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Or that our engagement with the world around us is nothing more than the upshot of actions undertaken by puppeteers or emotional engineers within. The fact that our ability to do all this depends on what is inside us shouldn’t be taken as an excuse for believing that we, and the things we love and value, loath and fear, are really just inside us. The homuncular model of the brain or mind is something we’ve dreamed up to help us make sense of the fact that we, ourselves, feel and think and value we perceive and we act. And later on, showing even more insight, he suggested that the problem with the movie was that nothing much happened. My 10-year-old son turned to me during the movie and asked whether the brain people in Riley’s head had brain people inside their heads, too. Each of them, driven by their own dominant disposition - Sadness tends to be sad, Joy tends to be optimistic and happy - participates in a kind of give and take, a negotiated peace in which they manage Riley’s states and cause her to react to events in the world around her. At night they do “dream duty,” projecting film clips (memories) onto the screen of Riley’s consciousness. They handle, store, protect and disregard memories and experiences. These compete among themselves to operate the joysticks and dashboard that control the person whose emotions they make up. Headquarters is staffed by five Emotions (Joy, Sadness, Anger, Fear and Disgust). Inside Out begins with a question, posed by the movie’s narrator, Joy, who is an emotion living inside of Riley: Did you ever look at a baby or a person and ask yourself what’s going on in there? A good question, but the movie’s playful answer unfolds more like a textbook presentation of the Awkward Synthesis than by providing any insight into what it is like to be Riley or any other person. Contemporary cognitive science combines these two ideas in a most awkward synthesis: We are the brain, which in turn is modeled not as a self, but as a vast army of little selves, or agencies, whose collective operations give rise to what looks, from the outside, like a single person or animal but, so the “Awkward Synthesis” would have it, some of the events happening inside of us really are ours, they really are experienced, and this is because they happen in a special way or in a special place - in what Dennett has called the Cartesian Theater. Hume (1711-1776) advanced the idea that there is no self, that what we call the self is in fact just a bundle of perceptions, feelings and ideas. Or, to change the image, she is like a puppet controlled by the team working in headquarters: S he is empty.ĭescartes (1596-1650) offered, but did not endorse, the idea that the body is a ship and the self resides in the body the way a pilot resides in the ship. Riley is no more an agent in her own right than is, say, a ship an agent in its own right. Riley is not a person, she is a robot, a complicated vessel whose actions and intentions are controlled by persons - emotions and memory workers - inside of her. It purports to the be the story of a girl, but in fact there is no girl character in the film. And that, finally, is where the movie falls flat.
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Life’s true dramas, it is implied, are internal and there’s little more to dad or mom or place than the role these play in triggering events inside of Riley - or inside each of us. Riley herself never comes into focus as a person her parents, teacher, school mates, past life and new environment, are sketched in the most simple, generic terms.
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Like a lot of science fiction, however, the fiction drags because the science never really makes any sense. The new Pixar animation Inside Out, directed by Pete Docter ( Monster’s Inc., Up), is the playful and ambitious story of the emotional life of a young girl, Riley, who is uprooted when her parents move to a new city so that her father can take up a job.