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If the motor system is no mirror'

In Payette (ed.), Connected Minds: Cognition and Interaction in the Social World. Cambridge Scholars Press. pp. 158--182 (2012)

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  1. Navigating Beyond “Here & Now” Affordances—on Sensorimotor Maturation and “False Belief” Performance.Maria Brincker - 2014 - Frontiers in Psychology 5.
    How and when do we learn to understand other people’s perspectives and possibly divergent beliefs? This question has elicited much theoretical and empirical research. A puzzling finding has been that toddlers perform well on so-called implicit false belief (FB) tasks but do not show such capacities on traditional explicit FB tasks. I propose a navigational approach, which offers a hitherto ignored way of making sense of the seemingly contradictory results. The proposal involves a distinction between how we navigate FBs as (...)
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  • Beyond Sensorimotor Segregation: On Mirror Neurons and Social Affordance Space Tracking.Maria Brincker - 2015 - Cognitive Systems Research 34:18-34.
    Mirror neuron research has come a long way since the early 1990s, and many theorists are now stressing the heterogeneity and complexity of the sensorimotor properties of fronto-parietal circuits. However, core aspects of the initial ‘ mirror mechanism ’ theory, i.e. the idea of a symmetric encapsulated mirroring function translating sensory action perceptions into motor formats, still appears to be shaping much of the debate. This article challenges the empirical plausibility of the sensorimotor segregation implicit in the original mirror metaphor. (...)
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  • The Aesthetic Stance - on the Conditions and Consequences of Becoming a Beholder.Maria Brincker - 2015 - In Alfonsina Scarinzi (ed.), Aesthetics and the Embodied Mind: Beyond Art Theory and the Cartesian Mind-Body Dichotomy. Springer. pp. 117-138.
    What does it mean to be an aesthetic beholder? Is it different than simply being a perceiver? Most theories of aesthetic perception focus on 1) features of the perceived object and its presentation or 2) on psychological evaluative or emotional responses and intentions of perceiver and artist. In this chapter I propose that we need to look at the process of engaged perception itself, and further that this temporal process of be- coming a beholder must be understood in its embodied, (...)
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