Affective value in the predictive mind

Although affective value is fundamental in explanations of behavior, it is still a somewhat alien concept in cognitive science. It implies a normativity or directionality that mere information processing models cannot seem to provide. In this paper we trace how affective value can emerge from information processing in the brain, as described by predictive processing. We explain the grounding of predictive processing in homeostasis, and articulate the implications this has for the concept of reward and motivation. However, at first sight, this new conceptualization creates a strong tension with conventional ideas on reward and affective experience. We propose this tension can be resolved by realizing that valence, a core component of all emotions, might be the reflection of a specific aspect of predictive information processing, namely the dynamics in prediction errors across time and the expectations we, in turn, form about these dynamics. Specifically, positive affect seems to be caused by positive rates of prediction error reduction, while negative affect is induced by a shift in a state with lower prediction errors to one with higher prediction errors (i.e., a negative rate of error reduction). We also consider how intense emotional episodes might be related to unexpected changes in prediction errors, suggesting that we also build (meta)predictions on error reduction rates. Hence in this account emotions appear as the continuous non-conceptual feedback on evolving —increasing or decreasing—uncertainties relative to our predictions. The upshot of this view is that the various emotions, from “basic” ones to the non-typical ones such as humor, curiosity and aesthetic affects, can be shown to follow a single underlying logic. Our analysis takes several cues from existing emotion theories but deviates from them in revealing ways. The account on offer does not just specify the interactions between emotion and cognition, rather it entails a deep integration of the two

Affective value in the predictive mind

Although affective value is fundamental in explanations of behavior, it is still a somewhat alien concept in cognitive science. It implies a normativity or directionality that mere information processing models cannot seem to provide. In this paper we trace how affective value can emerge from information processing in the brain, as described by predictive processing. We explain the grounding of predictive processing in homeostasis, and articulate the implications this has for the concept of reward and motivation. However, at first sight, this new conceptualization creates a strong tension with conventional ideas on reward and affective experience. We propose this tension can be resolved by realizing that valence, a core component of all emotions, might be the reflection of a specific aspect of predictive information processing, namely the dynamics in prediction errors across time and the expectations we, in turn, form about these dynamics. Specifically, positive affect seems to be caused by positive rates of prediction error reduction, while negative affect is induced by a shift in a state with lower prediction errors to one with higher prediction errors (i.e., a negative rate of error reduction). We also consider how intense emotional episodes might be related to unexpected changes in prediction errors, suggesting that we also build (meta)predictions on error reduction rates. Hence in this account emotions appear as the continuous non-conceptual feedback on evolving —increasing or decreasing—uncertainties relative to our predictions. The upshot of this view is that the various emotions, from “basic” ones to the non-typical ones such as humor, curiosity and aesthetic affects, can be shown to follow a single underlying logic. Our analysis takes several cues from existing emotion theories but deviates from them in revealing ways. The account on offer does not just specify the interactions between emotion and cognition, rather it entails a deep integration of the two

Order and change in art: towards an active inference account of aesthetic experience

How to account for the power that art holds over us? Why do artworks touch us deeply, consoling, transforming or invigorating us in the process? In this paper, we argue that an answer to this question might emerge from a fecund framework in cognitive science known as predictive processing (a.k.a. active inference). We unpack how this approach connects sense-making and aesthetic experiences through the idea of an ‘epistemic arc’, consisting of three parts (curiosity, epistemic action and aha experiences), which we cast as aspects of active inference. We then show how epistemic arcs are built and sustained by artworks to provide us with those satisfying experiences that we tend to call ‘aesthetic’. Next, we defuse two key objections to this approach; namely, that it places undue emphasis on the cognitive component of our aesthetic encounters—at the expense of affective aspects—and on closure and uncertainty minimization (order)—at the expense of openness and lingering uncertainty (change). We show that the approach offers crucial resources to account for the open-ended, free and playful behaviour inherent in aesthetic experiences. The upshot is a promising but deflationary approach, both philosophically informed and psychologically sound, that opens new empirical avenues for understanding our aesthetic encounters. This article is part of the theme issue ‘Art, aesthetics and predictive processing: theoretical and empirical perspectives’

Order and Change in Art: Towards an Active Inference Account of Aesthetic Experience

How to account for the power that art holds over us? Why do artworks touch us deeply, consoling, transforming or invigorating us in the process? In this paper, we argue that an answer to this question might emerge from a fecund framework in cognitive science known as predictive processing (a.k.a. active inference). We unpack how this approach connects sense-making and aesthetic experiences through the idea of an ‘epistemic arc’, consisting of three parts (curiosity, epistemic action and aha experiences), which we cast as aspects of active inference. We then show how epistemic arcs are built and sustained by artworks to provide us with those satisfying experiences that we tend to call ‘aesthetic’. Next, we defuse two key objections to this approach; namely, that it places undue emphasis on the cognitive component of our aesthetic encounters—at the expense of affective aspects—and on closure and uncertainty minimization (order)—at the expense of openness and lingering uncertainty (change). We show that the approach offers crucial resources to account for the open-ended, free and playful behaviour inherent in aesthetic experiences. The upshot is a promising but deflationary approach, both philosophically informed and psychologically sound, that opens new empirical avenues for understanding our aesthetic encounters. This article is part of the theme issue ‘Art, aesthetics and predictive processing: theoretical and empirical perspectives’

Tuning in to art: A predictive processing account of negative emotion in art (commentary)

We use the example of art-derived solace to discuss a broader mechanism by which negative affect is instrumental in creating positive appreciation of artworks. Based on the theory of predictive processing, we argue that increasing attunement or reduction of prediction errors, which implies increasing validation of the agent(‘s models), is experienced as positive, even if the artwork’s content is negative

Aesthetics and Predictive Processing: Grounds and Prospects of a Fruitful Encounter

In the last few years, a remarkable convergence of interests and results has emerged between scholars interested in the arts and aesthetics from a variety of perspectives and cognitive scientists studying the mind and brain within the predictive processing (PP) framework. This convergence has so far proven fruitful for both sides: while PP is increasingly adopted as a framework for understanding aesthetic phenomena, the arts and aesthetics, examined under the lens of PP, are starting to be seen as important windows into our mental functioning. The result is a vast and fast-growing research programme that promises to deliver important insights into our aesthetic encounters as well as a wide range of psychological phenomena of general interest. Here, we present this developing research programme, describing its grounds and highlighting its prospects. We start by clarifying how the study of the arts and aesthetics encounters the PP picture of mental functioning (§1). We then go on to outline the prospects of this encounter for the fields involved: philosophy and history of art (§2), psychology of aesthetics and neuroaesthetics (§3) and psychology and neuroscience more generally (§4). The upshot is an ambitious but well-defined framework within which aesthetics and cognitive science can partner up to illuminate crucial aspects of the human mind. This article is part of the theme issue ‘Art, aesthetics and predictive processing: theoretical and empirical perspectives’

Controlled optimism: reply to Sun and Firestone on the dark room problem

status: Published onlin

Local-global processing bias is not a unitary individual difference in visual processing

A large body of research reports individual differences in local and global visual processing in relation to expertise, culture and psychopathology. However, recent research has suggested that various different measures of local-global processing are not strongly associated with one another, calling its construct validity into question. The current study sought to further explore the validity of local-global processing biases in perception by developing three tasks based on two existing paradigms: the Embedded Figures Test (EFT) and the Navon hierarchical letters task. The newly developed tasks aimed to control for stimulus and response factors that may have impacted upon the reliability of previous research. They were administered to a large sample of undergraduate students (N > 100). The results of two new versions of the EFT indicated that disembedding performance is influenced by the structure of the embedding context. In addition, global precedence and interference in the Navon task remained present even when local attentional approaches to global hierarchical stimuli were restricted. Inter-task correlations within the EFT were high but low between the EFT and the Navon task, lending support to the notion that local-global processing is not a monolithic construct, but representative of a number of distinct perceptual abilities and biases. Future research may use these task distinctions to pinpoint more precisely which aspects of perceptual processing characterise specific (clinical) participant populations

Upgrading Gestalt psychology with variational neuroethology: The case of perceptual pleasures: Comment on "Answering Schrödinger's question: A free-energy formulation" by M.J. Desormeau Ramstead et al

status: publishe