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This is why prosecutors like to tell the jury how the crime might have occurred. Once they hear the story, the scene becomes firmly embedded in their minds and there's no going back. In a way, they become witnesses to the event.
Steve
Susan K Perry Ph.D.
In a plain white cover that belies its wide-ranging and culturally rich content, Norman N. Holland's latest (16th) book, Literature and the Brain explores what we know about how our brains and minds react to the arts. Holland, also a PT blogger, goes beyond the concept of being transported by a work of art (being pulled into flow by it), and tackles the question of why we feel real emotions toward unreal things. Part of the explanation is that "when we enjoy a literary work fully, by being 'transported,' we turn off reality-testing." We (our brains) agree to suspend disbelief and let ourselves feel as though what we're reading or watching is real.
Researchers have found that when subjects are shown pictures, they feel the emotions that would be appropriate under those actual circumstances. This helps explain the seduction of drama, literature, and poetry. For instance, we enjoy tragedies, Holland points out, because "we bring them from representations of the direst threats outside us into our inner mental processing, and there we fit them into our schemas for understanding the world. By making sense of them, we tame them."
Highly recommended for those who create or respond to any of the arts.
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