Insight in the Conspiracist's Mind

Disputes over the figures of the COVID-19 pandemic: Epistemic diversity, dissemination of science, and political opposition

The health policies imposed by multiple national governments after the emergence of SARS-CoV-2 were publicly justified by official figures on the deaths that the new virus would have caused and could cause in the future. At the same time, however, groups of people from different countries expressed their scepticism about those figures. Although they were categorised as 'anti-science', 'spreaders of misinformation' or 'conspiracy theorists' in some media, many of those sceptics claimed to be based on scientific evidence. This article qualitatively analyses a sample of the content published by sceptics on their social media between 2020 and 2022. More specifically, it examines the shared documents supposedly coming from the scientific community. We find very diverse content ranging from unsubstantiated assumptions to documents produced by prestigious scientists inviting questions about the fatality rates, the mathematical models anticipating millions of deaths, and the real numbers of people who died from COVID-19. The disputes surrounding the official figures lead us to a reflection about the relationship between, epistemic diversity, the dissemination of science, censorship, and new forms of political opposition. We also touch upon the nature and ethics of scientific controversy in times of a 'war' against 'misinformation'.

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'.

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'.