A Coming Crisis of Cognition

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From Medium:

In journalism, we think our job is to “get the story.” We teach the skill of “knowing what a story is.” We call ourselves “storytellers.” We believe that through stories — or as we also like to say when feeling uppish, “narrative”— we attract and hold attention, impart facts in engaging fashion, and explain the world.

My greatest heresy to date — besides questioning paywalls as panacea — is to doubt the primacy of the story as journalistic form and to warn of the risk of valuing drama, character, and control over chaotic reality. Now I’ll dive deeper into my heretical hole and ask: What if the story as a form, by its nature, is often wrong? What if we cannot explain nearly as much as we think we can? What if our basis for understanding our world and the motives and behaviors of people in it is illusory? What would that mean for journalism and its role in society? I believe we need to fundamentally and radically reconsider our conceptions of journalism and I start doing that at the end of this post.

Alex Rosenberg, a philosopher of science at Duke, pulled this rug of storytelling out from under me with his new book How History Gets Things Wrong: The Neuroscience of Our Addiction to Stories. In it, heargues that the human addiction to the story is an extension of our reliance on the theory of mind. That theory holds that in our brains, humans balance beliefs and desires to decide on action. The theory, he explains, springs from lessons we as humans learned on the veldt, where we would mind-read — that is, use available information about our environment and others’ goals and past actions to predict the behavior of the antelope that is our quarry; the lion we are competing with; and our fellow tribesmen with whom we either compete or must trust to collaborate. “Since mind readers share their target animals’ environments, they have some sensory access to what the target animals see, hear, smell, taste, and so on,” Rosenberg says.

Humans in the bush became proficient at predicting the immediate behavior of other animals and humans, which led their literate descendants to believe they could not only predict behavior in the now but also explain the past. Rosenberg questions historical narrative, pointing out that if we really could ascertain the motives of actors in the past with verifiable accuracy, there would not be so many books with dueling theories as to why the King or Kaiser did this or that. The theory of mind also fails when trying to predict human behavior ahead of time — just look at how awful political pundits are at foretelling elections. Rosenberg writes:

The progression from a (nearly) innate theory of mind to a fixation on stories — narrative — was made in only a few short steps. We went from explaining how and why we did things in the present, to explaining how and why we did things in the past, to explaining how and why others did things in the present, then the past, and finally to explaining how others did things with, to, against, and for still others.

Voilá narrative.

And we love narrative. “Neuroscientists have shown that hearing a story, especially a tension-filled one in which the protagonists’ emotions are involved, is followed by the release of pleasure-producing hormones such as oxytocin, which is also released during orgasm…” (Indeed, research showsthat oxytocin improves “mind-reading” in humans.) Rosenberg says later: “Narratives move us. In fact, they move entire nations.” (See: Edward Bernays Propaganda.)

Link to the rest at Medium

4 thoughts on “A Coming Crisis of Cognition”

  1. Here we have a story about why we love stories. IMO it bears as much fidelity to the truth as the story of Cinderella does to the founding of the House of Bernadotte. But I suppose that the rationalization gives some comfort to its author. As long as he will allow me my rationalizations, we’ll get along.

  2. “My greatest heresy to date — besides questioning paywalls as panacea — is to doubt the primacy of the story as journalistic form and to warn of the risk of valuing drama, character, and control over chaotic reality.”

    Too late, bub, that ship has done sailed. Drama, character, and control gathers eyes to sell to advertisers. In the media world nothing matters but getting that money.

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