WEBVTT - Pretend Play, Part 4

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<v Speaker 1>Welcome to Stuff to Blow Your Mind, a production of iHeartRadio.

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<v Speaker 2>Hey, welcome to Stuff to Blow Your Mind. My name

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<v Speaker 2>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

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<v Speaker 3>couch that's going on in our house this week, by

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<v Speaker 3>the way, fingers are worms, Or when I pretend a

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<v Speaker 3>cardboard box becomes the castle gray Skull, or when I

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<v Speaker 3>change the diaper on a stuffed velociraptor, or if I

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<v Speaker 3>go on adventures in the backyard with an imaginary friend.

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<v Speaker 3>These are all forms of pretend play, play that takes

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<v Speaker 3>place within a pretend frame and treats anything in the

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<v Speaker 3>world or in the situation as other than what it

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<v Speaker 3>literally is. Now, if we haven't heard the previous parts

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<v Speaker 3>in this series, I think this is one where we

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<v Speaker 3>really would recommend listening in order. We're going to be

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<v Speaker 3>building on some conversations we had in previous episodes today,

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<v Speaker 3>but in those previous installments, to refresh, we talked about

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<v Speaker 3>ways that researchers define and subdivide pretend play into activities

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<v Speaker 3>like object substitution. So one of our favorite examples is

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<v Speaker 3>banana is a telephone. They talk about that a lot

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<v Speaker 3>in the research enactment play where you might be You know,

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<v Speaker 3>I am cooking dinner in my play kitchen replica, play

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<v Speaker 3>where you have my toy triceratops as cooking dinner in

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<v Speaker 3>the dollhouse, imaginary companions, and other things. We talked about

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<v Speaker 3>possible links explored in the research between pretend play and

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<v Speaker 3>the development of advanced cognitive skills like symbolic understanding, counterfactual reasoning,

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<v Speaker 3>and theory of mind, addressing the question of whether pretending

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<v Speaker 3>might help children develop some of those important faculties, or

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<v Speaker 3>at least whether pretending in those faculties might draw on

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<v Speaker 3>the same underlying neural structures. In Part two, we talked

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<v Speaker 3>in more depth about research on imaginary friends and imaginary companions,

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<v Speaker 3>how often they manifest within and across different cultures, what

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<v Speaker 3>forms they take, what children believe they know, and things

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<v Speaker 3>like that. In the most recent episode, we looked more

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<v Speaker 3>at the question of how adult culture influences pretend play

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<v Speaker 3>among children, noting that while pretending does appear to be

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<v Speaker 3>basically universal, there is pretty wide variation in how much

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<v Speaker 3>children play pretend, and in the themes of the pretend play,

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<v Speaker 3>and in some particular cases, in the framing of whether

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<v Speaker 3>pretend entities are understood as real in some important way

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<v Speaker 3>or not. And then last time we also examined the

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<v Speaker 3>fascinating phenomenon of paracosms, essentially extending the concept of an

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<v Speaker 3>imaginary friend to where it is not a single character

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<v Speaker 3>or playmate, but an entire imaginary world, maybe with its

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<v Speaker 3>own geography, culture, populations, and rules. And we discussed links

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<v Speaker 3>between a childhood tendency to generate paracosms and things like

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<v Speaker 3>creativity in later life.

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<v Speaker 2>Yeah yeah, and I have a paracosm update here. Oh

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<v Speaker 2>really yeah, Because after we'd record this, I realized, well,

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<v Speaker 2>my child is twelve and almost thirteen, which places them

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<v Speaker 2>toward the end of what is broadly considered the paracosm

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<v Speaker 2>period for kids. So I asked them the next morning

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<v Speaker 2>over breakfast. I was like, I know you had some

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<v Speaker 2>pretend worlds and or have pretend worlds that you sometimes

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<v Speaker 2>engage with other friends. Tell me about them. And so

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<v Speaker 2>they laid it all out for me. They said, there

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<v Speaker 2>are two pretend worlds, both of them social in nature,

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<v Speaker 2>that they shared with one particular other friend. So one

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<v Speaker 2>of these with one friend is essentially an extrapol of

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<v Speaker 2>Star Wars. They said. It's different planets set in the

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<v Speaker 2>Old Republic era on which Jedis have adventures. Okay, which

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<v Speaker 2>I think that's a pretty good example because it's like,

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<v Speaker 2>clearly it's built upon the Star Wars universe, but a

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<v Speaker 2>universe like the Star Wars universe is kind of limitless,

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<v Speaker 2>so yeah, you can build out other things that draw

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<v Speaker 2>on the existing Star Wars lore, but but generate new

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<v Speaker 2>ideas as well. And then the other one. I think

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<v Speaker 2>this was earlier. It was a really wild take on

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<v Speaker 2>Pokemon that they had with another friend that was super

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<v Speaker 2>into Pokemon at the time, and they would describe these

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<v Speaker 2>epic wars between Pokemon factions and like an evil Pikachu.

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<v Speaker 2>It was really wild, and at the time it was

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<v Speaker 2>like it was at times it was a little much.

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<v Speaker 2>I was like, this Pikachu is an ally, guys, what

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<v Speaker 2>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 2>I mean, Pikachu's been around long enough. I imagine all

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<v Speaker 2>variations possible have been dreamt off. Pikachu, I'm sure has

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<v Speaker 2>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 2>Yeah, for some reason, these kids didn't like Pikachu. I

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<v Speaker 2>think they didn't like Pikachu's fame, like Pikachu being the

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<v Speaker 2>most famous of the Pokemon. But they love Piachu, the

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<v Speaker 2>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 developed different mental and physical capabilit 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 to play down into

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<v Speaker 3>lots of different categories, in fact, into nineteen different categories

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<v Speaker 3>of activity, and then they did a large survey of

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<v Speaker 3>the parents of about nine hundred kids between the ages

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<v Speaker 3>of four months old to forty seven months, which is

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<v Speaker 3>just shy four years old, to try to get fine

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<v Speaker 3>detail on when parents observed all these different types of

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<v Speaker 3>pretend play first manifesting. Now you might think nineteen different

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<v Speaker 3>types of pretending, like, how do you get to that?

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<v Speaker 3>Like beyond the banana phone, I don't know what else

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<v Speaker 3>is there? You got imaginary friends, banana phone, I'm a lion,

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<v Speaker 3>what's left? And it's true that some of these categories

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<v Speaker 3>they explore are kind of overlapping or are kind of

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<v Speaker 3>subdivisions of activities we've already talked about into two different subtypes,

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<v Speaker 3>but I still thought it was really interesting, and this

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<v Speaker 3>brought up stuff that I had actually observed with my

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<v Speaker 3>own daughter but had sort of forgotten about in our

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<v Speaker 3>earlier discussions of pretend play from this series. So I

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<v Speaker 3>want to look through this list of play activities from

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<v Speaker 3>the paper.

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<v Speaker 2>Okay, all right, this will be fun, because, yeah, I

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<v Speaker 2>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

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<v Speaker 3>asleep or pretending to sneeze when you don't actually have

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<v Speaker 3>to sneeze. Somewhat similar but a little bit different is

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<v Speaker 3>pretending to cry.

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<v Speaker 2>Hmm, okay, there are different dynamics to all of these,

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<v Speaker 2>because you know, you can pretend to cry and work

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<v Speaker 2>yourself up to a real cry. Oh sure, I don't

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<v Speaker 2>know if you can do that with a sneeze. Maybe

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<v Speaker 2>there's been research into this. Likewise, you can pretend to

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<v Speaker 2>be 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 empty cup. Then there

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<v Speaker 3>is pretending empty vessels are full on another, I feed

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<v Speaker 3>my doll from this empty cup, or I try to

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<v Speaker 3>make Dad drink from this empty cup, and then finally

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<v Speaker 3>pretending empty vessels are full on many others. So I'm

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<v Speaker 3>feeding many different toys or people in this manner.

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<v Speaker 2>Yeah. Yeah, looking back that I remember doing a lot

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<v Speaker 2>of sampling of various food, imaginary food, or drinks that

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<v Speaker 2>my 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 2>Okay, finger guns wouldnt imagine Okay.

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<v Speaker 3>Yeah. Then after that you got one that will be

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<v Speaker 3>more familiar to us. Pretending to be an object like

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<v Speaker 3>I am a tree.

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<v Speaker 2>There is pretend what I'm sorry, I'm just imagining that

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<v Speaker 2>pretend gang, gotcha.

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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 2>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 2>This was huge with my child until really very recently.

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<v Speaker 2>There would often be request to play zookeeper at playground

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<v Speaker 2>where I would have to be a zookeeper doing a

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<v Speaker 2>British accent, like a like an Attenborough type accent, describing

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<v Speaker 2>nature documentary style what the animal is doing while they

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<v Speaker 2>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 2>Interesting, all right, And so this is casual object substitution,

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<v Speaker 2>So imagine this is different. This differs from something that

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<v Speaker 2>I saw later on with my child where they would

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<v Speaker 2>craft a pretend telephone or a pretend computer or a

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<v Speaker 2>pretend Nintendo switch out of like cardboard and stuff like that.

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<v Speaker 2>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 2>Yeah yeah, And I guess you get into the example

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<v Speaker 2>that I already brought up about the lightsabers building a

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<v Speaker 2>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. Okay, I don't think we

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<v Speaker 3>did that one. And then there are further distinctions about

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<v Speaker 3>the social context. There's pretending alone versus pretending with somebody else.

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<v Speaker 3>And I guess those two categories could apply to any

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<v Speaker 3>of the above categories we mentioned. Beyond this, there is

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<v Speaker 3>what the authors call socio dramatic pretending. This means creating

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<v Speaker 3>not just a single action in pretense, but creating a

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<v Speaker 3>more elaborate pretend story. So maybe not just like I

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<v Speaker 3>am Grandpa, I pour tea like Grandpa. Instead it's like

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<v Speaker 3>I am Grandpa and I want to go to the

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<v Speaker 3>store to buy candy for my doggie. But on the

0:13:06.760 --> 0:13:09.240
<v Speaker 3>way to the store, I get attacked by pirates and

0:13:09.280 --> 0:13:11.000
<v Speaker 3>my doggie gets hurt and I have to put a

0:13:11.000 --> 0:13:13.120
<v Speaker 3>band aid on my doggie. So he can feel better,

0:13:13.120 --> 0:13:14.840
<v Speaker 3>and then we all go swimming in the lake, and

0:13:15.080 --> 0:13:18.199
<v Speaker 3>you know, and so forth after that. There is pretending

0:13:18.280 --> 0:13:22.079
<v Speaker 3>to be fantasy characters already existing in culture, like you know,

0:13:22.280 --> 0:13:25.680
<v Speaker 3>I am Princess Leiah, I am Batman, I am Santa Claus,

0:13:25.760 --> 0:13:26.520
<v Speaker 3>that sort of thing.

0:13:26.840 --> 0:13:31.400
<v Speaker 2>And obviously we encourage that across the board, yes, you know,

0:13:31.480 --> 0:13:34.920
<v Speaker 2>and for children and adults, you know, certainly get into

0:13:34.920 --> 0:13:38.800
<v Speaker 2>that dressing up as these various characters. So yeah, I

0:13:38.800 --> 0:13:41.600
<v Speaker 2>think I think a lot of us very much encouraged

0:13:41.679 --> 0:13:42.240
<v Speaker 2>this sort of thing.

0:13:42.960 --> 0:13:45.080
<v Speaker 3>There is, of course, pretending to have an imaginary friend

0:13:45.160 --> 0:13:47.720
<v Speaker 3>or companion. We've already talked about that a lot. There

0:13:47.800 --> 0:13:50.520
<v Speaker 3>is I thought this was an interesting distinction. There is

0:13:50.760 --> 0:13:55.440
<v Speaker 3>pretending to do real activities that are not available to

0:13:55.559 --> 0:13:59.120
<v Speaker 3>most people most of the time, So real activities but

0:13:59.200 --> 0:14:03.080
<v Speaker 3>not every day activities. And examples of this might be

0:14:03.320 --> 0:14:06.040
<v Speaker 3>I am a rocket ship commander. That's a real thing,

0:14:06.120 --> 0:14:08.760
<v Speaker 3>but most people don't do that. I am a pop

0:14:08.800 --> 0:14:11.400
<v Speaker 3>singer and I'm on TV in front of millions. That's

0:14:11.400 --> 0:14:13.680
<v Speaker 3>a real thing. Most people don't do it. So that's

0:14:13.840 --> 0:14:19.720
<v Speaker 3>distinct from both fantasy activities and from everyday activities like

0:14:19.840 --> 0:14:20.840
<v Speaker 3>driving or cooking.

0:14:21.640 --> 0:14:24.720
<v Speaker 2>One of my kids friends would pretend to open their

0:14:24.720 --> 0:14:25.200
<v Speaker 2>own bank.

0:14:27.040 --> 0:14:28.200
<v Speaker 3>That's sort of in the category.

0:14:28.280 --> 0:14:30.520
<v Speaker 2>Yeah, they'd make their own money. I think I still

0:14:30.560 --> 0:14:33.480
<v Speaker 2>have some of their pretend bills around here somewhere in

0:14:33.520 --> 0:14:39.800
<v Speaker 2>one of my books. It's a bookmark called them Darryl Bucks.

0:14:39.520 --> 0:14:42.760
<v Speaker 3>That is curious. And then finally you've got acting out

0:14:43.080 --> 0:14:46.120
<v Speaker 3>completely made up fantasy scenarios. You know, I ride a

0:14:46.200 --> 0:14:49.000
<v Speaker 3>dragon through the sky and I use magic to transform

0:14:49.040 --> 0:15:01.480
<v Speaker 3>people into cats and that sort of thing. Yeah, so

0:15:01.560 --> 0:15:04.360
<v Speaker 3>I really liked this granular attention to detail in the

0:15:04.440 --> 0:15:07.960
<v Speaker 3>different ways that pretend to play can manifest. And this

0:15:08.080 --> 0:15:13.120
<v Speaker 3>paper actually developed a new tool for asking participant parents

0:15:13.360 --> 0:15:17.720
<v Speaker 3>questions to track the emergence of these different pretend activities.

0:15:18.120 --> 0:15:20.520
<v Speaker 3>So the tool the authors developed was called the Early

0:15:20.600 --> 0:15:24.920
<v Speaker 3>Pretending Survey or EPs, and the authors tested the EPs

0:15:25.680 --> 0:15:30.920
<v Speaker 3>for internal reliability, stability over time, inter observer agreement, and

0:15:30.960 --> 0:15:34.120
<v Speaker 3>they found it performed pretty well, which they leveraged to

0:15:34.360 --> 0:15:37.680
<v Speaker 3>argue that the EPs could be quote useful for researchers

0:15:37.720 --> 0:15:41.800
<v Speaker 3>to better understand how pretending relates to other areas of development, eg.

0:15:42.040 --> 0:15:46.440
<v Speaker 3>Cognition and language. Now I can imagine we've already talked

0:15:46.560 --> 0:15:51.640
<v Speaker 3>in some ways about difficulties with relying on parental reports

0:15:51.640 --> 0:15:56.440
<v Speaker 3>for understanding childhood play, and those things are here as well.

0:15:56.760 --> 0:15:59.680
<v Speaker 3>But I can imagine that one advantage of using parental

0:15:59.680 --> 0:16:03.160
<v Speaker 3>report in a survey as opposed to directly observing children

0:16:03.240 --> 0:16:06.360
<v Speaker 3>play in a lab is that the lab setting for

0:16:06.400 --> 0:16:09.840
<v Speaker 3>one thing might change what the children do, and so

0:16:10.080 --> 0:16:13.920
<v Speaker 3>relying on parental observations gives you access to how children

0:16:14.000 --> 0:16:17.120
<v Speaker 3>behave in settings that are normal for them, you know,

0:16:18.040 --> 0:16:21.600
<v Speaker 3>like what they do at home or at school, and

0:16:21.640 --> 0:16:24.400
<v Speaker 3>in places where they normally are. I think we can

0:16:24.440 --> 0:16:26.360
<v Speaker 3>all relate to the fact that when we go to

0:16:26.400 --> 0:16:31.200
<v Speaker 3>an unfamiliar and maybe even uncomfortable place, we act different. Yeah.

0:16:31.320 --> 0:16:34.360
<v Speaker 2>Yeah, And on top of that, this reminds me of

0:16:34.360 --> 0:16:37.960
<v Speaker 2>an example from some studies we're talking about with imaginary friends,

0:16:38.440 --> 0:16:42.080
<v Speaker 2>where it was pointed out that, ay, you want to

0:16:42.080 --> 0:16:44.520
<v Speaker 2>talk to the kid and the adult, but when you

0:16:44.560 --> 0:16:46.760
<v Speaker 2>ask the kid about their imaginary friends, they might just

0:16:46.800 --> 0:16:48.760
<v Speaker 2>create one right there on the spot.

0:16:49.120 --> 0:16:50.200
<v Speaker 3>Yeah.

0:16:49.600 --> 0:16:52.760
<v Speaker 2>So that's a great example of where it's also good

0:16:52.920 --> 0:16:55.440
<v Speaker 2>to chat with the parent and they'll be like, I've

0:16:55.480 --> 0:16:58.440
<v Speaker 2>never heard of mister Bongos. I think they made mister

0:16:58.480 --> 0:17:01.120
<v Speaker 2>bongoes up like literally just now for fun.

0:17:01.200 --> 0:17:02.720
<v Speaker 3>Yeah, because you brought up the idea.

0:17:02.800 --> 0:17:05.800
<v Speaker 2>Yeah yeah, you let mister Bond goes.

0:17:05.680 --> 0:17:10.720
<v Speaker 3>In, right, So the laboratory observation setting might be a

0:17:10.880 --> 0:17:13.520
<v Speaker 3>conjuring Captain Howdy kind of thing with the Ouiji aboard.

0:17:15.040 --> 0:17:19.000
<v Speaker 3>Another big thing is that obviously having to have researchers

0:17:19.119 --> 0:17:23.480
<v Speaker 3>directly observe children playing over time in a laboratory setting

0:17:23.560 --> 0:17:27.719
<v Speaker 3>or any kind of whatever the controlled setting is is

0:17:27.880 --> 0:17:30.719
<v Speaker 3>just cumbersome, you know, it's like time consuming, and so

0:17:30.760 --> 0:17:33.399
<v Speaker 3>a survey format allows you to gather much larger sample

0:17:33.480 --> 0:17:37.960
<v Speaker 3>sizes than direct observation in a controlled setting. It's because

0:17:38.040 --> 0:17:41.480
<v Speaker 3>that the latter is costly and time consuming. So the

0:17:41.480 --> 0:17:45.880
<v Speaker 3>author has administered this survey to parents primarily in the US, UK, Canada,

0:17:45.920 --> 0:17:49.560
<v Speaker 3>and Australia in across the years twenty fifteen and twenty sixteen,

0:17:50.200 --> 0:17:52.879
<v Speaker 3>and I was interested what do they find. I can't

0:17:52.880 --> 0:17:55.359
<v Speaker 3>discuss everything mentioned in the paper, but some of the

0:17:55.440 --> 0:17:58.720
<v Speaker 3>highlights we've been talking. Here's one thing that's kind of

0:17:58.760 --> 0:18:02.280
<v Speaker 3>surprising based on our previous discussion. We've been talking about

0:18:02.320 --> 0:18:06.840
<v Speaker 3>a prevailing belief that object substitution, like you know, banana

0:18:06.920 --> 0:18:09.720
<v Speaker 3>is a phone is usually one of the first types

0:18:09.760 --> 0:18:13.399
<v Speaker 3>of pretend play observed, most often emerging at one and

0:18:13.400 --> 0:18:17.040
<v Speaker 3>a half years of age or so. But this survey found,

0:18:17.280 --> 0:18:20.320
<v Speaker 3>and this agrees with some previous research, that actually there

0:18:20.359 --> 0:18:24.160
<v Speaker 3>are some other types of pretend play that come even earlier,

0:18:24.240 --> 0:18:28.080
<v Speaker 3>come before object substitution, and these would be some of

0:18:28.080 --> 0:18:31.159
<v Speaker 3>the more specific ones that we were talking about at

0:18:31.160 --> 0:18:33.359
<v Speaker 3>the beginning of the list. The list I read earlier

0:18:33.680 --> 0:18:39.040
<v Speaker 3>was roughly roughly in the chronological order of observance, so

0:18:39.640 --> 0:18:45.199
<v Speaker 3>remember the empty cups pretend play. The EPs found that

0:18:45.280 --> 0:18:48.159
<v Speaker 3>this happens early, with like half of kids doing it

0:18:48.200 --> 0:18:52.040
<v Speaker 3>by around thirteen months of age, and then the other

0:18:52.119 --> 0:18:56.600
<v Speaker 3>thing before object substitution is by around fifteen months, half

0:18:56.640 --> 0:18:59.400
<v Speaker 3>of kids have shown some signs of pretending with their

0:18:59.400 --> 0:19:02.199
<v Speaker 3>own body, such as pretending to be in a different

0:19:02.280 --> 0:19:06.760
<v Speaker 3>state like pretending to sleep or pretending to sneeze, or

0:19:06.840 --> 0:19:09.600
<v Speaker 3>pretending to be something else with their body like I

0:19:09.640 --> 0:19:13.640
<v Speaker 3>am a tiger, I'm growling, roar, And then it's by

0:19:13.720 --> 0:19:16.560
<v Speaker 3>seventeen months of age or so that half had shown

0:19:16.600 --> 0:19:20.440
<v Speaker 3>signs of object substitution. So this does agree in part

0:19:20.480 --> 0:19:22.919
<v Speaker 3>with the schedule we've been talking about before, where object

0:19:22.960 --> 0:19:25.320
<v Speaker 3>substitution shows up on average about one and a half

0:19:25.440 --> 0:19:28.840
<v Speaker 3>years old, but finds that some types of pretend play

0:19:28.960 --> 0:19:33.240
<v Speaker 3>tend to happen even earlier than object substitution. And though

0:19:33.320 --> 0:19:37.520
<v Speaker 3>I didn't really think much about either of these earlier examples,

0:19:38.040 --> 0:19:40.920
<v Speaker 3>now that I reflect on it, I have to question

0:19:41.080 --> 0:19:43.239
<v Speaker 3>myself because you know, my memory is involved, and who

0:19:43.320 --> 0:19:45.879
<v Speaker 3>knows what I'm being primed to misremember here? But I

0:19:46.040 --> 0:19:49.560
<v Speaker 3>think this squares exactly with my own experience as the

0:19:49.640 --> 0:19:51.520
<v Speaker 3>parent of a toddler, Like I have a two year

0:19:51.520 --> 0:19:54.919
<v Speaker 3>old right now, and my memory may begin correct, But

0:19:55.000 --> 0:19:58.840
<v Speaker 3>I think before my daughter ever pretended one object was another,

0:19:59.480 --> 0:20:03.280
<v Speaker 3>she would pretend to sneeze and pretend to be asleep,

0:20:03.600 --> 0:20:06.360
<v Speaker 3>and also pretend to eat or drink things that were

0:20:06.359 --> 0:20:08.959
<v Speaker 3>not really there, and she thought it was hilarious with

0:20:09.000 --> 0:20:09.600
<v Speaker 3>most of these.

0:20:10.960 --> 0:20:13.879
<v Speaker 2>Yeah, I don't remember how this shook out with my

0:20:13.920 --> 0:20:18.000
<v Speaker 2>own kit, but in general this does seem accurate.

0:20:18.080 --> 0:20:22.760
<v Speaker 3>Yeah, now, from here, the story based socio dramatic play

0:20:22.840 --> 0:20:24.960
<v Speaker 3>that we were talking about that starts to happen more

0:20:25.000 --> 0:20:27.840
<v Speaker 3>when kids are around two years old usually, and then

0:20:28.040 --> 0:20:31.680
<v Speaker 3>complex make believe fantasy concepts tend to take hold when

0:20:31.760 --> 0:20:35.119
<v Speaker 3>children are around three, And of course it may be

0:20:35.280 --> 0:20:38.399
<v Speaker 3>that these later play types are dependent on the development

0:20:38.560 --> 0:20:42.520
<v Speaker 3>of language skills, so as children get better at using

0:20:42.680 --> 0:20:46.800
<v Speaker 3>manipulating language, that also sort of helps them construct these

0:20:47.600 --> 0:20:52.320
<v Speaker 3>abstract or counterfactual scenarios. Now, what about other general findings

0:20:52.320 --> 0:20:54.439
<v Speaker 3>in this paper. Well, one thing is that within the

0:20:54.480 --> 0:20:58.080
<v Speaker 3>survey range like four months to four years, kids pretending

0:20:58.119 --> 0:21:02.800
<v Speaker 3>scores steadily increased with age, which actually made me wonder, okay,

0:21:02.840 --> 0:21:05.480
<v Speaker 3>in this early period is just basically going straight up,

0:21:06.280 --> 0:21:10.920
<v Speaker 3>when do we actually see reductions in pretend play? That

0:21:10.960 --> 0:21:14.240
<v Speaker 3>actually came up in the Nautilus article that I shouted

0:21:14.280 --> 0:21:17.320
<v Speaker 3>out for pointing me to this research, because the author

0:21:17.359 --> 0:21:21.440
<v Speaker 3>of that Nautilus article cited some commentary by a researcher

0:21:21.480 --> 0:21:25.800
<v Speaker 3>named Sandra Russ at Case Western and Russ says that

0:21:25.880 --> 0:21:28.320
<v Speaker 3>it is most often around the age of nine or

0:21:28.480 --> 0:21:32.440
<v Speaker 3>ten that children start to kind of relinquish their pretend play.

0:21:33.080 --> 0:21:36.200
<v Speaker 3>But of course that can vary, and you could argue

0:21:36.200 --> 0:21:39.560
<v Speaker 3>with most people it never completely goes away. Some people

0:21:39.600 --> 0:21:44.240
<v Speaker 3>continue to show similar imaginative, imaginative behavior into adulthood, even

0:21:44.280 --> 0:21:47.560
<v Speaker 3>if it's not exactly play like when they were a child.

0:21:47.800 --> 0:21:51.080
<v Speaker 3>They might have creative hobbies like writing or art or acting,

0:21:51.119 --> 0:21:53.880
<v Speaker 3>which could be in some ways analogous. And of course

0:21:53.920 --> 0:21:56.960
<v Speaker 3>some kids continue pretending into older ages. I think we

0:21:57.000 --> 0:22:01.800
<v Speaker 3>talked about how, you know, with kids start building paracosms

0:22:01.880 --> 0:22:05.720
<v Speaker 3>those it's I think fairly common for those to continue

0:22:05.880 --> 0:22:08.000
<v Speaker 3>from ages like eight to twelve or so.

0:22:08.440 --> 0:22:12.119
<v Speaker 2>Yeah, yeah, like twelve or thirteen, Yeah, somewhere in that range. So,

0:22:13.160 --> 0:22:14.719
<v Speaker 2>and I guess that makes sense if you're looking at

0:22:14.760 --> 0:22:19.600
<v Speaker 2>this as like a general progression of one's use of imagination,

0:22:20.520 --> 0:22:22.679
<v Speaker 2>that that would continue a little bit, a little bit

0:22:22.720 --> 0:22:23.840
<v Speaker 2>further into your development.

0:22:24.560 --> 0:22:27.840
<v Speaker 3>Any other broad differences within the children in the survey,

0:22:28.320 --> 0:22:32.359
<v Speaker 3>One was that girls, on average had a somewhat higher

0:22:32.400 --> 0:22:35.119
<v Speaker 3>EPs score than boys, though it was a small difference.

0:22:35.200 --> 0:22:38.760
<v Speaker 3>The gender difference was not huge, but it was statistically significant.

0:22:39.160 --> 0:22:43.480
<v Speaker 3>And also I thought this was interesting. Children of younger

0:22:43.800 --> 0:22:50.640
<v Speaker 3>parents had higher EPs scores than children of older parents. Now, again,

0:22:50.840 --> 0:22:54.040
<v Speaker 3>these differences are not huge, but that's interesting. Why would

0:22:54.080 --> 0:22:56.720
<v Speaker 3>pretending be happening a little bit more, a little bit

0:22:56.760 --> 0:23:00.719
<v Speaker 3>earlier in girls and in children of younger parents. In

0:23:00.760 --> 0:23:03.800
<v Speaker 3>both cases, it's not known with high confidence what explains it,

0:23:03.840 --> 0:23:06.600
<v Speaker 3>but the authors offer a couple of informed guesses. In

0:23:06.640 --> 0:23:11.040
<v Speaker 3>their discussion section as to the gender distinction, they relate

0:23:11.119 --> 0:23:14.560
<v Speaker 3>this possibly to the fact that at both Well, first

0:23:14.560 --> 0:23:17.119
<v Speaker 3>of all, they say that this sort of correlates to

0:23:17.280 --> 0:23:20.760
<v Speaker 3>previous findings in other studies that both in the toddler

0:23:20.800 --> 0:23:24.400
<v Speaker 3>age and in the primary school age, girls have been

0:23:24.440 --> 0:23:27.639
<v Speaker 3>found to engage in a little bit more fantasy play

0:23:27.680 --> 0:23:30.879
<v Speaker 3>on average than boys do, and that they're also a

0:23:30.880 --> 0:23:34.480
<v Speaker 3>little bit more likely to create imaginary companions. They cite

0:23:34.480 --> 0:23:37.760
<v Speaker 3>several papers to that regard, and so like, what would

0:23:37.760 --> 0:23:41.680
<v Speaker 3>be the explanation, Well, it's possible, again not known for sure,

0:23:42.000 --> 0:23:45.280
<v Speaker 3>that this could be related to language skills. In some cases,

0:23:45.680 --> 0:23:50.200
<v Speaker 3>girls acquire language skills on a slightly accelerated timeline, and

0:23:50.280 --> 0:23:54.080
<v Speaker 3>it could be that language development is related to pretending.

0:23:54.160 --> 0:23:56.840
<v Speaker 3>But again the differences are not huge, and it's not

0:23:56.880 --> 0:23:59.359
<v Speaker 3>known for sure why this would be. Similar question with

0:23:59.400 --> 0:24:02.480
<v Speaker 3>the thing about us younger parents having slightly more pretending

0:24:02.600 --> 0:24:06.560
<v Speaker 3>happening earlier the author's right quote. Perhaps younger parents spend

0:24:06.720 --> 0:24:10.359
<v Speaker 3>more time pretending with their children, allowing more opportunities for

0:24:10.440 --> 0:24:15.080
<v Speaker 3>parents to observe or even scaffold pretending, So that could

0:24:15.160 --> 0:24:19.639
<v Speaker 3>make sense, like if there's more co pretending between the

0:24:19.680 --> 0:24:23.040
<v Speaker 3>parent and child happening. That could affect the survey results

0:24:23.080 --> 0:24:25.199
<v Speaker 3>in multiple ways. It could mean that the child is

0:24:25.200 --> 0:24:27.919
<v Speaker 3>actually doing more pretending because they're getting more practice with

0:24:28.000 --> 0:24:30.600
<v Speaker 3>an adult present. Or it could mean that the children

0:24:30.600 --> 0:24:33.600
<v Speaker 3>are pretending the same amount, but the parents are observing

0:24:33.640 --> 0:24:36.119
<v Speaker 3>it happen more and thus they're reporting it more on

0:24:36.160 --> 0:24:36.800
<v Speaker 3>the surveys.

0:24:37.920 --> 0:24:39.720
<v Speaker 2>But I guess I'm still kind of foggy as to

0:24:40.160 --> 0:24:42.520
<v Speaker 2>how this would shake out between younger and older parents,

0:24:43.560 --> 0:24:47.479
<v Speaker 2>not just because I was am was and was an

0:24:47.480 --> 0:24:50.960
<v Speaker 2>older parent, but I'm just wondering, like, what's what would

0:24:50.960 --> 0:24:52.960
<v Speaker 2>be the broad difference there.

0:24:53.480 --> 0:24:56.040
<v Speaker 3>That's a good question. I don't actually know. They didn't

0:24:56.080 --> 0:24:58.960
<v Speaker 3>mention it this part, but maybe there was somewhere in

0:24:59.000 --> 0:25:01.359
<v Speaker 3>there that got lost from but they could have some

0:25:01.440 --> 0:25:04.400
<v Speaker 3>data indicating that, on average, younger parents spend more time

0:25:04.400 --> 0:25:06.040
<v Speaker 3>pretending with kids. But I don't know.

0:25:06.440 --> 0:25:08.600
<v Speaker 2>Yeah, I mean, I mean, I guess the most obvious

0:25:09.560 --> 0:25:12.800
<v Speaker 2>possible explanation for that, one might think, I would be

0:25:12.960 --> 0:25:17.359
<v Speaker 2>like work responsibilities, But I can just you know, just

0:25:18.520 --> 0:25:20.720
<v Speaker 2>shooting from the hip here, I can think of various

0:25:20.760 --> 0:25:26.280
<v Speaker 2>scenarios in which younger parents would be working more. But

0:25:26.320 --> 0:25:29.400
<v Speaker 2>then also examples where maybe younger parents have more free

0:25:29.400 --> 0:25:30.720
<v Speaker 2>time to spend with the kid, Like, I don't know

0:25:30.720 --> 0:25:34.359
<v Speaker 2>it just I guess I'm not sure how the generalities

0:25:34.359 --> 0:25:37.199
<v Speaker 2>that they're dealing with here would really pan out. But

0:25:37.359 --> 0:25:40.879
<v Speaker 2>I mean, I'm sure it's based on some findings and

0:25:40.920 --> 0:25:42.640
<v Speaker 2>some statistical information.

0:25:43.240 --> 0:25:47.000
<v Speaker 3>But yeah, so it's the slight correlation having to do

0:25:47.080 --> 0:25:49.159
<v Speaker 3>with the age of the parents is just what they

0:25:49.240 --> 0:25:51.679
<v Speaker 3>observed in the sample. I guess the part about that

0:25:52.160 --> 0:25:56.679
<v Speaker 3>having anything to do with parents spending time pretending with

0:25:56.800 --> 0:25:59.760
<v Speaker 3>the kids is just an informed guess, So who knows

0:25:59.760 --> 0:26:00.919
<v Speaker 3>what the real reason was.

0:26:01.160 --> 0:26:04.119
<v Speaker 2>I guess the other possibility would be older parents have

0:26:04.359 --> 0:26:07.800
<v Speaker 2>already had additional children and then therefore there's less attention

0:26:08.600 --> 0:26:09.440
<v Speaker 2>to go around.

0:26:09.840 --> 0:26:12.960
<v Speaker 3>Possibly. Yeah. So, as I said, none of these differences

0:26:12.960 --> 0:26:15.439
<v Speaker 3>were huge, and I guess we don't really know for

0:26:15.480 --> 0:26:19.280
<v Speaker 3>sure why they manifest in this fairly large sample. But

0:26:19.400 --> 0:26:21.720
<v Speaker 3>one thing I thought was interesting about the study was

0:26:21.760 --> 0:26:26.080
<v Speaker 3>just coming back to the kind of granular detail tracking

0:26:26.119 --> 0:26:31.040
<v Speaker 3>these different types of play emergence with a finer attention

0:26:31.200 --> 0:26:35.120
<v Speaker 3>to the variations in the style of play, Like, I

0:26:35.200 --> 0:26:37.760
<v Speaker 3>don't think otherwise I would have noticed that it's so

0:26:38.040 --> 0:26:41.479
<v Speaker 3>common to pretend to cup has something in it. Like

0:26:41.560 --> 0:26:45.040
<v Speaker 3>that feels like such a specific thing. But it's interesting

0:26:45.119 --> 0:26:48.000
<v Speaker 3>that it's observed so often they had to give it

0:26:48.000 --> 0:26:50.560
<v Speaker 3>its own category. I mean, you could just think of

0:26:50.640 --> 0:26:54.000
<v Speaker 3>that as a kind of like invisible object play. But

0:26:54.560 --> 0:26:57.000
<v Speaker 3>I guess it's so common that it is different than

0:26:57.040 --> 0:27:00.159
<v Speaker 3>like I'm using an invisible toothbrush. It seems like, like

0:27:00.320 --> 0:27:03.440
<v Speaker 3>you know, tons of kids. Maybe maybe most kids are

0:27:03.520 --> 0:27:06.440
<v Speaker 3>pretending there's something in a cup when there actually isn't.

0:27:06.880 --> 0:27:09.360
<v Speaker 2>I'll occasionally do that as a grown up, pretended there's

0:27:09.359 --> 0:27:13.240
<v Speaker 2>something in a cup and pretend to drink it, mainly

0:27:13.280 --> 0:27:15.040
<v Speaker 2>if I'm at some sort of like a social function,

0:27:15.200 --> 0:27:18.040
<v Speaker 2>you know. Yeah, And and the cup is not clear

0:27:18.080 --> 0:27:22.119
<v Speaker 2>to be to be clear, the cup has to cannot

0:27:22.160 --> 0:27:25.080
<v Speaker 2>be made of trans translucent plastic. But you know, I've

0:27:25.080 --> 0:27:28.920
<v Speaker 2>consumed everything in the cup, and I want to continue

0:27:28.960 --> 0:27:31.399
<v Speaker 2>to have like the gesture of drinking it. Yeah, to

0:27:31.480 --> 0:27:34.440
<v Speaker 2>do something with my hand. I may engage in that

0:27:34.520 --> 0:27:36.600
<v Speaker 2>level of play slash deception.

0:27:36.960 --> 0:27:39.800
<v Speaker 3>Sipping from a cup is part of the rhythm of

0:27:39.880 --> 0:27:41.280
<v Speaker 3>conversation at a party.

0:27:42.520 --> 0:27:45.040
<v Speaker 2>And if you're out of out of a beverage, I mean,

0:27:45.080 --> 0:27:48.280
<v Speaker 2>you're out of options, right, Yeah, so sometimes you've got

0:27:48.320 --> 0:27:48.760
<v Speaker 2>to pretend.

0:27:58.600 --> 0:28:00.879
<v Speaker 3>Well, So anyway, I thought that was an interesting study,

0:28:00.920 --> 0:28:03.880
<v Speaker 3>but I was thinking more about the fact that they say,

0:28:03.920 --> 0:28:07.359
<v Speaker 3>you know, most often the real height of childhood style

0:28:07.440 --> 0:28:11.280
<v Speaker 3>pretend to play. It starts to fade around the age

0:28:11.280 --> 0:28:14.600
<v Speaker 3>of nine or ten. However, of course, as we know,

0:28:15.119 --> 0:28:17.960
<v Speaker 3>different types of pretending can go on for a lifetime.

0:28:18.000 --> 0:28:19.639
<v Speaker 3>And I think that's something that's related to what you

0:28:19.680 --> 0:28:21.919
<v Speaker 3>wanted to talk about today, isn't it, Rob, Yeah.

0:28:22.000 --> 0:28:26.439
<v Speaker 2>Yeah. I got interested in the angle of pretend play

0:28:26.680 --> 0:28:31.359
<v Speaker 2>and play and creativity in adults and other ages in

0:28:31.359 --> 0:28:37.600
<v Speaker 2>addition to childhood and early adolescents. And part of this

0:28:37.720 --> 0:28:40.080
<v Speaker 2>was my wife's suggestion. She was like, well, that would

0:28:40.080 --> 0:28:41.880
<v Speaker 2>be an interesting angle. So it's like, yeah, yeah, that

0:28:42.200 --> 0:28:46.360
<v Speaker 2>sounds that sounds sounds fascinating, and so I'm not really

0:28:46.400 --> 0:28:49.000
<v Speaker 2>going to get into a lot of like specific studies.

0:28:50.360 --> 0:28:52.520
<v Speaker 2>Maybe that'll be something I can get into in the

0:28:52.560 --> 0:28:54.880
<v Speaker 2>next episode, But I ended up looking at material that's

0:28:54.920 --> 0:29:02.400
<v Speaker 2>really tackling the idea of pretend play and adults more oddly. So,

0:29:02.680 --> 0:29:05.440
<v Speaker 2>obviously we've been discussing the idea of pretend play as

0:29:05.440 --> 0:29:10.960
<v Speaker 2>a manifestation of developing creativity, and I think that's perfectly valid.

0:29:10.960 --> 0:29:15.840
<v Speaker 2>That's often how it is understood. Childhood psychologist lev Vygotsky,

0:29:15.880 --> 0:29:19.520
<v Speaker 2>who lived eighteen ninety six through nineteen thirty four, outlined

0:29:19.520 --> 0:29:24.880
<v Speaker 2>a three step creativity development process creative imagination in childhood,

0:29:25.560 --> 0:29:29.640
<v Speaker 2>imagination and thought coming together in adolescence, and finally the

0:29:29.680 --> 0:29:34.480
<v Speaker 2>individual enters into adulthood quote where experience creativity is directed

0:29:34.560 --> 0:29:38.720
<v Speaker 2>and used with purpose. I was reading about this in

0:29:39.000 --> 0:29:43.120
<v Speaker 2>an article by Sinha at All twenty twenties, playing with

0:29:43.160 --> 0:29:46.080
<v Speaker 2>creativity across the life span. This was in tech trends

0:29:46.400 --> 0:29:50.000
<v Speaker 2>linking research and practice to improve learning. Now, as you

0:29:50.040 --> 0:29:52.800
<v Speaker 2>can always already imagine, we'll get into some of the

0:29:52.840 --> 0:29:55.520
<v Speaker 2>ideas around this. This is kind of, I think, from

0:29:55.560 --> 0:29:59.960
<v Speaker 2>our modern perspective limiting understanding of creativity, the idea of

0:30:00.040 --> 0:30:03.160
<v Speaker 2>it's like, okay, being creative just for the sake of fun.

0:30:03.680 --> 0:30:05.800
<v Speaker 2>That was all right when you were younger, But now

0:30:06.040 --> 0:30:08.600
<v Speaker 2>you're a grown up. How is it going to produce funds?

0:30:09.040 --> 0:30:11.160
<v Speaker 2>How are you going to make money off of that?

0:30:11.400 --> 0:30:13.560
<v Speaker 2>Or change the world for the better, and so forth.

0:30:13.760 --> 0:30:16.800
<v Speaker 2>Your creativity has to be put to work. That horse

0:30:16.840 --> 0:30:19.120
<v Speaker 2>isn't wild anymore. You need to strap it to the cart.

0:30:19.360 --> 0:30:21.920
<v Speaker 3>Oh so that is the meaning of used with purpose

0:30:22.000 --> 0:30:22.800
<v Speaker 3>here in this quote.

0:30:23.120 --> 0:30:26.520
<v Speaker 2>Yeah, okay, Yeah, he positive that childhood fantasy and imagination

0:30:26.560 --> 0:30:31.640
<v Speaker 2>were essentially catalysts for adult creativity, which would which was

0:30:31.680 --> 0:30:34.560
<v Speaker 2>seen as more purposeful, you know, like and you know,

0:30:34.640 --> 0:30:38.440
<v Speaker 2>I think there are some valid arguments for that as well.

0:30:38.480 --> 0:30:42.720
<v Speaker 2>I mean, obviously when we become adults and we engage

0:30:42.840 --> 0:30:46.400
<v Speaker 2>in cultures and a society that often puts an emphasis

0:30:46.440 --> 0:30:51.600
<v Speaker 2>again on making money, and also legitimately like taking things

0:30:51.680 --> 0:30:54.320
<v Speaker 2>you're good at and have a passion for, and finding

0:30:54.440 --> 0:30:57.680
<v Speaker 2>professions and callings in life that line up with those.

0:30:58.440 --> 0:31:02.880
<v Speaker 3>You know, it's understandable just solving practical problems that may

0:31:03.000 --> 0:31:05.080
<v Speaker 3>or may not have a strong economic component.

0:31:06.400 --> 0:31:10.120
<v Speaker 2>But yeah, this purpose aspect is interesting and something discussed

0:31:10.120 --> 0:31:12.880
<v Speaker 2>at length in that paper I just cited. Apparently, some

0:31:13.040 --> 0:31:18.960
<v Speaker 2>definitions of creativity stress, usefulness and effectiveness is criteria for creativity,

0:31:19.640 --> 0:31:23.320
<v Speaker 2>tying into Vagotsky's take on adult creativity. Other models call

0:31:23.440 --> 0:31:28.440
<v Speaker 2>for dual aspects of novelty or originality and usefulness or effectiveness.

0:31:28.920 --> 0:31:33.720
<v Speaker 2>And when you start talking about effectiveness and usefulness as well,

0:31:33.800 --> 0:31:37.240
<v Speaker 2>especially more recent understandings of it, there's more room for

0:31:37.360 --> 0:31:38.080
<v Speaker 2>nuance there.

0:31:38.400 --> 0:31:40.200
<v Speaker 3>Oh yeah, okay, So I guess this is going to

0:31:40.240 --> 0:31:43.800
<v Speaker 3>the question of how do we actually define creativity. If

0:31:43.800 --> 0:31:47.440
<v Speaker 3>we're trying to study it scientifically, you need a very

0:31:47.480 --> 0:31:50.160
<v Speaker 3>clear and strict definition. And instead, it's one of those

0:31:50.160 --> 0:31:52.040
<v Speaker 3>things that we kind of we feel it out, we

0:31:52.080 --> 0:31:54.959
<v Speaker 3>know what we see it. Some activity is just seems

0:31:55.000 --> 0:31:59.840
<v Speaker 3>creative or doesn't. Like writing a story is creative. But

0:32:00.200 --> 0:32:03.000
<v Speaker 3>is writing a memo for work creative?

0:32:03.200 --> 0:32:03.240
<v Speaker 2>Not?

0:32:03.960 --> 0:32:06.440
<v Speaker 3>Usually it could be Usually.

0:32:06.360 --> 0:32:09.080
<v Speaker 2>That's your creativity challenge for the day, make it a

0:32:09.080 --> 0:32:10.120
<v Speaker 2>creative exercise.

0:32:10.640 --> 0:32:13.680
<v Speaker 3>I mean, I guess there's something. Yeah, Like these definitions

0:32:13.720 --> 0:32:17.440
<v Speaker 3>mentioned something about novelty. So creativity is something that's kind

0:32:17.440 --> 0:32:21.640
<v Speaker 3>of different or unexpected. It's not just kind of going

0:32:21.640 --> 0:32:25.120
<v Speaker 3>through the motions or engaging in habits. It's doing something

0:32:25.240 --> 0:32:28.600
<v Speaker 3>different and novel. But the other half of this in

0:32:28.640 --> 0:32:31.160
<v Speaker 3>these definitions is kind of stressing that it's not just

0:32:31.320 --> 0:32:34.640
<v Speaker 3>novelty in a kind of random sense. It's novelty that

0:32:34.840 --> 0:32:38.280
<v Speaker 3>is useful or effective in some way. It does something right.

0:32:39.200 --> 0:32:42.080
<v Speaker 2>Yeah, and it's good. It's interesting when we get into

0:32:42.160 --> 0:32:44.760
<v Speaker 2>like what does that mean for it to do something right,

0:32:45.160 --> 0:32:48.720
<v Speaker 2>to do something useful? As discussed in this paper, childhood

0:32:48.720 --> 0:32:53.160
<v Speaker 2>psychologist doctor Sandra Russ proposes a slightly different definition for

0:32:53.680 --> 0:32:57.840
<v Speaker 2>creativity and with a different emphasis on what some of

0:32:56.960 --> 0:33:01.680
<v Speaker 2>the key aspects mean. So she defines it as it

0:33:02.000 --> 0:33:05.800
<v Speaker 2>needs to be novel, it needs to be effective, and

0:33:06.400 --> 0:33:09.240
<v Speaker 2>it needs to be whole. So she argues that, especially

0:33:09.240 --> 0:33:12.000
<v Speaker 2>with children, we can't put much weight on the importance

0:33:12.080 --> 0:33:15.160
<v Speaker 2>or usefulness of any of this, right, like how useful

0:33:15.280 --> 0:33:18.400
<v Speaker 2>is a child's paracosm, How useful is a child's imaginary friend.

0:33:19.240 --> 0:33:23.280
<v Speaker 2>But the big thing that she stresses is play is

0:33:23.320 --> 0:33:26.360
<v Speaker 2>the product. It is. It is an output of how

0:33:26.400 --> 0:33:30.040
<v Speaker 2>they think and feel. Multiple aspects of a child's being

0:33:30.160 --> 0:33:33.560
<v Speaker 2>are involved in the act of play. And uh, and

0:33:33.600 --> 0:33:36.440
<v Speaker 2>I believe that is what's meant by wholeness here. Uh

0:33:36.480 --> 0:33:40.160
<v Speaker 2>the idea that like that, yes, with an act of

0:33:40.200 --> 0:33:44.840
<v Speaker 2>creativity is not just this like leakage of energy from

0:33:45.400 --> 0:33:47.920
<v Speaker 2>your psyche, you know. And I think this whole this

0:33:47.960 --> 0:33:51.400
<v Speaker 2>holds true for children and adults as well. Discussed like

0:33:51.440 --> 0:33:54.479
<v Speaker 2>when when you're engaging and create a creative output like

0:33:54.520 --> 0:33:56.640
<v Speaker 2>that is it's like the output of your being, you know,

0:33:56.720 --> 0:34:00.640
<v Speaker 2>it is like not to get to you know, wax

0:34:00.680 --> 0:34:03.280
<v Speaker 2>too poetic about it. But I mean, it's like a

0:34:03.360 --> 0:34:06.480
<v Speaker 2>light shining out of your soul and your your mind.

0:34:07.400 --> 0:34:10.680
<v Speaker 2>It's it's not just this shadow that happens to be

0:34:10.800 --> 0:34:11.839
<v Speaker 2>cast by who you are.

0:34:12.400 --> 0:34:15.480
<v Speaker 3>Well, that is beautifully put. Yeah, I mean, yeah, I

0:34:15.480 --> 0:34:17.640
<v Speaker 3>think you're right. Sorry, but sorry, my mind was just

0:34:17.640 --> 0:34:21.319
<v Speaker 3>divided into different places because I just realized while you're

0:34:21.320 --> 0:34:23.600
<v Speaker 3>saying that also that you were citing that the work

0:34:23.640 --> 0:34:25.840
<v Speaker 3>of Sandra Russ, who was the same person that I

0:34:25.880 --> 0:34:29.840
<v Speaker 3>just cited in my section about about most pretend to

0:34:29.840 --> 0:34:31.840
<v Speaker 3>play tending to fade around the age of nine or

0:34:31.840 --> 0:34:32.520
<v Speaker 3>ten years old.

0:34:32.600 --> 0:34:34.160
<v Speaker 2>Yeah, I believe. I believe she's a pretty big name

0:34:34.160 --> 0:34:34.720
<v Speaker 2>in this field.

0:34:34.880 --> 0:34:38.000
<v Speaker 3>Yeah, but of course with a lot of variation. But

0:34:38.040 --> 0:34:40.399
<v Speaker 3>that's an interesting criterion that I don't think I would

0:34:40.400 --> 0:34:42.440
<v Speaker 3>have gotten to this concept of wholeness.

0:34:43.360 --> 0:34:46.759
<v Speaker 2>Yeah, yeah, And you know, and looking around, I'm not

0:34:46.840 --> 0:34:51.359
<v Speaker 2>sure how often she uses the term wholeness, but they

0:34:51.480 --> 0:34:54.239
<v Speaker 2>reference whole. They had kind of some wholeness up as

0:34:54.280 --> 0:34:58.480
<v Speaker 2>being an aspect of her definition. Oh okay, And I

0:34:58.480 --> 0:35:01.160
<v Speaker 2>do think that that plays out with what she's stressing here.

0:35:01.560 --> 0:35:04.480
<v Speaker 2>But you know, even in adults, though, the way we

0:35:04.520 --> 0:35:07.760
<v Speaker 2>think of usefulness or to you know, to use Russ's

0:35:07.800 --> 0:35:11.680
<v Speaker 2>model usefulness or effectiveness. It varies from field to field.

0:35:12.280 --> 0:35:15.719
<v Speaker 2>In this paper, they broadly address different forms of creativity,

0:35:15.760 --> 0:35:19.600
<v Speaker 2>invoking the four C creative creativity model by James C.

0:35:19.760 --> 0:35:24.080
<v Speaker 2>Kaufman and doctor Ronald Baghetto. Have we talked about this before?

0:35:24.480 --> 0:35:26.680
<v Speaker 3>I don't know. We've been doing the show a long time,

0:35:26.760 --> 0:35:28.040
<v Speaker 3>so I can't always recall.

0:35:28.080 --> 0:35:30.160
<v Speaker 2>But yeah, I forget whole episodes sometimes.

0:35:30.280 --> 0:35:33.280
<v Speaker 3>But I don't think so, but I could be wrong.

0:35:33.640 --> 0:35:38.480
<v Speaker 2>Yeah, it feels fresh to my mind. So basically, the

0:35:38.480 --> 0:35:42.520
<v Speaker 2>way the four C creativity model plays out is that

0:35:42.600 --> 0:35:44.920
<v Speaker 2>you have four different modes of creativity. First of all,

0:35:44.920 --> 0:35:49.839
<v Speaker 2>you have big C creativity. This is landmark work that

0:35:50.040 --> 0:35:53.959
<v Speaker 2>changes a field or changes the world. So like big

0:35:54.040 --> 0:35:57.600
<v Speaker 2>C creativity would be like I have invented the steam engine,

0:35:58.000 --> 0:36:02.120
<v Speaker 2>or I have I present you with a new religious

0:36:02.160 --> 0:36:05.120
<v Speaker 2>model and spiritual model for your way of life, something

0:36:05.200 --> 0:36:08.120
<v Speaker 2>like that, huge impact.

0:36:07.640 --> 0:36:09.759
<v Speaker 3>General theory of relativity or something. Yeah.

0:36:09.880 --> 0:36:13.520
<v Speaker 2>Yeah, Then you have little C creativity and this is

0:36:13.520 --> 0:36:17.880
<v Speaker 2>still this is work that has strong interpersonal value. It's additive,

0:36:18.040 --> 0:36:22.080
<v Speaker 2>it's cumulative, and we can think of various examples of

0:36:22.120 --> 0:36:24.600
<v Speaker 2>this as well. I mean I think, like a great book,

0:36:25.400 --> 0:36:27.200
<v Speaker 2>but not a book so great that it changes the

0:36:27.239 --> 0:36:31.560
<v Speaker 2>world might fit under little C creativity if I'm understanding

0:36:31.600 --> 0:36:34.759
<v Speaker 2>the concept correctly, or I would say not even they

0:36:34.800 --> 0:36:37.000
<v Speaker 2>don't even think about greatness. But a book you like

0:36:37.480 --> 0:36:40.880
<v Speaker 2>has you know, strong personal value and you know you

0:36:41.120 --> 0:36:43.960
<v Speaker 2>share that with others and so forth. Then you have

0:36:44.080 --> 0:36:47.680
<v Speaker 2>pro c creativity. This is not game changing, but it's

0:36:47.680 --> 0:36:51.480
<v Speaker 2>effective and beneficial within a given field. So you know,

0:36:51.560 --> 0:36:56.719
<v Speaker 2>a new means of doing something, some new innovation within

0:36:56.760 --> 0:36:57.399
<v Speaker 2>a given field.

0:36:57.760 --> 0:36:59.960
<v Speaker 3>Okay, and then you have many.

0:36:59.800 --> 0:37:04.120
<v Speaker 2>Creativity, And this is an interpersonal creativity that is a

0:37:04.160 --> 0:37:07.640
<v Speaker 2>part of the learning process. So my understanding on this,

0:37:07.920 --> 0:37:13.000
<v Speaker 2>like to draw an example from like our daily work

0:37:13.000 --> 0:37:15.400
<v Speaker 2>pretty much is like sometimes when we run across a

0:37:15.440 --> 0:37:17.520
<v Speaker 2>new concept, we kind of have to make sense of

0:37:17.520 --> 0:37:19.839
<v Speaker 2>it ourselves, and we'll sort of turn to some sort

0:37:19.880 --> 0:37:23.480
<v Speaker 2>of a personal novel metaphor for how it works, you know,

0:37:23.960 --> 0:37:26.759
<v Speaker 2>like compare it to a Santo movie or what have you.

0:37:26.760 --> 0:37:30.200
<v Speaker 2>You know, So we're engaging and many see creativity according

0:37:30.239 --> 0:37:32.520
<v Speaker 2>to this model here. You know, it's it's not going

0:37:32.600 --> 0:37:34.560
<v Speaker 2>to change the world, it's not trying to change the world.

0:37:34.600 --> 0:37:37.759
<v Speaker 2>It's not really innovating anything, but it's helping us in

0:37:37.800 --> 0:37:40.360
<v Speaker 2>a learning process, Like it does have value within the

0:37:40.360 --> 0:37:43.279
<v Speaker 2>way that our mind is working. It's helping us roll

0:37:43.320 --> 0:37:45.160
<v Speaker 2>around various concepts and so forth.

0:37:45.560 --> 0:37:48.080
<v Speaker 3>The kind of creativity we engage in, we all engage

0:37:48.080 --> 0:37:51.480
<v Speaker 3>in basically every day, coming up with analogies or ways

0:37:51.520 --> 0:37:53.560
<v Speaker 3>of thinking about or explaining things.

0:37:54.040 --> 0:37:59.000
<v Speaker 2>Yeah, but an important thing they stress is that any

0:37:59.080 --> 0:38:02.240
<v Speaker 2>kind of creativity is going to start out novel and personal.

0:38:03.840 --> 0:38:07.240
<v Speaker 2>So you know, a many create many C creativity project

0:38:07.440 --> 0:38:10.000
<v Speaker 2>could become a pro C, could become a little C,

0:38:10.200 --> 0:38:13.840
<v Speaker 2>could become a big C, and so forth. So I

0:38:13.880 --> 0:38:18.560
<v Speaker 2>think it's a pretty useful idea for and certainly gives

0:38:18.560 --> 0:38:20.319
<v Speaker 2>it a little more nuanced to the idea of like

0:38:20.400 --> 0:38:23.960
<v Speaker 2>what is the enterprise of creativity and what role does

0:38:24.000 --> 0:38:27.319
<v Speaker 2>it play? So applying all of this to adults, the

0:38:27.360 --> 0:38:30.879
<v Speaker 2>idea that Russ and the paper proposes here is that, yes,

0:38:30.960 --> 0:38:34.279
<v Speaker 2>childhood creativity has an influence on adult creativity. But we

0:38:34.400 --> 0:38:38.319
<v Speaker 2>can't just think about creativity in adults as you know,

0:38:38.400 --> 0:38:42.719
<v Speaker 2>just in terms of its usefulness like in the workplace

0:38:42.840 --> 0:38:45.440
<v Speaker 2>or for a career. Again, we can't just think of

0:38:45.480 --> 0:38:48.920
<v Speaker 2>it as strapping that horse to a cart play in particular,

0:38:48.960 --> 0:38:52.280
<v Speaker 2>they stress for children and adults, allows us to process

0:38:52.360 --> 0:38:57.080
<v Speaker 2>challenges and emotions while also supporting other forms of creativity.

0:38:57.400 --> 0:38:59.880
<v Speaker 2>So again, a mini C exercise could transition into a

0:39:00.080 --> 0:39:03.080
<v Speaker 2>pro s or any of the other forms of creativity.

0:39:03.280 --> 0:39:06.000
<v Speaker 2>You know, to quote Lawrence of Arabia, big things have

0:39:06.080 --> 0:39:06.920
<v Speaker 2>small beginnings.

0:39:08.120 --> 0:39:10.800
<v Speaker 3>And I think often this is sort of a cliche

0:39:10.880 --> 0:39:14.320
<v Speaker 3>at this point, but how often in history you see

0:39:14.680 --> 0:39:18.680
<v Speaker 3>people who do, I don't know, make big creative leaps

0:39:18.719 --> 0:39:21.880
<v Speaker 3>that are often categorized as the useful sort. You know,

0:39:21.880 --> 0:39:25.040
<v Speaker 3>people who make big scientific breakthroughs, or people who you know,

0:39:25.280 --> 0:39:28.120
<v Speaker 3>do great works of art or something, are often also

0:39:28.520 --> 0:39:32.080
<v Speaker 3>engaged in what we might think of as a lot

0:39:32.239 --> 0:39:38.320
<v Speaker 3>of trivial collaborative outside of work play of a creative sort.

0:39:38.680 --> 0:39:41.400
<v Speaker 3>You know, they're just sort of in whatever off hours

0:39:41.440 --> 0:39:45.040
<v Speaker 3>they have, kind of talking to other people who are

0:39:45.080 --> 0:39:49.320
<v Speaker 3>involved in similar pursuits and engaging and engaging in little

0:39:49.400 --> 0:39:52.799
<v Speaker 3>kind of lower stakes games with the ideas that they're

0:39:52.800 --> 0:39:54.400
<v Speaker 3>manipulating in their major work.

0:39:54.840 --> 0:39:57.680
<v Speaker 2>Yeah, yeah, absolutely, yeah. And one of the big ideas

0:39:57.680 --> 0:40:00.320
<v Speaker 2>here is that most of us are not getting gauge

0:40:00.320 --> 0:40:03.280
<v Speaker 2>and big C creativity. Most of us are not going

0:40:03.320 --> 0:40:07.799
<v Speaker 2>to create a new religion, create some sort of new technology.

0:40:07.840 --> 0:40:10.759
<v Speaker 2>It changes the world. We're not going to, you know,

0:40:11.080 --> 0:40:14.680
<v Speaker 2>write the great American novel or what have you. But

0:40:14.960 --> 0:40:19.000
<v Speaker 2>those little C and many C exercises they're still novel,

0:40:19.080 --> 0:40:22.640
<v Speaker 2>they're still useful, and they're still whole. So in this

0:40:23.160 --> 0:40:27.040
<v Speaker 2>paper they make several observations about adult play during COVID

0:40:27.120 --> 0:40:30.680
<v Speaker 2>nineteen lockdowns, you know, taking us back to that time

0:40:30.680 --> 0:40:32.960
<v Speaker 2>in which you know, we can I think everyone listening

0:40:32.960 --> 0:40:35.400
<v Speaker 2>can probably remember that. You know, you had many adults

0:40:35.400 --> 0:40:40.280
<v Speaker 2>suddenly dealing with more free time, but also expressing themselves

0:40:40.320 --> 0:40:44.839
<v Speaker 2>through play and even process emotions and even trauma through

0:40:44.920 --> 0:40:48.160
<v Speaker 2>that play in addition to nurturing joy. You know, So

0:40:48.320 --> 0:40:53.880
<v Speaker 2>suddenly people who had the ability to do so, you know,

0:40:53.920 --> 0:40:56.480
<v Speaker 2>they might suddenly they're playing more Dudges and Dragons than usual,

0:40:56.560 --> 0:40:59.959
<v Speaker 2>or they're they're turning back to an old hobby. And yeah,

0:41:00.080 --> 0:41:03.000
<v Speaker 2>part of that is like maybe they had some extra

0:41:03.040 --> 0:41:04.960
<v Speaker 2>time they were trapped in their home and so forth.

0:41:05.719 --> 0:41:11.879
<v Speaker 2>But additionally, like the creative process gave them a way

0:41:11.920 --> 0:41:15.440
<v Speaker 2>to work through what they were feeling. So in this

0:41:15.520 --> 0:41:19.800
<v Speaker 2>paper from Sinha at All, they write the following quote

0:41:19.840 --> 0:41:22.040
<v Speaker 2>as human beings. We are programmed to use play in

0:41:22.080 --> 0:41:25.440
<v Speaker 2>creative expression to connect and work through the difficulties. Creativity

0:41:25.480 --> 0:41:28.120
<v Speaker 2>is not just about finding solutions to problems. It is

0:41:28.160 --> 0:41:32.040
<v Speaker 2>about expressing emotion and processing change. Now does it involve

0:41:32.080 --> 0:41:38.040
<v Speaker 2>pretend play? Coming back to the overarching theme of these episodes? Subjectively,

0:41:38.840 --> 0:41:41.160
<v Speaker 2>my argument was, yes, you know, I was thinking about

0:41:41.239 --> 0:41:45.080
<v Speaker 2>various games, you know, Dungeons and Dragons, or otherwise various

0:41:45.080 --> 0:41:48.800
<v Speaker 2>creative endeavors one might engage in. But I also found

0:41:48.800 --> 0:41:52.960
<v Speaker 2>literature that lines up with this too. Oh okay, I

0:41:53.000 --> 0:41:56.000
<v Speaker 2>was looking at a paper this is by Gungku at

0:41:56.000 --> 0:42:00.319
<v Speaker 2>All published in Topoi, an international review of philosophy from

0:42:00.320 --> 0:42:05.600
<v Speaker 2>two thousand and five, titled Pretend Play as a lifespan Activity,

0:42:05.640 --> 0:42:08.200
<v Speaker 2>and the authors here argue that pretend play is an

0:42:08.200 --> 0:42:12.040
<v Speaker 2>adaptive human activity of adulthood as well as childhood. They

0:42:12.080 --> 0:42:14.400
<v Speaker 2>point out that a lot of the early work in

0:42:14.480 --> 0:42:18.239
<v Speaker 2>childhood psychology creative view in which childhood is playful and fanciful,

0:42:18.320 --> 0:42:21.959
<v Speaker 2>while adult adulthood is all logical and productive. We touched

0:42:22.000 --> 0:42:24.040
<v Speaker 2>on that already, the idea that okay, you're grown up

0:42:24.040 --> 0:42:27.520
<v Speaker 2>and now put your creativity to work again. Creativity and

0:42:27.560 --> 0:42:32.040
<v Speaker 2>adults was seen as is useful almost always in a

0:42:32.080 --> 0:42:34.839
<v Speaker 2>big sea or at least little sea aspiring manner. The

0:42:34.880 --> 0:42:37.640
<v Speaker 2>authors here, though, argue the opposite, that pretend play can

0:42:37.680 --> 0:42:40.880
<v Speaker 2>be found throughout adult life as well, and they point

0:42:40.920 --> 0:42:45.080
<v Speaker 2>to adult improv theater as a key example of this. Now, granted,

0:42:45.120 --> 0:42:48.000
<v Speaker 2>not everyone engages in improv theater, but it has been

0:42:48.000 --> 0:42:50.239
<v Speaker 2>interesting in recent years to see improv theater and it's

0:42:50.280 --> 0:42:53.760
<v Speaker 2>often brought in to say, business spaces and so forth,

0:42:54.080 --> 0:42:59.279
<v Speaker 2>realizing that it is a fun and helpful skill set

0:42:59.360 --> 0:43:02.560
<v Speaker 2>to bring into some sort of a work environment.

0:43:03.160 --> 0:43:07.600
<v Speaker 3>Hmm yeah, okay, So I was thinking of ways that

0:43:08.080 --> 0:43:12.560
<v Speaker 3>pretend play can continue into adulthood, and it made me wonder,

0:43:13.480 --> 0:43:16.600
<v Speaker 3>does something count as pretend play if you were sort

0:43:16.640 --> 0:43:19.839
<v Speaker 3>of trying to hide the fact that you're doing it,

0:43:19.920 --> 0:43:22.640
<v Speaker 3>if it's just sort of a private game with yourself,

0:43:23.160 --> 0:43:25.880
<v Speaker 3>and maybe you're not really thinking of it as pretend

0:43:25.920 --> 0:43:28.520
<v Speaker 3>play and you don't necessarily tell other people about it.

0:43:29.080 --> 0:43:31.279
<v Speaker 3>But I don't know. What's coming to mind is that

0:43:31.480 --> 0:43:35.759
<v Speaker 3>I think probably a lot of adults go about their

0:43:35.840 --> 0:43:39.320
<v Speaker 3>business with this model we've talked about before, where they're

0:43:39.360 --> 0:43:42.600
<v Speaker 3>kind of seeing themselves as a character in a narrative.

0:43:42.880 --> 0:43:46.239
<v Speaker 3>You know, they're not like I am Luke Skywalker, but

0:43:46.400 --> 0:43:50.719
<v Speaker 3>they are framing the events of their life in a

0:43:50.840 --> 0:43:55.880
<v Speaker 3>kind of in a modified, not very realistic way that

0:43:56.400 --> 0:43:59.520
<v Speaker 3>paints them as like the hero of an important story.

0:44:00.080 --> 0:44:02.400
<v Speaker 3>Does that count as pretend play? I mean it's I

0:44:02.400 --> 0:44:05.040
<v Speaker 3>don't I don't know if it's like altering the literal

0:44:05.200 --> 0:44:09.760
<v Speaker 3>facts of reality, but it's it's putting their life within

0:44:09.800 --> 0:44:14.000
<v Speaker 3>a frame, a frame that is probably not the way

0:44:14.040 --> 0:44:17.160
<v Speaker 3>an objective observer would describe what they're doing. Does that

0:44:17.200 --> 0:44:17.680
<v Speaker 3>make sense?

0:44:18.080 --> 0:44:22.239
<v Speaker 2>Now, there's at least a patina of pretend play involved here. Yeah, yeah,

0:44:23.560 --> 0:44:27.600
<v Speaker 2>Whereas in an improv class you might literally be pretending

0:44:27.600 --> 0:44:29.440
<v Speaker 2>to be a dump truck in a way if that

0:44:29.640 --> 0:44:35.200
<v Speaker 2>most most non improv adults are not doing, but very

0:44:35.280 --> 0:44:37.200
<v Speaker 2>much in line with the kind of pretend play a

0:44:37.280 --> 0:44:38.319
<v Speaker 2>child might engage in.

0:44:38.600 --> 0:44:42.399
<v Speaker 3>Yeah yeah. And there is something kind of freeing about that,

0:44:42.480 --> 0:44:44.680
<v Speaker 3>you know, when you when you watch improv, there's like

0:44:44.760 --> 0:44:48.120
<v Speaker 3>a there's a feeling of cutting loose that's very exciting

0:44:48.160 --> 0:44:50.800
<v Speaker 3>that you don't see even in a lot of otherwise

0:44:50.840 --> 0:44:51.719
<v Speaker 3>creative adults.

0:44:52.280 --> 0:44:53.920
<v Speaker 2>Now that this paper does not get into it, but

0:44:53.960 --> 0:44:57.879
<v Speaker 2>of course I'm also reminded of various observations about other

0:44:57.960 --> 0:45:00.520
<v Speaker 2>forms of acting in which there can be kind of

0:45:00.560 --> 0:45:06.480
<v Speaker 2>a contagious aspect to the part one is playing and

0:45:06.840 --> 0:45:11.680
<v Speaker 2>one's own thoughts and actions. So, I mean, I guess

0:45:11.719 --> 0:45:14.319
<v Speaker 2>you especially when adults, I mean to a certain extent,

0:45:14.360 --> 0:45:17.840
<v Speaker 2>when kids pretend play. You know, sometimes animal simulations can

0:45:17.880 --> 0:45:20.120
<v Speaker 2>get a little out of hand and mom and dad

0:45:20.200 --> 0:45:24.600
<v Speaker 2>might get scratched or bit But but but on a

0:45:24.800 --> 0:45:28.960
<v Speaker 2>on another level, there's always that possibility with adult actors

0:45:29.000 --> 0:45:34.480
<v Speaker 2>as well. Now, I think it's an interesting comparison between

0:45:34.760 --> 0:45:40.359
<v Speaker 2>improv theater and childhood pretend play. I think kids are

0:45:40.360 --> 0:45:44.080
<v Speaker 2>sometimes not as good at the yes and aspect of improv.

0:45:44.080 --> 0:45:47.040
<v Speaker 2>That's you know, central to the philosophy of improv. But

0:45:47.960 --> 0:45:50.280
<v Speaker 2>you know, I think that's on another level, that's often

0:45:50.320 --> 0:45:52.439
<v Speaker 2>one of the big lessons that they learn when they

0:45:52.640 --> 0:45:55.920
<v Speaker 2>play with others. I mean, there's a lot of research

0:45:55.960 --> 0:45:57.600
<v Speaker 2>on this as well. We didn't know I haven't really

0:45:57.600 --> 0:46:00.680
<v Speaker 2>got into this, but you have like parallel play kids

0:46:00.719 --> 0:46:04.879
<v Speaker 2>where it's like little Susie and little Bobby. They are

0:46:04.920 --> 0:46:07.200
<v Speaker 2>not really playing together. They are both playing with dump

0:46:07.239 --> 0:46:10.000
<v Speaker 2>trucks in the sand, but they're just kind of playing

0:46:10.000 --> 0:46:12.840
<v Speaker 2>alongside each other. And thank goodness they both have dump trucks,

0:46:12.840 --> 0:46:14.200
<v Speaker 2>because otherwise they would be a fight.

0:46:14.680 --> 0:46:17.160
<v Speaker 3>Yeah, and I can see, yes. And as a form

0:46:17.200 --> 0:46:19.560
<v Speaker 3>of sharing, I mean it as a way of give

0:46:19.600 --> 0:46:22.640
<v Speaker 3>and take and of sharing, not the physical props of play,

0:46:22.680 --> 0:46:24.719
<v Speaker 3>if you have to share your one dump truck toy,

0:46:24.960 --> 0:46:28.120
<v Speaker 3>but of sharing the direction of the play, sharing the narrative.

0:46:28.360 --> 0:46:30.879
<v Speaker 2>Yeah. If it's for example, if you're engaging in an

0:46:30.960 --> 0:46:33.960
<v Speaker 2>imagine shared world, in a paracosm, Yeah, you have to

0:46:34.000 --> 0:46:37.480
<v Speaker 2>share that, like one person can't be just be the

0:46:37.480 --> 0:46:40.680
<v Speaker 2>god of this realm. I guess there's room for maybe

0:46:40.680 --> 0:46:43.720
<v Speaker 2>a you know, forty sixty split there on creative control

0:46:43.719 --> 0:46:44.400
<v Speaker 2>of the paracosm.

0:46:44.800 --> 0:46:55.000
<v Speaker 4>Yeah.

0:46:55.040 --> 0:46:58.080
<v Speaker 2>But another way that the improv theater example I think

0:46:58.200 --> 0:47:02.560
<v Speaker 2>is interesting is that it's an example where adults often

0:47:02.640 --> 0:47:05.800
<v Speaker 2>or at least sometimes have to relearn how to engage

0:47:05.800 --> 0:47:09.759
<v Speaker 2>in pure imagination play. You know a lot of you

0:47:09.760 --> 0:47:12.600
<v Speaker 2>hear plenty of accounts of adults who take an improv

0:47:12.680 --> 0:47:15.279
<v Speaker 2>class and it's like they're one over by it. You know,

0:47:15.520 --> 0:47:18.520
<v Speaker 2>it transforms them, like they're able to reconnect with this

0:47:18.520 --> 0:47:20.880
<v Speaker 2>this creative energy that they hadn't had, perhaps since they

0:47:20.880 --> 0:47:23.360
<v Speaker 2>were kids, and this all kind of ties into that

0:47:23.400 --> 0:47:26.839
<v Speaker 2>whole idea of creativity as being this expression of the whole.

0:47:26.960 --> 0:47:29.759
<v Speaker 2>You know, it's not just this thing you know, you

0:47:30.200 --> 0:47:33.279
<v Speaker 2>do you know in this one exercise like it is

0:47:34.239 --> 0:47:35.880
<v Speaker 2>you know, it is a way that you're able to

0:47:36.000 --> 0:47:40.279
<v Speaker 2>process things and let things out. Now another example that

0:47:40.320 --> 0:47:42.919
<v Speaker 2>they bring up. This one was really fascinating in part

0:47:42.960 --> 0:47:46.120
<v Speaker 2>because we already kind of stumbled over this a little

0:47:46.160 --> 0:47:50.319
<v Speaker 2>bit when we were talking about imaginary friends. We were

0:47:50.360 --> 0:47:54.440
<v Speaker 2>talking about, Okay, what do adults engage in that are

0:47:54.480 --> 0:47:57.120
<v Speaker 2>akin to imaginary friends? And we talked about things like

0:47:57.840 --> 0:48:02.120
<v Speaker 2>speaking to angels and shouting at the devil and so forth.

0:48:02.600 --> 0:48:06.239
<v Speaker 2>But the example brought up in this paper is that

0:48:06.600 --> 0:48:12.600
<v Speaker 2>you will have the situation of adults engaging in conversation

0:48:12.840 --> 0:48:16.760
<v Speaker 2>with the dead had a grave site, for example, adults

0:48:16.840 --> 0:48:21.320
<v Speaker 2>essentially engaging in a conversation with an imagined or simulated mind.

0:48:21.880 --> 0:48:24.080
<v Speaker 2>And this was an idea that was apparently discussed in

0:48:24.120 --> 0:48:27.280
<v Speaker 2>a paper by I. E. Josephson nineteen ninety eight titled

0:48:27.320 --> 0:48:30.160
<v Speaker 2>constructing Oneself in the City of the Silent.

0:48:30.719 --> 0:48:33.840
<v Speaker 3>Oh wow, this is interesting because just last night I

0:48:33.880 --> 0:48:37.960
<v Speaker 3>was reading sort of a biographical article about the life

0:48:37.960 --> 0:48:42.480
<v Speaker 3>of Mary Shelley, the author of Frankenstein, and she apparently

0:48:42.520 --> 0:48:48.480
<v Speaker 3>had an extremely important relationship with her with her mother's grave,

0:48:48.600 --> 0:48:51.759
<v Speaker 3>essentially with her mother was an important writer in her

0:48:51.760 --> 0:48:55.880
<v Speaker 3>own right, Mary Wollstonecraft, and she would visit her mother's

0:48:55.920 --> 0:49:00.360
<v Speaker 3>grave and like apparently had a strong, powerful emotional relationship

0:49:00.400 --> 0:49:02.759
<v Speaker 3>with her mother's tombstone, would sort of like talk to

0:49:02.960 --> 0:49:06.200
<v Speaker 3>and relate to her mother who died after giving birth

0:49:06.239 --> 0:49:06.560
<v Speaker 3>to her.

0:49:07.200 --> 0:49:10.640
<v Speaker 2>Wow. Yeah, and I feel like a lot of us, yeah,

0:49:10.680 --> 0:49:15.000
<v Speaker 2>can speak to examples of this the way that gunku

0:49:15.640 --> 0:49:19.200
<v Speaker 2>at All sum this up, They say, quote, these conversations

0:49:19.320 --> 0:49:22.880
<v Speaker 2>enable the grieving survivors to reinterpret their joint past with

0:49:22.960 --> 0:49:25.760
<v Speaker 2>the deceased, as they also help them prepare for the future,

0:49:26.080 --> 0:49:29.000
<v Speaker 2>a finding that is corroborated by other clinical studies.

0:49:30.120 --> 0:49:30.359
<v Speaker 4>Yeah.

0:49:30.960 --> 0:49:33.040
<v Speaker 2>So yeah, I feel like a lot of us can

0:49:33.239 --> 0:49:35.800
<v Speaker 2>can speak to this on some level. I've certainly engaged

0:49:35.840 --> 0:49:39.280
<v Speaker 2>in this before, speaking to the dead, reaching for the dead,

0:49:39.800 --> 0:49:44.640
<v Speaker 2>particularly at a gravesite. Yeah. And I want to stress again,

0:49:44.680 --> 0:49:46.919
<v Speaker 2>as we've touched on this many times on the show,

0:49:46.920 --> 0:49:49.640
<v Speaker 2>that we as humans are capable of juggling multiple and

0:49:49.719 --> 0:49:55.640
<v Speaker 2>even contradicting ideas about say the persistence of consciousness. Have

0:49:55.920 --> 0:49:59.160
<v Speaker 2>you contradicting ideas in your head, multiple of them at once.

0:50:00.120 --> 0:50:02.000
<v Speaker 2>You know, standing at the grave of a loved one,

0:50:02.040 --> 0:50:04.200
<v Speaker 2>you might at once feel as if you were speaking

0:50:04.239 --> 0:50:07.440
<v Speaker 2>to a person who is in the past. You know,

0:50:07.440 --> 0:50:09.840
<v Speaker 2>you're speaking you're a person who only exists in memory.

0:50:10.480 --> 0:50:12.640
<v Speaker 2>You may also feel in another level like you are

0:50:12.840 --> 0:50:15.680
<v Speaker 2>speaking to the ghost of a loved one that is

0:50:15.960 --> 0:50:19.640
<v Speaker 2>spiritually present, like in a movie about a ghost, or

0:50:19.880 --> 0:50:23.160
<v Speaker 2>someone who is there but invisible, like in other movies

0:50:23.200 --> 0:50:25.920
<v Speaker 2>about ghosts. I mean, you really can't discount the power

0:50:26.440 --> 0:50:30.040
<v Speaker 2>that say, ghost movies have on these sort of like

0:50:30.680 --> 0:50:35.600
<v Speaker 2>almost subconscious ideas about the deceased and the role that

0:50:35.600 --> 0:50:39.480
<v Speaker 2>they have in our lives. You might see them as

0:50:39.480 --> 0:50:41.400
<v Speaker 2>a spirit of a loved one that is now residing

0:50:41.400 --> 0:50:44.319
<v Speaker 2>in another realm of existence. You know, the idea that

0:50:44.360 --> 0:50:47.720
<v Speaker 2>well they're looking down on me and so forth. You also,

0:50:48.120 --> 0:50:51.040
<v Speaker 2>on some level, maybe even like front loaded, you might

0:50:51.080 --> 0:50:54.360
<v Speaker 2>be thinking, well, this is just an empty, corporeal vessel,

0:50:54.440 --> 0:50:57.480
<v Speaker 2>like there's there's nothing here. I am just engaging in

0:50:57.520 --> 0:51:00.960
<v Speaker 2>this idea of the person that is passed. And then yeah,

0:51:01.040 --> 0:51:02.920
<v Speaker 2>ultimately you might think of it all, I'm dealing with

0:51:03.160 --> 0:51:06.160
<v Speaker 2>a mental simulation of the deceased via theory of mind.

0:51:06.800 --> 0:51:07.160
<v Speaker 3>Hmm.

0:51:07.760 --> 0:51:10.960
<v Speaker 2>Yeah, and for something as deeply personal and emotional as

0:51:11.000 --> 0:51:13.359
<v Speaker 2>a grave side conversation with the deata, I think it's

0:51:13.400 --> 0:51:15.200
<v Speaker 2>fair to accept that any number of these can be

0:51:15.239 --> 0:51:17.919
<v Speaker 2>in play, and we shouldn't be dismissive of any of them,

0:51:18.000 --> 0:51:21.239
<v Speaker 2>at least from an emotional standpoint, you know. But I

0:51:21.239 --> 0:51:24.920
<v Speaker 2>think it's a great concept concerning the power of human

0:51:24.920 --> 0:51:28.959
<v Speaker 2>imagination and our engagement with simulated realities as a means

0:51:28.960 --> 0:51:33.279
<v Speaker 2>of processing and evaluating feelings, and as an expression of

0:51:33.320 --> 0:51:36.560
<v Speaker 2>wholeness and creativity. You know. So you know it is.

0:51:37.080 --> 0:51:40.840
<v Speaker 2>It is ultimately a kind of pretend play, but pretend

0:51:40.880 --> 0:51:44.279
<v Speaker 2>play that you know, has very high emotional stakes. But

0:51:44.320 --> 0:51:48.160
<v Speaker 2>at the same time, it's not useful in the in

0:51:48.239 --> 0:51:50.560
<v Speaker 2>the sense that it is going to change the world

0:51:50.640 --> 0:51:54.880
<v Speaker 2>or generate income. But it can be highly useful depending

0:51:54.960 --> 0:51:58.439
<v Speaker 2>on the individual obviously in the situation, like for their

0:51:58.680 --> 0:52:01.799
<v Speaker 2>their their own feeling, and for their own sense of

0:52:01.840 --> 0:52:02.320
<v Speaker 2>well being.

0:52:02.719 --> 0:52:05.399
<v Speaker 3>Well, this actually makes me reframe one of the ways

0:52:05.440 --> 0:52:08.560
<v Speaker 3>I was thinking about childhood pretend play. In the first part,

0:52:08.600 --> 0:52:12.239
<v Speaker 3>we briefly discussed a definition of play, which is that

0:52:12.320 --> 0:52:16.160
<v Speaker 3>it's non instrumental activity. It's activity that is not put

0:52:16.200 --> 0:52:21.200
<v Speaker 3>toward any kind of external purpose. It's purely it's often

0:52:21.239 --> 0:52:25.000
<v Speaker 3>described as purely for enjoyment, and that makes it sound

0:52:25.080 --> 0:52:28.920
<v Speaker 3>like anything that is play, or by extension, pretend play,

0:52:29.000 --> 0:52:33.600
<v Speaker 3>should be for fun. But actually, I mean, obviously, I

0:52:33.600 --> 0:52:35.920
<v Speaker 3>think it makes sense in a way to call this

0:52:36.040 --> 0:52:39.680
<v Speaker 3>kind of interfacing with the dead a form of pretend play,

0:52:39.800 --> 0:52:42.960
<v Speaker 3>except the word play sounds wrong because play is supposed

0:52:42.960 --> 0:52:46.239
<v Speaker 3>to be fun. But then when I think of the

0:52:46.320 --> 0:52:49.799
<v Speaker 3>pretend play games I actually like watch my daughter go through.

0:52:50.360 --> 0:52:53.600
<v Speaker 3>They're usually fun, but they're not always fun. Sometimes they

0:52:53.640 --> 0:52:57.200
<v Speaker 3>actually feel quite serious and sometimes quite sad. Like one

0:52:57.239 --> 0:53:00.840
<v Speaker 3>thing she likes to do is to pretend to treat

0:53:00.960 --> 0:53:05.799
<v Speaker 3>and heal the wounds of her toys, and she she

0:53:05.800 --> 0:53:08.400
<v Speaker 3>gets kind of sadness in her boy, you know, she's like,

0:53:08.480 --> 0:53:12.520
<v Speaker 3>oh he you know, dinosaur, her need feel better. And

0:53:13.840 --> 0:53:17.680
<v Speaker 3>that almost strikes me as somewhat similar to the Graveside conversation.

0:53:17.760 --> 0:53:20.120
<v Speaker 3>I mean, in a way that still has to be play,

0:53:20.200 --> 0:53:23.760
<v Speaker 3>that is play, but there's no laughter involved. It's not fun,

0:53:23.800 --> 0:53:28.040
<v Speaker 3>and the main emotion seems to be sympathy and sadness. Yeah,

0:53:28.120 --> 0:53:30.120
<v Speaker 3>so I don't know. There are many many ways obviously

0:53:30.200 --> 0:53:33.200
<v Speaker 3>in which those things are different, But it does seem

0:53:33.239 --> 0:53:36.920
<v Speaker 3>to drive home that there's maybe something that is missing

0:53:37.160 --> 0:53:39.920
<v Speaker 3>when we think of play as an activity that is

0:53:39.960 --> 0:53:44.880
<v Speaker 3>strictly for fun. Instead, it's something that's like usually for fun,

0:53:45.520 --> 0:53:48.799
<v Speaker 3>but it also can sometimes be something else. It's something

0:53:48.840 --> 0:53:52.440
<v Speaker 3>we're doing for kind of intrinsic motivations, but they're not

0:53:52.520 --> 0:53:56.680
<v Speaker 3>really related to like pleasure or laughter or excitement.

0:53:57.400 --> 0:54:01.719
<v Speaker 2>Yeah. Yeah, so at any rate, Yeah, these, like I say,

0:54:01.920 --> 0:54:03.200
<v Speaker 2>I thought I was going to get more into sort

0:54:03.239 --> 0:54:07.840
<v Speaker 2>of granular discussions of you know, of adult imagination play

0:54:08.000 --> 0:54:11.239
<v Speaker 2>and like the benefits of engaging maybe in something like

0:54:11.280 --> 0:54:14.160
<v Speaker 2>improv theater. And yeah, I realized this all ended up

0:54:14.160 --> 0:54:16.839
<v Speaker 2>being a little bit broader and a little bit more philosophic,

0:54:17.680 --> 0:54:20.200
<v Speaker 2>But I thought it was really fascinating and it made

0:54:20.239 --> 0:54:21.799
<v Speaker 2>me sort of rethink a lot of what I thought

0:54:21.800 --> 0:54:23.080
<v Speaker 2>I knew about creativity.

0:54:23.440 --> 0:54:24.160
<v Speaker 3>Yeah, totally.

0:54:25.040 --> 0:54:26.839
<v Speaker 2>All right, Well, I think we're going to go ahead

0:54:26.880 --> 0:54:29.759
<v Speaker 2>and close this episode out, and we're thinking we're going

0:54:29.800 --> 0:54:32.399
<v Speaker 2>to be back with one more of these, because there's

0:54:32.400 --> 0:54:35.319
<v Speaker 2>still plenty to talk about and in the meantime, we'd

0:54:35.320 --> 0:54:37.200
<v Speaker 2>love to hear from all of you. I know we

0:54:37.280 --> 0:54:40.360
<v Speaker 2>have some people out there who are improv actors or

0:54:40.400 --> 0:54:42.640
<v Speaker 2>certainly have taken an improv class or two, or done

0:54:42.680 --> 0:54:46.399
<v Speaker 2>a little improv maybe in a college acting class. Tell

0:54:46.480 --> 0:54:49.279
<v Speaker 2>us about it. How do your experiences line up with

0:54:49.320 --> 0:54:54.000
<v Speaker 2>what we've been discussing here, any other of your thoughts, experiences,

0:54:54.080 --> 0:54:57.120
<v Speaker 2>and so forth concerning this episode or the previous episodes

0:54:57.440 --> 0:54:59.920
<v Speaker 2>in the pretend play series right in, We would love

0:55:00.040 --> 0:55:02.640
<v Speaker 2>to hear from you. And oh and as always, if

0:55:03.000 --> 0:55:06.040
<v Speaker 2>you want what you share to be to not be

0:55:06.120 --> 0:55:08.880
<v Speaker 2>shared in a future listener mail episode, let us know

0:55:09.000 --> 0:55:12.120
<v Speaker 2>and we'll honor that. Likewise, if you would like to

0:55:12.360 --> 0:55:15.160
<v Speaker 2>use a pseudonym, you know, just let us know as well.

0:55:15.239 --> 0:55:18.360
<v Speaker 2>Just tell us what to do with the copy you send.

0:55:18.239 --> 0:55:20.920
<v Speaker 3>Us, with the understanding that if you don't give us

0:55:20.960 --> 0:55:23.600
<v Speaker 3>any instructions of that sort, we will use your first

0:55:23.680 --> 0:55:26.560
<v Speaker 3>name and consider it fair game to read on air.

0:55:26.840 --> 0:55:29.799
<v Speaker 2>Absolutely, absolutely all right, Just a reminder. Stuff to Blow

0:55:29.840 --> 0:55:32.359
<v Speaker 2>Your Mind is primarily a science and culture podcast. Core

0:55:32.360 --> 0:55:35.440
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0:55:44.719 --> 0:55:46.560
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0:55:46.640 --> 0:55:49.520
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<v Speaker 2>We have higher numbers on other platforms like Twitter, but

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0:56:01.880 --> 0:56:04.800
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<v Speaker 3>To do so. We have a Twitter account.

0:56:07.080 --> 0:56:10.360
<v Speaker 2>Yeah, we do. It's active. You can follow us on Twitter.

0:56:11.040 --> 0:56:12.680
<v Speaker 2>It does get updates about the.

0:56:12.640 --> 0:56:18.200
<v Speaker 3>Content huge thanks as always to our excellent audio producer

0:56:18.320 --> 0:56:20.640
<v Speaker 3>JJ Posway. If you would like to get in touch

0:56:20.680 --> 0:56:22.839
<v Speaker 3>with us with feedback on this episode or any other,

0:56:22.960 --> 0:56:25.239
<v Speaker 3>to suggest a topic for the future, or just to

0:56:25.280 --> 0:56:28.600
<v Speaker 3>say hello, you can email us at contact at stuff

0:56:28.640 --> 0:56:37.240
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0:56:37.760 --> 0:56:40.680
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<v Speaker 2>The four part