Life is an Adventure! An agent-based reconciliation of narrative and scientific worldviews\ud

The scientific worldview is based on laws, which are supposed to be certain, objective, and independent of time and context. The narrative worldview found in literature, myth and religion, is based on stories, which relate the events experienced by a subject in a particular context with an uncertain outcome. This paper argues that the concept of “agent”, supported by the theories of evolution, cybernetics and complex adaptive systems, allows us to reconcile scientific and narrative perspectives. An agent follows a course of action through its environment with the aim of maximizing its fitness. Navigation along that course combines the strategies of regulation, exploitation and exploration, but needs to cope with often-unforeseen diversions. These can be positive (affordances, opportunities), negative (disturbances, dangers) or neutral (surprises). The resulting sequence of encounters and actions can be conceptualized as an adventure. Thus, the agent appears to play the role of the hero in a tale of challenge and mystery that is very similar to the "monomyth", the basic storyline that underlies all myths and fairy tales according to Campbell [1949]. This narrative dynamics is driven forward in particular by the alternation between prospect (the ability to foresee diversions) and mystery (the possibility of achieving an as yet absent prospect), two aspects of the environment that are particularly attractive to agents. This dynamics generalizes the scientific notion of a deterministic trajectory by introducing a variable “horizon of knowability”: the agent is never fully certain of its further course, but can anticipate depending on its degree of prospect

Anxiety Shapes Amygdala-Prefrontal Dynamics During Movie Watching

Background: A well-characterized amygdala–dorsomedial prefrontal circuit is thought to be crucial for threat vigilance during anxiety. However, engagement of this circuitry within relatively naturalistic paradigms remains unresolved. // Methods: Using an open functional magnetic resonance imaging dataset (Cambridge Centre for Ageing Neuroscience; n = 630), we sought to investigate whether anxiety correlates with dynamic connectivity between the amygdala and dorsomedial prefrontal cortex during movie watching. // Results: Using an intersubject representational similarity approach, we saw no effect of anxiety when comparing pairwise similarities of dynamic connectivity across the entire movie. However, preregistered analyses demonstrated a relationship between anxiety, amygdala-prefrontal dynamics, and anxiogenic features of the movie (canonical suspense ratings). Our results indicated that amygdala-prefrontal circuitry was modulated by suspense in low-anxiety individuals but was less sensitive to suspense in high-anxiety individuals. We suggest that this could also be related to slowed habituation or amplified anticipation. Moreover, a measure of threat-relevant attentional bias (accuracy/reaction time to fearful faces) demonstrated an association with connectivity and suspense. // Conclusions: Overall, this study demonstrated the presence of anxiety-relevant differences in connectivity during movie watching, varying with anxiogenic features of the movie. Mechanistically, exactly how and when these differences arise remains an opportunity for future research

Modelling Suspense in Short Stories as Uncertainty Reduction over Neural Representation

Suspense is a crucial ingredient of narrative fiction, engaging readers and making stories compelling. While there is a vast theoretical literature on suspense, it is computationally not well understood. We compare two ways for modelling suspense: surprise, a backward-looking measure of how unexpected the current state is given the story so far; and uncertainty reduction, a forward-looking measure of how unexpected the continuation of the story is. Both can be computed either directly over story representations or over their probability distributions. We propose a hierarchical language model that encodes stories and computes surprise and uncertainty reduction. Evaluating against short stories annotated with human suspense judgements, we find that uncertainty reduction over representations is the best predictor, resulting in near-human accuracy. We also show that uncertainty reduction can be used to predict suspenseful events in movie synopses.Comment: 9 pages, 3 figures, accepted as long paper to ACL 202

Inducing narrative tension in the viewer through suspense, surprise, and curiosity

Producción CientíficaResearch into narrative tension is of interest in terms of the progress of knowledge of the processes and mechanisms by which stories are received and enjoyed. We have created four versions of an audiovisual story with three different structures of fiction (suspense, surprise, curiosity) and one of non-fiction. We have investigated the effects of the narrative tension of these stories with four groups of subjects (N=94). The results show that the organization of the stories, depending on their structures of suspense, surprise, or curiosity, induces narrative tension, while the non-fictional story, induces cognitive and affective effects of another kind. Narrative tension appears during narrative progression. It is manifested by cognitive-affective responses that include anticipations, diagnoses, retrospections, and emotions. In narrative tension, curiosity plays a triggering and organizing role in suspense and surprise. The emotions and cognitions that result from narrative tension during plot construction underpin the experience of enjoyment. The Multidimensional Narrative Tension Theory of Enjoyment that emerges from this research allows establishing connections between narrative theory concerned with narrative progression and plot, the psychology of interest, and the psychology of media enjoyment

To Like Or Not to Like, That Is the Question

Perhaps the most ubiquitous and basic affective decision of daily life is deciding whether we like or dislike something/somebody, or, in terms of psychological emotion theories, whether the object/subject has positive or negative valence. Indeed, people constantly make such liking decisions within a glimpse and, importantly, often without expecting any obvious benefit or knowing the exact reasons for their judgment. In this paper, we review research on such elementary affective decisions (EADs) that entail no direct overt reward with a special focus on Neurocognitive Poetics and discuss methods and models for investigating the neuronal and cognitive-affective bases of EADs to verbal materials with differing degrees of complexity. In line with evolutionary and appraisal theories of (aesthetic) emotions and data from recent neurocognitive studies, the results of a decision tree modeling approach simulating EADs to single words suggest that a main driving force behind EADs is the extent to which such high-dimensional stimuli are associated with the “basic” emotions joy/happiness and disgust

Narrative Bifurcation, Cloud Computing Interfaces and Hitchcok

From a narratological perspective, this paper aims to address the theoretical issues concerning the functioning of the so called «narrative bifurcation» in data presentation and information retrieval. Its use in cyberspace calls for a reassessment as a storytelling device. Films have shown its fundamental role for the creation of suspense. Interactive fiction and games have unveiled the possibility of plots with multiple choices, giving continuity to cinema split-screen experiences. Using practical examples, this paper will show how this storytelling tool returns to its primitive form and ends up by conditioning cloud computing interface design

Plutchik and economics: ‘...Disgust, Fear, and, Oh Yes, Love’

One of the most challenging endeavours economic theorists currently face is the integration of emotions in the conceptual frameworks used to explain the choices and the behaviour of agents. Emotional decisions are much harder to understand, evaluate and analyse than rational ones, because emotions are diffuse, difficult to isolate and to categorise, and also because they correspond to personal inner-states that might be externalised in so many different ways. This paper suggests the use of a possible classification of emotions in order to guide economists when developing their emotional-oriented decision-making models. The classification is the one proposed by psychologist Robert Plutchik through his popular ‘wheel of emotions’, a diagram that highlights the existence of a few basic emotions that might acquire, each of them, various different tones or intensities.info:eu-repo/semantics/publishedVersio