Using research into learning from sequences of examples, we generate predictions about what cultural products become widely distributed in the social marketplace of ideas. We investigate what we term the Repetition‐Break plot structure: the use of repetition among obviously similar items to establish a pattern, and then a final contrasting item that breaks with the pattern to generate surprise. Two corpus studies show that this structure arises in about a third of folktales and story jokes. An experiment shows that jokes (...) with this structure are more interesting than those without the initial repetition. Thus, we document evidence for how a cognitive factor influences the cultural products that are selected in the marketplace of ideas. (shrink)

We investigate 1 factor that influences the success of ideas or cultural representations by proposing that they have a habitat, that is, a set of environmental cues that encourages people to recall and transmit them. We test 2 hypotheses: (a) fluctuation: the success of an idea will vary over time with fluctuations in its habitat, and (b) competition: ideas with more prevalent habitats will be more successful. Four studies use subject ratings and data from newspapers to provide correlational support for (...) our 2 hypotheses, with a negative factoid, positive rumor, catchphrases, and variants of a proverb. Three additional experimental studies manipulate the topic of actual conversations and find empirical support for our theory, with catchphrases, proverbs, and slang. The discussion examines how habitat prevalence applies to a more extensive class of ideas and suggests how habitats may influence the process by which ideas evolve. (shrink)

Despite the growing sociological interest in the object, and the long-standing tradition in the humanities and social sciences concerned with the creation of art and artefacts, there is relatively little research about how people in ordinary day-to-day circumstances explore and respond to exhibits in museums and galleries. In this article, we address the conduct and interaction of visitors to museums and galleries and consider how they examine and experience objects and artefacts in collaboration with each other. In particular, we address (...) the ways in which one participant shapes, through gesture and talk, how those they are with look at and respond to exhibits. The article is based on the analysis of audio-visual recordings gathered in museums and galleries both in the UK and abroad. (shrink)

Background and AimsEnd-of-life discussions can be difficult for seriously ill adolescents and young adults. Researchers aimed to determine whether completing Voicing My CHOiCES —a research-informed advance care planning guide—increased communication with family, friends, or health care providers, and to evaluate the experience of those with whom VMC was shared.MethodsFamily, friends, or HCPs who the AYAs had shared their completed VMC with were administered structured interviews to assess their perception of the ACP discussion, changes in their relationship, conversation quality, and whether (...) the discussion prompted changes in care. Open-ended responses underwent thematic analysis.ResultsOne-month post-completion, 65.1% of AYA had shared VMC completion with a family member, 22.6% with a friend, and 8.9% with an HCP. Among a sample of respondents, family and friends reported a positive change in their relationship with the AYA. Participant descriptions of the experience fell into five themes: positive experience, difficult experience, appreciated a guide to facilitate discussion, provided relief, and created worry/anxiety. Only 1 HCP noted a treatment change. Family, friends, and HCP did not think the AYA would have discussed EoL preferences without completing VMC.ConclusionsVMC has potential to enhance communication about ACP between AYA and their family and friends, though less frequently with HCPs. Participants reported a positive change in their relationship with the AYA after discussing VMC, and described experiencing the conversation as favorable, even when also emotionally difficult. (shrink)

People meeting a robot for the first time do not know what it is capable of and therefore how to interact with it—what actions to produce, and how to produce them. Despite social robotics’ long-standing interest in the effects of robots’ appearance and conduct on users, and efforts to identify factors likely to improve human–robot interaction, little attention has been paid to how participants evaluate their robotic partner in the unfolding of actual interactions. This paper draws from qualitative analyses of (...) video-recorded interactions between a robot and groups of participants, in the framework of ethnomethodology and conversation analysis. We analyse the particular ways in which participants shape their embodied actions, how they can reproduce a prior action that failed to obtain a response from the robot; and how they explore the robot’s embodied nature. We find a set of recurrent methods or practices, showing that robot-recipient design displays not only participants’ initial assumptions about the robot’s competences, but also more importantly perhaps their continuous assessment of the robot’s behaviour, and their attempts to adapt to it. Participants locally produce and constantly revise their understanding of the robot as a more or less competent co-participant, drawing from its past, current, and projected conduct and responsiveness. We discuss the implications of these findings for research in robotics and human–robot interactions, and the value of the approach to shed new light on old questions by paying attention to the quality of gesture and the sequential organisation of interaction. (shrink)

While human lives are endlessly variable, our most memorable positive moments are dominated by four elements: elevation, insight, pride, and connection. If we embrace these elements, we can conjure more moments that matter. What if a teacher could design a lesson that he knew his students would remember twenty years later? What if a manager knew how to create an experience that would delight customers? What if you had a better sense of how to create memories that matter for your (...) children? This book delves into some fascinating mysteries of experience: Why we tend to remember the best or worst moment of an experience, as well as the last moment, and forget the rest. Why 'we feel most comfortable when things are certain, but we feel most alive when they're not.' And why our most cherished memories are clustered into a brief period during our youth. Readers discover how brief experiences can change lives, such as the experiment in which two strangers meet in a room, and 45 minutes later, they leave as best friends. (What happens in that time?) Or the tale of the world's youngest female billionaire, who credits her resilience to something her father asked the family at the dinner table. (What was that simple question?) Many of the defining moments in our lives are the result of accident or luck -- but why would we leave our most meaningful, memorable moments to chance when we can create them? The Power of Moments shows us how to be the author of richer experiences."--Dust jacket flap. (shrink)