Abstract:Academic Abstract The motto of the conspiracist, “Do your own research,” may seem ludicrous to scientists. Indeed, it is often dismissed as a mere rhetorical device that conspiracists use to give themselves the semblance of science. In this perspective paper, we explore the information-seeking activities (“research”) that conspiracists do engage in. Drawing on the experimental psychology of aha experiences, we explain how these activities, as well as the epistemic experiences that precede (curiosity) or follow… Show more
“…But even if, being curious, one expects to gain information through some actions, this is still anchored on the models or hypotheses one can formulate about the causes of sensory inputs. An aha experience may even have a self-sealing effect, in the sense that the closure reached implies that any further thoughts and explorations (epistemic acts) are terminated [85][86][87], at least with respect to the specific matter that started the epistemic arc.…”
Section: Looking Ahead To Extend the Arcmentioning
How to account for the power that art holds over us? Why do artworks touch us deeply, consoling, transforming or invigorating us in the process? In this paper, we argue that an answer to this question might emerge from a fecund framework in cognitive science known as predictive processing (a.k.a. active inference). We unpack how this approach connects sense-making and aesthetic experiences through the idea of an ‘epistemic arc’, consisting of three parts (curiosity, epistemic action and aha experiences), which we cast as aspects of active inference. We then show how epistemic arcs are built and sustained by artworks to provide us with those satisfying experiences that we tend to call ‘aesthetic’. Next, we defuse two key objections to this approach; namely, that it places undue emphasis on the cognitive component of our aesthetic encounters—at the expense of affective aspects—and on closure and uncertainty minimization (order)—at the expense of openness and lingering uncertainty (change). We show that the approach offers crucial resources to account for the open-ended, free and playful behaviour inherent in aesthetic experiences. The upshot is a promising but deflationary approach, both philosophically informed and psychologically sound, that opens new empirical avenues for understanding our aesthetic encounters.
This article is part of the theme issue ‘Art, aesthetics and predictive processing: theoretical and empirical perspectives’.
“…But even if, being curious, one expects to gain information through some actions, this is still anchored on the models or hypotheses one can formulate about the causes of sensory inputs. An aha experience may even have a self-sealing effect, in the sense that the closure reached implies that any further thoughts and explorations (epistemic acts) are terminated [85][86][87], at least with respect to the specific matter that started the epistemic arc.…”
Section: Looking Ahead To Extend the Arcmentioning
How to account for the power that art holds over us? Why do artworks touch us deeply, consoling, transforming or invigorating us in the process? In this paper, we argue that an answer to this question might emerge from a fecund framework in cognitive science known as predictive processing (a.k.a. active inference). We unpack how this approach connects sense-making and aesthetic experiences through the idea of an ‘epistemic arc’, consisting of three parts (curiosity, epistemic action and aha experiences), which we cast as aspects of active inference. We then show how epistemic arcs are built and sustained by artworks to provide us with those satisfying experiences that we tend to call ‘aesthetic’. Next, we defuse two key objections to this approach; namely, that it places undue emphasis on the cognitive component of our aesthetic encounters—at the expense of affective aspects—and on closure and uncertainty minimization (order)—at the expense of openness and lingering uncertainty (change). We show that the approach offers crucial resources to account for the open-ended, free and playful behaviour inherent in aesthetic experiences. The upshot is a promising but deflationary approach, both philosophically informed and psychologically sound, that opens new empirical avenues for understanding our aesthetic encounters.
This article is part of the theme issue ‘Art, aesthetics and predictive processing: theoretical and empirical perspectives’.
“…At the same time, and by contrast, art and aesthetics could have something to say about those cases in which our self-evidencing goes awry. These include 'pathologies' of our individual and collective epistemic behaviour of particular social relevance such as confirmation bias, echo chambers and conspiracy theories, all of which are starting to be examined from a PP perspective [143,144]. However, they also include many psychopathologies such as schizophrenia, delusions, autism spectrum disorder, anxiety disorders, depression, post-traumatic stress disorder, obsessive-compulsive disorder and addiction, all of which are also increasingly conceptualized within a PP perspective as anomalies of some kind in exteroceptive, interoceptive or proprioceptive inference (see [47][48][49] for useful summaries and discussions).…”
Section: Prospects For Psychology and Neuroscience In Generalmentioning
In the last few years, a remarkable convergence of interests and results has emerged between scholars interested in the arts and aesthetics from a variety of perspectives and cognitive scientists studying the mind and brain within the predictive processing (PP) framework. This convergence has so far proven fruitful for both sides: while PP is increasingly adopted as a framework for understanding aesthetic phenomena, the arts and aesthetics, examined under the lens of PP, are starting to be seen as important windows into our mental functioning. The result is a vast and fast-growing research programme that promises to deliver important insights into our aesthetic encounters as well as a wide range of psychological phenomena of general interest. Here, we present this developing research programme, describing its grounds and highlighting its prospects. We start by clarifying how the study of the arts and aesthetics encounters the PP picture of mental functioning (§1). We then go on to outline the prospects of this encounter for the fields involved: philosophy and history of art (§2), psychology of aesthetics and neuroaesthetics (§3) and psychology and neuroscience more generally (§4). The upshot is an ambitious but well-defined framework within which aesthetics and cognitive science can partner up to illuminate crucial aspects of the human mind.
This article is part of the theme issue ‘Art, aesthetics and predictive processing: theoretical and empirical perspectives’.
“…A more nuanced possibility emphasizes the dynamics of emotional experiences relating to the process of uncertainty reduction (Noordewier & Breugelmans, 2013; Van de Cruys, 2017). According to this approach, any deviation from expectations (surprise) causes an initial adverse reaction, while only later, when people gain a better understanding of the outcome, their emotional reactions follow depending on the valence of the results.…”
According to research highlighting the importance of predictions, the confirmation of expectations may be a positively-laden experience. A strong test of this principle is the case of the "doomsayer's delight": the possibility that belief confirmation can be rewarding even when negative expectations are realized. In order to investigate this idea, we conducted two high-powered experiments examining people's immediate affective reactions following exposure to expected or unexpected positive and negative stimuli. The results show that people feel significantly worse when their pessimistic expectations are confirmed than when their optimistic expectations are violated. This finding was not moderated by several theoretically relevant individual difference measures or temporal dynamics. Findings from this study contribute to our understanding of the interplay between epistemic and pragmatic motivations in guiding emotional responses.
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