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1 e largely understand emotion in tragedy (and fiction).
2 rapy that enables facts to be separated from fiction.
3 analogous to hibernation borders on science fiction.
4 m that narrative self is ultimately a useful fiction.
5 mputation, materials design is still science fiction.
6 cs, such a picture is, at most, a convenient fiction.
7 gnitive schemata of art, representation, and fiction.
8 s is a common trope in the annals of science fiction.1 Although several of these remarkable feats are
9 ade to clearly discriminate between fact and fiction, and to formulate the unresolved questions that
12 ch signals are either true or false, art and fiction consist of signals without determinate truth val
14 reading nonfiction (experiments 1), popular fiction (experiments 2 to 5), or nothing at all (experim
16 iques (and contrary to the claims of popular fiction) forensic image retrieval is still widely being
17 s, which used to be confined to the realm of fiction, have now been turned into a scientific reality
19 he enjoyment of negative emotions in art and fiction is distinct from the immediate pleasure deriving
21 ve experiments showing that reading literary fiction led to better performance on tests of affective
23 l enjoyment of tragedy - and our response to fiction more generally - are versions of what happens wi
24 laser beams is not only prevalent in science fiction movies, but finds numerous technological applica
25 le feats are still very much in the realm of fiction, scientists have recently overcome many of the p
27 focuses on their treatment of the Paradox of Fiction, the neglect of the biological, adaptive nature
28 l implants is being transformed from science fiction to science fact through the increasing applicati
30 r, and what used to be the domain of science fiction writers and snake oil salesmen may soon become s
31 tability of the motor cortex, scientists and fiction writers were considering the possibility of inte
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