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In parallel with these inputs, A has to interpret B's comments via its own emotional
reaction, which is a 'heart' reaction shown in Fig.
13.2
. Further, when B draws a
comparison with Circle Music as above, A's interpretation of the comparison not
only has to modify from the basis of a 'heart' effect, it also has to be modified using
A's and not B's, reaction to Circle Music. So when B says, “Triangle Music was
more dramatic than Circle Music”, A's internal model B
1
is modified by a statement
which could be stated like this.
B thinks that the dramatic impact of Triangle Music is more than the dramatic impact of
Circle Music so I must alter B
1
to reflect how I perceive the dramatic nature of Circle Music
to make it more dramatic than my perception of Triangle Music.
A has no means whatever of directly observing what B thinks about anything. It has
to make a creative leap from state B
1
to, perhaps, state B
2
,B
3
, and so on, until B
has finished drawing comparisons with all the available music know to them both.
What this model is intended to convey is not only the inaccuracy that must inevitably
follow from A trying to picture something it can never see, i.e. an image inside B's
mind, but also show that there is a convergence of the internal models that results
from the accumulation of comparisons.
We aim to show how the feedback triggers adjustments of A's emotional reaction
weightings and leads to its reassessing its categorisation of the basic emotional states
conveyed by its experience of the artistic event. With these states changed, Actor A
is obliged to rework its internal descriptions and adjust internal references so that
they are acceptable both to himself and to Actor B. This also suggests that without
some common external reference (the event) no change of their internal models can
take place. It also implies that the order of the description B is giving to A will be
important since every step in the description is relative to the adjusted made in the
previous steps.
13.6
The Abstracted Initial Model
The extended nature of the above description was reason enough for us to view the
further modelling of this interaction by, so far as we are able, refining it down to
the bare essentials. Figure
13.3
is still a diagrammatic representation but it provided
for us a means of resolving the various objects into numeric measures and program
labels.
In Fig.
13.3
the different music pieces are represented as P to S, the Actors as A
and B and the heavy arrow shows the potential for an indefinite number of additional
Actors C, D, E and so on. The lines represent one of many simplified single-emotional
reactions to Music P, Q, R and S. We call these lines 'dimensions' and they are
associated with each external object. For example the extent to which the music P
makes Actor A happy (say) is shown by the position of the bisecting vertical line at '*',
the horizontal line representing the continuum between totally-without-happiness on
