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  1. The Mental Files Theory of Singular Thought: A Psychological Perspective.Michael Murez, Joulia Smortchkova & Brent Strickland - 2020 - In Rachel Goodman, James Genone & Nick Kroll (eds.), Singular Thought and Mental Files. Oxford: Oxford University Press. pp. 107-142.
    We argue that the most ambitious version of the mental files theory of singular thought, according to which mental files are a wide-ranging psychological natural kind underlying all and only singular thinking, is unsupported by the available psychological data. Nevertheless, critical examination of the theory from a psychological perspective opens up promising avenues for research, especially concerning the relationship between our perceptual capacity to individuate and track basic individuals, and our higher level capacities for singular thought.
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  • Enacting Media. An Embodied Account of Enculturation Between Neuromediality and New Cognitive Media Theory.Joerg Fingerhut - 2021 - Frontiers in Psychology 12.
    This paper argues that the still-emerging paradigm of situated cognition requires a more systematic perspective on media to capture the enculturation of the human mind. By virtue of being media, cultural artifacts present central experiential models of the world for our embodied minds to latch onto. The paper identifies references to external media within embodied, extended, enactive, and predictive approaches to cognition, which remain underdeveloped in terms of the profound impact that media have on our mind. To grasp this impact, (...)
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  • The ‘Good Form’ of Film: The Aesthetics of Continuity From Gestalt Psychology to Cognitive Film Theory.Maria Poulaki - 2018 - Gestalt Theory 40 (1):29-43.
    Summary This article questions certain assumptions concerning film form made by the recent psychological film research and compares them to those of precursors of film psychology like Hugo Münsterberg and Rudolf Arnheim, as well as the principles of Gestalt psychology. It is argued that principles of Gestalt psychology such as those of ‘good form’ and good continuation are still underlying the psychological research of film, becoming particularly apparent in its approach to continuity editing. Following an alternative Gestalt genealogy that links (...)
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  • The Editing Density of Moving Images Influences Viewers’ Time Perception: The Mediating Role of Eye Movements.Stefania Balzarotti, Federica Cavaletti, Adriano D'Aloia, Barbara Colombo, Elisa Cardani, Maria Rita Ciceri, Alessandro Antonietti & Ruggero Eugeni - 2021 - Cognitive Science 45 (4):e12969.
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  • Predicting Individual Action Switching in Covert and Continuous Interactive Tasks Using the Fluid Events Model.Gabriel A. Radvansky, Sidney K. D’Mello, Robert G. Abbott & Robert E. Bixler - 2016 - Frontiers in Psychology 7.
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  • From Actions to Effects: Three Constraints on Event Mappings.Peter Gärdenfors, Jürgen Jost & Massimo Warglien - 2018 - Frontiers in Psychology 9.
  • The Architecture of Visual Narrative Comprehension: The Interaction of Narrative Structure and Page Layout in Understanding Comics.Neil Cohn - 2014 - Frontiers in Psychology 5.
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  • A Mixed-Methods Approach Using Self-Report, Observational Time Series Data, and Content Analysis for Process Analysis of a Media Reception Phenomenon.Michael Brill & Frank Schwab - 2019 - Frontiers in Psychology 10.
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  • The Scene Perception & Event Comprehension Theory (SPECT) Applied to Visual Narratives.Lester C. Loschky, Adam M. Larson, Tim J. Smith & Joseph P. Magliano - 2020 - Topics in Cognitive Science 12 (1):311-351.
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  • Your Brain on Comics: A Cognitive Model of Visual Narrative Comprehension.Neil Cohn - 2020 - Topics in Cognitive Science 12 (1):352-386.
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  • Dismantling the “Visual Ease Assumption:" A Review of Visual Narrative Processing in Clinical Populations. [REVIEW]Emily L. Coderre - 2020 - Topics in Cognitive Science 12 (1):224-255.
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  • Visual Narrative Structure.Neil Cohn - 2013 - Cognitive Science 37 (3):413-452.
    Narratives are an integral part of human expression. In the graphic form, they range from cave paintings to Egyptian hieroglyphics, from the Bayeux Tapestry to modern day comic books (Kunzle, 1973; McCloud, 1993). Yet not much research has addressed the structure and comprehension of narrative images, for example, how do people create meaning out of sequential images? This piece helps fill the gap by presenting a theory of Narrative Grammar. We describe the basic narrative categories and their relationship to a (...)
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  • You 'Re a Good Structure, Charlie Brown: The Distribution of Narrative Categories in Comic Strips'.Neil Cohn - 2014 - Cognitive Science 38 (7):1317-1359.
    Cohn's (2013) theory of “Visual Narrative Grammar” argues that sequential images take on categorical roles in a narrative structure, which organizes them into hierarchic constituents analogous to the organization of syntactic categories in sentences. This theory proposes that narrative categories, like syntactic categories, can be identified through diagnostic tests that reveal tendencies for their distribution throughout a sequence. This paper describes four experiments testing these diagnostics to provide support for the validity of these narrative categories. In Experiment 1, participants reconstructed (...)
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  • A Multimodal Parallel Architecture: A Cognitive Framework for Multimodal Interactions.Neil Cohn - 2016 - Cognition 146:304-323.
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  • “Cuts in Action”: A High‐Density EEG Study Investigating the Neural Correlates of Different Editing Techniques in Film.Katrin S. Heimann, Sebo Uithol, Marta Calbi, Maria A. Umiltà, Michele Guerra & Vittorio Gallese - 2017 - Cognitive Science 41 (6):1555-1588.
    In spite of their striking differences with real-life perception, films are perceived and understood without effort. Cognitive film theory attributes this to the system of continuity editing, a system of editing guidelines outlining the effect of different cuts and edits on spectators. A major principle in this framework is the 180° rule, a rule recommendation that, to avoid spectators’ attention to the editing, two edited shots of the same event or action should not be filmed from angles differing in a (...)
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