The traditional verbal/nonverbal dichotomy is inadequate for completely describing cerebral lateralization. Musical functions are not necessarily mediated by the right hemisphere; evidence for a specialist left-hemisphere mechanism dedicated to the encoded speech signal is weakening, and the right hemisphere possesses considerable comprehensional powers. Right-hemisphere processing is often said to be characterized by holistic or gestalt apprehension, and face recognition may be mediated by this hemisphere partly because of these powers, partly because of the right hemisphere's involvement in emotional affect, and (...) possibly through the hypothesized existence of a specialist face processor or processors in the right. The latter hypothesis may, however, suffer the same fate as the one relating to a specialist encodedness processor for speech in the left. Verbal processing is largely the province of the left because of this hemisphere's possession of sequential, analytic, time-dependent mechanisms. Other distinctions are special cases of an analytic/holistic dichotomy. More fundamentally, however, the left hemisphere is characterized by its mediation of discriminations involving duration, temporal order, sequencing, and rhythm, at thesensory level, and especially at themotorlevel. Spatial aspects characterize the right, the mapping of exteroceptive body space, and the positions of fingers, limbs, and perhaps articulators, with respect to actual and target positions. Thus there is a continuum of function between the hemispheres, rather than a rigid dichotomy, the differences being quantitative rather than qualitative, of degree rather than of kind. (shrink)

Humans possess the ability to extract highly organized perceptual structures from sequences of temporal stimuli. For instance, we can organize specific rhythmical patterns into hierarchical, or metrical, systems. Despite the evidence of a fundamental influence of the motor system in achieving this skill, few studies have attempted to investigate the organization of our motor representation of rhythm. To this aim, we studied—in musicians and non-musicians—the ability to perceive and reproduce different rhythms. In a first experiment participants performed a temporal order-judgment (...) task, for rhythmical sequences presented via auditory or tactile modality. In a second experiment, they were asked to reproduce the same rhythmic sequences, while their tapping force and timing were recorded. We demonstrate that tapping force encodes the metrical aspect of the rhythm, and the strength of the coding correlates with the individual’s perceptual accuracy. We suggest that the similarity between perception and tapping-force organization indicates a common representation of rhythm, shared between the perceptual and motor systems. (shrink)

The sounds that result from our movement and that mark the outcome of our actions typically convey useful information concerning the state of our body and its movement, as well as providing pertinent information about the stimuli with which we are interacting. Here we review the rapidly growing literature investigating the influence of non-veridical auditory cues (i.e., inaccurate in terms of their context, timing, and/or spectral distribution) on multisensory body and action perception, and on motor behavior. Inaccurate auditory cues provide (...) a unique opportunity to study cross-modal processes: the ability to detect the impact of each sense when they provide a slightly different message is greater. Additionally, given that similar cross-modal processes likely occur regardless of the accuracy or inaccuracy of sensory input, studying incongruent interactions are likely to also help us predict interactions between congruent inputs. The available research convincingly demonstrates that perceptions of the body, of movement, and of surface contact features (e.g., roughness) are influenced by the addition of non-veridical auditory cues. Moreover, auditory cues impact both motor behavior and emotional valence, the latter showing that sounds that are highly incongruent with the performed movement induce feelings of unpleasantness (perhaps associated with lower processing fluency). Such findings are relevant to the design of auditory cues associated with product interaction, and the use of auditory cues in sport performance and therapeutic situations given the impact on motor behavior. (shrink)

Before one can talk about global arrays and multimodal detection, one must be clear about the concept of information: How is it different from energy and how is it detected? And can it come to specify a needed movement? We consider these issues in our commentary.

Since Aristotle, touch has been found especially hard to define. One of the few unchallenged intuition about touch, however, is that tactile awareness entertains some especially close relationship with bodily awareness. This article considers the relation between touch and bodily awareness from two different perspectives: the body template theory and the body map theory. According to the former, touch is defined by the fact that tactile content matches proprioceptive content. We raise some objections against such a bodily definition of touch (...) and suggest, as an alternative, to revive the proposal according to which touch is essentially a sense of pressure. According to the body map theory, tactile sensations are localized within the frame of reference provided by the mental representation of the space of the body. We argue that this approach of the location of bodily sensations fares better that the Local Sign theory that denies intrinsic spatiality to touch. (shrink)