Some spatio-temporal structures are easier to transfer implicitly in sequential learning. In this study, we investigated whether the consistent reversal of triads of learned components would support the implicit transfer of their temporal structure in visuomotor sequence learning. A triad comprised three sequential button presses ([1][2][3]) and seven consecutive triads comprised a sequence. Participants learned sequences by trial and error, until they could complete it 20 times without error. Then, they learned another sequence, in which each triad was reversed ([3][2][1]), (...) partially reversed ([2][1][3]), or switched so as not to overlap with the other conditions ([2][3][1] or [3][1][2]). Even when the participants did not notice the alternation rule, the consistent reversal of the temporal structure of each triad led to better implicit transfer; this was confirmed in a subsequent experiment. These results suggest that the implicit transfer of the temporal structure of a learned sequence can be influenced by both the structure and consistency of the change. (shrink)

Implicit learning is a core process for the acquisition of a complex, rule‐based environment from mere interaction, such as motor action, skill acquisition, or language. A body of evidence suggests that implicit knowledge governs music acquisition and perception in nonmusicians and musicians, and that both expert and nonexpert participants acquire complex melodic, harmonic, and other features from mere exposure. While current findings and computational modeling largely support the learning of chunks, some results indicate learning of more complex structures. Despite the (...) body of evidence, more research is required to support the cross‐cultural validity of implicit learning and to show that core and more complex music theoretical features are acquired implicitly. (shrink)

Appreciating human movement can be a powerful aesthetic experience. We have used apparent biological motion to investigate the aesthetic effects of three levels of movement representation: body postures, movement transitions and choreographic structure. Symmetrical and asymmetrical sequences of apparent movement were created from static postures, and were presented in an artificial grammar learning paradigm. Additionally, “good” continuation of apparent movements was manipulated by changing the number of movement path reversals within a sequence. In an initial exposure phase, one group of (...) participants saw only symmetrical sequences, while another group saw only asymmetrical sequences. In a subsequent test phase, both groups rated all sequences on an aesthetic evaluation scale. We found that posture, movement, and choreographic structure all influenced aesthetic ratings. Separate ratings for the static body postures presented individually showed that both groups preferred a posture that maximized spatial symmetry. Ratings for the experimental sequences showed that both groups gave higher ratings to symmetrical sequences with “good” continuation and lower ratings to sequences with many path reversals. Further, participants who had been initially familiarized with asymmetrical sequences showed increased liking for asymmetrical sequences, suggesting a structural mere exposure effect. Aesthetic preferences thus depend on body postures, apparent movement continuation and choreographic structure. We propose a hierarchical model of aesthetic perception of human movement with distinct processing levels for body postures, movements and choreographic structure. (shrink)

The role of feedback was investigated with respect to conscious and unconscious knowledge acquired during artificial grammar learning . After incidental learning of training sequences, participants classified further sequences in terms of grammaticality and reported their decision strategy with or without explicit veridical feedback. Sequences that disobeyed the learning structure conformed to an alternative structure. Feedback led to an increase in the amount of reported conscious knowledge of structure but did not increase its accuracy. Conversely, feedback maintained the accuracy of (...) unconscious knowledge of structure which otherwise degraded. Results support a dual-process account of AGL. They suggest that implicit learning of the to-be-rejected structure at test contaminates familiarity-based classifications whereas feedback allows competing familiarity signals to be contextualised, which is incompatible with theories that consider familiarity context-insensitive. (shrink)

Previous research has established that people can implicitly learn chunks, which do not require a memory buffer to process. The present study explores the implicit learning of nonlocal dependencies generated by higher than finite-state grammars, specifically, Chinese tonal retrogrades and inversions , which do require buffers . People were asked to listen to and memorize artificial poetry instantiating one of the two grammars; after this training phase, people were informed of the existence of rules and asked to classify new poems, (...) while providing attributions of the basis of their judgments. People acquired unconscious structural knowledge of both tonal retrogrades and inversions. Moreover, inversions were implicitly learnt more easily than retrogrades constraining the nature of the memory buffer in computational models of implicit learning. (shrink)

Previous research has shown that people can implicitly acquire mappings between word forms and literal meanings . We argue, from the metaphor-representation and embodiment perspectives, that people can unconsciously establish mappings between word forms and not only literal but also metaphorical meanings. Using Williams’ paradigm, we found that transfer of form-meaning connections from a concrete domain to an abstract domain was achieved in a metaphor-consistent way without awareness. Our results support the view that unconscious knowledge can be flexibly deployed in (...) an abstract way not previously explored in the implicit learning literature. (shrink)

We demonstrated unconscious learning of task-irrelevant perceptual regularities in a Serial Reaction Time task in both visual and auditory domains. Participants were required to respond to different letters or syllables which occurred in random order. Unbeknownst to participants, the color of the two letters or the tone of the syllables varied according to certain rules. Reaction times indicated that people indeed learnt both the color and tonal regularities indicating that task-irrelevant sequence structure can be learned perceptually. In a subsequent prediction (...) test of knowledge of the color or tonal cues using subjective measures, we showed that people could acquire task irrelevant knowledge unconsciously. (shrink)