WEBVTT - From the Vault: Pretend Play, Part 4

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<v Speaker 1>Hey, you welcome to Stuff to Blow Your Mind. It's

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<v Speaker 1>Saturday Fault episode coming at you. Pretend Play Part four.

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<v Speaker 1>It's that simple. This was part four of five and

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<v Speaker 1>it originally published one one, twenty twenty five. Let's have it.

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<v Speaker 2>Welcome to Stuff to Blow Your Mind production of iHeartRadio.

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<v Speaker 1>Hey, welcome to Stuff to Blow Your Mind. My name

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<v Speaker 1>is Robert Lamb.

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<v Speaker 3>And I am Joe McCormick. And today we returned the

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<v Speaker 3>fourth installment in our discussion of pretend play, play that

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<v Speaker 3>involves non literal action and understanding. So when I pretend

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<v Speaker 3>my fingers are worms crawling up the side of the couch,

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<v Speaker 3>that's going on in our house this week, by the way,

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<v Speaker 3>fingers are worms. Or when I pretend a cardboard box

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<v Speaker 3>becomes the castle grace skull, or when I change the

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<v Speaker 3>diaper on a stuffed velociraptor, or if I go on

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<v Speaker 3>adventures in the backyard with an imaginary friend. These are

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<v Speaker 3>all forms of pretend play play that takes place within

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<v Speaker 3>a pretend frame and treats anything in the world or

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<v Speaker 3>in the situation as other than what it literally is. Now,

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<v Speaker 3>if you haven't heard the previous parts in this series,

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<v Speaker 3>I think This is one where we really would recommend

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<v Speaker 3>listening in order. We're going to be building on some

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<v Speaker 3>conversations we had in previous episodes today, but in those

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<v Speaker 3>previous installments to refresh, we talked about ways that researchers

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<v Speaker 3>define and subdivide pretend play into activities like object substitution.

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<v Speaker 3>So one of our favorite examples is banana is a telephone.

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<v Speaker 3>They talk about that a lot in the research enactment

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<v Speaker 3>play where you Might be. You know, I am cooking

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<v Speaker 3>dinner in my play Kitchen replica, play where you have

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<v Speaker 3>my toy Triceratops is cooking dinner in the dollhouse, imaginary companions,

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<v Speaker 3>and other things. We talked about possible links explored in

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<v Speaker 3>the research between pretend play and the development of advanced

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<v Speaker 3>cognitive skills like symbolic understanding, counterfactual reasoning, and theory of mind,

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<v Speaker 3>addressing the question of whether pretending might help children develop

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<v Speaker 3>some of those important faculties, or at least whether pretending

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<v Speaker 3>in those faculties might draw on the same underlying neural structures.

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<v Speaker 3>In Part two, we talked in more depth about research

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<v Speaker 3>on imaginary friends and imaginary companions, how often they manifest

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<v Speaker 3>within and across different cultures, what forms they take, what

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<v Speaker 3>children believe they know, and things like that. In the

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<v Speaker 3>most recent episode, we looked more at the question of

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<v Speaker 3>how adult culture influences pretend play among children, noting that

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<v Speaker 3>while pretending does appear to be basically universal, there is

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<v Speaker 3>pretty wide variation in how much children play pretend and

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<v Speaker 3>in the themes of the pretend play in some particular cases,

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<v Speaker 3>in the framing of whether pretend entities are understood as

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<v Speaker 3>real in some important way or not. And then last

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<v Speaker 3>time we also examined the fascinating phenomenon of paracosms, essentially

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<v Speaker 3>extending the concept of an imaginary friend to where it

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<v Speaker 3>is not only a single character or playmate, but an

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<v Speaker 3>entire imaginary world, maybe with its own geography, culture, populations,

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<v Speaker 3>and rules. And we discussed links between a childhood tendency

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<v Speaker 3>to generate paracosms and things like creativity in later life.

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<v Speaker 1>Yeah. Yeah, and I have a paracosm update here. Oh really, yeah,

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<v Speaker 1>because after we'd record this, I realized, well, my child

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<v Speaker 1>is twelve and almost thirteen, which places them toward the

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<v Speaker 1>end of what is broadly considered the paracosm period for kids.

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<v Speaker 1>So I asked them the next morning over breakfast. I

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<v Speaker 1>was like, I know, you had some pretend worlds and

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<v Speaker 1>or have pretend worlds that you sometimes in Gaine with

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<v Speaker 1>other friends. Tell me about them, and so they laid

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<v Speaker 1>it all out for me. They said, there are two

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<v Speaker 1>pretend worlds, both of them social in nature, that they

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<v Speaker 1>shared with one particular other friend. So one of these

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<v Speaker 1>with one friend is essentially an extrapolation of Star Wars.

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<v Speaker 1>They said. It's different planets set in the Old Republic

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<v Speaker 1>era on which Jedis have adventures. Okay, which I think

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<v Speaker 1>that's a pretty good example because it's like, clearly it's

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<v Speaker 1>built upon the Star Wars universe, but a universe like

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<v Speaker 1>the Star Wars universe is kind of limitless, so yeah,

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<v Speaker 1>you can build out other things that draw on the

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<v Speaker 1>existing Star Wars lore but generate new ideas as well.

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<v Speaker 1>And then the other one, I think this was earlier,

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<v Speaker 1>was a really wild take on Pokemon that they had

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<v Speaker 1>with another friend that was super into Pokemon at the time,

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<v Speaker 1>and they would describe these epic wars between Pokemon factions

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<v Speaker 1>and like an e Pikachu. It was really wild and

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<v Speaker 1>at the time it was like it at times it

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<v Speaker 1>was a little much. I was like, this is Pikachu's

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<v Speaker 1>at an ally, guys, what are you doing?

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<v Speaker 3>Is evil Pikachu already a thing? Or is that that's

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<v Speaker 3>purely original?

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<v Speaker 1>I mean, Pikachu's been around long enough. I imagine all

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<v Speaker 1>variations possible have been drummed off. Pikachu, I'm sure has

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<v Speaker 1>played a role in various paracosms.

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<v Speaker 3>I am Pikachu, I contain multitudes.

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<v Speaker 1>Yeah, for some reason, these kids didn't like Pikachu. I

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<v Speaker 1>think they didn't like Pikachu's fame, like Pikachu being the

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<v Speaker 1>most famous of the Pokemon, but they love Piachu, the

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<v Speaker 1>Pokemon that evolves into Pikachu. So there you go.

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<v Speaker 3>Gotta take Pikachu down a pig I guess so well. Obviously,

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<v Speaker 3>Pretend to Play is a really rich subject where we

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<v Speaker 3>just keep finding new angles to examine and things to

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<v Speaker 3>talk about. I don't know exactly how many parts we're

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<v Speaker 3>going to go to here. This will be part four.

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<v Speaker 3>We may actually make it to part five in this series.

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<v Speaker 3>But there was something I wanted to address in today's episode.

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<v Speaker 3>One reason is that one of the big overviews of

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<v Speaker 3>Pretend to Play research addressing like the links with other

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<v Speaker 3>cognitive capacities and stuff like that. One of the big

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<v Speaker 3>overviews we talked about. It's about ten years old at

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<v Speaker 3>this point, so I was looking around for some more

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<v Speaker 3>recent research on pretend to play to see if there

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<v Speaker 3>are kind of updates to any of the stuff we've

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<v Speaker 3>already talked about. Obviously there's new stuff coming out all

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<v Speaker 3>the time. But one thing that caught my attention was

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<v Speaker 3>when I came across an interesting write up in Nautilus

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<v Speaker 3>by Elena Rankin from September twenty twenty four, which was

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<v Speaker 3>reporting on a paper published in the journal Cognitive Development

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<v Speaker 3>the same year. And that paper was by a pair

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<v Speaker 3>of researchers named Elena Hoyka who is affiliated with the

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<v Speaker 3>University of Bristol, and Eloise Prutin, who at the time

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<v Speaker 3>I believe was a trainee clinical psychologist at Oxford. And

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<v Speaker 3>this paper is called the Early Pretending Survey or EPs,

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<v Speaker 3>A Reliable Parent Report Measure of pretense type development for

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<v Speaker 3>four to forty seven month olds. Now, we've already talked

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<v Speaker 3>about a few different kinds of pretend play and how

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<v Speaker 3>they don't all emerge at once, but rather come online

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<v Speaker 3>at different times as a child grows up. As the

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<v Speaker 3>children develop different mental and physical capabilities. Something interesting that

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<v Speaker 3>this twenty twenty four paper did was get really granular

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<v Speaker 3>in that specific regard breaking pretend play down into lots

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<v Speaker 3>of different categories, in fact, into nineteen different categories of activity.

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<v Speaker 3>And then they did a large survey of the parents

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<v Speaker 3>of about nine hundred kids between the ages of four

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<v Speaker 3>months old to forty seven months, which is just shy

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<v Speaker 3>four years old, to try to get fine detail on

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<v Speaker 3>when parents observed all these different types of pretend play

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<v Speaker 3>first manifesting. Now you might think nineteen different types of pretending,

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<v Speaker 3>like how do you get to that? Like beyond the

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<v Speaker 3>banana phone, I don't know what else is there? You

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<v Speaker 3>gotta imagine andary friends, banana phone, I'm a lion. What's left?

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<v Speaker 3>And it's true that some of these categories they explore

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<v Speaker 3>are kind of overlapping or are kind of subdivisions of

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<v Speaker 3>activities we've already talked about into two different subtypes, but

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<v Speaker 3>I still thought it was really interesting, and this brought

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<v Speaker 3>up stuff that I had actually observed with my own

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<v Speaker 3>daughter but had sort of forgotten about in our earlier

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<v Speaker 3>discussions of pretend play from this series. So I want

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<v Speaker 3>to look through this list of play activities from the paper.

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<v Speaker 1>Okay, all right, this will be fun because yeah, I

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<v Speaker 1>think we can compare notes in multiple ways here.

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<v Speaker 3>So we're going to start with some we haven't really

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<v Speaker 3>talked about before. One category is pretending to be in

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<v Speaker 3>another state. Now that's not a state, like a geographic region,

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<v Speaker 3>a state, another state of being, like pretending to be asleep,

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<v Speaker 3>or pretending to sneeze when you don't actually have to sneeze.

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<v Speaker 3>Somewhat similar but a little bit different, is pretending to cry.

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<v Speaker 1>Okay, there are different dynamics to all of these, because

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<v Speaker 1>you know, you can pretend to cry and work yourself

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<v Speaker 1>up to a real cry. Oh sure, I don't know

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<v Speaker 1>if you can do that with a sneeze. Maybe there's

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<v Speaker 1>been research into this. Likewise, you can pretend to be

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<v Speaker 1>asleep and fall asleep.

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<v Speaker 3>But yeah, okay, here's another one. Pretending to do everyday

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<v Speaker 3>adult activities like cooking or driving. We could think of

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<v Speaker 3>this as a kind of enactment play. So we've already

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<v Speaker 3>talked about versions of this. Pretending that this is apparently

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<v Speaker 3>really big. It sounds very specific, but it's a very

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<v Speaker 3>very commonly observed thing. Pretending empty vessels are full, so

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<v Speaker 3>drinking from an actually empty cup or pouring One example

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<v Speaker 3>I thought of is pouring invisible cereal out of an

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<v Speaker 3>empty cereal box into a bowl. And this one can

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<v Speaker 3>actually split up into three subtypes. So there is pretending

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<v Speaker 3>empty vessels are full in relation to serving the self,

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<v Speaker 3>like I drink from a literally cup. Then there is

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<v Speaker 3>pretending empty vessels are full. On another, I feed my

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<v Speaker 3>doll from this empty cup, or I try to make

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<v Speaker 3>Dad drink from the empty cup, and then finally pretending

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<v Speaker 3>empty vessels are full on many others. So I'm feeding

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<v Speaker 3>many different toys or people in this manner.

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<v Speaker 4>Yeah.

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<v Speaker 1>Yeah, looking back that I remember doing a lot of

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<v Speaker 1>sampling of various food, imaginary food, or drinks that my

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<v Speaker 1>kid had prepared you.

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<v Speaker 3>Another one is what the authors call gesturing an object.

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<v Speaker 3>This would not be external object substitution, but instead things

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<v Speaker 3>like my finger is a toothbrush, essentially mentally extending or

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<v Speaker 3>substituting parts of the body as a pretend external object.

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<v Speaker 1>Okay, finger guns wouldnt imagine.

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<v Speaker 3>Okay, Yeah, then after that you got one that will

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<v Speaker 3>be more familiar to us, pretending to be an object

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<v Speaker 3>like I am a tree. There is pretend what.

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<v Speaker 1>I'm so sorry, I'm just imagining that pretend gang.

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<v Speaker 3>Yeah, it's very Yeah, I don't know, it's more complex

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<v Speaker 3>than you might think.

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<v Speaker 1>Yeah, for the quiet kids.

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<v Speaker 3>There's pretending to be an animal, like I am a

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<v Speaker 3>bunny rabbit.

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<v Speaker 1>This was huge with my child until really very recently.

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<v Speaker 1>There would often be requested to play zookeeper at playgrounds

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<v Speaker 1>where I would have to be a zookeeper doing a

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<v Speaker 1>British accent, like a like an Attenborough type accent, describing

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<v Speaker 1>nature documentary style what the animal is doing while they

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<v Speaker 1>did animal pretend play.

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<v Speaker 3>That's beautiful. There is classical object substitution, which we've already

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<v Speaker 3>talked about, but they actually break this down into multiple categories.

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<v Speaker 3>There is object substitution with non descript props, so this

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<v Speaker 3>might be when the literal prop is somewhat generic and versatile,

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<v Speaker 3>like toy block is a phone. And then there is

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<v Speaker 3>object substitution with more specific props that are very different

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<v Speaker 3>from the thing they're mimicking, so like toy car is

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<v Speaker 3>a telephone?

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<v Speaker 1>Interesting, all right, and so this is casual optic substitution,

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<v Speaker 1>So imagine this is different. This differs from something that

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<v Speaker 1>I saw later on with my child, where they would

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<v Speaker 1>craft a pretend telephone or a pretend computer, or a

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<v Speaker 1>pretend Nintendo switch out of like cardboard and stuff like that.

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<v Speaker 1>That seems more specific than what we're talking about here.

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<v Speaker 3>Yeah, that does seem like a different thing. If you're

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<v Speaker 3>building it, that's like a like the play, if the

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<v Speaker 3>play is centered around the fabrication process.

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<v Speaker 1>Yeah. Yeah, And I guess you get into the example

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<v Speaker 1>that I already brought up about the lightsabers building a

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<v Speaker 1>lightsaber help.

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<v Speaker 3>Yeah, Okay. After this, there is pretending to be another person.

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<v Speaker 3>This would be a really existing person like I am

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<v Speaker 3>Grandpa or I am Mom.

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<v Speaker 1>Okay, I don't think we did that one.

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<v Speaker 3>And then there are further distinctions about the social context.

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<v Speaker 3>There's pretending alone versus pretending with somebody else. And I

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<v Speaker 3>guess those two categories could apply to any of the

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<v Speaker 3>above categories you mentioned. Beyond this, there is what the

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<v Speaker 3>authors call socio dramatic pretending. This means creating not just

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<v Speaker 3>a single action in pretense, but creating a more elaborate

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<v Speaker 3>pretend story. So maybe not just like I am Grandpa,

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<v Speaker 3>I pour tea like Grandpa. Instead it's like I am

0:13:20.880 --> 0:13:23.600
<v Speaker 3>Grandpa and I want to go to the store to

0:13:23.679 --> 0:13:26.280
<v Speaker 3>buy candy for my doggie. But on the way to

0:13:26.320 --> 0:13:29.040
<v Speaker 3>the store, I get attacked by pirates and my doggie

0:13:29.040 --> 0:13:30.640
<v Speaker 3>gets hurt and I have to put a band aid

0:13:30.720 --> 0:13:32.600
<v Speaker 3>on my doggie so he can feel better, and then

0:13:32.600 --> 0:13:34.520
<v Speaker 3>we all go swimming in the lake, and you know,

0:13:34.679 --> 0:13:38.400
<v Speaker 3>so forth after that. There is pretending to be fantasy

0:13:38.520 --> 0:13:41.800
<v Speaker 3>characters already existing in culture, like you know, I am

0:13:41.840 --> 0:13:45.080
<v Speaker 3>Princess Leiah, I am Batman, I am Santa Claus, that

0:13:45.120 --> 0:13:45.760
<v Speaker 3>sort of thing.

0:13:46.080 --> 0:13:50.640
<v Speaker 1>And obviously we encourage that across the board, yes, you know,

0:13:50.720 --> 0:13:53.880
<v Speaker 1>and for a children and adults, you know, certainly get

0:13:53.920 --> 0:13:57.720
<v Speaker 1>into that dressing up as these various characters. So yeah,

0:13:57.920 --> 0:14:00.200
<v Speaker 1>I think I think a lot of us very very

0:14:00.280 --> 0:14:01.480
<v Speaker 1>much encouraged this sort of thing.

0:14:02.200 --> 0:14:04.320
<v Speaker 3>There is, of course, pretending to have an imaginary friend

0:14:04.400 --> 0:14:07.120
<v Speaker 3>or companion. We've already talked about that a lot. There is.

0:14:07.559 --> 0:14:10.600
<v Speaker 3>I thought this was an interesting distinction. There is pretending

0:14:10.720 --> 0:14:15.079
<v Speaker 3>to do real activities that are not available to most

0:14:15.160 --> 0:14:18.520
<v Speaker 3>people most of the time, So real activities, but not

0:14:18.679 --> 0:14:22.840
<v Speaker 3>everyday activities. And examples of this might be I am

0:14:22.840 --> 0:14:25.920
<v Speaker 3>a rocket ship commander. That's a real thing, but most

0:14:25.920 --> 0:14:28.440
<v Speaker 3>people don't do that I am a pop singer and

0:14:28.480 --> 0:14:31.200
<v Speaker 3>I'm on TV in front of millions. That's a real thing.

0:14:31.280 --> 0:14:34.480
<v Speaker 3>Most people don't do it, So that's distinct from both

0:14:34.800 --> 0:14:40.080
<v Speaker 3>fantasy activities and from everyday activities like driving or cooking.

0:14:40.880 --> 0:14:43.960
<v Speaker 1>One of my kids friends would pretend to open their

0:14:43.960 --> 0:14:44.440
<v Speaker 1>own bank.

0:14:46.280 --> 0:14:47.440
<v Speaker 3>That's sort of in the category.

0:14:47.520 --> 0:14:49.760
<v Speaker 1>Yeah, they'd make their own money. I think I still

0:14:49.800 --> 0:14:52.720
<v Speaker 1>have some of their pretend bills around here somewhere in

0:14:52.760 --> 0:14:59.040
<v Speaker 1>one of my books. It's a bookmark called them Darryl Bucks.

0:14:58.760 --> 0:15:02.000
<v Speaker 3>That is curious. And then finally you've got acting out

0:15:02.320 --> 0:15:06.120
<v Speaker 3>completely made up fantasy scenarios. I ride a dragon through

0:15:06.120 --> 0:15:08.760
<v Speaker 3>the sky and I use magic to transform people into

0:15:08.800 --> 0:15:10.040
<v Speaker 3>cats and that sort of thing.

0:15:10.360 --> 0:15:20.560
<v Speaker 4>Yeah.

0:15:20.600 --> 0:15:23.440
<v Speaker 3>So I really liked this granular attention to detail and

0:15:23.520 --> 0:15:27.000
<v Speaker 3>the different ways that pretend to play can manifest. And

0:15:27.120 --> 0:15:31.840
<v Speaker 3>this paper actually developed a new tool for asking participant

0:15:31.920 --> 0:15:36.960
<v Speaker 3>parents questions to track the emergence of these different pretend activities.

0:15:37.360 --> 0:15:39.760
<v Speaker 3>So the tool the authors developed was called the Early

0:15:39.840 --> 0:15:44.160
<v Speaker 3>Pretending Survey or EPs, and the authors tested the EPs

0:15:44.920 --> 0:15:50.120
<v Speaker 3>for internal reliability, stability over time, inter observer agreement, and

0:15:50.200 --> 0:15:53.360
<v Speaker 3>they found it performed pretty well, which they leveraged to

0:15:53.560 --> 0:15:56.920
<v Speaker 3>argue that the EPs could be quote useful for researchers

0:15:56.960 --> 0:16:01.040
<v Speaker 3>to better understand how pretending relates to other areas of development, eg.

0:16:01.280 --> 0:16:05.680
<v Speaker 3>Cognition and language. Now, I can imagine we've already talked

0:16:05.800 --> 0:16:10.880
<v Speaker 3>in some ways about difficulties with relying on parental reports

0:16:10.880 --> 0:16:15.680
<v Speaker 3>for understanding childhood play, and those things are here as well.

0:16:16.000 --> 0:16:19.040
<v Speaker 3>But I can imagine that one advantage of using parental

0:16:19.040 --> 0:16:22.400
<v Speaker 3>reports in a survey as opposed to directly observing children

0:16:22.480 --> 0:16:25.600
<v Speaker 3>play in a lab is that the lab setting for

0:16:25.640 --> 0:16:29.080
<v Speaker 3>one thing might change what the children do, and so

0:16:29.280 --> 0:16:33.160
<v Speaker 3>relying on parental observations gives you access to how children

0:16:33.240 --> 0:16:36.400
<v Speaker 3>behave in settings that are normal for them, you know,

0:16:37.320 --> 0:16:40.840
<v Speaker 3>like what they do at home or at school, and

0:16:40.880 --> 0:16:43.640
<v Speaker 3>in places where they normally are. I think we can

0:16:43.680 --> 0:16:45.600
<v Speaker 3>all relate to the fact that when we go to

0:16:45.640 --> 0:16:49.320
<v Speaker 3>an unfamiliar and maybe even uncomfortable place, we act different.

0:16:50.160 --> 0:16:53.440
<v Speaker 1>Yeah yeah, And on top of that, this reminds me

0:16:53.520 --> 0:16:56.240
<v Speaker 1>of an example from some studies we're talking about with

0:16:56.280 --> 0:17:00.960
<v Speaker 1>imaginary friends, where it was pointed out that a you

0:17:01.080 --> 0:17:03.000
<v Speaker 1>want to talk to the kid and the adult, but

0:17:03.480 --> 0:17:05.639
<v Speaker 1>when you ask the kid about their imaginary friends, they

0:17:05.720 --> 0:17:08.000
<v Speaker 1>might just create one right there on the spot.

0:17:08.359 --> 0:17:08.639
<v Speaker 3>Yeah.

0:17:08.840 --> 0:17:12.760
<v Speaker 1>So that's a great example where it's also good to

0:17:12.840 --> 0:17:14.920
<v Speaker 1>chat with the parent and they'll be like, I've never

0:17:15.000 --> 0:17:18.120
<v Speaker 1>heard of mister Bongoes. I think they made mister Bongoes

0:17:18.200 --> 0:17:20.320
<v Speaker 1>up like literally just now for fun.

0:17:20.440 --> 0:17:21.959
<v Speaker 3>Yeah, because you brought up the idea.

0:17:22.040 --> 0:17:25.080
<v Speaker 1>Yeah, yeah, you let mister bong goes.

0:17:24.920 --> 0:17:29.960
<v Speaker 3>In, right. So the laboratory observation setting might be a

0:17:30.119 --> 0:17:32.760
<v Speaker 3>conjuring Captain Howdy kind of thing with the Ouiji aboard.

0:17:34.280 --> 0:17:38.240
<v Speaker 3>Another big thing is that obviously having to have researchers

0:17:38.359 --> 0:17:42.680
<v Speaker 3>directly observe children playing over time in a laboratory setting

0:17:42.800 --> 0:17:46.959
<v Speaker 3>or any kind of whatever the controlled setting is is

0:17:47.119 --> 0:17:49.959
<v Speaker 3>just cumbersome, you know, It's like time consuming, and so

0:17:50.000 --> 0:17:52.639
<v Speaker 3>a survey format allows you to gather much larger sample

0:17:52.720 --> 0:17:57.200
<v Speaker 3>sizes than direct observation in a controlled setting. It's because

0:17:57.280 --> 0:18:00.680
<v Speaker 3>that the latter is costly and time consuming. So the

0:18:00.720 --> 0:18:05.120
<v Speaker 3>author has administered this survey to parents primarily in the US, UK, Canada,

0:18:05.160 --> 0:18:08.800
<v Speaker 3>and Australia in across the years twenty fifteen and twenty sixteen,

0:18:09.440 --> 0:18:12.080
<v Speaker 3>and I was interested what did they find. I can't

0:18:12.119 --> 0:18:14.600
<v Speaker 3>discuss everything mentioned in the paper, but some of the

0:18:14.680 --> 0:18:17.960
<v Speaker 3>highlights we've been talking. Here's one thing that's kind of

0:18:18.000 --> 0:18:21.480
<v Speaker 3>surprising based on our previous discussion. We've been talking about

0:18:21.560 --> 0:18:26.080
<v Speaker 3>a prevailing belief that object substitution like you know, banana

0:18:26.160 --> 0:18:28.960
<v Speaker 3>is a phone, is usually one of the first types

0:18:29.000 --> 0:18:32.639
<v Speaker 3>of pretend play observed, most often emerging at one and

0:18:32.640 --> 0:18:36.200
<v Speaker 3>a half years of age or so. But this survey found,

0:18:36.520 --> 0:18:39.560
<v Speaker 3>and this agrees with some previous research, that actually there

0:18:39.600 --> 0:18:43.400
<v Speaker 3>are some other types of pretend play that come even earlier,

0:18:43.480 --> 0:18:47.320
<v Speaker 3>come before object substitution, and these would be some of

0:18:47.320 --> 0:18:50.399
<v Speaker 3>the more specific ones that we were talking about at

0:18:50.400 --> 0:18:52.640
<v Speaker 3>the beginning of the list. The list I read earlier

0:18:52.920 --> 0:18:58.239
<v Speaker 3>was roughly roughly in the chronological order of observance. So

0:18:58.880 --> 0:19:04.639
<v Speaker 3>remember the empty pretend play. The EPs found that this

0:19:04.680 --> 0:19:07.600
<v Speaker 3>happens early, with like half of kids doing it by

0:19:07.640 --> 0:19:11.600
<v Speaker 3>around thirteen months of age, and then the other thing

0:19:11.760 --> 0:19:15.920
<v Speaker 3>before object substitution is by around fifteen months. Half of

0:19:16.040 --> 0:19:19.360
<v Speaker 3>kids have shown some signs of pretending with their own body,

0:19:19.720 --> 0:19:22.159
<v Speaker 3>such as pretending to be in a different state, like

0:19:22.200 --> 0:19:26.760
<v Speaker 3>pretending to sleep or pretending to sneeze, or pretending to

0:19:26.800 --> 0:19:29.640
<v Speaker 3>be something else with their body like I am a tiger,

0:19:29.760 --> 0:19:33.960
<v Speaker 3>I'm growling, roar, and then it's by seventeen months of

0:19:33.960 --> 0:19:37.600
<v Speaker 3>age or so that half had shown signs of object substitution.

0:19:38.119 --> 0:19:40.480
<v Speaker 3>So this does agree in part with the schedule we've

0:19:40.520 --> 0:19:43.479
<v Speaker 3>been talking about before, where object substitution shows up on

0:19:43.520 --> 0:19:46.199
<v Speaker 3>average about one and a half years old, but finds

0:19:46.240 --> 0:19:49.240
<v Speaker 3>that some types of pretend play tend to happen even

0:19:49.320 --> 0:19:53.840
<v Speaker 3>earlier than object substitution. And though I didn't really think

0:19:53.960 --> 0:19:57.760
<v Speaker 3>much about either of these earlier examples, now that I

0:19:57.840 --> 0:20:01.159
<v Speaker 3>reflect on it, I have to yes myself, because you know,

0:20:01.200 --> 0:20:03.440
<v Speaker 3>my memory is involved, and who knows what I'm being

0:20:03.480 --> 0:20:07.080
<v Speaker 3>primed to misremember here, But I think this squares exactly

0:20:07.200 --> 0:20:09.960
<v Speaker 3>with my own experience as the parent of a toddler,

0:20:10.000 --> 0:20:12.359
<v Speaker 3>Like I have a two year old right now, and

0:20:12.520 --> 0:20:15.200
<v Speaker 3>my memory may be gein correct, but I think before

0:20:15.240 --> 0:20:19.160
<v Speaker 3>my daughter ever pretended one object was another, she would

0:20:19.240 --> 0:20:23.240
<v Speaker 3>pretend to sneeze and pretend to be asleep, and also

0:20:23.400 --> 0:20:26.359
<v Speaker 3>pretend to eat or drink things that were not really there,

0:20:26.720 --> 0:20:28.840
<v Speaker 3>and she thought it was hilarious with most of these.

0:20:30.200 --> 0:20:33.119
<v Speaker 1>Yeah, I don't remember how this shook out with my

0:20:33.160 --> 0:20:37.200
<v Speaker 1>own kit, but in general this does seem accurate.

0:20:37.320 --> 0:20:42.000
<v Speaker 3>Yeah, Now, from here, the story based socio dramatic play

0:20:42.080 --> 0:20:44.200
<v Speaker 3>that we were talking about that starts to happen more

0:20:44.240 --> 0:20:47.080
<v Speaker 3>when kids are around two years old usually, and then

0:20:47.280 --> 0:20:50.879
<v Speaker 3>complex make believe fantasy concepts tend to take hold when

0:20:51.000 --> 0:20:54.359
<v Speaker 3>children are around three. And of course it may be

0:20:54.480 --> 0:20:57.639
<v Speaker 3>that these later play types are dependent on the development

0:20:57.800 --> 0:21:01.720
<v Speaker 3>of language skills, so as children get better at using

0:21:01.920 --> 0:21:06.040
<v Speaker 3>manipulating language, that also sort of helps them construct these

0:21:06.840 --> 0:21:11.560
<v Speaker 3>abstract or counterfactual scenarios. Now, what about other general findings

0:21:11.560 --> 0:21:13.679
<v Speaker 3>in this paper. Well, one thing is that within the

0:21:13.720 --> 0:21:17.320
<v Speaker 3>survey range like four months to four years, kids pretending

0:21:17.359 --> 0:21:21.639
<v Speaker 3>scores steadily increased with age, which actually made me wonder, okay,

0:21:22.080 --> 0:21:24.720
<v Speaker 3>in this early period is just basically going straight up,

0:21:25.520 --> 0:21:30.160
<v Speaker 3>when do we actually see reductions in pretend play? That

0:21:30.200 --> 0:21:33.479
<v Speaker 3>actually came up in the Nautilus article that I shouted

0:21:33.520 --> 0:21:36.560
<v Speaker 3>out for pointing me to this research, because the author

0:21:36.600 --> 0:21:40.640
<v Speaker 3>of that Nautilus article cited some commentary by a researcher

0:21:40.720 --> 0:21:45.000
<v Speaker 3>named Sandra Russ at Case Western and Russ says that

0:21:45.119 --> 0:21:47.560
<v Speaker 3>it is most often around the age of nine or

0:21:47.680 --> 0:21:51.680
<v Speaker 3>ten that children start to kind of relinquish their pretend play.

0:21:52.320 --> 0:21:55.400
<v Speaker 3>But of course that can vary, and you could argue

0:21:55.440 --> 0:21:58.800
<v Speaker 3>with most people, it never completely goes away. Some people

0:21:58.840 --> 0:22:03.480
<v Speaker 3>continue to show similar imag imaginative behavior into adulthood, even

0:22:03.520 --> 0:22:06.800
<v Speaker 3>if it's not exactly play like when they were a child.

0:22:07.040 --> 0:22:10.280
<v Speaker 3>They might have creative hobbies like writing or art or acting,

0:22:10.359 --> 0:22:13.120
<v Speaker 3>which could be in some ways analogous. And of course

0:22:13.119 --> 0:22:16.199
<v Speaker 3>some kids continue pretending into older ages. I think we

0:22:16.240 --> 0:22:21.040
<v Speaker 3>talked about how, you know, with kids that start building paracosms,

0:22:21.119 --> 0:22:24.960
<v Speaker 3>those it's I think fairly common for those to continue

0:22:25.119 --> 0:22:27.240
<v Speaker 3>from ages like eight to twelve or so.

0:22:27.680 --> 0:22:31.359
<v Speaker 1>Yeah, yeah, like twelve or thirteen, Yeah, somewhere in that range. So,

0:22:32.400 --> 0:22:33.959
<v Speaker 1>and I guess that makes sense if you're looking at

0:22:34.000 --> 0:22:38.840
<v Speaker 1>this as like a general progression of one's use of imagination,

0:22:39.760 --> 0:22:41.919
<v Speaker 1>that that would continue a little bit, a little bit

0:22:41.960 --> 0:22:43.080
<v Speaker 1>further into your development.

0:22:43.800 --> 0:22:47.080
<v Speaker 3>Any other broad differences within the children in the survey,

0:22:47.560 --> 0:22:51.600
<v Speaker 3>One was that girls, on average had a somewhat higher

0:22:51.600 --> 0:22:54.400
<v Speaker 3>EPs score than boys, though it was a small difference.

0:22:54.440 --> 0:22:58.000
<v Speaker 3>The gender difference was not huge, but it was statistically significant.

0:22:58.400 --> 0:23:02.719
<v Speaker 3>And also I thought this was interesting. Children of younger

0:23:03.040 --> 0:23:09.640
<v Speaker 3>parents had higher EPs scores than children of older parents. Now,

0:23:09.640 --> 0:23:12.960
<v Speaker 3>again these differences are not huge, but that's interesting. Why

0:23:12.960 --> 0:23:15.800
<v Speaker 3>would pretending be happening a little bit more, a little

0:23:15.800 --> 0:23:19.080
<v Speaker 3>bit earlier in girls and in children of younger parents.

0:23:19.840 --> 0:23:22.399
<v Speaker 3>In both cases, it's not known with high confidence what

0:23:22.480 --> 0:23:24.880
<v Speaker 3>explains it, but the authors offer a couple of informed

0:23:24.960 --> 0:23:29.040
<v Speaker 3>guesses in their discussion section as to the gender distinction.

0:23:29.720 --> 0:23:33.560
<v Speaker 3>They relate this possibly to the fact that at both well.

0:23:33.600 --> 0:23:36.240
<v Speaker 3>First of all, they say that this sort of correlates

0:23:36.280 --> 0:23:39.480
<v Speaker 3>to previous findings in other studies that both in the

0:23:39.520 --> 0:23:43.320
<v Speaker 3>toddler age and in the primary school age, girls have

0:23:43.440 --> 0:23:46.560
<v Speaker 3>been found to engage in a little bit more fantasy

0:23:46.600 --> 0:23:49.800
<v Speaker 3>play on average than boys do, and that they're also

0:23:50.040 --> 0:23:53.479
<v Speaker 3>a little bit more likely to create imaginary companions. They

0:23:53.480 --> 0:23:56.720
<v Speaker 3>cite several papers to that regard, and so like, what

0:23:56.760 --> 0:24:00.480
<v Speaker 3>would be the explanation, Well, it's possible, again not known

0:24:00.520 --> 0:24:03.440
<v Speaker 3>for sure, that this could be related to language skills.

0:24:03.680 --> 0:24:07.560
<v Speaker 3>In some cases, girls acquire language skills on a slightly

0:24:07.640 --> 0:24:11.679
<v Speaker 3>accelerated timeline, and it could be that language development is

0:24:11.760 --> 0:24:15.359
<v Speaker 3>related to pretending. But again the differences are not huge,

0:24:15.400 --> 0:24:17.359
<v Speaker 3>and it's not known for sure why this would be.

0:24:17.680 --> 0:24:21.000
<v Speaker 3>Similar question with the thing about younger parents having slightly

0:24:21.000 --> 0:24:24.960
<v Speaker 3>more pretending happening earlier. The author's right quote perhaps younger

0:24:25.000 --> 0:24:28.720
<v Speaker 3>parents spend more time pretending with their children, allowing more

0:24:28.760 --> 0:24:33.800
<v Speaker 3>opportunities for parents to observe or even scaffold pretending. So

0:24:34.000 --> 0:24:38.440
<v Speaker 3>that could make sense, Like if there's more co pretending

0:24:38.480 --> 0:24:41.480
<v Speaker 3>between the parent and child happening, that could affect the

0:24:41.480 --> 0:24:43.879
<v Speaker 3>survey results in multiple ways. It could mean that the

0:24:44.000 --> 0:24:46.600
<v Speaker 3>child is actually doing more pretending because they're getting more

0:24:46.600 --> 0:24:49.280
<v Speaker 3>practice with an adult present. Or it could mean that

0:24:49.320 --> 0:24:52.000
<v Speaker 3>the children are pretending the same amount, but the parents

0:24:52.000 --> 0:24:55.000
<v Speaker 3>are observing it happen more and thus they're reporting it

0:24:55.040 --> 0:24:56.040
<v Speaker 3>more on the surveys.

0:24:57.160 --> 0:24:58.960
<v Speaker 1>But I guess I'm still kind of foggy as to

0:24:59.359 --> 0:25:01.760
<v Speaker 1>how this would share out between younger and older parents,

0:25:02.800 --> 0:25:06.719
<v Speaker 1>not just because I was am was and was an

0:25:06.720 --> 0:25:09.919
<v Speaker 1>older parent, but but I'm just wondering, like, what's what

0:25:09.960 --> 0:25:12.200
<v Speaker 1>would be the broad difference there.

0:25:12.720 --> 0:25:15.280
<v Speaker 3>That's a good question. I don't actually know. They didn't

0:25:15.320 --> 0:25:18.119
<v Speaker 3>mention it this part, but maybe maybe there was somewhere

0:25:18.119 --> 0:25:20.359
<v Speaker 3>in there that got lost for me. But they could

0:25:20.359 --> 0:25:23.240
<v Speaker 3>have some data indicating that, on average, younger parents spend

0:25:23.280 --> 0:25:25.280
<v Speaker 3>more time pretending with kids, But I don't know.

0:25:25.680 --> 0:25:27.840
<v Speaker 1>Yeah, I mean, I mean, I guess the most obvious

0:25:28.800 --> 0:25:32.040
<v Speaker 1>possible explanation for that. One might think I would be

0:25:32.200 --> 0:25:36.560
<v Speaker 1>like work responsibilities, but I can just you know, just

0:25:37.760 --> 0:25:39.920
<v Speaker 1>shooting from the hip here, I can think of various

0:25:39.960 --> 0:25:45.480
<v Speaker 1>scenarios in which younger parents would be working more, but

0:25:45.560 --> 0:25:48.640
<v Speaker 1>then also examples where maybe younger parents have more free

0:25:48.640 --> 0:25:49.960
<v Speaker 1>time to spend with the kid. Like, I don't know

0:25:49.960 --> 0:25:52.560
<v Speaker 1>it just I guess. I'm I'm not sure how the

0:25:52.840 --> 0:25:56.280
<v Speaker 1>generalities that they're dealing with here would really pan out,

0:25:56.359 --> 0:25:59.240
<v Speaker 1>But I mean, I'm sure it's based on based on

0:25:59.320 --> 0:26:01.880
<v Speaker 1>some findings and some statistical information.

0:26:02.640 --> 0:26:06.480
<v Speaker 3>Yeah, so it's the slight correlation having to do with

0:26:06.560 --> 0:26:08.920
<v Speaker 3>the age of the parents is just what they observed

0:26:08.920 --> 0:26:11.640
<v Speaker 3>in the sample. I guess the part about that having

0:26:11.680 --> 0:26:16.080
<v Speaker 3>anything to do with parents spending time pretending with the

0:26:16.160 --> 0:26:19.119
<v Speaker 3>kids is just an informed gus, so who knows what

0:26:19.160 --> 0:26:20.119
<v Speaker 3>the real reason was.

0:26:20.400 --> 0:26:23.359
<v Speaker 1>I guess the other possibility would be older parents have

0:26:23.600 --> 0:26:27.040
<v Speaker 1>already had additional children, and then therefore there's less attention

0:26:27.840 --> 0:26:28.680
<v Speaker 1>to go around.

0:26:29.080 --> 0:26:32.760
<v Speaker 3>Possibly. So, as I said, none of these differences were huge,

0:26:33.240 --> 0:26:35.280
<v Speaker 3>and I guess we don't really know for sure why

0:26:35.320 --> 0:26:39.000
<v Speaker 3>they manifest in this fairly large sample. But one thing

0:26:39.119 --> 0:26:41.280
<v Speaker 3>I thought was interesting about the study was just coming

0:26:41.359 --> 0:26:46.560
<v Speaker 3>back to the kind of granular detail tracking these different

0:26:46.560 --> 0:26:50.639
<v Speaker 3>types of play emergence with a finer attention to the

0:26:50.760 --> 0:26:53.359
<v Speaker 3>variations in the style of play.

0:26:53.880 --> 0:26:54.000
<v Speaker 1>Like.

0:26:54.200 --> 0:26:56.800
<v Speaker 3>I don't think otherwise I would have noticed that it's

0:26:56.880 --> 0:27:00.320
<v Speaker 3>so common to pretend to cup has something in it

0:27:00.600 --> 0:27:03.359
<v Speaker 3>like that that feels like such a specific thing. But

0:27:03.600 --> 0:27:06.920
<v Speaker 3>it's interesting that it's observed so often they had to

0:27:06.920 --> 0:27:09.439
<v Speaker 3>give it its own category. I mean, you could just

0:27:09.520 --> 0:27:12.600
<v Speaker 3>think of that as a kind of like invisible object play,

0:27:13.160 --> 0:27:16.000
<v Speaker 3>but I guess it's so common that it is different

0:27:16.040 --> 0:27:19.359
<v Speaker 3>than like I'm using an invisible toothbrush. Like it seems like,

0:27:19.560 --> 0:27:22.680
<v Speaker 3>you know, tons of kids. Maybe maybe most kids are

0:27:22.720 --> 0:27:25.680
<v Speaker 3>pretending there's something in a cup when there actually isn't.

0:27:26.119 --> 0:27:28.600
<v Speaker 1>I'll occasionally do that as a grown up, pretended there's

0:27:28.600 --> 0:27:32.479
<v Speaker 1>something in a cup and pretend to drink it, mainly

0:27:32.520 --> 0:27:34.280
<v Speaker 1>if I'm at some sort of like a social function,

0:27:34.440 --> 0:27:38.080
<v Speaker 1>you know. Yeah, and the cup is not clear to

0:27:37.440 --> 0:27:41.479
<v Speaker 1>be to be clear, the cup has to cannot be

0:27:41.560 --> 0:27:45.240
<v Speaker 1>made of translucent plastic. But you know, I've consumed everything

0:27:45.240 --> 0:27:48.520
<v Speaker 1>in the cup, and I want to continue to have

0:27:48.720 --> 0:27:51.120
<v Speaker 1>like the gesture of drinking it. Yeah, to do something

0:27:51.119 --> 0:27:54.239
<v Speaker 1>with my hand. I may engage in that level of

0:27:54.720 --> 0:27:55.800
<v Speaker 1>play slash deception.

0:27:56.200 --> 0:27:59.040
<v Speaker 3>Sipping from a cup is part of the rhythm of

0:27:59.119 --> 0:28:00.840
<v Speaker 3>conversation party.

0:28:01.760 --> 0:28:04.480
<v Speaker 1>And if you're out of a beverage, I mean you're

0:28:04.480 --> 0:28:08.000
<v Speaker 1>out of options, right, Yeah, so sometimes you got to pretend.

0:28:17.840 --> 0:28:20.119
<v Speaker 3>Well, So anyway, I thought that was an interesting study,

0:28:20.160 --> 0:28:23.120
<v Speaker 3>but I was thinking more about the fact that they say,

0:28:23.160 --> 0:28:26.600
<v Speaker 3>you know, most often the real height of childhood style

0:28:26.680 --> 0:28:30.520
<v Speaker 3>pretend to play. It starts to fade around the age

0:28:30.520 --> 0:28:33.840
<v Speaker 3>of nine or ten. However, of course, as we know,

0:28:34.359 --> 0:28:37.200
<v Speaker 3>different types of pretending can go on for a lifetime,

0:28:37.240 --> 0:28:38.880
<v Speaker 3>and I think that's something that's related to what you

0:28:38.920 --> 0:28:41.160
<v Speaker 3>wanted to talk about today, isn't it, Rob Yeah.

0:28:41.240 --> 0:28:45.680
<v Speaker 1>Yeah. I got interested in the angle of pretend play

0:28:45.920 --> 0:28:50.600
<v Speaker 1>and play and creativity in adults and other ages in

0:28:50.600 --> 0:28:56.840
<v Speaker 1>addition to childhood and early adolescents. And part of this

0:28:56.960 --> 0:28:59.280
<v Speaker 1>was my wife's suggestion. She was like, well, that would

0:28:59.320 --> 0:29:01.120
<v Speaker 1>be an interesting aga. So it's like, yeah, yeah, that

0:29:01.440 --> 0:29:05.600
<v Speaker 1>sounds that sounds sounds fascinating, and so I'm not really

0:29:05.640 --> 0:29:08.240
<v Speaker 1>going to get into a lot of like specific studies.

0:29:09.600 --> 0:29:11.760
<v Speaker 1>Maybe that'll be something I can get into in the

0:29:11.800 --> 0:29:14.120
<v Speaker 1>next episode. But I ended up looking at material that's

0:29:14.160 --> 0:29:19.640
<v Speaker 1>really tackling the idea of pretend play and adults more broadly.

0:29:21.520 --> 0:29:24.480
<v Speaker 1>So obviously we've been discussing the idea of pretend play

0:29:24.520 --> 0:29:29.400
<v Speaker 1>as a manifestation of developing creativity, and I think that's

0:29:29.440 --> 0:29:33.880
<v Speaker 1>perfectly valid. That's often how it is understood. Childhood psychologist

0:29:33.960 --> 0:29:37.680
<v Speaker 1>lev Vygotsky, who lived eighteen ninety six through nineteen thirty four,

0:29:38.280 --> 0:29:44.120
<v Speaker 1>outlined a three step creativity development process creative imagination in childhood,

0:29:44.800 --> 0:29:48.880
<v Speaker 1>imagination and thought coming together in adolescence, and finally the

0:29:48.880 --> 0:29:53.720
<v Speaker 1>individual enters into adulthood quote where experience creativity is directed

0:29:53.800 --> 0:29:57.880
<v Speaker 1>and used with purpose. I was reading about this in

0:29:58.240 --> 0:30:02.960
<v Speaker 1>an article by at All twenty twenties, playing with Creativity

0:30:02.960 --> 0:30:05.960
<v Speaker 1>across the life span. This was in tech trends linking

0:30:05.960 --> 0:30:09.400
<v Speaker 1>research and practice to improve learning. Now, as you can

0:30:09.400 --> 0:30:12.400
<v Speaker 1>always already imagine, we'll get into some of the ideas

0:30:12.400 --> 0:30:14.960
<v Speaker 1>around this. This is kind of, I think, from our

0:30:14.960 --> 0:30:20.040
<v Speaker 1>modern perspective, limiting understanding of creativity, the idea that it's like, okay,

0:30:20.480 --> 0:30:23.200
<v Speaker 1>being creative just for the sake of fun. That was

0:30:23.240 --> 0:30:25.560
<v Speaker 1>all right when you were younger, But now you're a

0:30:25.600 --> 0:30:28.440
<v Speaker 1>grown up, how is it going to produce funds. How

0:30:28.840 --> 0:30:30.720
<v Speaker 1>are you going to make money off of that? Or

0:30:30.840 --> 0:30:33.200
<v Speaker 1>change the world for the better and so forth, Your

0:30:33.240 --> 0:30:36.280
<v Speaker 1>creativity has to be put to work. That horse isn't

0:30:36.320 --> 0:30:38.360
<v Speaker 1>wild anymore. You need to strap it to the cart.

0:30:38.560 --> 0:30:41.160
<v Speaker 3>Oh so that is the meaning of used with purpose

0:30:41.240 --> 0:30:42.000
<v Speaker 3>here in this quote.

0:30:42.360 --> 0:30:45.760
<v Speaker 1>Yeah, okay, Yeah, he positive that childhood fantasy and imagination

0:30:45.800 --> 0:30:50.760
<v Speaker 1>were essentially catalysts for adult creativity, which would be which

0:30:50.840 --> 0:30:53.800
<v Speaker 1>was seen as more purposeful, you know, like, and you know,

0:30:53.880 --> 0:30:57.640
<v Speaker 1>I think there are some valid arguments for that as well.

0:30:57.720 --> 0:31:02.000
<v Speaker 1>I mean, obviously when we become adults and we engage

0:31:02.080 --> 0:31:05.640
<v Speaker 1>in cultures and a society that often puts an emphasis

0:31:05.680 --> 0:31:10.840
<v Speaker 1>again on making money, and also legitimately like taking things

0:31:10.920 --> 0:31:13.560
<v Speaker 1>you're good at and have a passion for, and finding

0:31:13.680 --> 0:31:16.920
<v Speaker 1>professions and callings in life that line up with those.

0:31:17.680 --> 0:31:22.120
<v Speaker 3>You know, it's understandable just solving practical problems that may

0:31:22.240 --> 0:31:24.320
<v Speaker 3>or may not have a strong economic component.

0:31:25.640 --> 0:31:29.320
<v Speaker 1>But yeah, this purpose aspect is interesting and something discussed

0:31:29.360 --> 0:31:32.120
<v Speaker 1>at length in that paper I just cited. Apparently some

0:31:32.280 --> 0:31:38.200
<v Speaker 1>definitions of creativity, stress, usefulness and effectiveness is criteria for creativity,

0:31:38.840 --> 0:31:42.560
<v Speaker 1>tying into Vagotsky's take on adult creativity. Other models call

0:31:42.680 --> 0:31:47.680
<v Speaker 1>for dual aspects of novelty or originality and usefulness or effectiveness.

0:31:48.160 --> 0:31:51.600
<v Speaker 1>And you know, when you start talking about effectiveness and

0:31:52.040 --> 0:31:55.720
<v Speaker 1>usefulness as well, especially more recent understandings of it, there's

0:31:55.760 --> 0:31:57.320
<v Speaker 1>more room for nuance there.

0:31:57.640 --> 0:31:59.400
<v Speaker 3>Oh yeah, Okay, So I guess this is going to

0:31:59.440 --> 0:32:03.000
<v Speaker 3>the question of how do we actually define creativity. If

0:32:03.000 --> 0:32:06.680
<v Speaker 3>we're trying to study it scientifically, you need a very

0:32:06.720 --> 0:32:09.400
<v Speaker 3>clear and strict definition. And instead, it's one of those

0:32:09.400 --> 0:32:11.280
<v Speaker 3>things that we kind of we feel it out, we

0:32:11.320 --> 0:32:14.200
<v Speaker 3>know what we see it. Some activity is just seems

0:32:14.240 --> 0:32:19.160
<v Speaker 3>creative or doesn't. Like, writing a story is creative, But

0:32:19.440 --> 0:32:22.240
<v Speaker 3>is writing a memo for work creative?

0:32:22.480 --> 0:32:26.920
<v Speaker 1>Not? Usually it could be usually that's your creativity challenge

0:32:26.920 --> 0:32:29.360
<v Speaker 1>for the day, make it a creative exercise.

0:32:29.880 --> 0:32:32.920
<v Speaker 3>I mean, I guess there's something. Yeah, Like, these definitions

0:32:32.920 --> 0:32:36.680
<v Speaker 3>mentioned something about novelty. So creativity is something that's kind

0:32:36.680 --> 0:32:40.880
<v Speaker 3>of different or unexpected. It's not just kind of going

0:32:40.880 --> 0:32:44.360
<v Speaker 3>through the motions or engaging in habits. It's doing something

0:32:44.440 --> 0:32:47.800
<v Speaker 3>different and novel. But the other half of this in

0:32:47.880 --> 0:32:50.400
<v Speaker 3>these definitions is kind of stressing that it's not just

0:32:50.560 --> 0:32:53.880
<v Speaker 3>novelty in a kind of random sense. It's novelty that

0:32:54.080 --> 0:32:57.480
<v Speaker 3>is useful or effective in some way. It does something right.

0:32:58.440 --> 0:33:01.720
<v Speaker 1>Yeah, And it's interesting when we get into like what

0:33:01.760 --> 0:33:04.480
<v Speaker 1>does that mean for it to do something right, to

0:33:04.520 --> 0:33:08.520
<v Speaker 1>do something useful. As discussed in this paper, childhood psychologist

0:33:08.560 --> 0:33:13.600
<v Speaker 1>doctor Sandra Russ proposes a slightly different definition for creativity

0:33:13.920 --> 0:33:16.240
<v Speaker 1>and with a different emphasis on what some of the

0:33:17.240 --> 0:33:21.400
<v Speaker 1>key aspects mean. So she defines it as it needs

0:33:21.480 --> 0:33:25.760
<v Speaker 1>to be novel, it needs to be effective, and it

0:33:25.800 --> 0:33:29.080
<v Speaker 1>needs to be whole. So she argues that especially with children,

0:33:29.360 --> 0:33:32.160
<v Speaker 1>we can't put much weight on the importance or usefulness

0:33:32.240 --> 0:33:34.640
<v Speaker 1>of any of this, right, like how useful is a

0:33:34.720 --> 0:33:38.560
<v Speaker 1>child's paracosm, how useful is a child's imaginary friend. But

0:33:39.200 --> 0:33:42.680
<v Speaker 1>the big thing that she stresses is play is the

0:33:42.720 --> 0:33:45.760
<v Speaker 1>product it is. It is an output of how they

0:33:45.800 --> 0:33:49.560
<v Speaker 1>think and feel. Multiple aspects of a child's being are

0:33:49.640 --> 0:33:53.360
<v Speaker 1>involved in the act of play, and I believe that

0:33:53.480 --> 0:33:58.520
<v Speaker 1>is what's meant by wholeness. Here the idea that like that, yes,

0:33:58.640 --> 0:34:01.320
<v Speaker 1>with an act of creativity is not just this like

0:34:01.920 --> 0:34:06.440
<v Speaker 1>leakage of energy from your psyche, you know. And I

0:34:06.440 --> 0:34:09.960
<v Speaker 1>think this holds true for children and adults as well

0:34:09.960 --> 0:34:12.800
<v Speaker 1>as Guss like when when you're engaging in created creative

0:34:12.800 --> 0:34:15.600
<v Speaker 1>output like that is it's like the output of your being.

0:34:15.680 --> 0:34:18.640
<v Speaker 1>You know, it is like not to get too you know,

0:34:19.600 --> 0:34:22.440
<v Speaker 1>wax too poetic about it, but I mean, it's like

0:34:22.440 --> 0:34:25.720
<v Speaker 1>a light shining out of your soul and your your mind.

0:34:26.640 --> 0:34:29.920
<v Speaker 1>It's it's not just this shadow that happens to be

0:34:30.040 --> 0:34:31.080
<v Speaker 1>cast by who you are.

0:34:31.640 --> 0:34:34.719
<v Speaker 3>Well that is beautifully put. Yeah, I mean, yeah, I

0:34:34.719 --> 0:34:36.840
<v Speaker 3>think you're right. Sorry, but sorry, my mind was just

0:34:36.880 --> 0:34:40.560
<v Speaker 3>divided into different places because I just realized while you're

0:34:40.560 --> 0:34:42.840
<v Speaker 3>saying that also that you were citing that the work

0:34:42.880 --> 0:34:45.040
<v Speaker 3>of Sandra Russ, who was the same person that I

0:34:45.120 --> 0:34:49.080
<v Speaker 3>just cited in my section about about most pretend to

0:34:49.080 --> 0:34:51.080
<v Speaker 3>play tending to fade around the age of nine or

0:34:51.080 --> 0:34:51.759
<v Speaker 3>ten years old.

0:34:51.800 --> 0:34:53.400
<v Speaker 1>Yeah, I believe. I believe she's a pretty big name

0:34:53.400 --> 0:34:53.960
<v Speaker 1>in this field.

0:34:54.120 --> 0:34:57.239
<v Speaker 3>Yeah, but of course with a lot of variation. But

0:34:57.280 --> 0:34:59.600
<v Speaker 3>that's an interesting criterion that I don't think I would

0:34:59.600 --> 0:35:01.680
<v Speaker 3>have gotten this, this concept of wholeness.

0:35:02.600 --> 0:35:06.000
<v Speaker 1>Yeah, yeah, and you know, and looking around, I'm not

0:35:06.080 --> 0:35:10.600
<v Speaker 1>sure how often she uses the term wholeness, but they

0:35:10.719 --> 0:35:13.279
<v Speaker 1>reference whole. They they had kind of some wholeness up

0:35:13.320 --> 0:35:17.719
<v Speaker 1>as being an aspect of her definition. Okay, and I

0:35:17.719 --> 0:35:19.719
<v Speaker 1>do think that that that plays out with what she's

0:35:19.760 --> 0:35:23.440
<v Speaker 1>stressing here. But you know, even in adults, though, the

0:35:23.440 --> 0:35:26.279
<v Speaker 1>way we think of usefulness or to you know, to

0:35:26.400 --> 0:35:30.160
<v Speaker 1>use Russ's model usefulness or effectiveness, Uh, it varies from

0:35:30.160 --> 0:35:33.840
<v Speaker 1>field to field. In this paper, they broadly address different

0:35:33.880 --> 0:35:37.920
<v Speaker 1>forms of creativity, invoking the four C creative creativity model

0:35:38.120 --> 0:35:42.319
<v Speaker 1>by James C. Kaufman and doctor Ronald Baghetto. Have we

0:35:42.360 --> 0:35:44.200
<v Speaker 1>talked about this before? I don't know.

0:35:44.440 --> 0:35:46.239
<v Speaker 3>We've been doing the show a long time, so I

0:35:46.239 --> 0:35:47.560
<v Speaker 3>can't always recall.

0:35:47.320 --> 0:35:49.360
<v Speaker 1>But yeah, I forget whole episodes sometimes.

0:35:49.520 --> 0:35:52.520
<v Speaker 3>But I don't think so, but I could be wrong.

0:35:52.880 --> 0:35:57.719
<v Speaker 1>Yeah, it feels fresh to my mind. So basically, the

0:35:57.719 --> 0:36:01.759
<v Speaker 1>way the four C creativity model plays out is that

0:36:01.800 --> 0:36:04.160
<v Speaker 1>you have four different modes of creativity. First of all,

0:36:04.160 --> 0:36:09.080
<v Speaker 1>you have big C creativity. This is landmark work that

0:36:09.280 --> 0:36:13.200
<v Speaker 1>changes a field or changes the world. So like big

0:36:13.280 --> 0:36:16.880
<v Speaker 1>C creativity would be like I have invented the steam engine,

0:36:17.239 --> 0:36:21.360
<v Speaker 1>or I have I present you with a new religious

0:36:21.400 --> 0:36:24.360
<v Speaker 1>model and spiritual model for your way of life, something

0:36:24.440 --> 0:36:25.080
<v Speaker 1>like that.

0:36:25.360 --> 0:36:28.720
<v Speaker 3>Huge impact general theory of relativity or something.

0:36:28.800 --> 0:36:29.000
<v Speaker 4>Yeah.

0:36:29.120 --> 0:36:32.759
<v Speaker 1>Yeah, Then you have little C creativity. And this is

0:36:32.760 --> 0:36:37.120
<v Speaker 1>still this is work that has strong interpersonal value. It's additive,

0:36:37.280 --> 0:36:41.320
<v Speaker 1>it's cumulative. And we can think of various examples of

0:36:41.360 --> 0:36:43.800
<v Speaker 1>this as well. I mean, I think, like a great book,

0:36:44.640 --> 0:36:46.440
<v Speaker 1>but not a book so great that it changes the

0:36:46.480 --> 0:36:50.799
<v Speaker 1>world might fit under little C creativity if I'm understanding

0:36:50.840 --> 0:36:54.000
<v Speaker 1>the concept correctly, or I would say not even they

0:36:54.000 --> 0:36:56.239
<v Speaker 1>don't even think about greatness. But a book you like

0:36:56.719 --> 0:37:00.200
<v Speaker 1>has you know, strong personal value, and you know you

0:37:00.360 --> 0:37:03.200
<v Speaker 1>share that with others and so forth. Then you have

0:37:03.320 --> 0:37:06.920
<v Speaker 1>pro C creativity. This is not game changing, but it's

0:37:06.920 --> 0:37:10.719
<v Speaker 1>effective and beneficial within a given field. So you know,

0:37:10.760 --> 0:37:15.959
<v Speaker 1>a new means of doing something, some new innovation within

0:37:16.000 --> 0:37:16.680
<v Speaker 1>a given field.

0:37:17.000 --> 0:37:19.279
<v Speaker 3>Okay, and then you have many.

0:37:19.080 --> 0:37:23.279
<v Speaker 1>C creativity, And this is an interpersonal creativity that is

0:37:23.280 --> 0:37:26.880
<v Speaker 1>a part of the learning process. So my understanding on this,

0:37:27.160 --> 0:37:32.200
<v Speaker 1>like to draw an example from like our daily work

0:37:32.239 --> 0:37:34.640
<v Speaker 1>pretty much is like sometimes when we run across a

0:37:34.680 --> 0:37:36.759
<v Speaker 1>new concept, we kind of have to make sense of

0:37:36.760 --> 0:37:39.080
<v Speaker 1>it ourselves, and we'll sort of turn to some sort

0:37:39.120 --> 0:37:42.680
<v Speaker 1>of a personal novel metaphor for how it works, you know,

0:37:43.200 --> 0:37:46.000
<v Speaker 1>like compare it to a Santo movie or what have you.

0:37:46.000 --> 0:37:49.480
<v Speaker 1>You know, So we're engaging in many C creativity according

0:37:49.480 --> 0:37:51.759
<v Speaker 1>to this model here, you know, it's it's not going

0:37:51.840 --> 0:37:53.800
<v Speaker 1>to change the world. It's not trying to change the world.

0:37:53.840 --> 0:37:57.000
<v Speaker 1>It's not really innovating anything. But it's helping us in

0:37:57.040 --> 0:37:59.560
<v Speaker 1>a learning process, Like it does have value within the

0:37:59.560 --> 0:38:02.520
<v Speaker 1>way that our mind is working. It's helping us roll

0:38:02.560 --> 0:38:04.400
<v Speaker 1>around various concepts and so forth.

0:38:04.800 --> 0:38:07.320
<v Speaker 3>The kind of creativity we engage in, we all engage

0:38:07.320 --> 0:38:10.720
<v Speaker 3>in basically every day, coming up with analogies or ways

0:38:10.760 --> 0:38:12.800
<v Speaker 3>of thinking about or explaining things.

0:38:13.280 --> 0:38:17.080
<v Speaker 1>Yeah, but one an important thing they stress is that

0:38:17.080 --> 0:38:19.840
<v Speaker 1>that that any kind of creativity is going to start

0:38:19.880 --> 0:38:24.680
<v Speaker 1>out novel and personal. So you know, a mini creates

0:38:24.760 --> 0:38:28.480
<v Speaker 1>many C creativity project could become a pro C, could

0:38:28.520 --> 0:38:31.680
<v Speaker 1>become a little C, could become a big C, and

0:38:31.719 --> 0:38:34.680
<v Speaker 1>so forth. So I think it's a pretty useful idea

0:38:35.560 --> 0:38:38.840
<v Speaker 1>for and certainly gives it a little more nuanced to

0:38:38.880 --> 0:38:42.239
<v Speaker 1>the idea of like what is the enterprise of creativity

0:38:42.280 --> 0:38:45.400
<v Speaker 1>and what role does it play? So applying all of

0:38:45.400 --> 0:38:48.720
<v Speaker 1>this to adults, the idea that Russ and the paper

0:38:48.840 --> 0:38:51.800
<v Speaker 1>proposes here is that, yes, childhood creativity has an influence

0:38:51.800 --> 0:38:55.399
<v Speaker 1>on adult creativity, but we can't just think about creativity

0:38:55.680 --> 0:38:59.160
<v Speaker 1>in adults, as you know, just just in terms of

0:38:59.200 --> 0:39:03.760
<v Speaker 1>its useful wellness, like in the workplace or for a career. Again,

0:39:03.880 --> 0:39:05.880
<v Speaker 1>we can't just think of it as strapping that horse

0:39:05.920 --> 0:39:09.400
<v Speaker 1>to a cart. Play in particular, they stress for children

0:39:09.440 --> 0:39:13.520
<v Speaker 1>and adults allows us to process challenges and emotions while

0:39:13.920 --> 0:39:17.319
<v Speaker 1>also supporting other forms of creativity. So again, a mini

0:39:17.360 --> 0:39:20.239
<v Speaker 1>c exercise could transition into a pro se or any

0:39:20.280 --> 0:39:23.279
<v Speaker 1>of the other forms of creativity. You know, to quote

0:39:23.320 --> 0:39:26.160
<v Speaker 1>Lawrence of Arabia, big things have small beginnings.

0:39:27.360 --> 0:39:30.040
<v Speaker 3>And I think often this is sort of a cliche

0:39:30.120 --> 0:39:33.560
<v Speaker 3>at this point, but how often in history you see

0:39:33.920 --> 0:39:37.920
<v Speaker 3>people who do I don't know, make big creative leaps

0:39:37.960 --> 0:39:41.120
<v Speaker 3>that are often categorized as the useful sort. You know,

0:39:41.120 --> 0:39:44.279
<v Speaker 3>people who make big scientific breakthroughs, or people who you know,

0:39:44.520 --> 0:39:47.360
<v Speaker 3>do great works of art or something are often also

0:39:47.760 --> 0:39:51.320
<v Speaker 3>engaged in what we might think of as a lot

0:39:51.480 --> 0:39:57.560
<v Speaker 3>of trivial collaborative outside of work play of a creative sort.

0:39:57.920 --> 0:40:00.680
<v Speaker 3>You know, they're just sort of in whatever off hours

0:40:00.680 --> 0:40:04.279
<v Speaker 3>they have, kind of talking to other people who are

0:40:04.320 --> 0:40:08.520
<v Speaker 3>involved in similar pursuits and engaging and engaging in little

0:40:08.640 --> 0:40:12.040
<v Speaker 3>kind of lower stakes games with the ideas that they're

0:40:12.040 --> 0:40:13.640
<v Speaker 3>manipulating in their major work.

0:40:14.080 --> 0:40:16.920
<v Speaker 1>Yeah, yeah, absolutely, yeah. And one of the big ideas

0:40:16.920 --> 0:40:19.160
<v Speaker 1>here is that most of us are not going to

0:40:19.200 --> 0:40:22.040
<v Speaker 1>engage in big C creativity. Most of us are not

0:40:22.239 --> 0:40:26.279
<v Speaker 1>going to create a new religion, create some sort of

0:40:26.280 --> 0:40:29.560
<v Speaker 1>new technology it changes the world. We're not going to,

0:40:29.760 --> 0:40:32.719
<v Speaker 1>you know, write the Great American novel or what have you.

0:40:33.800 --> 0:40:38.240
<v Speaker 1>But those little C and many C exercises they're still novel,

0:40:38.320 --> 0:40:41.880
<v Speaker 1>they're still useful, and they're still whole. So in this

0:40:42.400 --> 0:40:46.280
<v Speaker 1>paper they make several observations about adult play during COVID

0:40:46.360 --> 0:40:49.879
<v Speaker 1>nineteen lockdowns, you know, taking us back to that time

0:40:49.920 --> 0:40:52.160
<v Speaker 1>in which you know, we can I think everyone listening

0:40:52.200 --> 0:40:55.120
<v Speaker 1>can probably remember. You know, you had many adults suddenly

0:40:55.840 --> 0:40:59.640
<v Speaker 1>dealing with more free time but also expressing themselves through

0:40:59.719 --> 0:41:04.239
<v Speaker 1>play and even process emotions and even trauma through that

0:41:04.360 --> 0:41:08.040
<v Speaker 1>play in addition to nurturing joy. You know, So suddenly

0:41:08.960 --> 0:41:13.120
<v Speaker 1>people who had the ability to do so, you know,

0:41:13.160 --> 0:41:15.720
<v Speaker 1>they might suddenly they're playing more Dudgeons and Dragons than usual,

0:41:15.800 --> 0:41:19.160
<v Speaker 1>or they're they're turning back to an old hobby. And yeah,

0:41:19.239 --> 0:41:22.240
<v Speaker 1>part of that is like maybe they had some extra

0:41:22.280 --> 0:41:24.200
<v Speaker 1>time they were trapped in their home and so forth.

0:41:24.960 --> 0:41:31.120
<v Speaker 1>But additionally, like the creative process, gave them a way

0:41:31.160 --> 0:41:34.680
<v Speaker 1>to work through what they were feeling. So in this

0:41:34.760 --> 0:41:39.040
<v Speaker 1>paper from sin at All, they write the following quote.

0:41:39.080 --> 0:41:41.279
<v Speaker 1>As human beings, we are programmed to use play in

0:41:41.320 --> 0:41:44.640
<v Speaker 1>creative expression to connect and work through the difficulties. Creativity

0:41:44.719 --> 0:41:47.360
<v Speaker 1>is not just about finding solutions to problems. It is

0:41:47.360 --> 0:41:51.280
<v Speaker 1>about expressing emotion and processing change. Now does it involve

0:41:51.320 --> 0:41:57.280
<v Speaker 1>pretend play? Coming back to the overarching theme of these episodes? Subjectively,

0:41:58.080 --> 0:42:00.400
<v Speaker 1>my argument was yes, you know, I was thinking about

0:42:00.480 --> 0:42:05.200
<v Speaker 1>various games. Dungeons and dragons are otherwise various creative endeavors

0:42:05.200 --> 0:42:08.520
<v Speaker 1>one might engage in. But I've also found literature that

0:42:08.560 --> 0:42:12.640
<v Speaker 1>lines up with this too. Oh okay, I was looking

0:42:12.719 --> 0:42:16.080
<v Speaker 1>at a paper this is by Gungku at All published

0:42:16.080 --> 0:42:19.960
<v Speaker 1>in Topoi, an international review of philosophy from two thousand

0:42:20.000 --> 0:42:25.000
<v Speaker 1>and five, titled Pretend Play as a lifespan Activity, and

0:42:25.040 --> 0:42:27.920
<v Speaker 1>the authors here argue that pretend play is an adaptive

0:42:28.000 --> 0:42:31.520
<v Speaker 1>human activity of adulthood as well as childhood. They point

0:42:31.600 --> 0:42:34.120
<v Speaker 1>out that a lot of the early work in childhood

0:42:34.160 --> 0:42:37.480
<v Speaker 1>psychology creative view in which childhood is playful and fanciful,

0:42:37.560 --> 0:42:41.200
<v Speaker 1>while adult adulthood is all logical and productive. We touched

0:42:41.200 --> 0:42:43.279
<v Speaker 1>on that already. The idea that okay, you're grown up

0:42:43.280 --> 0:42:46.759
<v Speaker 1>and now put your creativity to work again. Creativity and

0:42:46.800 --> 0:42:51.279
<v Speaker 1>adults was seen as is useful almost always in a

0:42:51.320 --> 0:42:54.040
<v Speaker 1>big sea or at least little sea aspiring manner. The

0:42:54.120 --> 0:42:56.880
<v Speaker 1>authors here, though, argue the opposite, that pretend play can

0:42:56.920 --> 0:42:59.919
<v Speaker 1>be found throughout adult life as well, and they point

0:43:00.160 --> 0:43:04.320
<v Speaker 1>to adult improv theater as a key example of this. Now, granted,

0:43:04.360 --> 0:43:07.239
<v Speaker 1>not everyone engages in improv theater, but it has been

0:43:07.239 --> 0:43:09.480
<v Speaker 1>interesting in recent years to see improv theater and it's

0:43:09.520 --> 0:43:13.000
<v Speaker 1>often brought in to say, business spaces and so forth,

0:43:13.320 --> 0:43:18.520
<v Speaker 1>realizing that it is a fun and helpful skill set

0:43:18.600 --> 0:43:21.800
<v Speaker 1>to bring into some sort of a work environment.

0:43:22.400 --> 0:43:26.839
<v Speaker 3>Hmm yeah, okay, So I was thinking of ways that

0:43:27.320 --> 0:43:31.800
<v Speaker 3>pretend play can continue into adulthood, and it made me wonder,

0:43:32.719 --> 0:43:35.839
<v Speaker 3>does something count as pretend play if you were sort

0:43:35.840 --> 0:43:39.080
<v Speaker 3>of trying to hide the fact that you're doing it,

0:43:39.160 --> 0:43:41.879
<v Speaker 3>if it's just sort of a private game with yourself,

0:43:42.400 --> 0:43:45.080
<v Speaker 3>and maybe you're not really thinking of it as pretend

0:43:45.160 --> 0:43:47.759
<v Speaker 3>play and you don't necessarily tell other people about it.

0:43:48.320 --> 0:43:50.520
<v Speaker 3>But I don't know. What's coming to mind is that

0:43:50.719 --> 0:43:55.000
<v Speaker 3>I think probably a lot of adults go about their

0:43:55.080 --> 0:43:58.560
<v Speaker 3>business with this model we've talked about before, where they're

0:43:58.600 --> 0:44:01.800
<v Speaker 3>kind of seeing themselves as a character in a narrative.

0:44:02.120 --> 0:44:05.480
<v Speaker 3>You know, they're not like I am Luke Skywalker, but

0:44:05.640 --> 0:44:09.960
<v Speaker 3>they are framing the events of their life in a

0:44:10.080 --> 0:44:15.120
<v Speaker 3>kind of in a modified, not very realistic way that

0:44:15.400 --> 0:44:18.760
<v Speaker 3>that paints them as like the hero of an important story.

0:44:19.280 --> 0:44:21.640
<v Speaker 3>Does that count as pretend play? I mean it's I

0:44:21.640 --> 0:44:24.280
<v Speaker 3>don't I don't know if it's like altering the literal

0:44:24.440 --> 0:44:29.000
<v Speaker 3>facts of reality, but it's it's putting their life within

0:44:29.040 --> 0:44:33.239
<v Speaker 3>a frame, a frame that is probably not the way

0:44:33.280 --> 0:44:36.400
<v Speaker 3>an objective observer would describe what they're doing. Does that

0:44:36.440 --> 0:44:36.919
<v Speaker 3>make sense?

0:44:37.320 --> 0:44:42.600
<v Speaker 1>Now there's at least a patina of pretend play involved here. Yeah, yeah,

0:44:42.800 --> 0:44:46.840
<v Speaker 1>Whereas in an improv class you might literally be pretending

0:44:46.840 --> 0:44:48.640
<v Speaker 1>to be a dump truck. Yes, in a way if

0:44:48.640 --> 0:44:54.080
<v Speaker 1>that most most non improf adults are not doing, but

0:44:54.320 --> 0:44:56.200
<v Speaker 1>very much in line with the kind of pretend to

0:44:56.200 --> 0:44:57.560
<v Speaker 1>play a child might engage in.

0:44:57.840 --> 0:45:01.600
<v Speaker 3>Yeah yeah, And there is some kind of freeing about that,

0:45:01.719 --> 0:45:03.920
<v Speaker 3>you know, when you when you watch improv, there's like

0:45:04.000 --> 0:45:07.360
<v Speaker 3>a there's a feeling of cutting loose that's very exciting

0:45:07.400 --> 0:45:10.040
<v Speaker 3>that you don't see even in a lot of otherwise

0:45:10.080 --> 0:45:10.960
<v Speaker 3>creative adults.

0:45:11.520 --> 0:45:13.160
<v Speaker 1>Now that this paper does not get into it, But

0:45:13.200 --> 0:45:17.120
<v Speaker 1>of course I'm also reminded of various observations about other

0:45:17.200 --> 0:45:19.759
<v Speaker 1>forms of acting in which there can be kind of

0:45:19.800 --> 0:45:25.719
<v Speaker 1>a contagious aspect to the part one is playing and

0:45:26.040 --> 0:45:30.919
<v Speaker 1>one's own thoughts and actions. So, I mean, I guess

0:45:30.960 --> 0:45:33.560
<v Speaker 1>you especially when adults. I mean, to a certain extent,

0:45:33.600 --> 0:45:37.120
<v Speaker 1>when kids pretend play. You know, sometimes animal simulations can

0:45:37.120 --> 0:45:39.359
<v Speaker 1>get a little out of hand, and mom and dad

0:45:39.440 --> 0:45:44.120
<v Speaker 1>might get scratched or bit But but on a on

0:45:44.160 --> 0:45:50.399
<v Speaker 1>another level, there's always that possibility with adult actors as well. Now,

0:45:51.120 --> 0:45:55.640
<v Speaker 1>I think it's an interesting comparison between improv theater and

0:45:55.800 --> 0:46:00.560
<v Speaker 1>childhood pretend play. I think kids are sometimes not as

0:46:00.560 --> 0:46:04.160
<v Speaker 1>good at the yes and aspect of improv that's central

0:46:04.239 --> 0:46:07.680
<v Speaker 1>to the philosophy of improv. But you know, I think

0:46:07.680 --> 0:46:09.920
<v Speaker 1>that's on another level that's often one of the big

0:46:10.080 --> 0:46:14.080
<v Speaker 1>lessons that they learn when they play with others. I mean,

0:46:14.120 --> 0:46:15.880
<v Speaker 1>there's a lot of research on this as well. We

0:46:15.920 --> 0:46:17.600
<v Speaker 1>didn't know I haven't really got into this but you

0:46:17.640 --> 0:46:22.800
<v Speaker 1>have like parallel play with kids where it's like little

0:46:22.800 --> 0:46:25.200
<v Speaker 1>Susie and little Bobby. They are not really playing together.

0:46:25.280 --> 0:46:27.640
<v Speaker 1>They are both playing with dump trucks in the sand,

0:46:28.280 --> 0:46:30.480
<v Speaker 1>but they're just kind of playing alongside each other. And

0:46:30.520 --> 0:46:32.759
<v Speaker 1>thank goodness they both have dump trucks, because otherwise they

0:46:32.760 --> 0:46:33.439
<v Speaker 1>would be a fight.

0:46:33.920 --> 0:46:36.399
<v Speaker 3>Yeah, and I can see, yes. And as a form

0:46:36.440 --> 0:46:38.799
<v Speaker 3>of sharing, I mean it is a way of give

0:46:38.840 --> 0:46:41.560
<v Speaker 3>and take and of sharing, not the physical props of

0:46:41.600 --> 0:46:43.960
<v Speaker 3>play if you have to share your one dump truck toy,

0:46:44.200 --> 0:46:47.360
<v Speaker 3>but of sharing the direction of the play, sharing a narrative.

0:46:47.600 --> 0:46:50.080
<v Speaker 1>Yeah. If it's for example, if you're engaging in an

0:46:50.160 --> 0:46:53.200
<v Speaker 1>imagine shared world, in a paracosm, Yeah, you have to

0:46:53.239 --> 0:46:56.719
<v Speaker 1>share that, like one person can't be just be the

0:46:56.719 --> 0:46:59.400
<v Speaker 1>god of this realm. I guess there's there's room for

0:46:59.600 --> 0:47:02.600
<v Speaker 1>maybe a you know, forty sixty split there on creative

0:47:02.600 --> 0:47:03.640
<v Speaker 1>control of the paraphousm.

0:47:04.040 --> 0:47:14.239
<v Speaker 5>Yeah.

0:47:14.280 --> 0:47:17.319
<v Speaker 1>But another way that the improv theater example I think

0:47:17.440 --> 0:47:21.800
<v Speaker 1>is interesting is that it's an example where adults often

0:47:21.880 --> 0:47:25.040
<v Speaker 1>or at least sometimes have to relearn how to engage

0:47:25.040 --> 0:47:29.000
<v Speaker 1>in pure imagination play. You know a lot of you

0:47:29.000 --> 0:47:31.840
<v Speaker 1>hear plenty of accounts of adults who take an improv

0:47:31.920 --> 0:47:34.520
<v Speaker 1>class and it's like they're one over by it, you know,

0:47:34.760 --> 0:47:37.760
<v Speaker 1>it transforms them, like they're able to reconnect with this

0:47:37.760 --> 0:47:40.080
<v Speaker 1>this creative energy that they hadn't had, perhaps since they

0:47:40.120 --> 0:47:42.600
<v Speaker 1>were kids. And this all kind of ties into that

0:47:42.640 --> 0:47:46.080
<v Speaker 1>whole idea of creativity as being this expression of the whole.

0:47:46.200 --> 0:47:49.000
<v Speaker 1>You know, it's not just this thing you know you

0:47:49.440 --> 0:47:52.520
<v Speaker 1>do you know in this one exercise like it is

0:47:53.480 --> 0:47:55.120
<v Speaker 1>you know, it is a way that you're able to

0:47:55.239 --> 0:47:59.520
<v Speaker 1>process things and let things out. Now, another example that

0:47:59.520 --> 0:48:02.560
<v Speaker 1>they bring this one was really fascinating in part because

0:48:02.960 --> 0:48:05.560
<v Speaker 1>we already kind of stumbled over this a little bit

0:48:05.600 --> 0:48:10.840
<v Speaker 1>when we were talking about imaginary friends. We were talking about, Okay,

0:48:11.080 --> 0:48:15.080
<v Speaker 1>what do adults engage in that are akin to imaginary friends?

0:48:15.120 --> 0:48:19.560
<v Speaker 1>And we talked about things like speaking to angels and

0:48:19.640 --> 0:48:23.440
<v Speaker 1>shouting at the devil and so forth. But the example

0:48:23.480 --> 0:48:26.319
<v Speaker 1>brought up in this paper is that you will have

0:48:27.320 --> 0:48:32.760
<v Speaker 1>the situation of adults engaging in conversation with the dead

0:48:33.520 --> 0:48:37.880
<v Speaker 1>had a grave site. For example, adults essentially engaging in

0:48:37.920 --> 0:48:41.440
<v Speaker 1>a conversation with an imagined or simulated mind. And this

0:48:41.560 --> 0:48:43.800
<v Speaker 1>was an idea that was apparently discussed in a paper

0:48:43.840 --> 0:48:47.799
<v Speaker 1>by I. E. Josephson nineteen ninety eight titled constructing Oneself

0:48:48.080 --> 0:48:49.400
<v Speaker 1>in the City of the Silent.

0:48:49.960 --> 0:48:53.080
<v Speaker 3>Oh wow. This is interesting because just last night I

0:48:53.120 --> 0:48:57.200
<v Speaker 3>was reading sort of a biographical article about the life

0:48:57.200 --> 0:49:01.719
<v Speaker 3>of Mary Shelley, the author of Frankenstein, and she apparently

0:49:01.760 --> 0:49:07.000
<v Speaker 3>had an an extremely important relationship with her with her

0:49:07.040 --> 0:49:10.719
<v Speaker 3>mother's grave, essentially with her mother was an important writer

0:49:10.800 --> 0:49:14.239
<v Speaker 3>in her own right, Mary Wollstonecraft, and she she would

0:49:14.320 --> 0:49:17.600
<v Speaker 3>visit her mother's grave and like apparently had a strong,

0:49:17.840 --> 0:49:21.359
<v Speaker 3>powerful emotional relationship with her mother's tombstone, would sort of

0:49:21.400 --> 0:49:24.680
<v Speaker 3>like talk to and relate to her mother who died

0:49:24.719 --> 0:49:25.799
<v Speaker 3>after giving birth to her.

0:49:26.440 --> 0:49:29.200
<v Speaker 1>Wow. Yeah, And I feel like a lot of us

0:49:29.920 --> 0:49:33.880
<v Speaker 1>can speak to examples of this the way that ganku

0:49:34.880 --> 0:49:38.440
<v Speaker 1>at all sum this up. They say, quote, these conversations

0:49:38.520 --> 0:49:42.120
<v Speaker 1>enabled the grieving survivors to reinterpret their joint past with

0:49:42.200 --> 0:49:45.000
<v Speaker 1>the deceased, as they also help them prepare for the future,

0:49:45.320 --> 0:49:48.240
<v Speaker 1>a finding that is corroborated by other clinical studies.

0:49:49.360 --> 0:49:49.840
<v Speaker 3>Yeah.

0:49:50.200 --> 0:49:52.280
<v Speaker 1>So yeah, I feel like a lot of us can

0:49:52.480 --> 0:49:55.040
<v Speaker 1>can speak to this on some level. I've certainly engaged

0:49:55.080 --> 0:49:58.520
<v Speaker 1>in this before, speaking to the dead, reaching for the dead,

0:49:59.040 --> 0:50:03.319
<v Speaker 1>particularly at a great side. Yeah, and I want to

0:50:03.320 --> 0:50:05.840
<v Speaker 1>stress again, as we've touched on this many times on

0:50:05.880 --> 0:50:07.960
<v Speaker 1>the show, that we as humans are capable of juggling

0:50:08.040 --> 0:50:13.560
<v Speaker 1>multiple and even contradicting ideas about say, the persistence of consciousness.

0:50:14.800 --> 0:50:18.000
<v Speaker 1>Have you contradicting ideas in your head, multiple of them

0:50:18.000 --> 0:50:20.680
<v Speaker 1>at once. So, you know, standing at the grave of

0:50:20.719 --> 0:50:22.799
<v Speaker 1>a loved one, you might at once feel as if

0:50:22.800 --> 0:50:25.800
<v Speaker 1>you were speaking to a person who is in the past.

0:50:26.480 --> 0:50:28.520
<v Speaker 1>You know you're speaking you're a person who only exists

0:50:28.520 --> 0:50:31.440
<v Speaker 1>in memory. You may also feel, on another level, like

0:50:31.520 --> 0:50:34.439
<v Speaker 1>you are speaking to the ghost of a loved one

0:50:34.560 --> 0:50:38.080
<v Speaker 1>that is spiritually present, like in a movie about a ghost,

0:50:38.800 --> 0:50:42.000
<v Speaker 1>or someone who is there but invisible, like in other

0:50:42.080 --> 0:50:44.759
<v Speaker 1>movies about ghosts. I mean, you really can't discount the

0:50:44.840 --> 0:50:49.080
<v Speaker 1>power that say, ghost movies have on these sort of

0:50:49.200 --> 0:50:54.680
<v Speaker 1>like almost subconscious ideas about the deceased and the role

0:50:54.719 --> 0:50:58.520
<v Speaker 1>that they have in our lives. You might see them

0:50:58.560 --> 0:51:00.239
<v Speaker 1>as a spirit of a loved one that is now

0:51:00.280 --> 0:51:03.480
<v Speaker 1>residing in another realm of existence. You know, the idea

0:51:03.480 --> 0:51:05.960
<v Speaker 1>that will they're looking down on me and so forth.

0:51:06.520 --> 0:51:09.760
<v Speaker 1>You also, on some level, maybe even like front loaded,

0:51:09.920 --> 0:51:12.680
<v Speaker 1>you might be thinking, well, this is just an empty

0:51:12.680 --> 0:51:15.719
<v Speaker 1>corporeal vessel, like there's you know, there's nothing here. I

0:51:15.760 --> 0:51:18.000
<v Speaker 1>am just engaging in this idea of the person that

0:51:18.120 --> 0:51:21.600
<v Speaker 1>is passed. And then yeah, ultimately you might think of it, Oh,

0:51:21.640 --> 0:51:24.439
<v Speaker 1>I'm dealing with a mental simulation of the deceased via

0:51:24.560 --> 0:51:29.000
<v Speaker 1>theory of mind. Hmm. Yeah, And for something as deeply

0:51:29.040 --> 0:51:32.080
<v Speaker 1>personal and emotional as a grave sided conversation with the dead,

0:51:32.200 --> 0:51:34.000
<v Speaker 1>I think it's fair to accept that any number of

0:51:34.000 --> 0:51:36.640
<v Speaker 1>these can be in play, and we shouldn't be dismissive

0:51:36.640 --> 0:51:38.960
<v Speaker 1>of any of them, at least from an emotional standpoint,

0:51:38.960 --> 0:51:43.000
<v Speaker 1>you know. But I think it's a great concept concerning

0:51:43.200 --> 0:51:47.080
<v Speaker 1>the power of human imagination and our engagement with simulated

0:51:47.120 --> 0:51:51.080
<v Speaker 1>realities as a means of processing and evaluating feelings and

0:51:51.120 --> 0:51:54.680
<v Speaker 1>as an expression of wholeness and creativity, you know. So

0:51:55.239 --> 0:51:58.360
<v Speaker 1>you know it is it is ultimately a kind of

0:51:58.440 --> 0:52:02.319
<v Speaker 1>pretend play, but pretend play that you know has very

0:52:02.400 --> 0:52:05.279
<v Speaker 1>high emotional stakes. But at the same time, it's not

0:52:05.560 --> 0:52:09.280
<v Speaker 1>useful in the sense that it is going to change

0:52:09.320 --> 0:52:12.960
<v Speaker 1>the world or generate income, but it can be highly

0:52:13.080 --> 0:52:17.120
<v Speaker 1>useful depending on the individual obviously, in the situation, like

0:52:17.239 --> 0:52:20.919
<v Speaker 1>for their their own feelings and for their own sense

0:52:20.960 --> 0:52:21.600
<v Speaker 1>of well being.

0:52:21.960 --> 0:52:24.640
<v Speaker 3>Well, this actually makes me reframe one of the ways

0:52:24.680 --> 0:52:27.799
<v Speaker 3>I was thinking about childhood pretend play. In the first part,

0:52:27.840 --> 0:52:31.480
<v Speaker 3>we briefly discussed a definition of play, which is that

0:52:31.560 --> 0:52:35.399
<v Speaker 3>it's non instrumental activity. It's activity that is not put

0:52:35.440 --> 0:52:40.439
<v Speaker 3>toward any kind of external purpose. It's purely It's often

0:52:40.480 --> 0:52:44.240
<v Speaker 3>described as purely for enjoyment, and that makes it sound

0:52:44.320 --> 0:52:48.160
<v Speaker 3>like anything that is play, or by extension, pretend play,

0:52:48.239 --> 0:52:52.840
<v Speaker 3>should be for fun. But actually, I mean, obviously, I

0:52:52.840 --> 0:52:55.160
<v Speaker 3>think it makes sense in a way to call this

0:52:55.280 --> 0:52:58.880
<v Speaker 3>kind of interfacing with the dead a form of pretend play,

0:52:59.040 --> 0:53:02.160
<v Speaker 3>except the word play sounds wrong because play is supposed

0:53:02.200 --> 0:53:05.480
<v Speaker 3>to be fun. But then when I think of the

0:53:05.560 --> 0:53:09.040
<v Speaker 3>pretend play games I actually like watch my daughter go through.

0:53:09.600 --> 0:53:12.839
<v Speaker 3>They're usually fun, but they're not always fun. Sometimes they

0:53:12.840 --> 0:53:16.439
<v Speaker 3>actually feel quite serious and sometimes quite sad. Like one

0:53:16.480 --> 0:53:20.080
<v Speaker 3>thing she likes to do is to pretend to treat

0:53:20.160 --> 0:53:25.000
<v Speaker 3>and heal the wound of her toys, and she she

0:53:25.040 --> 0:53:27.879
<v Speaker 3>gets kind of sadness in her voy, you know, she's like, oh,

0:53:27.960 --> 0:53:33.239
<v Speaker 3>he you know, dinosaur, her need feel better. And that

0:53:33.480 --> 0:53:36.920
<v Speaker 3>almost strikes me as somewhat similar to the Graveside conversation.

0:53:37.000 --> 0:53:39.320
<v Speaker 3>I mean, in a way that still has to be play,

0:53:39.440 --> 0:53:43.000
<v Speaker 3>that is play, but there's no laughter involved, it's not fun,

0:53:43.040 --> 0:53:46.120
<v Speaker 3>and the main emotion seems to be sympathy and sadness.

0:53:46.480 --> 0:53:47.280
<v Speaker 4>Yeah.

0:53:47.360 --> 0:53:49.400
<v Speaker 3>So I don't know. There are many many ways obviously

0:53:49.400 --> 0:53:52.399
<v Speaker 3>in which those things are different, but it does seem

0:53:52.480 --> 0:53:56.160
<v Speaker 3>to drive home that there's maybe something that is missing

0:53:56.400 --> 0:53:59.160
<v Speaker 3>when we think of play as an activity that is

0:53:59.200 --> 0:54:04.080
<v Speaker 3>strictly were fun. Instead, it's something that's like usually for fun,

0:54:04.760 --> 0:54:08.040
<v Speaker 3>but it also can sometimes be something else. It's something

0:54:08.080 --> 0:54:11.680
<v Speaker 3>we're doing for kind of intrinsic motivations, but they're not

0:54:11.760 --> 0:54:15.920
<v Speaker 3>really related to like pleasure or laughter or excitement.

0:54:16.640 --> 0:54:20.920
<v Speaker 1>Yeah. Yeah, so at any rate, Yeah, these, like I say,

0:54:21.160 --> 0:54:22.480
<v Speaker 1>I thought I was gonna get more into sort of

0:54:22.520 --> 0:54:27.399
<v Speaker 1>granular discussions of you know, of adult imagination play and

0:54:27.440 --> 0:54:31.240
<v Speaker 1>like the benefits of engaging maybe in something like improv theater.

0:54:31.600 --> 0:54:33.960
<v Speaker 1>And yeah, I realized this all ended up being a

0:54:33.960 --> 0:54:36.960
<v Speaker 1>little bit broader and a little bit more philosophic, But

0:54:37.960 --> 0:54:39.520
<v Speaker 1>I thought it was really fascinating and it made me

0:54:39.560 --> 0:54:41.080
<v Speaker 1>sort of rethink a lot of what I thought I

0:54:41.160 --> 0:54:42.319
<v Speaker 1>knew about creativity.

0:54:42.680 --> 0:54:45.040
<v Speaker 3>Yeah, totally all right.

0:54:44.920 --> 0:54:46.480
<v Speaker 1>Well, I think we're going to go ahead and close

0:54:46.520 --> 0:54:49.200
<v Speaker 1>this episode out, and we're thinking we're going to be

0:54:49.239 --> 0:54:52.200
<v Speaker 1>back with one more of these, because there's still plenty

0:54:52.239 --> 0:54:54.759
<v Speaker 1>to talk about. And in the meantime, we'd love to

0:54:54.800 --> 0:54:56.879
<v Speaker 1>hear from all of you. I know we have some

0:54:57.120 --> 0:55:00.319
<v Speaker 1>people out there who are improv actors or certainly taken

0:55:00.320 --> 0:55:02.640
<v Speaker 1>an improv class or two, or done a little improv

0:55:03.040 --> 0:55:06.239
<v Speaker 1>maybe in a college acting class. Tell us about it.

0:55:06.320 --> 0:55:09.040
<v Speaker 1>How do your experiences line up with what we've been

0:55:09.040 --> 0:55:13.600
<v Speaker 1>discussing here, Any other of your thoughts, experiences, and so

0:55:13.640 --> 0:55:16.880
<v Speaker 1>forth concerning this episode or the previous episodes in the

0:55:16.920 --> 0:55:19.520
<v Speaker 1>Pretend Play series write in. We would love to hear

0:55:19.560 --> 0:55:22.720
<v Speaker 1>from you. And oh and as always, if you want

0:55:23.360 --> 0:55:25.920
<v Speaker 1>what you share to be to not be shared in

0:55:25.960 --> 0:55:28.560
<v Speaker 1>a future listener mail episode, let us know and we'll

0:55:28.560 --> 0:55:32.560
<v Speaker 1>honor that. Likewise, if you would like to use a pseudonym,

0:55:32.920 --> 0:55:35.160
<v Speaker 1>you know, just let us know as well. Just tell

0:55:35.239 --> 0:55:37.600
<v Speaker 1>us what to do with the copy you send.

0:55:37.480 --> 0:55:40.160
<v Speaker 3>Us, with the understanding that if you don't give us

0:55:40.200 --> 0:55:42.839
<v Speaker 3>any instructions of that sort, we will use your first

0:55:42.920 --> 0:55:45.799
<v Speaker 3>name and consider it fair game to read on air.

0:55:46.080 --> 0:55:49.040
<v Speaker 1>Absolutely absolutely, all right, just a reminder. Stuff to Blow

0:55:49.080 --> 0:55:51.600
<v Speaker 1>Your Mind is primarily a science and culture podcast. Core

0:55:51.600 --> 0:55:54.680
<v Speaker 1>episodes on Tuesdays and Thursdays, short form episodes on Wednesdays

0:55:54.920 --> 0:55:57.239
<v Speaker 1>and on Fridays. We set aside most serious concerns to

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<v Speaker 1>just talk about a weird film on Weird House Cinema.

0:56:00.040 --> 0:56:03.960
<v Speaker 1>If you're on Instagram, follow us at STBYM podcast. We're

0:56:03.960 --> 0:56:05.799
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0:56:05.880 --> 0:56:08.720
<v Speaker 1>used to have another Instagram account. That one went away

0:56:09.160 --> 0:56:11.680
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0:56:11.719 --> 0:56:15.359
<v Speaker 1>follower account. To be clear, trying to get those numbers up.

0:56:15.400 --> 0:56:18.680
<v Speaker 1>We have higher numbers on other platforms like Twitter, but

0:56:19.400 --> 0:56:21.080
<v Speaker 1>I kind of want the Instagram want to be hired,

0:56:21.120 --> 0:56:23.200
<v Speaker 1>so help us out with that if you have the

0:56:23.239 --> 0:56:24.080
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0:56:24.440 --> 0:56:26.319
<v Speaker 3>We have a Twitter account.

0:56:26.320 --> 0:56:29.600
<v Speaker 1>Yeah, we do. It's active. You can follow us on Twitter.

0:56:30.280 --> 0:56:32.600
<v Speaker 1>It does get updates about the content.

0:56:34.480 --> 0:56:38.440
<v Speaker 3>Huge things as always to our excellent audio producer JJ Posway.

0:56:38.719 --> 0:56:40.200
<v Speaker 3>If you would like to get in touch with us

0:56:40.200 --> 0:56:42.760
<v Speaker 3>with feedback on this episode or any other, to suggest

0:56:42.840 --> 0:56:44.919
<v Speaker 3>a topic for the future, or just to say hello,

0:56:45.239 --> 0:56:48.239
<v Speaker 3>you can email us at contact at stuff to Blow

0:56:48.280 --> 0:56:56.880
<v Speaker 3>your Mind dot com.

0:56:57.000 --> 0:57:00.200
<v Speaker 2>Stuff to Blow Your Mind is production of iHeartRadio. More

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<v Speaker 3>H