Sensation Perception And Action Study Guide
Study Guide For Sensation And Perception Study Guide For Sensation And Perception. CROW STUDY GUIDE AND CALL TO ACTION THE MARTIAN CHRONICLES A BOOKCAPS STUDY.
The classical, disembodied approach to music cognition conceptualizes action and perception as separate, peripheral processes. In contrast, embodied accounts of music cognition emphasize the central role of the close coupling of action and perception.
It is a commonly established fact that perception spurs action tendencies. Ja economics student study guide answers. We present a theoretical framework that captures the ways in which the human motor system and its actions can reciprocally influence the perception of music. The cornerstone of this framework is the common coding theory, postulating a representational overlap in the brain between the planning, the execution, and the perception of movement. The integration of action and perception in so-called internal models is explained as a result of associative learning processes.
Characteristic of internal models is that they allow intended or perceived sensory states to be transferred into corresponding motor commands (inverse modeling), and vice versa, to predict the sensory outcomes of planned actions (forward modeling). Embodied accounts typically refer to inverse modeling to explain action effects on music perception (Leman, ). We extend this account by pinpointing forward modeling as an alternative mechanism by which action can modulate perception. We provide an extensive overview of recent empirical evidence in support of this idea.
Additionally, we demonstrate that motor dysfunctions can cause perceptual disabilities, supporting the main idea of the paper that the human motor system plays a functional role in auditory perception. The finding that music perception is shaped by the human motor system and its actions suggests that the musical mind is highly embodied. However, we advocate for a more radical approach to embodied (music) cognition in the sense that it needs to be considered as a dynamical process, in which aspects of action, perception, introspection, and social interaction are of crucial importance. Continuity and contingency Auditory-motor association learning—i.e., the acquisition of knowledge of sound-movement relationships—is modulated by both temporal “contiguity” and probabilistic “contingency” (Cooper et al., ).
“Contiguity” refers to the proximity of two events (e.g., movement and sound) in time and space. The concept originates in Aristotle's law of contiguity, stating that things that occur near each other in time and/or space are readily associated. It is not, however, the case that association learning occurs every time two events are linked together in time or space. Instead, it is necessary that the relationship between the events is predictable. “Contingency” refers to this degree of probability or the likelihood that two or more events belong together.
In statistical terms, contingency is related to covariance, being a measure of how much two random variables change together. Elsner and Hommel present two experiments in which the role of contiguity and contingency were investigated in the development of sensory-motor associations. Each experiment consisted of a training phase followed by a test phase. In the training phase, participants learned action-effect associations by repeatedly pressing keys (action) triggering corresponding tones (effect). In the subsequent test phase, tones were presented and participants were asked to make speeded responses to these stimuli by pressing keys either in a consistent fashion (i.e., action-effect mapping as in the training phase) or inconsistent fashion (i.e., other action-effect mapping as in the training phase).
If an action-effect association was established in the training phase, then participants were expected to respond faster in an acquisition-consistent fashion than in an acquisition-inconsistent fashion. In the training phase of Experiment 1, the contiguity between action and effect was systematically manipulated by adding an increasing delay between the two (50, 1000, and 2000 ms). In the test phase, participants responded faster in acquisition-consistent test blocks compared to acquisition-inconsistent test blocks when action-effects training delays were 50 or 1000 ms. Accordingly, association learning seemed to be successful only with action-effect delays of up to 1000 ms, signaling an effect of contiguity in association learning. In the training phase of Experiment 2, the contingency between action and effect was systematically manipulated by varying the relative frequencies of the presence or absence of tones with corresponding keypresses.
Again, it was shown that the acquisition-consistency effect in the test phase was affected by the contingency of action and effect in the training phase. Together, these findings show that both the contiguity and contingency between actions (here, keypresses) and auditory events (here, sinusoidal tones, MIDI marimba/flute tones) are important in the process of acquiring sensory-motor associations. An interesting experimental paradigm in which contiguity and contingency could be further investigated is the counter-mirror sensory-motor training paradigm (Cook et al., ). In this paradigm, previously established associations between motor and sensory events are manipulated by repeatedly pairing the observation of an action with the execution of another action. One typically finds (e.g., by measuring neural responses, or reaction times) that the original sensory-motor association gets weakened, depending on the principles of contingency and contiguity.
Sensation Perception And Action
This paradigm has been applied to visual-motor learning processes, but not yet to auditory-motor learning processes. However, the paradigm offers unique possibilities to study for instance how counter-mirror training can alter auditory-motor links established in musical instrument playing.
Facilitation Manning and Schutz examined to what extent “moving to the beat” objectively improves timing perception. They presented participants with sequences of 16 isochronous tones divided into groups of four followed by a probe tone. In the last group, the second, third, and fourth “tones” were silent (i.e., timekeeping segment). The probe tone was “on-time” (i.e., sounding after the same inter-onset interval), slightly early, or slightly late. The task of the participant was to judge whether the final probe tone sounded “on-time.” In one condition, participants were asked to tap along with the beat, while they remained still in the other condition. The results show that late offsets were better detected when participants could move during the timekeeping segment.
Additionally, it was found that “better” tappers (i.e., less variability) performed better on the detection task overall. In general, these findings confirm that movement may improve time perception. Iordanescu et al. obtained similar results using a standard temporal-bisection paradigm. Participants were presented with sequences of three brief clicks with the location of the second click randomly varied. Participants had to judge whether the second click was temporally closer to the first or the third click. In the “active” condition, participants initiated each trial themselves by pressing the space bar, while trials were externally generated in the “passive” condition.
Again, in line with the results of Manning and Schutz , people in the active condition demonstrated a higher auditory sensitivity to temporal intervals. Moreover, it was shown that this effect was not attributable to the tactile sensation from a keypress.
It is interesting to note that the finding that body movement can enhance time perception has been picked up by research in the domain of human-computer interaction (HCI) design. (, ) present a dance application and a music conducting application aiming to enhance users' understanding of temporal musical structures by teaching them how to articulate these temporal structures into corresponding body movements (dancing, conducting). In another study, Brown and Palmer investigated how motor and auditory learning contribute to auditory memory for music. Pianists were asked to learn melodies on a Musical Instrument Digital Interface (MIDI) piano keyboard in each of four conditions (auditory only, motor only, strongly coupled auditory-motor i.e., normal performance, or weakly coupled auditory-motor i.e., performing along with auditory recordings (acoustically similar or varying) without hearing their own feedback).
After learning, participants heard melodies (half target, half foils) in a subsequent recognition test and were instructed to indicate which melodies they had encountered in the learning conditions. It was found that motor learning (combined with strongly coupled auditory learning) enhanced auditory recognition beyond auditory learning alone. Results were explained by the ability of sensory-motor associations formed during learning to provide additional retrieval cues and to shape auditory perception through mental simulation of action plans.
. Sensation and Perception. Sensation. the activation of our senses. Perception. the process of understanding these sensations.
Energy Senses. Vision. S tep one: gathering light. light is reflected off of objects and gathered by the eye. the color we perceive depends on:. intensity- how much energy the light contains.