p.p1 I am drawn to agree with the initial

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Intuitively, I am drawn to agree with the initial statement because the suspension of disbelief is essential in theatre to make the audience believe that, no matter what they are seeing, the performance is real. The definition of ‘suspension of disbelief’ is ‘a willingness to suspend one’s critical faculties and believe the unbelievable; sacrifice of realism and logic for the sake of enjoyment’. The term itself was defined in 1817 by Samuel Taylor Coleridge, a philosopher who theorised that authors who could write literature with a ‘human interest and a semblance of truth’, that they could suspend the idea of reality for their readers. 
However, there are styles of theatre where the suspension of disbelief is not deemed necessary. An example of theatre that doesn’t conform to the suspension of disbelief is in the pantomime style of theatre, where characters on stage will make jokes referring to recent events or relevant figures in society, referencing or creating parodies on songs in the charts, and so on. Other styles of theatre attempt to address the suspension of disbelief in other ways — for example, the British theatre company ‘Punch Drunk’ creates immersive theatre, creating elaborate sets that the audience are allowed to explore and interact with, whilst members within the theatre company create characters that can allow the audience feel immersed in the story. In the past, ‘Punch Drunk’ performed ‘KABEIROI’, which audiences members were required to have an Oyster Card or a contactless payment card that they could use as the performance took them on a ‘six hour mystery tour of London’. 
Instinctively, we apply the suspension of disbelief in arts subjects — for example, the suspension of disbelief is used in fictional texts. From magical, fantasy worlds to suspenseful thrillers filled with femme fatales, the idea of ‘suspension of disbelief’ is important to include as it carries the reader, and allows the reader to fully immerse themselves in the experience. Suspension of disbelief is especially important when reading genres of literature such as gothic literature, science fiction of fantasy. A famous example of it’s use in fiction is in the ‘Harry Potter’ series, written by J.K Rowling. In the Harry Potter books, J.K. Rowling establishes the villainous Voldemort a powerful wizard, and the hero Harry as a young wizard. During the first book, the wand seller Olivander briefly mentions how the wand that ‘chose’ Harry shared a core with Voldemort’s wand. However, the relevance is actually only revealed during the fourth book, ‘Harry Potter and the Goblet of Fire’, where our protagonist and our antagonist’s wands ‘cancel out’ each others’ magic. This provides a satisfactory reasoning for Harry’s victory because, although the reader isn’t informed what the effect will be, the relevance of the twin cores is established as relevant early on. By using subtle references to make events in later books make sense, Joanne Rowling builds the story’s universe without impeding on the reader’s experience, which could be easily done if these details were presented to the reader as overtly important.
So, whilst the arts has several approaches to the idea of the ‘suspension of disbelief’, this idea is prevalent in other areas of knowledge. I want to investigate whether the parallel between using suspension of disbelief to alleviate an audience’s pre-conception of the subject’s context changes in different areas of knowledge. The areas I have chosen to study are Mathematics and Science.
As the suspension of disbelief is the acceptance of fictional premise, we call this cognitive estrangement. The term ‘cognitive estrangement’ was first presented by Croatian academic Darko Suvin as a ‘formalised, narrow conception of what science fiction does’ — making the audience believe the impossible. The brain’s prefrontal cortex is the part of the brain responsible for logically analysing the world, but activity in this area is inhibited when we engage in fictional media, therefore causing cognitive estrangement.
There are examples of the suspension of disbelief in other areas of knowledge. For example in Physics, whilst we use models of atoms to help represent each elements charge, amount of neutrons and electrons and so on, we actually do not know what an atom looks like, and therefore suspend our disbelief to understand these representations. In my opinion, the suspension of disbelief in this area of knowledge stems from how the representation of the atom has changed over time.
The initial idea of the atom came from the ancient Greek philosopher Democritus and his teacher Leucippus around 2500 years ago. They discussed about how, if you were to continual cut an object in half like a piece of paper, you would eventually cut the object so small that it would too small to cut it. He named these objects ‘atomos’, meaning uncuttable. This is where we get the word for ‘atom’. Overtime, other scientists came up with different models representing the object, including Dalton’s Model in 1808, where John Dalton theorised that matter consists of indivisible atoms which combine to make different compounds, the ‘plum pudding’ model developed by J.J Thompson in 1904 depicting an atom as electrons swimming in a positively charged ‘pudding’, and many more. The most recognisable and widely used atomic model used today is the Bohr Model, developed in 1913 by Niels Bohr. This depicts the electrons orbiting the nucleus. Until 1932, the atom was believed to be composed of a positively charged nucleus surrounded by negatively charged electrons. In 1932, James Chadwick bombarded beryllium atoms with alpha particles, which then caused an unknown radiation to be produced. Chadwick interpreted this radiation as being composed of particles with a neutral electrical charge and the approximate mass of a proton, which in turn became known as the neutron. Bohr’s model was adapted to create a more adequate model of the atom.
However, this is still not thought to be the most accurate depiction of the atom. Erwin Schrodinger came up with a model in 1920 which is thought to be a more accurate depiction of the atom by predicting the odds of the location of the electron, rather than representing a direct path as shown in Bohr’s model. So the counter argument is the fact that although we know there are more accurate representations of the atom, we use more standard representations of the atom to allow for better clarity of the atoms electron structure.
Another area of knowledge where we have to ‘suspend our belief’ of the logical, is in Mathematics. Infinity is a concept we can only theorise about- the concept itself has been heavily debated for many years. One of the earliest appearances of the concept of infinity in mathematics was Pythagoras ration between the side of a square and its diagonal. Pythagoras believed that ‘any aspect of the world could be expressed by an arrangement involving whole numbers’.  Despite that, the only the side or the diagonal of a square can expressed as a whole number, not both at the same time.
The confusion about how infinite numbers sets are presented was resolved by Georg Cantor in 1873. His theorem determined that the size of the known set of fractional numbers is the same size as the set of counting integers. Later in the same year, Cantor proved that not all sets of infinities are equal. Cantor demonstrated that the size of counting numbers (1,2,3, etc) is strictly less than the size of real numbers (-2,-1,0,1,2,etc).

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