WEBVTT - From the Vault: Pretend Play, Part 5

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

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<v Speaker 1>is Robert Lamb. Pretend Play Part five is coming at you,

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<v Speaker 1>Part five of five. This one originally published one twenty three,

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<v Speaker 1>twenty twenty five. Let's have it.

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

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

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<v Speaker 1>is Robert.

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<v Speaker 3>Lamb and I am Joe McCormick. And we're back with

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<v Speaker 3>the fifth and for now the final part in our

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<v Speaker 3>series on pretend Play. Now, sometimes when we do a

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<v Speaker 3>longer series like this, we say, you know, devour in

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<v Speaker 3>whatever order you like, but this really is one series

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<v Speaker 3>where we do recommend listening in order, because today we're

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<v Speaker 3>going to build on and refer back to stuff we

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<v Speaker 3>talked about in some earlier episodes from this series, but

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<v Speaker 3>to refresh break in those earlier parts, we talked about

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<v Speaker 3>definitions and subdivisions of pretend play, play that involves non

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<v Speaker 3>literal action and understanding. We talked about which aspects of

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<v Speaker 3>pretend play appear to be universal and which appear to

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<v Speaker 3>be culturally variable. For example, the evidence is pretty strong

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<v Speaker 3>that all children around the world engage in pretending, even

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<v Speaker 3>in environments where it is actively discouraged, and it emerges

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<v Speaker 3>on a pretty consistent developmental schedule, though there is wide

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<v Speaker 3>variation across cultures and within cultures across like home conditions

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<v Speaker 3>and different types of parental influence in how much time

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<v Speaker 3>children spend on pretend play and in what its themes

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<v Speaker 3>and contents are. Some cultures have more fantasy themes, like

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<v Speaker 3>talking animals, others are more realism bound in their pretend

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<v Speaker 3>games and so forth. We also talked about the specific

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<v Speaker 3>issue of imaginary companions, where those come from, how they

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<v Speaker 3>usually work, what patterns manifest within and across cultures. We

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<v Speaker 3>talk about possible links between pretend play and complex cognitive

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

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<v Speaker 3>whether pretend to play may help children develop these capabilities,

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<v Speaker 3>or whether it makes use of common neural structures with them.

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<v Speaker 3>We talked about the idea of the paracosm, which is

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<v Speaker 3>an extension of the idea of an imaginary friend or

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<v Speaker 3>imaginary companion into a whole imaginary world, maybe even with

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<v Speaker 3>its own geography, inhabitants, its own history and rules and customs,

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<v Speaker 3>and we looked at how paracosms develop and whether they're

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<v Speaker 3>associated with other things later in life, like an adult

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<v Speaker 3>capacity for creativity. And then finally, we also talked about

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<v Speaker 3>ways in which imaginative play could be said to carry

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<v Speaker 3>on into adult life, often in different guises.

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<v Speaker 1>That's right, and we're going to continue on in this

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<v Speaker 1>episode to roll out discussion on some of these themes.

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<v Speaker 1>But I guess we should stress that there is so

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<v Speaker 1>much out there, and there's so much ongoing research into

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<v Speaker 1>not only pretend play and but also you know, childhood imagination,

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<v Speaker 1>adult imagination and so forth. This is really one of

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<v Speaker 1>those series where we could just keep going and going

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<v Speaker 1>and find new angles, new studies to discuss each time.

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<v Speaker 3>Yeah, that's right. I mean, we've just come across so

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<v Speaker 3>many interesting things. I keep finding new, fascinating stuff I

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<v Speaker 3>wasn't even aware of when I first decided I wanted

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<v Speaker 3>to do this topic on the show. So it just

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<v Speaker 3>keeps unfolding and there's more and more, and the more

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<v Speaker 3>and more.

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<v Speaker 1>Is so good.

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<v Speaker 3>But we are going to have to cut it off

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<v Speaker 3>after today. Maybe we'll return to this topic in some

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<v Speaker 3>form in the future. But one thing I wanted to

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<v Speaker 3>come back to in today's episode, now that we've looked

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<v Speaker 3>at a lot of the different cultural environments and varieties

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<v Speaker 3>of play expression. Is the question of the biological basis

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<v Speaker 3>for pretend play? Is pretend to play a culturally contingent activity,

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<v Speaker 3>you know, something that we just kind of like made up,

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<v Speaker 3>didn't have to be a part of what human life is,

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<v Speaker 3>something like I don't know, parades. You know a lot

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<v Speaker 3>of different cultures have parades, but that's probably not a

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<v Speaker 3>biologically mandated behavior, that's just something culture made up. Or

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<v Speaker 3>is pretend play actually biologically mandated? Is it biologically programmed

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<v Speaker 3>in the human animal? And if it is the latter,

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<v Speaker 3>that sort of implies that it confers a survival or

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<v Speaker 3>reproduction advantage. So what would that be? So for this question,

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<v Speaker 3>I wanted to look at a really really interesting paper

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<v Speaker 3>published in twenty seventeen in the journal Trends in Cognitive

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<v Speaker 3>Sciences called Why do the Children Pretend Play? By an

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<v Speaker 3>author named Angeline S. Lillard, who is a professor of

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<v Speaker 3>psychology at the University of Virginia and she runs a

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<v Speaker 3>research center there called the Early Development Laboratory. I'm not

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<v Speaker 3>going to cover everything Lillard gets into in this paper,

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<v Speaker 3>but I wanted to give kind of a sketch of

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<v Speaker 3>her main argument and pick some interesting things to pull

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<v Speaker 3>out and talk about. So at the beginning of this article,

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<v Speaker 3>Lillard reviews a lot of the same evidence we've already

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<v Speaker 3>looked at earlier in the series, pointing to a pretty

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<v Speaker 3>standard schedule for development of pretend play in childhood, saying

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<v Speaker 3>pretend play usually begins by around eighteen months of age,

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<v Speaker 3>often with object substitution, though in the last episode we

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<v Speaker 3>looked at a few kind of very specific types of

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<v Speaker 3>pretend play that are often observed to pre date object substitution,

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<v Speaker 3>but object substitution is a big early milestone, usually occurring

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<v Speaker 3>by around one and a half years old. And then

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<v Speaker 3>talking about how pretend play seems to peak around the

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<v Speaker 3>age of three to five and most often stops around

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<v Speaker 3>the age of eleven. I think in the last episode

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<v Speaker 3>we cited a researcher who said it's around nine or

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<v Speaker 3>ten when it starts to wane. Lillard says around the

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<v Speaker 3>age of eleven is when it usually ceases, though the

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<v Speaker 3>question of whether it actually ceases is also debatable. In

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<v Speaker 3>some cases, kids keep pretending longer, and you can make

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<v Speaker 3>argument that activities sustained into adulthood are actually continued types

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<v Speaker 3>of pretend play, maybe sort of in disguise or not

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<v Speaker 3>so much in disguise. Now, Lillard makes the argument that

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<v Speaker 3>because pretend play of some form is culturally universal and

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<v Speaker 3>its development schedule is fairly regular and predictable, it's probably

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<v Speaker 3>an evolved biological trait and not just a contingent behavior

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<v Speaker 3>that we happen to create through culture. And I think

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<v Speaker 3>I would agree that this seems likely based on that information.

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<v Speaker 3>So Lillard asks the question that I brought up a

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<v Speaker 3>minute ago. If it is a biological trait of our species,

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<v Speaker 3>and if it's not just an epiphenomenal byproduct of some

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<v Speaker 3>other capacity like symbolic thinking, what evolutionary advantage does pretending provide?

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<v Speaker 3>As an aside, we already looked at some possible answers

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<v Speaker 3>to this question in that twenty fifteen paper by Weisberg

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<v Speaker 3>that we talked about in earlier parts of the series.

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<v Speaker 3>So it was brought up that maybe pretend play helps

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<v Speaker 3>facilitate the development of counterfactual reasoning, symbolic understanding, and theory

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<v Speaker 3>of mind. Though, as you'll recall, Weisberg highlighted that these

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<v Speaker 3>correlations are difficult to study in a way that's practical

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<v Speaker 3>rigorous and ethical. So while some studies do provide hints

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<v Speaker 3>in support of all three of these links, the evidence

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<v Speaker 3>is fairly weak. It's mostly just establishing correlations. Lillard's paper

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<v Speaker 3>also notes how difficult this is to study and the

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<v Speaker 3>indirect quality of much of the evidence available to us.

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<v Speaker 3>We have some indications, specifically, like from tragic examples of

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<v Speaker 3>children who suffered social isolation and infancy, that early deprivation

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<v Speaker 3>of normal interaction with human caregivers can lead to noticeable

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<v Speaker 3>deficits in pretend play later in childhood. So like children

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<v Speaker 3>who don't have enough human social interaction when their babies

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<v Speaker 3>tend to play pretend much less and they're older, suggesting

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<v Speaker 3>some kind of link between pretend play and socialization. However,

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<v Speaker 3>Lillard's paper makes use of a very interesting, totally separate

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<v Speaker 3>line of evidence for the biological function of pretend play,

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<v Speaker 3>and that is the analogy of non human animals.

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<v Speaker 1>Yes, yes, whether animals play This is probably a question

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<v Speaker 1>that has already been bouncing around people's minds as they

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<v Speaker 1>listen to these episodes.

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<v Speaker 3>Yeah, well, and so specifically it'd be the question of

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<v Speaker 3>whether animals play pretend Because I think it's pretty widely

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<v Speaker 3>agreed by researchers in the relevant fields that animals do play.

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<v Speaker 3>In this paper, Lillard refers to one particular definition of

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<v Speaker 3>play that has been popular used in a lot of research,

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<v Speaker 3>and it comes from a psychologist named Gordon Berghart. And

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<v Speaker 3>Burghart's criteria for play, I think he had five of them.

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<v Speaker 3>The criteria or that one we've already talked about this

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<v Speaker 3>that it's not functional, meaning that it's it's not activity

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<v Speaker 3>that is necessary for survival in any direct way. So

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<v Speaker 3>even if you enjoy chopping wood, chopping wood is not

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<v Speaker 3>considered play. To use Lillard's summary quote, is voluntary and pleasurable.

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<v Speaker 3>It differs in form or some other way from the

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<v Speaker 3>functional expression. It is repeated, and it tends to occur

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<v Speaker 3>under conditions of abundance not stress. Now, if you look

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<v Speaker 3>at those criteria, I think it's widely agreed that many

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<v Speaker 3>species of non human animals, especially a lot of vertebrates

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<v Speaker 3>and mammals, engage in play. But do these animals play pretend?

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<v Speaker 3>This is more controversial, but Lillard makes the case that

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<v Speaker 3>at least some forms of animal play should be considered

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<v Speaker 3>examples of pretense. And both of these are fortunately going

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<v Speaker 3>to be familiar to us and to listeners because we

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<v Speaker 3>can see them in our pets. I think, in fact,

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<v Speaker 3>it's maybe not even a coincidence that play would be

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<v Speaker 3>especially common among the animals that we happened to make

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<v Speaker 3>our domestic companions. So first example is playing with inanimate

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<v Speaker 3>objects as if they were live prey. You can see

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<v Speaker 3>this in cats, you can see this in dogs. I'm

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<v Speaker 3>sure you've seen plenty of this in your home, Rob.

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<v Speaker 3>You know, a cat will often any little furry thing,

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<v Speaker 3>or maybe doesn't in some cases, maybe doesn't even have

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<v Speaker 3>to be all that furry. It could be an aluminum ball,

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<v Speaker 3>or it could be a piece of string or something

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<v Speaker 3>like that. They will play with it and treat it

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<v Speaker 3>as if it were a mouse or some other kind

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<v Speaker 3>of prey animal. They will bat it around, they will

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<v Speaker 3>bite it, they will chase it, and so forth.

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<v Speaker 1>Yes, yeah, we see this all the time. Yeah, ranging

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<v Speaker 1>from what we call the most dangerous game of finger mouse.

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<v Speaker 1>This is where you move your finger underneath the blanket.

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<v Speaker 1>Not recommended because it's an easy way to get your

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<v Speaker 1>finger scratched in or bitten. But yeah, all manner of toys,

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<v Speaker 1>laser beams, you name it.

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<v Speaker 3>Oh, I didn't even think of the laser pointer. Yeah,

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<v Speaker 3>but I used to do the same thing when I

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<v Speaker 3>had cats. You know, you move your hand or your

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<v Speaker 3>toes around underneath the blanket. Yeah, and it drives absolutely nuts.

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<v Speaker 1>Yeah. And my cat does not need any encouragement to

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<v Speaker 1>attack body parts. She attacks my feet all the time.

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<v Speaker 3>Now, there's an interesting finding that Lillard notes, which is that, apparently,

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<v Speaker 3>in like formal studies of this type of play behavior

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<v Speaker 3>in cats, apparently as cats become older, on average, the

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<v Speaker 3>object needs to be increasingly similar to an actual prey

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<v Speaker 3>animal to induce the playing response. This will obviously vary

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<v Speaker 3>from cat to cat, but on average, more often a

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<v Speaker 3>kitten will attack anything you know. It will play with string,

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<v Speaker 3>will play with aluminum balls, whatever you know. It's all

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<v Speaker 3>a mouse to the kitten. But an older cat, as

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<v Speaker 3>it matures, will increasingly only be enticed into this type

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<v Speaker 3>of game by something that resembles in some way an

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<v Speaker 3>actual prey animal.

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<v Speaker 1>Well, my cat, I can safely say, is not average.

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<v Speaker 1>She's quite old at this point, but her she still

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<v Speaker 1>plays and some of her favorite items just recently have

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<v Speaker 1>been things like a plastic milk cap like off of

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<v Speaker 1>an oat milk jug. How if she had a great

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<v Speaker 1>time with that, buttons things like that, anything she can

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<v Speaker 1>get her claws on, so it doesn't seem to necessary.

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<v Speaker 1>We have other toys that do resemble rodents or birds

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<v Speaker 1>or whatever, and she's into those as well. But otherwise

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<v Speaker 1>she doesn't seem to discriminate. Now, not making this an

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<v Speaker 1>episode about cats, but I think obviously there's something to

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<v Speaker 1>be said here too about the domestic, like in house cat,

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<v Speaker 1>like a fully indoor cat versus a cat that's going

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<v Speaker 1>indoors and outdoors. This is a fully indoor cat, and

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<v Speaker 1>I know there have been various observations made about like

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<v Speaker 1>what that does. Does that keep a cat in more

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<v Speaker 1>sort of a semi permanent stage of kitten hood to

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<v Speaker 1>some degree, maybe has an effect on how they associate

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<v Speaker 1>with toys. Maybe you see more of this average situation

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<v Speaker 1>that's laid out here. If the cat actually has physical

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<v Speaker 1>access to normal prey animals on a regular.

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<v Speaker 3>Basis, yeah, that seems quite plausible to me.

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<v Speaker 1>Though.

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<v Speaker 3>An interesting thing that Lillard notes here is that there

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<v Speaker 3>is the opposite observation in humans that as children get older,

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<v Speaker 3>it's usually less important for the play object to resemble

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<v Speaker 3>the real object. In order for them to play pretend

0:13:28.400 --> 0:13:31.720
<v Speaker 3>with it. And so because of differences like this, Lillard

0:13:31.760 --> 0:13:35.560
<v Speaker 3>thinks that the treating and inanimate object as life prey

0:13:35.640 --> 0:13:38.840
<v Speaker 3>is not a great analogy for human play. However, there's

0:13:38.880 --> 0:13:42.680
<v Speaker 3>another thing observed in animals which she thinks is maybe

0:13:42.760 --> 0:13:45.640
<v Speaker 3>a good analogy for human pretend play, and that is

0:13:45.920 --> 0:13:49.880
<v Speaker 3>play fighting. We've probably all seen this before in dogs,

0:13:49.960 --> 0:13:53.600
<v Speaker 3>but in the scientific literature, play fighting is characterized as

0:13:53.640 --> 0:13:59.640
<v Speaker 3>a social locomotive play activity where animals try to gain

0:13:59.679 --> 0:14:02.920
<v Speaker 3>temper very physical advantage over one another in a way

0:14:02.960 --> 0:14:07.319
<v Speaker 3>that somewhat resembles the behavior of those same animals as

0:14:07.320 --> 0:14:11.280
<v Speaker 3>adults in violent competition, but is different in that the

0:14:11.360 --> 0:14:15.720
<v Speaker 3>animals typically take turns being the aggressor and that the

0:14:15.840 --> 0:14:19.560
<v Speaker 3>fight behaviors are truncated. So the dog might in a

0:14:19.600 --> 0:14:22.920
<v Speaker 3>play fight, it might put its jaws around the other

0:14:23.000 --> 0:14:25.800
<v Speaker 3>dog's body, maybe put the jaws around the neck, but

0:14:25.920 --> 0:14:28.480
<v Speaker 3>it does not bite down, or it doesn't usually, and

0:14:28.520 --> 0:14:31.280
<v Speaker 3>if it does, that's a you know, that's clearly not

0:14:31.400 --> 0:14:35.880
<v Speaker 3>what the behavior is intended to produce. Lillard argues that

0:14:36.120 --> 0:14:39.920
<v Speaker 3>play fighting could be viewed as an analog for pretend

0:14:40.000 --> 0:14:43.200
<v Speaker 3>play in humans and gives a number of reasons. For example,

0:14:43.880 --> 0:14:46.280
<v Speaker 3>both of these activities, pretend to play in humans and

0:14:46.360 --> 0:14:50.600
<v Speaker 3>play fighting involve creating an as if scenario where the

0:14:50.640 --> 0:14:55.280
<v Speaker 3>play activity appears to be a modified representation of a

0:14:55.320 --> 0:14:58.400
<v Speaker 3>real activity, but with limits put on it. Like the

0:14:58.720 --> 0:15:01.600
<v Speaker 3>play fighting stops for the bite pressure is too much,

0:15:01.640 --> 0:15:06.560
<v Speaker 3>and so forth, Lillard writes quote. As Baitsen also pointed out,

0:15:06.600 --> 0:15:09.800
<v Speaker 3>an animal that is engaged in play fighting must read

0:15:09.920 --> 0:15:13.720
<v Speaker 3>a behavior as denoting a behavior different from the behavior

0:15:13.800 --> 0:15:16.680
<v Speaker 3>it resembles. And then the sub quote of baits In

0:15:16.720 --> 0:15:20.280
<v Speaker 3>here quote the playful nip denotes the bite, but it

0:15:20.360 --> 0:15:23.640
<v Speaker 3>does not denote what would be denoted by the bite.

0:15:24.080 --> 0:15:27.480
<v Speaker 3>In other words, the playful nip is a pretend bite,

0:15:27.640 --> 0:15:30.520
<v Speaker 3>just as a child can pretend talk into a pretend

0:15:30.600 --> 0:15:34.400
<v Speaker 3>phone to symbolize really talking into a real phone. In

0:15:34.440 --> 0:15:38.520
<v Speaker 3>this way, both pretend play and play fighting behaviors are symbolic.

0:15:38.680 --> 0:15:42.880
<v Speaker 3>They mean something other than what they are. She also

0:15:43.000 --> 0:15:46.600
<v Speaker 3>calls attention to the fact that both pretend play in

0:15:46.720 --> 0:15:51.040
<v Speaker 3>humans and play fighting in other mammals rely on the

0:15:51.160 --> 0:15:57.680
<v Speaker 3>exchange of specific ritualized gestures and indicators that the activity

0:15:57.840 --> 0:16:01.480
<v Speaker 3>is play and not real. And I don't think I

0:16:01.520 --> 0:16:02.960
<v Speaker 3>was aware of a lot of this. For example, she

0:16:03.240 --> 0:16:06.440
<v Speaker 3>talks about a bunch of observations in rats that when

0:16:06.640 --> 0:16:10.000
<v Speaker 3>rats playfight, and apparently they do this a lot. Rats playfight.

0:16:10.760 --> 0:16:14.320
<v Speaker 3>She says, when they play fight, they don't bite at

0:16:14.480 --> 0:16:17.960
<v Speaker 3>or target the same areas of the body that they

0:16:17.960 --> 0:16:21.560
<v Speaker 3>do when rats are actually fighting in real violent competition.

0:16:22.120 --> 0:16:25.960
<v Speaker 3>So when they're playfighting, she says, they target a nuzzle

0:16:27.120 --> 0:16:30.400
<v Speaker 3>like the nape of the neck, whereas real fighting and

0:16:30.880 --> 0:16:34.240
<v Speaker 3>tends to involve attacks on the flanks and the lower back.

0:16:34.960 --> 0:16:39.960
<v Speaker 3>And apparently they also emit high pitched ultrasonic vibrations when

0:16:39.960 --> 0:16:43.600
<v Speaker 3>they're play fighting, which other rats can hear, which seems

0:16:43.640 --> 0:16:47.040
<v Speaker 3>to help the rats avoid mistaking a bid for a

0:16:47.080 --> 0:16:50.640
<v Speaker 3>playfight with the threat of a real fight. Now, understanding

0:16:50.720 --> 0:16:54.240
<v Speaker 3>those kinds of gestures and social communication and rats might

0:16:54.280 --> 0:16:57.160
<v Speaker 3>not be very intuitive to us, but we can easily

0:16:58.000 --> 0:17:00.640
<v Speaker 3>see the same kind of thing in dogs with the

0:17:00.640 --> 0:17:03.960
<v Speaker 3>famous play bow. Now, if you've ever seen dogs doing

0:17:04.000 --> 0:17:07.760
<v Speaker 3>play fighting, you will quite frequently, often at the beginning

0:17:07.840 --> 0:17:10.800
<v Speaker 3>of the encounter, and then at certain moments throughout the

0:17:10.840 --> 0:17:13.880
<v Speaker 3>play fighting session, the dogs will kind of back up

0:17:13.920 --> 0:17:16.200
<v Speaker 3>and then they will bow the front of the body

0:17:16.280 --> 0:17:18.840
<v Speaker 3>down and spread their paws apart and put their head

0:17:18.920 --> 0:17:21.840
<v Speaker 3>down with the back of the body up with the

0:17:21.880 --> 0:17:27.119
<v Speaker 3>haunches the butt raised up. And I've got a picture

0:17:27.119 --> 0:17:28.639
<v Speaker 3>here for you to look at, Rob, though I'm sure

0:17:28.480 --> 0:17:30.359
<v Speaker 3>you're familiar with this on your own as well.

0:17:30.720 --> 0:17:32.320
<v Speaker 1>Well, I mean, now that it's pointed out to me,

0:17:32.400 --> 0:17:36.280
<v Speaker 1>I have seen dogs doing this, and I guess I'm

0:17:36.320 --> 0:17:38.399
<v Speaker 1>realizing for the first time that this must be why

0:17:38.520 --> 0:17:42.399
<v Speaker 1>we call the pose and yoga down dog, because we

0:17:42.440 --> 0:17:45.919
<v Speaker 1>are creating a pose that looks like this. I always

0:17:45.960 --> 0:17:49.040
<v Speaker 1>just thought like, well, okay, it's just I'm on all fours.

0:17:49.080 --> 0:17:50.800
<v Speaker 1>I'm sort of like a dog right now. But I

0:17:50.840 --> 0:17:51.960
<v Speaker 1>guess this is the name thing.

0:17:52.440 --> 0:17:54.520
<v Speaker 3>So in yoga it's the butt is up, the head

0:17:54.560 --> 0:17:55.600
<v Speaker 3>is down, correct.

0:17:55.680 --> 0:17:59.240
<v Speaker 1>Yeah, okay, though usually in the picture you're showing here

0:17:59.280 --> 0:18:03.800
<v Speaker 1>the dogs four pause forearms are on the ground, and yeah,

0:18:03.920 --> 0:18:06.119
<v Speaker 1>that's usually not the case with down dog. There are

0:18:06.520 --> 0:18:08.560
<v Speaker 1>versions of down dog where you do have four arms down.

0:18:08.880 --> 0:18:11.960
<v Speaker 1>I guess it's more gets inded like dolphin and so forth.

0:18:11.960 --> 0:18:14.840
<v Speaker 1>But anyway, enough animals. We're talking about dogs, right.

0:18:14.880 --> 0:18:19.639
<v Speaker 3>So studies show that playbows are they really are used

0:18:19.680 --> 0:18:22.879
<v Speaker 3>for social communication. Like you can see that they're most

0:18:23.000 --> 0:18:27.399
<v Speaker 3>common right after a candid play fight has sort of

0:18:27.520 --> 0:18:31.399
<v Speaker 3>pushed the limits or has for some reason become ambiguous. So,

0:18:31.520 --> 0:18:35.119
<v Speaker 3>for instance, when a play bite just got pretty rough,

0:18:35.240 --> 0:18:37.480
<v Speaker 3>you know, like a dog. They're playing, but one bit

0:18:37.520 --> 0:18:40.200
<v Speaker 3>the other kind of hard, it seems, then the playbow

0:18:40.280 --> 0:18:43.639
<v Speaker 3>would be deployed. It's used to regulate the shared understanding

0:18:43.640 --> 0:18:47.400
<v Speaker 3>of the activity and to signal kind of sorry about that,

0:18:47.440 --> 0:18:49.720
<v Speaker 3>we're still in play mode. This is not a real fight.

0:18:50.280 --> 0:18:52.480
<v Speaker 3>And in this way this would be considered a form

0:18:52.640 --> 0:18:57.480
<v Speaker 3>of meta communication, allowing all the participants in an activity

0:18:57.520 --> 0:19:02.040
<v Speaker 3>to continually understand the correct in which the shared activity

0:19:02.119 --> 0:19:05.919
<v Speaker 3>should be interpreted. It's the signal this is play this

0:19:06.160 --> 0:19:09.640
<v Speaker 3>is not real. And it turns out that with pretend

0:19:09.720 --> 0:19:13.560
<v Speaker 3>play humans do this too. There are specific kinds of

0:19:13.600 --> 0:19:17.520
<v Speaker 3>gestures and signals that have been observed within human play fighting,

0:19:17.560 --> 0:19:20.359
<v Speaker 3>but even outside the realm of play fighting and just

0:19:20.520 --> 0:19:23.320
<v Speaker 3>in pretend play that the kinds we've been talking about

0:19:23.320 --> 0:19:25.800
<v Speaker 3>in this series so far. Maybe cooking in a play kitchen,

0:19:25.920 --> 0:19:29.040
<v Speaker 3>or using a banana as a telephone, or using a

0:19:29.080 --> 0:19:32.199
<v Speaker 3>little block as a car, you know, an object substitution

0:19:32.440 --> 0:19:36.679
<v Speaker 3>enactment play any of these things. The signals used to

0:19:36.880 --> 0:19:40.879
<v Speaker 3>communicate pretend to play might be more culturally variable in

0:19:41.000 --> 0:19:45.080
<v Speaker 3>humans than in dogs. But for example, research in the

0:19:45.160 --> 0:19:49.320
<v Speaker 3>United States has particularly found that when mothers play pretend

0:19:49.359 --> 0:19:54.160
<v Speaker 3>with young children, they use specific body language cues such

0:19:54.240 --> 0:20:00.880
<v Speaker 3>as strong eye contact, mistimed movements, and a smile immediately

0:20:00.960 --> 0:20:05.280
<v Speaker 3>following the pretend behavior. And so like, I can imagine

0:20:05.359 --> 0:20:08.000
<v Speaker 3>all these kind of things kind of like exaggerated weird

0:20:08.160 --> 0:20:11.280
<v Speaker 3>movements and kind of looking at the child, making eye

0:20:11.359 --> 0:20:16.200
<v Speaker 3>contact and then smiling after you say, like here's the phone. Also,

0:20:16.400 --> 0:20:18.880
<v Speaker 3>this is not mentioned in the study, but I really

0:20:18.920 --> 0:20:21.920
<v Speaker 3>thought about like using a different voice. You know, we've

0:20:21.960 --> 0:20:26.480
<v Speaker 3>talked about about parental voice modulation on the show before.

0:20:26.480 --> 0:20:29.159
<v Speaker 3>I think we did whole episodes on this of like

0:20:29.200 --> 0:20:31.480
<v Speaker 3>the you know, the baby voice, the way parents tend

0:20:31.480 --> 0:20:33.959
<v Speaker 3>to speak to children, and like what kind of purpose

0:20:33.960 --> 0:20:36.520
<v Speaker 3>that serves where it comes from. But I think there's

0:20:36.520 --> 0:20:38.800
<v Speaker 3>a version of this with pretend to play too. Like

0:20:38.880 --> 0:20:42.480
<v Speaker 3>I notice when we start taking on a pretense, I

0:20:43.119 --> 0:20:46.320
<v Speaker 3>kind of sound different. I'm doing something with the timing

0:20:46.400 --> 0:20:49.040
<v Speaker 3>of my speaking and the pitch of my voice and

0:20:49.080 --> 0:20:51.440
<v Speaker 3>stuff that I'm not normally doing when I'm just playing

0:20:51.440 --> 0:20:52.080
<v Speaker 3>with my daughter.

0:20:52.840 --> 0:20:55.080
<v Speaker 1>Yeah, and that makes sense. Yeah, I mean we often

0:20:55.080 --> 0:20:57.240
<v Speaker 1>don't think about it, but we are sort of conveying that. Okay,

0:20:57.240 --> 0:20:59.240
<v Speaker 1>we're shifting over one degree to the left or the

0:20:59.320 --> 0:21:02.520
<v Speaker 1>right here into the imagination space.

0:21:02.880 --> 0:21:07.520
<v Speaker 3>Yeah. Oh this book is a boat now. Yeah. Yeah,

0:21:07.840 --> 0:21:09.879
<v Speaker 3>And so you can think about different reasons for this

0:21:09.960 --> 0:21:14.920
<v Speaker 3>meta communication within the play itself. So like in play fighting,

0:21:15.200 --> 0:21:19.359
<v Speaker 3>meta communication is important for physical safety, you know, like

0:21:19.600 --> 0:21:21.159
<v Speaker 3>you don't want the fight to you don't want the

0:21:21.200 --> 0:21:24.280
<v Speaker 3>play fight to escalate to a real fight. So meta

0:21:24.320 --> 0:21:29.040
<v Speaker 3>communication literally helps dogs and rats and humans avoid hurting

0:21:29.119 --> 0:21:32.800
<v Speaker 3>one another. But with pretend to play in human children,

0:21:32.880 --> 0:21:36.359
<v Speaker 3>it strikes me that it's probably important for something we

0:21:36.400 --> 0:21:40.560
<v Speaker 3>talked about earlier in the series information quarantining, to prevent

0:21:40.720 --> 0:21:45.200
<v Speaker 3>children from drawing incorrect lessons about reality from a game

0:21:45.240 --> 0:21:47.479
<v Speaker 3>of pretend, you know, so the child does not end

0:21:47.560 --> 0:21:50.719
<v Speaker 3>up thinking that a remote control can actually place phone calls.

0:21:51.560 --> 0:21:55.320
<v Speaker 3>We're showing this is play, so the child doesn't learn

0:21:55.400 --> 0:22:08.680
<v Speaker 3>something that's wrong. So in this paper, Lillard looks at

0:22:08.760 --> 0:22:12.760
<v Speaker 3>studies of play fighting in animals to see what, if anything,

0:22:12.880 --> 0:22:17.119
<v Speaker 3>can be established about its survival and reproduction value, what

0:22:17.160 --> 0:22:21.080
<v Speaker 3>does it do for the animals? This section involves a

0:22:21.119 --> 0:22:24.360
<v Speaker 3>lot of discussion of the difficulties and limitations in designing

0:22:24.400 --> 0:22:27.280
<v Speaker 3>these experiments, and the paper is worth a read if

0:22:27.280 --> 0:22:29.640
<v Speaker 3>you want to learn more about that. But to mention

0:22:30.160 --> 0:22:34.159
<v Speaker 3>one prominent example type of experiment she brings up. It

0:22:34.240 --> 0:22:37.200
<v Speaker 3>is an experiment where you take a baby rat and

0:22:37.400 --> 0:22:40.600
<v Speaker 3>pair it in its enclosure only with a single adult

0:22:40.840 --> 0:22:45.560
<v Speaker 3>female rat and no littermates. Now, with other littermates present,

0:22:45.680 --> 0:22:48.600
<v Speaker 3>a baby rat will typically engage in play fighting as

0:22:48.640 --> 0:22:52.080
<v Speaker 3>it matures, but when it is paired only with an

0:22:52.119 --> 0:22:56.840
<v Speaker 3>adult female rat, the baby rat will receive socialization from

0:22:56.880 --> 0:23:00.000
<v Speaker 3>the adults, so it's not like total social isolation or deprivent.

0:23:00.800 --> 0:23:06.120
<v Speaker 3>But adult female rats specifically will not engage in play fighting,

0:23:06.760 --> 0:23:11.639
<v Speaker 3>so this seems to reasonably well isolate and remove play

0:23:11.640 --> 0:23:14.480
<v Speaker 3>fighting on its own. But it's important to note that

0:23:14.560 --> 0:23:17.240
<v Speaker 3>this is not a perfect isolation of the variable, because

0:23:17.280 --> 0:23:19.720
<v Speaker 3>having littermates is the norm for baby rats, so this

0:23:19.800 --> 0:23:22.240
<v Speaker 3>is not just like a perfectly normal baby rat with

0:23:22.400 --> 0:23:25.000
<v Speaker 3>only play fighting taken away. It's just getting as close

0:23:25.000 --> 0:23:28.840
<v Speaker 3>to that as researchers can are. There any differences in

0:23:29.040 --> 0:23:33.280
<v Speaker 3>rat development from this setup. Oh yes, a few examples.

0:23:33.880 --> 0:23:37.960
<v Speaker 3>Rats that grow up with socialization but without play fighting

0:23:38.440 --> 0:23:42.960
<v Speaker 3>have trouble interpreting social signals later in life. For instance,

0:23:43.080 --> 0:23:46.840
<v Speaker 3>later if another rat tries to initiate play fighting, the

0:23:46.920 --> 0:23:50.639
<v Speaker 3>deprived rat will often misinterpret it as a bid for

0:23:50.720 --> 0:23:54.439
<v Speaker 3>real fighting. They also have difficulties with other types of

0:23:54.440 --> 0:23:58.600
<v Speaker 3>social communication. They have difficulties with mating and with copulation,

0:23:59.200 --> 0:24:03.119
<v Speaker 3>and it seems that across multiple domains, rats that don't

0:24:03.160 --> 0:24:07.360
<v Speaker 3>have experience with play fighting just have trouble reading social

0:24:07.400 --> 0:24:12.600
<v Speaker 3>signals from other rats. Also, the lack of juvenile experience

0:24:12.640 --> 0:24:16.399
<v Speaker 3>with play fighting seems to change the development of the

0:24:16.480 --> 0:24:21.000
<v Speaker 3>medial prefrontal cortex in a rat's brain, and the behavioral

0:24:21.040 --> 0:24:25.840
<v Speaker 3>result of this is a difficulty with the inhibition of impulses.

0:24:26.680 --> 0:24:30.199
<v Speaker 3>And I thought this part was really interesting. Lillard infers

0:24:30.320 --> 0:24:36.520
<v Speaker 3>that play fighting helps develop a rat's inhibition skills because

0:24:36.760 --> 0:24:41.760
<v Speaker 3>play fighting is an exercise in inhibition. You are sort

0:24:41.800 --> 0:24:45.080
<v Speaker 3>of fighting, but you're not really going all the way

0:24:45.480 --> 0:24:48.480
<v Speaker 3>you have to. In fact, one of the key skills

0:24:48.520 --> 0:24:52.640
<v Speaker 3>of play fighting is to stop yourself from really biting

0:24:52.680 --> 0:24:56.639
<v Speaker 3>the other rat hard. So, counterintuitively, when we see, you know,

0:24:56.720 --> 0:25:00.359
<v Speaker 3>animals or children play fighting. We often think think of

0:25:00.440 --> 0:25:02.879
<v Speaker 3>this as like, you know, you might have feelings like, oh,

0:25:02.960 --> 0:25:05.520
<v Speaker 3>are they developing aggression? I mean, it's possible that that

0:25:05.800 --> 0:25:10.320
<v Speaker 3>could be happening too, But counterintuitively, playfighting seems to be

0:25:10.440 --> 0:25:13.919
<v Speaker 3>a way to get experience holding back aggression.

0:25:15.240 --> 0:25:18.280
<v Speaker 1>This is also a topic that may tie into some

0:25:18.359 --> 0:25:22.000
<v Speaker 1>things I've read about domestic cats and whether, like to

0:25:22.000 --> 0:25:25.720
<v Speaker 1>what extent a given cat has been exposed to other cats.

0:25:26.000 --> 0:25:28.280
<v Speaker 1>I'm to understand this can have an impact on, say,

0:25:28.320 --> 0:25:34.040
<v Speaker 1>how likely they are to bite if they are perturbed

0:25:34.080 --> 0:25:37.400
<v Speaker 1>or wishing to express something like, you know, have they

0:25:37.960 --> 0:25:41.320
<v Speaker 1>had enough of I guess the feline equivalency of the

0:25:41.600 --> 0:25:42.560
<v Speaker 1>play fighting model.

0:25:43.119 --> 0:25:46.840
<v Speaker 3>Wow, I've never heard of that. But if I'm understanding

0:25:46.840 --> 0:25:50.280
<v Speaker 3>you right, you're saying it's the idea that if a

0:25:50.320 --> 0:25:54.000
<v Speaker 3>cat has grown up around other cats, they are more

0:25:54.200 --> 0:25:58.000
<v Speaker 3>likely to inhibit or hold back the expression of aggression

0:25:58.080 --> 0:25:59.639
<v Speaker 3>with say, humans in the household.

0:25:59.800 --> 0:26:01.679
<v Speaker 1>That is what I've heard. Now. I did not go

0:26:01.760 --> 0:26:05.440
<v Speaker 1>into research on this for this episode, so it's entirely possible.

0:26:05.680 --> 0:26:07.520
<v Speaker 1>Sometimes when I get it the most wrong, it's in

0:26:07.560 --> 0:26:10.320
<v Speaker 1>cases like this where it's nothing I researched. It's just

0:26:10.359 --> 0:26:13.040
<v Speaker 1>something floating around in my head. So I would say,

0:26:13.080 --> 0:26:15.640
<v Speaker 1>don't take that to the bank. But it's out there

0:26:15.680 --> 0:26:19.560
<v Speaker 1>at least in the form of like cat owner folk wisdom,

0:26:19.880 --> 0:26:23.119
<v Speaker 1>and it may have scientific underpinnings as well. Well.

0:26:23.160 --> 0:26:25.239
<v Speaker 3>I feel like if that's true, that would line up

0:26:25.280 --> 0:26:28.360
<v Speaker 3>exactly with these findings, and that would be really interesting.

0:26:28.880 --> 0:26:30.840
<v Speaker 1>My cat is here, but she's asleep, so I can't

0:26:30.880 --> 0:26:32.439
<v Speaker 1>I can't get any foul to asker.

0:26:32.560 --> 0:26:37.680
<v Speaker 3>Yeah, but anyway, in the conclusion of this section, Lillard says,

0:26:37.800 --> 0:26:42.040
<v Speaker 3>quote taking turns at being dominant also involves inhibition. You

0:26:42.040 --> 0:26:43.560
<v Speaker 3>think about it that way, So it's not just like,

0:26:43.960 --> 0:26:46.879
<v Speaker 3>you know, when you get the better of another animal

0:26:46.920 --> 0:26:48.960
<v Speaker 3>in play fighting and you bite down on them, but

0:26:49.000 --> 0:26:51.440
<v Speaker 3>you don't really bite down all the way. That's inhibition.

0:26:51.520 --> 0:26:54.760
<v Speaker 3>You have to have the executive function to hold back.

0:26:55.160 --> 0:26:58.480
<v Speaker 3>But also taking turns involves a type of holding back.

0:26:58.800 --> 0:27:01.440
<v Speaker 3>I would imagine. I haven't done research on this either,

0:27:01.480 --> 0:27:04.240
<v Speaker 3>but I would imagine just in general in the human analogy,

0:27:04.760 --> 0:27:10.679
<v Speaker 3>like any kind of sharing or relinquishing power over something

0:27:10.720 --> 0:27:14.160
<v Speaker 3>within a game involves a type of inhibition control.

0:27:16.200 --> 0:27:18.919
<v Speaker 1>Yeah, that makes sense, So Lillard.

0:27:18.560 --> 0:27:22.600
<v Speaker 3>Says, maybe play fighting is really important for strengthening the

0:27:22.640 --> 0:27:26.760
<v Speaker 3>neural circuitry behind inhibition, and if you don't have play

0:27:26.800 --> 0:27:29.720
<v Speaker 3>fighting in these animals where it's common that circuitry for

0:27:29.800 --> 0:27:33.439
<v Speaker 3>inhibition doesn't really develop fully. So looking over all this

0:27:33.560 --> 0:27:37.800
<v Speaker 3>research in rats, Lillard says that that playfighting is probably

0:27:37.840 --> 0:27:40.920
<v Speaker 3>important for the development of a rat's ability to read

0:27:41.000 --> 0:27:45.280
<v Speaker 3>social signals from other rats, to coordinate social activity with

0:27:45.359 --> 0:27:50.080
<v Speaker 3>other rats, to regulate stress, and exercise inhibition or holding

0:27:50.119 --> 0:27:54.400
<v Speaker 3>back behaviors. Now the question is, of course, could pretend

0:27:54.400 --> 0:28:00.200
<v Speaker 3>to play serve similar functions in human development. Lillard argues yes,

0:28:00.400 --> 0:28:03.639
<v Speaker 3>though she's cautious to say, you know, we shouldn't conclude

0:28:03.680 --> 0:28:06.600
<v Speaker 3>too much on the basis of analogies with other animals,

0:28:06.920 --> 0:28:10.640
<v Speaker 3>but in the absence of stronger experimental designs on humans,

0:28:10.680 --> 0:28:13.159
<v Speaker 3>which are probably not going to be forthcoming for very

0:28:13.240 --> 0:28:17.280
<v Speaker 3>understandable reasons, this is a really interesting, if only partial

0:28:17.400 --> 0:28:21.000
<v Speaker 3>piece of the picture. So essentially her idea is that

0:28:21.080 --> 0:28:25.800
<v Speaker 3>pretend play in humans might be important for understanding social

0:28:25.880 --> 0:28:31.000
<v Speaker 3>signals and for emotion regulation. I mentioned earlier that pretend

0:28:31.040 --> 0:28:34.280
<v Speaker 3>to play in humans involves a lot of reading of

0:28:34.359 --> 0:28:39.080
<v Speaker 3>social information or metacommunication between parents and children or at

0:28:39.120 --> 0:28:42.280
<v Speaker 3>older ages between children and other children. So we had

0:28:42.320 --> 0:28:45.240
<v Speaker 3>those things like the strong eye contact, the smile after

0:28:45.320 --> 0:28:48.960
<v Speaker 3>the pretend action. You know, we alluded to the kind

0:28:48.960 --> 0:28:52.920
<v Speaker 3>of pretend play voice. These signals let the child know

0:28:53.040 --> 0:28:55.600
<v Speaker 3>that what is taking place is play and it is

0:28:55.680 --> 0:28:57.080
<v Speaker 3>not to be taken literally.

0:28:57.640 --> 0:28:59.680
<v Speaker 1>This also reminds me of some of the research we've

0:28:59.640 --> 0:29:02.800
<v Speaker 1>discussed in the past concerning laughter. Laughter is a social cue.

0:29:03.320 --> 0:29:08.080
<v Speaker 1>Oh yes, potentially to let other individuals know that there

0:29:08.200 --> 0:29:11.000
<v Speaker 1>is not a risk and so forth.

0:29:11.480 --> 0:29:13.800
<v Speaker 3>Totally, I think they could fit right in the suite there.

0:29:14.600 --> 0:29:18.000
<v Speaker 3>So anyway, from here, Lillard goes on to analyze a

0:29:18.040 --> 0:29:21.280
<v Speaker 3>number of other experiments that have tried to establish links

0:29:21.280 --> 0:29:25.600
<v Speaker 3>of this sort between early pretend to play and specifically

0:29:25.640 --> 0:29:28.120
<v Speaker 3>with theory of mind, which is heavily involved in social

0:29:28.120 --> 0:29:32.200
<v Speaker 3>communication and understanding. So there's some big overlap there, and

0:29:32.240 --> 0:29:36.640
<v Speaker 3>Lillard proposes a possible causal model that goes something like this,

0:29:36.880 --> 0:29:42.440
<v Speaker 3>So early pretend to play sensitizes a child to social signals.

0:29:42.480 --> 0:29:44.880
<v Speaker 3>This is the meta communication that goes on when you're

0:29:44.920 --> 0:29:48.640
<v Speaker 3>playing pretend. All the little eye contact cues and the

0:29:49.040 --> 0:29:51.800
<v Speaker 3>changes of voice and the little things you do to

0:29:51.920 --> 0:29:54.440
<v Speaker 3>let the child know that the banana is not really

0:29:54.480 --> 0:29:56.800
<v Speaker 3>a phone. We're playing a game right now. This is

0:29:56.840 --> 0:30:02.000
<v Speaker 3>a separate reality, and so that makes the child sensitive

0:30:02.120 --> 0:30:06.360
<v Speaker 3>to those social signals. This sensitivity in part helps a

0:30:06.480 --> 0:30:12.800
<v Speaker 3>child develop the capacity for symbolic understanding, Lillard writes, quote

0:30:13.120 --> 0:30:17.600
<v Speaker 3>Yet this sensitivity alone would not develop the symbolic function. Rather,

0:30:17.760 --> 0:30:20.640
<v Speaker 3>it is the sensitivity in concert with the fact that

0:30:20.680 --> 0:30:24.800
<v Speaker 3>the parent is presenting reality at two levels to the child,

0:30:25.160 --> 0:30:28.640
<v Speaker 3>where one level serves as a symbol for the other. Thus,

0:30:28.680 --> 0:30:32.640
<v Speaker 3>both parental pretend and the child's sensitivity to social signals

0:30:32.960 --> 0:30:37.160
<v Speaker 3>are postulated to undergird the symbolic function, which is also

0:30:37.320 --> 0:30:42.240
<v Speaker 3>used in language and the interpretation of other symbols. And then, finally,

0:30:42.280 --> 0:30:46.360
<v Speaker 3>after this, the symbolic understanding in turn helps the child

0:30:46.440 --> 0:30:51.000
<v Speaker 3>with theory of mind. Now, how would symbolic understanding lead

0:30:51.040 --> 0:30:55.000
<v Speaker 3>to theory of mind? Lillard says that it is crucially

0:30:55.200 --> 0:30:59.560
<v Speaker 3>quote learning that reality can exist at two levels, the

0:30:59.680 --> 0:31:03.200
<v Speaker 3>nip and the bite, the banana and the telephone, the

0:31:03.240 --> 0:31:06.880
<v Speaker 3>false belief and the reality. So this ties into the

0:31:06.960 --> 0:31:10.480
<v Speaker 3>theory of mind. So like the symbolic understanding that there

0:31:10.480 --> 0:31:13.640
<v Speaker 3>can be two different realities, like what I know to

0:31:13.720 --> 0:31:18.760
<v Speaker 3>be true versus what I know sally incorrectly thinks to

0:31:18.760 --> 0:31:22.120
<v Speaker 3>be true. It is this ability to think at multiple

0:31:22.200 --> 0:31:26.960
<v Speaker 3>levels of reality that leads to typical adult social functioning,

0:31:27.400 --> 0:31:32.000
<v Speaker 3>in large part through theory of mind. So Lillard writes

0:31:32.000 --> 0:31:35.080
<v Speaker 3>about this in the end quote there might be continuity

0:31:35.120 --> 0:31:38.920
<v Speaker 3>then with pretend to play and play fighting. In both cases,

0:31:39.080 --> 0:31:43.840
<v Speaker 3>metacommunication is key and fundamental in humans. This ties into

0:31:43.880 --> 0:31:47.720
<v Speaker 3>a symbolic capacity that is not well developed in other species,

0:31:48.040 --> 0:31:51.640
<v Speaker 3>but a common root is reading social signals indicating that

0:31:51.720 --> 0:31:55.920
<v Speaker 3>a behavior is to be interpreted at other than face value.

0:31:57.360 --> 0:31:59.560
<v Speaker 3>And then finally, also Lillard goes on to have another

0:31:59.560 --> 0:32:04.320
<v Speaker 3>section about the connection between between pretend play and self

0:32:04.360 --> 0:32:08.080
<v Speaker 3>regulation or inhibitory control, like we already talked about, and

0:32:08.280 --> 0:32:11.880
<v Speaker 3>that one also seems plausible too, because the very act

0:32:11.960 --> 0:32:15.640
<v Speaker 3>of pretending is in a way an exercise in holding back.

0:32:15.720 --> 0:32:19.280
<v Speaker 3>It could be in play fighting holding back aggression. But

0:32:19.600 --> 0:32:22.560
<v Speaker 3>in the case of just say, like playing pretend, playing

0:32:22.560 --> 0:32:25.680
<v Speaker 3>in a play kitchen, or playing bananas telephone, you are

0:32:25.880 --> 0:32:29.560
<v Speaker 3>holding back the exercise of what you know to be

0:32:29.720 --> 0:32:33.200
<v Speaker 3>really the case. It's an inhibition type of impulse that

0:32:33.320 --> 0:32:35.880
<v Speaker 3>allows you to say, actually, I will not act on

0:32:35.920 --> 0:32:38.360
<v Speaker 3>what I know to be reality. Instead, I will act

0:32:38.440 --> 0:32:42.760
<v Speaker 3>on this secondary pretense scenario. So anyway, I found this

0:32:43.400 --> 0:32:47.320
<v Speaker 3>model very interesting, and especially in the way that I

0:32:47.360 --> 0:32:51.240
<v Speaker 3>don't know, it highlights just how convoluted human development can be.

0:32:51.440 --> 0:32:54.400
<v Speaker 3>Like if Lillard is correct about this, say about the

0:32:55.080 --> 0:32:58.719
<v Speaker 3>pathway that sort of starts with a child being sensitized

0:32:58.760 --> 0:33:02.120
<v Speaker 3>to social signals and communication through pretend to play in

0:33:02.160 --> 0:33:05.040
<v Speaker 3>the same way that animals probably are through play fighting,

0:33:05.440 --> 0:33:08.360
<v Speaker 3>and that's somehow leading to like all of these complicated

0:33:08.400 --> 0:33:14.240
<v Speaker 3>adult capacities through the mediating capacity of symbolic understanding. I

0:33:14.280 --> 0:33:18.600
<v Speaker 3>don't know, it's fascinating to imagine just how unpredictable the

0:33:18.680 --> 0:33:21.720
<v Speaker 3>development process of a human mind could be, that you

0:33:21.760 --> 0:33:25.680
<v Speaker 3>wouldn't necessarily make that connection without having all of these

0:33:25.800 --> 0:33:29.200
<v Speaker 3>pieces of evidence to establish in between make that connection

0:33:29.320 --> 0:33:32.680
<v Speaker 3>between you know, like reading gestures and body language in

0:33:32.800 --> 0:33:37.520
<v Speaker 3>pretend play to the final conclusion of adult socialization and

0:33:37.560 --> 0:33:38.320
<v Speaker 3>theory of mind.

0:33:48.320 --> 0:33:51.600
<v Speaker 1>I think one of the really interesting takes on pretend

0:33:51.600 --> 0:33:54.000
<v Speaker 1>play and creativity in general that we've been looking at

0:33:54.080 --> 0:33:56.080
<v Speaker 1>is this idea that you know, you can sort of

0:33:56.160 --> 0:33:59.520
<v Speaker 1>look at it as this scaffolding that is used to

0:33:59.560 --> 0:34:04.680
<v Speaker 1>sort of struck the mature psyche, you know, and our

0:34:04.720 --> 0:34:10.560
<v Speaker 1>sort of semi completed adult forms. And yet the other

0:34:10.600 --> 0:34:14.200
<v Speaker 1>interesting side of the coin is to look at ways

0:34:14.640 --> 0:34:19.240
<v Speaker 1>in which we continue to engage in creative endeavors, including

0:34:19.239 --> 0:34:23.600
<v Speaker 1>pretend play, and the possibility that, okay, all that scaffolding

0:34:23.760 --> 0:34:28.400
<v Speaker 1>is still there and perhaps it can be reutilized to

0:34:28.440 --> 0:34:33.160
<v Speaker 1>help us with problems and challenges that we face as adults.

0:34:34.320 --> 0:34:38.200
<v Speaker 1>And so yeah, I talked more broadly about creativity in

0:34:38.239 --> 0:34:42.280
<v Speaker 1>general and pretend play specifically in adults. In the last

0:34:42.280 --> 0:34:46.600
<v Speaker 1>episode we touched on some examples such as Dungeons and Dragons,

0:34:46.719 --> 0:34:50.879
<v Speaker 1>a tabletop role playing game. I imagine most people listening

0:34:50.920 --> 0:34:53.080
<v Speaker 1>to the show know at Dungeons and Dragons, says, we

0:34:53.120 --> 0:34:56.640
<v Speaker 1>didn't stop to describe it, but of course it is

0:34:57.280 --> 0:35:00.960
<v Speaker 1>you know, pen and paper, sometimes miniatures, books of rules,

0:35:01.560 --> 0:35:03.879
<v Speaker 1>and of course sometimes it has digital components. But at

0:35:03.920 --> 0:35:07.760
<v Speaker 1>the core, it is a scenario that's taking place within

0:35:07.800 --> 0:35:11.120
<v Speaker 1>the heads of the players. It is a shared storytelling

0:35:11.800 --> 0:35:15.640
<v Speaker 1>creative endeavor. And so that is frequently brought up as

0:35:15.640 --> 0:35:19.160
<v Speaker 1>an example of pretend play that kids engage in and

0:35:19.400 --> 0:35:22.840
<v Speaker 1>adolescents engage in, but also plenty of adults do we

0:35:22.880 --> 0:35:25.680
<v Speaker 1>also have the example of improv theater as a big

0:35:25.719 --> 0:35:29.040
<v Speaker 1>one that lines up with pretend play in a number

0:35:29.040 --> 0:35:33.160
<v Speaker 1>of ways. And then we also touch briefly on Graveside

0:35:33.200 --> 0:35:38.680
<v Speaker 1>conversations with the Debt as an example of adult humans

0:35:39.280 --> 0:35:42.759
<v Speaker 1>speaking to an imagined mind state, something that you could

0:35:42.760 --> 0:35:47.600
<v Speaker 1>almost compare to speaking with an imaginary friend with all

0:35:47.640 --> 0:35:51.520
<v Speaker 1>the caveats that we discussed in that last episode. So

0:35:51.600 --> 0:35:54.120
<v Speaker 1>today I wanted to follow up on all of that

0:35:54.160 --> 0:35:57.080
<v Speaker 1>with a look at some additional literature that gets a

0:35:57.120 --> 0:35:59.600
<v Speaker 1>little more in depth about the benefits of adult pretend play.

0:36:00.080 --> 0:36:02.239
<v Speaker 1>But I do want to drive home again that this

0:36:02.320 --> 0:36:05.279
<v Speaker 1>is certainly an example where there's so much material out

0:36:05.280 --> 0:36:12.040
<v Speaker 1>there and our understanding of how imagination play and creativity

0:36:12.080 --> 0:36:16.000
<v Speaker 1>factors into adult lives and what the benefits are. You know,

0:36:16.040 --> 0:36:18.880
<v Speaker 1>this continues to develop. So I've had a really helpful

0:36:18.960 --> 0:36:25.360
<v Speaker 1>article by Alyssamwison titled do grown Ups Pretend Play? Or

0:36:25.520 --> 0:36:29.360
<v Speaker 1>I'm sorry, do grown Ups Play Pretend? And her primary

0:36:29.360 --> 0:36:33.319
<v Speaker 1>focus professionally is on mental childhood development, but in this

0:36:33.480 --> 0:36:37.640
<v Speaker 1>she also lines things up with the adult experience of

0:36:37.920 --> 0:36:42.600
<v Speaker 1>engaging and pretend play, and she explores different imaginative adult

0:36:42.640 --> 0:36:45.879
<v Speaker 1>activities that arguably match up with the idea of pretend play.

0:36:46.160 --> 0:36:48.399
<v Speaker 1>She brings up D and D of course, she brings

0:36:48.480 --> 0:36:51.960
<v Speaker 1>up cosplay, which we briefly touched on. I think, you know,

0:36:52.040 --> 0:36:55.600
<v Speaker 1>the idea that you might dress up as a favorite

0:36:55.640 --> 0:36:59.640
<v Speaker 1>fictional character and to certain extents, act as that fictional

0:36:59.719 --> 0:37:03.480
<v Speaker 1>character her at say, some sort of a convention. She

0:37:03.520 --> 0:37:08.240
<v Speaker 1>brings up LARPing live action role playing, which also crosses

0:37:08.280 --> 0:37:11.799
<v Speaker 1>over into the realm of play fighting of course, you know,

0:37:11.920 --> 0:37:16.920
<v Speaker 1>on stage fighting and so forth, which is interesting. You're

0:37:16.960 --> 0:37:19.799
<v Speaker 1>not actually trying to kill somebody with a LARPing sword.

0:37:19.840 --> 0:37:21.040
<v Speaker 3>Hopefully not. Yeah.

0:37:21.080 --> 0:37:23.360
<v Speaker 1>And then she also brought up an example that I

0:37:23.400 --> 0:37:26.440
<v Speaker 1>hadn't really thought of that much in terms of pretend play,

0:37:27.080 --> 0:37:32.360
<v Speaker 1>but engagement with fictional media, especially books, but also movies

0:37:32.400 --> 0:37:35.439
<v Speaker 1>and TV shows. And I think that this is something

0:37:35.480 --> 0:37:38.080
<v Speaker 1>that might not line up with every definition of pretend play,

0:37:38.120 --> 0:37:41.120
<v Speaker 1>but it's food for thought, especially so far as written

0:37:41.160 --> 0:37:44.160
<v Speaker 1>fiction goes. I was thinking about this, and we might

0:37:44.480 --> 0:37:47.160
<v Speaker 1>we might throw non visual works in there as well,

0:37:47.280 --> 0:37:51.239
<v Speaker 1>audio books, podcasts certainly, and also I think low five

0:37:51.320 --> 0:37:55.160
<v Speaker 1>visual storytelling as well. Like I'm thinking, you know that

0:37:55.280 --> 0:37:58.719
<v Speaker 1>sweet spot of like retro role playing games where the

0:37:58.800 --> 0:38:02.000
<v Speaker 1>visuals on the screen gave you a representation of what

0:38:02.080 --> 0:38:03.879
<v Speaker 1>things were and where they are, but then you might

0:38:03.920 --> 0:38:07.400
<v Speaker 1>have this additional mental image and a mental version of

0:38:07.400 --> 0:38:10.000
<v Speaker 1>what was happening. It's more akin to say, engaging with

0:38:10.080 --> 0:38:10.480
<v Speaker 1>a book.

0:38:11.400 --> 0:38:15.040
<v Speaker 3>And do you make this distinction, because something like engaging

0:38:15.040 --> 0:38:18.319
<v Speaker 3>with a book is more of a participatory imaginative action

0:38:18.520 --> 0:38:21.200
<v Speaker 3>than say, passive media like watching a TV show.

0:38:21.560 --> 0:38:24.360
<v Speaker 1>By and large, But at the same level, I have

0:38:24.440 --> 0:38:26.640
<v Speaker 1>to acknowledge that even like it's easy to say be

0:38:26.680 --> 0:38:29.760
<v Speaker 1>dismissive of cinema and say, well, the movie is giving

0:38:29.760 --> 0:38:32.440
<v Speaker 1>you everything you need, is giving you the visuals, the sound,

0:38:33.280 --> 0:38:35.640
<v Speaker 1>and then it doesn't leave anything to the imagination. But

0:38:35.719 --> 0:38:38.600
<v Speaker 1>certainly not every scene is laying it all out there.

0:38:38.640 --> 0:38:41.280
<v Speaker 1>There are plenty of moments where we as the viewer

0:38:41.400 --> 0:38:45.560
<v Speaker 1>have to imagine what is being seen by the protagonist.

0:38:45.880 --> 0:38:49.160
<v Speaker 1>We imagine the monster that's been glimpsed, or we imagine

0:38:49.160 --> 0:38:51.800
<v Speaker 1>the monster in full and when we only see its feet,

0:38:52.480 --> 0:38:55.720
<v Speaker 1>or you know, various scenes where characters are describing something

0:38:56.280 --> 0:38:59.840
<v Speaker 1>and we don't see it. They're just telling a story.

0:39:00.040 --> 0:39:04.160
<v Speaker 1>It's essentially more of an odd audio based storytelling situation.

0:39:05.600 --> 0:39:08.720
<v Speaker 1>But certainly with a work of written fiction. You know, okay,

0:39:08.719 --> 0:39:10.719
<v Speaker 1>it's it's going to tell its story, it's going to

0:39:10.800 --> 0:39:13.600
<v Speaker 1>describe thoughts and action, and it's going to guide you

0:39:13.640 --> 0:39:17.160
<v Speaker 1>along its course. It's going to plant its seeds. But

0:39:17.239 --> 0:39:19.799
<v Speaker 1>the author, sometimes from beyond the grave, is of course,

0:39:19.840 --> 0:39:23.840
<v Speaker 1>you know, thinking thoughts directly into your active mind, or

0:39:23.840 --> 0:39:27.880
<v Speaker 1>not directly via the book. But but you know, reading

0:39:28.080 --> 0:39:30.279
<v Speaker 1>is a social work. It's you know, it's not an

0:39:30.400 --> 0:39:35.279
<v Speaker 1>entirely devoid of personal imagination or even imaginative choices. I

0:39:35.520 --> 0:39:38.480
<v Speaker 1>imagine many of you have this, have had this experience

0:39:38.520 --> 0:39:43.080
<v Speaker 1>where you make a like a mental note of what

0:39:43.160 --> 0:39:46.440
<v Speaker 1>a character looks like, or you even decide how you

0:39:46.480 --> 0:39:49.600
<v Speaker 1>will cast them in your imagination. I used to do

0:39:49.640 --> 0:39:52.399
<v Speaker 1>this a lot when I was a younger reader, and

0:39:52.480 --> 0:39:55.400
<v Speaker 1>I'll occasionally lean on this technique if I'm reading something

0:39:55.400 --> 0:39:59.839
<v Speaker 1>that has a confusing cast of characters, or I'm having

0:39:59.880 --> 0:40:02.000
<v Speaker 1>a trouble keeping track of everyone. I'm like, Okay, what's

0:40:02.000 --> 0:40:04.640
<v Speaker 1>this person's last name? And then I'm like, okay, you're

0:40:04.719 --> 0:40:07.239
<v Speaker 1>Harry Dane Stanton. We're just gonna we're just gonna try

0:40:07.239 --> 0:40:10.840
<v Speaker 1>and streamline this a little bit. And I imagine various

0:40:10.840 --> 0:40:15.600
<v Speaker 1>folks engage in varying degrees of this, though you know

0:40:15.680 --> 0:40:18.360
<v Speaker 1>it's not always the case. But even if you don't

0:40:18.400 --> 0:40:23.359
<v Speaker 1>actively decide how you're going to interpret something visually, when

0:40:23.400 --> 0:40:27.080
<v Speaker 1>you're reading, your your mind is still visualizing the information

0:40:27.480 --> 0:40:31.520
<v Speaker 1>that has been conveyed to you, like via your your

0:40:31.520 --> 0:40:35.080
<v Speaker 1>own mind. You know, it's working off the various models,

0:40:35.239 --> 0:40:39.399
<v Speaker 1>the various people you've you've seen and encountered. So there

0:40:39.480 --> 0:40:44.440
<v Speaker 1>is still this like creative endeavor to that's entirely a

0:40:44.520 --> 0:40:47.719
<v Speaker 1>product of your mind as a particular story is coming

0:40:47.760 --> 0:40:51.759
<v Speaker 1>to life in your head. Now, some of that is

0:40:51.800 --> 0:40:55.160
<v Speaker 1>me just spitballing there. But she argues that adults engage

0:40:55.200 --> 0:40:58.120
<v Speaker 1>in such activities as these for many different reasons, and

0:40:58.160 --> 0:41:01.640
<v Speaker 1>these reasons generally line up with some of the reasons

0:41:01.680 --> 0:41:06.200
<v Speaker 1>that children engage in imagination play. To learn, to have

0:41:06.239 --> 0:41:11.000
<v Speaker 1>the experience of traveling somewhere, to have various experiences you

0:41:11.040 --> 0:41:15.080
<v Speaker 1>wouldn't have in your normal life, to laugh, and all

0:41:15.120 --> 0:41:19.719
<v Speaker 1>of these experiences can be empathetic, they can be personally empowering,

0:41:19.760 --> 0:41:23.759
<v Speaker 1>and much more. Now, Mewison mentions the importance of mastery

0:41:23.920 --> 0:41:28.319
<v Speaker 1>and psychological distance in play for children. We see both

0:41:28.320 --> 0:41:30.760
<v Speaker 1>of these. Of course, children tend to pretend to be older,

0:41:30.960 --> 0:41:34.600
<v Speaker 1>more experienced individuals when they're playing. There are, of course

0:41:34.600 --> 0:41:39.680
<v Speaker 1>counterexamples to that, but she refers to something that has

0:41:39.680 --> 0:41:43.279
<v Speaker 1>been dubbed the Batman effect, where children will stick to

0:41:43.320 --> 0:41:46.879
<v Speaker 1>a task longer if they're pretending to be someone else,

0:41:46.920 --> 0:41:51.600
<v Speaker 1>generally someone with a greater degree of mastery. In this term,

0:41:51.600 --> 0:41:55.719
<v Speaker 1>the Batman effect stems from a twenty seventeen study by

0:41:55.760 --> 0:42:00.640
<v Speaker 1>White at All published in Child Development Batman Effect improvingance

0:42:00.719 --> 0:42:03.600
<v Speaker 1>in young children. You can probably guess what this consistent of.

0:42:04.440 --> 0:42:08.040
<v Speaker 3>I've heard of this, yeah, yeah.

0:42:06.960 --> 0:42:08.840
<v Speaker 1>So they in this study, they looked at six and

0:42:08.920 --> 0:42:12.720
<v Speaker 1>four year olds and they found, quote, children who impersonated

0:42:12.800 --> 0:42:16.320
<v Speaker 1>an exemplar other, in this case, a character such as Batman,

0:42:16.800 --> 0:42:20.120
<v Speaker 1>spent the most time working, followed by children who took

0:42:20.160 --> 0:42:22.640
<v Speaker 1>a third person perspective of the cell on the self,

0:42:23.000 --> 0:42:27.800
<v Speaker 1>or finally a first person perspective, so, you know, creating

0:42:27.840 --> 0:42:34.000
<v Speaker 1>that psychological distance and embodying like a person of mastery,

0:42:35.280 --> 0:42:37.360
<v Speaker 1>the extreme of course being Batman.

0:42:37.680 --> 0:42:41.160
<v Speaker 3>Well, yeah, this makes me think about the nature of

0:42:41.360 --> 0:42:45.560
<v Speaker 3>enjoyment in an activity and flow states and such. You know,

0:42:45.840 --> 0:42:49.080
<v Speaker 3>it's often said that you are essentially in a flow

0:42:49.120 --> 0:42:53.879
<v Speaker 3>state when you are engaging in an activity that's sort

0:42:53.920 --> 0:42:59.360
<v Speaker 3>of maximally challenging but also still within your ability to do,

0:42:59.480 --> 0:43:02.840
<v Speaker 3>and you're getting consistent feedback that you are doing it correctly.

0:43:03.760 --> 0:43:06.600
<v Speaker 3>So like an activity that's too easy can be boring,

0:43:06.960 --> 0:43:09.480
<v Speaker 3>an activity that is too hard, if you feel like

0:43:09.520 --> 0:43:12.680
<v Speaker 3>you're just failing at it over and over, it becomes frustrating.

0:43:12.960 --> 0:43:16.320
<v Speaker 3>And so I wonder if assuming a kind of exemplar

0:43:16.600 --> 0:43:22.799
<v Speaker 3>character mind state allows you to simulate flow even if,

0:43:22.840 --> 0:43:26.440
<v Speaker 3>like for you, this activity you neither you maybe don't

0:43:26.440 --> 0:43:29.600
<v Speaker 3>have actual mastery of it. You are continually making mistakes,

0:43:29.600 --> 0:43:31.880
<v Speaker 3>but it's part of the game to just not acknowledge

0:43:31.920 --> 0:43:35.640
<v Speaker 3>that and say like, I'm doing it perfectly or maybe

0:43:35.680 --> 0:43:38.279
<v Speaker 3>around the maybe on the other side, maybe it makes

0:43:38.280 --> 0:43:41.319
<v Speaker 3>it more exciting an activity that would otherwise be so

0:43:41.400 --> 0:43:42.799
<v Speaker 3>easy that it's boring.

0:43:43.360 --> 0:43:46.000
<v Speaker 1>Yeah, Or I mean you're just you're becoming Batman. You're

0:43:46.040 --> 0:43:48.680
<v Speaker 1>taking on grim determination to finish a task. Like would

0:43:48.680 --> 0:43:53.319
<v Speaker 1>Batman stop sweeping the floor halfway through? No, he would

0:43:53.320 --> 0:43:57.000
<v Speaker 1>buckle down and finish the job, because that's how Batman

0:43:57.080 --> 0:43:57.360
<v Speaker 1>does it.

0:43:58.000 --> 0:43:58.120
<v Speaker 2>Well.

0:43:58.160 --> 0:44:00.719
<v Speaker 3>You never see Batman finish the job. It always cuts

0:44:00.760 --> 0:44:04.640
<v Speaker 3>away right after the most exciting part. Do you see

0:44:04.640 --> 0:44:07.200
<v Speaker 3>Batman like making the hand off to the police and

0:44:07.239 --> 0:44:09.160
<v Speaker 3>all the I guess occasionally.

0:44:09.120 --> 0:44:12.359
<v Speaker 1>He often leaves them right hanging by battering in an alley. Yeah,

0:44:13.160 --> 0:44:15.680
<v Speaker 1>so interesting to think about, and I would, of course,

0:44:16.040 --> 0:44:18.000
<v Speaker 1>I would be gained to hear any examples of the

0:44:18.040 --> 0:44:22.400
<v Speaker 1>Batman effect from anyone's lives or the lives of children

0:44:22.440 --> 0:44:27.280
<v Speaker 1>in someone's life. But the question then emerges, do adults

0:44:27.360 --> 0:44:32.400
<v Speaker 1>do this as well? Well? Muissen mentions an acquaintance of

0:44:32.440 --> 0:44:36.400
<v Speaker 1>hers who she says channeled something she's dubbing the Buffy effect.

0:44:36.880 --> 0:44:42.280
<v Speaker 1>So this individual was preparing for childbirth and channeled Buffy

0:44:42.280 --> 0:44:45.400
<v Speaker 1>the vampire Slayer just sort of find the like, I

0:44:45.400 --> 0:44:47.440
<v Speaker 1>don't know, to get in the zone for what was

0:44:47.480 --> 0:44:52.840
<v Speaker 1>to come. So that's and that's that's interesting, and I

0:44:52.880 --> 0:44:54.640
<v Speaker 1>would love to hear from any listeners out there who

0:44:54.640 --> 0:44:57.200
<v Speaker 1>have some version of this, Like if you ever embodied

0:44:59.360 --> 0:45:02.840
<v Speaker 1>or you know, pretend played to some extent a fictional

0:45:02.920 --> 0:45:05.640
<v Speaker 1>character in order to make it through some you know,

0:45:05.760 --> 0:45:08.520
<v Speaker 1>big or small trial in your life. Maybe it's sweeping

0:45:08.520 --> 0:45:13.200
<v Speaker 1>the floors, maybe it's childbirth, very different endeavors, but you

0:45:13.200 --> 0:45:15.360
<v Speaker 1>can imagine where Yeah, you can sort of like psych

0:45:15.440 --> 0:45:17.640
<v Speaker 1>yourself into it a little bit, like it reminds me

0:45:17.719 --> 0:45:20.120
<v Speaker 1>of This is a much, I guess, more casual version

0:45:20.160 --> 0:45:23.040
<v Speaker 1>of this. But you hear people talking about like engaging

0:45:23.080 --> 0:45:25.560
<v Speaker 1>in beast mode or something, you know, to sort of

0:45:25.600 --> 0:45:29.840
<v Speaker 1>like beast through a particular challenge or a workout, et cetera.

0:45:30.280 --> 0:45:32.319
<v Speaker 1>And you know, I mean, on one level, yeah, it's

0:45:32.320 --> 0:45:35.760
<v Speaker 1>just a saying, but is it, Like you know, language

0:45:35.760 --> 0:45:39.080
<v Speaker 1>is powerful, and if we're engaging in beast mode, are

0:45:39.080 --> 0:45:43.279
<v Speaker 1>on some level are we engaging in some sort of imaginablecanthropy,

0:45:44.040 --> 0:45:48.480
<v Speaker 1>some imagined a hulking out in order to complete a task.

0:45:48.760 --> 0:45:52.960
<v Speaker 3>I can speak from personal experience that sometimes a difficult

0:45:52.960 --> 0:45:55.920
<v Speaker 3>like workout, physical workout task is easier if you make

0:45:56.000 --> 0:45:58.200
<v Speaker 3>the kinds of noises that are not polite to make

0:45:58.239 --> 0:46:00.439
<v Speaker 3>at the gym, you know, if you like really roar

0:46:00.600 --> 0:46:03.560
<v Speaker 3>or grunt. I mean, I understand why Jim's would prefer

0:46:03.600 --> 0:46:06.160
<v Speaker 3>people not do that, but it kind of does help.

0:46:06.760 --> 0:46:09.160
<v Speaker 1>I kind of forgot that there's like a no grunting,

0:46:09.160 --> 0:46:10.880
<v Speaker 1>no sound effects rule in some gems.

0:46:11.640 --> 0:46:13.160
<v Speaker 3>I don't know if they all have that, but yeah,

0:46:13.440 --> 0:46:15.759
<v Speaker 3>I think someplaces they're like, please, please don't scream at

0:46:15.760 --> 0:46:18.319
<v Speaker 3>your you know, the person on the machine next to you.

0:46:19.239 --> 0:46:21.279
<v Speaker 3>But no, I think it does kind of help. And

0:46:21.320 --> 0:46:23.680
<v Speaker 3>I wonder, I don't know, maybe there's a totally different

0:46:23.680 --> 0:46:25.920
<v Speaker 3>mechanism at play there, but one could see how it

0:46:26.280 --> 0:46:29.680
<v Speaker 3>could also just be part of like imagining yourself in

0:46:29.719 --> 0:46:33.680
<v Speaker 3>some more dramatic kind of scenario than you actually are. Like,

0:46:33.719 --> 0:46:35.520
<v Speaker 3>you're not just doing a workout, you are, you know,

0:46:35.600 --> 0:46:40.480
<v Speaker 3>you're crossing some incredible hurdle in some kind of dramatic scenario.

0:46:41.000 --> 0:46:44.840
<v Speaker 1>Well, even if you are not, like on any level,

0:46:45.080 --> 0:46:48.160
<v Speaker 1>pretend playing that you were a beast during your workout,

0:46:48.360 --> 0:46:51.640
<v Speaker 1>you still might be entering into like a slightly different

0:46:51.680 --> 0:46:54.839
<v Speaker 1>mindset and a slightly different version of yourself, you know,

0:46:54.960 --> 0:46:57.799
<v Speaker 1>like like and you're not just gym now your workout Jim,

0:46:58.760 --> 0:47:01.239
<v Speaker 1>you know, or workout Jane or you or whatever the

0:47:01.280 --> 0:47:04.520
<v Speaker 1>case may be. You know, And I think that makes

0:47:04.560 --> 0:47:06.879
<v Speaker 1>a lot of sense. You know, we we often think

0:47:06.920 --> 0:47:11.560
<v Speaker 1>of a cohesive self, but we know that under close scrutiny,

0:47:11.600 --> 0:47:15.040
<v Speaker 1>this doesn't you know, completely pan out. We the person

0:47:15.080 --> 0:47:17.960
<v Speaker 1>we are changes over time, and there are often sort

0:47:18.000 --> 0:47:21.520
<v Speaker 1>of like different versions of ourselves depending on what our

0:47:21.640 --> 0:47:25.200
<v Speaker 1>environment is, you know what time of day it is,

0:47:25.320 --> 0:47:28.239
<v Speaker 1>and so forth. So you know, you may have a

0:47:28.360 --> 0:47:30.279
<v Speaker 1>you know, a workout self that is, you know, a

0:47:30.320 --> 0:47:32.560
<v Speaker 1>little bit to the left or the right of who

0:47:32.600 --> 0:47:34.640
<v Speaker 1>you were before you came into that workout, and then

0:47:34.640 --> 0:47:37.840
<v Speaker 1>hopefully the person after the workout has yet another person

0:47:38.520 --> 0:47:40.880
<v Speaker 1>that is maybe a couple of degrees removed from your

0:47:40.920 --> 0:47:45.799
<v Speaker 1>starting point. Ewison also mentions in passing the fake it

0:47:45.840 --> 0:47:48.879
<v Speaker 1>till You Make it mantra, I believe she kicked off

0:47:48.880 --> 0:47:51.359
<v Speaker 1>the article sort of bringing this up, you know, sort

0:47:51.360 --> 0:47:55.000
<v Speaker 1>of like, hey, is this imagination play? And I think

0:47:55.000 --> 0:47:57.000
<v Speaker 1>maybe there is something to go on there as well,

0:47:57.040 --> 0:47:59.439
<v Speaker 1>you know, the idea of you know, generally, when people

0:47:59.480 --> 0:48:01.439
<v Speaker 1>were talking about faking it till you make it, they're

0:48:01.480 --> 0:48:04.880
<v Speaker 1>talking about I guess it's not unlike the Batman idea.

0:48:04.920 --> 0:48:07.520
<v Speaker 1>It's like you're not saying I'm going to be Batman.

0:48:07.560 --> 0:48:09.600
<v Speaker 1>I'm going to be you know, the professional that I

0:48:09.640 --> 0:48:12.319
<v Speaker 1>think I should be in the situation, or that the

0:48:12.400 --> 0:48:14.279
<v Speaker 1>parent I think I should be, the spouse I think

0:48:14.280 --> 0:48:16.960
<v Speaker 1>I should be, and so forth, and engaging in that

0:48:17.560 --> 0:48:20.400
<v Speaker 1>until on some level that becomes more than norm.

0:48:20.520 --> 0:48:22.560
<v Speaker 3>Why do I have a negative feeling about that phrase.

0:48:22.600 --> 0:48:26.360
<v Speaker 3>I guess it's perfectly fine in some scenarios. For some reason,

0:48:26.360 --> 0:48:29.680
<v Speaker 3>I'm associating it with like engaging in fraud.

0:48:30.239 --> 0:48:33.400
<v Speaker 1>Yeah, there has been You do see pushback against that

0:48:34.120 --> 0:48:37.040
<v Speaker 1>turn of phrase, in part because it can be interpreted,

0:48:37.120 --> 0:48:39.920
<v Speaker 1>I think, to sort of discount hard work and actual

0:48:40.520 --> 0:48:45.520
<v Speaker 1>striving for change in your life and the idea that

0:48:45.560 --> 0:48:47.000
<v Speaker 1>I would just fake it and you'll eventually you know,

0:48:47.040 --> 0:48:49.800
<v Speaker 1>it's I don't think we should maybe take it too literally.

0:48:50.000 --> 0:48:54.359
<v Speaker 3>The charitably interpreted version of it is fine. Yeah, that's good. Yeah.

0:48:54.480 --> 0:48:57.120
<v Speaker 1>Now again, the Batman effect entails a certain amount of

0:48:57.160 --> 0:48:59.680
<v Speaker 1>psychological distance, and Muisen also points out that we see

0:48:59.719 --> 0:49:03.400
<v Speaker 1>element of this an adult imaginative choices. She says that,

0:49:03.440 --> 0:49:05.960
<v Speaker 1>you know, one may wish to engage with media that

0:49:06.040 --> 0:49:10.880
<v Speaker 1>offers a subjectively preferred level of psychological distance from whatever

0:49:10.880 --> 0:49:14.279
<v Speaker 1>your reality might be. The example she gives is that

0:49:14.360 --> 0:49:16.840
<v Speaker 1>of parents wishing to avoid media in which children are

0:49:16.880 --> 0:49:20.160
<v Speaker 1>in danger. You know, I can speak to that, you know,

0:49:20.239 --> 0:49:23.680
<v Speaker 1>especially when I had a young child, I was like,

0:49:24.280 --> 0:49:26.080
<v Speaker 1>what was the movie The Babba Duke that came out?

0:49:26.120 --> 0:49:27.800
<v Speaker 1>I think my child was very long. I was like, no,

0:49:27.880 --> 0:49:30.399
<v Speaker 1>thank you, I'm not going to skip on the Babba Duke,

0:49:30.760 --> 0:49:32.520
<v Speaker 1>and I still haven't gotten around to seeing.

0:49:32.280 --> 0:49:34.560
<v Speaker 3>Oh it's really good, but yeah, I saw it. But

0:49:34.680 --> 0:49:39.279
<v Speaker 3>before I had a child, I can absolutely speak to this, Like,

0:49:40.080 --> 0:49:44.800
<v Speaker 3>you know, becoming a parent completely changed what my sensitivities

0:49:44.840 --> 0:49:48.799
<v Speaker 3>in media and storytelling were, and like certain types of

0:49:49.040 --> 0:49:51.640
<v Speaker 3>things that wouldn't really have bothered me before, like children

0:49:51.680 --> 0:49:55.080
<v Speaker 3>in danger suddenly became very difficult to watch.

0:49:55.719 --> 0:49:58.360
<v Speaker 1>Yeah, an example that came to my mind reading this

0:49:58.480 --> 0:50:01.360
<v Speaker 1>article was, of course the height of the pandemic. I

0:50:01.400 --> 0:50:03.680
<v Speaker 1>know a lot of us may be chose not to

0:50:03.760 --> 0:50:06.960
<v Speaker 1>watch plague oriented media, you know, like it seems like

0:50:07.239 --> 0:50:11.879
<v Speaker 1>maybe a time to skip on the zombie apocalypse scenarios

0:50:11.920 --> 0:50:14.799
<v Speaker 1>and so forth. So I think there are different levels

0:50:14.840 --> 0:50:17.680
<v Speaker 1>of this depending on you know, highly subjective, you know,

0:50:17.719 --> 0:50:19.960
<v Speaker 1>whatever's going on in your world and more importantly in

0:50:20.000 --> 0:50:21.799
<v Speaker 1>your life, because there could be things going on in

0:50:21.800 --> 0:50:24.200
<v Speaker 1>your world that are just not weighing, particularly on your

0:50:24.440 --> 0:50:28.040
<v Speaker 1>your psyche, or you're not aware of. And then she

0:50:28.120 --> 0:50:31.520
<v Speaker 1>stresses mastering control in both adult and child models here,

0:50:32.200 --> 0:50:34.799
<v Speaker 1>and I think this is this is pretty straightforward. You know,

0:50:35.080 --> 0:50:38.160
<v Speaker 1>there's so much in our lives as adults that feel

0:50:38.160 --> 0:50:42.160
<v Speaker 1>out of our control, and it may just be objectively

0:50:42.280 --> 0:50:45.680
<v Speaker 1>out of our control, and yet you know, we have

0:50:45.800 --> 0:50:48.960
<v Speaker 1>these responsibilities and you want to at least have this

0:50:49.080 --> 0:50:52.799
<v Speaker 1>feeling of control, and so you sometimes find it in

0:50:53.080 --> 0:50:56.319
<v Speaker 1>large acts, but often in small acts. And also these

0:50:56.320 --> 0:50:59.080
<v Speaker 1>are the things you can find via involvement in various

0:50:59.080 --> 0:51:03.640
<v Speaker 1>imaginative games. I think many video games fit this, and

0:51:05.160 --> 0:51:07.520
<v Speaker 1>I believe that some of the most frequent examples, though,

0:51:07.520 --> 0:51:11.520
<v Speaker 1>concerned tabletop gaming and especially tabletop role playing games like

0:51:11.600 --> 0:51:14.880
<v Speaker 1>Dungeons and Dragons. A hallmark of some of these experiences

0:51:14.920 --> 0:51:18.520
<v Speaker 1>that I've seen discussed in past papers that I've read

0:51:18.840 --> 0:51:22.880
<v Speaker 1>is the idea of too of a fixed, small scale universe,

0:51:23.160 --> 0:51:25.640
<v Speaker 1>you know. I mean, you think of so many different

0:51:25.680 --> 0:51:28.840
<v Speaker 1>sandbox video games. There is the corner to the screen,

0:51:28.920 --> 0:51:32.040
<v Speaker 1>like there is a limit to the world, and so

0:51:32.920 --> 0:51:35.640
<v Speaker 1>you feel like you can master it in a way

0:51:35.680 --> 0:51:37.800
<v Speaker 1>that you cannot be a master of reality.

0:51:38.280 --> 0:51:42.399
<v Speaker 3>I think that's a really insightful point. When people talk

0:51:42.440 --> 0:51:45.880
<v Speaker 3>about like video games or RPGs being I don't know,

0:51:45.960 --> 0:51:48.600
<v Speaker 3>freeing or empowering in a way, I think they're usually

0:51:48.760 --> 0:51:53.560
<v Speaker 3>focusing on the on the power of the characters played

0:51:53.719 --> 0:51:57.160
<v Speaker 3>like that it can be an empowerment fantasy in that

0:51:57.239 --> 0:52:00.279
<v Speaker 3>you play as someone who is very capable and can

0:52:00.320 --> 0:52:01.799
<v Speaker 3>do a lot of things. And I'm sure that is

0:52:01.840 --> 0:52:04.640
<v Speaker 3>part of it as well, but I think it's absolutely right.

0:52:05.360 --> 0:52:09.480
<v Speaker 3>Maybe what is maybe even more important is that within

0:52:09.800 --> 0:52:13.759
<v Speaker 3>video games or within a tabletop RPG, you can understand

0:52:13.800 --> 0:52:16.719
<v Speaker 3>what all the rules are. You can and that's never

0:52:16.880 --> 0:52:20.040
<v Speaker 3>true in reality and in life. We're all living our

0:52:20.080 --> 0:52:24.120
<v Speaker 3>lives playing a massive game, a massive RPG where the

0:52:24.200 --> 0:52:26.680
<v Speaker 3>rules are not clear and maybe they're changing.

0:52:27.600 --> 0:52:30.040
<v Speaker 1>And you know, very often in our video games and

0:52:30.080 --> 0:52:33.400
<v Speaker 1>our imaginative media, there is often a very clear line

0:52:33.440 --> 0:52:37.840
<v Speaker 1>between good and evil. You know, it's it's it's zombies

0:52:38.040 --> 0:52:41.360
<v Speaker 1>or invading robots or aliens, whatever the case may be. Like,

0:52:41.400 --> 0:52:45.040
<v Speaker 1>there's a clear distinction, at least on some level in

0:52:45.120 --> 0:52:48.760
<v Speaker 1>terms of how you're supposed to tackle adversity and so forth.

0:52:48.920 --> 0:52:51.600
<v Speaker 3>Yeah, there are clear ways to know how to play,

0:52:51.760 --> 0:52:54.880
<v Speaker 3>which in reality it's confusing.

0:52:55.280 --> 0:53:08.640
<v Speaker 1>Yeah. Now, transitioning out of Muissen here, she does mention

0:53:08.760 --> 0:53:12.960
<v Speaker 1>embassing in therapeutic use of tabletop roleplaying games, and she

0:53:13.040 --> 0:53:16.080
<v Speaker 1>references a twenty twenty two Wired article by Cam Burns

0:53:16.080 --> 0:53:20.040
<v Speaker 1>Health therapists. You're using tabletop games to help people. And

0:53:20.160 --> 0:53:22.879
<v Speaker 1>I was looking at that article. The author of this

0:53:23.080 --> 0:53:29.640
<v Speaker 1>Burns speaks with clinical psychiatrist Raphael Bokemazo, and in this

0:53:29.680 --> 0:53:33.600
<v Speaker 1>conversation it's stressed that tabletop roleplaying games, and I think

0:53:33.600 --> 0:53:36.759
<v Speaker 1>this is important to note, they're not therapy in and

0:53:36.800 --> 0:53:43.359
<v Speaker 1>of themselves, and you know you can't, like realistically look

0:53:43.360 --> 0:53:45.319
<v Speaker 1>at your own Dungeons and Dragons night and say I

0:53:45.320 --> 0:53:49.439
<v Speaker 1>am going to therapy. Rather, they can be used as

0:53:49.480 --> 0:53:53.560
<v Speaker 1>a tool in therapy by trained professionals, opening spaces for

0:53:53.680 --> 0:53:59.840
<v Speaker 1>patients to explore things like identity, mortality, gender, social skills,

0:54:00.120 --> 0:54:02.840
<v Speaker 1>overcoming social anxiety, and so forth. Yeah.

0:54:02.920 --> 0:54:05.320
<v Speaker 3>Yeah, I think in the same way that like sports

0:54:05.360 --> 0:54:08.560
<v Speaker 3>are not therapy, but could in some scenarios be therapeutic.

0:54:08.960 --> 0:54:11.880
<v Speaker 1>Yeah, and could you tap into some of those therapeutic

0:54:12.760 --> 0:54:15.640
<v Speaker 1>effects on your own most certainly, but not to the

0:54:15.680 --> 0:54:18.760
<v Speaker 1>degree that a trained professional would be able to utilize

0:54:18.760 --> 0:54:23.960
<v Speaker 1>it with specific games with the right patients. Now, there's

0:54:24.000 --> 0:54:26.439
<v Speaker 1>been quite a lot written on the possibility of using

0:54:26.520 --> 0:54:29.600
<v Speaker 1>Dungeons and Dragons and other tabletop role playing games for

0:54:29.760 --> 0:54:33.720
<v Speaker 1>therapeutic purposes. I was looking at one paper from nineteen

0:54:33.760 --> 0:54:37.360
<v Speaker 1>ninety four by Wayne d. Blackmun titled Dungeons and Dragons

0:54:37.360 --> 0:54:40.720
<v Speaker 1>The use of a fantasy game in the psychotherapeutic treatment

0:54:40.719 --> 0:54:43.640
<v Speaker 1>of a young adult. The adult in question had schizoid

0:54:43.640 --> 0:54:48.160
<v Speaker 1>personality disorder, and more recently you see this rolled out

0:54:48.160 --> 0:54:52.000
<v Speaker 1>as a tool in specially aimed therapy groups. I found

0:54:52.040 --> 0:54:56.120
<v Speaker 1>a nice article on Johns Hopkins University's website by Claire

0:54:56.160 --> 0:54:59.480
<v Speaker 1>Gudreau titled tabletop Therapy, How Dungeons and Dragons can improve

0:54:59.480 --> 0:55:03.000
<v Speaker 1>mental health. This is from twenty twenty three, and it

0:55:03.719 --> 0:55:07.319
<v Speaker 1>highlights a session in which players engage. This is not

0:55:07.400 --> 0:55:08.960
<v Speaker 1>like you know, this is just one example of how

0:55:09.000 --> 0:55:11.680
<v Speaker 1>one particular therapy group handles it. But you might have

0:55:12.000 --> 0:55:15.200
<v Speaker 1>sixty to ninety minutes of OURPG time. Granted that's you're

0:55:15.200 --> 0:55:17.359
<v Speaker 1>packing a lot in, but I trust the professionals. Here

0:55:18.000 --> 0:55:20.440
<v Speaker 1>followed by a session in which quote the players take

0:55:20.480 --> 0:55:22.720
<v Speaker 1>a step back to reflect on the session and see

0:55:22.719 --> 0:55:25.600
<v Speaker 1>how it relates to their own lives. And I thought

0:55:25.640 --> 0:55:28.920
<v Speaker 1>this was interesting because it reminded me of the pivotal

0:55:28.960 --> 0:55:33.839
<v Speaker 1>integration step in some models for psychedelic assisted therapy, where

0:55:33.880 --> 0:55:36.279
<v Speaker 1>you engage in some sort of an altered state and

0:55:36.320 --> 0:55:39.280
<v Speaker 1>then you top it off with therapist assisted reflection.

0:55:40.800 --> 0:55:42.359
<v Speaker 3>I can see that comparison as well.

0:55:42.480 --> 0:55:48.880
<v Speaker 1>Yeah, so engaging in this imaginative pretend play gaming scenario,

0:55:49.440 --> 0:55:53.359
<v Speaker 1>but then you know, couching it in a discussion of

0:55:53.360 --> 0:55:55.800
<v Speaker 1>how this relates to where you are in your life

0:55:56.440 --> 0:56:01.160
<v Speaker 1>and whatever your current obstacles might be. The other big

0:56:01.200 --> 0:56:02.920
<v Speaker 1>thing that of course is stressed in this article and

0:56:03.280 --> 0:56:06.040
<v Speaker 1>in other places as well, is the goal is also

0:56:06.200 --> 0:56:11.000
<v Speaker 1>making therapy fun and approachable for target patients, so generally

0:56:11.040 --> 0:56:13.920
<v Speaker 1>that that is part of the scenario as well. Like

0:56:14.040 --> 0:56:17.560
<v Speaker 1>perhaps someone is a little adverse to a therapy environment,

0:56:17.640 --> 0:56:19.799
<v Speaker 1>but it's kind of like a great icebreaker. Well, we're

0:56:19.800 --> 0:56:22.080
<v Speaker 1>not going to just get in and start talking about

0:56:22.080 --> 0:56:25.120
<v Speaker 1>our feelings or our problems. We're going to play a game.

0:56:25.520 --> 0:56:28.440
<v Speaker 1>And you know, you'll find multiple examples of this where,

0:56:28.880 --> 0:56:31.560
<v Speaker 1>if not tabletop role playing games, sometimes just other games,

0:56:31.560 --> 0:56:33.680
<v Speaker 1>card games, board games, and so forth are used to

0:56:33.760 --> 0:56:36.600
<v Speaker 1>sort of, you know, break that ice down a little bit.

0:56:36.920 --> 0:56:39.680
<v Speaker 3>I wonder how this interacts with Robert. I'm sure you

0:56:39.719 --> 0:56:43.160
<v Speaker 3>know what I'm talking about here that at least in

0:56:43.200 --> 0:56:48.880
<v Speaker 3>my limited experience with tabletop RPGs, there is kind of

0:56:48.920 --> 0:56:53.920
<v Speaker 3>a difficulty adults have taking it too seriously and so

0:56:54.040 --> 0:56:58.279
<v Speaker 3>there's often a lot of joking involved where like, you know,

0:56:58.360 --> 0:57:00.880
<v Speaker 3>it's not like we're embarrassed to be playing D and D,

0:57:01.120 --> 0:57:03.480
<v Speaker 3>but you know, we all came here for fun. This

0:57:03.520 --> 0:57:05.200
<v Speaker 3>is what we like to do. But there is a

0:57:05.280 --> 0:57:09.360
<v Speaker 3>kind of ongoing like rhythm of being in the game

0:57:09.520 --> 0:57:12.000
<v Speaker 3>and then moments of stepping back and kind of meta

0:57:12.080 --> 0:57:15.240
<v Speaker 3>commentary and joking about what's going on and then changing

0:57:15.239 --> 0:57:17.520
<v Speaker 3>the subject and talking about something in the real world

0:57:17.560 --> 0:57:19.400
<v Speaker 3>and then getting back to the game. And at least

0:57:19.560 --> 0:57:22.640
<v Speaker 3>that's my experience, and I wonder if that's there's just

0:57:22.880 --> 0:57:25.920
<v Speaker 3>a difficulty I think for a lot of adults to

0:57:26.080 --> 0:57:30.400
<v Speaker 3>engage and sustained pretend to play like like a tabletop

0:57:30.480 --> 0:57:32.760
<v Speaker 3>RPG in the way that kids can, where kids can

0:57:32.840 --> 0:57:35.440
<v Speaker 3>just you know, like really take it seriously, stay in

0:57:35.520 --> 0:57:36.720
<v Speaker 3>character and keep it going.

0:57:37.840 --> 0:57:40.520
<v Speaker 1>Yeah, it's been it's been my experience that this is

0:57:40.600 --> 0:57:43.320
<v Speaker 1>very hard to come by with adults, even if you

0:57:43.400 --> 0:57:46.440
<v Speaker 1>kind of like set a goal for yourself. And I

0:57:46.520 --> 0:57:49.120
<v Speaker 1>mean I would also stress just you know, casually, whatever

0:57:49.120 --> 0:57:51.280
<v Speaker 1>your gaming environment is. Yeah, it's like, you know, you

0:57:51.280 --> 0:57:53.720
<v Speaker 1>don't want to force anything on your group. Maybe your

0:57:53.720 --> 0:57:56.560
<v Speaker 1>group is doz Lean more serious, maybe it's a bunch

0:57:56.600 --> 0:57:59.640
<v Speaker 1>of goofballs. If it's a bunch of goofballs, maybe don't

0:57:59.680 --> 0:58:03.640
<v Speaker 1>go for that super grim dark serious scenario unless I

0:58:03.640 --> 0:58:05.640
<v Speaker 1>don't know. I think sometimes you can find a nice

0:58:05.760 --> 0:58:08.800
<v Speaker 1>balance though, where like, for instance, when I recently ran

0:58:09.000 --> 0:58:12.440
<v Speaker 1>Alien RPG stuff with my group, we're generally more on

0:58:12.480 --> 0:58:15.479
<v Speaker 1>the goofball spectrum, but for some reason we were able

0:58:15.520 --> 0:58:18.280
<v Speaker 1>to do that one in a way which felt appropriately serious,

0:58:18.760 --> 0:58:21.240
<v Speaker 1>but we still had a lot of like goofball moments

0:58:21.320 --> 0:58:23.480
<v Speaker 1>doing it. And maybe there was a certain maybe to

0:58:23.480 --> 0:58:25.680
<v Speaker 1>a certain extent, it had to do with like distance

0:58:25.680 --> 0:58:27.880
<v Speaker 1>from the character. So it's almost like you were watching

0:58:28.000 --> 0:58:31.200
<v Speaker 1>a movie play out and you could you could have

0:58:31.240 --> 0:58:34.920
<v Speaker 1>these laughs while still engaging in the seriousness of the story.

0:58:34.960 --> 0:58:35.520
<v Speaker 1>I'm not sure.

0:58:36.640 --> 0:58:38.160
<v Speaker 3>I mean to be clear, I wasn't trying to say

0:58:38.160 --> 0:58:40.120
<v Speaker 3>people should do it one way or the other. It's

0:58:40.160 --> 0:58:43.000
<v Speaker 3>just my observation of how these things usually go is

0:58:43.040 --> 0:58:45.800
<v Speaker 3>there's a lot of kind of a lot of stepping

0:58:45.880 --> 0:58:50.840
<v Speaker 3>back and almost almost maybe deliberate kind of signals of

0:58:50.920 --> 0:58:54.200
<v Speaker 3>we're not taking this too seriously. We're joking now. Haha.

0:58:54.240 --> 0:58:56.760
<v Speaker 1>Oh yeah, I mean getting it. It's like play fighting, right, Yeah,

0:58:57.000 --> 0:59:00.160
<v Speaker 1>Because you are often dealing with these themes of mortality

0:59:00.560 --> 0:59:04.480
<v Speaker 1>and failure, you know, rolling a natural one, missing your

0:59:04.520 --> 0:59:07.080
<v Speaker 1>shot and then getting run through by a goblin sword

0:59:07.200 --> 0:59:11.160
<v Speaker 1>or something, and you know, and if you're not careful,

0:59:11.200 --> 0:59:16.080
<v Speaker 1>you can let emotions run run high in those those situations. Now,

0:59:16.280 --> 0:59:19.240
<v Speaker 1>I've seen other studies that highlight the potential for tabletop

0:59:19.320 --> 0:59:22.480
<v Speaker 1>role playing game assisted therapy with autistic adults to help

0:59:22.560 --> 0:59:26.960
<v Speaker 1>with social cognition. Like I say, this is kind of

0:59:26.960 --> 0:59:29.880
<v Speaker 1>a it seems like a rich area of therapy where

0:59:30.040 --> 0:59:34.560
<v Speaker 1>folks are exploring different potential uses. On one hand, play

0:59:34.640 --> 0:59:37.280
<v Speaker 1>seems to certainly be that spoonful of sugar that can

0:59:37.320 --> 0:59:39.360
<v Speaker 1>help the medicine go down, like, you know, let's make

0:59:39.400 --> 0:59:42.120
<v Speaker 1>therapy fun and approachable, but it also seems to have

0:59:42.200 --> 0:59:46.080
<v Speaker 1>unique properties undo itself, you know, again kind of comparing

0:59:46.080 --> 0:59:48.480
<v Speaker 1>it to some degree with the idea of engaging in

0:59:48.520 --> 0:59:51.920
<v Speaker 1>a psychedelic experience and then having a therapist help you

0:59:52.000 --> 0:59:55.520
<v Speaker 1>integrate that into your life, you know, like, let's use

0:59:55.560 --> 0:59:59.560
<v Speaker 1>some of that mental scaffolding that we talked about earlier

1:00:00.440 --> 1:00:03.160
<v Speaker 1>and see how we can get to where we're looking

1:00:03.200 --> 1:00:08.560
<v Speaker 1>to go with therapy. Now, I mentioned improv as well.

1:00:09.320 --> 1:00:11.520
<v Speaker 1>I looked at a pair of studies from twenty sixteen

1:00:11.520 --> 1:00:15.480
<v Speaker 1>to twenty seventeen. There is a Comedic improv Therapy for

1:00:15.520 --> 1:00:18.640
<v Speaker 1>the Treatment of Social Anxiety Disorder by Sheili at All

1:00:18.720 --> 1:00:21.800
<v Speaker 1>Journal of Creativity and Mental Health, and the other one

1:00:21.840 --> 1:00:24.880
<v Speaker 1>is Theraprov a pilot study of improv used to treat

1:00:24.920 --> 1:00:27.880
<v Speaker 1>anxiety and depression Kruger at All Journal of Mental Health.

1:00:28.440 --> 1:00:31.840
<v Speaker 1>The former highlighted quote a novel treatment for social anxiety

1:00:31.880 --> 1:00:37.280
<v Speaker 1>disorder by harnessing the following therapeutic elements group, cohesiveness, play, exposure,

1:00:37.520 --> 1:00:41.240
<v Speaker 1>and humor, while the latter article explored a brief therapeutic

1:00:41.320 --> 1:00:45.880
<v Speaker 1>group based intervention model for patients with symptoms of anxiety

1:00:46.200 --> 1:00:49.120
<v Speaker 1>and depression. So I'm not going to get into all

1:00:49.120 --> 1:00:52.600
<v Speaker 1>the beats of these two studies, but both articles expressed

1:00:52.600 --> 1:00:54.520
<v Speaker 1>a great deal of optimism for the use of these

1:00:54.560 --> 1:00:59.360
<v Speaker 1>techniques alongside other treatments, other treatment methods and tools. I've

1:00:59.400 --> 1:01:02.560
<v Speaker 1>also looked at papers exploring the potential for integrative play

1:01:02.600 --> 1:01:08.800
<v Speaker 1>therapy already used for children more in adult situations, and

1:01:08.840 --> 1:01:12.120
<v Speaker 1>of course there are other play based therapy tools that

1:01:12.160 --> 1:01:14.160
<v Speaker 1>are used with adults as well, including a big one

1:01:14.200 --> 1:01:17.960
<v Speaker 1>that that I completely spaced on and that is art therapy.

1:01:18.480 --> 1:01:21.200
<v Speaker 3>Oh, I'm aware that exists, but I don't really know

1:01:21.240 --> 1:01:21.960
<v Speaker 3>anything about.

1:01:21.800 --> 1:01:23.600
<v Speaker 1>It, right right, I mean I don't. It's one of

1:01:23.640 --> 1:01:26.040
<v Speaker 1>those things where I'm mostly familiar with it from seeing

1:01:26.040 --> 1:01:30.400
<v Speaker 1>it in passing in films like, for instance, there's a

1:01:30.400 --> 1:01:32.520
<v Speaker 1>at some point in Stranger Things, there's a scene where

1:01:32.560 --> 1:01:35.960
<v Speaker 1>you see people engaging in art therapy, and or you know,

1:01:36.000 --> 1:01:39.440
<v Speaker 1>you'll I've watched TV shows where the characters involved do

1:01:39.520 --> 1:01:42.840
<v Speaker 1>something with art therapy. But yeah, you can definitely loop

1:01:43.160 --> 1:01:46.680
<v Speaker 1>art therapy in with other play based therapy models, you know.

1:01:47.520 --> 1:01:49.520
<v Speaker 1>So perhaps this is a topic we could come back

1:01:49.520 --> 1:01:52.000
<v Speaker 1>to at some point, the idea of play based therapy,

1:01:52.080 --> 1:01:55.320
<v Speaker 1>or more specifically art based therapy, because it's been around

1:01:55.320 --> 1:01:57.960
<v Speaker 1>since in some form or another since at least the

1:01:57.960 --> 1:02:00.800
<v Speaker 1>mid twentieth century, and there have been a number of

1:02:00.840 --> 1:02:04.360
<v Speaker 1>studies regarding how it can be used to help with

1:02:04.440 --> 1:02:08.520
<v Speaker 1>various conditions and ailments. Well, you know, as we close

1:02:08.560 --> 1:02:11.640
<v Speaker 1>out this five episode look at pretend play, I do

1:02:11.680 --> 1:02:15.480
<v Speaker 1>feel like I have a more well rounded understanding of

1:02:15.560 --> 1:02:17.840
<v Speaker 1>what children are doing when they engage and pretend play,

1:02:18.800 --> 1:02:21.760
<v Speaker 1>as well as to the extent to what extent we're

1:02:21.960 --> 1:02:25.640
<v Speaker 1>continuing to engage and pretend play throughout our adult lives.

1:02:26.000 --> 1:02:29.760
<v Speaker 3>Mm hmm. Yeah, it really makes me think about when

1:02:30.760 --> 1:02:34.960
<v Speaker 3>we see these games children play that seem so funny

1:02:35.000 --> 1:02:39.760
<v Speaker 3>that I think sometimes adults are tempted to think of

1:02:39.880 --> 1:02:42.880
<v Speaker 3>play as frivolous, or to think of pretend play as

1:02:43.000 --> 1:02:47.040
<v Speaker 3>especially frivolous. You know, these like silly scenarios that kids

1:02:47.040 --> 1:02:52.080
<v Speaker 3>are making up is something that's just sort of, you know,

1:02:52.280 --> 1:02:55.480
<v Speaker 3>not an important human activity, And it seems to me

1:02:55.600 --> 1:02:58.200
<v Speaker 3>that that couldn't be further from the truth that play

1:02:58.320 --> 1:03:01.680
<v Speaker 3>really is like the important work of childhood, and pretend

1:03:01.680 --> 1:03:03.720
<v Speaker 3>to play is maybe the most important kind.

1:03:04.320 --> 1:03:08.560
<v Speaker 1>Yeah, children's play is serious. It's building the person they

1:03:08.600 --> 1:03:12.040
<v Speaker 1>will become. And then like the scaffolding is just not

1:03:12.080 --> 1:03:15.120
<v Speaker 1>just abandoned after that, you know, like we're still using

1:03:15.160 --> 1:03:18.760
<v Speaker 1>it to varying degrees, sometimes kind of invisibly to ourselves

1:03:19.400 --> 1:03:21.440
<v Speaker 1>as we go through our daily life as adults.

1:03:21.800 --> 1:03:24.000
<v Speaker 3>Yeah, play is building minds.

1:03:24.720 --> 1:03:26.240
<v Speaker 1>There you go, that would look great on a bumper

1:03:26.280 --> 1:03:28.200
<v Speaker 1>sticker T shirt what have you.

1:03:29.040 --> 1:03:30.520
<v Speaker 3>But all right, I guess that does do it for

1:03:30.560 --> 1:03:31.680
<v Speaker 3>the series for now.

1:03:32.160 --> 1:03:34.600
<v Speaker 1>That's right. Again, we'd love to hear from everyone out there.

1:03:34.600 --> 1:03:37.280
<v Speaker 1>We're getting some great feedback from listeners. I'm sure we're

1:03:37.280 --> 1:03:38.800
<v Speaker 1>going to have a listener mail in the very near

1:03:38.840 --> 1:03:40.640
<v Speaker 1>future where we begin to roll through some of this

1:03:40.800 --> 1:03:45.400
<v Speaker 1>examples of imaginary friends and paracosms and so forth. So yeah,

1:03:45.480 --> 1:03:48.600
<v Speaker 1>right in, we'd love to hear your thoughts on all

1:03:48.640 --> 1:03:52.440
<v Speaker 1>of this, either from your own personal experience as a

1:03:52.720 --> 1:03:57.120
<v Speaker 1>pretender or observations you've made of children in your life

1:03:57.120 --> 1:04:00.480
<v Speaker 1>that are pretending, or animals. Certainly we already mentioned dogs cats.

1:04:01.000 --> 1:04:04.800
<v Speaker 1>Write in about your dogs and cats and their possible

1:04:04.800 --> 1:04:09.280
<v Speaker 1>pretend play and play in general. Just a reminder that

1:04:09.280 --> 1:04:11.360
<v Speaker 1>Stuff to Blow Your Mind is primarily a science and

1:04:11.400 --> 1:04:14.480
<v Speaker 1>culture podcast, with core episodes on Tuesdays and Thursdays. We

1:04:14.560 --> 1:04:16.400
<v Speaker 1>do a little short form episode on Wednesdays, and on

1:04:16.440 --> 1:04:18.400
<v Speaker 1>Fridays we set us on most serious concerns to just

1:04:18.440 --> 1:04:21.200
<v Speaker 1>talk about a weird film on Weird House Cinema.

1:04:21.840 --> 1:04:26.160
<v Speaker 3>Huge thanks as always to our regular audio producer JJ Posway,

1:04:26.200 --> 1:04:29.360
<v Speaker 3>but also big thanks today to our guest audio producer

1:04:29.480 --> 1:04:30.200
<v Speaker 3>Andrew Howard.

1:04:30.280 --> 1:04:30.960
<v Speaker 1>Thanks Andrew.

1:04:31.880 --> 1:04:33.920
<v Speaker 3>If you would like to get in touch with us

1:04:33.960 --> 1:04:36.880
<v Speaker 3>with feedback on this episode or any other, to suggest

1:04:36.960 --> 1:04:39.000
<v Speaker 3>a topic for the future, or just to say hello.

1:04:39.120 --> 1:04:42.120
<v Speaker 3>You can email us at contact at stuff to Blow

1:04:42.160 --> 1:04:50.840
<v Speaker 3>your Mind dot com.

1:04:51.000 --> 1:04:53.920
<v Speaker 2>Stuff to Blow Your Mind is production of iHeartRadio. For

1:04:54.000 --> 1:04:56.800
<v Speaker 2>more podcasts from my heart Radio, visit the iHeartRadio app,

1:04:56.960 --> 1:05:13.960
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