WEBVTT - Pretend Play, Part 5

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<v Speaker 1>Welcome to Stuff to Blow Your Mind, a production of iHeartRadio.

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<v Speaker 2>Hey, welcome to Stuff to Blow Your Mind. My name

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<v Speaker 2>is Robert.

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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 briefly, 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 games,

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<v Speaker 3>and so forth. We also talked about the specific issue

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<v Speaker 3>of imaginary companions, where those come from, how they usually work,

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<v Speaker 3>what patterns manifest within and across cultures. We talked about

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<v Speaker 3>possible links between pretend to play and complex cognitive skills

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<v Speaker 3>like symbolic understanding, counterfactual reasoning, and theory of mind, whether

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<v Speaker 3>pretend to play may help children develop these capabilities, or

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<v Speaker 3>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 2>That's right, and we're going to continue on in this

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<v Speaker 2>episode to roll out discussion on some of these themes.

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<v Speaker 2>But I guess we should stress that there is so

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<v Speaker 2>much out there, and there's so much ongoing research into

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<v Speaker 2>not only pretend play, but also childhood imagination, adult imagination,

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<v Speaker 2>and so forth. This is really one of those series

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<v Speaker 2>where we could just keep going and going and find

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<v Speaker 2>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 is so good. But we are going to

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<v Speaker 3>have to cut it off after today. Maybe we'll return

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<v Speaker 3>to this topic in some form in the future. But

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<v Speaker 3>one thing I wanted to come back to in today's episode,

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<v Speaker 3>now that we've looked at a lot of the different

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<v Speaker 3>cultural environments and varieties of play expression, is the question

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<v Speaker 3>of the biological basis for pretend play? Is pretend play

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<v Speaker 3>a culturally contingent activity?

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<v Speaker 2>You know?

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<v Speaker 3>Something that we just kind of like made up and

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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, and

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<v Speaker 3>in some cases kids keep pretending longer, and you can

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<v Speaker 3>make arguments that activities sustained into adulthood are actually continued

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<v Speaker 3>types of pretend play, maybe sort of in disguise or

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<v Speaker 3>not so much in disguise. Now, Lillard makes the argument

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<v Speaker 3>that because pretend play of some form is culturally universal

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<v Speaker 3>and it's development schedule is fairly regular and predictable. It's

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<v Speaker 3>probably an evolved biological trait and not just a contingent

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<v Speaker 3>behavior that we happen to create through culture, and I

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<v Speaker 3>think I would agree that this seems likely based on

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<v Speaker 3>that information. So Lillard asks the question that I brought

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<v Speaker 3>up a minute ago. If it is a biological trait

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<v Speaker 3>of our species, and if it's not just an epiphenomenal

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<v Speaker 3>byproduct of some other capacity like symbolic thinking, what evolutionary

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<v Speaker 3>advantage does pretending provide? As an aside, we already looked

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<v Speaker 3>at some possible answers to this question in that twenty

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<v Speaker 3>fifteen paper by Weisberg that we talked about in earlier

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<v Speaker 3>parts of the series. So it was brought up that

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<v Speaker 3>maybe pretend play helps facilitate the development of counterfactual reasoning,

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<v Speaker 3>symbolic understanding, and theory of mind. Though, as you'll recall,

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<v Speaker 3>Weisberg highlighted that these correlations are difficult to study in

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<v Speaker 3>a way that's practical, rigorous, and ethical. So while some

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<v Speaker 3>studies do provide hints in support of all three of

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<v Speaker 3>these links, the evidence is fairly weak. It's mostly just

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<v Speaker 3>establishing correlations. Lillard's paper also notes how difficult this is

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<v Speaker 3>to study and the indirect quality of much of the

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<v Speaker 3>evidence available to us. We have some indications, specifically, like

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<v Speaker 3>from tragic examples of children who suffered social isolation and infancy,

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<v Speaker 3>that early deprivation of normal interaction with human caregivers can

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<v Speaker 3>lead to noticeable deficits in pretend play later in childhood.

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<v Speaker 3>So like children who don't have enough human social interaction

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<v Speaker 3>when their babies tend to play pretend much less when

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<v Speaker 3>they're older, suggesting some kind of link between pretend play

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<v Speaker 3>and socialization. However, Lillard's paper makes use of a very interesting,

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<v Speaker 3>totally separate line of evidence for the biological function of

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<v Speaker 3>pretend play, and that is the analogy of non human animals.

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<v Speaker 2>Yes, yeah, whether animals play this is probably a question

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<v Speaker 2>that has already been bouncing around people's minds as they

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<v Speaker 2>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

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<v Speaker 3>research and It comes from a psychologist named Gordon Berghart,

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<v Speaker 3>and Burghart's criteria for play I think he had five

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<v Speaker 3>of them. The criteria or that one we've already talked

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<v Speaker 3>about this that it's not functional, meaning that it's not

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<v Speaker 3>activity that is necessary for survival in any direct way.

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<v Speaker 3>So even if you enjoy chopping wood, chopping wood is

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<v Speaker 3>not considered play. To use Lillard's summary quote, is voluntary

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<v Speaker 3>and pleasurable. It differs in form or some other way

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<v Speaker 3>from the functional expression. It is repeat and it tends

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<v Speaker 3>to occur under conditions of abundance not stress. Now, if

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<v Speaker 3>you look at those criteria, I think it's widely agreed

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<v Speaker 3>that many species of non human animals, especially a lot

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<v Speaker 3>of vertebrates in mammals, engage in play. But do these

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<v Speaker 3>animals play pretend? This is more controversial, but Lillard makes

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<v Speaker 3>the case that at least some forms of animal play

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<v Speaker 3>should be considered examples of pretense. And both of these

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<v Speaker 3>are fortunately going to be familiar to us and to

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<v Speaker 3>listeners because we can see them in our pets. I think,

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<v Speaker 3>in fact, it's maybe not even a coincidence that play

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<v Speaker 3>would be especially common among the animals that we happened

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<v Speaker 3>to make our domestic companions. So first example is playing

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<v Speaker 3>with inanimate objects as if they were live prey. You

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<v Speaker 3>can see this in cats, you can see this in dogs.

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<v Speaker 3>I'm sure you've seen plenty of this in your home.

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<v Speaker 2>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 2>Yes, yeah, we see this all the time. Yeah, ranging

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<v Speaker 2>from what we call the most dangerous game of finger mouse.

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<v Speaker 2>This is where you move your finger underneath the blanket.

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<v Speaker 2>Not recommended because it's an easy way to get your

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<v Speaker 2>finger scratched in or bitten. But yeah, all manner of toys,

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<v Speaker 2>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 2>Yeah, and then my cat does not need any encouragement

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<v Speaker 2>to attack body parts. She attacks my feet all the time.

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<v Speaker 3>Now, there's an interesting finding that Lillards, 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 2>Well, my cat, I can safely say, is not average.

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<v Speaker 2>She's quite old at this point, but she still plays.

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<v Speaker 2>And some of her favorite items just recently have been

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<v Speaker 2>things like a plastic milk cap like off of an

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<v Speaker 2>oat milk jug. How if she had a great time

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<v Speaker 2>with that, buttons things like that, anything she can get

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<v Speaker 2>her claws on, so it doesn't seem to necessary. We

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<v Speaker 2>have other toys that do resemble rodents or birds or whatever,

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<v Speaker 2>and she's into those as well, But otherwise she doesn't

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<v Speaker 2>seem to discriminate. Now, not making this an episode about cats,

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<v Speaker 2>but I think obviously there's something to be said here

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<v Speaker 2>too about the domestic in house cat, like a fully

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<v Speaker 2>indoor cat versus a cat that's going indoors and outdoors.

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<v Speaker 2>This is a fully indoor cat, and I know there

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<v Speaker 2>have been various observations made about like what that does.

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<v Speaker 2>Does that keep a cat in more sort of a

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<v Speaker 2>semi permanent stage of kitten hood to some degree? Maybe

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<v Speaker 2>that has an effect on how they associate with toys.

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<v Speaker 2>Maybe you see more of this average situation that's laid

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<v Speaker 2>out here. If the cat actually has physical access to

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<v Speaker 2>normal prey animals on a regular basis.

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<v Speaker 3>Yeah, that seems quite plausible to me.

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<v Speaker 2>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

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<v Speaker 3>with it. And so because of differences like this, Lillard

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<v Speaker 3>thinks that the treating and inanimate object as life prey

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<v Speaker 3>is not a great analogy for human play However, there's

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<v Speaker 3>another thing observed in animals which she thinks is maybe

0:13:24.679 --> 0:13:27.600
<v Speaker 3>a good analogy for human pretend play, and that is

0:13:27.840 --> 0:13:31.800
<v Speaker 3>play fighting. We've probably all seen this before in dogs,

0:13:31.880 --> 0:13:35.520
<v Speaker 3>but in the scientific literature, play fighting is characterized as

0:13:35.559 --> 0:13:41.600
<v Speaker 3>a social locomotive play activity where animals try to gain

0:13:41.679 --> 0:13:45.000
<v Speaker 3>temporary physical advantage over one another in a way that

0:13:45.200 --> 0:13:49.760
<v Speaker 3>somewhat resembles the behavior of those same animals as adults

0:13:49.880 --> 0:13:53.800
<v Speaker 3>in violent competition, but is different in that the animals

0:13:53.840 --> 0:13:58.000
<v Speaker 3>typically take turns being the aggressor and that the fight

0:13:58.120 --> 0:14:02.080
<v Speaker 3>behaviors are truncated. The dog might in a play fight,

0:14:02.240 --> 0:14:05.720
<v Speaker 3>it might put its jaws around the other dog's body,

0:14:05.760 --> 0:14:08.160
<v Speaker 3>maybe put the jaws around the neck, but it does

0:14:08.200 --> 0:14:11.040
<v Speaker 3>not bite down, or it doesn't usually, and if it does,

0:14:11.080 --> 0:14:14.319
<v Speaker 3>that's a you know, that's clearly not what the behavior

0:14:14.400 --> 0:14:19.320
<v Speaker 3>is intended to produce. Lillard argues that play fighting could

0:14:19.400 --> 0:14:22.880
<v Speaker 3>be viewed as an analog for pretend play in humans

0:14:22.880 --> 0:14:26.160
<v Speaker 3>and gives a number of reasons. For example, both of

0:14:26.160 --> 0:14:28.880
<v Speaker 3>these activities pretend to play in humans and play fighting

0:14:29.080 --> 0:14:33.440
<v Speaker 3>involve creating an as if scenario where the play activity

0:14:33.960 --> 0:14:38.119
<v Speaker 3>appears to be a modified representation of a real activity,

0:14:38.520 --> 0:14:41.280
<v Speaker 3>but with limits put on it, like the play fighting

0:14:41.320 --> 0:14:44.280
<v Speaker 3>stops before the bite pressure is too much, and so forth.

0:14:45.200 --> 0:14:49.160
<v Speaker 3>Lillard writes quote as Baitsen also pointed out, an animal

0:14:49.240 --> 0:14:52.560
<v Speaker 3>that is engaged in play fighting must read a behavior

0:14:52.640 --> 0:14:56.479
<v Speaker 3>as denoting a behavior different from the behavior it resembles.

0:14:57.280 --> 0:14:59.320
<v Speaker 3>And then the sub quote of baits in here quote

0:14:59.560 --> 0:15:02.680
<v Speaker 3>the play f denotes the bite, but it does not

0:15:02.880 --> 0:15:06.680
<v Speaker 3>denote what would be denoted by the bite. In other words,

0:15:06.760 --> 0:15:09.960
<v Speaker 3>the playful nip is a pretend bite, just as a

0:15:10.040 --> 0:15:14.040
<v Speaker 3>child can pretend talk into a pretend phone to symbolize

0:15:14.080 --> 0:15:17.040
<v Speaker 3>really talking into a real phone. In this way, both

0:15:17.080 --> 0:15:21.160
<v Speaker 3>pretend play and play fighting behaviors are symbolic. They mean

0:15:21.360 --> 0:15:25.600
<v Speaker 3>something other than what they are. She also calls attention

0:15:26.120 --> 0:15:29.400
<v Speaker 3>to the fact that both pretend play in humans and

0:15:29.600 --> 0:15:33.840
<v Speaker 3>play fighting in other mammals rely on the exchange of

0:15:33.960 --> 0:15:40.320
<v Speaker 3>specific ritualized gestures and indicators that the activity is play

0:15:40.480 --> 0:15:43.760
<v Speaker 3>and not real. And I don't think I was aware

0:15:43.760 --> 0:15:45.600
<v Speaker 3>of a lot of this. For example, she talks about

0:15:45.600 --> 0:15:49.560
<v Speaker 3>a bunch of observations in rats that when rats playfight,

0:15:49.640 --> 0:15:53.080
<v Speaker 3>and apparently they do this a lot. Rats playfight. She says,

0:15:53.120 --> 0:15:57.280
<v Speaker 3>when they playfight they don't bite at or target the

0:15:57.320 --> 0:16:00.800
<v Speaker 3>same areas of the body that they do when rats

0:16:00.800 --> 0:16:04.680
<v Speaker 3>are actually fighting in real violent competition. So when they're

0:16:04.720 --> 0:16:09.320
<v Speaker 3>play fighting, she says, they target a nuzzle like the

0:16:09.440 --> 0:16:13.200
<v Speaker 3>nape of the neck, whereas real fighting and tends to

0:16:13.280 --> 0:16:17.040
<v Speaker 3>involve attacks on the flanks and the lower back. And

0:16:17.280 --> 0:16:22.080
<v Speaker 3>apparently they also emit high pitched ultrasonic vibrations when they're

0:16:22.120 --> 0:16:25.680
<v Speaker 3>play fighting, which other rats can hear, which seems to

0:16:25.840 --> 0:16:29.240
<v Speaker 3>help the rats avoid mistaking a bid for a play

0:16:29.320 --> 0:16:32.640
<v Speaker 3>fight with the threat of a real fight. Now, understanding

0:16:32.640 --> 0:16:36.200
<v Speaker 3>those kinds of gestures and social communication and rats might

0:16:36.240 --> 0:16:39.120
<v Speaker 3>not be very intuitive to us, but we can easily

0:16:39.920 --> 0:16:42.560
<v Speaker 3>see the same kind of thing in dogs with the

0:16:42.600 --> 0:16:45.880
<v Speaker 3>famous play bow. Now, if you've ever seen dogs doing

0:16:45.920 --> 0:16:49.760
<v Speaker 3>play fighting, you will quite frequently, often at the beginning

0:16:49.760 --> 0:16:52.720
<v Speaker 3>of the encounter, and then at certain moments throughout the

0:16:52.760 --> 0:16:55.840
<v Speaker 3>play fighting session, the dogs will kind of back up,

0:16:55.880 --> 0:16:58.160
<v Speaker 3>and then they will bow the front of the body

0:16:58.200 --> 0:17:00.800
<v Speaker 3>down and spread their paws apart and put their head

0:17:00.840 --> 0:17:03.800
<v Speaker 3>down with the back of the body up with the

0:17:03.840 --> 0:17:08.760
<v Speaker 3>haunches the butt raised up, and and I've got a

0:17:08.760 --> 0:17:10.240
<v Speaker 3>picture here for you to look at. Rob though I'm

0:17:10.240 --> 0:17:12.320
<v Speaker 3>sure you're familiar with this on your own as well.

0:17:12.640 --> 0:17:14.240
<v Speaker 2>Well. I mean, now that it's pointed out to me,

0:17:14.359 --> 0:17:18.200
<v Speaker 2>I have seen dogs doing this, and I guess I'm

0:17:18.240 --> 0:17:20.359
<v Speaker 2>realizing for the first time that this must be why

0:17:20.440 --> 0:17:24.320
<v Speaker 2>we call the pose and yoga down dog, because we

0:17:24.359 --> 0:17:27.800
<v Speaker 2>are creating a pose that looks like this. I always

0:17:27.880 --> 0:17:30.960
<v Speaker 2>just thought like, well, okay, it's just I'm not all fours.

0:17:31.040 --> 0:17:32.720
<v Speaker 2>I'm sort of like a dog right now. But I

0:17:32.760 --> 0:17:33.920
<v Speaker 2>guess this is the name thing.

0:17:34.359 --> 0:17:36.440
<v Speaker 3>So in yoga it's the butt is up, the head

0:17:36.520 --> 0:17:36.880
<v Speaker 3>is down.

0:17:37.200 --> 0:17:41.000
<v Speaker 2>Correct. Yeah, okay, though usually in the picture you're showing

0:17:41.000 --> 0:17:45.160
<v Speaker 2>here the dogs four paws, four arms are on the ground,

0:17:45.200 --> 0:17:47.560
<v Speaker 2>and yeah, that's usually not the case with down dog,

0:17:47.600 --> 0:17:49.639
<v Speaker 2>though there are versions of down dog where you do

0:17:49.680 --> 0:17:52.840
<v Speaker 2>have four arms down. I guess that's more gets sended

0:17:52.880 --> 0:17:55.520
<v Speaker 2>like dolphin and so forth. But anyway, enough animals. We're

0:17:55.520 --> 0:17:56.760
<v Speaker 2>talking about dogs, right.

0:17:56.840 --> 0:18:01.560
<v Speaker 3>So studies show that playbows are they really are used

0:18:01.640 --> 0:18:04.800
<v Speaker 3>for social communication. Like you can see that they're most

0:18:04.960 --> 0:18:09.320
<v Speaker 3>common right after a candid play fight has sort of

0:18:09.480 --> 0:18:13.320
<v Speaker 3>pushed the limits or has for some reason become ambiguous. So,

0:18:13.440 --> 0:18:17.040
<v Speaker 3>for instance, when a play bite just got pretty rough,

0:18:17.160 --> 0:18:19.440
<v Speaker 3>you know, like a dog. They're playing, but one bit

0:18:19.480 --> 0:18:22.120
<v Speaker 3>the other kind of hard, it seems. Then the playbow

0:18:22.200 --> 0:18:25.560
<v Speaker 3>would be deployed. It's used to regulate the shared understanding

0:18:25.600 --> 0:18:29.320
<v Speaker 3>of the activity and to signal kind of sorry about that.

0:18:29.359 --> 0:18:31.640
<v Speaker 3>We're still in play mode. This is not a real fight.

0:18:32.240 --> 0:18:34.399
<v Speaker 3>And in this way this would be considered a form

0:18:34.600 --> 0:18:39.400
<v Speaker 3>of meta communication, allowing all the participants in an activity

0:18:39.440 --> 0:18:43.480
<v Speaker 3>to continually understand the correct frame in which the shared

0:18:43.520 --> 0:18:47.719
<v Speaker 3>activity should be interpreted. It's the signal this is play,

0:18:47.760 --> 0:18:51.040
<v Speaker 3>this is not real. And it turns out that with

0:18:51.160 --> 0:18:55.360
<v Speaker 3>pretend play humans do this too. There are specific kinds

0:18:55.400 --> 0:18:58.639
<v Speaker 3>of gestures and signals that have been observed within human

0:18:58.760 --> 0:19:01.080
<v Speaker 3>play fighting, but even out side the realm of play

0:19:01.080 --> 0:19:04.560
<v Speaker 3>fighting and just in pretend play that the kinds we've

0:19:04.600 --> 0:19:06.840
<v Speaker 3>been talking about in this series so far. Maybe cooking

0:19:06.880 --> 0:19:10.040
<v Speaker 3>in a play kitchen, or using a banana as a telephone,

0:19:10.200 --> 0:19:12.720
<v Speaker 3>or using a little block as a car, you know,

0:19:12.840 --> 0:19:16.960
<v Speaker 3>an object substitution enactment play, any of these things. The

0:19:17.119 --> 0:19:21.080
<v Speaker 3>signals used to communicate pretend to play might be more

0:19:21.280 --> 0:19:26.080
<v Speaker 3>culturally variable in humans than in dogs. But for example,

0:19:26.359 --> 0:19:30.000
<v Speaker 3>research in the United States has particularly found that when

0:19:30.080 --> 0:19:34.399
<v Speaker 3>mothers play pretend with young children, they use specific body

0:19:34.480 --> 0:19:40.920
<v Speaker 3>language cues such as strong eye contact, mistimed movements, and

0:19:41.160 --> 0:19:46.399
<v Speaker 3>a smile immediately following the pretend behavior. And so like

0:19:46.440 --> 0:19:48.399
<v Speaker 3>I can imagine all these kind of things kind of

0:19:48.440 --> 0:19:52.639
<v Speaker 3>like exaggerated weird movements that kind of looking at the child,

0:19:52.720 --> 0:19:55.679
<v Speaker 3>making eye contact and then smiling after you say, like

0:19:55.800 --> 0:20:00.080
<v Speaker 3>here's the phone. Also, this is not mentioned in the

0:20:00.080 --> 0:20:02.080
<v Speaker 3>the study, but I really thought about like using a

0:20:02.119 --> 0:20:07.119
<v Speaker 3>different voice. You know, we've talked about about parental voice

0:20:07.160 --> 0:20:08.920
<v Speaker 3>modulation on the show before. I think we did a

0:20:08.920 --> 0:20:11.600
<v Speaker 3>whole episodes on this of like the you know, the

0:20:11.640 --> 0:20:14.320
<v Speaker 3>baby voice, the way parents tend to speak to children,

0:20:14.359 --> 0:20:16.800
<v Speaker 3>and like what kind of purpose that serves where it

0:20:16.840 --> 0:20:19.199
<v Speaker 3>comes from. But I think there's a version of this

0:20:19.280 --> 0:20:22.360
<v Speaker 3>with pretend to play too. Like I notice when we

0:20:22.480 --> 0:20:26.280
<v Speaker 3>start taking on a pretense, I kind of sound different.

0:20:26.320 --> 0:20:29.280
<v Speaker 3>I'm doing something with the timing of my speaking and

0:20:29.640 --> 0:20:31.719
<v Speaker 3>the pitch of my voice and stuff that I'm not

0:20:31.840 --> 0:20:34.040
<v Speaker 3>normally doing when I'm just playing with my daughter.

0:20:34.760 --> 0:20:37.000
<v Speaker 2>Yeah, and that makes sense. Yeah, I mean we often

0:20:37.000 --> 0:20:39.120
<v Speaker 2>don't think about it, but we're sort of conveying that. Okay,

0:20:39.200 --> 0:20:41.159
<v Speaker 2>we're shifting over one degree to the left or the

0:20:41.240 --> 0:20:44.439
<v Speaker 2>right here into the imagination space.

0:20:44.800 --> 0:20:49.520
<v Speaker 3>Yeah. Oh, this book is a boat now, yeah. Yeah,

0:20:49.760 --> 0:20:51.760
<v Speaker 3>And so you can think about different reasons for this

0:20:51.920 --> 0:20:56.879
<v Speaker 3>meta communication within the play itself. So like in play fighting,

0:20:57.160 --> 0:21:01.320
<v Speaker 3>meta communication is important for physical safety, you know, like

0:21:01.560 --> 0:21:03.080
<v Speaker 3>you don't want the fight to you don't want the

0:21:03.119 --> 0:21:06.200
<v Speaker 3>play fight to escalate to a real fight. So meta

0:21:06.240 --> 0:21:11.040
<v Speaker 3>communication literally helps dogs and rats and humans avoid hurting

0:21:11.040 --> 0:21:14.719
<v Speaker 3>one another. But with pretend to play in human children,

0:21:14.800 --> 0:21:18.320
<v Speaker 3>it strikes me that it's probably important for something we

0:21:18.359 --> 0:21:22.480
<v Speaker 3>talked about earlier in the series information quarantining, to prevent

0:21:22.680 --> 0:21:27.120
<v Speaker 3>children from drawing incorrect lessons about reality from a game

0:21:27.160 --> 0:21:29.439
<v Speaker 3>of pretend, you know, so the child does not end

0:21:29.520 --> 0:21:32.639
<v Speaker 3>up thinking that a remote control can actually place phone calls.

0:21:33.520 --> 0:21:36.879
<v Speaker 3>We're showing this is play so that the child doesn't

0:21:36.960 --> 0:21:50.399
<v Speaker 3>learn something that's wrong. So in this paper, Lillard looks

0:21:50.440 --> 0:21:53.560
<v Speaker 3>at studies of play fighting in animals to see what,

0:21:53.960 --> 0:21:58.919
<v Speaker 3>if anything, can be established about its survival and reproduction value.

0:21:58.920 --> 0:22:02.200
<v Speaker 3>What does it do for or the animals. This section

0:22:02.320 --> 0:22:05.680
<v Speaker 3>involves a lot of discussion of the difficulties and limitations

0:22:05.680 --> 0:22:08.800
<v Speaker 3>in designing these experiments, and the paper is worth a

0:22:08.880 --> 0:22:10.960
<v Speaker 3>read if you want to learn more about that. But

0:22:11.119 --> 0:22:15.280
<v Speaker 3>to mention one prominent example type of experiment she brings up.

0:22:15.960 --> 0:22:18.960
<v Speaker 3>It is an experiment where you take a baby rat

0:22:19.000 --> 0:22:21.919
<v Speaker 3>and pair it in its enclosure only with a single

0:22:22.080 --> 0:22:27.480
<v Speaker 3>adult female rat and no littermates. Now, with other littermates present,

0:22:27.600 --> 0:22:30.560
<v Speaker 3>a baby rat will typically engage in play fighting as

0:22:30.560 --> 0:22:34.000
<v Speaker 3>it matures, but when it is paired only with an

0:22:34.040 --> 0:22:38.760
<v Speaker 3>adult female rat, the baby rat will receive socialization from

0:22:38.800 --> 0:22:42.160
<v Speaker 3>the adult, so it's not like total social isolation or deprivation.

0:22:42.720 --> 0:22:48.080
<v Speaker 3>But adult female rats specifically will not engage in play fighting,

0:22:48.680 --> 0:22:53.560
<v Speaker 3>so this seems to reasonably well isolate and remove play

0:22:53.600 --> 0:22:56.439
<v Speaker 3>fighting on its own. But it's important to note that

0:22:56.480 --> 0:22:59.159
<v Speaker 3>this is not a perfect isolation of the variable because

0:22:59.200 --> 0:23:01.639
<v Speaker 3>having littermates is the norm for baby rats, so this

0:23:01.720 --> 0:23:04.199
<v Speaker 3>is not just like a perfectly normal baby rat with

0:23:04.320 --> 0:23:06.920
<v Speaker 3>only play fighting taken away. It's just getting as close

0:23:06.960 --> 0:23:10.760
<v Speaker 3>to that as researchers can. Are there any differences in

0:23:10.960 --> 0:23:15.240
<v Speaker 3>rat development from this setup? Oh? Yes, a few examples.

0:23:15.800 --> 0:23:19.880
<v Speaker 3>Rats that grow up with socialization but without play fighting

0:23:20.359 --> 0:23:24.920
<v Speaker 3>have trouble interpreting social signals later in life. For instance,

0:23:25.000 --> 0:23:28.760
<v Speaker 3>later if another rat tries to initiate play fighting, the

0:23:28.840 --> 0:23:32.560
<v Speaker 3>deprived rat will often misinterpret it as a bid for

0:23:32.640 --> 0:23:36.359
<v Speaker 3>real fighting. They also have difficulties with other types of

0:23:36.400 --> 0:23:40.520
<v Speaker 3>social communication. They have difficulties with mating and with copulation,

0:23:41.119 --> 0:23:45.040
<v Speaker 3>and it seems that across multiple domains, rats that don't

0:23:45.080 --> 0:23:49.280
<v Speaker 3>have experience with play fighting just have trouble reading social

0:23:49.320 --> 0:23:54.520
<v Speaker 3>signals from other rats. Also, the lack of juvenile experience

0:23:54.560 --> 0:23:58.760
<v Speaker 3>with playfighting seems to change the development of the medial

0:23:58.800 --> 0:24:03.320
<v Speaker 3>prefrontal cortex in a rat's brain, and the behavioral result

0:24:03.400 --> 0:24:07.760
<v Speaker 3>of this is a difficulty with the inhibition of impulses.

0:24:08.600 --> 0:24:12.159
<v Speaker 3>And I thought this part was really interesting. Lillard infers

0:24:12.280 --> 0:24:18.440
<v Speaker 3>that play fighting helps develop a rat's inhibition skills because

0:24:18.680 --> 0:24:23.679
<v Speaker 3>play fighting is an exercise in inhibition. You are sort

0:24:23.720 --> 0:24:27.000
<v Speaker 3>of fighting, but you're not really going all the way

0:24:27.440 --> 0:24:30.440
<v Speaker 3>you have to. In fact, one of the key skills

0:24:30.440 --> 0:24:34.600
<v Speaker 3>of play fighting is to stop yourself from really biting

0:24:34.640 --> 0:24:38.560
<v Speaker 3>the other rat hard. So counterintuitively, when we see, you know,

0:24:38.640 --> 0:24:42.479
<v Speaker 3>animals or children play fighting, we often think of this

0:24:42.560 --> 0:24:44.880
<v Speaker 3>as like, you know, you might have feelings like, oh,

0:24:44.920 --> 0:24:47.480
<v Speaker 3>are they developing aggression? I mean, it's possible that that

0:24:47.720 --> 0:24:52.159
<v Speaker 3>could be happening too, But counterintuitively, play fighting seems to

0:24:52.160 --> 0:24:55.840
<v Speaker 3>be a way to get experience holding back aggression.

0:24:57.160 --> 0:25:00.280
<v Speaker 2>This is also a topic that may tie into some

0:25:00.320 --> 0:25:03.919
<v Speaker 2>things I've read about domestic cats and whether, like to

0:25:03.920 --> 0:25:07.640
<v Speaker 2>what extent a given cat has been exposed to other cats.

0:25:07.960 --> 0:25:10.200
<v Speaker 2>I'm to understand this can have an impact on, say,

0:25:10.280 --> 0:25:15.960
<v Speaker 2>how likely they are to bite if they are perturbed

0:25:16.040 --> 0:25:19.360
<v Speaker 2>or wishing to express something like, you know, have they

0:25:19.880 --> 0:25:23.240
<v Speaker 2>had enough of I guess the feline equivalency of the

0:25:23.520 --> 0:25:24.480
<v Speaker 2>play fighting model.

0:25:25.040 --> 0:25:28.760
<v Speaker 3>Wow, I've never heard of that. But if I'm understanding

0:25:28.760 --> 0:25:32.239
<v Speaker 3>you right, you're saying it's the idea that if a

0:25:32.240 --> 0:25:35.920
<v Speaker 3>cat has grown up around other cats, they are more

0:25:36.119 --> 0:25:39.920
<v Speaker 3>likely to inhibit or hold back the expression of aggression

0:25:40.040 --> 0:25:41.560
<v Speaker 3>with say, humans in the household.

0:25:41.760 --> 0:25:43.600
<v Speaker 2>That is what I've heard. Now, I did not go

0:25:43.680 --> 0:25:47.360
<v Speaker 2>into research on this for this episode, so it's entirely possible.

0:25:47.600 --> 0:25:49.480
<v Speaker 2>Sometimes when I get it the most wrong, it's in

0:25:49.480 --> 0:25:52.240
<v Speaker 2>cases like this where it's nothing I researched. It's just

0:25:52.280 --> 0:25:55.000
<v Speaker 2>something floating around in my head. So I would say,

0:25:55.000 --> 0:25:57.560
<v Speaker 2>don't take that to the bank. But it's out there,

0:25:57.600 --> 0:26:01.959
<v Speaker 2>at least in the form of owner folk wisdom, and

0:26:02.000 --> 0:26:05.080
<v Speaker 2>it may have scientific underpinnings as well. Well.

0:26:05.080 --> 0:26:07.159
<v Speaker 3>I feel like if that's true, that would line up

0:26:07.200 --> 0:26:10.280
<v Speaker 3>exactly with these findings, and that that would be really interesting.

0:26:10.840 --> 0:26:12.800
<v Speaker 2>My cat is here, but she's asleep, so I can't

0:26:12.800 --> 0:26:14.399
<v Speaker 2>I can't get any foul asker.

0:26:14.520 --> 0:26:19.600
<v Speaker 3>Yeah, but anyway, in the conclusion of this section, Lillard says,

0:26:19.720 --> 0:26:23.960
<v Speaker 3>quote taking turns at being dominant also involves inhibition. You

0:26:24.000 --> 0:26:25.479
<v Speaker 3>think about it that way, So it's not just like,

0:26:25.880 --> 0:26:28.800
<v Speaker 3>you know, when you get the better of another animal

0:26:28.840 --> 0:26:30.879
<v Speaker 3>in play fighting and you bite down on them, but

0:26:30.920 --> 0:26:33.359
<v Speaker 3>you don't really bite down all the way. That's inhibition.

0:26:33.480 --> 0:26:36.680
<v Speaker 3>You have to have the executive function to hold back.

0:26:37.080 --> 0:26:40.400
<v Speaker 3>But also taking turns involves a type of holding back.

0:26:40.760 --> 0:26:43.360
<v Speaker 3>I would imagine. I haven't done research on this either,

0:26:43.400 --> 0:26:46.560
<v Speaker 3>but I would imagine just in general and the human analogy,

0:26:46.680 --> 0:26:51.879
<v Speaker 3>like any kind of sharing or relinquishing and relinquishing power

0:26:51.960 --> 0:26:56.120
<v Speaker 3>over something within a game involves a type of inhibition control.

0:26:58.119 --> 0:26:59.000
<v Speaker 2>Yeah, that makes sense.

0:26:59.640 --> 0:27:03.520
<v Speaker 3>So Lillard says, maybe play fighting is really important for

0:27:03.760 --> 0:27:08.200
<v Speaker 3>strengthening the neural circuitry behind inhibition. And if you don't

0:27:08.240 --> 0:27:11.040
<v Speaker 3>have play fighting in these animals where it's common, that

0:27:11.040 --> 0:27:15.040
<v Speaker 3>circuitry for inhibition doesn't really develop fully. So looking over

0:27:15.119 --> 0:27:19.119
<v Speaker 3>all this research in rats, Lillard says that that playfighting

0:27:19.160 --> 0:27:22.120
<v Speaker 3>is probably important for the development of a rat's ability

0:27:22.160 --> 0:27:26.560
<v Speaker 3>to read social signals from other rats, to coordinate social

0:27:26.600 --> 0:27:31.280
<v Speaker 3>activity with other rats, to regulate stress, and exercise inhibition

0:27:31.520 --> 0:27:34.960
<v Speaker 3>or holding back behaviors. Now the question is, of course,

0:27:35.320 --> 0:27:39.840
<v Speaker 3>could pretend to play serve similar functions in human development.

0:27:40.520 --> 0:27:43.919
<v Speaker 3>Lillard argues yes, And though she's cautious to say, you know,

0:27:43.920 --> 0:27:47.600
<v Speaker 3>we shouldn't conclude too much on the basis of analogies

0:27:47.600 --> 0:27:51.560
<v Speaker 3>with other animals, but in the absence of stronger experimental

0:27:51.600 --> 0:27:54.119
<v Speaker 3>designs on humans, which are probably not going to be

0:27:54.160 --> 0:27:58.080
<v Speaker 3>forthcoming for very understandable reasons, this is a really interesting,

0:27:58.200 --> 0:28:01.920
<v Speaker 3>if only partial piece of the pick. Sure, So essentially

0:28:02.080 --> 0:28:05.679
<v Speaker 3>her idea is that pretend play in humans might be

0:28:05.720 --> 0:28:11.560
<v Speaker 3>important for understanding social signals and for emotion regulation. I

0:28:11.600 --> 0:28:14.719
<v Speaker 3>mentioned earlier that pretend to play in humans involves a

0:28:14.800 --> 0:28:19.640
<v Speaker 3>lot of reading of social information or metacommunication between parents

0:28:19.640 --> 0:28:23.280
<v Speaker 3>and children, or at older ages, between children and other children.

0:28:23.720 --> 0:28:26.080
<v Speaker 3>So we had those things like the strong eye contact,

0:28:26.200 --> 0:28:30.240
<v Speaker 3>the smile after the pretend action. You know, we alluded

0:28:30.280 --> 0:28:34.080
<v Speaker 3>to the kind of pretend play voice. These signals let

0:28:34.119 --> 0:28:36.919
<v Speaker 3>the child know that what is taking place is play

0:28:37.040 --> 0:28:39.000
<v Speaker 3>and it is not to be taken literally.

0:28:39.560 --> 0:28:41.680
<v Speaker 2>This also reminds me of some of the research we've

0:28:41.680 --> 0:28:44.640
<v Speaker 2>discussed in the past concerning laughter. Laughter is a social cue.

0:28:45.240 --> 0:28:50.000
<v Speaker 2>Oh yes, potentially to let other individuals know that there

0:28:50.120 --> 0:28:52.960
<v Speaker 2>is not a risk and so forth.

0:28:53.440 --> 0:28:55.720
<v Speaker 3>Totally, I think they could fit right in the suite there.

0:28:56.560 --> 0:29:00.000
<v Speaker 3>So anyway, from here, Lillard goes on to analyze an

0:29:00.080 --> 0:29:03.200
<v Speaker 3>number of other experiments that have tried to establish links

0:29:03.200 --> 0:29:07.640
<v Speaker 3>of this sort between early pretend play and specifically with

0:29:07.760 --> 0:29:10.640
<v Speaker 3>theory of mind, which is heavily involved in social communication

0:29:10.720 --> 0:29:14.520
<v Speaker 3>and understanding. So there's some big overlap there, and Lillard

0:29:14.560 --> 0:29:18.520
<v Speaker 3>proposes a possible causal model that goes something like this,

0:29:18.840 --> 0:29:24.360
<v Speaker 3>So early pretend play sensitizes a child to social signals.

0:29:24.400 --> 0:29:26.800
<v Speaker 3>This is the meta communication that goes on when you're

0:29:26.840 --> 0:29:30.880
<v Speaker 3>playing pretend, all the little eye contact cues and the

0:29:30.960 --> 0:29:33.720
<v Speaker 3>changes of voice and the little things you do to

0:29:33.840 --> 0:29:36.360
<v Speaker 3>let the child know that the banana is not really

0:29:36.400 --> 0:29:38.720
<v Speaker 3>a phone. We're playing a game right now. This is

0:29:38.760 --> 0:29:43.959
<v Speaker 3>a separate reality, and so that makes the child sensitive

0:29:44.040 --> 0:29:48.280
<v Speaker 3>to those social signals. This sensitivity, in part helps a

0:29:48.400 --> 0:29:54.720
<v Speaker 3>child develop the capacity for symbolic understanding, Lillard writes, quote,

0:29:55.040 --> 0:29:59.520
<v Speaker 3>Yet this sensitivity alone would not develop the symbolic function. Rather,

0:29:59.680 --> 0:30:02.560
<v Speaker 3>it is the sensitivity in concert with the fact that

0:30:02.600 --> 0:30:06.720
<v Speaker 3>the parent is presenting reality at two levels to the child,

0:30:07.080 --> 0:30:10.560
<v Speaker 3>where one level serves as a symbol for the other. Thus,

0:30:10.640 --> 0:30:14.560
<v Speaker 3>both parental pretend and the child's sensitivity to social signals

0:30:14.880 --> 0:30:19.160
<v Speaker 3>are postulated to undergird the symbolic function, which is also

0:30:19.240 --> 0:30:24.160
<v Speaker 3>used in language and the interpretation of other symbols. And then, finally,

0:30:24.200 --> 0:30:28.240
<v Speaker 3>after this, the symbolic understanding in turn helps the child

0:30:28.360 --> 0:30:32.920
<v Speaker 3>with theory of mind. Now, how would symbolic understanding lead

0:30:32.960 --> 0:30:36.920
<v Speaker 3>to theory of mind? Lillard says that it is crucially

0:30:37.120 --> 0:30:41.520
<v Speaker 3>quote learning that reality can exist at two levels, the

0:30:41.680 --> 0:30:45.120
<v Speaker 3>nip and the bite, the banana and the telephone, the

0:30:45.160 --> 0:30:48.800
<v Speaker 3>false belief and the reality. So this ties into the

0:30:48.920 --> 0:30:52.400
<v Speaker 3>theory of mind. So like the symbolic understanding that there

0:30:52.400 --> 0:30:55.560
<v Speaker 3>can be two different realities, like what I know to

0:30:55.640 --> 0:31:00.640
<v Speaker 3>be true versus what I know sally incorrectly thinks to

0:31:00.720 --> 0:31:04.000
<v Speaker 3>be true. It is this ability to think at multiple

0:31:04.120 --> 0:31:08.880
<v Speaker 3>levels of reality that leads to typical adult social functioning.

0:31:09.360 --> 0:31:13.920
<v Speaker 3>In large part through theory of mind. So Lillard writes

0:31:13.960 --> 0:31:17.000
<v Speaker 3>about this in the end quote there might be continuity

0:31:17.040 --> 0:31:20.840
<v Speaker 3>then with pretend play and play fighting. In both cases,

0:31:21.000 --> 0:31:25.760
<v Speaker 3>metacommunication is key and fundamental in humans. This ties into

0:31:25.800 --> 0:31:29.640
<v Speaker 3>a symbolic capacity that is not well developed in other species,

0:31:29.960 --> 0:31:33.560
<v Speaker 3>but a common root is reading social signals indicating that

0:31:33.640 --> 0:31:37.840
<v Speaker 3>a behavior is to be interpreted at other than face value.

0:31:39.320 --> 0:31:41.520
<v Speaker 3>And then finally, also Lillard goes on to have another

0:31:41.560 --> 0:31:46.240
<v Speaker 3>section about the connection between between pretend play and self

0:31:46.280 --> 0:31:50.000
<v Speaker 3>regulation or inhibitory control, like we already talked about, and

0:31:50.200 --> 0:31:53.840
<v Speaker 3>that one also seems plausible too, because the very act

0:31:53.880 --> 0:31:57.560
<v Speaker 3>of pretending is in a way an exercise in holding back.

0:31:57.640 --> 0:32:01.200
<v Speaker 3>It could be in play fighting holding back aggression. But

0:32:01.560 --> 0:32:04.480
<v Speaker 3>in the case of just say like playing pretend, playing

0:32:04.480 --> 0:32:07.400
<v Speaker 3>in a play kitchen, or playing banana as telephone, you

0:32:07.440 --> 0:32:11.360
<v Speaker 3>are holding back the exercise of what you know to

0:32:11.440 --> 0:32:14.720
<v Speaker 3>be really the case, it's an inhibition type of impulse

0:32:15.080 --> 0:32:17.640
<v Speaker 3>that allows you to say, actually, I will not act

0:32:17.680 --> 0:32:20.000
<v Speaker 3>on what I know to be reality. Instead, I will

0:32:20.040 --> 0:32:24.640
<v Speaker 3>act on this secondary pretense scenario. So anyway, I found

0:32:24.640 --> 0:32:28.719
<v Speaker 3>this model very interesting, and especially in the way that

0:32:29.200 --> 0:32:32.800
<v Speaker 3>I don't know it highlights just how convoluted human development

0:32:32.880 --> 0:32:35.160
<v Speaker 3>can be. Like if Lillard is correct about this, say

0:32:35.960 --> 0:32:39.800
<v Speaker 3>about the pathway that sort of starts with a child

0:32:39.840 --> 0:32:43.640
<v Speaker 3>being sensitized to social signals and metacommunication through pretend to

0:32:43.640 --> 0:32:46.240
<v Speaker 3>play in the same way that animals probably are through

0:32:46.280 --> 0:32:49.400
<v Speaker 3>play fighting, and that's somehow leading to like all of

0:32:49.440 --> 0:32:54.840
<v Speaker 3>these complicated adult capacities through the mediating capacity of symbolic understanding.

0:32:56.160 --> 0:33:00.160
<v Speaker 3>I don't know, it's fascinating to imagine just how unpredictable

0:33:00.480 --> 0:33:03.600
<v Speaker 3>the development process of a human mind could be. That

0:33:03.600 --> 0:33:07.400
<v Speaker 3>you wouldn't necessarily make that connection without having all of

0:33:07.440 --> 0:33:10.680
<v Speaker 3>these pieces of evidence to establish in between make that

0:33:10.720 --> 0:33:14.480
<v Speaker 3>connection between you know, like reading gestures and body language

0:33:14.520 --> 0:33:19.200
<v Speaker 3>in pretend play to the final conclusion of adult socialization

0:33:19.360 --> 0:33:20.280
<v Speaker 3>and theory of mind.

0:33:30.280 --> 0:33:33.520
<v Speaker 2>I think one of the really interesting takes on pretend

0:33:33.560 --> 0:33:36.000
<v Speaker 2>play in creativity in general that we've been looking at

0:33:36.040 --> 0:33:38.000
<v Speaker 2>is this idea that you know, you can sort of

0:33:38.080 --> 0:33:41.480
<v Speaker 2>look at it as this scaffolding that is used to

0:33:41.560 --> 0:33:46.600
<v Speaker 2>sort of construct the mature psyche, you know, and our

0:33:46.680 --> 0:33:52.480
<v Speaker 2>sort of semi completed adult forms. And yet the other

0:33:52.520 --> 0:33:56.080
<v Speaker 2>interesting side of the coin is to look at ways

0:33:56.560 --> 0:34:01.160
<v Speaker 2>in which we continue to engage in creative endeavors, including

0:34:01.200 --> 0:34:05.520
<v Speaker 2>pretend play, and the possibility that okay, all that scaffolding

0:34:05.680 --> 0:34:10.360
<v Speaker 2>is still there and perhaps it can be reutilized to

0:34:10.400 --> 0:34:15.080
<v Speaker 2>help us with problems and challenges that we face as adults.

0:34:16.280 --> 0:34:20.160
<v Speaker 2>And so yeah, I talked more broadly about creativity in

0:34:20.160 --> 0:34:24.759
<v Speaker 2>general and pretend play specifically in adults. In the last episode,

0:34:25.360 --> 0:34:28.520
<v Speaker 2>we touched on some examples such as Dungeons and Dragons,

0:34:28.680 --> 0:34:32.880
<v Speaker 2>a tabletop role playing game. I imagine most people listening to

0:34:32.920 --> 0:34:35.279
<v Speaker 2>the show know a Dungeons and Dragons, says, we didn't

0:34:35.320 --> 0:34:39.600
<v Speaker 2>stop to describe it, but of course it is pen

0:34:39.680 --> 0:34:43.759
<v Speaker 2>and paper, sometimes miniatures, whole books of rules, and of

0:34:43.760 --> 0:34:46.239
<v Speaker 2>course sometimes it has digital components. But at the core,

0:34:46.719 --> 0:34:50.280
<v Speaker 2>it is a scenario that's taking place within the heads

0:34:50.320 --> 0:34:54.680
<v Speaker 2>of the players. It is a shared storytelling creative endeavor.

0:34:55.600 --> 0:34:58.120
<v Speaker 2>And so that is frequently brought up as an example

0:34:58.280 --> 0:35:01.120
<v Speaker 2>of pretend play that you know, kids engage in and

0:35:01.320 --> 0:35:04.759
<v Speaker 2>adolescents engage in, but also plenty of adults do. We

0:35:04.840 --> 0:35:07.600
<v Speaker 2>also have the example of improv theater as a big

0:35:07.640 --> 0:35:10.640
<v Speaker 2>one that has lines up with pretend play in a

0:35:10.680 --> 0:35:13.920
<v Speaker 2>number of ways. And then we also touched briefly on

0:35:14.520 --> 0:35:19.840
<v Speaker 2>Graveside conversations with the Debt as an example of adult

0:35:20.120 --> 0:35:24.520
<v Speaker 2>humans speaking to an imagined mind state, something that you

0:35:24.520 --> 0:35:28.960
<v Speaker 2>could almost compare to speaking with an imaginary friend, you know,

0:35:29.239 --> 0:35:33.120
<v Speaker 2>with all the caveats that we discussed in that last episode.

0:35:33.280 --> 0:35:35.880
<v Speaker 2>So today I wanted to follow up on all of

0:35:35.880 --> 0:35:38.720
<v Speaker 2>that with a look at some additional literature that gets

0:35:38.960 --> 0:35:40.880
<v Speaker 2>a little more in depth about the benefits of adult

0:35:40.880 --> 0:35:43.799
<v Speaker 2>pretend play. But I do want to drive home again

0:35:43.840 --> 0:35:46.439
<v Speaker 2>that this is certainly an example where there's so much

0:35:46.480 --> 0:35:53.160
<v Speaker 2>material out there and our understanding of how imagination, play

0:35:53.239 --> 0:35:57.719
<v Speaker 2>and creativity factors into adult lives and what the benefits are.

0:35:57.760 --> 0:36:00.399
<v Speaker 2>You know, this continues to develop. So I've hand really

0:36:00.400 --> 0:36:06.280
<v Speaker 2>helpful article by Alyssa Mwison titled Do grown Ups Pretend Play?

0:36:07.239 --> 0:36:10.839
<v Speaker 2>Or I'm sorry, do grown Ups Play Pretend? And her

0:36:10.880 --> 0:36:15.160
<v Speaker 2>primary focus professionally is on mental childhood development, but in

0:36:15.200 --> 0:36:19.360
<v Speaker 2>this she also lines things up with the adult experience

0:36:19.440 --> 0:36:24.120
<v Speaker 2>of engaging and pretend play, and she explores different imaginative

0:36:24.160 --> 0:36:27.160
<v Speaker 2>adult activities that arguably match up with the idea of

0:36:27.200 --> 0:36:29.480
<v Speaker 2>pretend play. She brings up D and D of course,

0:36:30.000 --> 0:36:33.640
<v Speaker 2>she brings up cosplay, which we briefly touched on I think,

0:36:33.680 --> 0:36:36.480
<v Speaker 2>you know, the idea that you might dress up as

0:36:36.560 --> 0:36:40.879
<v Speaker 2>a favorite fictional character and to certain extents act as

0:36:41.000 --> 0:36:44.600
<v Speaker 2>that fictional character at say some sort of a convention.

0:36:45.320 --> 0:36:49.400
<v Speaker 2>She brings up LARPing live action role playing, which also

0:36:49.719 --> 0:36:52.880
<v Speaker 2>crosses over into the realm of play fighting of course,

0:36:53.560 --> 0:36:58.680
<v Speaker 2>you know, on stage fighting and so forth, which is interesting.

0:36:58.719 --> 0:37:01.759
<v Speaker 2>You're not actually trying to kill some with a LARPing sword.

0:37:01.760 --> 0:37:02.319
<v Speaker 3>Hopefully not.

0:37:02.480 --> 0:37:05.000
<v Speaker 2>Yeah, and then she also brought up an example that

0:37:05.200 --> 0:37:07.279
<v Speaker 2>I hadn't really thought of that much in terms of

0:37:07.640 --> 0:37:13.440
<v Speaker 2>pretend play, but engagement with fictional media, especially books, but

0:37:13.520 --> 0:37:17.000
<v Speaker 2>also movies and TV shows. And I think that this

0:37:17.040 --> 0:37:19.240
<v Speaker 2>is something that might not line up with every definition

0:37:19.280 --> 0:37:21.799
<v Speaker 2>of pretend play, but it's food for thought, especially so

0:37:21.880 --> 0:37:25.279
<v Speaker 2>far as written fiction goes. I was thinking about this,

0:37:25.640 --> 0:37:28.440
<v Speaker 2>and we might we might throw non visual works in

0:37:28.480 --> 0:37:32.279
<v Speaker 2>there as well, audio books, podcasts certainly, and also I

0:37:32.320 --> 0:37:36.120
<v Speaker 2>think low five visual storytelling as well. Like I'm thinking,

0:37:36.800 --> 0:37:39.920
<v Speaker 2>you know that sweet spot of like retro role playing

0:37:39.960 --> 0:37:42.759
<v Speaker 2>games where the visuals on the screen gave you a

0:37:42.800 --> 0:37:45.279
<v Speaker 2>representation of what things were and where they are, But

0:37:45.320 --> 0:37:48.440
<v Speaker 2>then you might have this additional mental image and a

0:37:48.520 --> 0:37:51.239
<v Speaker 2>mental version of what was happening. That's more akin to say,

0:37:51.400 --> 0:37:52.400
<v Speaker 2>engaging with a book.

0:37:53.320 --> 0:37:56.960
<v Speaker 3>And do you make this distinction, because something like engaging

0:37:56.960 --> 0:38:00.839
<v Speaker 3>with a book is more of a participatory imaginative than say,

0:38:00.880 --> 0:38:03.160
<v Speaker 3>passive media like watching a TV show.

0:38:03.520 --> 0:38:06.319
<v Speaker 2>By and large, But at the same level, I have

0:38:06.360 --> 0:38:08.560
<v Speaker 2>to acknowledge that even like it's easy to say be

0:38:08.600 --> 0:38:11.680
<v Speaker 2>dismissive of cinema and say, well, the movie is giving

0:38:11.680 --> 0:38:14.360
<v Speaker 2>you everything you need, is giving you the visuals, the sound,

0:38:15.239 --> 0:38:17.600
<v Speaker 2>and then it doesn't leave anything to the imagination. But

0:38:17.640 --> 0:38:20.560
<v Speaker 2>certainly not every scene is laying it all out there.

0:38:20.560 --> 0:38:23.240
<v Speaker 2>There are plenty of moments where we as the viewer

0:38:23.360 --> 0:38:27.560
<v Speaker 2>have to imagine what is being seen by the protagonist.

0:38:27.800 --> 0:38:31.080
<v Speaker 2>We imagine the monster that's been glimpsed, or we imagine

0:38:31.080 --> 0:38:33.760
<v Speaker 2>the monster in full than when we only see its feet,

0:38:34.400 --> 0:38:37.640
<v Speaker 2>or you know, various scenes where characters are describing something

0:38:38.200 --> 0:38:41.800
<v Speaker 2>and we don't see it. They're just telling a story.

0:38:41.800 --> 0:38:46.080
<v Speaker 2>And it's essentially more of an odd audio based storytelling situation.

0:38:47.560 --> 0:38:50.640
<v Speaker 2>But certainly with a work of written fiction, you know, okay,

0:38:50.680 --> 0:38:53.239
<v Speaker 2>it's going to tell its story, it's going to describe

0:38:53.280 --> 0:38:55.880
<v Speaker 2>thoughts and action and it's going to guide you along

0:38:55.920 --> 0:38:59.239
<v Speaker 2>its course, it's going to plant its seeds. But the

0:38:59.280 --> 0:39:01.960
<v Speaker 2>author some times from beyond the graves, of course, you know,

0:39:02.880 --> 0:39:06.360
<v Speaker 2>thinking thoughts directly into your active mind, or not directly

0:39:06.480 --> 0:39:11.160
<v Speaker 2>via the book, but but you know, reading the social work,

0:39:11.200 --> 0:39:13.560
<v Speaker 2>it's you know, it's not an entirely devoid of personal

0:39:13.600 --> 0:39:18.799
<v Speaker 2>imagination or even imaginative choices. I imagine many of you

0:39:18.840 --> 0:39:22.360
<v Speaker 2>have this, have had this experience where you make a

0:39:22.960 --> 0:39:26.200
<v Speaker 2>like a mental note of what a character looks like,

0:39:26.360 --> 0:39:29.279
<v Speaker 2>or you even decide how you will cast them in

0:39:29.360 --> 0:39:32.399
<v Speaker 2>your imagination. I used to do this a lot when

0:39:32.440 --> 0:39:35.719
<v Speaker 2>I was a younger reader, and I'll occasionally lean on

0:39:35.760 --> 0:39:39.719
<v Speaker 2>this technique if I'm reading something that has a confusing

0:39:39.800 --> 0:39:42.719
<v Speaker 2>cast of characters, or I'm having a trouble keeping track

0:39:42.760 --> 0:39:45.000
<v Speaker 2>of everyone. I'm like, Okay, what's this person's last name?

0:39:45.280 --> 0:39:47.680
<v Speaker 2>And then I'm like, okay, you're Harry Dane. Stand. We're

0:39:47.680 --> 0:39:50.000
<v Speaker 2>just gonna we're just gonna try and streamline this a

0:39:50.040 --> 0:39:54.520
<v Speaker 2>little bit. And I imagine various folks engage in varying

0:39:54.600 --> 0:39:58.800
<v Speaker 2>degrees of this, though you know it's not always the case.

0:39:59.360 --> 0:40:03.040
<v Speaker 2>But even if you don't actively decide how you're going

0:40:03.040 --> 0:40:07.360
<v Speaker 2>to interpret something visually. When you're reading, your mind is

0:40:07.400 --> 0:40:10.520
<v Speaker 2>still visualizing the information that has been conveyed to you,

0:40:11.560 --> 0:40:15.040
<v Speaker 2>like via your own mind. You know, it's working off

0:40:15.960 --> 0:40:20.440
<v Speaker 2>the various models, the various people you've seen and encountered.

0:40:20.760 --> 0:40:25.359
<v Speaker 2>So there is still this like creative endeavor to that's

0:40:25.480 --> 0:40:29.360
<v Speaker 2>entirely a product of your mind as a particular story

0:40:29.400 --> 0:40:33.400
<v Speaker 2>is coming to life in your head. Now, some of

0:40:33.400 --> 0:40:36.200
<v Speaker 2>that is me just spitballing there. But she argues that

0:40:36.200 --> 0:40:39.520
<v Speaker 2>adults engage in such activities as these for many different reasons,

0:40:40.000 --> 0:40:43.160
<v Speaker 2>and that these reasons generally line up with some of

0:40:43.160 --> 0:40:46.920
<v Speaker 2>the reasons that children engage in imagination play. To learn,

0:40:47.239 --> 0:40:51.799
<v Speaker 2>to have the experience of traveling somewhere, to to have

0:40:51.880 --> 0:40:56.120
<v Speaker 2>various experiences you wouldn't have in your normal life, to laugh.

0:40:56.440 --> 0:40:59.879
<v Speaker 2>And then all of these experiences can be empathetic, they

0:40:59.880 --> 0:41:03.960
<v Speaker 2>can be personally empowering, and much more. Now, Mewison mentions

0:41:04.120 --> 0:41:09.160
<v Speaker 2>the importance of mastery and psychological distance in play for children.

0:41:09.280 --> 0:41:11.680
<v Speaker 2>We see both of these. Of course, children tend to

0:41:11.719 --> 0:41:15.080
<v Speaker 2>pretend to be older, more experienced individuals when they're playing.

0:41:15.840 --> 0:41:20.840
<v Speaker 2>There are, of course counterexamples to that, but she refers

0:41:20.880 --> 0:41:24.080
<v Speaker 2>to something that has been dubbed the Batman effect, where

0:41:24.160 --> 0:41:27.400
<v Speaker 2>children will stick to a task longer if they're pretending

0:41:27.680 --> 0:41:31.440
<v Speaker 2>to be someone else, generally someone with a greater degree

0:41:31.440 --> 0:41:35.759
<v Speaker 2>of mastery. In this term, the Batman effect stems from

0:41:36.000 --> 0:41:38.759
<v Speaker 2>a twenty seventeen study by White at All published in

0:41:38.840 --> 0:41:44.000
<v Speaker 2>Child Development Batman Effect Improving perseverance in young children. You

0:41:44.040 --> 0:41:48.799
<v Speaker 2>can probably guess what this consists of. I've heard of this, yeah, yeah,

0:41:48.920 --> 0:41:50.799
<v Speaker 2>So they in this study, they looked at six and

0:41:50.840 --> 0:41:54.640
<v Speaker 2>four year olds and they found, quote, children who impersonated

0:41:54.719 --> 0:41:58.280
<v Speaker 2>an exemplar other, in this case, a character such as Batman,

0:41:58.719 --> 0:42:01.879
<v Speaker 2>spent the most time I'm working, followed by children who

0:42:01.920 --> 0:42:04.560
<v Speaker 2>took a third person perspective of the cell on the self,

0:42:04.920 --> 0:42:09.760
<v Speaker 2>or finally a first person perspective, so, you know, creating

0:42:09.760 --> 0:42:15.960
<v Speaker 2>that psychological distance and embodying like a person of mastery,

0:42:17.200 --> 0:42:19.280
<v Speaker 2>the extreme of course being Batman.

0:42:19.640 --> 0:42:23.120
<v Speaker 3>Well, yeah, this makes me think about the nature of

0:42:23.320 --> 0:42:27.480
<v Speaker 3>enjoyment in an activity and flow states and such. You know,

0:42:27.800 --> 0:42:31.000
<v Speaker 3>it's often said that you are essentially in a flow

0:42:31.080 --> 0:42:35.839
<v Speaker 3>state when you are engaging in an activity that's sort

0:42:35.840 --> 0:42:41.120
<v Speaker 3>of maximally challenging but also still within your ability to

0:42:41.200 --> 0:42:44.000
<v Speaker 3>do and you're getting consistent feedback that you are doing

0:42:44.040 --> 0:42:47.960
<v Speaker 3>it correctly. So like an activity that's too easy can

0:42:48.000 --> 0:42:51.080
<v Speaker 3>be boring, an activity that is too hard if you

0:42:51.080 --> 0:42:53.120
<v Speaker 3>feel like you're just failing at it over and over,

0:42:53.239 --> 0:42:56.880
<v Speaker 3>it becomes frustrating. And so I wonder if assuming a

0:42:56.960 --> 0:43:03.799
<v Speaker 3>kind of exemplar character mind state allows you to simulate

0:43:03.880 --> 0:43:07.480
<v Speaker 3>flow even if, like for you, this activity you neither

0:43:07.600 --> 0:43:10.080
<v Speaker 3>you maybe don't have actual mastery of it. You are

0:43:10.120 --> 0:43:12.759
<v Speaker 3>continually making mistakes, but it's part of the game to

0:43:12.880 --> 0:43:15.480
<v Speaker 3>just not acknowledge that and say like, I'm doing it

0:43:15.520 --> 0:43:19.160
<v Speaker 3>perfectly or maybe around the maybe on the other side,

0:43:19.560 --> 0:43:22.279
<v Speaker 3>maybe it makes it more exciting and activity that would

0:43:22.320 --> 0:43:24.719
<v Speaker 3>otherwise be so easy that it's boring.

0:43:25.280 --> 0:43:27.920
<v Speaker 2>Yeah, Or I mean you're just you're becoming Batman. You're

0:43:27.960 --> 0:43:30.600
<v Speaker 2>taking on grim determination to finish a task. Like would

0:43:30.600 --> 0:43:35.239
<v Speaker 2>Batman stop sweeping the floor halfway through? No, he would

0:43:35.280 --> 0:43:38.920
<v Speaker 2>buckle down and finish the job, because that's how Batman

0:43:39.000 --> 0:43:40.040
<v Speaker 2>does it. Well.

0:43:40.080 --> 0:43:42.080
<v Speaker 3>You never see Batman finish the job, do you, It

0:43:42.120 --> 0:43:46.239
<v Speaker 3>always cuts away right after the most exciting part. Do

0:43:46.280 --> 0:43:48.520
<v Speaker 3>you see Batman, like making the hand off to the

0:43:48.560 --> 0:43:51.759
<v Speaker 3>police and all that. I guess occasionally he often leaves

0:43:51.800 --> 0:43:55.160
<v Speaker 3>them right hanging by battering in an alley. Yeah, so

0:43:55.600 --> 0:43:58.040
<v Speaker 3>interesting to think about, and I would, of course, I

0:43:58.040 --> 0:44:00.319
<v Speaker 3>would be game to hear any examples of the man

0:44:00.400 --> 0:44:04.440
<v Speaker 3>effect from anyone's lives or the lives of children in

0:44:04.480 --> 0:44:09.360
<v Speaker 3>someone's life. But the question then emerges, do adults do

0:44:09.440 --> 0:44:10.040
<v Speaker 3>this as well?

0:44:10.400 --> 0:44:15.720
<v Speaker 2>Well? Muissen mentions an acquaintance of hers who she says

0:44:15.800 --> 0:44:19.920
<v Speaker 2>channeled something she's dubbing the Buffy effect. So this individual

0:44:21.080 --> 0:44:25.200
<v Speaker 2>was preparing for childbirth and channeled Buffy the vampire Slayer

0:44:25.280 --> 0:44:28.000
<v Speaker 2>just sort of find the like I don't know, to

0:44:28.040 --> 0:44:32.040
<v Speaker 2>get in the zone for what was to come. So

0:44:32.480 --> 0:44:35.239
<v Speaker 2>that's and that's that's interesting, And I would love to

0:44:35.280 --> 0:44:37.240
<v Speaker 2>hear from any listeners out there who have some version

0:44:37.280 --> 0:44:41.880
<v Speaker 2>of this, Like if you ever embodied or you know,

0:44:42.120 --> 0:44:45.600
<v Speaker 2>pretend played to some extent a fictional character in order

0:44:45.640 --> 0:44:48.560
<v Speaker 2>to make it through some you know, big or small

0:44:48.960 --> 0:44:51.120
<v Speaker 2>trial in your life. Maybe it's sweeping the floors, maybe

0:44:51.160 --> 0:44:56.319
<v Speaker 2>it's childbirth, very different endeavors, but you can imagine where. Yeah,

0:44:56.360 --> 0:44:58.320
<v Speaker 2>you can sort of like psych yourself into it a

0:44:58.360 --> 0:45:00.400
<v Speaker 2>little bit. Like it reminds me of this is a

0:45:00.480 --> 0:45:02.840
<v Speaker 2>much I guess more casual version of this, But you

0:45:02.880 --> 0:45:06.480
<v Speaker 2>hear people talking about like engaging in beast mode or something,

0:45:06.800 --> 0:45:09.759
<v Speaker 2>you know, to sort of like beast through a particular

0:45:09.880 --> 0:45:13.000
<v Speaker 2>challenge or a workout, et cetera. And you know, I mean,

0:45:13.040 --> 0:45:16.799
<v Speaker 2>on one level, yeah, it's just a saying, but is it, Like,

0:45:16.920 --> 0:45:20.239
<v Speaker 2>you know, language is powerful, and if we're engaging in

0:45:20.320 --> 0:45:23.120
<v Speaker 2>beast mode, are on on some level? Are we engaging

0:45:23.120 --> 0:45:27.920
<v Speaker 2>in some sort of imaginablecanthropy, some imagined a hulking out

0:45:28.400 --> 0:45:30.440
<v Speaker 2>in order to complete a task.

0:45:30.680 --> 0:45:34.880
<v Speaker 3>I can speak from personal experience that sometimes a difficult

0:45:34.920 --> 0:45:37.879
<v Speaker 3>like workout, physical workout task is easier if you make

0:45:37.920 --> 0:45:40.160
<v Speaker 3>the kinds of noises that are not polite to make

0:45:40.160 --> 0:45:42.360
<v Speaker 3>at the gym, you know, if you like really roar

0:45:42.560 --> 0:45:45.480
<v Speaker 3>or grunt. I mean, I understand why gims would prefer

0:45:45.560 --> 0:45:48.080
<v Speaker 3>people not do that, but it kind of does help.

0:45:48.680 --> 0:45:51.080
<v Speaker 2>I kind of forgot that there's like a no grunting,

0:45:51.080 --> 0:45:52.800
<v Speaker 2>no sound effects rule in some gems.

0:45:53.560 --> 0:45:55.120
<v Speaker 3>I don't know if they all have that, but yeah,

0:45:55.360 --> 0:45:57.680
<v Speaker 3>I think someplace they're like, please please don't scream at

0:45:57.719 --> 0:46:00.279
<v Speaker 3>your you know, the person on the machine next to you.

0:46:01.160 --> 0:46:03.200
<v Speaker 3>But no, I think it does kind of help and

0:46:03.239 --> 0:46:05.600
<v Speaker 3>I wonder, I don't know, maybe there's a totally different

0:46:05.640 --> 0:46:07.840
<v Speaker 3>mechanism at play there, but one could see how it

0:46:08.239 --> 0:46:11.520
<v Speaker 3>could also just be part of like imagining yourself in

0:46:11.680 --> 0:46:15.239
<v Speaker 3>some more dramatic kind of scenario than you actually are.

0:46:15.520 --> 0:46:17.480
<v Speaker 3>Like you're not just doing a workout, you are, you know,

0:46:17.520 --> 0:46:22.480
<v Speaker 3>you're crossing some incredible hurdle in some kind of dramatic scenario.

0:46:22.920 --> 0:46:26.760
<v Speaker 2>Well, even if you are not like on any level,

0:46:27.000 --> 0:46:30.120
<v Speaker 2>pretend playing that you were a beast during your workout,

0:46:30.280 --> 0:46:33.600
<v Speaker 2>you still might be entering into like a slightly different

0:46:33.640 --> 0:46:36.759
<v Speaker 2>mindset and a slightly different version of yourself, you know,

0:46:36.880 --> 0:46:39.960
<v Speaker 2>like like and you're not just gym now your workout gym,

0:46:40.680 --> 0:46:43.759
<v Speaker 2>you know, or workout Jane or whatever the case may be,

0:46:45.120 --> 0:46:47.080
<v Speaker 2>you know, And I think that makes a lot of sense.

0:46:47.120 --> 0:46:50.040
<v Speaker 2>You know, we we often think of a cohesive self,

0:46:50.520 --> 0:46:54.960
<v Speaker 2>but we know that under close scrutiny, this doesn't you know,

0:46:55.000 --> 0:46:58.400
<v Speaker 2>completely pan out. We the person we are changes over time,

0:46:58.520 --> 0:47:01.279
<v Speaker 2>and there are often sort of like different versions of

0:47:01.320 --> 0:47:05.680
<v Speaker 2>ourselves depending on what our environment is, you know, what

0:47:06.120 --> 0:47:09.120
<v Speaker 2>time of day it is and so forth. So you know,

0:47:09.160 --> 0:47:11.799
<v Speaker 2>you may have a you know, a workout self that is,

0:47:11.960 --> 0:47:13.200
<v Speaker 2>you know, a little bit to the left or the

0:47:13.320 --> 0:47:16.320
<v Speaker 2>right of who you were before you came into that workout,

0:47:16.360 --> 0:47:18.799
<v Speaker 2>and then hopefully the person after the workout has yet

0:47:19.040 --> 0:47:22.520
<v Speaker 2>another person that is maybe a couple of degrees removed

0:47:22.520 --> 0:47:27.359
<v Speaker 2>from your starting point. Mewison also mentions in passing the

0:47:27.360 --> 0:47:30.320
<v Speaker 2>fake it till You Make it Mantra, I believe she

0:47:30.400 --> 0:47:32.880
<v Speaker 2>kicked off the article sort of bringing this up, you know,

0:47:33.120 --> 0:47:36.480
<v Speaker 2>sort of like, hey, is this imagination play? And I

0:47:36.719 --> 0:47:38.919
<v Speaker 2>think maybe there is something to go on there as well,

0:47:38.960 --> 0:47:41.399
<v Speaker 2>you know, the idea of you know, generally, when people

0:47:41.400 --> 0:47:43.359
<v Speaker 2>were talking about faking it till you make it, they're

0:47:43.440 --> 0:47:46.840
<v Speaker 2>talking about I guess it's it's not unlike the Batman idea.

0:47:46.880 --> 0:47:49.440
<v Speaker 2>It's like you're not saying I'm going to be Batman.

0:47:49.520 --> 0:47:51.520
<v Speaker 2>I'm going to be, you know, the professional that I

0:47:51.560 --> 0:47:54.239
<v Speaker 2>think I should be in this situation, or that the

0:47:54.320 --> 0:47:56.200
<v Speaker 2>parent I think I should be, the spouse I think

0:47:56.239 --> 0:47:58.920
<v Speaker 2>I should be, and so forth, and engaging in that

0:47:59.480 --> 0:48:02.280
<v Speaker 2>until on some level that becomes more than norm.

0:48:02.440 --> 0:48:04.480
<v Speaker 3>Why do I have a negative feeling about that phrase?

0:48:04.520 --> 0:48:08.280
<v Speaker 3>I guess it's perfectly fine in some scenarios. For some reason,

0:48:08.280 --> 0:48:11.600
<v Speaker 3>I'm associating it with like engaging in fraud.

0:48:11.960 --> 0:48:15.280
<v Speaker 2>But yeah, there has been. You do see pushback against

0:48:15.280 --> 0:48:18.960
<v Speaker 2>that turn of phrase, in part because it can be interpreted,

0:48:19.040 --> 0:48:21.840
<v Speaker 2>I think, to sort of discount hard work and actual

0:48:22.440 --> 0:48:27.480
<v Speaker 2>striving for change in your life and the idea that

0:48:27.480 --> 0:48:28.920
<v Speaker 2>I would just fake it and you'll eventually you know,

0:48:29.000 --> 0:48:31.720
<v Speaker 2>it's I don't think we should maybe take it too literally.

0:48:31.920 --> 0:48:36.279
<v Speaker 3>The charitably interpreted version of it is fine. Yeah, that's good. Yeah.

0:48:36.400 --> 0:48:39.080
<v Speaker 2>Now again, the Batman effect entails a certain amount of

0:48:39.080 --> 0:48:41.680
<v Speaker 2>psychological distance, and Muisen also points out that we see

0:48:41.680 --> 0:48:45.320
<v Speaker 2>elements of this in adult imaginative choices. She says that,

0:48:45.360 --> 0:48:47.880
<v Speaker 2>you know, one may wish to engage with media that

0:48:47.960 --> 0:48:52.960
<v Speaker 2>offers subjectively preferred level of psychological distance from whatever your

0:48:53.000 --> 0:48:56.360
<v Speaker 2>reality might be. The example she gives is that of

0:48:56.440 --> 0:48:59.320
<v Speaker 2>parents wishing to avoid media in which children are in danger.

0:49:00.200 --> 0:49:02.520
<v Speaker 2>You know, I can speak to that, you know, especially

0:49:02.560 --> 0:49:06.279
<v Speaker 2>when I had a young child. I was like, what

0:49:06.400 --> 0:49:08.120
<v Speaker 2>was the movie The Babba Duke that came out? I

0:49:08.120 --> 0:49:10.160
<v Speaker 2>think my child was And I was like, no, thank you,

0:49:10.760 --> 0:49:12.759
<v Speaker 2>I'm not going to skip on the Babba Duke. And

0:49:12.800 --> 0:49:14.160
<v Speaker 2>I still haven't gotten around to seeing.

0:49:14.200 --> 0:49:16.480
<v Speaker 3>Oh it's really good, but yeah, I saw it but

0:49:16.640 --> 0:49:21.200
<v Speaker 3>before I had a child, I can absolutely speak to this, Like,

0:49:22.000 --> 0:49:26.720
<v Speaker 3>you know, becoming a parent completely changed what my sensitivities

0:49:26.760 --> 0:49:30.719
<v Speaker 3>in media and storytelling were, and like certain types of

0:49:31.000 --> 0:49:33.560
<v Speaker 3>things that wouldn't really have bothered me before, like children

0:49:33.600 --> 0:49:37.040
<v Speaker 3>in danger, suddenly became very difficult to watch.

0:49:37.640 --> 0:49:40.279
<v Speaker 2>Yeah, an example that came to my mind reading this

0:49:40.400 --> 0:49:42.920
<v Speaker 2>article was, of course, during the height of the pandemic.

0:49:43.200 --> 0:49:45.600
<v Speaker 2>I know, a lot of us maybe chose not to

0:49:45.680 --> 0:49:48.920
<v Speaker 2>watch plague oriented media, you know, like it seemed like

0:49:49.160 --> 0:49:53.799
<v Speaker 2>maybe a time to skip on the zombie apocalypse scenarios

0:49:53.840 --> 0:49:56.759
<v Speaker 2>and so forth. So I think there are different levels

0:49:56.760 --> 0:49:59.600
<v Speaker 2>of this depending on you know, I was subjective, you know,

0:49:59.640 --> 0:50:01.920
<v Speaker 2>whatever going on in your world and more importantly in

0:50:01.960 --> 0:50:03.719
<v Speaker 2>your life, because there could be things going on in

0:50:03.719 --> 0:50:06.239
<v Speaker 2>your world that are just not weighing, particularly on your

0:50:06.360 --> 0:50:09.799
<v Speaker 2>your your psyche, or you're not aware of. And then

0:50:09.920 --> 0:50:13.479
<v Speaker 2>she stresses mastering control in both adult and child models here,

0:50:14.120 --> 0:50:16.759
<v Speaker 2>and I think this is this is pretty straightforward. You know,

0:50:17.000 --> 0:50:20.080
<v Speaker 2>there's so much in our lives as adults that feel

0:50:20.080 --> 0:50:24.120
<v Speaker 2>out of our control, and it may just be objectively

0:50:24.200 --> 0:50:27.480
<v Speaker 2>out of our control, and yet you know, we we

0:50:27.520 --> 0:50:30.680
<v Speaker 2>have these responsibilities and you want to at least have

0:50:30.800 --> 0:50:33.359
<v Speaker 2>this feeling of control, and so you sometimes find it

0:50:34.640 --> 0:50:38.000
<v Speaker 2>in large acts, but often in small acts. And also

0:50:38.080 --> 0:50:40.640
<v Speaker 2>these are the things you can find via involvement in

0:50:40.719 --> 0:50:44.520
<v Speaker 2>various imaginative games. I think many video games fit this

0:50:45.120 --> 0:50:48.439
<v Speaker 2>uh and and I believe that some of the most

0:50:48.440 --> 0:50:52.640
<v Speaker 2>frequent examples, though, concerned tabletop gaming and especially tabletop role

0:50:52.640 --> 0:50:55.880
<v Speaker 2>playing games like Dungeons and Dragons. A hallmark of some

0:50:55.920 --> 0:50:58.719
<v Speaker 2>of these experiences that that i've I've seen discussed in

0:50:58.880 --> 0:51:01.680
<v Speaker 2>past papers of I've read is the idea of too

0:51:01.880 --> 0:51:06.000
<v Speaker 2>of a fixed, small scale universe, you know, I mean

0:51:06.040 --> 0:51:09.600
<v Speaker 2>you think of so many different sandbox video games. There

0:51:09.640 --> 0:51:11.279
<v Speaker 2>is a corner to the screen, like there is a

0:51:11.320 --> 0:51:15.719
<v Speaker 2>limit to the world, and so you feel like you

0:51:15.800 --> 0:51:18.600
<v Speaker 2>can master it in a way that you cannot be

0:51:18.640 --> 0:51:19.719
<v Speaker 2>a master of reality.

0:51:20.200 --> 0:51:24.319
<v Speaker 3>I think that's a really insightful point. When people talk

0:51:24.360 --> 0:51:27.799
<v Speaker 3>about like video games or RPGs being I don't know,

0:51:27.880 --> 0:51:30.520
<v Speaker 3>freeing or empowering in a way, I think they're usually

0:51:30.680 --> 0:51:35.480
<v Speaker 3>focusing on the on the power of the characters played

0:51:35.640 --> 0:51:39.040
<v Speaker 3>like that. It can be an empowerment fantasy in that

0:51:39.160 --> 0:51:42.200
<v Speaker 3>you play as someone who is very capable and can

0:51:42.239 --> 0:51:43.719
<v Speaker 3>do a lot of things, and I'm sure that is

0:51:43.760 --> 0:51:46.560
<v Speaker 3>part of it as well, but I think it's absolutely right.

0:51:47.320 --> 0:51:51.400
<v Speaker 3>Maybe what is maybe even more important is that within

0:51:51.719 --> 0:51:55.680
<v Speaker 3>video games or within a tabletop RPG, you can understand

0:51:55.760 --> 0:51:58.640
<v Speaker 3>what all the rules are. You can, And that's never

0:51:58.800 --> 0:52:02.000
<v Speaker 3>true in reality and in life. We're all living our

0:52:02.000 --> 0:52:06.040
<v Speaker 3>lives playing a massive game, a massive RPG where the

0:52:06.160 --> 0:52:08.600
<v Speaker 3>rules are not clear and maybe they're changing.

0:52:09.160 --> 0:52:11.840
<v Speaker 2>Yeah, And you know, very often in our video games

0:52:11.880 --> 0:52:14.920
<v Speaker 2>and our imaginative media, there is often a very clear

0:52:15.000 --> 0:52:20.160
<v Speaker 2>line between good and evil. You know, it's zombies or

0:52:20.280 --> 0:52:23.319
<v Speaker 2>invading robots or aliens, whatever the case may be. Like,

0:52:23.320 --> 0:52:26.960
<v Speaker 2>there's a clear distinction, at least on some level in

0:52:27.040 --> 0:52:30.680
<v Speaker 2>terms of how you're supposed to tackle adversity and so forth.

0:52:30.840 --> 0:52:33.560
<v Speaker 3>Yeah, there are clear ways to know how to play,

0:52:33.680 --> 0:52:46.000
<v Speaker 3>which in reality it's confusing. Yeah.

0:52:47.040 --> 0:52:51.160
<v Speaker 2>Now, transitioning out of Muissen here, she does mention embassa

0:52:51.239 --> 0:52:54.920
<v Speaker 2>in therapeutic use of tabletop role playing games, and she

0:52:55.000 --> 0:52:58.000
<v Speaker 2>references a twenty twenty two Wired article by Cam Burns

0:52:58.000 --> 0:53:01.960
<v Speaker 2>how therapists you're using tabletop games to help people? And

0:53:02.080 --> 0:53:04.799
<v Speaker 2>I was looking at that article. The author of this

0:53:05.000 --> 0:53:12.160
<v Speaker 2>Burn speaks with clinical psychiatrists Raphael Bokemazo, and in this conversation,

0:53:12.200 --> 0:53:15.480
<v Speaker 2>it's stressed that tabletop role playing games, and I think

0:53:15.520 --> 0:53:19.600
<v Speaker 2>this is important, they're not therapy in and of themselves,

0:53:20.960 --> 0:53:25.560
<v Speaker 2>and you know, you can't, like realistically look at your

0:53:25.560 --> 0:53:27.600
<v Speaker 2>own Dungeons and Dragons night and say I am going

0:53:27.640 --> 0:53:31.920
<v Speaker 2>to therapy. Rather, they can be used as a tool

0:53:32.040 --> 0:53:36.080
<v Speaker 2>in therapy by trained professionals, opening spaces for patients to

0:53:36.160 --> 0:53:41.960
<v Speaker 2>explore things like identity, mortality, gender, social skills, you know,

0:53:42.000 --> 0:53:44.160
<v Speaker 2>overcoming social anxiety and so forth.

0:53:44.440 --> 0:53:46.560
<v Speaker 3>Yeah. Yeah, I think in the same way that like

0:53:46.719 --> 0:53:50.480
<v Speaker 3>sports are not therapy, but could in some scenarios be therapeutic.

0:53:50.880 --> 0:53:53.840
<v Speaker 2>Yeah, and could you tap into some of those therapeutic

0:53:54.680 --> 0:53:57.600
<v Speaker 2>effects on your own most certainly, but not to the

0:53:57.640 --> 0:54:00.680
<v Speaker 2>degree that a trained professional would be able to utilize

0:54:00.680 --> 0:54:05.880
<v Speaker 2>it with specific games with the right patients. Now, there's

0:54:05.920 --> 0:54:08.319
<v Speaker 2>been quite a lot written on the possibility of using

0:54:08.440 --> 0:54:11.560
<v Speaker 2>Dungeons and Dragons and other tabletop role playing games for

0:54:12.440 --> 0:54:15.640
<v Speaker 2>therapeutic purposes. I was looking at one paper from nineteen

0:54:15.719 --> 0:54:19.240
<v Speaker 2>ninety four by Wayne D. Blackmun titled Dungeons and Dragons

0:54:19.320 --> 0:54:22.640
<v Speaker 2>The Use of a fantasy game in the Psychotherapeutic treatment

0:54:22.680 --> 0:54:25.560
<v Speaker 2>of a young adult. The adult in question had schizoid

0:54:25.600 --> 0:54:30.080
<v Speaker 2>personality disorder, and more recently you see this rolled out

0:54:30.120 --> 0:54:33.960
<v Speaker 2>as a tool in specially aimed therapy groups. I found

0:54:33.960 --> 0:54:38.040
<v Speaker 2>a nice article on Johns Hopkins University's website by Claire

0:54:38.080 --> 0:54:41.440
<v Speaker 2>Goudreau titled Tabletop Therapy, How Dungeons and Dragons can improve

0:54:41.440 --> 0:54:44.920
<v Speaker 2>mental health. This was from twenty twenty three, and it

0:54:45.680 --> 0:54:49.239
<v Speaker 2>highlights a session in which players engage. This is not

0:54:49.320 --> 0:54:50.920
<v Speaker 2>like you know, this is just one example of how

0:54:50.960 --> 0:54:53.560
<v Speaker 2>one particular therapy group handles it. But you might have

0:54:53.920 --> 0:54:57.120
<v Speaker 2>sixty to ninety minutes of OURPG time. Granted that's you're

0:54:57.160 --> 0:54:59.320
<v Speaker 2>packing a lot in but I trust the professionals. Here

0:55:00.040 --> 0:55:02.359
<v Speaker 2>followed by a session in which quote the players take

0:55:02.400 --> 0:55:04.640
<v Speaker 2>a step back to reflect on the session and see

0:55:04.640 --> 0:55:07.560
<v Speaker 2>how it relates to their own lives. And I thought

0:55:07.560 --> 0:55:10.880
<v Speaker 2>this was interesting because it reminded me of the pivotal

0:55:10.880 --> 0:55:15.799
<v Speaker 2>integration step in some models for psychedelic assisted therapy, where

0:55:15.800 --> 0:55:18.200
<v Speaker 2>you engage in some sort of an altered state and

0:55:18.239 --> 0:55:21.200
<v Speaker 2>then you top it off with therapists assisted reflection.

0:55:22.719 --> 0:55:24.319
<v Speaker 3>I can see that comparison as well.

0:55:24.400 --> 0:55:30.880
<v Speaker 2>Yeah, so engaging in this imaginative pretend play gaming scenario,

0:55:31.360 --> 0:55:35.279
<v Speaker 2>but then you know, couching it in a discussion of

0:55:35.320 --> 0:55:37.720
<v Speaker 2>how this relates to where you are in your life

0:55:37.760 --> 0:55:40.680
<v Speaker 2>and whatever your current obstacles might be.

0:55:41.640 --> 0:55:41.879
<v Speaker 3>Yeah.

0:55:42.600 --> 0:55:44.239
<v Speaker 2>The other big thing that of course is stressed in

0:55:44.280 --> 0:55:47.200
<v Speaker 2>this article and in other places as well, is the

0:55:47.239 --> 0:55:50.840
<v Speaker 2>goal is also making therapy fun and approachable for target patients.

0:55:50.840 --> 0:55:55.880
<v Speaker 2>So generally that is part of the scenario as well. Like,

0:55:55.960 --> 0:55:59.480
<v Speaker 2>perhaps someone is a little adverse to a therapy environment,

0:55:59.560 --> 0:56:01.719
<v Speaker 2>but it's kind of like a great icebreaker. Well, we're

0:56:01.760 --> 0:56:04.040
<v Speaker 2>not going to just get in and start talking about

0:56:04.040 --> 0:56:07.040
<v Speaker 2>our feelings or our problems. We're going to play a game.

0:56:07.440 --> 0:56:10.360
<v Speaker 2>And you know, you'll find multiple examples of this where,

0:56:10.800 --> 0:56:13.919
<v Speaker 2>if not tabletop roleplaying games, sometimes just other games, card games,

0:56:13.920 --> 0:56:16.000
<v Speaker 2>board games, and so forth are used to sort of,

0:56:16.840 --> 0:56:18.520
<v Speaker 2>you know, break that ice down a little bit.

0:56:18.840 --> 0:56:21.600
<v Speaker 3>I wonder how this interacts with Robert. I'm sure you

0:56:21.640 --> 0:56:25.080
<v Speaker 3>know what I'm talking about. Heret that, at least in

0:56:25.120 --> 0:56:30.840
<v Speaker 3>my limited experience with tabletop RPGs, there is kind of

0:56:30.840 --> 0:56:35.880
<v Speaker 3>a difficulty adults have taking it too seriously, and so

0:56:35.960 --> 0:56:40.239
<v Speaker 3>there's often a lot of joking involved, where like, you know,

0:56:40.280 --> 0:56:42.840
<v Speaker 3>it's not like we're embarrassed to be playing D and D.

0:56:43.040 --> 0:56:45.360
<v Speaker 3>But you know, we all came here for fun. This

0:56:45.440 --> 0:56:47.120
<v Speaker 3>is what we like to do. But there is a

0:56:47.200 --> 0:56:51.280
<v Speaker 3>kind of ongoing like rhythm of being in the game

0:56:51.440 --> 0:56:53.960
<v Speaker 3>and then moments of stepping back and kind of meta

0:56:54.000 --> 0:56:57.160
<v Speaker 3>commentary and joking about what's going on, and then changing

0:56:57.160 --> 0:56:59.440
<v Speaker 3>the subject and talking about something in the real world

0:56:59.480 --> 0:57:01.319
<v Speaker 3>and then getting back to the game. And at least

0:57:01.480 --> 0:57:04.560
<v Speaker 3>that's my experience, And I wonder if that's there's just

0:57:04.840 --> 0:57:07.800
<v Speaker 3>a difficulty I think for a lot of adults to

0:57:08.000 --> 0:57:12.760
<v Speaker 3>engage and sustained pretend to play like a tabletop RPG

0:57:13.040 --> 0:57:14.800
<v Speaker 3>in the way that kids can, where kids can just

0:57:14.920 --> 0:57:17.840
<v Speaker 3>you know, like really take it seriously, stay in character

0:57:17.920 --> 0:57:18.680
<v Speaker 3>and keep it going.

0:57:19.760 --> 0:57:22.440
<v Speaker 2>Yeah, it's been it's been my experience that this is

0:57:22.520 --> 0:57:25.240
<v Speaker 2>very hard to come by with adults, even if you

0:57:25.320 --> 0:57:28.440
<v Speaker 2>kind of like set a goal for yourself. And I

0:57:28.440 --> 0:57:31.000
<v Speaker 2>mean I would also stress just you know, casually, whatever

0:57:31.040 --> 0:57:33.200
<v Speaker 2>your gaming environment is. Yeah, it's like, you know, you

0:57:33.200 --> 0:57:35.640
<v Speaker 2>don't want to force anything on your group. Maybe your

0:57:35.640 --> 0:57:38.520
<v Speaker 2>group is doz lean more serious. Maybe it's a bunch

0:57:38.560 --> 0:57:41.600
<v Speaker 2>of goofballs. If it's a bunch of goofballs, maybe don't

0:57:41.640 --> 0:57:45.520
<v Speaker 2>go for that super grim dark serious scenario unless I

0:57:45.560 --> 0:57:47.600
<v Speaker 2>don't know. I think sometimes you can find a nice

0:57:47.720 --> 0:57:50.720
<v Speaker 2>balance though, where like for instance, when I recently ran

0:57:50.920 --> 0:57:54.360
<v Speaker 2>Alien RPG stuff with my group, we're generally more in

0:57:54.400 --> 0:57:57.400
<v Speaker 2>the goofball spectrum, but for some reason we were able

0:57:57.440 --> 0:58:00.280
<v Speaker 2>to do that one in a way which felt appropriately serious.

0:58:00.680 --> 0:58:03.200
<v Speaker 2>But we still had a lot of like goofball moments

0:58:03.240 --> 0:58:05.400
<v Speaker 2>doing it. And maybe there was a certain maybe to

0:58:05.440 --> 0:58:07.600
<v Speaker 2>a certain extent, it had to do with like distance

0:58:07.640 --> 0:58:09.840
<v Speaker 2>from the character. So it's almost like you were watching

0:58:09.920 --> 0:58:13.120
<v Speaker 2>a movie play out and you could you could have

0:58:13.160 --> 0:58:16.880
<v Speaker 2>these laughs while still engaging in the seriousness of the story.

0:58:16.880 --> 0:58:17.480
<v Speaker 2>I'm not sure.

0:58:18.560 --> 0:58:20.080
<v Speaker 3>I mean to be clear, I wasn't trying to say

0:58:20.080 --> 0:58:21.960
<v Speaker 3>people should do it one way or the other. It's

0:58:22.080 --> 0:58:24.920
<v Speaker 3>just my observation of how these things usually go is

0:58:24.960 --> 0:58:27.720
<v Speaker 3>there's a lot of kind of a lot of stepping

0:58:27.800 --> 0:58:32.760
<v Speaker 3>back and almost almost maybe deliberate kind of signals of

0:58:32.840 --> 0:58:36.120
<v Speaker 3>we're not taking this too seriously. We're joking now, haha.

0:58:36.160 --> 0:58:38.880
<v Speaker 2>Oh yeah, I mean getting it. It's like play fighting, right, yeah,

0:58:38.920 --> 0:58:41.960
<v Speaker 2>because you are often dealing with these themes of mortality

0:58:42.480 --> 0:58:46.400
<v Speaker 2>and failure, you know, rolling a natural one missing your

0:58:46.440 --> 0:58:49.000
<v Speaker 2>shot and then getting run through by a goblin sword

0:58:49.120 --> 0:58:53.120
<v Speaker 2>or something, and you know, and if if you're not careful,

0:58:53.120 --> 0:58:57.960
<v Speaker 2>you can let emotions run run high in those those situations. Now,

0:58:58.200 --> 0:59:01.160
<v Speaker 2>I've seen other studies that highlight the potent for tabletop

0:59:01.240 --> 0:59:04.439
<v Speaker 2>role playing game assisted therapy with autistic adults to help

0:59:04.480 --> 0:59:08.880
<v Speaker 2>with social cognition. Like I say, this is kind of

0:59:08.880 --> 0:59:11.800
<v Speaker 2>a it seems like a rich area of therapy where

0:59:12.000 --> 0:59:16.480
<v Speaker 2>folks are exploring different potential uses. On one hand, play

0:59:16.560 --> 0:59:19.240
<v Speaker 2>seems to certainly be that spoonful of sugar that can

0:59:19.240 --> 0:59:21.280
<v Speaker 2>help the medicine go down, like, you know, let's make

0:59:21.320 --> 0:59:24.000
<v Speaker 2>therapy fun and approachable, but it also seems to have

0:59:24.120 --> 0:59:28.000
<v Speaker 2>unique properties undo itself, you know. Again kind of comparing

0:59:28.040 --> 0:59:30.440
<v Speaker 2>it to some degree with the idea of engaging in

0:59:30.440 --> 0:59:33.840
<v Speaker 2>a psychedelic experience and then having a therapist help you

0:59:33.960 --> 0:59:37.440
<v Speaker 2>integrate that into your life, you know, like, let's use

0:59:37.480 --> 0:59:41.480
<v Speaker 2>some of that mental scaffolding that we talked about earlier

0:59:42.360 --> 0:59:45.080
<v Speaker 2>and see how we can get to where we're looking

0:59:45.120 --> 0:59:50.480
<v Speaker 2>to go with therapy. Now, I mentioned improv as well.

0:59:51.280 --> 0:59:53.440
<v Speaker 2>I looked at a pair of studies from twenty sixteen

0:59:53.440 --> 0:59:57.440
<v Speaker 2>to twenty seventeen. There is a comedic improv Therapy for

0:59:57.480 --> 1:00:01.040
<v Speaker 2>the treatment of Social anxiety disorder by All Journal of

1:00:01.080 --> 1:00:04.480
<v Speaker 2>Creativity and Mental Health, and the other one is theraprov

1:00:04.800 --> 1:00:07.400
<v Speaker 2>a pilot study of improv used to treat anxiety and

1:00:07.400 --> 1:00:10.880
<v Speaker 2>depression Kruger at ALL Journal of Mental Health. The former

1:00:11.000 --> 1:00:14.760
<v Speaker 2>highlighted quote a novel treatment for social anxiety disorder by

1:00:14.840 --> 1:00:20.080
<v Speaker 2>harnessing the following therapeutic elements group, cohesiveness, play, exposure, and humor,

1:00:20.320 --> 1:00:24.080
<v Speaker 2>while the latter article explored a brief therapeutic group based

1:00:24.280 --> 1:00:28.880
<v Speaker 2>intervention model for patients with symptoms of anxiety and depression.

1:00:30.040 --> 1:00:31.520
<v Speaker 2>So I'm not going to get into all the beats

1:00:31.600 --> 1:00:34.800
<v Speaker 2>of these two studies, but both articles expressed a great

1:00:34.840 --> 1:00:37.960
<v Speaker 2>deal of optimism for the use of these techniques alongside

1:00:38.000 --> 1:00:41.800
<v Speaker 2>other treatments, other treatment methods and tools. I've also looked

1:00:41.800 --> 1:00:45.000
<v Speaker 2>at some papers exploring the potential for integrative play therapy

1:00:45.240 --> 1:00:50.840
<v Speaker 2>already used for children more in adult situations, And of

1:00:50.840 --> 1:00:54.200
<v Speaker 2>course there are other play based therapy tools that are

1:00:54.240 --> 1:00:56.160
<v Speaker 2>used with adults as well, including a big one that

1:00:57.400 --> 1:00:59.880
<v Speaker 2>I completely spaced on, and that is art therapy.

1:01:00.400 --> 1:01:03.120
<v Speaker 3>Oh, I'm aware that exists, but I don't really know

1:01:03.160 --> 1:01:03.959
<v Speaker 3>anything about it.

1:01:03.920 --> 1:01:05.760
<v Speaker 2>Right right, I mean, I don't. It's one of those

1:01:05.760 --> 1:01:08.120
<v Speaker 2>things where I'm mostly familiar with it from seeing it

1:01:08.160 --> 1:01:12.480
<v Speaker 2>in passing in films like, for instance, there's a at

1:01:12.480 --> 1:01:14.560
<v Speaker 2>some point in Stranger Things, there's a scene where you

1:01:14.600 --> 1:01:17.880
<v Speaker 2>see people engaging in art therapy, and or you know,

1:01:17.920 --> 1:01:21.400
<v Speaker 2>you'll I've watched TV shows where the characters involved do

1:01:21.480 --> 1:01:24.760
<v Speaker 2>something with art therapy. But yeah, you can definitely loop

1:01:25.080 --> 1:01:28.640
<v Speaker 2>art therapy in with other play based therapy models, you know.

1:01:29.440 --> 1:01:31.440
<v Speaker 2>So perhaps this is a topic we could come back

1:01:31.440 --> 1:01:33.920
<v Speaker 2>to at some point, the idea of play based therapy,

1:01:34.000 --> 1:01:37.240
<v Speaker 2>or more specifically art based therapy, because it's been around

1:01:37.280 --> 1:01:39.880
<v Speaker 2>since in some form or another since at least the

1:01:39.920 --> 1:01:42.760
<v Speaker 2>mid twentieth century, and there have been a number of

1:01:42.760 --> 1:01:46.280
<v Speaker 2>studies regarding how it can be used to help with

1:01:46.360 --> 1:01:50.480
<v Speaker 2>various conditions and ailments. Well, you know, as we close

1:01:50.480 --> 1:01:53.600
<v Speaker 2>out this five episode look at pretend play, I do

1:01:53.600 --> 1:01:57.400
<v Speaker 2>feel like I have a more well rounded understanding of

1:01:57.520 --> 1:01:59.760
<v Speaker 2>what children are doing when they engage in pretend play,

1:02:00.720 --> 1:02:03.720
<v Speaker 2>as well as to the extent to what extent we're

1:02:03.880 --> 1:02:07.560
<v Speaker 2>continuing to engage and pretend play throughout our adult lives.

1:02:07.920 --> 1:02:11.680
<v Speaker 3>Mm hmm. Yeah, it really makes me think about when

1:02:12.680 --> 1:02:16.880
<v Speaker 3>we see these games children play that seem so funny

1:02:16.920 --> 1:02:21.680
<v Speaker 3>that I think sometimes adults are tempted to think of

1:02:21.840 --> 1:02:24.800
<v Speaker 3>play as frivolous, or to think of pretend play as

1:02:24.920 --> 1:02:28.959
<v Speaker 3>especially frivolous. You know, these like silly scenarios that kids

1:02:28.960 --> 1:02:34.000
<v Speaker 3>are making up is something that's just sort of, you know,

1:02:34.240 --> 1:02:37.400
<v Speaker 3>not an important human activity. And it seems to me

1:02:37.520 --> 1:02:40.120
<v Speaker 3>that that couldn't be further from the truth that play

1:02:40.240 --> 1:02:43.560
<v Speaker 3>really is like the important work of childhood, and pretend

1:02:43.600 --> 1:02:45.640
<v Speaker 3>to play is maybe the most important kind.

1:02:46.240 --> 1:02:50.480
<v Speaker 2>Yeah, children's play is serious. It's building the person they

1:02:50.520 --> 1:02:53.920
<v Speaker 2>will become. And then like the scaffolding is just not

1:02:54.040 --> 1:02:57.000
<v Speaker 2>just abandoned after that, you know, like we're still using

1:02:57.080 --> 1:03:00.680
<v Speaker 2>it to varying degrees, sometimes kind of invisibly to ourselves

1:03:01.320 --> 1:03:03.360
<v Speaker 2>as we go through our daily life as adults.

1:03:03.720 --> 1:03:05.960
<v Speaker 3>Yeah, play is building minds.

1:03:06.640 --> 1:03:08.200
<v Speaker 2>There you go, that would look great on a bumper

1:03:08.200 --> 1:03:10.120
<v Speaker 2>sticker T shirt what have you.

1:03:10.960 --> 1:03:12.480
<v Speaker 3>But all right, I guess that does do it for

1:03:12.520 --> 1:03:13.600
<v Speaker 3>the series for now.

1:03:14.080 --> 1:03:16.520
<v Speaker 2>That's right. Again, we'd love to hear from everyone out there.

1:03:16.560 --> 1:03:19.200
<v Speaker 2>We're getting some great feedback from listeners. I'm sure we're

1:03:19.200 --> 1:03:20.760
<v Speaker 2>going to have a listener mail in the very near

1:03:20.800 --> 1:03:22.600
<v Speaker 2>future where we begin to roll through some of this

1:03:22.720 --> 1:03:27.320
<v Speaker 2>examples of imaginary friends and paracosms and so forth. So yeah,

1:03:27.400 --> 1:03:30.520
<v Speaker 2>right in. We'd love to hear your thoughts on all

1:03:30.560 --> 1:03:34.360
<v Speaker 2>of this, either from your own personal experience as a

1:03:34.640 --> 1:03:39.000
<v Speaker 2>pretender or observations you've made of children in your life

1:03:39.080 --> 1:03:41.919
<v Speaker 2>that are pretending or animals. Certainly we already mentioned dogs

1:03:41.920 --> 1:03:44.840
<v Speaker 2>and cats. Write in about your dogs and cats and

1:03:44.880 --> 1:03:50.600
<v Speaker 2>their possible pretend play and play in general. Just a

1:03:50.640 --> 1:03:52.840
<v Speaker 2>reminder that Stuff to Blow Your Mind is primarily a

1:03:52.880 --> 1:03:56.160
<v Speaker 2>science and culture podcast, with core episodes on Tuesdays and Thursdays.

1:03:56.320 --> 1:03:58.240
<v Speaker 2>We do a little short form episode on Wednesdays, and

1:03:58.240 --> 1:04:00.360
<v Speaker 2>on Fridays we set aside most serious concerns to just

1:04:00.360 --> 1:04:03.120
<v Speaker 2>talk about a weird film on Weird House Cinema.

1:04:03.760 --> 1:04:08.120
<v Speaker 3>Huge thanks as always to our regular audio producer JJ Posway,

1:04:08.120 --> 1:04:11.280
<v Speaker 3>but also big thanks today to our guest audio producer

1:04:11.400 --> 1:04:14.520
<v Speaker 3>Andrew Howard. Thanks Andrew H. If you would like to

1:04:14.560 --> 1:04:17.480
<v Speaker 3>get in touch with us with feedback on this episode

1:04:17.560 --> 1:04:19.880
<v Speaker 3>or any other, to suggest a topic for the future,

1:04:19.960 --> 1:04:22.120
<v Speaker 3>or just to say hello, you can email us at

1:04:22.240 --> 1:04:32.760
<v Speaker 3>contact at stuff to Blow your Mind dot com.

1:04:32.920 --> 1:04:35.840
<v Speaker 1>Stuff to Blow Your Mind is production of iHeartRadio. For

1:04:35.960 --> 1:04:38.720
<v Speaker 1>more podcasts from my heart Radio, visit the iHeartRadio app,

1:04:38.880 --> 1:04:55.840
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