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The Science of Expectation: Using Humor To Understand Creativity
In his autobiography, The Moon’s A Balloon, British actor David Niven writes about an instance when the American playwright and screenwriter Charles MacArthur approached Charlie Chaplin for advice on how to improve the classic banana peel sequence, in which a person slips on a banana peel and falls to the ground. MacArthur wondered if his scene should start with a shot of a fat lady and then go to the banana peel or vice versa. Chaplin suggested that MacArthur start the scene with the fat lady, cut to the peel, cut to a wide shot of the fat lady approaching the peel, back to the peel, and then, right before stepping on the peel, she steps over it and falls into an open manhole.
Why is this funny? Despite their surface diversity, most jokes are built using the same set of blueprints: they lead us down a path of expectations, build up tension, and at the end, introduce a twist that teases our initial expectations in a clever way. Humor arrives when we figure out how the punch line both broke and fulfilled our expectations. When this occurs we experience mirth, the reward of successfully connecting the dots of a joke. It’s the “a-ha” moment of comedy, or what we feel when we “get” it.
In the book Inside Jokes cognitive scientists Matthew Hurley, Dan Dennett and Reginald Adams explore humor, jokes, and mirth with an evolutionary lens. They begin with the premise that the brain simplifies the world by creating and relying on a never-ending series of assumptions. This cognitive shortcut allows us to comfortably exist in the day-to-day without having to worry about trivial matters, but mistakes are inevitable and the brain sometimes guesses incorrectly. Mirth, according to the scientists, is an evolutionary adaptation that evolved to reward the brain when it corrects a mistaken assumption about the world; it helps our neurons stay on the lookout for the gaps between our assumptions and reality.
Humor takes advantage of this cognitive system by delivering super normal stimuli in the same way Big Macs and pornography deliver super normal stimuli for our appetite and libido. Like a good chef or porn star, a good comedian reverse engineers the mind to create jokes that generate the most mirth.
Bad comedians fail because they lead us down a path of expectations without challenging our assumptions. This was MacArthur’s problem. His take on the banana peel sequence wasn’t funny because it didn’t fake anybody out. Like a one-hit wonder on repeat, it was boring because it lacked an “a-ha” moment. It didn’t allow us to connect the dots.
Cognitive scientists refer to the idea that humor is the result of ideas that run against our expectations as the incongruity-resolution theory (I-R theory). I-R theories differ – Hurley and his co-authors only partially endorse it – but a quick search on Wikipedia reveals this definition: “The incongruity theory states that humor is perceived at the moment of realization of incongruity between a concept involved in a certain situation and the real objects thought to be in some relation to the concept.”
A notable version of I-R theory comes from a 1964 book by Arthur Koestler. In The Act of Creation Koestler proposes that laughter is provoked when one frame of reference bumps up against an anomaly, an event or statement that doesn’t make sense in context to the original frame. Puns in knock-knock jokes are a good example. The first response to “Who’s there?” is usually an ordinary word or phrase. The subsequent answer uses the same word or phrase in a different way while still making sense. Resolving the anomaly (i.e., figuring out the pun) gives rise to mirth and laughter.
Here’s a non knock-knock joke from Steven Pinker’s How The Mind Works that illustrates the same point:
Lady Astor said to Winston Churchill, “If you were my husband, I’d put poison in your tea.” He replied, “If you were my wife, I’d drink it.”
Drawing on Koestler’s theory of humor, Pinker explains that in the frame of reference of murder, the joke isn’t funny. But once the audience switches to the frame of reference of suicide, in which death is a welcomed escape from misery, the humor is obvious. When this happens, Lady Astor is the cause of marital misery, not a murderer.
Koestler’s The Acts of Creation goes beyond humor to argue that art and science are also about exploring and resolving the juxtaposition between inconsistent frames. He uses the term “bisociation” to capture this idea, which he describes as “the perceiving of a situation or idea . . . in two self-consistent but habitually incompatible frames of reference.” He concludes that creativity is the bisociation of previously unrelated frames of reference, or “matrices of thought.”
Koestler’s theory is broad and not error free, but it identifies two key components of art. One is that art is intimately connected to expectations. Audiences seek art that fulfills expectations; they’re pleased when this happens and disappointed when it doesn’t. Preferences form when this process compounds over time. The result is our tendency to gravitate towards the same artists and listen to or watch the same pieces of art over and over again. Like a Democrat who watches MSNBC or a Republican who watches Fox News, people discriminate between artists who confirm their preconceived notions of good art.
Another is that great art is about manipulating expectations. Artists who appeal to the mainstream are rarely remembered for being groundbreaking. Millions love bands like Coldplay, but it’s the Stravinskys who go down in history. The reason is the difference between MacArthur’s take on the banana sequence and Chaplin’s. MacArthur’s version was moderately funny because it incorporated an element of slapstick (or Schadenfreude, the German word that describes the pleasure we receive from another’s misfortune). But if the fat lady had only slipped on the banana peel the joke would only confirm our expectations. Chaplin’s version was better because it caught our expectations off guard. Like The Rite of Spring, it made us think twice.
This is not to say that creativity is only about breaking rules. There are plenty of conventionalists who make great art by reinforcing preconceptions. But it is to say that most eminent creators are driven to break rules knowing that violating an expectation is often times more enjoyable than fulfilling one. They appreciate the difference between the banana peel and the manhole.
The team caught a glimpse of a process that takes 18,000,000,000,000,000,000,000 years.
- In Italy, a team of scientists is using a highly sophisticated detector to hunt for dark matter.
- The team observed an ultra-rare particle interaction that reveals the half-life of a xenon-124 atom to be 18 sextillion years.
- The half-life of a process is how long it takes for half of the radioactive nuclei present in a sample to decay.
Humans are particularly prone to shiver when a group does or thinks the same thing at the same time.
A few years ago, I proposed that the feeling of cold in one's spine, while for example watching a film or listening to music, corresponds to an event when our vital need for cognition is satisfied.
Certain colors are globally linked to certain feelings, the study reveals.
- Color psychology is often used in marketing to alter your perception of products and services.
- Various studies and experiments across multiple years have given us more insight into the link between personality and color.
- The results of a new study spanning 6 continents (30 nations) shows universal correlations between colors and emotions around the globe.
The root of color psychology<span style="display:block;position:relative;padding-top:56.25%;" class="rm-shortcode" data-rm-shortcode-id="9e40cf62fa8922fcca6c57e2fcb215b6"><iframe type="lazy-iframe" data-runner-src="https://www.youtube.com/embed/OM4fXB23pCQ?rel=0" width="100%" height="auto" frameborder="0" scrolling="no" style="position:absolute;top:0;left:0;width:100%;height:100%;"></iframe></span><p>There is a very likely chance you've even been "fooled" by color marketing in the past, or you've chosen one product over another subconsciously due to colors that were designed to influence your emotions.<br></p><p>Companies that want to be known for being dependable often use blue in their logos, for example (Dell, HP, IBM). Companies that want to be perceived as fun and exciting go for a splash of orange (Fanta, Nickelodeon, even Amazon). Green is associated with natural, peaceful emotions and is often used by companies like Whole Foods and Tropicana. </p><p><strong>Your favorite color says a lot about your personality. </strong></p><p>Various studies and experiments across multiple years (<a href="https://www.researchgate.net/publication/49595886_Personality_Traits_and_Colour_Preferences" target="_blank">2010</a>, <a href="https://onlinelibrary.wiley.com/doi/abs/10.1111/jopy.12087" target="_blank" rel="noopener noreferrer">2014</a>, <a href="http://oaji.net/articles/2015/1170-1448038739.pdf" target="_blank" rel="noopener noreferrer">2015</a>, and more recently in <a href="https://www.verywellmind.com/color-psychology-2795824#modern-research-on-color-psychology" target="_blank" rel="noopener noreferrer">2019</a>) have given us more insight into the link between your personality and your favorite color.</p><p>Red, for example, is considered a bold color and is associated with feelings such as excitement, passion, anger, danger, energy, and love. The personality traits of this color might be someone who is bold, a little impulsive, and who loves adventure. </p><p>Orange, on the other hand, is considered representative of creativity, happiness, and freedom. The personality traits of this color can be fun, playful, cheerful, nurturing, and productive. Read more about color psychology and personalities <a href="https://bigthink.com/mind-brain/color-personality-psychology?rebelltitem=2#rebelltitem2" target="_self">here</a>.</p>
Study reveals which colors best suit which emotions around the globe<img type="lazy-image" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNDYzMTk5OS9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTYyODc4OTg5OH0.bY-pu-MFNivdJLDJuBp9TBKrhwuy7hngUa1aIWxQMVw/img.jpg?width=1245&coordinates=0%2C93%2C0%2C94&height=700" id="33fff" class="rm-shortcode" data-rm-shortcode-id="1a5d7bb00dac94bd6201616789fb4882" data-rm-shortcode-name="rebelmouse-image" alt="concept of color psychology how colors make us feel color emotions" />
Certain colors are globally ties to certain emotions, the study reveals.
Image by agsandrew on Shutterstock<p>In this particular survey, participants were asked to fill out an online questionnaire which involved assigning 20 emotions to 12 different color terms. They were also asked to specify the intensity with which they associated the color term with the emotion.</p><p><strong>Certain colors are globally linked to certain emotions, the study reveals.</strong></p><p>The results of this study showed a few definite correlations between colors and emotions throughout the globe. Red, for example, is the only color that is strongly associated with both negative (anger) and positive (love) feelings. Brown, on the other end of the spectrum, is the color that triggers the fewest emotions globally.<br></p><p>The color white is closely associated with sadness in China, while purple is what is closely associated with sadness in Greece. This can be traced back to the roots of each culture, with white being worn at funerals in China and dark purple being the Greek Orthodox Church's color of mourning. </p><p>Yellow is more associated with joy, specifically in countries that see less sunshine. Meanwhile, its association with joy is weaker in areas that have greater exposure to sunshine. </p><p><a href="https://www.sciencedaily.com/releases/2020/09/200910150247.htm" target="_blank">According to Dr. Oberfeld-Twistel</a>, it is difficult to say exactly what the causes for global similarities and differences are. "There is a range of possible influencing factors: language, culture, religion, climate, the history of human development, the human perceptual system."</p>