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62 pages 2 hours read

Kathryn Schulz

Being Wrong: Adventures in the Margin of Error

Nonfiction | Book | Adult | Published in 2010

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Themes

The Fallibility of the Mind Leads Us into Error

One of the book’s themes concerns the ways in which the fallibility of the mind leads us to essentially fool ourselves, resulting in the possibility of error. The text explores the mind’s many ways of doing, such as perceptual phenomena that trick us and psychological tendencies that ensure we are bad at knowing we do not know.

A prominent thread in the book is the idea that our senses can fail us, no matter how convincing they seem. Perception, says the author, is the interpretation of sensation, which leaves room for our minds to diverge from the world, allowing error to creep in. The author cites John Ross’s mirage at Lancaster Sound as an example of perceptions being quite convincing but still wrong. Since we cannot consciously perceive the brain’s corrective processes, we feel our perception is infallible.

However, the author, making the case that the mind does not reflect reality, highlights the gap between us and the world. Schulz uses the example of coherencing, in which the brain corrects our viewing experience despite the blind spot of the eye, where the optic nerve goes through the retina. This perceptual trick produces a seamless visual experience, even though this perception does not reflect reality. Schulz also points out that many things evade direct sense experience, such as the infrared spectrum. Just because we cannot perceive such things does not mean they do not exist, revealing once again how our senses can fail us. The author’s point is that our minds and reality are constantly divided, and we are unaware of the mind’s perceptual processes, thus placing us in a position of vulnerability to error.

Another prominent thread of the text is our many innate tendencies to trick ourselves, whether through bias or unconscious, involuntary cognitive phenomena. One example of such a tendency is confabulation, as demonstrated by Hannah, who has Anton’s Syndrome; she does not know she is blind, while her brain tricks her into thinking she sees the world around her. There are then the studies of split-brain patients, who are unaware of the reasons for their own behavior and unknowingly fabricate a narrative of motivation when asked to explain themselves. Another example is “inattentional blindness,” where we are so focused on something that we become oblivious to the bigger picture. Memory failure, too, is a form of fallibility; as we cannot observe the reconstruction of our memories, says Schulz, we trust in their veracity, although studies reveal the true limitation of our recall. Furthermore, the “bias blind spot” ensures that we think our beliefs are empirically sound while we do not similarly regard others’ beliefs. Additionally, inductive reasoning is a successful means of making sense of the world, but it also entails judgements that are only probabilistic, leaving room for mistakes. Finally, confirmation bias is our tendency to seek out and more greatly esteem evidence that supports our existing beliefs, causing us to become unjustifiably entrenched in those beliefs. Schulz contends that our psychological makeup is inherently fallible and ensures that we overlook our own errors.

Erring Provokes an Identity Crisis

The author explores the impact of personal error on our identities. Schulz details the identity crisis we undergo upon discovering we are wrong, our emotional reaction to that error, our irrational allegiance to certainty, and the fact that we cannot know others as selves because a self is only knowable from within. Through these topics, Schulz demonstrates that our beliefs are inextricable from our identities and often hinder our relational understanding.

Such an existential identity crisis—triggered by discovering our wrongness—is a testament to our beliefs’ centrality to our identities. Although we like to believe we are consistent, self-knowing creatures, in reality, we are unable to maintain psychological stasis long enough to be truly knowable to ourselves. Additionally, because we feel that certain aspects of the personality should be fixed and unwavering, the reality of our ultimate inexplicability and unpredictability is highly uncomfortable to us. When we discover we are wrong, we are suddenly at odds with ourselves, which explains why being incorrect so easily disrupts our sense of self. Confronting our own errors also reveals to us that we are not always how we imagined ourselves to be. Furthermore, the author argues that we detest being wrong because it reminds us that we are ultimately alone in the world. However, the author contends that such existential crises allow for us to see things—including ourselves—in a different light as we undergo a transformative process that the author terms “conversion.” When we acknowledge and embrace our own mistakenness and appropriately restructure our beliefs, this is a reconstitution of the self. Information that challenges our beliefs can lead to progress and growth.

Schulz asserts that our reaction to being wrong is inherently emotional; we dread error’s associated emotions of humiliation and inferiority. Avoiding such a sensation is thus an aversion to negative feelings. Denial, a common response to error, is a defense mechanism that protects us from not only the difficulty of our circumstances but also the experience of acknowledging our mistakes.

We have an aversion not only to error’s associated negative emotions, but also to the panic and anguish related to uncertainty. Certainty provides the illusion of a stable and comfortable environment, whereas uncertainty leaves us unmoored and unable to find our footing in the world. However, Schulz argues that despite the emotional discomfort of uncertainty, learning from our mistakes—and the uncertainty they bring—is required for moral and intellectual development. By sitting with the feeling of being wrong and cultivating the capacity to accept this state, we move toward appropriately reexamining our beliefs and reshaping our identities.

Finally, the text addresses identity through an exploration of what the self entails and how we relate to one another. Nagel’s essay “What Is It Like to Be a Bat?” illustrates how we can never truly know others’ experience of their own consciousness. We are incapable of understanding others as selves; the self can only be understood from the inside. While this alienates us from others and can lead to our dismissing their beliefs, the point of Nagel’s essay is that even though we cannot know others’ experiences, their reality is no less real or valid than ours. Schulz thus makes the case that, in order to connect with and understand others, we must honor that others’ experiences are independent from our own.

Celebrating Error as Optimism

Schulz consistently emphasizes the celebration of error for its ability, for example, to bring us closer to the truth, spark the process of creation and investigation, and afford us surprise and delight. She explores this theme through many angles, beginning with the optimistic model of wrongness, which argues that error can have positive outcomes. This model supports the author’s central thesis that erring should be celebrated and viewed positively.

The optimistic model of wrongness gives some parameters to the nature of error. For example, under this model, errors help reveal the truth rather than obscuring it. Philosophies of the Scientific Revolution exemplify such an optimistic perspective. This model also treats error as vital to the process of creation and innovation, since encountering error results in insight and new outlooks on the world. Within this view, mistakes are not a sign that our beliefs (and belief-bound identities) were failures but rather that they represent transitions toward greater understanding. The optimistic model of error thus sheds a positive light on error, inviting celebration.

As another example of error’s favorability, the author cites the feelings of surprise and delight that being wrong sometimes evokes. For instance, comedy and error share a distinct relationship; the incongruity theory of comedy asserts that comedy arises from a mismatch between our expectations and reality. This theory explains how hilarity—the experience of being pleasurably caught off guard—stems from the violation of previously held beliefs. Art, too, relates to error; Schulz states that we find delight in art’s ”potential beauty and power of individual, skewed, inaccurate representations of reality” (327-28). Thus, art provides an encounter with reality as it is not—but this feeling is welcome. Finally, in the instance of literary suspense, we enjoy being misled in order to be surprised at the outcome of a story. Although we are deceived, there is pleasure in the process.

While the pessimistic model of error relegates the erring experience to humiliation and discouragement, these other examples—comedy, artwork, literature— demonstrate that error can yield positive feelings.

Schulz concludes by comparing erring with optimism itself. Despite having been wrong countless times, we move forward with the eternal belief that success is possible and that we can learn from our mistakes. This idea of error resembles hope, and it is ultimately a celebration of error, for it affirms our ability to transcend our mistakes and carry on.

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