Memory, mental time travel and The Moustachio Quartet

Beyond the Tricks: The Science and Comparative Cognition of Magic

Magic is an art form that has fascinated humans for centuries. Recently, the techniques used by magicians to make their audience experience the impossible have attracted the attention of psychologists, who, in just a couple of decades, have produced a large amount of research regarding how these effects operate, focusing on the blind spots in perception and roadblocks in cognition that magic techniques exploit. Most recently, this investigation has given a pathway to a new line of research that uses magic effects to explore the cognitive abilities of nonhuman animals. This new branch of the scientific study of magic has already yielded new evidence illustrating the power of magic effects as a psychological tool for nonhuman animals. This review aims to give a thorough overview of the research on both the human and nonhuman perception of magic effects by critically illustrating the most prominent works of both fields of inquiry.

A multifaceted framework to establish the presence of meaning in non-human communication

Does non-human communication, like language, involve meaning? This question guides our focus through an interdisciplinary review of the theories and terminology used to study meaning across disciplines and species. Until now, it has been difficult to apply the concept of meaning to communication in non-humans. This is partly because of the varied approaches to the study of meaning. Additionally, while there is a scholarly acknowledgement of potential meaning in non-human cognition, there is also scepticism when the topic of communication arises. We organise some of the key literature into a coherent framework that can bridge disciplines and species, to ensure that aspects of meaning are accurately and fairly compared. We clarify the growing view in the literature that, rather than requiring multiple definitions or being split into different types, meaning is a multifaceted yet still unified concept. In so doing, we propose that meaning is an umbrella term. Meaning cannot be summed up with a short definition or list of features, but involves multiple complexities that are outlined in our framework. Specifically, three global facets are needed to describe meaning: a Signal Meaning Facet, an Interactant Meaning Facet, and a Resultant Meaning Facet. Most importantly, we show that such analyses are possible to apply as much to non-humans as to humans. We also emphasise that meaning nuances differ among non-human species, making a dichotomous approach to meaning questionable. Instead, we show that a multifaceted approach to meaning establishes how meaning appears within highly diverse examples of non-human communication, in ways consistent with the phenomenon's presence in human non-verbal communication and language(s). Therefore, without further recourse to 'functional' approaches that circumvent the critical question of whether any non-human meaning exists, we show that the concept of meaning is suitable for evolutionary biologists, behavioural ecologists, and others to study, to establish exactly which species exhibit meaning in their communication and in what ways.

Narrative-based autobiographical memory interventions for PTSD: a meta-analysis of randomized controlled trials

Introduction

The aim of this systematic review and meta-analysis is to evaluate the efficacy of narrative-based interventions (NBIs) for individuals with post-traumatic stress disorder (PTSD). Investigating the efficacy of NBIs should yield insight on autobiographical memory (AM) phenomena implicated in PTSD onset and recovery, leading to improved intervention protocols. Furthermore, by analyzing how NBIs influence maladaptive AM distortions, we hope to shed light on the theorized narrative architecture of AM more generally.

Methods

A systematic literature search was conducted according to PRISMA and Cochrane guidelines in MEDLINE, EMBASE, PsychINFO, and PubMed. Additional studies were then also identified from the reference lists of other relevant literature and considered for inclusion. Studies were then evaluated for adherence to the inclusion/exclusion criteria and assessed for risk of bias. Various meta-analyses were performed on included studies to understand how NBIs may or may not influence the overall effect size of treatment.

Results

The results of the meta-analysis of 35 studies, involving 2,596 participants, suggest that NBIs are a viable and effective treatment option for PTSD, yielding a statistically significant within-group effect size and decrease in PTSD symptomatology at both post-treatment [g = 1.73, 95% CI (1.23-2.22)] and 3-9 month follow-up assessments [g = 2.33, 95% CI (1.41-3.26)]. Furthermore, the difference in effect sizes between NBIs compared to active and waitlist controls was statistically significant, suggesting that NBIs are superior. Sub-analyses showed that NET provided a stronger effect size than FORNET, which may be due to the nature of the traumatic event itself and not the treatment protocol. While evidence of small study and publication bias was present, a weight-function model and trim-and-fill method suggested it was not influencing the overall results.

Discussion

This meta-analysis presents strong evidence supporting the use of NBIs in the treatment of PTSD. Clear similarities can be identified between NBIs included in this analysis that make them distinct from non-NBI interventions, which are reviewed in the discussion. Controlled comparisons between NBIs and non-NBIs would help to further understand AM mechanisms of action implicated in recovery and how various interventions facilitate them. Future research should also aim to elucidate the full range of AM impairment in individuals with PTSD to gain insight on how other memory capabilities, such as the ability to mentally simulate the future, are implicated in the pathogenesis of PTSD.

The Ape That Lived to Tell the Tale. The Evolution of the Art of Storytelling and Its Relationship to Mental Time Travel and Theory of Mind

Engaging in the art of creating and telling stories is a defining behaviour of humankind. Humans have been sharing stories with each other, with and without words, since the dawn of recorded history, but the cognitive foundations of the behaviour can be traced deeper into our past. The emergence of stories can be strongly linked to Mental Time Travel (the ability to recall the past and imagine the future) and plays a key role in our ability to communicate past, present and future scenarios with other individuals, within and beyond our lifetimes. Stories are products engraved within the concept of time, constructed to elucidate the past experiences of the self, but designed with the future in mind, thus imparting lessons of such experiences to the receiver. By being privy to the experiences of others, humans can imagine themselves in a similar position to the protagonist of the story, thus mentally learning from an experience they might have never encountered other than in the mind's eye. Evolutionary Psychology investigates how the engagement in artistic endeavours by our ancestors in the Pleistocene granted them an advantage when confronted with obstacles that challenged their survival or reproductive fitness and questions whether art is an adaptation of the human mind or a spandrel of other cognitive adaptations. However, little attention has been placed on the cognitive abilities that might have been imperative for the development of art. Here, we examine the relationship between art, storytelling, Mental Time Travel and Theory of Mind (i.e., the ability to attribute mental states to others). We suggest that Mental Time Travel played a key role in the development of storytelling because through stories, humans can fundamentally transcend their present condition, by being able to imagine different times, separate realities, and place themselves and others anywhere within the time space continuum. We argue that the development of a Theory of Mind also sparked storytelling practises in humans as a method of diffusing the past experiences of the self to others whilst enabling the receiver to dissociate between the past experiences of others and their own, and to understand them as lessons for a possible future. We propose that when artistic products rely on storytelling in form and function, they ought to be considered separate from other forms of art whose appreciation capitalise on our aesthetic preferences.