RESUMEN

The authors discuss the relevance of aesthetic and affective experience at the heart of the human being's capability to relate to the world and to found relations of sense. Faced with anguish that the world can be meaningless and with fear of uncertainty/chaos, trust and hope are needed for the world to be a hospitable place for existence. Such experience is aesthetic, sensitive and affective before being rational, reflective and deliberative. Through a dialogue between Kant, Winnicott and Bion, it is shown how foundation of trust is based on two essential aspects: (1) The illusion that reality was created to allow us to live in it (namely, the fictionality is a prerequisite for each possible development of psyche) and (2) this illusion is not generated by a solipsistic activity of the human mind; rather, it is made possible starting from the primordial relationship with the other, by containing anguish, nourishing trust and hope, and supporting psychic development and elaboration of progressive forms of symbolisation. The authors discuss how these points have a profound aesthetic implication through deepening the reflection on the ontogenetic development of the psyche, the complex intertwining between primary and secondary processes, and clinical implications.

Asunto(s)

Teoría Psicoanalítica , Humanos , Estética , Afecto , Confianza/psicología , Psicoanálisis

RESUMEN

Much of the information people encounter in everyday life is not factual; it originates from fictional sources, such as movies, novels, and video games, and from direct experience such as pretense, role-playing, and everyday conversation. Despite the recent increase in research on fiction, there is no theoretical account of how memory of fictional information is related to other types of memory or of which mechanisms allow people to separate fact and fiction in memory. We present a theoretical framework that places memory of fiction in relation to other cognitive phenomena as a distinct construct and argue that it is an essential component for any general theory of human memory. We show how fictionality can be integrated in an existing memory model by extending Rubin's dimensional conceptual memory model. By this means, our model can account for explicit and implicit memory of fictional information of events, places, characters, and objects. Further, we propose a set of mechanisms involving various degrees of complexity and levels of conscious processing that mostly keep fact and fiction separated but also allow information from fiction to influence real-world attitudes and beliefs: content-based reasoning, source monitoring, and an associative link from the memory to the concept of fiction.

RESUMEN

Fictionality and fictional experiences are ubiquitous in people's everyday lives in the forms of movies, novels, video games, pretense and role playing, and digital technology use. Despite this ubiquity, though, the field of cognitive science has traditionally been dominated by a focus on the real world. Based on the limited understanding from previous research on questions regarding fictional information and the cognitive processes for distinguishing reality from fiction, we argue for the need for a comprehensive and systematic account that reflects on related phenomena, such as narrative comprehension or imagination embedded into general theories of cognition. This is important as incorporating cognitive processing of fictional events into memory theory reshapes the conceptual map of human memory. In this paper, we highlight future challenges for the cognitive studies of fictionality on conceptual, neurological, and computational levels. Taking on these challenges requires an interdisciplinary approach between fields like developmental psychology, philosophy, and the study of narrative comprehension. Our aim is to build on such interdisciplinarity and provide conclusions on the ways in which new theoretical frameworks of fiction cognition can aid understanding human behaviors in a wide range of aspects of people's daily lives, media consumption habits, and digital encounters. Our account also has the potential to inform technological innovations related to training intelligent digital systems to distinguish fact and fiction in the source material.

RESUMEN

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 are by-products of 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 fictions adaptive. To reconcile these two views, we put forward the hypothesis that narrative fictions are best seen as entertainment technologies that 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.

RESUMEN

Examining relations between 'therapy culture' and the 'risk society', this essay suggests that the novel developed to offer a powerful workout for the kinds of socio-cognitive capacities and gratifications required by the complex and 'emergent' cultures of modernity: recursive skills of mindreading and mental time-travelling, the negotiation of plural ontologies. Its development of a unique mode of 'double voicing' allowed readers to situate the interior life in a complex and dynamic relation to the social. Reading novels challenges the default, making 'safe', capacities of the probabilistic or Bayesian brain. In its self-referentiality and invention of the idea of fictionality, the novel provides an education into awareness of the limits of models and their dangerous fetishisation. The novel therefore answers Wittgenstein's search for a discourse that might provide a therapy for errors in thinking, embedded deep in structural and analogical functions of language and especially those perceptual metaphors of vision that carry the epistemological beliefs that looking in is the route to self-transparency.