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The Mind as a Work of Art > 1 - Introduction > Flashcards

1 - Introduction Flashcards

1
Q

MAWA

A

= the mind as a work of art
seeing arts to enlighten how the mind works; how arts shaped human cognition/behavior

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2
Q

artful cognition (achieving MAWA)

A

social behavior as form of theater (playing different roles in life -> social behavior as theater)

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3
Q

novel arts (achieving MAWA)

A

evolutionary aspect; humans added novel behavior no other species has = course of human evolution

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4
Q

joint evolutionary precursors (achieving MAWA)

A

art on non-art; language is not an art co evolved with music (which is an art form)

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5
Q

applied arts (achieving MAWA)

A

effecting cognition/behavior; ex. restore speak functions of strike patients using musical melodies (since this shared certain connections in brain)

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6
Q

MAWA is about …

A

thinking outside the box = art thinking; take the ordinary and make it art like (they go together)

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7
Q

Generic

A

= general cognition, least social, least ritualized
general processes; creativity (how we think) and aesthetics (what we desire)

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8
Q

Intermediate

A

the narrative arts; visual art (design of objects) and theater/literature (drama of social life)

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9
Q

Art specific

A

= social cognition, most social, most ritualized
the coordinator arts; dance (entging of coordination) and music (melody of emotion)

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10
Q

Narrative arts - elaborated

A

how we tell stories:
1. static (painting, sculptures, photography, literature, written poetry)
2. performance (either narrated (third person) or acted out (embodied character))

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11
Q

Coordinator arts - elaborated

A

performance; music and dance
people synchronize behavior, coming together
(not mutually exclusive to performing arts, those recall each other since forms of dance can also be a narrative for example)

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12
Q

The narrative triad

A
  1. visual arts (image)
  2. theater/storytelling (language)
  3. dance (gesture)
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13
Q

The performance triad

A
  1. music (melodies)
  2. dance (dance phrases)
  3. theater/storytelling (utterances)
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14
Q

The 4 systems of the art

A
  1. Narrative arts; visual arts (3. having a static narrativity) and theater/storytelling (3. having a dynamic narrativity)
  2. coordinative arts; dance (4. a coordination of bodies) and music (4. a coordination of voices)
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15
Q

how to distinguish narrative to coordinative arts

A

distinction between character and partner;
1. performing arts include real-time interactions, can adjust in the moment; reciprocity
2. in a narrative one can think about the character, but the character does not think about you

summary:
partner = coordinative arts
character = narrative arts

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16
Q

domain general vs domain specific

A

general; apply across all domains (ex. attention as general process)
specific; limited to specific domain (ex. language, associated with one unique function)

17
Q

Core knowledge - The rope 10 systems (objects)

A
  1. objects and their categorization (knowledge about objects); perceive, identify and categorize
  2. language; word represents an object (abstractly)
  3. numerical cognition; count of objects, amounts, measurements
  4. logic and deductive reasoning; true by deformier (ex 2+2=4)
  5. spatial cognition and orientation; sensed location and space, where are you in this relation (argo- and egocentric)
18
Q

Core knowledge - The rope 10 systems (events)

A
  1. causal inference through inductive reasoning; how one thing causes another one (causal inference; deception)
  2. mental time travel; retro- (memory system) and prospective (mental time travel), meaning we can think outside the actual moment
19
Q

Core knowledge - The rope 10 systems (agents)

A
  1. mentalizing (ToM); sense of people -> social interaction (inferring about other peoples states)
  2. social intelligence; categorize people (seeing peoples relations)
  3. self-awareness and -regulation
20
Q

domain general processes

A
  • associativity; cognition based on experiences, related stimuli seem to make predictions
  • emotional appraisal/reward processing; good of bad for me -> survival related
  • attention; moves quickly
  • working memory; executed short term memory, needs rehearsal
  • inhibition/suppressing/delaying; we can purposefully suppress certain behaviors
  • conflict monitoring/Response conflict; deal with conflicts in sources of information
  • task switching/cue switching/multi-tasking; interpret someone’s sayings, includes attention switching
  • updating; update view of things up on new information
  • predicting; anticipate consequences
  • self-regulation/-monitoring; monitor inner and outer states of oneself
21
Q

domain specific processes (unique arts capacities)

A
  • mime/pantomime; structure resembling an action (iconic gestures)
  • figurative drawing (iconic images in 2D); 3D as sein to 2D on paper (drawing is iconic gesture of 3D seem thing)
  • acting (impersonation); pretend to be someone else, socially accepted (theater)
  • rhythmic synchronization of movement to other people though group dancing; synchronize/match timings
  • most diverse musical scale systems of any species
  • most diverse chorusing types of any species (diverse repertoire)
  • most elaborate group rituals of any species
22
Q

unique sensorimotor capacities (to humans)

A
  • vocal; speech/language, voluntary control of vocalization, vocal imitation (way we learn language)
  • manual; highly enchanted manual dexterity (ex. hand movements), gestural imitation, demonstrational learning (teaching; get feedback)
  • pedal; bipedalism, we walk on two feed
23
Q

social intelligence (categorize people)

A
  1. track social relationships, recognize people, being aware of others goal structures and agencies, distinguish friends vs foes
    cooperation & collaboration
  2. intersubjectivity; understating others, ToM
  3. categorize self and others into groups; in-group preference (ethnocentrism)
  4. folk psychology: explaining peoples behavior with regard to their mental states
  5. recognize others emotions (emotional awareness)
  6. concern of others, empathy
  7. helping behavior, conflict resolution
24
Q

the phenomenon of groupings

A

groups are unstable, we are all self-serving in nature - selfish to survive, but still end up grouping up

in- and between group relations;
- between; competition and cooperation (us vs them)
- within; competition (me vs you) and cooperation (us)

25
Q

cooperation and coordination are linked

A

group rituals that stimulate coordination -> behavioral coordination -> cooperation of the group

26
Q

social brain hypothesis

A

the bigger the group size, the bigger the social relationships, the bigger the brain size; more storage needed to store social network, need for social intelligence,

27
Q

behavioral coordination

A
  • arts and music contribute to group stability (helps against the instability of groups)
  • rituals to support group functionality; maintain/enhance commitment, sync together - think together
28
Q

reciprocity

A
  • overcome selfishness -> helping others
  • works for dyads, not for large groups
  • synchronize with music and dance (vocalization and movement) -> behavioral coordination -> cooperation (sinks coordination and cooperation)
29
Q

ceremonies as arts

A

religious ceremonies are (nothing more than) collections of arts behaviors and objects
(must have co-evolved; religious practice is arts behavior of various formats)

30
Q

function or group rituals

A
  • demonstrate commitment
  • feeling of strongness, increase “we” sense -> cohesion
31
Q

social learning

A

-> allows for cultural transmission
-> culture allows us to pass knowledge on over generations -> to build on the cultural behaviors of one’s prodecessors (knowledge accumulates, does not need to be rebuild in every new generation), done via social learning
-> progressed beyond what a single individual could invent alone

The Mind as a Work of Art (10 decks)

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