#959
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RECORDED ON JANUARY 31st 2024.
Edgar Dubourg is a PhD candidate in cognitive science at the Département d’Études Cognitives at the École Normale supérieure (ENS-PSL). He uses insights from both the natural sciences (behavioral ecology, evolutionary psychology, cognitive neuroscience) and the humanities (literary theory, literary history, cultural studies), and both computational and experimental methods, to explain the psychological foundations and the cultural evolution of fictions.
In this episode, we talk about the psychological foundations of fictions. We start by discussing what fiction is, and how old it is in human societies. We talk about evolutionary precursors to fiction. We discuss whether is it an evolved adaptation. We talk about the cognitive mechanisms behind fiction, and its (social) functions and signaling functions. We discuss two hypotheses to explain fiction: the entertainment hypothesis, and the information hypothesis. We talk about why so many people are fascinated by imaginary worlds, and how that might be explained by inter-individual differences in exploratory behavior. We also discuss how to approach the study of fictional genres, and cross-cultural differences in fiction. Finally, we settle an old One Piece debate.
Time Links:
00:00 Intro
00:42 What is fiction, and how old is it in human societies?
11:01 Evolutionary precursors to fiction
13:28 Is fiction an evolved adaptation?
20:10 The cognitive mechanisms behind fiction
24:06 The (social) functions of fiction
34:17 The entertainment hypothesis, and the information hypothesis
38:33 Proximate explanations for fiction
41:08 Why are people fascinated by imaginary worlds?
49:57 Inter-individual differences in exploratory behavior
59:36 Personality traits
1:05:55 How to approach the study of fictional genres
1:14:28 Cross-cultural differences in fiction
1:19:26 Settling a One Piece debate
1:20:59 Follow Edgar’s work!
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Twitter handle: @EdgarDubourg
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A HUGE THANK YOU TO MY PATRONS/SUPPORTERS: PER HELGE LARSEN, JERRY MULLER, HANS FREDRIK SUNDE, BERNARDO SEIXAS, ADAM KESSEL, MATTHEW WHITINGBIRD, ARNAUD WOLFF, TIM HOLLOSY, HENRIK AHLENIUS, FILIP FORS CONNOLLY, DAN DEMETRIOU, ROBERT WINDHAGER, RUI INACIO, ZOOP, MARCO NEVES, COLIN HOLBROOK, PHIL KAVANAGH, SAMUEL ANDREEFF, FRANCIS FORDE, TIAGO NUNES, FERGAL CUSSEN, HAL HERZOG, NUNO MACHADO, JONATHAN LEIBRANT, JOÃO LINHARES, STANTON T, SAMUEL CORREA, ERIK HAINES, MARK SMITH, JOÃO EIRA, TOM HUMMEL, SARDUS FRANCE, DAVID SLOAN WILSON, YACILA DEZA-ARAUJO, ROMAIN ROCH, DIEGO LONDOÑO CORREA, YANICK PUNTER, CHARLOTTE BLEASE, NICOLE BARBARO, ADAM HUNT, PAWEL OSTASZEWSKI, NELLEKE BAK, GUY MADISON, GARY G HELLMANN, SAIMA AFZAL, ADRIAN JAEGGI, PAULO TOLENTINO, JOÃO BARBOSA, JULIAN PRICE, EDWARD HALL, HEDIN BRØNNER, DOUGLAS FRY, FRANCA BORTOLOTTI, GABRIEL PONS CORTÈS, URSULA LITZCKE, SCOTT, ZACHARY FISH, TIM DUFFY, SUNNY SMITH, JON WISMAN, WILLIAM BUCKNER, PAUL-GEORGE ARNAUD, LUKE GLOWACKI, GEORGIOS THEOPHANOUS, CHRIS WILLIAMSON, PETER WOLOSZYN, DAVID WILLIAMS, DIOGO COSTA, ANTON ERIKSSON, ALEX CHAU, AMAURI MARTÍNEZ, CORALIE CHEVALLIER, BANGALORE ATHEISTS, LARRY D. LEE JR., OLD HERRINGBONE, MICHAEL BAILEY, DAN SPERBER, ROBERT GRESSIS, IGOR N, JEFF MCMAHAN, JAKE ZUEHL, BARNABAS RADICS, MARK CAMPBELL, TOMAS DAUBNER, LUKE NISSEN, KIMBERLY JOHNSON, JESSICA NOWICKI, LINDA BRANDIN, NIKLAS CARLSSON, GEORGE CHORIATIS, VALENTIN STEINMANN, PER KRAULIS, KATE VON GOELER, ALEXANDER HUBBARD, BR, MASOUD ALIMOHAMMADI, JONAS HERTNER, URSULA GOODENOUGH, DAVID PINSOF, SEAN NELSON, MIKE LAVIGNE, JOS KNECHT, ERIK ENGMAN, LUCY, YHONATAN SHEMESH, MANVIR SINGH, PETRA WEIMANN, PEDRO BONILLA, CAROLA FEEST, AND STARRY!
A SPECIAL THANKS TO MY PRODUCERS, YZAR WEHBE, JIM FRANK, ŁUKASZ STAFINIAK, TOM VANEGDOM, BERNARD HUGUENEY, CURTIS DIXON, BENEDIKT MUELLER, THOMAS TRUMBLE, KATHRINE AND PATRICK TOBIN, JONCARLO MONTENEGRO, AL NICK ORTIZ, NICK GOLDEN, AND CHRISTINE GLASS!
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Пікірлер: 6
The previous comment is very important and compares the viewer’s exit from the cinematic scene to waking up of a sleeper to get out of his dream.
It is important to clarify the reason for the viewer's immersion in the cinematic or theatrical scene: humans do not depend on consciousness type one in the first place. Rather, the situation becomes very similar to a person immersing himself in a dream and embodying the personality in that dream. What was written here is very important (it was written about four years ago on one of the KZread channels l).
Fiction is present in many animals, and is primarily linked to feelings and emotions. When a human watches a movie and immerses himself in the scene, he becomes part of that fiction and takes on (impersonates) one of the characters in the movie or prefers one character over another. fiction is not necessarily linked to good things. it’s similar to dreams (low level of consciousness type one).
Did he mention any theories pertaining to the function of supernatural ideation (fiction) in religion?
This topic is important but his accent makes it hard to keep listening. The pronunciation of the letters sounds like he is speaking French, not English.
His accent makes it difficult to listen to what he says.