A provocative assessment of human thought and behavior, reissued with a new afterword, explores a range of conundrums from the ability of the mind to perceive three dimensions to the nature of consciousness, in an account that draws on ...

I argue that explanation should be thought of as the phenomenological mark of the operation of a particular kind of cognitive system, the theory-formation system. The theory-formation system operates most clearly in children and scientists but is also part of our everyday cognition. The system is devoted to uncovering the underlying causal structure of the world. Since this process often involves active intervention in the world, in the case of systematic experiment in scientists, and play in children, the cognitive system (...) is accompanied by a theory drive, a motivational system that impels us to interpret new evidence in terms of existing theories and change our theories in the light of new evidence. What we usually think of as explanation is the phenomenological state that accompanies the satisfaction of this drive. However, the relation between the phenomenology and the cognitive system is contingent, as in similar cases of sexual and visual phenomenology. Distinctive explanatory phenomenology may also help us to identify when the theory-formation system is operating. (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)

Empathy facilitates everyday social interactions and has often been linked in the literature to prosocial behavior. Robust evidence has been found for a positive relationship between experiencing empathy and behaving prosocially. However, empathy, and the empathy–prosocial behavior relationship in particular, has been studied mostly in combination with negative emotions. Less research has been conducted on empathy for positive emotions, and the link between positive empathy and displayed prosocial behavior has not been intensively investigated so far. The purpose of the present (...) article is thus twofold: first, we review and summarize research evidence on empathy for positive emotions, and second, we propose that people’s motivation to maintain an experienced positive affect is a viable mechanism linking positive empathy and prosocial behavior. (shrink)

Stories in which a hero defeats a semi-human ogre occur much more frequently in unrelated cultures than chance alone can account for. This claim is supported by a discussion of folk-tales from 20 cultures and an examination of the folk-tales from a random sample of 44 cultures. The tendency to tell these stories must, therefore, have its source in the innate human nature discussed by evolutionary psychologists. This essay argues that these stories reinforce innate positive biases in the perception of (...) self and ingroup and negative biases in the perception of outgroups. (shrink)

The portrayal of the actions of fictive characters for purposes of entertainment is a familiar phenomenon. Theories that seek to explain why we are attracted to such fictions and whether we learn from them have produced no consensus and no adequate overall account. In this paper, we present the hypothesis that entertainment relies on cognitive adaptations for pretend play. As a simplified model system, we draw on our field study of children's chase play, which is characterized by an elementary form (...) of pretense. The children pretend, at first without consciously representing their pretense, to be chased by predators. The details of this behavior, widespread among mammals, indicate that the biological function of the game may be to train predator-evasion strategies. Chase play, we suggest, evolved in early mammals because it enabled cheap and plentiful resources to be used to train strategies for events that are rare, dangerous, and expensive. More generally, we argue that pretense is used to access spaces of possible actions in order to locate and practice new strategies. It relies on the creation of a simulated scenario and requires sophisticated source monitoring. The simulation is experienced as intrinsically rewarding; boredom is a design feature to motivate the construction of a more appropriate pedagogical situation, while the thrill of play signals optimal learning conditions. The conscious narrative elaboration of chase games involves an elementary form of role play, where we propose a virtual agent is created that tracks and acts on the memories required for coherent action within the simulation. These complex if familiar design features, we suggest, provide a minimalist functional and adaptationist account of the central features of entertainment: that it is fun, that it involves us imaginatively and emotionally, and that it has a tacit pedagogical effect. The model provides a principled and testable account of fiction-based entertainment grounded in evolutionary and cognitive processes. (shrink)

Financial and prosocial biases in favor of attractive adults have been documented in the labor market, in social transactions in everyday life, and in studies involving experimental economic games. According to the taste-based discrimination model developed by economists, attractiveness-related financial and prosocial biases are the result of preferences or prejudices similar to those displayed toward members of a particular sex, racial, ethnic, or religious group. Other explanations proposed by economists and social psychologists maintain that attractiveness is a marker of personality, (...) intelligence, trustworthiness, professional competence, or productivity. Evolutionary psychologists have argued that attractive adults are favored because they are preferred sexual partners. Evidence that stereotypes about attractive people are causally related to financial or prosocial biases toward them is weak or nonexistent. Consistent with evolutionary explanations, biases in favor of attractive women appear to be more consistent or stronger than those in favor of attractive men, and biases are more consistently reported in interactions between opposite-sex than same-sex individuals. Evolutionary explanations also account for increased prosocial behavior in situations in which attractive individuals are simply bystanders. Finally, evolutionary explanations are consistent with the psychological, physiological, and behavioral changes that occur when individuals are exposed to potential mates, which facilitate the expression of courtship behavior and increase the probability of occurrence of mating. Therefore, multiple lines of evidence suggest that mating motives play a more important role in driving financial and prosocial biases toward attractive adults than previously recognized. (shrink)