Evidence for a Role of Dopamine in Integrating Perception and Action

2008 ◽  
Author(s):  
Lorenza S. Colzato ◽  
Bernhard Hommel
2007 ◽  
Vol 62 (2) ◽  
pp. 253-265
Author(s):  
István Fekete ◽  
Mária Gósy ◽  
Rozália Eszter Ivády ◽  
Péter Kardos

DianePecherés RolfA. Zwaan(szerk.): Grounding cognition: The role of perception and action in memory, language, and thinking (Fekete István)     253 CsépeValéria: Az olvasó agy (Gósy Mária) 256 Kormos, Judit: Speech production and second language acquisition (Ivády Rozália Eszter)      260 MarosánGyörgy: Hogyan készül a történelem? (Kardos Péter) 263


2018 ◽  
Vol 41 ◽  
Author(s):  
Andrew Howes ◽  
Richard L. Lewis

AbstractWe argue that a radically increased emphasis on (bounded) optimality can contribute to cognitive science by supporting prediction. Bounded optimality (computational rationality), an idea that borrowed from artificial intelligence, supports a priori behavioral prediction from constrained generative models of cognition. Bounded optimality thereby addresses serious failings with the logic and testing of descriptive models of perception and action.


Author(s):  
Jay L. Garfield

This essay explores the role of the two aspects of mindfulness (smṛti and samprajanya) in ethical discipline. It argues that mindfulness understood as the union of these two attitudes is essential to the kind of perception and attention necessary for spontaneous moral engagement with the world. The essay first discusses why mindfulness is so important in Buddhist ethics. It then turns to the importance of spontaneity, first in the Aristotelian and then in the Zen tradition. It closes by showing why spontaneity can be understood as desirable only if infused by the kind of mindfulness philosophers such as Śāntideva recommend, and why mindfulness can be morally efficacious only if it suffuses our perception and action so as to render them spontaneous.


2016 ◽  
Vol 45 (5) ◽  
pp. 699-712 ◽  
Author(s):  
Nicola Di Stefano ◽  
Valentina Focaroli ◽  
Alessandro Giuliani ◽  
Domenico Formica ◽  
Fabrizio Taffoni ◽  
...  

To date, behavioural procedures adopted to assess sound preferences in young children have evaluated the responses of participants while listening to the stimuli administered by the experimenter. Due to the difficulties which may arise in the interpretation of the results, recent studies have suggested some limitations to these procedures, stimulating the further development of behavioural methods. Here, we introduce a new method for testing sound preferences in children, in which participants actively produce the stimuli during the experimental session. The apparatus consists of a musical lever which emits different sounds depending on its rotation around a hinge. The device was programmed to emit consonant and dissonant harmonic intervals. The procedure has been tested with 22 participants from 19 to 40 months of age. Results show that: (a) sound emission strongly stimulates toy manipulation; (b) the examined participants distinguished the two types of sounds, showing a preference for producing consonant over dissonant stimuli. This method could be used to study a wide range of sound qualities in young listeners, such as rhythm or pitch. Grounded in the mutual interaction between perception and action, this procedure is in line with recent research highlighting the role of embodiment in the perception of music.


2021 ◽  
pp. 174702182199471
Author(s):  
Gianluca Scotto di Tella ◽  
Francesco Ruotolo ◽  
Gennaro Ruggiero ◽  
Tina Iachini ◽  
Angela Bartolo

This study examines whether the perception of an object automatically activates the representation of the direction of use of that object. To this aim, we carried out two experiments. In Experiment 1, participants were asked to explicitly categorise objects as used either away from the body (AB, for example, a hammer) or towards the body (TB, for example, a toothbrush). In Experiment 2, participants were asked to judge whether the same objects were natural or manmade. In both experiments, they were asked to respond by moving a joystick backwards (i.e., TB) or frontwards (i.e., AB). Therefore, their response could either be congruent (i.e., backward response with TB objects, frontward response with AB objects) or incongruent (i.e., backward response with AB objects, frontward response with TB objects) with the direction of object use. Results from Experiment 1 showed that in the congruent condition, participants were faster in judging the direction of object use than those in the incongruent condition (congruency effect). Crucially, results from Experiment 2 showed the presence of a congruency effect even when the direction of object use was task-irrelevant. However, this effect was found only for TB objects. These results suggest that the perception of TB objects automatically activates the direction of object use with respect to the body, thus showing evidence of direct connection between perception and action. A specific role of the body might account for different action representation processes involved in TB and AB object-related actions.


2015 ◽  
Vol 9 (3-4) ◽  
pp. 161 ◽  
Author(s):  
Rebecca S. Schaefer

Music is created in the listener as it is perceived and interpreted - its meaning derived from our unique sense of it; likely driving the range of interpersonal differences found in music processing. Person-specific mental representations of music are thought to unfold on multiple levels as we listen, spanning from an entire piece of music to regularities detected across notes. As we track incoming auditory information, predictions are generated at different levels for different musical aspects, leading to specific percepts and behavioral outputs, illustrating a tight coupling of cognition, perception and action. This coupling, together with a prominent role of prediction in music processing, fits well with recently described ideas about the role of predictive processing in cognitive function, which appears to be especially suitable to account for the role of mental models in musical perception and action. Investigating the cerebral correlates of constructive music imagination offers an experimentally tractable approach to clarifying how mental models of music are represented in the brain. I suggest here that mental representations underlying imagery are multimodal, informed and modulated by the body and its in- and outputs, while perception and action are informed and modulated by predictions based on mental models.  


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