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markfrankel18

How your eyes trick your mind - 0 views

www.bbc.com/...-how-your-eyes-trick-your-mind

TOK perception illusions

shared by markfrankel18 on 04 Feb 15 - No Cached
  • Visual, or optical, illusions show us that our minds tend to make assumptions about the world – and what you think you see is often not the truth. Throughout history, curious minds have questioned why our eyes are so easily fooled by these simple drawings. Illusions, we have found, can reveal everything from how we process time and space to our experience of consciousness.
markfrankel18

The Pleasure of Reading to Impress Yourself - The New Yorker - 1 views

www.newyorker.com/...pleasure-of-reading

TOK arts

shared by markfrankel18 on 14 Aug 14 - No Cached
  • It’s a common and easy enough distinction, this separation of books into those we read because we want to and those we read because we have to, and it serves as a useful marketing trope for publishers, especially when they are trying to get readers to take this book rather than that one to the beach. But it’s a flawed and pernicious division.
  • But there are pleasures to be had from books beyond being lightly entertained. There is the pleasure of being challenged; the pleasure of feeling one’s range and capacities expanding; the pleasure of entering into an unfamiliar world, and being led into empathy with a consciousness very different from one’s own; the pleasure of knowing what others have already thought it worth knowing, and entering a larger conversation.
markfrankel18

Creativity Creep - The New Yorker - 3 views

www.newyorker.com/...creativity-creep

creativity TOK arts language

shared by markfrankel18 on 04 Sep 14 - Cached
  • How did we come to care so much about creativity? The language surrounding it, of unleashing, unlocking, awakening, developing, flowing, and so on, makes it sound like an organic and primordial part of ourselves which we must set free—something with which it’s natural to be preoccupied. But it wasn’t always so; people didn’t always care so much about, or even think in terms of, creativity.
  • It was Romanticism, in the late eighteenth and early nineteenth centuries, which took the imagination and elevated it, giving us the “creative imagination.”
  • How did creativity transform from a way of being to a way of doing? The answer, essentially, is that it became a scientific subject, rather than a philosophical one.
  • ...5 more annotations...
  • All of this measuring and sorting has changed the way we think about creativity. For the Romantics, creativity’s center of gravity was in the mind. But for us, it’s in whatever the mind decides to share—that is, in the product. It’s not enough for a person to be “imaginative” or “creative” in her own consciousness. We want to know that the product she produces is, in some sense, “actually” creative; that the creative process has come to a workable conclusion. To today’s creativity researchers, the “self-styled creative person,” with his inner, unverifiable, possibly unproductive creativity, is a kind of bogeyman; a great deal of time is spent trampling on the scarf of the lone, Romantic genius. Instead, attention is paid to the systems of influence, partnership, power, funding, and reception that surround creativity—the social structures, in other words, that enable managers to reap the fruits of creative labor. Often, this is imagined to be some sort of victory over Romanticism and its fusty, pretentious, élitist ideas about creativity.
  • But this kind of thinking misses the point of the Romantic creative imagination. The Romantics weren’t obsessed with who created what, because they thought you could be creative without “creating” anything other than the liveliness in your own head.
  • It sounds bizarre, in some ways, to talk about creativity apart from the creation of a product. But that remoteness and strangeness is actually a measure of how much our sense of creativity has taken on the cast of our market-driven age
  • Thus the rush, in my pile of creativity books, to reconceive every kind of life style as essentially creative—to argue that you can “unleash your creativity” as an investor, a writer, a chemist, a teacher, an athlete, or a coach.
  • Among the many things we lost when we abandoned the Romantic idea of creativity, the most valuable may have been the idea of creativity’s stillness. If you’re really creative, really imaginative, you don’t have to make things. You just have to live, observe, think, and feel.
Lawrence Hrubes

Remembering a Crime That You Didn't Commit - The New Yorker - 1 views

www.newyorker.com/...false-memory-crime

memory false memories psychology authority crime

shared by Lawrence Hrubes on 05 Mar 15 - No Cached
  • Earlier this year, two forensic psychologists—Julia Shaw, of the University of Bedfordshire, and Stephen Porter, of the University of British Columbia—upped the ante. Writing in the January issue of the journal Psychological Science, they described a method for implanting false memories, not of getting lost in childhood but of committing a crime in adolescence. They modelled their work on Loftus’s, sending questionnaires to each of their participant’s parents to gather background information. (Any past run-ins with the law would eliminate a student from the study.) Then they divided the students into two groups and told each a different kind of false story. One group was prompted to remember an emotional event, such as getting attacked by a dog. The other was prompted to remember a crime—an assault, for example—that led to an encounter with the police. At no time during the experiments were the participants allowed to communicate with their parents.
  • What Shaw and Porter found astonished them. “We thought we’d have something like a thirty-per-cent success rate, and we ended up having over seventy,” Shaw told me. “We only had a handful of people who didn’t believe us.” After three debriefing sessions, seventy-six per cent of the students claimed to remember the false emotional event; nearly the same amount—seventy per cent—remembered the fictional crime. Shaw and Porter hadn’t put undue stress on the students; in fact, they had treated them in a friendly way. All it took was a suggestion from an authoritative source, and the subjects’ imaginations did the rest. As Münsterberg observed of the farmer’s son, the students seemed almost eager to self-incriminate.
  • Kassin cited the example of Martin Tankleff, a high-school senior from Long Island who, in 1988, awoke to find his parents bleeding on the floor. Both had been repeatedly stabbed; his mother was dead and his father was dying. He called the police. Later, at the station, he was harshly interrogated. For five hours, Tankleff resisted. Finally, an officer told him that his father had regained consciousness at the hospital and named him as the killer. (In truth, the father died without ever waking.) Overwhelmed by the news, Tankleff took responsibility, saying that he must have blacked out and killed his parents unwittingly. A jury convicted him of murder. He spent seventeen years in prison before the real murderers were found. Kassin condemns the practice of lying to suspects, which is illegal in many countries but not here. The American court system, he said, should address it. “Lying puts innocent people at risk, and there’s a hundred years of psychology to show it,” he said.
markfrankel18

The End Of Rational Vs. Emotional: How Both Logic And Feeling Play Key Roles In Marketi... - 2 views

www.fastcocreate.com/...ay-key-roles-in-marketing-and-

ToK psychology reason Emotions

shared by markfrankel18 on 31 May 13 - No Cached
  • Douglas Van Praet argues that while decision making is governed by our emotions, brands should still provide people with a logical lifeline (but they should steer clear of research that lets the post-rationalizing tail wag the emotional dog).
  • One of the longest-running debates in marketing is whether to use a rational or emotional advertising approach in marketing--but cognitive science says that argument is pointless. While emotions overwhelmingly drive behavior, it is misguided to believe that thinking and feeling are somehow mutually exclusive. Emotion and logic are intertwined. Behavioral science is now telling us that we don’t really have “free will.” We have “free won’t.” We can give in to the visceral impulses that drive us or choose to apply the brakes of rational restraint. While we can’t choose our emotions because they originate unconsciously, we can choose our conscious response to our feelings. This is essentially what consciousness is--a series of critical reflections and interpretations about how we are feeling.
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