WEBVTT - The Nature of Fun, Part 2

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<v Speaker 1>Welcome to Stuff to Blow Your Mind production of My

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<v Speaker 1>Heart Radio. Hey are you welcome to Stuff to Blow

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<v Speaker 1>your Mind? My name is Robert Lamb and I'm Joe McCormick,

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<v Speaker 1>and we're back with part two of our series on fun.

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<v Speaker 1>Of course, we all roughly know what fun is. You

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<v Speaker 1>know fun when you see it, you know fun when

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<v Speaker 1>you're having it, so you got a gut level understanding.

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<v Speaker 1>But fun is actually rather difficult to define and to

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<v Speaker 1>differentiate from other related concepts like pleasure, happiness, and entertainment.

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<v Speaker 1>So we've been trying to to tease out some of

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<v Speaker 1>the studies about fun and some observations people can make

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<v Speaker 1>about fun and what its unique characteristics are. Now, in

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<v Speaker 1>the last episode we talked a bit uh Rob. You

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<v Speaker 1>had a section about what particular features make a game fun,

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<v Speaker 1>and I thought one of the most interesting things you

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<v Speaker 1>brought up there was the suggestion of a natural association

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<v Speaker 1>between learning and fun, which is in a way kind

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<v Speaker 1>of funny because you can think about very painful attempts

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<v Speaker 1>to to make wrote learning quote fun in some way,

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<v Speaker 1>you know, adding games in school that are of questionable

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<v Speaker 1>fund value sometimes but that could in a way still

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<v Speaker 1>be onto something because there may, in fact be um

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<v Speaker 1>a major role for fun in the kind of learning

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<v Speaker 1>that we do in a non structured way, in a

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<v Speaker 1>non school environment, when we're just learning through free exploratory behavior. Yeah. Yeah,

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<v Speaker 1>it is fascinating to think about because it made me

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<v Speaker 1>think back, certainly on school days and at various age

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<v Speaker 1>points and thinking like, well, when did this? When did

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<v Speaker 1>it become fun to engage in this quest for learning?

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<v Speaker 1>And you know, those are the learning experiences that that

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<v Speaker 1>do tend to stand out the most. Yeah, I have

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<v Speaker 1>similar experiences. A lot of what I remember most from

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<v Speaker 1>school are the things that were the most fun in school. Uh.

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<v Speaker 1>And So I wanted to talk about a paper that

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<v Speaker 1>I came across that I found pretty interesting. I think, again,

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<v Speaker 1>this only addresses one facet of the issue of funds

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<v Speaker 1>is it's not going to give you a total view.

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<v Speaker 1>But it was a really interesting child psychology paper from

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<v Speaker 1>two thousand seven addressing the relationship between toys, fun, and

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<v Speaker 1>a child's ability to control natural experiments. So this paper

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<v Speaker 1>was by a couple of authors named Laura E. Schultz

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<v Speaker 1>and Elizabeth Barreff Bonna Wits. Now for some context, I

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<v Speaker 1>was checking out, particularly some of the other research by

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<v Speaker 1>Laura Schultz. She actually has a a pretty good TED

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<v Speaker 1>talk where she explains sort of the arc of her career.

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<v Speaker 1>It's from a few years back, but Schultz is a

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<v Speaker 1>professor of cognitive sciences at m I T and a

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<v Speaker 1>lot of her research is focused on the question how

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<v Speaker 1>do children learn so well? Because children are able to

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<v Speaker 1>learn how the world works in a relatively short time,

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<v Speaker 1>with relatively limited experiences. I mean, people often phrase this

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<v Speaker 1>question about language in particular, I think because language acquisition

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<v Speaker 1>is just one of the most amazing things. Yeah, it's

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<v Speaker 1>it's astounding, Like the way children acquire language, Like how

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<v Speaker 1>do you learn to put together infinitely variable, grammatically functional

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<v Speaker 1>sentences just by listening to adults talk for a few years,

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<v Speaker 1>Like you don't even have to be taught the rules

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<v Speaker 1>of grammar, you know, when you learn grammar in school.

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<v Speaker 1>The grammar you're learning there is basically just an analytical

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<v Speaker 1>tool or maybe an attempt to kind of regularize or

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<v Speaker 1>normalize exactly the way you construct sentences. But you're you're

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<v Speaker 1>already able to do so in a functional way, I mean,

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<v Speaker 1>where people can understand you. Yeah, the neural plasticity of

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<v Speaker 1>children is just absolutely amazing. I know we've we've touched

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<v Speaker 1>on it a few times over the over the years,

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<v Speaker 1>and yeah, it's it's fascinating to learn about. It's it's

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<v Speaker 1>mind blowing to experience in real life and real time

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<v Speaker 1>that you sort of lose some of the mystery at

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<v Speaker 1>times by being so close to it. But but yeah,

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<v Speaker 1>like that they have to acquire so much data in

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<v Speaker 1>such a short period of time. And I think another

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<v Speaker 1>weird thing thinking about this and thinking about it too

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<v Speaker 1>for this episode in terms of fun and also you know,

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<v Speaker 1>talking about games and toys and the imagination, as we'll

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<v Speaker 1>get into, is that we we live in a time

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<v Speaker 1>now where I feel like we we definitely have more

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<v Speaker 1>understanding of what children are and when, what they're not,

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<v Speaker 1>and what they're doing, and that all these things have

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<v Speaker 1>a purpose. But it's so easy to sort of fall

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<v Speaker 1>back in this older way of thinking and look at

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<v Speaker 1>a child playing, a child having fun, and then well,

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<v Speaker 1>of course they having fun. They don't have anything else

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<v Speaker 1>to do, they don't have a job. Uh, look at

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<v Speaker 1>these look at these bumps. But this is frivolous activity, right,

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<v Speaker 1>It's it's for some reason, it's still easy to think

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<v Speaker 1>think that way, But of course we know better now,

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<v Speaker 1>we know that the reality of it is that part

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<v Speaker 1>of what makes ldren children is that they are these sponges.

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<v Speaker 1>They are absorbing all of this information and then processing it, uh,

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<v Speaker 1>coming to terms with it. And so a lot of

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<v Speaker 1>the the ideas that they were discussing in this episode, uh,

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<v Speaker 1>you know, some of the ones that I'm going to

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<v Speaker 1>get into are certainly not the only theories out there,

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<v Speaker 1>but a lot of them do involve this this more

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<v Speaker 1>nuanced vision of the child and what the child is

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<v Speaker 1>doing in the world. Yeah, play is a child's job.

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<v Speaker 1>It is them that they're going to school, but in

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<v Speaker 1>an unstructured way. Play is how they not just you know. Uh.

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<v Speaker 1>You mentioned it's important for them to gather a lot

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<v Speaker 1>of data, and that is true. But another way of

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<v Speaker 1>thinking about it, children are able to generalize inferences about

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<v Speaker 1>how things work, uh, with way less data than you

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<v Speaker 1>would expect to say, a computer to need a certain

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<v Speaker 1>kind of program to need in order to learn how

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<v Speaker 1>something works. So how do children make such powerful general inferences?

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<v Speaker 1>How do they figure out rules about how the world

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<v Speaker 1>works on the basis of so little experience? I think

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<v Speaker 1>play is a big part of this um and so

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<v Speaker 1>the paper I wanted to look at again. This is

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<v Speaker 1>by Laura E. Schultz and Elizabeth Barreff Bonowitz. It's called

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<v Speaker 1>serious fun. Preschoolers engage in more exploratory play when evidence

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<v Speaker 1>is confounded. This was published in the journal Developmental Psychology

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<v Speaker 1>in the year two thousand seven. And this study looks

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<v Speaker 1>at a concept that it calls causal knowledge, meaning an

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<v Speaker 1>understanding of cause and effect relationships in the environment. Another

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<v Speaker 1>way of thinking about it is just understanding how things work. Now,

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<v Speaker 1>obviously a major part of child development is this formation

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<v Speaker 1>of general causal knowledge. Learning that if you set a

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<v Speaker 1>spherical object down on a table and you let go

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<v Speaker 1>of it, it can roll off the edge, or learning

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<v Speaker 1>that if you turn a door knob it will open

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<v Speaker 1>a door, or learning that if you pet the cat

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<v Speaker 1>too roughly, the cat might hiss and scratch you. The

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<v Speaker 1>world is full of these cause and effect relationships, and

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<v Speaker 1>to learn how the world works, you have to not

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<v Speaker 1>only learn, but you have to learn how to learn.

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<v Speaker 1>You have to, to some extent, understand when a relationship

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<v Speaker 1>between two events that you observe is causal and when

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<v Speaker 1>that relationship is just random or safe to ignore. So

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<v Speaker 1>you have to learn how to tell the difference between Okay,

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<v Speaker 1>I pet the cat too rough and it gets angry.

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<v Speaker 1>That's clearly causal, Like that not being gentle with the

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<v Speaker 1>cat is what made it angry versus, oh, I'm plucking

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<v Speaker 1>at the carpet and then a bird lands on the

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<v Speaker 1>window sill. Somehow a child usually figures out that that

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<v Speaker 1>is not actually causal, that's just random. So how does

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<v Speaker 1>a young child master all of this complex inference? Uh?

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<v Speaker 1>I think I was just thinking about this, and I

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<v Speaker 1>think some inference might be helped along by maybe instinctive

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<v Speaker 1>heuristics like physical proximity, like how close is what I

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<v Speaker 1>did to the effect that it might have produce boost?

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<v Speaker 1>Are they physically connected in some way that I can see? Obviously,

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<v Speaker 1>this wouldn't always be the case, especially in a world

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<v Speaker 1>full of you know, remote electronics and stuff like that,

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<v Speaker 1>but that would help a little bit. Another way of

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<v Speaker 1>sifting through inferences to separate the good from the bad

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<v Speaker 1>is just by repeating experiments. Whatever you just did, do

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<v Speaker 1>it again and see if the same result happens. Of course,

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<v Speaker 1>this is useful in in actual scientific experiments. You know,

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<v Speaker 1>you want to repeat experiments to see if you get

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<v Speaker 1>the same result. But you can observe children naturally doing

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<v Speaker 1>this all the time. They'll do something and look for

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<v Speaker 1>a result, and then they'll do it again, and they'll

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<v Speaker 1>do it again. Of course, in general, children just love repetition. Yeah. Well,

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<v Speaker 1>and you might you might plausibly argue that there's a

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<v Speaker 1>kind of built in science module in in the child's brain.

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<v Speaker 1>I mean, it's not going to be as refined as

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<v Speaker 1>a as a carefully scrutinized scientific method planned by adults,

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<v Speaker 1>But you could say that there's some kind of instinct

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<v Speaker 1>for repetition that might be based on the fact that

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<v Speaker 1>repeating experiments gets you better data. Yeah, yeah, yeah, maybe

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<v Speaker 1>that's what's going on when when generally, if there's something funny,

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<v Speaker 1>I've noticed that with with kids, like they figured out

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<v Speaker 1>a joke that works, whether they're going to keep telling

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<v Speaker 1>that joke, keep telling that joke, and then I guess

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<v Speaker 1>part of the learning experiment is realizing like how far

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<v Speaker 1>how many times can you tell about joke and it's

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<v Speaker 1>still elicits a response, Uh, what are the hard limits

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<v Speaker 1>to it? So the authors of this developmental psychology paper

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<v Speaker 1>are talking about children's acquisition of causal knowledge, and they

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<v Speaker 1>write that since basically since Jean Pig, psychologists have mostly

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<v Speaker 1>accepted that children construct their causal model of the world

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<v Speaker 1>through exploratory play, like this is not something having. Having

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<v Speaker 1>causal knowledge is not usually something that has to be

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<v Speaker 1>explicitly taught by adults, though and of course in some

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<v Speaker 1>limited cases it can be. And it's not something that

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<v Speaker 1>just comes was fully built in hardwired instinct. It's something

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<v Speaker 1>that children learn through experimenting with the world on their own.

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<v Speaker 1>So under this model, a major function of play is learning,

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<v Speaker 1>specifically learning to predict cause and effect relationships in the world. Now,

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<v Speaker 1>if this model is true, you would expect to see

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<v Speaker 1>evidence of that if you just observe the natural patterns

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<v Speaker 1>of exploratory play behavior in children. And the authors isolate

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<v Speaker 1>one major finding which does seem to back up this

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<v Speaker 1>model of the acquisition of causal knowledge, and that is

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<v Speaker 1>children's preference for novel stimuli. So the authors don't phrase

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<v Speaker 1>it this way, but just my interpretation, I think it

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<v Speaker 1>would connect to the idea of like, why do children

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<v Speaker 1>want a new toy when they already have toys at home?

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<v Speaker 1>I think you could argue that, at least in part

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<v Speaker 1>This could be because they already know how the old

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<v Speaker 1>toy works. They've used it in a hundred different ways.

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<v Speaker 1>They've figured out all the different things that it can

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<v Speaker 1>do and what it does when you do different things

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<v Speaker 1>to it, And a new toy provides opportunities to learn

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<v Speaker 1>new things about something else, something different. Yeah, this of

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<v Speaker 1>course is frequently a parental comment about the ephemeral interest

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<v Speaker 1>in toys. Right, you get the fancy new toy, it's

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<v Speaker 1>played with for a day and then it's on the floor,

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<v Speaker 1>and then we quite hypocritically, will say well, why aren't

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<v Speaker 1>you still playing with that toy? And if if the

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<v Speaker 1>child was savvy, they might say, well, you have top

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<v Speaker 1>Gun on VHS. Why aren't you still watching that? Why

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<v Speaker 1>did you stop watching that movie? Why isn't that you

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<v Speaker 1>just go to movie? You like to watch movies, you

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<v Speaker 1>own one, watch it? Um, you know, we're we're not

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<v Speaker 1>that that different in that regard. Another big one, of course,

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<v Speaker 1>is there's the there's the old toy versus new toy.

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<v Speaker 1>But it's something that's always more interesting other kids toys.

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<v Speaker 1>Whenever you take the child out, then you're you're I

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<v Speaker 1>don't know, you're a friend's house. Or or at a

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<v Speaker 1>park and somebody's brought a toy like the toy of

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<v Speaker 1>the other child is instantly interesting for this very reason

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<v Speaker 1>because it is the new toy. It is the novel toy. Well,

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<v Speaker 1>that seems like it might have a double appeal because

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<v Speaker 1>not only is it novel, so it has the appeal

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<v Speaker 1>that all new things do, but it also has been

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<v Speaker 1>sort of pre vetted, like if some other kid is

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<v Speaker 1>playing with it, that shows like, okay, there probably is

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<v Speaker 1>something good about this toy and it would be worth

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<v Speaker 1>my time, right and yeah, and then also there's the

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<v Speaker 1>social dynamics of this thing is also desired, and ownership

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<v Speaker 1>maybe up in the air on it. But this is

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<v Speaker 1>all fascinating thinking about about something about the novel factor here,

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<v Speaker 1>because once again makes us think of fun and uh

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<v Speaker 1>and the idea of learning from the last episode. So

0:12:40.160 --> 0:12:42.400
<v Speaker 1>even if you're just thinking about an object right like

0:12:42.600 --> 0:12:46.000
<v Speaker 1>it's there's something even if it's just a tactile experience,

0:12:46.440 --> 0:12:49.960
<v Speaker 1>you're interested in in what does it feel like, what

0:12:50.040 --> 0:12:53.880
<v Speaker 1>happens when I throw it against a wall, etcetera. And

0:12:53.920 --> 0:12:55.840
<v Speaker 1>of course all of this reminds me once more about

0:12:55.840 --> 0:13:00.520
<v Speaker 1>the connection that we're looking at between fun and learning, right,

0:13:00.559 --> 0:13:03.600
<v Speaker 1>because this paper is looking at a connection between learning

0:13:03.640 --> 0:13:07.160
<v Speaker 1>and exploratory play behavior. This is beyond the scope of

0:13:07.200 --> 0:13:09.480
<v Speaker 1>the paper itself, but I think it is a totally

0:13:09.520 --> 0:13:14.560
<v Speaker 1>reasonable inference to believe that the primary intrinsic motivating factor

0:13:15.080 --> 0:13:19.120
<v Speaker 1>driving exploratory play is fun. So like fun is the

0:13:19.760 --> 0:13:24.400
<v Speaker 1>is the wages that are paid for the work of play? Yeah,

0:13:24.720 --> 0:13:28.040
<v Speaker 1>I thinking of a biblical parallelism, is the wages the

0:13:28.080 --> 0:13:30.840
<v Speaker 1>wages of play is fun. It's gonna be the singular,

0:13:31.040 --> 0:13:40.640
<v Speaker 1>is right. Yeah. But anyway, so coming back to the

0:13:40.720 --> 0:13:42.640
<v Speaker 1>author's introduction on this paper, they say, you know, at

0:13:42.640 --> 0:13:45.040
<v Speaker 1>the time this paper was written, there was actually not

0:13:45.160 --> 0:13:48.920
<v Speaker 1>a whole lot of evidence for consistent patterns that have

0:13:49.000 --> 0:13:53.240
<v Speaker 1>been observed in the exploratory behavior of children. Uh, And

0:13:53.360 --> 0:13:57.040
<v Speaker 1>so they're they're going to uh study one pattern in

0:13:57.360 --> 0:14:01.000
<v Speaker 1>this experiment they're setting up. But as as preface to that,

0:14:01.040 --> 0:14:05.400
<v Speaker 1>they write, quote moreover, considerable research suggests that even older

0:14:05.480 --> 0:14:11.040
<v Speaker 1>children and naive adults are poor designing causally informative experiments

0:14:11.280 --> 0:14:15.160
<v Speaker 1>and have difficulty anticipating the type of evidence that would

0:14:15.200 --> 0:14:18.680
<v Speaker 1>support or undermine causal hypotheses. And then they cite a

0:14:18.679 --> 0:14:21.760
<v Speaker 1>whole bunch of studies to back up this assertion. Um.

0:14:22.280 --> 0:14:25.080
<v Speaker 1>They write, quote, such findings pose a challenge for the

0:14:25.120 --> 0:14:29.040
<v Speaker 1>constructivist account. The number of events children might explore in

0:14:29.080 --> 0:14:32.040
<v Speaker 1>principle is vastly greater than the number of events they

0:14:32.040 --> 0:14:37.440
<v Speaker 1>can explore in practice. If children's exploratory play is largely unsystematic,

0:14:37.760 --> 0:14:40.560
<v Speaker 1>how might they generate the type of evidence that could

0:14:40.600 --> 0:14:44.640
<v Speaker 1>support efficient causal learning. So this is a really interesting paradox.

0:14:44.720 --> 0:14:49.560
<v Speaker 1>It seems very likely that children learn causal knowledge by

0:14:49.680 --> 0:14:54.600
<v Speaker 1>exploratory play, and yet children don't seem by and large

0:14:54.640 --> 0:14:59.040
<v Speaker 1>to be very good at designing causally informative experiments like

0:14:59.160 --> 0:15:03.480
<v Speaker 1>that they they have double separating out variables and stuff

0:15:03.520 --> 0:15:08.800
<v Speaker 1>like that. Nevertheless, children might have some instincts about how

0:15:08.840 --> 0:15:12.400
<v Speaker 1>to sift some different types of evidence. Uh and the

0:15:12.400 --> 0:15:15.760
<v Speaker 1>authors hypothesized that exploratory playing children might not only be

0:15:15.880 --> 0:15:19.400
<v Speaker 1>drawn toward novelty such as here's a new toy or

0:15:19.440 --> 0:15:23.080
<v Speaker 1>two perceptual complexity, but also to what they call the

0:15:23.200 --> 0:15:26.680
<v Speaker 1>quality of evidence. They observe that there might be a

0:15:26.720 --> 0:15:30.280
<v Speaker 1>relationship between a child's desire to play with something and

0:15:30.400 --> 0:15:33.240
<v Speaker 1>what type of evidence they are getting from it or

0:15:33.280 --> 0:15:36.800
<v Speaker 1>have already gotten from it. Maybe even young children who

0:15:36.840 --> 0:15:39.880
<v Speaker 1>are not so great at designing experiments can in in

0:15:39.920 --> 0:15:45.520
<v Speaker 1>some senses, tell the difference between informative evidence and uninformative evidence.

0:15:45.760 --> 0:15:49.680
<v Speaker 1>They can make predictions based on those differences, and they're

0:15:49.800 --> 0:15:53.720
<v Speaker 1>driven to continue playing based on those differences. So what

0:15:53.760 --> 0:15:56.080
<v Speaker 1>would be the experiment to test this? Well, they tried

0:15:56.120 --> 0:15:59.640
<v Speaker 1>this out on a group of sixty four preschoolers between

0:15:59.800 --> 0:16:02.080
<v Speaker 1>forty eight and seventy months of age. This was an

0:16:02.080 --> 0:16:06.240
<v Speaker 1>experiment staged at a at a children's museum, and the

0:16:06.280 --> 0:16:09.760
<v Speaker 1>experiment goes like this. You've got a special toy built

0:16:09.760 --> 0:16:12.880
<v Speaker 1>for the experiment, and the toy takes the form of

0:16:12.920 --> 0:16:15.640
<v Speaker 1>a box with a slot at the top and two

0:16:15.720 --> 0:16:19.560
<v Speaker 1>levers on the sides. In reality, each lever when you

0:16:19.600 --> 0:16:22.640
<v Speaker 1>press it causes one of two different figures to pop

0:16:22.760 --> 0:16:25.320
<v Speaker 1>up out of the slot at the top of the box.

0:16:25.600 --> 0:16:28.480
<v Speaker 1>There's a puppet figure operated by one lever and a

0:16:28.480 --> 0:16:31.360
<v Speaker 1>little duck operated by a different lever. Now, there were

0:16:31.400 --> 0:16:36.400
<v Speaker 1>several experimental conditions. One was what they called the confounded

0:16:36.600 --> 0:16:40.680
<v Speaker 1>evidence condition UH, and the others were all three different

0:16:40.680 --> 0:16:44.760
<v Speaker 1>types of unconfounded evidence conditions. The difference being that in

0:16:44.800 --> 0:16:48.920
<v Speaker 1>the unconfounded conditions, the child would one way or another

0:16:49.080 --> 0:16:53.360
<v Speaker 1>get to witness or experience unambiguous evidence of how the

0:16:53.400 --> 0:16:56.560
<v Speaker 1>box worked, so they would see the levers being operated

0:16:56.680 --> 0:17:00.360
<v Speaker 1>separately and they would figure out which lever may which

0:17:00.400 --> 0:17:04.520
<v Speaker 1>little figure pop up. But in the confounded condition there

0:17:04.560 --> 0:17:09.120
<v Speaker 1>would be unresolved ambiguity after their initial experience with the box,

0:17:09.560 --> 0:17:13.480
<v Speaker 1>so the difference was that like in the unconfounded conditions, UH,

0:17:13.880 --> 0:17:16.840
<v Speaker 1>there would be a procedure where the child and an

0:17:16.840 --> 0:17:20.280
<v Speaker 1>adult experiment or would count to three and then each

0:17:20.320 --> 0:17:22.720
<v Speaker 1>press a lever at the same time, and then after

0:17:22.880 --> 0:17:25.920
<v Speaker 1>that they would take turns counting to three and pressing

0:17:26.080 --> 0:17:29.879
<v Speaker 1>or operating one or the other lever independently for a

0:17:29.920 --> 0:17:32.119
<v Speaker 1>total of three presses, but in the end the child

0:17:32.160 --> 0:17:35.720
<v Speaker 1>would get to see how what each one did. In

0:17:35.760 --> 0:17:39.480
<v Speaker 1>the confounded condition, the child and the experiment or would

0:17:39.480 --> 0:17:43.000
<v Speaker 1>always each press their lever at the same time on

0:17:43.080 --> 0:17:46.040
<v Speaker 1>the count of three, so it would never be clear

0:17:46.119 --> 0:17:49.760
<v Speaker 1>to the child which lever did what. Either lever could

0:17:49.800 --> 0:17:53.159
<v Speaker 1>operate each of the figures, or one lever could operate

0:17:53.200 --> 0:17:55.679
<v Speaker 1>both of them, or maybe both levers had to be

0:17:55.720 --> 0:17:57.879
<v Speaker 1>pressed at the same time to make them pop up.

0:17:58.200 --> 0:18:00.240
<v Speaker 1>There would be no way to know bay st on

0:18:00.400 --> 0:18:03.639
<v Speaker 1>pressing them at the same time as the experiment er anyway,

0:18:03.720 --> 0:18:06.159
<v Speaker 1>So you have these different conditions, and then at the

0:18:06.280 --> 0:18:09.239
<v Speaker 1>end of each one, the experimenter would walk away and

0:18:09.280 --> 0:18:11.040
<v Speaker 1>tell the child it was okay for them to play

0:18:11.080 --> 0:18:13.199
<v Speaker 1>with whatever they wanted. And so then they had the

0:18:13.200 --> 0:18:16.679
<v Speaker 1>option to keep playing with the box from the procedure

0:18:17.359 --> 0:18:20.000
<v Speaker 1>or reach for a novel box that was also within

0:18:20.160 --> 0:18:22.800
<v Speaker 1>arms reach that hadn't been part of the experiment yet.

0:18:23.359 --> 0:18:27.479
<v Speaker 1>So what did they find. Well, the previous findings from

0:18:27.560 --> 0:18:31.320
<v Speaker 1>other studies about children's preferences for novelty came through. The

0:18:31.400 --> 0:18:35.040
<v Speaker 1>kids very often reached for and spent more time playing

0:18:35.080 --> 0:18:37.439
<v Speaker 1>with the new toy instead of the toy they had

0:18:37.440 --> 0:18:41.680
<v Speaker 1>already played with. But whether or not there was lingering

0:18:41.800 --> 0:18:45.960
<v Speaker 1>causal ambiguity about the original box made a big difference.

0:18:46.560 --> 0:18:49.199
<v Speaker 1>In the unconfounded conditions, where it was clear how the

0:18:49.240 --> 0:18:53.159
<v Speaker 1>box worked, they spent more time playing with the novel toy,

0:18:53.200 --> 0:18:56.200
<v Speaker 1>but in the confounded condition, where the original toy remained

0:18:56.240 --> 0:18:59.600
<v Speaker 1>a mystery, they spent more time playing with the original

0:18:59.640 --> 0:19:03.600
<v Speaker 1>box that they had already played with, And this suggests

0:19:03.720 --> 0:19:07.240
<v Speaker 1>that a lack of good evidence about how an object

0:19:07.480 --> 0:19:12.520
<v Speaker 1>works is a strong motivating factor driving children towards spending

0:19:12.560 --> 0:19:17.200
<v Speaker 1>time in exploratory play with that object, and in some way,

0:19:17.480 --> 0:19:21.160
<v Speaker 1>most children can tell when the evidence that they're aware

0:19:21.160 --> 0:19:24.240
<v Speaker 1>of is sufficient to understand the workings of the box

0:19:24.640 --> 0:19:28.440
<v Speaker 1>or not. Now, there was one funny little note in

0:19:28.480 --> 0:19:31.040
<v Speaker 1>their results section where they write that in the confounded

0:19:31.040 --> 0:19:33.480
<v Speaker 1>condition where the child hadn't been able to see the

0:19:33.560 --> 0:19:37.440
<v Speaker 1>levers operated independently, so didn't know how it worked. Um,

0:19:37.600 --> 0:19:39.800
<v Speaker 1>they write quote, in the course of their free play

0:19:39.840 --> 0:19:46.399
<v Speaker 1>with the familiar box, children often manipulated the levers simultaneously critically. However,

0:19:46.520 --> 0:19:51.359
<v Speaker 1>twelve of the sixteen children or seven also manipulated each

0:19:51.440 --> 0:19:55.560
<v Speaker 1>lever separately, fully disambiguating the evidence. So I thought that

0:19:55.600 --> 0:19:59.320
<v Speaker 1>was funny that they would they would be curious about Okay,

0:19:59.400 --> 0:20:01.679
<v Speaker 1>there would I'm part of them would know I haven't

0:20:01.760 --> 0:20:05.239
<v Speaker 1>yet figured out how this box works. And yet what

0:20:05.280 --> 0:20:07.240
<v Speaker 1>they would do when they got hold of it often

0:20:07.400 --> 0:20:10.840
<v Speaker 1>was initially repeat the same thing that they had already

0:20:10.840 --> 0:20:13.440
<v Speaker 1>seen happen, which is pressing both lovers at the same time,

0:20:13.720 --> 0:20:16.320
<v Speaker 1>which doesn't tell you anything more than they already learned.

0:20:16.440 --> 0:20:19.159
<v Speaker 1>So like like they know that something's wrong, but they

0:20:19.440 --> 0:20:25.320
<v Speaker 1>don't always immediately figure out how to disambiguate the confounded evidence. Yeah,

0:20:25.400 --> 0:20:27.680
<v Speaker 1>this is fascinating and made me made me think of

0:20:27.720 --> 0:20:30.960
<v Speaker 1>like just of course, just sort of basic toy interactions

0:20:30.960 --> 0:20:33.800
<v Speaker 1>like it made me think for some reason of the panic, Pete.

0:20:33.920 --> 0:20:36.600
<v Speaker 1>Did you do you remember the panic Pete? I'm not sure,

0:20:37.440 --> 0:20:40.200
<v Speaker 1>not yet. Describe it to me. A little pink, sort

0:20:40.200 --> 0:20:45.080
<v Speaker 1>of limbless clown from outer space, and if you squeeze him,

0:20:45.320 --> 0:20:48.760
<v Speaker 1>then the red balls that are in his nose and

0:20:48.920 --> 0:20:52.080
<v Speaker 1>at your holes pop out, and also the blue eyes

0:20:52.119 --> 0:20:54.720
<v Speaker 1>of his the blue balls of his eye sockets. Yes,

0:20:54.800 --> 0:20:57.840
<v Speaker 1>I understand, Panic Pete. Now I seem to recall a

0:20:57.880 --> 0:21:01.040
<v Speaker 1>scene in Jurassic Park where Wayne Knight squeezing one of these,

0:21:01.840 --> 0:21:04.639
<v Speaker 1>chatting with Mr Hammond. Right, Oh, you may be right.

0:21:04.680 --> 0:21:07.040
<v Speaker 1>I forgot about that, but yeah, but you know, it's

0:21:07.040 --> 0:21:08.800
<v Speaker 1>one of these things where if you if you bust

0:21:08.800 --> 0:21:10.639
<v Speaker 1>out this toy in front of a child and you

0:21:10.680 --> 0:21:13.080
<v Speaker 1>squeeze it, you know what the child is going to

0:21:13.119 --> 0:21:15.040
<v Speaker 1>want to do. The child needs to squeeze that toy

0:21:15.119 --> 0:21:18.919
<v Speaker 1>as well to witness this, to to to to to

0:21:19.000 --> 0:21:22.480
<v Speaker 1>have the feeling of of being the the individual in

0:21:22.600 --> 0:21:26.520
<v Speaker 1>power over the pete doll uh and then it's and

0:21:26.960 --> 0:21:29.480
<v Speaker 1>then of course this would not be a treasured toy

0:21:29.600 --> 0:21:33.040
<v Speaker 1>for all eternity. They would squeeze it, however, many many times,

0:21:33.280 --> 0:21:35.800
<v Speaker 1>and then you abandon it because it's it's been used.

0:21:36.280 --> 0:21:39.639
<v Speaker 1>Panic pete has fulfilled all your curiosity. And even as

0:21:39.680 --> 0:21:42.760
<v Speaker 1>a an adult, like that would basically be your experience

0:21:42.760 --> 0:21:45.760
<v Speaker 1>with a panic pete. Um someone gave you one, you

0:21:45.800 --> 0:21:48.480
<v Speaker 1>would be like, Okay, I'll squeeze this a few times. Interesting,

0:21:48.640 --> 0:21:51.480
<v Speaker 1>I have now consumed all of the necessary data, and

0:21:51.520 --> 0:21:54.160
<v Speaker 1>I may set the panic pete aside, well, even thinking

0:21:54.160 --> 0:21:57.119
<v Speaker 1>about like seeing somebody else squeeze the panic pete and

0:21:57.160 --> 0:22:00.760
<v Speaker 1>then um, wanting to squeeze it yourself. I mean, I

0:22:00.800 --> 0:22:04.200
<v Speaker 1>do think there is there are some interesting mysteries that

0:22:04.240 --> 0:22:06.919
<v Speaker 1>like could fill the child's mind before they get a

0:22:07.000 --> 0:22:09.960
<v Speaker 1>chance to try it out, which is like, Okay, would

0:22:10.080 --> 0:22:13.400
<v Speaker 1>just squeezing it normally make it make the eyes pop

0:22:13.400 --> 0:22:15.080
<v Speaker 1>out and the ears pop out and everything? Or do

0:22:15.119 --> 0:22:17.159
<v Speaker 1>I need to squeeze it a special way? Is it

0:22:17.200 --> 0:22:19.720
<v Speaker 1>possible I could squeeze it and it wouldn't work? And

0:22:19.760 --> 0:22:22.280
<v Speaker 1>then what would I need to figure out how to do? Yeah?

0:22:22.400 --> 0:22:25.280
<v Speaker 1>Could I what if I have pushed the eyeballs in

0:22:25.440 --> 0:22:27.679
<v Speaker 1>while squeezing the body, what would that do? You know?

0:22:27.680 --> 0:22:30.040
<v Speaker 1>They're all these these sort of different ways. It's almost

0:22:30.119 --> 0:22:33.639
<v Speaker 1>like a you know, sort of a play testing on it,

0:22:33.720 --> 0:22:35.119
<v Speaker 1>you know, like like what what are the what are

0:22:35.119 --> 0:22:37.000
<v Speaker 1>the limits of the design? How can I sort of

0:22:37.040 --> 0:22:40.320
<v Speaker 1>break the design? Like children want to do that naturally?

0:22:40.400 --> 0:22:42.439
<v Speaker 1>And I mean that's one of the ways that toys

0:22:42.480 --> 0:22:47.760
<v Speaker 1>get broken because the child doesn't doesn't know the limits

0:22:47.760 --> 0:22:50.240
<v Speaker 1>of the design. Yet that's a great point. Yeah, the

0:22:50.840 --> 0:22:54.720
<v Speaker 1>play the toy is often played to extinction. Uh, and

0:22:54.840 --> 0:22:58.760
<v Speaker 1>the you know, they like the bounds of science go

0:22:58.880 --> 0:23:02.080
<v Speaker 1>too far out, like only an adult would say, well,

0:23:02.080 --> 0:23:05.399
<v Speaker 1>don't squeeze panic pe too much. Um, if we wanted

0:23:05.400 --> 0:23:07.720
<v Speaker 1>to look good on the shelf. No, no, it's not

0:23:07.760 --> 0:23:09.760
<v Speaker 1>the child play. But so anyway, to come back to

0:23:09.800 --> 0:23:12.680
<v Speaker 1>the study, it's I think this result is really interesting

0:23:12.680 --> 0:23:16.000
<v Speaker 1>that children seem to be more motivated to play with

0:23:16.040 --> 0:23:19.920
<v Speaker 1>a familiar object if they haven't yet been given evidence

0:23:19.960 --> 0:23:22.639
<v Speaker 1>of how all the different parts of that object work.

0:23:23.359 --> 0:23:27.200
<v Speaker 1>And this appears true, so they can figure out some

0:23:27.280 --> 0:23:32.920
<v Speaker 1>things about what the difference between confounded and unconfounded evidence is.

0:23:33.280 --> 0:23:35.639
<v Speaker 1>At the same time, there are all these findings that

0:23:35.720 --> 0:23:40.399
<v Speaker 1>suggest that children have at least poor metacognitive ability to

0:23:40.560 --> 0:23:45.320
<v Speaker 1>design experiments and explain concepts like confounded evidence, and yet

0:23:45.400 --> 0:23:48.159
<v Speaker 1>at some gut level they do they are able to

0:23:48.280 --> 0:23:51.280
<v Speaker 1>make stuff like that work in practice. Uh. And the

0:23:51.320 --> 0:23:54.640
<v Speaker 1>author's right quote, the exploratory play of even very young

0:23:54.720 --> 0:23:59.160
<v Speaker 1>children appears to reflect some of the logic of scientific inquiry.

0:24:00.160 --> 0:24:02.439
<v Speaker 1>And so, of course, coming back to the idea of

0:24:02.480 --> 0:24:07.000
<v Speaker 1>what is the intrinsic motivation driving most exploratory play, I

0:24:07.280 --> 0:24:10.159
<v Speaker 1>would say overwhelmingly it is fun. So I think this

0:24:10.240 --> 0:24:12.479
<v Speaker 1>is a really interesting piece of evidence that not only

0:24:12.640 --> 0:24:17.200
<v Speaker 1>is fun in young children, probably related to learning how

0:24:17.280 --> 0:24:20.720
<v Speaker 1>things work. A sense of fun can be generated to

0:24:20.760 --> 0:24:25.080
<v Speaker 1>some extent by making the evidence of how something works

0:24:25.320 --> 0:24:31.280
<v Speaker 1>remain obscure or ambiguous. And this reminds me of play

0:24:31.320 --> 0:24:34.600
<v Speaker 1>patterns I remember from my own childhood, when, like, especially

0:24:34.600 --> 0:24:38.399
<v Speaker 1>with certain kinds of electronic toys. You know, like a

0:24:38.400 --> 0:24:40.880
<v Speaker 1>toy that would play one of a number of horribly

0:24:40.960 --> 0:24:45.720
<v Speaker 1>annoying prerecorded sounds or sayings, um, if it would just

0:24:45.800 --> 0:24:49.159
<v Speaker 1>play them in the same orders, like you could cycle

0:24:49.200 --> 0:24:50.880
<v Speaker 1>through them and they'd always be in the same order.

0:24:50.880 --> 0:24:55.280
<v Speaker 1>Instead of randomized. I remember being kind of disappointed once

0:24:55.320 --> 0:24:58.120
<v Speaker 1>I realized that I knew the whole cycle of sounds

0:24:58.160 --> 0:25:01.320
<v Speaker 1>by heart, and this kind of meant the fun was over.

0:25:01.480 --> 0:25:03.680
<v Speaker 1>Like I'd figure it out and they'd be like, oh,

0:25:03.840 --> 0:25:06.320
<v Speaker 1>kind of satisfying feeling, and then it's like, well, this

0:25:06.400 --> 0:25:08.800
<v Speaker 1>toy is dead now. Uh, you know it's all It's

0:25:08.840 --> 0:25:10.959
<v Speaker 1>like the feeling of fun I got from pressing the

0:25:10.960 --> 0:25:14.040
<v Speaker 1>button and making the noise was part of a drive

0:25:14.880 --> 0:25:17.600
<v Speaker 1>for discovery of causal knowledge, and once I had the

0:25:17.680 --> 0:25:20.800
<v Speaker 1>knowledge firmly in hand, there was not much more fun

0:25:20.880 --> 0:25:23.639
<v Speaker 1>to be had with that thing, except maybe by making

0:25:23.760 --> 0:25:28.560
<v Speaker 1>other people react to it. M interesting. Yeah, yeah, Like

0:25:28.640 --> 0:25:31.800
<v Speaker 1>I think back on on my own play patterns. I

0:25:31.840 --> 0:25:34.159
<v Speaker 1>remember like G I Joe figures, the old G I

0:25:34.240 --> 0:25:37.720
<v Speaker 1>Joe figures, and I remember reaching a point where it was,

0:25:37.920 --> 0:25:39.960
<v Speaker 1>you know, I did a lot of imagination play with them,

0:25:40.000 --> 0:25:42.159
<v Speaker 1>but also got to the point where, oh, I have

0:25:42.280 --> 0:25:45.240
<v Speaker 1>this tiny screwdriver, and so now I can take them

0:25:45.240 --> 0:25:48.119
<v Speaker 1>all apart, and I can put them together in different ways,

0:25:48.200 --> 0:25:51.040
<v Speaker 1>and of course you end up with just a tub

0:25:51.080 --> 0:25:56.480
<v Speaker 1>of parts and a few assembled uh the soldiers, and

0:25:56.680 --> 0:25:59.080
<v Speaker 1>I see pretty much it's a very similar thing with

0:25:59.240 --> 0:26:01.680
<v Speaker 1>with my son's a lego obsession is you know, he'll

0:26:01.720 --> 0:26:05.200
<v Speaker 1>he'll build the thing. Uh, he'll make his own changes

0:26:05.240 --> 0:26:07.879
<v Speaker 1>to it. If it's particularly special, it may live on

0:26:07.920 --> 0:26:10.359
<v Speaker 1>a shelf and and sort of have its shelf life

0:26:10.400 --> 0:26:13.240
<v Speaker 1>as being a decoration. But generally, even if it's on

0:26:13.280 --> 0:26:15.800
<v Speaker 1>the shelf, it may be stripped for parts to create

0:26:15.920 --> 0:26:19.080
<v Speaker 1>some new thing. And so you know, it's it's it's

0:26:19.080 --> 0:26:20.800
<v Speaker 1>easy for me to come in and be like, well,

0:26:20.840 --> 0:26:24.240
<v Speaker 1>what happened to this thing about now it's pieces um,

0:26:24.280 --> 0:26:26.199
<v Speaker 1>but like that's part of the process, that's part of

0:26:26.200 --> 0:26:28.679
<v Speaker 1>playing with it. It's the one once you've built it

0:26:28.720 --> 0:26:30.879
<v Speaker 1>and played with a little bit, it's no longer novel.

0:26:31.240 --> 0:26:34.040
<v Speaker 1>It's let's move on to the creation of the next thing.

0:26:34.400 --> 0:26:36.800
<v Speaker 1>So anyway, I thought that study was very interesting and

0:26:36.840 --> 0:26:39.080
<v Speaker 1>though this is beyond the scope of it, it also

0:26:39.160 --> 0:26:43.479
<v Speaker 1>makes me think about the link, even in adults, between

0:26:43.600 --> 0:26:47.480
<v Speaker 1>fun and concepts like surprise and mystery. I think there's

0:26:47.480 --> 0:26:51.720
<v Speaker 1>often a strong connection there. Yeah, yeah, that like anything

0:26:51.800 --> 0:26:54.080
<v Speaker 1>you would you know, any kind of you know, movie,

0:26:54.080 --> 0:26:56.040
<v Speaker 1>you're watching, book, you're reading, whatever that has like a

0:26:56.080 --> 0:26:59.119
<v Speaker 1>sense of surprise or mystery in it. In a way,

0:26:59.200 --> 0:27:02.080
<v Speaker 1>that's sort of keeping you in the fun spirit, even

0:27:02.119 --> 0:27:05.680
<v Speaker 1>like a childhood with a novel toy, because you haven't

0:27:05.720 --> 0:27:08.119
<v Speaker 1>yet figured out all the mechanics, like it's not clear

0:27:08.160 --> 0:27:11.560
<v Speaker 1>how it works. Yeah, I mean, dude, to come back

0:27:11.600 --> 0:27:14.320
<v Speaker 1>to video games, for example, I mean, there's there's completing

0:27:14.320 --> 0:27:18.240
<v Speaker 1>the game, right, there's completing the story. There's there's also

0:27:18.359 --> 0:27:21.360
<v Speaker 1>finding the easter eggs, finding the hidden things in it

0:27:21.960 --> 0:27:25.200
<v Speaker 1>um and then perhaps getting into the glitches, finding ways,

0:27:25.520 --> 0:27:29.000
<v Speaker 1>figuring out where the seams are, where the imperfections are,

0:27:29.080 --> 0:27:32.359
<v Speaker 1>and whatever your level. Like, it's it's ultimately all about

0:27:32.840 --> 0:27:42.479
<v Speaker 1>figuring out the thing, understanding the thing, learning the thing.

0:27:43.280 --> 0:27:46.240
<v Speaker 1>Now on the subject of fun and toys there you know,

0:27:46.280 --> 0:27:49.120
<v Speaker 1>there's of course that additional layer of the imagination we've

0:27:49.160 --> 0:27:51.640
<v Speaker 1>alluded to already. You know, it's one thing to figure

0:27:51.680 --> 0:27:54.480
<v Speaker 1>out the physical properties of say a stuffed teddy bear

0:27:54.720 --> 0:27:58.280
<v Speaker 1>and how it interacts with the world. Very young children

0:27:58.400 --> 0:28:01.159
<v Speaker 1>often seem kind of limb into this. You know, you

0:28:01.240 --> 0:28:03.440
<v Speaker 1>hand them the stuff bear and what do they do. Well,

0:28:03.480 --> 0:28:05.360
<v Speaker 1>they throw the bear against the wall, where they throw

0:28:05.400 --> 0:28:06.920
<v Speaker 1>the bear across the car, and then you hand it

0:28:06.960 --> 0:28:08.439
<v Speaker 1>back to them and they do it again. It's just

0:28:08.600 --> 0:28:12.080
<v Speaker 1>endless fun. Um. And if you were I and if

0:28:12.080 --> 0:28:14.720
<v Speaker 1>you're expecting a child like that to spend more time

0:28:14.800 --> 0:28:18.399
<v Speaker 1>snuggling the bear or or or giving the bear a

0:28:18.400 --> 0:28:21.840
<v Speaker 1>little picnic, you might be disappointed because nothing is as

0:28:21.880 --> 0:28:24.760
<v Speaker 1>fun as throwing the bear against the wall. But I mean,

0:28:24.840 --> 0:28:27.680
<v Speaker 1>let's you know, let's not under I mean, throwing is fun.

0:28:27.800 --> 0:28:31.440
<v Speaker 1>I like throwing too, Yeah, yeah, And of course it's

0:28:31.760 --> 0:28:33.959
<v Speaker 1>in a social engagement like this too. You're also you're

0:28:33.960 --> 0:28:35.320
<v Speaker 1>not just playing with the bear, You're also playing with

0:28:35.320 --> 0:28:37.240
<v Speaker 1>the adult. You're getting a rise out of the adult,

0:28:37.240 --> 0:28:38.960
<v Speaker 1>like they're running to get it. It's a big fun

0:28:39.080 --> 0:28:41.800
<v Speaker 1>right in a way the other person there is also

0:28:41.920 --> 0:28:46.080
<v Speaker 1>the toy, right. But but then there is the level

0:28:46.080 --> 0:28:49.040
<v Speaker 1>of the teddy bears picnic. There's the level of of

0:28:49.080 --> 0:28:53.680
<v Speaker 1>teddy bears battling each other, battling of their stuffed animals. Um,

0:28:54.080 --> 0:28:58.280
<v Speaker 1>the various battles, discoveries, adventures that toys may go on.

0:28:58.680 --> 0:29:01.800
<v Speaker 1>And so there's a whole domain fun and with toys,

0:29:01.840 --> 0:29:05.680
<v Speaker 1>and certainly even fun without physical totems as well, that

0:29:05.800 --> 0:29:08.280
<v Speaker 1>I think we might well consider fun. I mean, it's

0:29:08.280 --> 0:29:11.680
<v Speaker 1>just it's fun to engage your imagination in these scenarios

0:29:11.760 --> 0:29:15.280
<v Speaker 1>and um, and these aren't really games per se. Like

0:29:15.320 --> 0:29:18.800
<v Speaker 1>if teddy bears are having a picnic, unless the child

0:29:19.320 --> 0:29:22.120
<v Speaker 1>I don't know has a has just a very gifted

0:29:22.680 --> 0:29:26.160
<v Speaker 1>mind for game design, there's probably not a game mechanic

0:29:26.200 --> 0:29:28.760
<v Speaker 1>to what's going on. Likewise, if teddy bears are battling

0:29:28.800 --> 0:29:32.200
<v Speaker 1>each other or action figures are exploding all over the

0:29:32.240 --> 0:29:34.640
<v Speaker 1>living room, right. And in fact, I would say children

0:29:34.680 --> 0:29:37.760
<v Speaker 1>often have very poor instincts about how to design a

0:29:37.840 --> 0:29:42.840
<v Speaker 1>fun game. Oh good god, yes, I've occasionally there will

0:29:42.880 --> 0:29:44.440
<v Speaker 1>be a game that has been designed and I'll be

0:29:44.480 --> 0:29:46.880
<v Speaker 1>asked to play it, and um, I mean it's great,

0:29:46.960 --> 0:29:48.800
<v Speaker 1>it's great that the mind is already going there. But

0:29:50.120 --> 0:29:52.800
<v Speaker 1>you know, early game design is often a bit clunky,

0:29:53.040 --> 0:29:55.600
<v Speaker 1>So they have better examples than than than I feel

0:29:55.600 --> 0:29:57.920
<v Speaker 1>like I did as a kid. Like I remember designing

0:29:57.960 --> 0:30:00.440
<v Speaker 1>horrible games as a as a child out but I

0:30:00.920 --> 0:30:04.360
<v Speaker 1>had horrible examples to go off off for the most part. Yeah,

0:30:04.440 --> 0:30:08.640
<v Speaker 1>So these activities, you know, they're not really games again,

0:30:08.680 --> 0:30:13.040
<v Speaker 1>they lack any uh, you know, rule structure. Instead, they

0:30:13.040 --> 0:30:16.760
<v Speaker 1>seem to be orchestrated dramas of the mind that use

0:30:16.920 --> 0:30:21.160
<v Speaker 1>physical totems and idols. And this is interesting because, unlike

0:30:21.160 --> 0:30:24.520
<v Speaker 1>some of the previous examples, it seems at least like

0:30:24.640 --> 0:30:27.080
<v Speaker 1>there's less of a firm connection to learning, right, at

0:30:27.120 --> 0:30:29.400
<v Speaker 1>least at first it may seem that way because what

0:30:29.640 --> 0:30:32.720
<v Speaker 1>is being learned at the Teddy Bears picnic? You already

0:30:32.720 --> 0:30:36.400
<v Speaker 1>know what the bear is. You're not unlocking some mystery

0:30:36.440 --> 0:30:40.920
<v Speaker 1>of the object, right. Uh, it's But on the other hand,

0:30:40.920 --> 0:30:44.600
<v Speaker 1>if it's not learning as fun than what's going on here,

0:30:44.680 --> 0:30:47.400
<v Speaker 1>why is the child doing it? This child who again

0:30:47.800 --> 0:30:50.200
<v Speaker 1>is this sponge that has to take in all of

0:30:50.200 --> 0:30:55.040
<v Speaker 1>this data about the world and and and essentially a

0:30:55.120 --> 0:30:57.680
<v Speaker 1>form an adult mind out of it all. Well, yeah,

0:30:57.680 --> 0:31:00.760
<v Speaker 1>but I see what you're saying about that. Even though

0:31:01.040 --> 0:31:05.440
<v Speaker 1>it's harder to see exactly how imagination plays about learning,

0:31:05.480 --> 0:31:08.720
<v Speaker 1>I would probably liken it too. You know, the difference

0:31:08.760 --> 0:31:12.560
<v Speaker 1>between imagination play and playing with the physical object like

0:31:12.600 --> 0:31:14.920
<v Speaker 1>a toy that has mechanics is kind of the difference

0:31:14.960 --> 0:31:18.640
<v Speaker 1>between a thought experiment and a physical experiment. A thought

0:31:18.680 --> 0:31:22.840
<v Speaker 1>experiment can still be informative, it's just it's just an

0:31:22.960 --> 0:31:26.040
<v Speaker 1>informative in a looser way, like it relies on you

0:31:26.200 --> 0:31:30.240
<v Speaker 1>having good intuitions about what's plausible and what would happen

0:31:30.600 --> 0:31:34.040
<v Speaker 1>without checking against the laws of physics. Yeah, yeah, that

0:31:34.040 --> 0:31:35.960
<v Speaker 1>I think that does get to some of what seems

0:31:36.000 --> 0:31:38.440
<v Speaker 1>to be going on here. And now I want to

0:31:38.520 --> 0:31:41.640
<v Speaker 1>drive home that we're not doing an exhaustive look at

0:31:41.680 --> 0:31:44.560
<v Speaker 1>imagination play here. There's a lot of scholarship out there

0:31:44.760 --> 0:31:48.520
<v Speaker 1>about imagination play and early childhood learning. But so I'm

0:31:48.560 --> 0:31:51.600
<v Speaker 1>just essentially carving out like a few thoughts on this

0:31:51.680 --> 0:31:53.440
<v Speaker 1>here that I think play well with what we've been

0:31:53.440 --> 0:31:57.640
<v Speaker 1>discussing in these these fun episodes. But in the context

0:31:57.640 --> 0:32:00.560
<v Speaker 1>of humor on the past episod oades of stuff to

0:32:00.560 --> 0:32:04.360
<v Speaker 1>bow your mind, we've discussed incongruity theory before, or more

0:32:04.400 --> 0:32:09.840
<v Speaker 1>formally and clearly, incongruity resolution theory. Some incongruity in the

0:32:09.840 --> 0:32:13.800
<v Speaker 1>world is observed, and by resolving it, and if we're

0:32:13.840 --> 0:32:16.560
<v Speaker 1>talking about humor, we're talking about cracking a joke or

0:32:16.880 --> 0:32:19.840
<v Speaker 1>you know, or or engaging with humor of some kind,

0:32:20.040 --> 0:32:25.120
<v Speaker 1>we reduce the tension that that incongruity created, and in

0:32:25.160 --> 0:32:27.720
<v Speaker 1>doing so we release a feeling of joy. Just a

0:32:27.800 --> 0:32:31.000
<v Speaker 1>quick reminder that in that uh, fun, fun, fun study

0:32:31.040 --> 0:32:33.960
<v Speaker 1>that we talked about in the previous episode where people

0:32:34.000 --> 0:32:37.480
<v Speaker 1>were asked to remember a fun situation and then later

0:32:37.640 --> 0:32:41.680
<v Speaker 1>circle all of the words that described it accurately. The

0:32:41.800 --> 0:32:45.320
<v Speaker 1>number one word circled was happiness or happy, but the

0:32:45.440 --> 0:32:49.440
<v Speaker 1>number two was laughing. So there's clearly a strong natural

0:32:49.520 --> 0:32:52.800
<v Speaker 1>association people have between the idea of fun and between

0:32:53.040 --> 0:32:55.560
<v Speaker 1>and humor. Yeah. Yeah, So it would be natural that

0:32:55.600 --> 0:32:58.800
<v Speaker 1>there would be some overlap between these these areas of study.

0:32:59.320 --> 0:33:01.960
<v Speaker 1>So in particular this time around that I was looking

0:33:02.000 --> 0:33:05.760
<v Speaker 1>at a book by by Dorothy G. And Jerome L.

0:33:05.920 --> 0:33:08.360
<v Speaker 1>Singer from two thousand nine titled The House of Make

0:33:08.440 --> 0:33:10.800
<v Speaker 1>Believe that I thought, that's some insightful content in it.

0:33:11.520 --> 0:33:14.600
<v Speaker 1>One quote from the book here quote playful interactions between

0:33:14.640 --> 0:33:17.720
<v Speaker 1>self and others, or in the case of pure fantasy,

0:33:17.760 --> 0:33:22.360
<v Speaker 1>play self and symbolic others, or between self and objects

0:33:22.480 --> 0:33:26.600
<v Speaker 1>usually results in a somewhat reduced level of novelty or

0:33:26.640 --> 0:33:31.680
<v Speaker 1>incongruity that evokes joy. So the idea of tackling novelty

0:33:31.760 --> 0:33:34.640
<v Speaker 1>here this is This is interesting because it does seem

0:33:34.680 --> 0:33:36.760
<v Speaker 1>like more we focus on in these episodes, seems like

0:33:37.080 --> 0:33:39.920
<v Speaker 1>we're driven to understand something to the point of making

0:33:39.920 --> 0:33:43.120
<v Speaker 1>it mundane, where like, give me that novelty. So I

0:33:43.160 --> 0:33:45.840
<v Speaker 1>can destroy all of its allure, and once the allure

0:33:45.920 --> 0:33:48.480
<v Speaker 1>has been drained from it, then I will discard it,

0:33:48.560 --> 0:33:50.760
<v Speaker 1>or I'll put it on the shelf, etcetera. Yeah, it's

0:33:50.760 --> 0:33:52.880
<v Speaker 1>like I want to suck all of the fun out

0:33:52.880 --> 0:33:55.080
<v Speaker 1>of this thing and make it not fun anymore in

0:33:55.120 --> 0:33:58.239
<v Speaker 1>the process, Like the fund is almost a you know,

0:33:58.320 --> 0:34:01.400
<v Speaker 1>it's it's not actually a physical abstance in the object,

0:34:01.440 --> 0:34:03.240
<v Speaker 1>but it might as well be. And once you have

0:34:03.400 --> 0:34:07.560
<v Speaker 1>drained it by extracting all of the novel information that

0:34:07.640 --> 0:34:09.719
<v Speaker 1>you can get from it, you've done all the experiments

0:34:09.760 --> 0:34:13.319
<v Speaker 1>you can. Now you've taken the fun and it's gone right.

0:34:14.320 --> 0:34:16.319
<v Speaker 1>So it's easy to understand that with the object like

0:34:16.360 --> 0:34:19.759
<v Speaker 1>the panic pete. You know, you squeeze it, squeeze it

0:34:19.800 --> 0:34:21.600
<v Speaker 1>until it's not no longer fun anymore than you get

0:34:21.640 --> 0:34:23.640
<v Speaker 1>rid of it. But the world is full of novel

0:34:23.760 --> 0:34:30.160
<v Speaker 1>and incongruous things, situations, feelings and more. Um So these

0:34:30.200 --> 0:34:32.719
<v Speaker 1>are all things that the child has to has to

0:34:33.120 --> 0:34:35.600
<v Speaker 1>has to make sense of and to process. There's a

0:34:35.640 --> 0:34:37.600
<v Speaker 1>lot of data coming in and they get has to

0:34:37.640 --> 0:34:41.520
<v Speaker 1>deal with it. Uh So this is just one theory, naturally,

0:34:41.520 --> 0:34:44.960
<v Speaker 1>but the idea here is that examples of imagination play

0:34:45.320 --> 0:34:49.600
<v Speaker 1>dip into the world of simulation and control of incongruous

0:34:50.120 --> 0:34:54.920
<v Speaker 1>realities that help us help better prepare us for those realities.

0:34:55.360 --> 0:34:57.920
<v Speaker 1>And the control factor is key here as well, because

0:34:58.200 --> 0:35:01.960
<v Speaker 1>we're generally considering incong reality in the adult world that

0:35:02.120 --> 0:35:05.359
<v Speaker 1>children certainly have no control over. Like there's something there's

0:35:05.400 --> 0:35:10.960
<v Speaker 1>something strange in the adult world that you don't fully understand, um,

0:35:11.040 --> 0:35:15.319
<v Speaker 1>and you certainly don't have control over it. But then

0:35:15.800 --> 0:35:20.360
<v Speaker 1>by engaging in imaginative play, you sort of create a

0:35:20.400 --> 0:35:22.239
<v Speaker 1>model of it, a model of what might be going

0:35:22.280 --> 0:35:24.319
<v Speaker 1>on or what you've come to understand is going on,

0:35:24.880 --> 0:35:27.640
<v Speaker 1>and and it's one that you can control and manipulate. Yeah,

0:35:27.680 --> 0:35:30.600
<v Speaker 1>it seems like a lot of the imaginative play behaviors

0:35:30.640 --> 0:35:35.799
<v Speaker 1>of children are uh, creating and trying to mimic scenarios

0:35:35.840 --> 0:35:38.359
<v Speaker 1>that they would have observed in the adult world, either

0:35:38.600 --> 0:35:41.040
<v Speaker 1>you know, in person or in media some way that

0:35:41.120 --> 0:35:45.319
<v Speaker 1>they don't fully understand that they partially but don't fully understand,

0:35:45.560 --> 0:35:48.200
<v Speaker 1>and trying to act it out or imagine it out

0:35:48.640 --> 0:35:53.000
<v Speaker 1>maybe too somehow better grasp how it works. Yeah. Yeah,

0:35:53.200 --> 0:35:57.600
<v Speaker 1>they The authors here also point out citing Diana Schmuckler's work.

0:35:57.920 --> 0:36:01.880
<v Speaker 1>They point out that brief story, be they real stories

0:36:02.160 --> 0:36:06.719
<v Speaker 1>or fictions or myths, etcetera. They assist children in the

0:36:06.760 --> 0:36:10.960
<v Speaker 1>creation of schemas or scripts, which, when matched with previously

0:36:11.000 --> 0:36:13.960
<v Speaker 1>formed schemes or scripts, can help to reduce fear or

0:36:14.040 --> 0:36:18.640
<v Speaker 1>confusion brought on by novelty and incongruity in the world.

0:36:18.960 --> 0:36:21.520
<v Speaker 1>And I found that really interesting because it reminds me

0:36:21.600 --> 0:36:25.160
<v Speaker 1>of a lot a lot of what what I would

0:36:25.239 --> 0:36:29.560
<v Speaker 1>hear as a parent, especially early on with our son

0:36:30.760 --> 0:36:35.600
<v Speaker 1>hearing uh, like the doctor asked about imagination play, and like, well,

0:36:35.640 --> 0:36:38.200
<v Speaker 1>what is the imagination play consists of? And so forth

0:36:38.560 --> 0:36:41.439
<v Speaker 1>and and and certainly parents can think of all sorts

0:36:41.480 --> 0:36:44.719
<v Speaker 1>of strange or in hilarious examples of this too. It's

0:36:44.760 --> 0:36:47.239
<v Speaker 1>not just a situation where the children are going to

0:36:47.719 --> 0:36:50.120
<v Speaker 1>just carry out the same story over and over again

0:36:50.160 --> 0:36:51.919
<v Speaker 1>that they've heard. No, there will be tweaks, there will

0:36:51.920 --> 0:36:56.120
<v Speaker 1>be changes, and and in to to the parents mind,

0:36:56.160 --> 0:36:58.960
<v Speaker 1>it might be strange like, okay, you're doing you're reenacting

0:36:59.040 --> 0:37:02.680
<v Speaker 1>this battle from our wars, but the Pokemon are here

0:37:02.719 --> 0:37:05.680
<v Speaker 1>as well, and of course they're just you know, or

0:37:05.840 --> 0:37:08.160
<v Speaker 1>they're probably better examples of that, and probably more like

0:37:08.200 --> 0:37:11.040
<v Speaker 1>sort of personally poignant examples of that. But it's the

0:37:11.080 --> 0:37:13.759
<v Speaker 1>taking of these scripts, these schemes, and combining them with

0:37:13.800 --> 0:37:18.120
<v Speaker 1>other schemas, putting twists on them, and and and then control.

0:37:18.239 --> 0:37:22.120
<v Speaker 1>It's like little thought experiments carried out over and over again.

0:37:22.480 --> 0:37:25.239
<v Speaker 1>And I think sometimes it's observed where like there'll be

0:37:25.320 --> 0:37:29.120
<v Speaker 1>something like a death, and a child will take death

0:37:29.239 --> 0:37:33.520
<v Speaker 1>and introduce death into the imagination play of a given scenario,

0:37:33.640 --> 0:37:36.360
<v Speaker 1>and like that's clearly a part of processing what this means. Like,

0:37:36.360 --> 0:37:41.920
<v Speaker 1>here's this this huge, um alarming, potentially traumatizing thing that happens,

0:37:42.440 --> 0:37:44.640
<v Speaker 1>and and you know, perhaps you haven't been been that

0:37:44.680 --> 0:37:47.239
<v Speaker 1>well prepared for it. Where can you test that out?

0:37:47.280 --> 0:37:49.360
<v Speaker 1>Where can you process that? Where can you take some

0:37:49.400 --> 0:37:52.120
<v Speaker 1>of the edge off of that? But in play, introducing

0:37:52.160 --> 0:37:55.360
<v Speaker 1>the unfamiliar into the play makes it fun, It keeps

0:37:55.360 --> 0:37:59.360
<v Speaker 1>it fun. Yeah, Yeah, that's another That's that's another important

0:37:59.640 --> 0:38:05.919
<v Speaker 1>thing to think about. Like there's this we're drawn to novelty. Well,

0:38:06.080 --> 0:38:09.319
<v Speaker 1>if you begin to employ your imagination, you can keep

0:38:09.400 --> 0:38:13.360
<v Speaker 1>making something novel. You can keep interjecting the injecting the

0:38:13.400 --> 0:38:16.800
<v Speaker 1>novel into the scenario, into the into the toy itself,

0:38:16.840 --> 0:38:19.600
<v Speaker 1>even and the game that reminds me to coming back

0:38:19.600 --> 0:38:22.640
<v Speaker 1>to games. Uh, like, what is what? What do you

0:38:22.680 --> 0:38:25.479
<v Speaker 1>do when you have a successful game that resonates with people? Well,

0:38:25.480 --> 0:38:28.080
<v Speaker 1>it's you gotta bust out some some DLC, right, You

0:38:28.160 --> 0:38:30.480
<v Speaker 1>gotta bust out some expansions for your board game. You

0:38:30.480 --> 0:38:33.799
<v Speaker 1>gotta bust out eventually a sequel, and you you you

0:38:33.880 --> 0:38:36.480
<v Speaker 1>stay true to some extent, but you add new features,

0:38:36.480 --> 0:38:40.000
<v Speaker 1>You add new you make the familiar novel again, and

0:38:40.080 --> 0:38:42.239
<v Speaker 1>that's the key to success. Well, I mean, I think

0:38:42.239 --> 0:38:43.640
<v Speaker 1>about the ways that when I was a kid, we

0:38:43.680 --> 0:38:48.040
<v Speaker 1>would take a familiar game with physically familiar mechanics such

0:38:48.040 --> 0:38:51.680
<v Speaker 1>as Tag and just sort of skin it over with

0:38:52.120 --> 0:38:55.360
<v Speaker 1>we are these characters chasing each other, you know, we're

0:38:55.400 --> 0:38:59.040
<v Speaker 1>from this movie or and and it would change. Yeah,

0:38:59.080 --> 0:39:01.600
<v Speaker 1>you're still going chase, but it takes on this different

0:39:01.640 --> 0:39:05.520
<v Speaker 1>imaginative dimension. I wonder, I wonder if anybody's ever experimented

0:39:05.560 --> 0:39:08.040
<v Speaker 1>with this, you know, kids playing a common game like

0:39:08.160 --> 0:39:11.799
<v Speaker 1>Tag or something and trying out. Okay, now if you

0:39:11.840 --> 0:39:15.240
<v Speaker 1>imagine yourself as these characters while playing, does it change

0:39:15.280 --> 0:39:17.040
<v Speaker 1>the way they play the game? Do they do anything

0:39:17.080 --> 0:39:20.560
<v Speaker 1>physically different? Oh? I bet I I'm almost certain they

0:39:20.600 --> 0:39:24.880
<v Speaker 1>do especially if if it involves really embodying certain characters

0:39:25.000 --> 0:39:29.799
<v Speaker 1>or animals. I've certainly observed kids playing tag where they'll yeah,

0:39:29.840 --> 0:39:31.640
<v Speaker 1>they're all going to be cats and dogs, and it

0:39:31.680 --> 0:39:34.920
<v Speaker 1>does seem to change the way that they play. Sometimes

0:39:34.920 --> 0:39:37.160
<v Speaker 1>it's a little frightening because they're like, oh man, they're

0:39:37.160 --> 0:39:40.640
<v Speaker 1>really really acting like animals out there. Anyway, I think

0:39:40.680 --> 0:39:42.959
<v Speaker 1>I think it's all interesting to think about. But again

0:39:42.960 --> 0:39:47.200
<v Speaker 1>I want to drive home that that obviously early childhood

0:39:47.200 --> 0:39:51.120
<v Speaker 1>development and childhood learning again huge field, lots of work

0:39:51.400 --> 0:39:54.279
<v Speaker 1>within those fields. We're only looking at a few examples here,

0:39:54.520 --> 0:39:56.560
<v Speaker 1>so please don't take anything we're saying here. It's like

0:39:56.640 --> 0:39:59.320
<v Speaker 1>this is this is the golden and uh and only

0:39:59.400 --> 0:40:04.480
<v Speaker 1>truth concerning childhood play and imagination, et cetera. All right, well,

0:40:04.480 --> 0:40:06.760
<v Speaker 1>I think maybe we're gonna need to call part two

0:40:07.000 --> 0:40:09.240
<v Speaker 1>of our series on fun there. We may in fact

0:40:09.280 --> 0:40:11.360
<v Speaker 1>be back with the part three. Well, we'll leave that

0:40:11.400 --> 0:40:13.319
<v Speaker 1>as a surprise for you. You've got to figure out

0:40:13.320 --> 0:40:15.360
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0:40:15.400 --> 0:40:17.040
<v Speaker 1>we're not going to give you all the clues ahead

0:40:17.080 --> 0:40:21.200
<v Speaker 1>of time, right That podcast feed, by the way, is

0:40:21.239 --> 0:40:23.279
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0:40:23.280 --> 0:40:26.440
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0:40:33.840 --> 0:40:37.440
<v Speaker 1>most serious concerns and just talk about a fun and

0:40:37.560 --> 0:40:40.360
<v Speaker 1>weird film. Huch. Thanks as always to our excellent audio

0:40:40.400 --> 0:40:43.160
<v Speaker 1>producer Seth Nicholas Johnson. If you would like to get

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