On War and Memory

Very interesting article.

http://www.jcms-journal.com/article/view/21/21

How does war feel?

http://psychcentral.com/blog/archives/2012/01/21/soldiers-the-war-within/

From ‘Weeping tears of blood’: Exploring
Italian soldiers’ emotions in the First
World War
Vanda Wilcox


Soldiers, both men and women, often keep their deepest struggles in waging war to themselves. But as a public, we, too, need to know how war feels, for war’s residue should not just be a soldier’s private burden. It ought to be something that we, who do not don the uniform, recognize and understand as well.

fear, horror, anger, grief and shame

as well as love, friendship, loyalty, even excitement

emotion as including not only ‘feelings’ (the subjective interior reaction component)
but also the process of situational appraisal, judging events or objects; physiological

responses such as heightened heart-rate, sweating or tears; and some kind of communication of both reaction and intent such as facial or verbal expression (including in writing)

men found it risky (as well as potentially embarrassing)

to express emotions openly under this disciplinary regime

A final consideration on sources is the psychological difficulty,

perhaps even impossibility, of accurately turning emotion into a narrative.

Contemporary notions of masculinity based on courage, determination, virility, were
similarly important in legitimising certain forms of emotional expression, while
undermining those that seemed weak or effeminate. As in other societies, manliness and
patriotism required emotional control, suppressing the outward expression of fear or distress\\

express their fears in a variety of ways, using familiar mental markers of
civilian life to communicate their feelings through evocative metaphors. Men ‘bled like
goat[s]’ or else advanced enthusiastically ‘like goats going after salt’ (Revelli 1977, 101,
255); one compared himself to a huntsman pursuing the Austrians for sport, while another
used familiar images to describe unfamiliar scenery: ‘our artillery has been aiming their fire
at the Podgora [mountain] for two months and they have plucked it like a chicken’ (Bellosi

and Savini 2002, 377, 404).

bodily manifestations of feeling
mentioned in the written record, including reports of trembling legs and hands, and above

all of tears.

. ‘Often we look one another in the face seeing each other shattered with hunger and sleep – tears fill our eyes, crying like babies’, wrote an infantryman to his fiance ́ e in April 1916 (Procacci 2000, 425).

fear was not necessarily at its most intense during combat itself but was exacerbated by immobility: long hours in the trenches, especially under bombardment, left men with plenty of time to reflect and think about the future, whereas during assaults or the mental concentration of some activity there was no time to focus on danger or feel one’s terror 

 Men slept ‘underground like toads’ or ‘inside the ground like animals’ (Bellosi and Savini 2002, 245, 398) and compared themselves to foxes and moles living in lairs: men felt reduced to the level of beasts, dehumanised not by the mechanical, industrialised features of the war so much as its primitive aspects. Since life in the trenches was literally delimited by walls of earth, mud or stones, these came to define both physical and mental horizons

‘entombed’: burial alive was a recognised psychological obsession for soldiers in modern war

Some felt as if death was not just on its way but had already taken them, as another infantryman reported: ‘In the trenches during a bombardment you think of nothing – I can’t even think about my wife and children . . . it’s as though I was already dead’

a lonely death far from home and friends, with none of the idealised consolations of heroism or comradeship

At night I can’t sleep because my whole body is shaking with nerves and the beat of my heart: no no no. There are all those dead, who will never go home again; or those who return without their legs, without their eyes, and will never see the sun again. Isn’t it true? Tell me I’m right, I know I’m right to weep. (Spitzer 1976, 126)

traumatic requirement to kill, which most acutely embodied the transformation in status and identity from civilian to military life. 

 ‘the pain of loss threatens to be rationalized away’ (Roper 2009, 26–27

Another Marije Vogelzang.

Marije Vogelzang—Huffington Post write up.


http://www.huffingtonpost.com/dark-rye/eatlove-the-design-of-eat_b_3567265.html?utm_hp_ref=fb&src=sp&comm_ref=false

Sensory Marketing

Sensory marketing: the multi-sensory brand-experience concept

Bertil Hulten

Kalmar University, Kalmar, Sweden

Received October 2009 Revised December 2009 Accepted March 2010

European Business Review Vol. 23 No. 3, 2011 pp. 256-273 q Emerald Group Publishing Limited

---

Empirical studies relating to sight impressions have been discussed by, for instance, Orth and Malkewitz (2008) and Smith and Burns (1996). The sense of sight is the most powerful one for discovering changes and differences in the environment and is the most common sense in perceiving goods or services.

Impressions of sound have been analyzed empirically by Garlin and Owen (2006), Sweeney and Wyber (2002). The sense of sound is linked to emotions and feelings and the sense impacts brand experiences and interpretations.

Impressions of smell have been discussed by Goldkuhl and Styfve ́n (2007) and Fiore et al. (2000). The sense of smell is related to pleasure and well-being and is closely connected to emotions and memories. 

Taste impressions have been analyzed empirically by Biedekarken and Henneberg (2006) and Klosse et al. (2004). The sense of taste is the most distinct emotional sense and often interacts with other senses. 

Finally, touch impressions have been discussed by Peck and Wiggins (2006) and Citrin et al. (2003), among others. The sense of touch is the tactile one, related to information and feelings about a product through physical and psychological interactions.

all p.259

Reading links

Food as Communication
http://www.peterlang.com/download/extract/58293/extract_310963.pdf

Gaynor Kavanagh—Memory and the Museumhttp://books.google.co.nz/books?id=xxuKLVrH0yEC&pg=PA3&lpg=PA3&dq=gaynor+kavanagh+dream+spaces+memory+and+museum&source=bl&ots=svZyGLZIIc&sig=1twmtWraOYJrM__0ZvdHpGm7UYI&hl=en&sa=X&ei=vnKMUbXsJIWgigeCnoD4DQ&redir_esc=y

The Advertised Mindhttp://books.google.co.nz/books?id=WrWisgkaZY8C&printsec=frontcover&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false

Milward Brown Emotion in Advertising POVhttp://www.millwardbrown.com/Libraries/MB_POV_Downloads/MillwardBrown_POV_EmotionInAdvertising.sflb.ashx

Tomb—Kingsley Bairdhttp://www.kingsleybaird.com/tomb/

http://www.whamresearchnetwork.com/events/1627/

http://en.historial.org/Exhibitions/Exhibitions/Tomb

Henry Hargraves—No Secondshttp://henryhargreaves.com/post/19869886786/no-seconds

Gen Y living in the NOW

http://opendialogue4themasses.wordpress.com/2013/04/27/generation-y-y-o-l-o-you-only-live-once/

Experiences like backpacking internationally and buying the latest tech gadgets are big with the Gen Y demographic, says Christine Hassler, author of 20 Something Manifesto.

"It's all about engagement and experiences. They saw their parents work hard and then watched their pensions disappear, so now they [Generation Y] want to have a lot of fun. This is a 'live-in-the-moment' generation that is also very social," Hassler says. "They do things in groups and like brands that are aspirational, like Virgin. They are delaying milestones and living it up as long as possible."

—from here.

Generation Who, What, Y? What You Need to Know about Generation Y

Author(s):

Goldgehn, Leslie A.

Source:

International Journal of Educational Advancement, v5 n1 p24-34 Nov 2004. 11 pp.

Generation Y wants to know why! Today's youth are curious, they want the facts, they want the hard data, and most of all they want the truth. Advertisements and creative marketing tactics do not easily sway this group. They do their research before they believe most things they hear and see. Purchasing behaviors of Generation Y show that the group is extremely brand conscious as well as brand loyal. Consumers in this group are willing to pay the price for brand name goods as long as they find value and quality in the product. With this unique generation comes an exceptionally fascinating approach to higher education. College is no longer just a place students go to further their knowledge; in fact, it's now fashionable, hip, cool, and quite image-defining. Traditional structured forms of communication do not work well with this generation. They like to experience things themselves and figure out the answers rather than being told. They desire the freedom to choose and do, as they desire. When communicating with Generation Y colleges need to be real, be raw, be relevant, and focus on establishing relationships. The purpose of this paper is to better understand Generation Y, gain a sense of what criteria are important to them in choosing a college, and to determine what implications this has for colleges and universities.

Brand sense by Lindstrom

Brand Sense:  build powerful brands through touch, taste, smell, sight, and sound.
Martin Lindstrom

Free Press NY, 2005.

---

"Research shows that 75% of our emotions are in fact generated by what we smell" Foreword.

"visual power has become dissipated in a world that bombards consumers with all kinds of visuals. There's so much visual clutter that people are becoming skilled at moving through it wearing "blinkers". Given this exposure, attention to visual messages has decreased." p.97

"Almost all our understanding of the world is experienced through our senses. Our senses are linked to memory and can tap right into emotion." p.10

"Events, moods, feelings and even products in our lives are continuously imprented on our five-track sensory recorder from the second we wake to the moment we sleep. This despite the fact that most mass communication—including advertising messages—that we're exposed to no a daily basis comes to us on two of the five tracks." p11

Emotional Branding by Gobe

Emotional Branding: the new paradigm for connecting brands to people
Marc Gobe
Allworth Press NY, 2009.

--


"sensory data must, above all, be experienced firsthand to be understood"
p.72

Tastes that tantalize
"Proffering food indicated kinship, makes us feel at ease, and even provides pleasure". p.87

"Psychologist Paul Rozin writes that "For humans, where the search and preparation of food and ingestion at meals are social occasions, food is a very social entity.  Ingestion of food means taking something of the world into the body, and that something typically has a social history: it was procured, prepared, and presented by other humans. Food is a form of social exchange and is imbued with special meanings in may cultures".
p.92

Food as Communication

Food as Communication
Carlnita P. Greene and Janet M. Cramer
Peter Lang Publishing; First printing edition (January 31, 2011)

---

communication is the process by which we understand the
world and our attempts to convey that understanding to others through both
verbal and nonverbal language

As Roland Barthes has written, food is
a system of communication, a body of images, a protocol of usages, situations, and
behavior. Information about food must be gathered wherever it can be found: by direct
observation in the economy, in techniques, usages and advertising; and by indirect
observation in the mental life of a given society. (cited in Counihan and Van Esterik,
2008, p. 29)

food is one of the most readily-available 
symbols that we have at our disposal, which can be viewed from both the 
perspectives of communication and culture

communication studies can offer new insights into how food provides much 
more than nourishment, or mere sustenance, because food demonstrates a 

whole host of social, cultural, and political phenomena

Photos of cooking in the military

Rations on their way to the trenches.

Cooking 1000 yards from the front line. Peeling potatoes and using field cookers.

NZ soldiers dining in the bush.

Images from The National Library

Scenes at Anzac from Ashburton Guardian
http://paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=search&d=AG19150906.2.3

from here

.

On the monotony of bully beef.
from here.

Emilie Baltz

Marije Vogelzang now has a new contender for my heart.

“Food has the most robust power to tell stories. Not just langues, not just sight—you had all your fie senses involved.”
—Emilie Baltz

“Food, relationships, and narratives are intertwined.”

“We build culture through telling stories.”

The oyster, greatest of all aphrodisiacs, female genetilia—look, smell, feels, sounds like it.= experience.

“When you attach story to physical touchpoints like this, it becomes that much more profound.”

Loves is:

Sacrifice

Discovery

Boundaries

If anything, food is not a calorie; it is a feeling. And feelings are experiences.

We have bodily stimulations, we are humans. And this is something we must demand of ourselves as we move into a digital space.

The hand is the instrument of the mind.

 Our senses are the instruments of our heart. And hearts are what changes lives.

Food is unique in that it is the most “live material” designers can use. It is life, and begs the creation of community, empathy and sensual interaction for its success. Within this tactile landscape, it leaves room for failure and experimentation as a creative practice, while inviting intimate and emotional communication in its consumption. These acts ignite both our imagination and memory while stimulating our bodies, serving as powerful means of creating physical touchpoints for emotional content.

In the digital age, it is more important than ever to connect with our senses.
As we move towards a Jetsonian future of technology and connectivity, the study of food experience can reveal sustainable, human-centric models of interaction that, in their bridging of the emotional and physical, offer healthy metaphors for connections between the virtual and the real.

from: http://www.psfk.com/2013/04/emilie-baltzfood-love-psfk-2013.html

And a link to her page.

Excerpts personal accounts

BISCUITS! Army biscuits! What a volume of blessings and cursings have been uttered on the subject of biscuits—army biscuits!

What a part they take in our daily routine: the carrying of them, the eating of them, the cursing of them!
Could we find any substitute for biscuits? Surely not! It is easy to think of biscuits without an army, but an army without biscuits—never.

Biscuits, like the poor, are always with us. Crawling from our earthly dens at the dim dawning of the day, we receive no portion of the dainties which once were ours in the long ago times of effete civilization; but, instead, we devour with eagerness—biscuit porridge. We eat our meat, not with thankfulness, but with biscuits. We lengthen out the taste of jam—with biscuits. We pound them to powder. We boil them with bully. We stew them in stews. We fry them as fritters. We curse them with many and bitter cursings, and we bless them with few blessings.

Biscuits! Army biscuits! Consider the hardness of them. Remember the cracking of your plate, the breaking of this tooth, the splintering of that. Call to mind how your finest gold crown weakened, wobbled, and finally shriveled under the terrific strain of masticating Puntley and Chalmer’s No.5’s.

Think of the aching void where once grew a goodly tooth. Think of the struggle and strain, the crushing and crunching as two molars wrestled with some rocky fragment. Think of the momentary elation during the fleeting seconds when it seemed that the molars would triumphantly blast and scrunch through every stratum of the thrice-hardened rock. Call to mind the disappointment, the agony of mind and body, as the almost victorious grinder missed its footing, slipped, and snapped hard upon its mate, while the elusive biscuit rasped and scraped upon bruised and tender gums.

Biscuits! Army Biscuits! Have you, reader, ever analysed with due carefulness the taste of army biscuits? It is the delicious succulency of ground granite or the savoury toothsomeness of powdered marble? Do we perceive a delicate flavouring of ferro-concrete with just a dash of scraped iron railing? Certainly, army biscuits, if they have a taste, have one which is peculiarly of their own. The choicest dishes of civilised life, whether they be baked or boiled, stewed or steamed, fried, frizzled, roasted or toasted, whether they be composed of meat or fish, fruit or vegetable, have not (thank Heaven!) any taste to that of army biscuits. Army biscuits taste like nothing else on the Gallipoli Peninsula....

O. E. Burton, N.Z.M.C.

Exert from The Anzac Book, Written and Illustrated in Gallipoli by The Men of ANZAC
Cassell and Company, London 1916

----

In his 1919 official history
The New Zealanders at Gallipoli, Major Fred Waite DSO recalled:

The army biscuits can never be forgotten...their hardness was beyond belief...so hard that it was nibbled round the edges and tossed into No Man's Land.

“tinned meat, jam and hard biscuits and a mug of tea provided 99 per cent of the meals”

The appalling conditions also complicated eating with another report stating: “Owing to the annoyance of the flies some sections did not eat anything but a dry biscuit during the daytime. To eat biscuit and jam in the daytime a man had to keep moving the hand that held the food


----

You had no soap. We never washed. Our knife and fork and spoon you dug it into the earth and then wiped the dirt off it, just clean any grease that might be on it. Bully beef in tins, that’s what we were living on and you’d put the tea in the lid and the stew that was stewed up in the other part, and when you’d finished it you cleaned it as well as you could and put it on your belt and waited for the next meal. When we were in the front line we used to get a piece of bread and that was our food for the 24 hours while we were there. And then we had dixies, we used go back and get tea, of a sort. And of course you couldn’t drink any of the water without it was tested because everything was poisoned before we got there.


'Stanley Herbert remembers Passchendaele', URL: http://www.nzhistory.net.nz/media/sound/stanley-herbert-remembers-passchendaele, (Ministry for Culture and Heritage), updated 7-Mar-2013

---

Mobile cookers like this one, which belonged to the Wellington Regiment, were able to provide simple hot meals to soldiers in the support trenches within 1000 metres of the front line. The supply of food and hot drinks, such as tea, coffee and cocoa, was crucial in maintaining the health and morale of troops who had to endure not only the anxiety of combat but the physical hardship of days and nights huddled in cold, muddy trenches.

'Mobile cooker on the Western Front', URL: http://www.nzhistory.net.nz/media/photo/mobile-cooker-on-western-front, (Ministry for Culture and Heritage), updated 20-Dec-2012

Anzac diets TV3 Video

http://www.3news.co.nz/Research-shows-poor-rations-weakened-Anzac-soldiers/tabid/309/articleID/294907/Default.aspx

Research study
http://www.otago.ac.nz/news/news/otago045234.html

“tinned meat, jam and hard biscuits and a mug of tea provided 99 per cent of the meals”
The appalling conditions also complicated eating with another report stating: “Owing to the annoyance of the flies some sections did not eat anything but a dry biscuit during the daytime. To eat biscuit and jam in the daytime a man had to keep moving the hand that held the food.

Collective memory: theory and politics—POSTMEMORY

Chris Weedon & Glenn Jordan (2012): Collective memory: theory and politics,
Social Semiotics, 22:2, 143-153


Post memory


In her work on the Holocaust, Marianne Hirsch uses the term postmemory:

to describe the relationship of children of survivors of cultural or collective trauma to
the experience of their parents, experiences that they ‘‘remember’’ only as stories and
images with which they grew up, but that are so powerful, so monumental, as to
constitute memories in their own right. (Hirsch 1999, 8)
Hirsch argues that this is memory of a different qualitative and temporal order from
the memories of survivors, since it is marked by ‘‘its secondary or second generation
memory quality, its basis in displacement, its belatedness’’ (1999, 8).    p147

Hirsch defines postmemory as:

not an identity position, but a space of remembrance, more broadly available through
cultural and public, and not merely individual and personal, acts of remembrance,
identification and projection. It is a question of adopting the traumatic experiences and thus also the memories of others as one’s own, or more precisely, as experiences
one might oneself have had, and of inscribing them into one’s own life story. (1999, 8 9)    p148

This signals a shift from individual to a broader cultural, collective memory in which
‘‘it is a question of conceiving oneself as multiply interconnected with others of the
same, of previous, and of subsequent generations, of the same and of other
proximate or distant cultures and subcultures’’ (Hirsch 1999, 9). Hirsch argues
that this can bring the question of ethics to the fore since it signals ‘‘an ethical
relation to the oppressed or persecuted other for which postmemory can serve as a
model: as I can ‘remember’ my parents’ memories, I can also ‘remember’ the
suffering of others’’ (1999, 8 9).
p148

Collective Memory and Cultural Identity

Collective Memory and Cultural IdentityJan Assmann and John Czaplicka
New German Critique
No. 65, Cultural History/Cultural Studies (Spring - Summer, 1995) (pp. 125-133)

Once we removed ourselves from the area of everyday communication and enter into the area of objectivised culture, almost everything changes. The transition is so fundamental that one must ask whether the metaphor of memory remains in any way applicable.  P.128

cultural memory is characterized by its distance from the everyday. P129

our theory of cultural memory attemps to relate all three poles —memory (the contemporized past), culture, and the group (society) — to each other. P129

it’s capacity to reconstruct. No memory can preserve the past. What remins is only that ‘which society in each era can reconstuct within its contemporary frame of reference’

the concept of cultural memory comprises that body of reusable texts, images, and rituals specific to each society in each epoch, whose ‘cultivation’ serves to stabilize and convey that society’s self image. P132

through its cultural heritage a society becomes visible to itself and to others. Which past becomes evident in that heritage and which values emerge in its identicatory appropration tells us much about the constitution and tendencies of a society

P133

Food & Society : Principles and Paradoxes

Guptil, Amy E.; Copelton, Denise A.; and Lucal, Betsy, "Food & Society : Principles and Paradoxes" (2013). Brockport Bookshelf. Book 295.

Unlike other things we buy, food is taken into our bodies multiple times a day. It is a meaningful and sustained arena of action and interaction, one that connects us to others on deeply significant terms. p3
 

Food is much more complex than it appears on the surface.

p.4

Dream Spaces: Memory and the Museum

Dream Spaces: Memory and the Museum
Gaynor Kavanagh
Continuum International Publishing Group, 1/05/2000

Social memory creation through simultaneous experience.

It takes place in personal time, through choice, and has a goal of promoting some form of social union through role enhancement by the sharing of an experience. Thus, by enjoying an exhibition with a friend, the friendship is further bonded. P3

… ultimately it is the museum’s short and long term agendas which have priority in creating memory as a product. P3

The importance of the senses on memory creation and recall.

the extent of recall is enhanced by access to prompts, things which stimulate the senses. P4

cultural critics also underestimate the visitors’ capacity to answer back, to disassociate from museums and what they say, and to find their own meanings. Perhaps the hardest part of all is that some critics appear to dismiss the simple human need to remember, to feed the spirit and the mind. This helps to place a life in context by touching something of others; lives and by connecting to a broader historical frame of reference. This may not be madness nor ignorance nor human frailty nor a grand social plot, but something honest, thought provoking and personally enabling. P6

he also argues that ‘by reconnecting history with its origins in its narrative form of everyday communication, attention to memory transcends specialisation by speaking the language of face to face association and firsthand experience. P7

—thelen, 1990a, viii

without a feeling for people’s lives and histories, museums become remote and irrelevant. P8

what we understand about the making of memories is that they are context-dependant and highly sensory. P14

Our senses substantially aid our access to and absorption into memory. This is because in our daily lives we constantly use them to explore and measure our encounters. They are the systems through which we participate in life, and through them we gain admittance to perception and judgement. Very little of this happens with our full awareness. P14

we rarely stop to appreciate the senses we have unless they have become impaired or are lost. P14

smells can be particularly evocative: roses, brewing coffee, wet dog, baking bread, disinfectant. Smell is by far the most fundamental of our senses and exists within the very centre of the brain… those memories ‘fixed’ by feelings and smell seem to be particularly strong.

Projecting memory onto objects.

The experience of reminiscence work and handling sessions would appear to suggest that objects provoke memories and ideas in ways that other information-bearing materials do not, or may not to the same degree. The experience of people in a position of care with research into objects as memorabilia in life, suggests otherwise. Whereas objects may be cherished, it is photographs that aid memory, seconded by jewellery (Sherman, 1992).p.20

The encodement of memory within photographs goes far beyond what an ‘outsider’ may read into the image.

We project our thoughts an feelings onto objects, and by doing so engage in the process of transference… in actual fact, an object is neutral, contained and inanimate. Because of this, it is useful in the mediation of thoughts, memories and agendas. P22

The growth of interest in past geneaology promotes knowledge of connections to past generations beyong living memory, gives a sense of rootedness, even pride in family and can help reveal all sorts of connections including patterns of health problems… it involves the salvaging of information about families and groups, however sparse, that time, migration and resettlement have dispersed. P23a

Ad Clutter

The Future of Television Advertising

Tina M. Lowrey, L. J. Shrum, and John A. McCarty

Advertising clutter refers to the proliferation of advertising that produces excessive competition for viewer attention, to the point that individual messages lose impact and viewers abandon the ads (via fast-forwarding, changing channels, quitting viewing, etc.). Two particular trends in television advertising practice in the USA contribute to this clutter: (a) the increase in the number of ad minutes per program hour and (b) the use of shorter commercials (e.g.10- and 15-second ads). These two trends have produced an environment in which the viewer is bombarded with a constant stream of rapid-fire ads, and industry analysts rightly worry that viewers will become alienated.

Clutter results from too many ads competing for the viewer’s attention, thereby reducing the effect of any particular ad

Event Experience

Event Experience: A Case Study of Differences Between the Way in Which Organizers Plan an Event Experience and the Way in Which Guests Receive the Experience

Graham Berridge

As the event industry has matured and developed as a tool for not only entertainment and participation but also learning, communication, and promotion, the interest in the nature of the event experience has evolved.

 Events present the visitor with unique perspectives and with an opportunity to engage with a collective experience where novelty is ensured because events are infrequent and time differentiated (Tassiopoulos, 2010). Gleick (2000) adds that events are also time precious and should be moments that are savored as special moments to appreciate.

Events are designed and created for guests to have great experiences, and as Getz (2007) suggests, "People create their own experiences within event settings" (p. 23).

Shedroff (2007) describes the experience as "the sensation of interaction with a product, service, or event, through all of our senses, over time, and on both physical and cognitive levels. The boundaries of an experience can be expansive and include the sensorial, the symbolic, the temporal, and the meaningfril" (p. 11).

Goldblatt (1997) agrees, arguing that "to provide more than just a passive viewing experience, the event designer must create an environment that allows the guests to participate, to be actors in the decorators dream world" (p. 86).

The recognition of theme here provides a key to creating experiences...Theming a space results in it being layered with amenities (props) that, in tum, give nonverbal cues to the audience about the event. Such props must be utilized so they do not give negative cues to the guests.

Empathy Varies by Age and GenderEarlier research by O'Brien, Konrath and colleagues found declines in empathy and higher levels of narcissism among young people today as compared to earlier generations of young adults.

University of Michigan (2013, January 30). Empathy varies by age and gender: Women in their 50s are tops. ScienceDaily. Retrieved May