In Probability Designs, Karin Kukkonen presents the predictive processing model of cognition as a means of exploring narrative structure and reader experience. Utilizing the literary canon of various cultures, Kukkonen combines theory and cognitive science to analyze how reader expectation and prediction shape literature, and how literature accomplishes cognitive feats that determine the human capacity for free, exploratory thought.

Stories consist largely of representations of the human social environment. These representations can be used to influence the behavior of others (consider, e.g., rumor, propaganda, public relations, advertising). Storytelling can thus be seen as a transaction in which the benefit to the listener is information about his or her environment, and the benefit to the storyteller is the elicitation of behavior from the listener that serves the former’s interests. However, because no two individuals have exactly the same fitness interests, we (...) would expect different storytellers to have different narrative perspectives and priorities due to differences in sex, age, health, social status, marital status, number of offspring, and so on. Tellingly, the folklore record indicates that different storytellers within the same cultural group tell the same story differently. Furthermore, the historical and ethnographic records provide numerous examples of storytelling deliberately used as a means of political manipulation. This evidence suggests that storyteller bias is rooted in differences in individual fitness interests, and that storytelling may have originated as a means of promoting these interests. (shrink)

A new experimental paradigm involving a computerised quiz was used to examine, on an intra-individual level, the strength of association between four components of the surprise syndrome: cognitive (degree of prospectively estimated unexpectedness), experiential (the feeling of surprise), behavioural (degree of response delay on a parallel task), and expressive (the facial expression of surprise). It is argued that this paradigm, together with associated methods of data analysis, effectively controls for most method factors that could in previous studies have lowered the (...) correlations among the components of emotion syndromes. It was found that (a) the components of the surprise syndrome were all positively correlated; (b) strong association existed only between the cognitive and the experiential component of surprise; (c) the coherence between syndrome components did not increase with increasing intensity of surprise; and (d) there was also only moderate coherence between the components of the facial expression of surprise (eyebrow raising, eye widening, mouth opening), although in this case, coherence tended to increase with intensity. Taken together, the findings support only a weakly probabilistic version of a behavioural syndrome view of surprise. However, the component correlations seem strong enough to support the existence of strong associations among a subset of the mental or central neurophysiological processes engaged in surprise. (shrink)

This paper promotes the view that our childhood engagement with narratives of a certain kind is the basis of sophisticated folk psychological abilities —i.e. it is through such socially scaffolded means that folk psychological skills are normally acquired and fostered. Undeniably, we often use our folk psychological apparatus in speculating about why another may have acted on a particular occasion, but this is at best a peripheral and parasitic use. Our primary understanding and skill in folk psychology derives from and (...) has its primary application in special kinds of second-personal engagements. (shrink)

How we narrate our lives can affect us, for good or ill. Our narrative practices make an undeniable difference to our psychosocial well-being. All so-called "talking cures" – including traditional psychoanalytic and psychodynamic approaches to therapy and newer techniques – are motivated by this insight about the power of personal narratives. All therapies of the discursive ilk make use of narratives, in one way or another, as a means of enabling individuals to frame, or reframe, and to manage their life (...) circumstances in richer or new ways.Narrative Therapy, an important sub-class of talking therapies, breaks faith with more traditional psychodynamic approaches in adopting a... (shrink)

In this paper, we attempt to make a distinction between egocentrism and allocentrism in social cognition, based on the distinction that is made in visuo-spatial perception. We propose that it makes a difference to mentalizing whether the other person can be understood using an egocentric (‘‘you'') or an allocentric (‘‘he/ she/they'') stance. Within an egocentric stance, the other person is represented in relation to the self. By contrast, within an allocentric stance, the existence or mental state of the other person (...) needs to be represented as independent from the self. We suggest here that people with Asperger syndrome suffer from a disconnection between a strong naı¨ve egocentric stance and a highly abstract allocentric stance. We argue that the currently used distinction between first-person and third-person perspective-taking is orthogonal to the distinction between an egocentric and an allocentric stance and therefore cannot serve as a critical test of allocentrism. (shrink)

Beyond the Pleasure Principle is Freud's most philosophical and speculative work, exploring profound questions of life and death, pleasure and pain. In it Freud introduces the fundamental concepts of the "repetition compulsion" and the "death drive," according to which a perverse, repetitive, self-destructive impulse opposes and even trumps the creative drive, or Eros. The work is one of Freud's most intensely debated, and raises important questions that have been discussed by philosophers and psychoanalysts since its first publication in 1920. The (...) text is presented here in a contemporary new translation by Gregory C. Richter. Appendices trace the work's antecedents and the many responses to it, including texts by Plato, Friedrich Nietzsche, Melanie Klein, Herbert Marcuse, Jacques Derrida, and Judith Butler, among many others. (shrink)

Psychologically normal adult humans make sense of intentional actions by trying to decide for which reason they were performed. This is a datum that requires our understanding. Although there have been interesting recent debates about how we should understand ‘reasons’, I will follow a long tradition and assume that, at a bare minimum, to act for a reason involves having appropriately interrelated beliefs and desires. He left the party because he believed the host had insulted him. She will head for (...) the cabin in the woods because she wants peace and quiet. These are typical examples of reason explanations, one backward looking and the other future facing. Both imply more than they say. To leave a party because of a suspected insult suggests that one desires not to be insulted, or at least it implies that the desire to avoid insult is stronger than that for some other good on offer. Similarly, to seek tranquillity in an isolated cabin implies that one believes that it can be found there, or at least more so than elsewhere. Despite the fact that the situations and characters involved in these dramas are woefully under-described, we are able to ‘make sense’ of these actions in a basic manner using the belief/desire schema. This involves designating a particular pairing of a belief and a desire, each with its own specified propositional content, in a way that rests on a quiet understanding of the way propositional attitudes inter-relate. To understand which beliefs and desires were responsible for a person’s action is normally only to understand why they acted in a quite skeletal way. Maximally, to understand why someone acted requires a more or less detailed description of his or her circumstances, other propositional attitudes (hopes, fears), more basic perceptions and emotions and perhaps even his or her character, current situation and history. In short, to fully grasp why someone took action on a particular occasion requires relating that.. (shrink)

Noel Carroll, film scholar and philosopher, offers the first serious look at the aesthetics of horror. In this book he discusses the nature and narrative structures of the genre, dealing with horror as a "transmedia" phenomenon. A fan and serious student of the horror genre, Carroll brings to bear his comprehensive knowledge of obscure and forgotten works, as well as of the horror masterpieces. Working from a philosophical perspective, he tries to account for how people can find pleasure in having (...) their wits scared out of them. What, after all, are those "paradoxes of the heart" that make us want to be horrified? (shrink)

Noel Carroll, film scholar and philosopher, offers the first serious look at the aesthetics of horror. In this book he discusses the nature and narrative structures of the genre, dealing with horror as a "transmedia" phenomenon. A fan and serious student of the horror genre, Carroll brings to bear his comprehensive knowledge of obscure and forgotten works, as well as of the horror masterpieces. Working from a philosophical perspective, he tries to account for how people can find pleasure in having (...) their wits scared out of them. What, after all, are those "paradoxes of the heart" that make us want to be horrified? (shrink)

When people retell stories, what guides their retelling? Most previous research on story retelling and story comprehension has focused on information accuracy as the key measure of stability in transmission. This paper suggests that there is a second, affective, dimension that provides stability for retellings, namely the audience affect of surprise. In a large-sample study with multiple iterations of retellings, we found evidence that people are quite accurate in preserving all degrees of surprisingness in serial reproduction – even when the (...) event that produced the surprisingness in the original story is dropped or changed. Thus, we propose that the preservation of affect is an implicit goal of retelling: not merely do retellers recall highly surprising events better, but rather they register all levels of surprisingness precisely and aim to surprise their implied audience to same degree. This study used 2,389 participants. (shrink)

Bietti, Tilston and Bangerter take an evolutionary approach towards memory transmission and storytelling, arguing that storytelling plays a central role in the creation and transmission of cultural information. They suggest that storytelling is a vehicle to transmit survival‐related information that helps to avoid the costs involved in the first‐hand acquisition of that information and contributes to the maintenance of social bonds and group‐level cooperation. Furthermore, Bietti et al. argue that, going beyond storytelling’s individualist role of manipulating the audience to enhance (...) fitness of the narrator, that these adaptive functions of storytelling may well be assigned to other forms of language use besides narration (e.g., instructional discourse and argumentation). Based on this evidence, Bietti and colleagues claim that the specific adaptive function of storytelling lies in making sense of non‐routine, uncertain, or novel situations, thereby enabling collective sensemaking. (shrink)

How is it that thoroughly physical material beings such as ourselves can think, dream, feel, create and understand ideas, theories and concepts? How does mere matter give rise to all these non-material mental states, including consciousness itself? An answer to this central question of our existence is emerging at the busy intersection of neuroscience, psychology, artificial intelligence, and robotics.In this groundbreaking work, philosopher and cognitive scientist Andy Clark explores exciting new theories from these fields that reveal minds like ours to (...) be prediction machines - devices that have evolved to anticipate the incoming streams of sensory stimulation before they arrive. These predictions then initiate actions that structure our worlds and alter the very things we need to engage and predict. Clark takes us on a journey in discovering the circular causal flows and the self-structuring of the environment that define "the predictive brain." What emerges is a bold, new, cutting-edge vision that reveals the brain as our driving force in the daily surf through the waves of sensory stimulation. (shrink)

Much of our behavior is guided by our understanding of events. We perceive events when we observe the world unfolding around us, participate in events when we act on the world, simulate events that we hear or read about, and use our knowledge of events to solve problems. In this book, Gabriel A. Radvansky and Jeffrey M. Zacks provide the first integrated framework for event cognition and attempt to synthesize the available psychological and neuroscience data surrounding it. This synthesis leads (...) to new proposals about several traditional areas in psychology and neuroscience including perception, attention, language understanding, memory, and problem solving.Radvansky and Zacks have written this book with a diverse readership in mind. It is intended for a range of researchers working within cognitive science including psychology, neuroscience, computer science, philosophy, anthropology, and education. Readers curious about events more generally such as those working in literature, film theory, and history will also find it of interest. (shrink)

Bruner sets forth nothing less than a new agenda for the study of the mind. He examines the irrepressibly human acts of imagination that allow us to make experience meaningful; he calls this side of mental activity the “narrative mode,” and his book makes important advances in the effort to unravel its nature.

A new theory is taking hold in neuroscience. It is the theory that the brain is essentially a hypothesis-testing mechanism, one that attempts to minimise the error of its predictions about the sensory input it receives from the world. It is an attractive theory because powerful theoretical arguments support it, and yet it is at heart stunningly simple. Jakob Hohwy explains and explores this theory from the perspective of cognitive science and philosophy. The key argument throughout The Predictive Mind is (...) that the mechanism explains the rich, deep, and multifaceted character of our conscious perception. It also gives a unified account of how perception is sculpted by attention, and how it depends on action. The mind is revealed as having a fragile and indirect relation to the world. Though we are deeply in tune with the world we are also strangely distanced from it. (shrink)

A leading scholar in the psychology of thinking and reasoning argues that the counterfactual imagination—the creation of "if only" alternatives to ...

The ultimate success of Hollywood blockbusters is dependent upon repeat viewings. Fans return to theaters to see films multiple times and buy DVDs so they can watch movies yet again. Although it is something of a received dogma in philosophy and psychology that suspense requires uncertainty, many of the biggest box office successes are action movies that fans claim to find suspenseful on repeated viewings. The conflict between the theory of suspense and the accounts of viewers generates a problem known (...) as the paradox of suspense, which we can boil down to a simple question: If suspense requires uncertainty, how can a viewer who knows the outcome still feel suspense? (shrink)