600 Speaker 1: So the cute face asks you for help without any words, 571 00:32:41,000 --> 00:32:43,880 Speaker 1: and you just feel compelled to comply. And it's the 572 00:32:43,920 --> 00:32:48,480 Speaker 1: assumption of that relationship. They hypothesize that that provides the 573 00:32:48,560 --> 00:32:51,760 Speaker 1: common mudah link here. That's why cuteness feels in a 574 00:32:51,800 --> 00:32:55,280 Speaker 1: way communal. The latest cultural example of this, I think 575 00:32:55,320 --> 00:32:59,240 Speaker 1: would be the child m a k. Baby Yoda from 576 00:32:59,320 --> 00:33:03,960 Speaker 1: the Tell Vision series The Mandalorian, which spoilers. Please, yes, 577 00:33:04,000 --> 00:33:06,040 Speaker 1: now you have you haven't been on the internet, so 578 00:33:06,080 --> 00:33:08,400 Speaker 1: I don't know what you're talking about. It's impossible to 579 00:33:08,440 --> 00:33:11,400 Speaker 1: avoid dispoiler that there is there is a creature that 580 00:33:11,600 --> 00:33:15,080 Speaker 1: is unofficially called baby Yoda in the show. Um, it 581 00:33:15,240 --> 00:33:17,000 Speaker 1: is never called that in the show. It's just called 582 00:33:17,080 --> 00:33:20,640 Speaker 1: the child or the asset. And and yeah, you look 583 00:33:20,680 --> 00:33:23,560 Speaker 1: at it, and it really it really pulls out your heartstrings. 584 00:33:23,680 --> 00:33:28,800 Speaker 1: It's really is really cute. And uh it shares us 585 00:33:28,800 --> 00:33:31,920 Speaker 1: some screen time with none other than Werner Herzog, the 586 00:33:32,200 --> 00:33:36,720 Speaker 1: acclaimed German director and occasional actor also very cute. Wealth 587 00:33:37,320 --> 00:33:41,000 Speaker 1: Uh well, no, he's he's menacing. Let's let's make too 588 00:33:41,640 --> 00:33:45,760 Speaker 1: let's not lie about that awhelming and collective murder. But 589 00:33:45,920 --> 00:33:48,719 Speaker 1: but he I think he explained it well via Indie 590 00:33:48,720 --> 00:33:51,240 Speaker 1: wire when he's talking about sharing screen time with with 591 00:33:51,320 --> 00:33:55,920 Speaker 1: the child, he said, it is a phenomenal technological achievement, 592 00:33:56,120 --> 00:34:02,560 Speaker 1: but beyond the technological achievement, it's heartbreaking. And apparently when 593 00:34:02,560 --> 00:34:05,200 Speaker 1: he learned that they were going to shoot alternate takes 594 00:34:05,240 --> 00:34:08,279 Speaker 1: of these scenes, uh, in case they wanted to replace 595 00:34:08,320 --> 00:34:11,840 Speaker 1: the puppet um child with a c g I child, 596 00:34:12,160 --> 00:34:16,120 Speaker 1: he reportedly told them, quote, your cowards leave it. And 597 00:34:16,239 --> 00:34:23,760 Speaker 1: ultimately but but yes, um, the child is very cute 598 00:34:23,800 --> 00:34:26,680 Speaker 1: and the show is terrific as well. But to come 599 00:34:26,719 --> 00:34:30,800 Speaker 1: back to that that paper, uh, the sudden devotion emotion Um, 600 00:34:30,960 --> 00:34:33,960 Speaker 1: this is what they had to say about cuteness in karmamuta. Quote. 601 00:34:34,320 --> 00:34:38,400 Speaker 1: The fact that cuteness of vulnerability and need evoked karmamuta 602 00:34:38,680 --> 00:34:42,560 Speaker 1: makes sense given our assumption that the phylogenetic source of 603 00:34:42,640 --> 00:34:47,399 Speaker 1: karmamuta is maternal bonding to newborns. The generativity of human 604 00:34:47,440 --> 00:34:52,680 Speaker 1: karmamuta makes it flexibly adaptive. This explains why karmamuta occurs 605 00:34:52,719 --> 00:34:57,520 Speaker 1: in response to babies, kittens, marriage proposals and weddings, rituals 606 00:34:57,560 --> 00:35:03,560 Speaker 1: of solidarity, religious moments of union with divinities, homecomings and reunions, 607 00:35:03,600 --> 00:35:08,720 Speaker 1: the kindness of strangers, sentimental narratives and cinema, addiction, recovery groups, 608 00:35:08,760 --> 00:35:14,280 Speaker 1: team spirit, moments in war and sports, oratory, marketing, choral singing, 609 00:35:14,680 --> 00:35:18,440 Speaker 1: making and listening to music, dancing, rowing, and so forth. 610 00:35:18,600 --> 00:35:20,640 Speaker 1: I see it, though, I see it. Yeah, there is 611 00:35:20,719 --> 00:35:23,120 Speaker 1: this through line and like all those things they mentioned 612 00:35:23,160 --> 00:35:25,680 Speaker 1: that I would not have unified in my mind before, 613 00:35:25,800 --> 00:35:28,760 Speaker 1: but now it's it makes sense to me. This concept 614 00:35:28,880 --> 00:35:32,160 Speaker 1: is interesting to me because there is something I feel 615 00:35:32,239 --> 00:35:36,440 Speaker 1: that's similar when something is very cute versus when I 616 00:35:36,480 --> 00:35:39,880 Speaker 1: have like a moment of personal love and connection, versus 617 00:35:39,960 --> 00:35:42,920 Speaker 1: when I'm I'm part of like a political moment that 618 00:35:43,040 --> 00:35:47,120 Speaker 1: feels positive and significant with many other people. Like, those 619 00:35:47,160 --> 00:35:50,719 Speaker 1: things seem so different. What would be unified between them? 620 00:35:50,719 --> 00:35:53,920 Speaker 1: Why are there these similar sensations in the body and 621 00:35:54,000 --> 00:35:56,480 Speaker 1: kind of feelings in the brain. Well, there's a way 622 00:35:56,480 --> 00:35:58,960 Speaker 1: to bring these together, Joe, and that is a baby Yota. 623 00:36:01,040 --> 00:36:02,880 Speaker 1: It's got my vote. Next thing is going to be 624 00:36:02,960 --> 00:36:07,560 Speaker 1: used to sell the world's awfullest atrocity. How baby Yoda 625 00:36:07,680 --> 00:36:12,080 Speaker 1: is a holy, blameless creature. Okay, to look briefly at 626 00:36:12,120 --> 00:36:15,279 Speaker 1: another paper that Fisk was involved in, another one is 627 00:36:15,520 --> 00:36:19,520 Speaker 1: Fisk at all In Evolutionary Studies in Imaginative culture in 628 00:36:20,000 --> 00:36:23,960 Speaker 1: seen called the best love story of all time, overcoming 629 00:36:24,000 --> 00:36:28,960 Speaker 1: all obstacles to be reunited, evoking Kama Muda, and basically 630 00:36:29,000 --> 00:36:30,719 Speaker 1: here they just point out that if you go back 631 00:36:30,719 --> 00:36:33,800 Speaker 1: through the history of literature, one of the most common 632 00:36:33,840 --> 00:36:38,080 Speaker 1: types of stories is that beloved people are separated and 633 00:36:38,120 --> 00:36:41,840 Speaker 1: then they have to overcome overwhelming obstacles in order to 634 00:36:41,920 --> 00:36:44,480 Speaker 1: get back together. Yeah. I mean that's the Rama the 635 00:36:44,520 --> 00:36:47,360 Speaker 1: Ramayana right there, the story of ram and Sita separated 636 00:36:47,640 --> 00:36:52,520 Speaker 1: and then brought back together following military conquest and adventure. Yeah, 637 00:36:52,560 --> 00:36:55,120 Speaker 1: I mean, it's They're all through ancient literature, you know, 638 00:36:55,640 --> 00:36:58,279 Speaker 1: the novels of the Greco Roman period. You have tons 639 00:36:58,360 --> 00:37:01,279 Speaker 1: of stuff like this. Uh, then to go into like 640 00:37:01,560 --> 00:37:05,120 Speaker 1: you know, modern manipulative cuteness cinema. I just think about 641 00:37:05,160 --> 00:37:07,520 Speaker 1: how much of a sucker I have always been for 642 00:37:08,320 --> 00:37:11,839 Speaker 1: stories of people being reunited with lost pet. It's just 643 00:37:11,960 --> 00:37:14,759 Speaker 1: an undefendable weakness. I remember when I was a kid, 644 00:37:16,040 --> 00:37:19,200 Speaker 1: the end of the movie Homeward Bound. You remember that movie. 645 00:37:19,640 --> 00:37:21,920 Speaker 1: I wasn't a huge fan of my sisters loved it 646 00:37:21,920 --> 00:37:23,800 Speaker 1: and would watch it over and over, you know, I 647 00:37:23,800 --> 00:37:25,880 Speaker 1: saw multiple times because I was a kid when it 648 00:37:25,960 --> 00:37:28,000 Speaker 1: was out and big and out on video. I think 649 00:37:28,000 --> 00:37:29,960 Speaker 1: it was a good thing for parents or teachers to 650 00:37:29,960 --> 00:37:33,319 Speaker 1: put on, you know. Uh, And it just destroyed me, 651 00:37:33,520 --> 00:37:38,160 Speaker 1: like this sudden upwelling of uncontrollable happiness and tears at 652 00:37:38,200 --> 00:37:41,360 Speaker 1: the scene spoiler alert where this fictional trio of pets, 653 00:37:41,400 --> 00:37:44,200 Speaker 1: two dogs and a cat, you know, after a great journey, 654 00:37:44,200 --> 00:37:48,680 Speaker 1: I reunited with their fictional humans. There is an excellent 655 00:37:48,760 --> 00:37:52,879 Speaker 1: Futurama episode title Jurassic Bark that evokes the same sort 656 00:37:52,920 --> 00:37:54,759 Speaker 1: of feeling in me every time I really watch it. 657 00:37:54,800 --> 00:37:56,720 Speaker 1: Even though it is it you know, it is a comedy, 658 00:37:56,719 --> 00:37:59,640 Speaker 1: it's a farce, and despite the fact that it expressly 659 00:38:00,280 --> 00:38:02,920 Speaker 1: is such a reunion, like the reunion between the human 660 00:38:03,520 --> 00:38:06,600 Speaker 1: and the dog does not occur, but it has such 661 00:38:06,640 --> 00:38:10,440 Speaker 1: a bittersweet ending where it is it is shown that 662 00:38:10,480 --> 00:38:13,480 Speaker 1: the the the reunion wanted to happen. I guess you 663 00:38:13,480 --> 00:38:16,680 Speaker 1: could say and another weird example of this uh and 664 00:38:16,719 --> 00:38:19,480 Speaker 1: I know you've seen this is um uh And this 665 00:38:19,560 --> 00:38:22,640 Speaker 1: one probably works due mainly to the musical choice, but 666 00:38:22,760 --> 00:38:26,560 Speaker 1: the ending of the Simpsons episode Radioactive Man, in which 667 00:38:26,600 --> 00:38:30,400 Speaker 1: the director returns to Hollywood after this grueling experience of 668 00:38:30,440 --> 00:38:36,040 Speaker 1: filming on location in Springfield where everybody, the politicians, the talents, 669 00:38:36,080 --> 00:38:38,880 Speaker 1: people are all taking advantage of these poor Hollywood types. 670 00:38:39,400 --> 00:38:41,520 Speaker 1: And then he comes back and he's welcomed back into 671 00:38:41,560 --> 00:38:44,880 Speaker 1: Hollywood with open arms. And then the bill where is 672 00:38:44,920 --> 00:38:48,080 Speaker 1: classic lean on Me, begins playing uh, and then they 673 00:38:48,160 --> 00:38:51,239 Speaker 1: you know, they pan out and it it it's it's 674 00:38:51,280 --> 00:38:54,120 Speaker 1: a satirical moment, but clearly they're you know, they're they're 675 00:38:54,120 --> 00:38:57,759 Speaker 1: playing with this idea of you know, of of Hollywood 676 00:38:57,920 --> 00:39:02,560 Speaker 1: versus small town morality. It's uh. But since they're playing 677 00:39:02,719 --> 00:39:04,880 Speaker 1: lean on Me, it gets me every time, Like it 678 00:39:05,000 --> 00:39:08,640 Speaker 1: makes me feel all the feels. Despite the satirical nature 679 00:39:08,680 --> 00:39:11,200 Speaker 1: of the content, that song is like the perfect Karma 680 00:39:11,239 --> 00:39:13,920 Speaker 1: Muda song. It is, yeah, lean on Me when you're 681 00:39:13,960 --> 00:39:16,840 Speaker 1: not strong. Yeah, it's it's about trust and depending on 682 00:39:16,920 --> 00:39:21,680 Speaker 1: each other. Yeah, it's just pure, uncut, common mood. Uh. 683 00:39:21,920 --> 00:39:23,960 Speaker 1: And I would also say there seem to be major 684 00:39:24,239 --> 00:39:27,799 Speaker 1: genres of Internet media that are based entirely on exploiting 685 00:39:27,840 --> 00:39:30,920 Speaker 1: people's desire to feel common muda like emotions at the 686 00:39:30,960 --> 00:39:32,960 Speaker 1: push of a button over and over again. It's like 687 00:39:33,040 --> 00:39:35,640 Speaker 1: your you know, your cocaine button in the rat cage, 688 00:39:36,080 --> 00:39:40,040 Speaker 1: except it's karma muda, you know, the the upworthy style 689 00:39:40,120 --> 00:39:42,759 Speaker 1: of stuff. The video is titled like he almost kicked 690 00:39:42,760 --> 00:39:45,839 Speaker 1: a turtle into the trash compactor, but what happens next 691 00:39:45,920 --> 00:39:49,600 Speaker 1: will melt your heart. Yeah, and you want to click 692 00:39:49,600 --> 00:39:51,640 Speaker 1: because yeah, I'm like, okay, I'm I want to have 693 00:39:51,760 --> 00:39:54,440 Speaker 1: my heart melted. Let's do it. Yeah. But this kind 694 00:39:54,480 --> 00:39:57,920 Speaker 1: of content is incredibly potent for virality, you know, when 695 00:39:57,960 --> 00:40:00,040 Speaker 1: there are these like studies about what kind of in 696 00:40:00,080 --> 00:40:04,239 Speaker 1: ten actually goes viral. Uh, there's a reason that these 697 00:40:04,360 --> 00:40:07,600 Speaker 1: media companies went for content like that, because that stuff 698 00:40:07,760 --> 00:40:10,040 Speaker 1: hits the button. I mean, I think because of our 699 00:40:10,160 --> 00:40:13,000 Speaker 1: negative view of virality, we often tend to think of 700 00:40:13,120 --> 00:40:16,440 Speaker 1: like kind of nasty memes as being the most viral content. 701 00:40:16,920 --> 00:40:23,160 Speaker 1: But this karma muda exploitation video stuff is hugely viral. Yeah. 702 00:40:23,280 --> 00:40:25,479 Speaker 1: To come back to the corea McCarthy quote about about 703 00:40:25,520 --> 00:40:28,960 Speaker 1: the snowflake and the fleeting nature of the feeling like 704 00:40:29,160 --> 00:40:31,120 Speaker 1: one solution is, oh, well, well, it's all right. There 705 00:40:31,120 --> 00:40:33,160 Speaker 1: are a lot of snowflakes in the air. I would 706 00:40:33,200 --> 00:40:35,840 Speaker 1: just run around all day catching them and do nothing 707 00:40:35,920 --> 00:40:38,839 Speaker 1: else just to get that hit after hit after hit 708 00:40:39,400 --> 00:40:45,080 Speaker 1: of good old fashioned KMMA moutive feeling. Uh So, luckily 709 00:40:45,160 --> 00:40:47,600 Speaker 1: there's a there's a there's a machine in my hand 710 00:40:48,000 --> 00:40:51,000 Speaker 1: with a program that is designed to do nothing but 711 00:40:51,280 --> 00:40:54,920 Speaker 1: just keep clicking. Yeah. I mean, I guess I don't know. 712 00:40:55,200 --> 00:40:57,239 Speaker 1: Maybe maybe there are downsides that I'm not thinking of. 713 00:40:57,360 --> 00:40:59,400 Speaker 1: I mean, I guess it's better that people keep watching 714 00:40:59,480 --> 00:41:03,120 Speaker 1: stuff like that they go down some horrible radicalizing YouTube 715 00:41:03,160 --> 00:41:05,120 Speaker 1: trail or something and end up a member of the 716 00:41:05,160 --> 00:41:08,960 Speaker 1: Anti Human Front or whatever, anti human but pro baby 717 00:41:09,040 --> 00:41:14,160 Speaker 1: Yoda that we end up landing. I guess. Yeah, okay, okay, sorry, 718 00:41:15,160 --> 00:41:18,040 Speaker 1: next study, just quickly. This is one called Moment to 719 00:41:18,120 --> 00:41:22,080 Speaker 1: moment changes in feeling moved match changes in closeness, tears, 720 00:41:22,160 --> 00:41:26,200 Speaker 1: goose bumps, and warmth time series analysis published in ten 721 00:41:26,239 --> 00:41:29,040 Speaker 1: by Schubert at All. This study looked at the moment 722 00:41:29,120 --> 00:41:33,680 Speaker 1: to moments sensations like body sensations of people experiencing what 723 00:41:33,840 --> 00:41:36,680 Speaker 1: the researchers believed to be karma muda as evoked by 724 00:41:36,800 --> 00:41:40,160 Speaker 1: video clips showing scenes meant to display these intense communal 725 00:41:40,320 --> 00:41:45,160 Speaker 1: sharing relationships, these moments when these relationships intensify and UH. 726 00:41:45,360 --> 00:41:48,960 Speaker 1: The study found strong and consistent cross correlations between clips 727 00:41:49,000 --> 00:41:52,600 Speaker 1: that people scored with karma muda associated words like moved 728 00:41:52,760 --> 00:41:56,400 Speaker 1: or touched, distinct from clips that were judged as merely 729 00:41:56,480 --> 00:41:58,920 Speaker 1: happy or sad. This is like a separate thing than 730 00:41:58,960 --> 00:42:01,800 Speaker 1: being happy or sad, and that the Kamma muda clips 731 00:42:01,840 --> 00:42:05,719 Speaker 1: were associated with this with moment to moment physiological symptoms 732 00:42:06,120 --> 00:42:09,680 Speaker 1: or sensations of tears or moisteness in the eyes, goose 733 00:42:09,760 --> 00:42:12,840 Speaker 1: bumps or chills, and feelings of warmth in the center 734 00:42:12,880 --> 00:42:16,080 Speaker 1: of the chest. So again back to what we were 735 00:42:16,120 --> 00:42:18,320 Speaker 1: talking about earlier. There were a couple of studies that 736 00:42:18,480 --> 00:42:22,839 Speaker 1: looked at a cross cultural analyzes basically like is there 737 00:42:22,920 --> 00:42:26,600 Speaker 1: a similar thing going on across different languages and cultures. 738 00:42:26,640 --> 00:42:31,080 Speaker 1: There was one study that looked at UH the United States, Norway, China, Israel, 739 00:42:31,200 --> 00:42:34,360 Speaker 1: and Portugal, published in the Journal of Cross Cultural Psychology 740 00:42:34,400 --> 00:42:37,640 Speaker 1: in teen by cibit at all UH, and this just 741 00:42:37,800 --> 00:42:40,440 Speaker 1: generally did find that there was there was a lot 742 00:42:40,520 --> 00:42:43,600 Speaker 1: of consistency across the different cultures, and then there was 743 00:42:43,640 --> 00:42:47,320 Speaker 1: another one published in the journal Emotion in twenty nineteen 744 00:42:47,360 --> 00:42:51,760 Speaker 1: by zike Field at all UH looking at nineteen different 745 00:42:51,880 --> 00:42:55,520 Speaker 1: nations across fifteen different languages, three thousand, five dred and 746 00:42:55,600 --> 00:42:58,720 Speaker 1: forty two participants to see if there was consistency about 747 00:42:58,719 --> 00:43:02,520 Speaker 1: which types of experience is evoked commamuda like emotions h 748 00:43:02,640 --> 00:43:05,800 Speaker 1: to read from their abstract quote. Our results are congruent 749 00:43:05,880 --> 00:43:08,759 Speaker 1: with theory and previous findings showing that karma muda is 750 00:43:08,840 --> 00:43:13,120 Speaker 1: a distinct positive social relational emotion that is evoked by 751 00:43:13,239 --> 00:43:18,360 Speaker 1: experiencing or observing a sudden intensification of communal sharing. It 752 00:43:18,520 --> 00:43:21,160 Speaker 1: is commonly accompanied by a warm feeling in the chest, 753 00:43:21,600 --> 00:43:26,200 Speaker 1: moist eyes or tears, chills or pylo erection, feeling choked 754 00:43:26,280 --> 00:43:29,640 Speaker 1: up or having a lump in the throat, buoyancy, and exhilaration. 755 00:43:30,080 --> 00:43:34,200 Speaker 1: It motivates affective devotion and moral commitment to communal sharing. 756 00:43:34,760 --> 00:43:38,440 Speaker 1: While we observed some variations across cultures, these five facets 757 00:43:38,480 --> 00:43:42,200 Speaker 1: of karma muda are highly correlated in every sample, supporting 758 00:43:42,239 --> 00:43:45,000 Speaker 1: the validity of the construct in the measure. So it 759 00:43:45,120 --> 00:43:47,800 Speaker 1: looks like this is, at least according to this research 760 00:43:47,840 --> 00:43:50,239 Speaker 1: we're looking at so far, this is a pretty universal 761 00:43:50,360 --> 00:43:53,080 Speaker 1: emotion and that we might have some different words for 762 00:43:53,239 --> 00:43:57,319 Speaker 1: it across different cultures, but there's something pretty consistent going 763 00:43:57,360 --> 00:43:59,759 Speaker 1: on about like what types of things we can see 764 00:44:00,040 --> 00:44:02,600 Speaker 1: or be a part of, and what kinds of feelings 765 00:44:02,719 --> 00:44:05,480 Speaker 1: it gives throughout the body, and what kind of behaviors 766 00:44:05,560 --> 00:44:09,719 Speaker 1: it triggers in us afterwards. So what do we learn 767 00:44:09,880 --> 00:44:14,040 Speaker 1: by naming and characterizing an emotion? We sort of started 768 00:44:14,080 --> 00:44:17,920 Speaker 1: off by talking about this a bit. Yeah, and you know, 769 00:44:18,040 --> 00:44:20,600 Speaker 1: I have to say that this is my initial reaction 770 00:44:20,640 --> 00:44:24,160 Speaker 1: to this topic, not being familiar with the particular concept, 771 00:44:24,239 --> 00:44:28,160 Speaker 1: with the named concept of kamma muta, my initial response 772 00:44:28,360 --> 00:44:30,759 Speaker 1: was what good does this do? Is? Why do we 773 00:44:30,880 --> 00:44:35,640 Speaker 1: need this? Uh? And and uh, you know, and I'm 774 00:44:35,680 --> 00:44:38,120 Speaker 1: I'm not to say that I was completely biased against it, 775 00:44:38,239 --> 00:44:41,440 Speaker 1: but because I'm But the thing is, I'm clearly already 776 00:44:41,480 --> 00:44:46,600 Speaker 1: experiencing these emotional states, right, but for more nuanced reasons, 777 00:44:46,640 --> 00:44:49,839 Speaker 1: with more nuanced terminology. Do I really need to catch 778 00:44:49,920 --> 00:44:53,640 Speaker 1: all Sanskrit term to refer to them? Uh? And uh? 779 00:44:53,680 --> 00:44:56,160 Speaker 1: And that's been something I'm just trying to figure out now. Now, 780 00:44:56,200 --> 00:44:59,480 Speaker 1: certainly I'm not opposed to bringing in Sanskrit terms or 781 00:44:59,480 --> 00:45:03,000 Speaker 1: Sanskrit Loan words or or you know, words from say 782 00:45:03,080 --> 00:45:07,880 Speaker 1: Hindu or Buddhist um Um religion, you know, because I 783 00:45:07,960 --> 00:45:10,839 Speaker 1: think that a lot of times these are very useful terms, 784 00:45:10,880 --> 00:45:13,840 Speaker 1: such as things like say Brahmin and sam Sara. I 785 00:45:13,920 --> 00:45:16,680 Speaker 1: think these can be incredibly helpful and and they certainly 786 00:45:16,680 --> 00:45:19,160 Speaker 1: stem from a language and a culture that devoted a 787 00:45:19,200 --> 00:45:24,239 Speaker 1: tremendous amount of mental energy to contemplating psychological and metaphysical concepts. 788 00:45:24,960 --> 00:45:28,959 Speaker 1: But in this particular instance, does Kama muta like really 789 00:45:29,000 --> 00:45:32,160 Speaker 1: help us out? I could not help. But but think 790 00:45:32,400 --> 00:45:37,000 Speaker 1: about another case in which we have reached out to 791 00:45:37,120 --> 00:45:41,200 Speaker 1: another language for a term that we have they were 792 00:45:41,320 --> 00:45:45,000 Speaker 1: lacking in English to describe an emotional, very specific emotional state. 793 00:45:45,440 --> 00:45:49,640 Speaker 1: And that is the German concept of schadenfreude, which is 794 00:45:50,000 --> 00:45:54,320 Speaker 1: the pleasure derived by someone from another person's misfortune. Like, 795 00:45:54,480 --> 00:45:57,840 Speaker 1: we don't have a specific term for it, like a 796 00:45:57,960 --> 00:46:01,560 Speaker 1: single word for it in English, but in German, uh, 797 00:46:02,000 --> 00:46:04,520 Speaker 1: they have it, and and it is kind of useful 798 00:46:04,560 --> 00:46:07,880 Speaker 1: I think to be able to take schadenfreude out of 799 00:46:08,239 --> 00:46:10,520 Speaker 1: the German language and then use it as a way 800 00:46:10,560 --> 00:46:14,160 Speaker 1: to reflect on how we're feeling about things in our life. Well, 801 00:46:14,200 --> 00:46:16,600 Speaker 1: the fact that we now have a loan word for 802 00:46:16,719 --> 00:46:18,920 Speaker 1: it in English, I think that makes it much easier 803 00:46:19,360 --> 00:46:22,080 Speaker 1: for us to recognize when it's happening, Yeah, to say 804 00:46:22,120 --> 00:46:26,160 Speaker 1: I am feeling schadenfreude and not something more useful like 805 00:46:26,280 --> 00:46:28,920 Speaker 1: actual sympathy. To be able to draw a line between 806 00:46:29,080 --> 00:46:32,799 Speaker 1: sympathy and schadenfreude despite the fact that they are very 807 00:46:33,000 --> 00:46:35,719 Speaker 1: they're very connected, like, you know, it's the kind of 808 00:46:35,760 --> 00:46:38,680 Speaker 1: the flip side of the coin. Um, you know, we 809 00:46:38,800 --> 00:46:40,719 Speaker 1: can this gives us again the power to label it, 810 00:46:40,800 --> 00:46:43,080 Speaker 1: to discuss it, to pull it aside and uh and 811 00:46:43,280 --> 00:46:46,680 Speaker 1: even then lean into the more positive side of the coin, 812 00:46:46,760 --> 00:46:50,080 Speaker 1: to lean into sympathy. But that brings us back to 813 00:46:50,120 --> 00:46:53,120 Speaker 1: karma mouta, because instead of going from broad to specific, 814 00:46:53,239 --> 00:46:58,000 Speaker 1: as we're feeling with with schadenfreude, how about how does 815 00:46:58,080 --> 00:47:00,160 Speaker 1: karmamuda help us? How does it help us to be 816 00:47:00,200 --> 00:47:02,880 Speaker 1: able to go instead of from the large too small, 817 00:47:02,960 --> 00:47:05,359 Speaker 1: to go from the small to the large. Well, I mean, 818 00:47:05,560 --> 00:47:07,640 Speaker 1: I think one thing, if they're on the right track, 819 00:47:07,719 --> 00:47:11,000 Speaker 1: I mean, obviously these researchers could could maybe be wrong 820 00:47:11,080 --> 00:47:13,520 Speaker 1: about this but you know, it looks like there's a 821 00:47:13,560 --> 00:47:16,759 Speaker 1: body of research building up here that's pretty supportive of 822 00:47:16,840 --> 00:47:19,960 Speaker 1: the idea that this is actually a fairly consistent phenomenon 823 00:47:20,040 --> 00:47:23,080 Speaker 1: across cultures. There are these like things linking all these 824 00:47:23,160 --> 00:47:26,560 Speaker 1: disparate uh phenomena, And there are, of course plenty of 825 00:47:26,960 --> 00:47:30,880 Speaker 1: emotional states that are broad, like happiness is extremely broad. 826 00:47:30,960 --> 00:47:35,000 Speaker 1: The situations that cause happiness or you know, you can't 827 00:47:35,040 --> 00:47:37,320 Speaker 1: list them all, right, But then again, nobody's coming along 828 00:47:37,440 --> 00:47:39,120 Speaker 1: and saying, hey, I want to tell you about this 829 00:47:39,200 --> 00:47:42,520 Speaker 1: new concept it's called happiness. The only one thing that 830 00:47:42,680 --> 00:47:44,480 Speaker 1: did come to mind that reminded me a little bit 831 00:47:44,560 --> 00:47:49,560 Speaker 1: about this, though, um is via a say, partial understanding 832 00:47:49,640 --> 00:47:54,200 Speaker 1: of serotonin or media overuse of serotonin, the discussion of 833 00:47:54,239 --> 00:47:59,360 Speaker 1: serantonin serotonin, we end up reminding ourselves of neurotransmitters, and 834 00:48:00,000 --> 00:48:03,959 Speaker 1: in regard to any given emotional state, you know, where 835 00:48:05,200 --> 00:48:08,000 Speaker 1: what do you mean? I'm saying like, nobody's gonna come 836 00:48:08,000 --> 00:48:10,200 Speaker 1: along and have to explain to you what happiness is. 837 00:48:10,800 --> 00:48:12,839 Speaker 1: But at some point in your life, someone, like much 838 00:48:12,920 --> 00:48:14,880 Speaker 1: later someone might have come along and said, hey, let 839 00:48:14,920 --> 00:48:17,000 Speaker 1: me talk to you about that happiness and what you're 840 00:48:17,200 --> 00:48:19,600 Speaker 1: and let me tell you about serotonin's role and how 841 00:48:19,680 --> 00:48:22,040 Speaker 1: you're feeling. Are you saying like giving you a good 842 00:48:22,120 --> 00:48:26,719 Speaker 1: explanation of serotonin's role or oversimplified and oversimplified verse, but 843 00:48:26,800 --> 00:48:29,840 Speaker 1: which I think is the version that we often encounter, 844 00:48:30,480 --> 00:48:32,960 Speaker 1: certainly just in the media at large, and perhaps we 845 00:48:33,280 --> 00:48:36,040 Speaker 1: encounter for the first time, combined with sort of they 846 00:48:36,160 --> 00:48:39,200 Speaker 1: need more serotonin than I can be happy, right yeah. 847 00:48:39,320 --> 00:48:41,040 Speaker 1: Or it's also just kind of like when you first 848 00:48:41,080 --> 00:48:42,520 Speaker 1: hear about it, you may have it. You will probably 849 00:48:42,520 --> 00:48:44,920 Speaker 1: have an incomplete understanding of it, and that may also 850 00:48:45,440 --> 00:48:49,319 Speaker 1: lean into this this understanding of it. So on one level, 851 00:48:49,400 --> 00:48:52,800 Speaker 1: it's kind of a making something familiar new again with 852 00:48:52,960 --> 00:48:57,640 Speaker 1: new terminology. I wonder if karma mutas kind of it 853 00:48:57,719 --> 00:49:00,879 Speaker 1: kind of provides that it kind of takes this sort 854 00:49:00,920 --> 00:49:05,239 Speaker 1: of broad, you know, area of the fields. It gives 855 00:49:05,320 --> 00:49:08,520 Speaker 1: them a new term, and then ultimately it does allow 856 00:49:08,600 --> 00:49:12,799 Speaker 1: us to to potentially analyze it a new to think 857 00:49:12,840 --> 00:49:16,920 Speaker 1: of it in a new light without actually recategorizing it 858 00:49:17,040 --> 00:49:20,839 Speaker 1: is something drastically different. I mean, I think again, if 859 00:49:20,920 --> 00:49:23,040 Speaker 1: the researchers are on the right track here, I think 860 00:49:23,200 --> 00:49:25,279 Speaker 1: one thing that could be useful about it is that 861 00:49:25,640 --> 00:49:30,640 Speaker 1: you when you identify a phenomenon where a bunch of 862 00:49:30,760 --> 00:49:35,719 Speaker 1: things that previously looked unrelated are actually very related. New 863 00:49:35,880 --> 00:49:38,960 Speaker 1: cause and effect relationships occur to you as possible, and 864 00:49:39,120 --> 00:49:42,279 Speaker 1: you can start testing for them. So, for example, one 865 00:49:42,360 --> 00:49:44,239 Speaker 1: thing that that seems to come out of this is 866 00:49:44,320 --> 00:49:47,880 Speaker 1: that uh karma muda seems to, at least in some 867 00:49:48,000 --> 00:49:51,200 Speaker 1: of this research, motivate a sense of increased community with 868 00:49:51,320 --> 00:49:53,760 Speaker 1: the objects of whatever you're watching. So if you watch 869 00:49:53,880 --> 00:49:57,880 Speaker 1: a you know, video of two people having this this 870 00:49:58,160 --> 00:50:00,479 Speaker 1: moment that makes you feel the karma muda, you feel 871 00:50:00,520 --> 00:50:03,160 Speaker 1: increased community. You don't just feel the fields in your 872 00:50:03,239 --> 00:50:05,840 Speaker 1: chest and all that. You feel increased community with the 873 00:50:05,960 --> 00:50:09,080 Speaker 1: people in the video. And I think another potential way 874 00:50:09,120 --> 00:50:11,200 Speaker 1: to look at this in a positive way would be 875 00:50:12,080 --> 00:50:15,320 Speaker 1: when you don't understand what's bringing people together. Say you 876 00:50:15,680 --> 00:50:17,759 Speaker 1: turn on the news and there are some protesters and 877 00:50:17,880 --> 00:50:20,360 Speaker 1: you don't agree with what they're protesting about, or you're 878 00:50:20,400 --> 00:50:22,640 Speaker 1: on the other side if their protests and you need 879 00:50:22,680 --> 00:50:24,880 Speaker 1: to understand them. Or if you, like me, are not 880 00:50:25,280 --> 00:50:29,160 Speaker 1: a like team sports person and you find everyone else 881 00:50:29,239 --> 00:50:32,439 Speaker 1: in your city is obsessed with the local soccer team 882 00:50:33,000 --> 00:50:35,640 Speaker 1: um or let's say you're not a religious person and 883 00:50:35,760 --> 00:50:39,320 Speaker 1: you see footage or you see friends and family engaging 884 00:50:39,560 --> 00:50:43,120 Speaker 1: in a religious experience. We're going to church and and 885 00:50:43,280 --> 00:50:46,000 Speaker 1: you and maybe you don't completely understand what they're doing. 886 00:50:46,080 --> 00:50:49,120 Speaker 1: But if you, if you define it all under a 887 00:50:49,200 --> 00:50:52,200 Speaker 1: kama muta, you can look to the examples of common 888 00:50:52,239 --> 00:50:55,279 Speaker 1: mouta that you do engage with and then potentially have 889 00:50:55,360 --> 00:50:58,600 Speaker 1: a better understanding or at least some understanding of why 890 00:50:58,920 --> 00:51:01,440 Speaker 1: people are united in protest here, why people are in 891 00:51:01,480 --> 00:51:04,359 Speaker 1: a house of worship here, or why people are all 892 00:51:04,440 --> 00:51:06,640 Speaker 1: wearing the same color and going to a colisseum here, 893 00:51:06,840 --> 00:51:09,359 Speaker 1: right to understand that. You know, you might not get 894 00:51:09,440 --> 00:51:12,360 Speaker 1: what people like about sports, but there's some similarity in 895 00:51:12,440 --> 00:51:14,960 Speaker 1: the feelings in the body and the pleasure that pervades 896 00:51:15,040 --> 00:51:18,879 Speaker 1: your brain when you experience cute kitten videos that other 897 00:51:18,960 --> 00:51:22,439 Speaker 1: people do when they're part of a team sports thing. Yeah, 898 00:51:22,960 --> 00:51:25,839 Speaker 1: everything is baby Yoda. Basically, that's the thing to drive home. 899 00:51:25,880 --> 00:51:28,520 Speaker 1: If you don't understand it, just remind yourself that's baby 900 00:51:28,600 --> 00:51:32,920 Speaker 1: yoda too, all right, So there you have it, karma muta. Obviously, 901 00:51:33,000 --> 00:51:35,600 Speaker 1: we would love to hear from everybody about this, because 902 00:51:36,120 --> 00:51:40,600 Speaker 1: this concerns a broad categorization of human emotion that we 903 00:51:40,719 --> 00:51:43,680 Speaker 1: can all relate to. Uh So, hit us up with 904 00:51:43,760 --> 00:51:47,200 Speaker 1: your examples, your thoughts, your contemplation on what we've discussed here. 905 00:51:47,840 --> 00:51:51,520 Speaker 1: Does the term karma muta? Does that help you or 906 00:51:51,600 --> 00:51:53,440 Speaker 1: do you feel like it is in some way a hindrance? 907 00:51:53,800 --> 00:51:56,000 Speaker 1: I don't know. We're open to discussion on all of that. 908 00:51:56,600 --> 00:51:58,080 Speaker 1: In the meantime, if you want to check out other 909 00:51:58,120 --> 00:52:00,440 Speaker 1: episodes of Stuff to Blow Your Mind, you can find 910 00:52:00,560 --> 00:52:04,520 Speaker 1: is wherever you find your podcasts. Um the Mothership is 911 00:52:04,600 --> 00:52:06,320 Speaker 1: no longer with us, but you can still go to 912 00:52:06,440 --> 00:52:08,080 Speaker 1: stuff to Blow your Mind dot com and that will 913 00:52:08,120 --> 00:52:12,520 Speaker 1: redirect you to the I Heart media listing for our podcast. 914 00:52:12,760 --> 00:52:15,239 Speaker 1: But wherever you get the podcast, just make sure you rate, 915 00:52:15,680 --> 00:52:18,919 Speaker 1: and you review and you subscribe. These are the three 916 00:52:19,000 --> 00:52:21,960 Speaker 1: acts of devotion that help us out in the long run. 917 00:52:22,239 --> 00:52:25,040 Speaker 1: Huge thanks as always to our excellent audio producer Seth 918 00:52:25,160 --> 00:52:27,359 Speaker 1: Nicholas Johnson. If you would like to get in touch 919 00:52:27,400 --> 00:52:29,520 Speaker 1: with us with feedback on this episode or any other 920 00:52:29,760 --> 00:52:32,080 Speaker 1: to suggest topics for the future, just to say hi, 921 00:52:32,200 --> 00:52:34,799 Speaker 1: you can email us at contact at stuff to Blow 922 00:52:34,880 --> 00:52:44,560 Speaker 1: your Mind dot com. Stuff to Blow Your Mind is 923 00:52:44,560 --> 00:52:46,880 Speaker 1: a production of iHeart Radios. How stuff works. For more 924 00:52:46,920 --> 00:52:49,319 Speaker 1: podcasts from my Heart Radio is the iHeart Radio app, 925 00:52:49,480 --> 00:52:52,080 Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows. 926 00:52:55,760 --> 00:53:07,680 Speaker 1: Love Press joined by Join the Foo