This article is a comparative study between predictive processing (PP, or predictive coding) and cognitive dissonance (CD) theory. The theory of CD, one of the most influential and extensively studied theories in social psychology, is shown to be highly compatible with recent developments in PP. This is particularly evident in the notion that both theories deal with strategies to reduce perceived error signals. However, reasons exist to update the theory of CD to one of “predictive dissonance.” First, the hierarchical PP (...) framework can be helpful in understanding varying nested levels of CD. If dissonance arises from a cascade of downstream and lateral predictions and consequent prediction errors, dissonance can exist at a multitude of scales, all the way up from sensory perception to higher order cognitions. This helps understand the previously problematic dichotomy between “dissonant cognitive relations” and “dissonant psychological states,” which are part of the same perception-action process while still hierarchically distinct. Second, since PP is action-oriented, it can be read to support recent action-based models of CD. Third, PP can potentially help us understand the recently speculated evolutionary origins of CD. Here, the argument is that responses to CD can instill meta-learning which serves to prevent the overfitting of generative models to ephemeral local conditions. This can increase action-oriented ecological rationality and enhanced capabilities to interact with a rich landscape of affordances. The downside is that in today’s world where social institutions such as science a priori separate noise from signal, some reactions to predictive dissonance might propagate ecologically unsound (underfitted, confirmation-biased) mental models such as climate denialism. (shrink)

Cognitive dissonance has been studied for more than sixty years and many insightful findings have come from this research. However, some important theoretical and methodological issues are yet to be resolved, particularly regarding dissonance reduction. In this paper, we place dissonance theory in the larger framework of appraisal theories of emotion, emotion regulation, and coping. The basic premise of dissonance theory is that people experience negative affect (to varying degrees) following the detection of cognitive conflict. The individual will be motivated (...) to alleviate these emotional reactions and could do so by reducing dissonance in some manner. We argue that detection of dissonance will follow the same principles as when people interpret any other stimuli as emotionally significant. Thus, appraisal theory of emotion, which argues that emotions are generated via the cognitive evaluation of surrounding stimuli, should be applicable to the dissonance-detection process. In short, we argue that dissonance-reduction strategies (attitude change, trivialization, denial of responsibility, etc.) can be understood as emotion-regulation strategies. We further argue that this perspective contributes to reconciling fragmented (and sometimes contrary) viewpoints present in the literature on dissonance reduction. In addition to proposing the general model of dissonance reduction, we illustrate at the hand of empirical data how research on dissonance reduction can be performed without relying on experimental paradigms that focus on a specific reduction strategy. (shrink)

Why are negative emotions so central in art reception far beyond tragedy? Revisiting classical aesthetics in the light of recent psychological research, we present a novel model to explain this much discussed (apparent) paradox. We argue that negative emotions are an important resource for the arts in general, rather than a special license for exceptional art forms only. The underlying rationale is that negative emotions have been shown to be particularly powerful in securing attention, intense emotional involvement, and high memorability, (...) and hence is precisely what artworks strive for. Two groups of processing mechanisms are identified that conjointly adopt the particular powers of negative emotions for art's purposes. The first group consists of psychological distancing mechanisms that are activated along with the cognitive schemata of art, representation, and fiction. These schemata imply personal safety and control over continuing or discontinuing exposure to artworks, thereby preventing negative emotions from becoming outright incompatible with expectations of enjoyment. This distancing sets the stage for a second group of processing components that allow art recipients to positively embrace the experiencing of negative emotions, thereby rendering art reception more intense, more interesting, more emotionally moving, more profound, and occasionally even more beautiful. These components include compositional interplays of positiveandnegative emotions, the effects of aesthetic virtues of using the media of (re)presentation (musical sound, words/language, color, shapes) on emotion perception, and meaning-making efforts. Moreover, our Distancing-Embracing model proposes that concomitant mixed emotions often help integrate negative emotions into altogether pleasurable trajectories. (shrink)