The Einstellung effect occurs when the first idea that comes to mind, triggered by familiar features of a problem, prevents a better solution being found. It has been shown to affect both people facing novel problems and experts within their field of expertise. We show that it works by influencing mechanisms that determine what information is attended to. Having found one solution, expert chess players reported that they were looking for a better one. But their eye movements showed that they (...) continued to look at features of the problem related to the solution they had already thought of. The mechanism which allows the first schema activated by familiar aspects of a problem to control the subsequent direction of attention may contribute to a wide range of biases both in everyday and expert thought - from confirmation bias in hypothesis testing to the tendency of scientists to ignore results that do not fit their favoured theories. (shrink)

Bering's argument that human beings are endowed with a cognitive system dedicated to forming illusory representations of psychological immortality relies on the claim that children's beliefs in the afterlife are not the result of religious teaching. We suggest four reasons why this claim is unsatisfactory.

Children not only recognize the function of an artifact, but they actively protest when others use it in an atypical way. In two experiments, we asked whether children view artifact function as universal or as culturally dependent. In both experiments children watched videos of two actors who used common artifacts atypically. In Experiment 1A, 6-to-7-year-old children were told that the actors were either from Canada or a far away country. Children were marginally more likely to protest a Canadian using the (...) artifact in a novel way than when the individual was from a far away country. In Experiment 1B, the familiar or unfamiliar culture was explicitly highlighted. Four-to-five-year-olds were also included as a comparison group. Six-to-seven-year-olds protested the atypical use when the actor was Canadian more than when the actor was Brungarian, whereas 4-to-5-year-olds protested at non-significant rates. Additionally, when asked what appropriate function of the artifact was, 6-to-7-year olds were more likely to endorse the atypical function when it was performed by a Brungarian than a Canadian, while 4-to-5-year-olds never endorsed the atypical function, regardless of condition. These findings demonstrate that while younger children view artifact function as universal, children over the age of 6 recognize that the accepted function of an artifact may vary by culture. (shrink)

Dennett has argued that when people interpret artifacts and other designed objects ( such as biological items ) they rely on optimality considerations , rather than on designer's intentions. On his view , we infer an item's function by finding out what it is best at; and such functional attribution is more reliable than when we depend on the intention it was developed with. This paper examines research in cognitive psychology and archaeology , and argues that Dennett's account is implausible. (...) We conclude that , quite in contrast to Dennett , intentional considerations play a crucial role in artifact hermeneutics , and even stronger , are necessary for the sake of simplicity and precision. Finally , we question Dennett's contention that the interpretation of artifacts is the same project as the interpretation of any other designed entity. (shrink)

This article has two goals. First, it synthesizes and critically assesses current scientific knowledge about the cognitive bases of human tool use. Second, it shows how the cognitive traits reviewed help to explain why technological accumulation evolved so markedly in humans, and so modestly in apes.

Justin Barrett and E. Thomas Lawson were among the first to operationalize experimentally a traditional topic of anthropology: 'ritual'. Using a similar experimental protocol, the authors further investigate the cognitive underpinning of representations of ritual actions. Participants were asked to judge the likelihood of success of variants of a series of prototypical ritual actions. In line with Barrett and Lawson's findings, it was expected that specific intuitions would guide participants' judgements about the well-formedness of ritual actions; that representation of superhuman (...) agency would be pivotal in those judgements; and that the role of the ritual agent would be conceived as fundamental. The present study was particularly focused on the effect of changing Agent or Instruments in descriptions of a set of prototypical ritual actions. Following a second line of inquiry, contexts in which the prototypical actions were set were systematically manipulated. It was expected that this would affect patterns of answers. No such contextual effect was found, but the study revealed significant differences in how participants appraised different changes affecting Agent and Instrument. The authors finally speculate that specific systems dedicated to the processing of information about Agent and Instrument might explain these findings. (shrink)

Several studies demonstrate that an intuitive link between agents and order emerges within the first year of life. This appreciation seems importantly related to similar forms of inference, such as the Argument from Design. We suggest, however, that infants and young children may be more accurate in their tendencies to infer agents from order than older children and adults, who often infer intentional agents when there are none. Thus, the earliest inferences about intentional agents based on order may be quite (...) accurate and resistant to non-intentional foils, but with further cognitive development and overgeneralization, links between order and agents may emerge that, with the right socio-cultural prompts, can lead to the Argument from Design. (shrink)

Why does one need creativity? On a personal level, improvisation with available resources is needed for online coping with unforeseen environmental stimuli when existing knowledge and apparent action strategies do not work. On a cultural level, the exploitation of existing cultural means and norms for the deliberate production of novel and valuable artifacts is a basis for cultural and technological development and extension of human action possibilities across various domains. It is less clear, however, how creativity develops and how exactly (...) one arrives at generating new action possibilities and producing multiple alternative action strategies using familiar objects. In this theoretical paper, we first consider existing accounts of the creative process in the Alternative Uses Task and then present an alternative interpretation, drawing on sociocultural views and an embodied cognition approach. We explore similarities between the psychological processes underlying the generation of new uses in the Alternative Uses Task and children’s pretend play. We discuss possible cognitive mechanisms and speculate how the generation of new action possibilities for common objects in pretend play can be related to adults’ ability to generate new action strategies associated with object use. Implications for creativity development in humans and embodied artificial agents are discussed. (shrink)

Imaginary worlds are extremely successful. The most popular fictions produced in the last few decades contain such a fictional world. They can be found in all fictional media, from novels (e.g., Lord of The Rings and Harry Potter) to films (e.g., Star Wars and Avatar), video games (e.g., The Legend of Zelda and Final Fantasy), graphic novels (e.g., One Piece and Naruto), and TV series (e.g., Star Trek and Game of Thrones), and they date as far back as ancient literature (...) (e.g., the Cyclops Islands in The Odyssey, 850 BCE). Why such a success? Why so much attention devoted to non-existent worlds? In this paper, we propose that imaginary worlds co-opt our preferences for exploration, which have evolved in humans and nonhuman animals alike, to propel individuals toward new environments and new sources of reward. Humans would find imaginary worlds very attractive for the very same reasons, and under the same circumstances, as they are lured by unfamiliar environments in real life. After reviewing research on exploratory preferences in behavioral ecology, environmental esthetics, neuroscience, and evolutionary and developmental psychology, we focus on the sources of their variability across time and space, which we argue can account for the variability of the cultural preference for imaginary worlds. This hypothesis can, therefore, explain the way imaginary worlds evolved culturally, their shape and content, their recent striking success, and their distribution across time and populations. (shrink)

Narrative fictions have surely become the single most widespread source of entertainment in the world. In their free time, humans read novels and comics, watch movies and TV series, and play video games: they consume stories that they know to be false. Such behaviors are expanding at lightning speed in modern societies. Yet, the question of the origin of fictions has been an evolutionary puzzle for decades: Are fictions biological adaptations, or the by-products of cognitive mechanisms that evolved for another (...) purpose? The absence of any consensus in cognitive science has made it difficult to explain how narrative fictions evolve culturally. We argue that current conflicting hypotheses are partly wrong, and partly right: narrative fictions areby-productsof the human mind, because they obviously co-opt some pre-existing cognitive preferences and mechanisms, such as our interest for social information, and our abilities to do mindreading and to imagine counterfactuals. But humans reap some fitness benefits from producing and consuming such appealing cultural items, making fictionsadaptive. To reconcile these two views, we put forward the hypothesis that narrative fictions are best seen asentertainment technologiesthat is, as items crafted by some people for the proximate goal to grab the attention of other people, and with the ultimate goal to fulfill other evolutionary-relevant functions that become easier once other people’s attention is caught. This hypothesis explains why fictions are filled with exaggerated and entertaining stimuli, why they fit so well the changing preferences of the audience they target, and why producers constantly make their fictions more attractive as time goes by, in a cumulative manner. (shrink)

Designers’ intentions are important for determining an artifact’s proper function (i.e., its perceived real function). However, there are disagreements regarding why. In one view, people reason causally about artifacts’ functional outcomes, and designers’ intended functions become important to the extent that they allow inferring outcomes. In another view, people use knowledge of designers’ intentions to determine proper functions, but this is unrelated to causal reasoning, having perhaps to do with intentional or social forms of reasoning (e.g., authority). Regarding these latter (...) social factors, researchers have proposed that designers’ intentions operate through a mechanism akin to social conventions, and that therefore both are determinants of proper function. In the current work, participants learned about an object’s creation, about social conventions for its use and about a specific episode where the artifact was used. The function implemented by the user could be aligned with the designer’s intended function, the social convention, both, or neither (i.e., an opportunistic use). Importantly, the use episode always resulted in an accident. Data show that the accident negatively affected proper function judgments and perceived efficiency for conventional and opportunistic functions, but not for designers’ intended functions. This is inconsistent with the view that designers’ intentions are conceptualized as causes of functional outcomes and with the idea that designers’ intentions and social conventions operate through a common mechanism. (shrink)

Although other animals can make simple tools, the expanded and complex material culture of humans is unprecedented in the animal kingdom. Tool making is a slow and late-developing ability in humans, and preschool children find making tools to solve problems very challenging. This difficulty in tool making might be related to the lack of familiarity with the tools and may be overcome by children's long term perceptual-motor knowledge. Thus, in this study, the effect of tool familiarity on tool making was (...) investigated with a task in which 5-to-6-year-old children (n = 75) were asked to remove a small bucket from a vertical tube. The results show that children are better at tool making if the tool and its relation to the task are familiar to them (e.g., soda straw). Moreover, we also replicated the finding that hierarchical complexity and tool making were significantly related. Results are discussed in light of the ideomotor approach. (shrink)

La actitud del diseño es una estrategia interpretativa propuesta por Dennett, que consiste en tratar al sistema, cuyo “comportamiento” se quiere predecir, bajo el supuesto de que sus partes cumplen funciones que obedecen a un diseño satisfactorio. Sin embargo, estudios recientes sobre atribución funcional en artefactos técnicos consideran que la actitud del diseño supone una estrategia inadecuada para entender qué hace un artefacto técnico. En particular, dos críticas han ganado visibilidad. Por una parte, Vermaas et al. (2013) señalan una inconsistencia (...) en la propuesta dennettiana de la actitud del diseño: las intenciones del diseñador a veces desempeñan un papel en la interpretación de los artefactos y a veces no lo hacen, sin tener finalmente una intuición clara sobre su rol. Por otra parte, Vaesen y Van Amerongen (2008) sostienen que la actitud del diseño admite dos interpretaciones, una descriptiva y una normativa, y que ambas son implausibles. No obstante, en este trabajo argumentamos que estas críticas son rebatibles y que el problema reside en que ambas acusaciones, i.e. inconsistencia e implausibilidad, suponen una interpretación incorrecta de la posición de Dennett. The design attitude is an interpretive strategy proposed by Dennett, which consists of treating the system, whose “behavior” is to be predicted, under the assumption that its parts fulfill functions that accomplish a satisfactory design. Recent studies on technical artifacts' functional attribution claim that the design attitude is an inadequate strategy to elicit what a technical artifact does. In particular, two criticisms have gained visibility. On the one hand, Vermas et al (2013) remark an inconsistency in Dennett’s design stance. The very designer's intentions sometimes play a role in the interpretation of artifacts and sometimes they don´t, without finally having a clear intuition about their role. On the other hand, Vaesen and Van Amerongen (2008) argue that the design stance admits two interpretations, a descriptive and a normative one and that both are implausible. However, we argue that these criticisms miss the point given that both accusations, i.e. of inconsistency and of implausibility, result from a wrong interpretation of Dennett's position. (shrink)