Charity and grace

This essay attempts to reconcile charity with grace, the central concepts of two thinkers whose views may seem irreconcilable to many: Donald Davidson, an analytical philosopher and the most distinguished follower of Quine; and Julian Pitt-Rivers, an Europeanist anthropologist, who wrote at length on Spain and Southern France. The latter's historicist exegesis of gracia points to basic aspects of human experience that are also salient in the reduction to basics that Davidson carried out concerning interpretation and truth. For Davidson, in the face of ultimate indeterminacy, interpretation is made possible due to the rational accommodation that charity sparks off. For Pitt-Rivers, gratuity highlights how processes of personal interaction depend on the drawing of shared trajectories: that is, not only do I have to grant others charity to make sense of them, I also have to frame others as subjects with a future by relation to myself as already in existence. The paper proposes that human interaction involves processes of sensemaking that integrate shared intentionality (i.e. the credit with which we respond to the indeterminacy of meaning) with shared experience (i.e. the debt implicit in the ultimate underdetermination of the world's entities). Thus, it brings both concepts together under the label of charis, their common etymological root, suggesting that the dynamic it represents is a broader feature of life itself.

Overcoming “The Language Rubicon": Versions, Steps and Evolutionary Mechanisms

The most plausible hypotheses explaining the breakthrough of our distant ancestors to articulate speech and consciousness include: rituals of solidarity (singing, grooming, facial expressions, gestures), the role of "labor", teaching children, changes in gender relations, recruiting (mobilization for collective action), laryngeal transformation, brain growth, mirror neurons, neuronal overlap; dominance of coalitions over loners, self-domestication, the need to coordinate decisions; joint intentionality, development of normativity. The concretization of the principle of "cultural drive" leads to the following concept: new environmental, social and communicative challenges and concerns lead to multiple trials; successful behavior is consolidated in group practices, mental structures of participants, and hereditary inclinations with multilevel selection and change of many generations. Overcoming the "language Rubicon" took place in several steps, or stages, in which the structures that have developed to provide concerns lead to new concerns that require new structures. Such concerns as pacifying social order in the group, signaling general discontent, coordinating actions, etc., the following structures emerged: egalitarian coalitions with collective practices of intimidation, sound signals uttered in unison, training and self-training, self-domestication, shared intentionality, and normative rituals. The most plausible versions supplement this concept. Сhoral singing as a ritual of solidarity promoted the ability to imitate and articulate. Mirror neurons and neural overlaps have played the role of providing mechanisms for imitation and association processes. The connection between "labor" and speech was complex and interdependent, mediated by normativity. Recruiting as signals of mobilization for collective action also made its contribution but only under the already established normative order. Social learning is in fact a special ritual of constant trial and adjustment which has grown out of a normative ritual. The establishment of a new order of sexual relations also played a role: under the prohibition of violence and rape it was necessary to involve partners. Speech replaced grooming, and those who spoke clearly, convincingly and/or sang beautifully received benefits in sexual selection. The totality of all these processes reinforced the concerns of mutual understanding which were provided by the rituals of naming with the following multiplication of protowords and further growth of linguistic complexity.

Pretensive Shared Reality

Imaginative pretend play is often thought of as the domain of young children, yet adults regularly engage in elaborated, fantastical, social-mediated pretend play. We draw on multiple examples, but focus on Table-Top Role Playing games (TTRPG) - and specifically, the most popular and enduring table-top role-playing games, Dungeons & Dragons (D&D) - as a primary example of such play. We describe imaginative play in adults via the term ‘pretensive shared reality'; Shared Pretensive Reality describes the ability of a group of individuals to employ a range of higher-order cognitive functions to explicitly and implicitly share representations of a bounded fictional reality in predictable and coherent ways, such that this constructed reality may be explored and invented/embellished with shared intentionality in an ad hoc manner. Pretensive Shared Reality facilitates multiple individual and social outcomes, including generating personal and group-level enjoyment or mirth, the creation or maintenance of social groups, or the safe exploration of individual self concepts (such as alternative expression of a players sexual or gender identity). Importantly, Pretensive Shared Reality (both within the specific context of table-top role-playing games, and other instances) are primarily co-operative and co-creative. Our conception links the widespread existence and forms of adult imaginative play to childhood pretense, places it within a developmental and evolutionary context, and argues that pretensive shared realities - which underpin many forms of imaginative culture - are an important topic of study unto themselves, and may be utilized to provide methodological insight into a variety of psychological domains.

Shared intentionality, reason-giving and the evolution of human culture

The biological approach to culture focuses almost exclusively on processes of social learning, to the neglect of processes of cultural coordination including joint action and shared intentionality. In this paper, we argue that the distinctive features of human culture derive from humans' unique skills and motivations for coordinating with one another around different types of action and information. As different levels of these skills of ‘shared intentionality’ emerged over the last several hundred thousand years, human culture became characterized first by such things as collaborative activities and pedagogy based on cooperative communication, and then by such things as collaborative innovations and normatively structured pedagogy. As a kind of capstone of this trajectory, humans began to coordinate not just on joint actions and shared beliefs, but on the reasons for what we believe or how we act. Coordinating on reasons powered the kinds of extremely rapid innovation and stable cumulative cultural evolution especially characteristic of the human species in the last several tens of thousands of years. This article is part of a discussion meeting issue ‘The emergence of collective knowledge and cumulative culture in animals, humans and machines’.

Aligning bodies and minds: New insights about synchrony's effects on creative thinking, cohesion and positive affect

<p>Researchers conjecture that rituals have been prevalent in human activities for millennia due to tacit evolutionary functions of solidarity and cooperation. A key element of ritualistic behaviours is synchrony, defined as the matching of actions in time with others. Synchrony has been associated with a range of phenomena, including increased affiliation, connectedness, and cooperation among group members. However, there have been a number of failed replications of key studies. Furthermore, synchrony research has focused mainly on social and affective responses. Synchrony’s effects on cognitive processes remain largely unexamined, even though synchronous actions require social cognition. In this thesis, I investigate the link between synchrony and creative thinking, a basic and distinctively human cognitive process. This thesis reports four empirical studies conducted to investigate two main aims: (1) synthesise existing synchrony literature to determine synchrony’s overall effect on previously studied outcomes; and (2) investigate the relationship between synchrony and creative thinking. The focus on creativity is theoretically relevant because both sociological speculations about synchrony’s role on cultural conformity and real-world observations on reduced decision quality in highly cohesive groups (e.g., groupthink) suggest that synchrony may have detrimental effects on creativity. To address the first aim, a meta-analysis (Study 1) of experimentally manipulated synchrony studies showed that synchrony was positively associated (small to medium effect sizes) with prosocial behaviour, social bonding perceptions, partner cognition, and positive affect. Three experimental studies were conducted to address the second aim. Study 2 investigated the direct association between synchrony and two components of creative thinking – convergent thinking (i.e., synthesis of ideas toward a single creative solution) and divergent thinking (i.e., generation of multiple alternative ideas) – and aimed to replicate shared intentionality (i.e., shared goal/purpose) on positive social and affective responses. Shared intentionality has been argued as one of the main mechanisms amplifying synchrony’s positive social effects. In this study, I found that synchrony impaired convergent thinking when paired with shared intentionality, but I did not find support for a statistically significant effect of synchrony on divergent thinking. Additionally, I replicated synchrony’s positive social and affective effects. Broadening the scope, ritualistic behaviours in real-world contexts often vary in synchronicity and physical intensity simultaneously. Intensity has been shown to increase social bonding, well-being, and certain cognitive processes; therefore, it is important to study the separate effects of synchrony and intensity on these outcomes. To do so, I conducted a naturalistic field study (Study 3) of group exercises varying in synchrony and intensity, and Study 4 examined the same associations with a controlled experiment. I found that synchrony impaired divergent thinking, but high intensity facilitated divergent and convergent thinking. Synchrony paired with shared intentionality as well as high intensity increased cohesion among participants. Moreover, performing movements together regardless of synchronicity may be sufficient to increase positive affect. My thesis offers a novel theoretical and empirical contribution to knowledge by revealing that although synchronised actions may have been evolutionarily adaptive for prosocial behaviours, cohesion, and well-being, synchrony also appears to inhibit cognitive processes such as creative thinking.</p>

Aligning bodies and minds: New insights about synchrony's effects on creative thinking, cohesion and positive affect

<p>Researchers conjecture that rituals have been prevalent in human activities for millennia due to tacit evolutionary functions of solidarity and cooperation. A key element of ritualistic behaviours is synchrony, defined as the matching of actions in time with others. Synchrony has been associated with a range of phenomena, including increased affiliation, connectedness, and cooperation among group members. However, there have been a number of failed replications of key studies. Furthermore, synchrony research has focused mainly on social and affective responses. Synchrony’s effects on cognitive processes remain largely unexamined, even though synchronous actions require social cognition. In this thesis, I investigate the link between synchrony and creative thinking, a basic and distinctively human cognitive process. This thesis reports four empirical studies conducted to investigate two main aims: (1) synthesise existing synchrony literature to determine synchrony’s overall effect on previously studied outcomes; and (2) investigate the relationship between synchrony and creative thinking. The focus on creativity is theoretically relevant because both sociological speculations about synchrony’s role on cultural conformity and real-world observations on reduced decision quality in highly cohesive groups (e.g., groupthink) suggest that synchrony may have detrimental effects on creativity. To address the first aim, a meta-analysis (Study 1) of experimentally manipulated synchrony studies showed that synchrony was positively associated (small to medium effect sizes) with prosocial behaviour, social bonding perceptions, partner cognition, and positive affect. Three experimental studies were conducted to address the second aim. Study 2 investigated the direct association between synchrony and two components of creative thinking – convergent thinking (i.e., synthesis of ideas toward a single creative solution) and divergent thinking (i.e., generation of multiple alternative ideas) – and aimed to replicate shared intentionality (i.e., shared goal/purpose) on positive social and affective responses. Shared intentionality has been argued as one of the main mechanisms amplifying synchrony’s positive social effects. In this study, I found that synchrony impaired convergent thinking when paired with shared intentionality, but I did not find support for a statistically significant effect of synchrony on divergent thinking. Additionally, I replicated synchrony’s positive social and affective effects. Broadening the scope, ritualistic behaviours in real-world contexts often vary in synchronicity and physical intensity simultaneously. Intensity has been shown to increase social bonding, well-being, and certain cognitive processes; therefore, it is important to study the separate effects of synchrony and intensity on these outcomes. To do so, I conducted a naturalistic field study (Study 3) of group exercises varying in synchrony and intensity, and Study 4 examined the same associations with a controlled experiment. I found that synchrony impaired divergent thinking, but high intensity facilitated divergent and convergent thinking. Synchrony paired with shared intentionality as well as high intensity increased cohesion among participants. Moreover, performing movements together regardless of synchronicity may be sufficient to increase positive affect. My thesis offers a novel theoretical and empirical contribution to knowledge by revealing that although synchronised actions may have been evolutionarily adaptive for prosocial behaviours, cohesion, and well-being, synchrony also appears to inhibit cognitive processes such as creative thinking.</p>

Why Sing and Dance: an Examination of the Cooperative Effects of Group Synchrony

<p>The universality and antiquity of music and dance suggest that they may serve some important adaptive function. Why are music and dance cultural universals? One popular theory is that music and dance function to enhance mutually benefiting cooperation. While the cooperation hypothesis finds support from anthropological observations and recent experiments, the proximate mechanisms remain unclear. In this thesis, I examine if being in synchrony is a critical factor underlying music and dance’s cooperative effects. I define synchrony as rhythmically moving or vocalising in time with others. In support of synchrony’s role in fostering cooperation, a number of studies exploring two person interactions have found positive social effects from synchrony. However, it is not clear whether synchrony enhances cooperation in groups larger than two as typical with music and dance. This thesis describes five laboratory experiments that were conducted to investigate: (1) whether group synchrony increases cooperation; and (2) which psychological mechanisms are involved in producing synchrony’s cooperative effects. In the first three experiments, small groups of participants were asked to perform body movements or to vocalise words in time with the same (synchrony condition) or different (asynchrony condition) metronome beats. Cooperative behaviour was measured with a helping scenario and an economic game. A small increase in cooperation was found with synchronous movement compared to asynchronous movement (experiment 1 and 3). However, this difference was only significant with the economic game measure (experiment 3). When vocalisation was isolated (experiment 2), contrary to expectations, the highest level of helping occurred after the asynchrony vocal condition. A plausible explanation for such small and inconsistent effects comes from the method in which synchrony was manipulated. Following previous methodologies, the goal for participants was to entrain to their own beat. Yet in natural human ecologies, synchrony is a product of shared intentionality – the sharing of psychological states to produce collaborative behaviour. To better understand the contribution of shared intentionality, experiments 4 and 5 varied synchrony with shared intentionality, and then measured cooperation. These experiments revealed that when participants worked together to create synchrony, substantial increases in cooperation were found, for both synchronous vocalisations (experiment 4) and for synchronous movements (experiment 5). Synchrony was also found to significantly amplify two key hypothesised mediating variables: perceived similarity and entitativity (the degree to which a collection of people are perceived as a group). Path analysis supported a proposed mechanism by which synchrony combines with shared intentionality to produce greater cooperation through: (1) increased attention to the behaviours of other participants; and (2) reinforcement of successful cooperation. This thesis, therefore, extends previous research on group music and dance in three ways. First, the combined effect of synchrony and shared intentionality is identified as critical to the cooperation enhancing effects of music and dance. Second, it describes plausible mechanisms for how synchrony may lead to increased cooperation. Third, it provides empirical evidence in support of these mechanisms.</p>

Why Sing and Dance: an Examination of the Cooperative Effects of Group Synchrony

<p>The universality and antiquity of music and dance suggest that they may serve some important adaptive function. Why are music and dance cultural universals? One popular theory is that music and dance function to enhance mutually benefiting cooperation. While the cooperation hypothesis finds support from anthropological observations and recent experiments, the proximate mechanisms remain unclear. In this thesis, I examine if being in synchrony is a critical factor underlying music and dance’s cooperative effects. I define synchrony as rhythmically moving or vocalising in time with others. In support of synchrony’s role in fostering cooperation, a number of studies exploring two person interactions have found positive social effects from synchrony. However, it is not clear whether synchrony enhances cooperation in groups larger than two as typical with music and dance. This thesis describes five laboratory experiments that were conducted to investigate: (1) whether group synchrony increases cooperation; and (2) which psychological mechanisms are involved in producing synchrony’s cooperative effects. In the first three experiments, small groups of participants were asked to perform body movements or to vocalise words in time with the same (synchrony condition) or different (asynchrony condition) metronome beats. Cooperative behaviour was measured with a helping scenario and an economic game. A small increase in cooperation was found with synchronous movement compared to asynchronous movement (experiment 1 and 3). However, this difference was only significant with the economic game measure (experiment 3). When vocalisation was isolated (experiment 2), contrary to expectations, the highest level of helping occurred after the asynchrony vocal condition. A plausible explanation for such small and inconsistent effects comes from the method in which synchrony was manipulated. Following previous methodologies, the goal for participants was to entrain to their own beat. Yet in natural human ecologies, synchrony is a product of shared intentionality – the sharing of psychological states to produce collaborative behaviour. To better understand the contribution of shared intentionality, experiments 4 and 5 varied synchrony with shared intentionality, and then measured cooperation. These experiments revealed that when participants worked together to create synchrony, substantial increases in cooperation were found, for both synchronous vocalisations (experiment 4) and for synchronous movements (experiment 5). Synchrony was also found to significantly amplify two key hypothesised mediating variables: perceived similarity and entitativity (the degree to which a collection of people are perceived as a group). Path analysis supported a proposed mechanism by which synchrony combines with shared intentionality to produce greater cooperation through: (1) increased attention to the behaviours of other participants; and (2) reinforcement of successful cooperation. This thesis, therefore, extends previous research on group music and dance in three ways. First, the combined effect of synchrony and shared intentionality is identified as critical to the cooperation enhancing effects of music and dance. Second, it describes plausible mechanisms for how synchrony may lead to increased cooperation. Third, it provides empirical evidence in support of these mechanisms.</p>