Online research in philosophy

To accept that cognition is embodied is to question many of the beliefs traditionally held by cognitive scientists. One key question regards the localization of cognitive faculties. Here we argue that for cognition to be embodied and sometimes embedded, means that the cognitive faculty cannot be localized in a brain area alone. We review recent research on neural reuse, the 1/f structure of human activity, tool use, group cognition, and social coordination dynamics that we believe demonstrates how the boundary between (...) the different areas of the brain, the brain and body, and the body and environment is not only blurred but indeterminate. In turn, we propose that cognition is supported by a nested structure of task-specific synergies, which are softly assembled from a variety of neural, bodily, and environmental components (including other individuals), and exhibit interaction dominant dynamics. (shrink)

The vast majority of experimental studies of music to date have explored music in terms of the processes involved in the perception and cognition of complex sonic patterns that can elicit emotion. This paper argues that this conception of music is at odds both with recent Western musical scholarship and with ethnomusicological models, and that it presents a partial and culture-specific representation of what may be a generic human capacity. It argues that the cognitive sciences must actively engage with the (...) problems of exploring music as manifested and conceived in the broad spectrum of world cultures, not only to elucidate the diversity of music in mind but also to identify potential commonalities that could illuminate the relationships between music and other domains of thought and behavior. (shrink)

An overview of the computational prediction of emotional responses to music is presented. Communication of emotions by music has received a great deal of attention during the last years and a large number of empirical studies have described the role of individual features (tempo, mode, articulation, timbre) in predicting the emotions suggested or invoked by the music. However, unlike the present work, relatively few studies have attempted to model continua of expressed emotions using a variety of musical features from audio-based (...) representations in a correlation design. The construction of the computational model is divided into four separate phases, with a different focus for evaluation. These phases include the theoretical selection of relevant features, empirical assessment of feature validity, actual feature selection, and overall evaluation of the model. Existing research on music and emotions and extraction of musical features is reviewed in terms of these criteria. Examples drawn from recent studies of emotions within the context of film soundtracks are used to demonstrate each phase in the construction of the model. These models are able to explain the dominant part of the listeners’ self-reports of the emotions expressed by music and the models show potential to generalize over different genres within Western music. Possible applications of the computational models of emotions are discussed. (shrink)

Perception of temporal patterns is fundamental to normal hearing, speech, motor control, and music. Certain types of pattern understanding are unique to humans, such as musical rhythm. Although human responses to musical rhythm are universal, there is much we do not understand about how rhythm is processed in the brain. Here, I consider findings from research into basic timing mechanisms and models through to the neuroscience of rhythm and meter. A network of neural areas, including motor regions, is regularly implicated (...) in basic timing as well as processing of musical rhythm. However, fractionating the specific roles of individual areas in this network has remained a challenge. Distinctions in activity patterns appear between “automatic” and “cognitively controlled” timing processes, but the perception of musical rhythm requires features of both automatic and controlled processes. In addition, many experimental manipulations rely on participants directing their attention toward or away from certain stimulus features, and measuring corresponding differences in neural activity. Many temporal features, however, are implicitly processed whether attended to or not, making it difficult to create controlled baseline conditions for experimental comparisons. The variety of stimuli, paradigms, and definitions can further complicate comparisons across domains or methodologies. Despite these challenges, the high level of interest and multitude of methodological approaches from different cognitive domains (including music, language, and motor learning) have yielded new insights and hold promise for future progress. (shrink)

The processing, representation, and perception of bodily signals (interoception) plays an important role for human behavior. Theories of embodied cognition hold that higher cognitive processes operate on perceptual symbols and that concept use involves reactivations of the sensory-motor states that occur during experience with the world. Similarly, activation of interoceptive representations and meta-representations of bodily signals supporting interoceptive awareness are profoundly associated with emotional experience and cognitive functions. This article gives an overview over present findings and models on interoception and (...) mechanisms of embodiment and highlights its relevance for disorders that are suggested to represent a translation deficit of bodily states into subjective feelings and self-awareness. (shrink)

In the past, notions of embodiment have been applied to robotics mainly in the realm of very simple robots, and supporting low-level mechanisms such as dynamics and navigation. In contrast, most human-like, interactive, and socially adept robotic systems turn away from embodiment and use amodal, symbolic, and modular approaches to cognition and interaction. At the same time, recent research in Embodied Cognition (EC) is spanning an increasing number of complex cognitive processes, including language, nonverbal communication, learning, and social behavior. This (...) article suggests adopting a modern EC approach for autonomous robots interacting with humans. In particular, we present three core principles from EC that may be applicable to such robots: (a) modal perceptual representation, (b) action/perception and action/cognition integration, and (c) a simulation-based model of top-down perceptual biasing. We describe a computational framework based on these principles, and its implementation on two physical robots. This could provide a new paradigm for embodied human–robot interaction based on recent psychological and neurological findings. (shrink)

What was the role of music in the evolutionary history of human beings? We address this question from the point of view that musicality can be defined as a cognitive trait. Although it has been argued that we will never know how cognitive traits evolved (Lewontin, 1998), we argue that we may know the evolution of music by investigating the fundamental cognitive mechanisms of musicality, for example, relative pitch, tonal encoding of pitch, and beat induction. In addition, we show that (...) a nomological network of evidence (Schmitt & Pilcher, 2004) can be built around the hypothesis that musicality is a cognitive adaptation. Within this network, different modes of evidence are gathered to support a specific evolutionary hypothesis. We show that the combination of psychological, medical, physiological, genetic, phylogenetic, hunter–gatherer, and cross-cultural evidence indicates that musicality is a cognitive adaptation. (shrink)

There is substantial disagreement among philosophers of embodied cognitive science about the meaning of embodiment. In what follows, I describe three different views that can be found in the current literature. I show how this debate centers around the question of whether the science of embodied cognition can retain the computer theory of mind. One view, which I will label body functionalism, takes the body to play the functional role of linking external resources for problem solving with internal biological machinery. (...) Embodiment is thus understood in terms of the role the body plays in supporting the computational circuits that realize cognition. Body enactivism argues by contrast that no computational account of cognition can account for the role of commonsense knowledge in our everyday practical engagement with the world. I will attempt a reconciliation of these seemingly opposed views. (shrink)

Developmental psychologists have long recognized the extraordinary influence of action on learning (Held & Hein, 1963; Piaget, 1952). Action experiences begin to shape our perception of the world during infancy (e.g., as infants gain an understanding of others’ goal-directed actions; Woodward, 2009) and these effects persist into adulthood (e.g., as adults learn about complex concepts in the physical sciences; Kontra, Lyons, Fischer, & Beilock, 2012). Theories of embodied cognition provide a structure within which we can investigate the mechanisms underlying action’s (...) impact on thinking and reasoning. We argue that theories of embodiment can shed light on the role of action experience in early learning contexts, and further that these theories hold promise for using action to scaffold learning in more formal educational settings later in development. (shrink)

From the late 1950s until 1975, cognition was understood mainly as disembodied symbol manipulation in cognitive psychology, linguistics, artificial intelligence, and the nascent field of Cognitive Science. The idea of embodied cognition entered the field of Cognitive Linguistics at its beginning in 1975. Since then, cognitive linguists, working with neuroscientists, computer scientists, and experimental psychologists, have been developing a neural theory of thought and language (NTTL). Central to NTTL are the following ideas: (a) we think with our brains, that is, (...) thought is physical and is carried out by functional neural circuitry; (b) what makes thought meaningful are the ways those neural circuits are connected to the body and characterize embodied experience; (c) so-called abstract ideas are embodied in this way as well, as is language. Experimental results in embodied cognition are seen not only as confirming NTTL but also explained via NTTL, mostly via the neural theory of conceptual metaphor. Left behind more than three decades ago is the old idea that cognition uses the abstract manipulation of disembodied symbols that are meaningless in themselves but that somehow constitute internal “representations of external reality” without serious mediation by the body and brain. This article uniquely explains the connections between embodied cognition results since that time and results from cognitive linguistics, experimental psychology, computational modeling, and neuroscience. (shrink)

Much of what we know and love about music is based on implicitly acquired mental representations of musical pitches and the relationships between them. While previous studies have shown that these mental representations of music can be acquired rapidly and can influence preference, it is still unclear which aspects of music influence learning and preference formation. This article reports two experiments that use an artificial musical system to examine two questions: (1) which aspects of music matter most for learning, and (...) (2) which aspects of music matter most for preference formation. Two aspects of music are tested: melody and harmony. In Experiment 1 we tested the learning and liking of a new musical system that is manipulated melodically so that only some of the possible conditional probabilities between successive notes are presented. In Experiment 2 we administered the same tests for learning and liking, but we used a musical system that is manipulated harmonically to eliminate the property of harmonic whole-integer ratios between pitches. Results show that disrupting melody (Experiment 1) disabled the learning of music without disrupting preference formation, whereas disrupting harmony (Experiment 2) does not affect learning and memory but disrupts preference formation. Results point to a possible dissociation between learning and preference in musical knowledge. (shrink)

Is the human tendency toward musicality better thought of as the product of a specific, evolved instinct or an acquired skill? Developmental and evolutionary arguments are considered, along with issues of domain-specificity. The article also considers the question of why humans might be consistently and intensely drawn to music if musicality is not in fact the product of a specifically evolved instinct.

Psychologists are increasingly interested in embodiment based on the assumption that thoughts, feelings, and behaviors are grounded in bodily interaction with the environment. We examine how embodiment is used in social psychology, and we explore the ways in which embodied approaches enrich traditional theories. Although research in this area is burgeoning, much of it has been more descriptive than explanatory. We provide a critical discussion of the trajectory of embodiment research in social psychology. We contend that future researchers should engage (...) in a phenomenon-based approach, highlight the theoretical boundary conditions and mediators involved, explore novel action-relevant outcome measures, and address the role of individual differences broadly defined. Such research will likely provide a more explanatory account of the role of embodiment in general terms as well as how it expands the knowledge base in social psychology. (shrink)

Following in a psychological and musicological tradition beginning with Leonard Meyer, and continuing through David Huron, we present a functional, cognitive account of the phenomenon of expectation in music, grounded in computational, probabilistic modeling. We summarize a range of evidence for this approach, from psychology, neuroscience, musicology, linguistics, and creativity studies, and argue that simulating expectation is an important part of understanding a broad range of human faculties, in music and beyond.

Although music is universal, there is a great deal of cultural variability in music structures. Nevertheless, some aspects of music processing generalize across cultures, whereas others rely heavily on the listening environment. Here, we discuss the development of musical knowledge, focusing on four themes: (a) capabilities that are present early in development; (b) culture-general and culture-specific aspects of pitch and rhythm processing; (c) age-related changes in pitch perception; and (d) developmental changes in how listeners perceive emotion in music.

Experimental investigations of cross-cultural music perception and cognition reported during the past decade are described. As globalization and Western music homogenize the world musical environment, it is imperative that diverse music and musical contexts are documented. Processes of music perception include grouping and segmentation, statistical learning and sensitivity to tonal and temporal hierarchies, and the development of tonal and temporal expectations. The interplay of auditory, visual, and motor modalities is discussed in light of synchronization and the way music moves via (...) emotional response. Further research is needed to test deep-rooted psychological assumptions about music cognition with diverse materials and groups in dynamic contexts. Although empirical musicology provides keystones to unlock musical structures and organization, the psychological reality of those theorized structures for listeners and performers, and the broader implications for theories of music perception and cognition, awaits investigation. (shrink)

Music can be described as sequences of events that are structured in pitch and time. Studying music processing provides insight into how complex event sequences are learned, perceived, and represented by the brain. Given the temporal nature of sound, expectations, structural integration, and cognitive sequencing are central in music perception (i.e., which sounds are most likely to come next and at what moment should they occur?). This paper focuses on similarities in music and language cognition research, showing that music cognition (...) research provides insight into the understanding of not only music processing but also language processing and the processing of other structured stimuli. The hypothesis of shared resources between music and language processing and of domain-general dynamic attention has motivated the development of research to test music as a means to stimulate sensory, cognitive, and motor processes. (shrink)