Beyond the Tricks: The Science and Comparative Cognition of Magic.

Magic is an art form that has fascinated humans for centuries. Recently, the techniques used by magicians to make their audience experience the impossible have attracted the attention of psychologists, who, in just a couple of decades, have produced a large amount of research regarding how these effects operate, focusing on the blind spots in perception and roadblocks in cognition that magic techniques exploit. Most recently, this investigation has given a pathway to a new line of research that uses magic effects to explore the cognitive abilities of nonhuman animals. This new branch of the scientific study of magic has already yielded new evidence illustrating the power of magic effects as a psychological tool for nonhuman animals. This review aims to give a thorough overview of the research on both the human and nonhuman perception of magic effects by critically illustrating the most prominent works of both fields of inquiry.

Manual action expectation and biomechanical ability in three species of New World monkey.

Being able to anticipate another's actions is a crucial ability for social animals because it allows for coordinated reactions. However, little is known regarding how hand morphology and biomechanical ability influences such predictions. Sleight of hand magic capitalizes on the observer's expectations of specific manual movements,1,2 making it an optimal model to investigate the intersection between the ability to manually produce an action and the ability to predict the actions of others. The French drop effect involves mimicking a hand-to-hand object transfer by pantomiming a partially occluded precision grip. Therefore, to be misled by it, the observer ought to infer the opposing movement of the magician's thumb.3 Here, we report how three species of platyrrhine with inherently distinct biomechanical ability4,5,6-common marmosets (Callithrix jacchus), Humboldt's squirrel monkeys (Saimiri cassiquiarensis), and yellow-breasted capuchins (Sapajus xanthosternos)-experienced this effect. Additionally, we included an adapted version of the trick using a grip that all primates can perform (power grip), thus removing the opposing thumb as the causal agent of the effect. When observing the French drop, only the species with full or partial opposable thumbs were misled by it, just like humans. Conversely, the adapted version of the trick misled all three monkey species, regardless of their manual anatomy. The results provide evidence of a strong interaction between the physical ability to approximate a manual movement and the predictions primates make when observing the actions of others, highlighting the importance of physical factors in shaping the perception of actions.

Investigating expert performance when observing magic effects.

The use of magic effects to investigate the blind spots in attention and perception and roadblocks in the cognition of the spectator has yielded thought-provoking results elucidating how these techniques operate. However, little is known about the interplay between experience practising magic and being deceived by magic effects. In this study, we performed two common sleight of hand effects and their real transfer counterparts to non-magicians, and to magicians with a diverse range of experience practising magic. Although, as a group, magicians identified the sleights of hand as deceptive actions significantly more than non-magicians; this ability was only evidenced in magicians with more than 5 years in the craft. However, unlike the rest of the participants, experienced magicians had difficulty correctly pinpointing the location of the coin in one of the real transfers presented. We hypothesise that this might be due to the inherent ambiguity of this transfer, in which, contrary to the other real transfer performed, no clear perceptive clue is given about the location of the coin. We suggest that extensive time practising magic might have primed experienced magicians to anticipate foul play when observing ambiguous movements, even when the actions observed are genuine.

The Ape That Lived to Tell the Tale. The Evolution of the Art of Storytelling and Its Relationship to Mental Time Travel and Theory of Mind.

Engaging in the art of creating and telling stories is a defining behaviour of humankind. Humans have been sharing stories with each other, with and without words, since the dawn of recorded history, but the cognitive foundations of the behaviour can be traced deeper into our past. The emergence of stories can be strongly linked to Mental Time Travel (the ability to recall the past and imagine the future) and plays a key role in our ability to communicate past, present and future scenarios with other individuals, within and beyond our lifetimes. Stories are products engraved within the concept of time, constructed to elucidate the past experiences of the self, but designed with the future in mind, thus imparting lessons of such experiences to the receiver. By being privy to the experiences of others, humans can imagine themselves in a similar position to the protagonist of the story, thus mentally learning from an experience they might have never encountered other than in the mind's eye. Evolutionary Psychology investigates how the engagement in artistic endeavours by our ancestors in the Pleistocene granted them an advantage when confronted with obstacles that challenged their survival or reproductive fitness and questions whether art is an adaptation of the human mind or a spandrel of other cognitive adaptations. However, little attention has been placed on the cognitive abilities that might have been imperative for the development of art. Here, we examine the relationship between art, storytelling, Mental Time Travel and Theory of Mind (i.e., the ability to attribute mental states to others). We suggest that Mental Time Travel played a key role in the development of storytelling because through stories, humans can fundamentally transcend their present condition, by being able to imagine different times, separate realities, and place themselves and others anywhere within the time space continuum. We argue that the development of a Theory of Mind also sparked storytelling practises in humans as a method of diffusing the past experiences of the self to others whilst enabling the receiver to dissociate between the past experiences of others and their own, and to understand them as lessons for a possible future. We propose that when artistic products rely on storytelling in form and function, they ought to be considered separate from other forms of art whose appreciation capitalise on our aesthetic preferences.

Jays are sensitive to cognitive illusions.

Jays hide food caches, steal them from conspecifics and use tactics to minimize cache theft. Jays are sensitive to the content of their own caches, retrieving items depending on their preferences and the perishability of the cached item. Whether jays impose the same content sensitivity when they steal caches is less clear. We adapted the 'cups-and-balls' magic routine, creating a cognitive illusion to test whether jays are sensitive to the (i) content of hidden items and (ii) type of displacement. Subjects were presented with two conditions in which hidden food was consistent with their expectations; and two conditions in which food was manipulated to violate their expectations by switching their second preferred food for their preferred food (up-value) or vice versa (de-value). Subjects readily accepted food when it was consistent with their expectations but were more likely to re-inspect the baited cup and alternative cup when their expectations were violated. In the de-value condition, jays exhibited longer latencies to consume the food and often rejected it. Dominant subjects were more likely to reject the food, suggesting that social factors influence their responses to cognitive illusions. Using cognitive illusions offers innovative avenues for investigating the psychological constraints in diverse animal minds.

Exploring the perceptual inabilities of Eurasian jays (Garrulus glandarius) using magic effects.

In recent years, scientists have begun to use magic effects to investigate the blind spots in our attention and perception [G. Kuhn, Experiencing the Impossible: The Science of Magic (2019); S. Macknik, S. Martinez-Conde, S. Blakeslee, Sleights of Mind: What the Neuroscience of Magic Reveals about Our Everyday Deceptions (2010)]. Recently, we suggested that similar techniques could be transferred to nonhuman animal observers and that such an endeavor would provide insight into the inherent commonalities and discrepancies in attention and perception in human and nonhuman animals [E. Garcia-Pelegrin, A. K. Schnell, C. Wilkins, N. S. Clayton, Science 369, 1424-1426 (2020)]. Here, we performed three different magic effects (palming, French drop, and fast pass) to a sample of six Eurasian jays (Garrulus glandarius). These magic effects were specifically chosen as they utilize different cues and expectations that mislead the spectator into thinking one object has or has not been transferred from one hand to the other. Results from palming and French drop experiments suggest that Eurasian jays have different expectations from humans when observing some of these effects. Specifically, Eurasian jays were not deceived by effects that required them to expect an object to move between hands when observing human hand manipulations. However, similar to humans, Eurasian jays were misled by magic effects that utilize fast movements as a deceptive action. This study investigates how another taxon perceives the magician's techniques of deception that commonly deceive humans.

Reflections on the spoon test.

In this paper, we shall use Tulving's seminal empirical and theoretical research including the 'Spoon Test' to explore memory and mental time travel and its origins and role in planning for the future. We will review the comparative research on future planning and episodic foresight in pre-verbal children and non-verbal animals to explore how this may be manifest as wordless thoughts.

Seven myths of memory.

In this paper we highlight seven myths about memory, which centre around the fact that memories, as we experience them, are not only about the past, they are also prospective. Although episodic memory provides the template for future scenarios, it can be reassessed each time it is recalled, and in part is dependent on the sequence in which events unfold. We explore seven myths about memory, and the relationship between memory and experience. We refer to 'The Moustachio Quartet', a series of novels, which highlight themes and ideas relevant to our argument, and 'The Creatures in the Night', a picture book of paintings that explore the passage of time. We integrate evidence from science and the arts to explore the subjective nature of memory and mental time travel, arguing that our capacity to juggle multiple perspectives evolved for the act of prospection, as an aid to move time forward to the advantage of our species by imagining future scenarios.

Memory, mental time travel and The Moustachio Quartet.

Mental time travel allows us to revisit our memories and imagine future scenarios, and this is why memories are not only about the past, but they are also prospective. These episodic memories are not a fixed store of what happened, however, they are reassessed each time they are revisited and depend on the sequence in which events unfold. In this paper, we shall explore the complex relationships between memory and human experience, including through a series of novels 'The Moustachio Quartet' that can be read in any order. To do so, we shall integrate evidences from science and the arts to explore the subjective nature of memory and mental time travel, and argue that it has evolved primarily for prospection as opposed to retrospection. Furthermore, we shall question the notion that mental time travel is a uniquely human construct, and argue that some of the best evidence for the evolution of mental time travel comes from our distantly related cousins, the corvids, that cache food for the future and rely on long-lasting and highly accurate memories of what, where and when they stored their stashes of food.

The evolution of dance.

Evidence from multiple sources reveals a surprising link between imitation and dance. As in the classical correspondence problem central to imitation research, dance requires mapping across sensory modalities and the integration of visual and auditory inputs with motor outputs. Recent research in comparative psychology supports this association, in that entrainment to a musical beat is almost exclusively observed in animals capable of vocal or motor imitation. Dance has representational properties that rely on the dancers' ability to imitate particular people, animals or events, as well as the audience's ability to recognize these correspondences. Imitation also plays a central role in learning to dance and the acquisition of the long sequences of choreographed movements are dependent on social learning. These and other lines of evidence suggest that dancing may only be possible for humans because its performance exploits existing neural circuitry employed in imitation.