A fundamental aspect of human cognition is the ability to parse our constantly unfolding experience into meaningful representations of dynamic events and to communicate about these events with others. How do we communicate about events we have experienced? Influential theories of language production assume that the formulation and articulation of a linguistic message is preceded by preverbal apprehension that captures core aspects of the event. Yet the nature of these preverbal event representations and the way they are mapped onto language (...) are currently not well understood. Here, we review recent evidence on the link between event conceptualization and language, focusing on two core aspects of event representation: event roles and event boundaries. Empirical evidence in both domains shows that the cognitive representation of events aligns with the way these aspects of events are encoded in language, providing support for the presence of deep homologies between linguistic and cognitive event structure. (shrink)

Topics in Cognitive Science, Volume 13, Issue 1, Page 128-141, January 2021.

The analysis method and paradigm of film have become a controversial topic in the data-driven era. Film, is not only an attractive industry that can achieve filmmakers’ imagination but has become a perfect stimulus to understand human being’s mental activity. The core research in this study is to examine the impact of filmmaking experience and the role of narrative denoters from filmmakers’ construction to audiences’ interpretation. Based on previous studies and integrating cognitive approaches, the thesis re-explores the nature and essence (...) of film and proposes an alternative term - narrative denoter - which can be used as the indication of message exchanging between filmmakers and audiences. Using a released film that has a complete story to do the experiment, this study investigates the relationship between major, film interpretations, event segmentation, and audience’s preference. The result showed that filmmaking experience does not impact the interpretation of film; however the identification of the narrative denoter played an important role in film perception and cognition; apart from these, the audience’s preference did not correlate with film interpretation. With respect to this result, the narrative denoter can be indicator to demonstrate the message transitions from filmmaker to audience. Suggestions were made for future cognitive film studies on using the narrative denoters as a new analysis unit. (shrink)

This paper considers the cognitive penetrability of our experiences of the durations of everyday events. I defend an account of subjective duration based in contemporary psychological and neurobiological research. I show its philosophical adequacy by demonstrating its utility in explain-ing the phenomenology of duration experiences. I then consider whether cognitive penetrability is a problem for these experiences. I argue that, to the contrary, the problem presupposes a relationship between perception and belief that duration perceptions and beliefs do not exhibit. In-stead, (...) the assignment of epistemic features to particular processing stages appears to answer to pragmatic needs, not psychological facts. (shrink)

Children's imitation of adults plays a prominent role in human cognitive development. However, few studies have investigated how children represent the complex structure of observed actions which underlies their imitation. We integrate theories of action segmentation, memory, and imitation to investigate whether children's event representation is organized according to veridical serial order or a higher level goal structure. Children were randomly assigned to learn novel event sequences either through interactive hands-on experience or via storybook. Results demonstrate that children's representation of (...) observed actions is organized according to higher level goals, even at the cost of representing the veridical temporal ordering of the sequence. We argue that prioritizing goal structure enhances event memory, and that this mental organization is a key mechanism of social-cognitive development in real-world, dynamic environments. It supports cultural learning and imitation in ecologically valid settings when social agents are multitasking and not demonstrating one isolated goal at a time. (shrink)

Although episodic memory is a widely studied form of memory both in philosophy and psychology, it still raises many burning questions regarding its definition and even its acceptance. Over the last two decades, cross-disciplinary discussions between these two fields have increased as they tackle shared concerns, such as the phenomenology of recollection, and therefore allow for fruitful interaction. This editorial introduction aims to provide a comprehensive and up-to-date presentation of the main existing conceptions and issues on the topic. After delineating (...) Tulving’s chief theoretical import and multifaceted legacy, it goes on to chart the different attempts to capture the episodicity feature of memory according to three categories: a first approach aims to show the cognitive abilities required for a subject to episodically remember; the second defines episodicity as a stage-specific feature; the last explains episodicity in terms of the epistemological properties of episodic memory. This state of the art thereby sets the stage for the contributions of the present volume, which will be introduced in conclusion. (shrink)

How can we explain the intentional nature of an expert’s actions, performed without immediate and conscious control, relying instead on automatic cognitive processes? How can we account for the differences and similarities with a novice’s performance of the same actions? Can a naturalist explanation of intentional expert action be in line with a philosophical concept of intentional action? Answering these and related questions in a positive sense, this dissertation develops a three-step argument. Part I considers different methods of explanations in (...) cognitive neuroscience (Bennett & Hacker’s philosophical, conceptual analysis; Marr’s three levels of explanation; Neural Correlates of Consciousness research; mechanistic explanation), defending ‘mechanistic explanation’ as a method that provides the necessary tools for integrating interdisciplinary insights into human action. Furthermore, a dynamic, explanatory mechanism allows the assessment of the impact of learning and development on expert action in a valuable way that other methods don’t. Part II continues by scrutinizing several cognitive neuroscientific theories of learning and development (neuroconstructivism; dual-processing theories; simulation theory; extended mind/cognition hypothesis), arguing for the complex interactions between different types of processing and different action representations involved in expert action performances. Moreover, according to our discussion of a particular ‘simulation theory’ these interactions can be influenced in several ways with the use of language, allowing an agent to configure a specific action representation for performance at a later stage. The results of Parts I and II are then applied in Part III to a parallel discussion of philosophical analyses of intentional action (discussing i.a. Frankfurt, Bratman, Pacherie and Ricoeur) and cognitive neuroscientific insights in it. Both approaches are found to converge in emphasizing the importance for an expert to develop stable patterns of actions that comply maximally not only with his intentions, but also with his motor expertise and with situational conditions. Consequently, his actions – automatic, or not – rely on this ‘sculpted space of actions’. (shrink)

Dance is regarded as visual art form by common arts and science perspectives. Definitions of dance as means of communication agree that its message is conveyed by the dancer/choreographer via the human body for the observer, leaving no doubt that dance is performed to be watched. Brain activation elicited by the visual perception of dance has also become a topic of interest in cognitive neuroscience, with regards to action observation in the context of learning, expertise and aesthetics. The view that (...) the aesthetic experience of dance is primarily a visual one is still shared by many artists and cultural institutions, yet there is growing interest in making dance performances accessible for individuals with visual impairment / blindness. Means of supporting the non-visual experience of dance include verbal (audio description), auditive (choreographed body sounds, movement sonification), and haptic (touch tour) techniques, applied for different purposes by artists and researchers, with three main objectives: to strengthen the cultural participation of a non-sighted audience in the cultural and aesthetic experience of dance; to expand the scope of dance as an artistic research laboratory toward novel ways of perceiving what dance can convey; and to inspire new lines of (neuro-cognitive) research beyond watching dance. Reviewing literature from different disciplines and drawing on the personal experience of an inclusive performance of Simon Mayer's “Sons of Sissy,” we argue that a non-exclusively visual approach can be enriching and promising for all three perspectives and conclude by proposing hypotheses for multidisciplinary lines of research. (shrink)

What role do moment‐to‐moment comprehension processes play in visual attentional selection in picture stories? The current work uniquely tested the role of bridging inference generation processes on eye movements while participants viewed picture stories. Specific components of the Scene Perception and Event Comprehension Theory (SPECT) were tested. Bridging inference generation was induced by manipulating the presence of highly inferable actions embedded in picture stories. When inferable actions are missing, participants have increased viewing times for the immediately following critical image (Magliano, (...) Larson, Higgs, & Loschky, ). This study used eye‐tracking to test competing hypotheses about the increased viewing time: (a) Computational Load: inference generation processes increase overall computational load, producing longer fixation durations; (b) Visual Search: inference generation processes guide eye‐movements to pick up inference‐relevant information, producing more fixations. Participants had similar fixation durations, but they made more fixations while generating inferences, with that process starting from the fifth fixation. A follow‐up hypothesis predicted that when generating inferences, participants fixate scene regions important for generating the inference. A separate group of participants rated the inferential‐relevance of regions in the critical images, and results showed that these inferentially relevant regions predicted differences in other viewers’ eye movements. Thus, viewers’ event models in working memory affect visual attentional selection while viewing visual narratives. (shrink)

Following in a psychological and musicological tradition beginning with Leonard Meyer, and continuing through David Huron, we present a functional, cognitive account of the phenomenon of expectation in music, grounded in computational, probabilistic modeling. We summarize a range of evidence for this approach, from psychology, neuroscience, musicology, linguistics, and creativity studies, and argue that simulating expectation is an important part of understanding a broad range of human faculties, in music and beyond.

Events can be perceived from different perspectives. Langacker, Ronald W. (1990. Subjectification. Cognitive Linguistics 1. 5–38) typologically categorised the perspectives in event construal as subjective construal and objective construal based on how egocentric a perspective is. Compared with Western languages, such as English, Japanese is argued to be a language that favours subjective construal. However, little empirical work has tested this assumption directly. We investigated whether Japanese and English construe events from different perspectives by focusing on the linguistic encodings of (...) event roles “agent” and “patient”. Our findings show that when selecting event roles as sentence subjects, Japanese speakers prioritised animacy over agency whereas English speakers emphasised agency (while also considering animacy). This can be attributed to the different preferences of the two languages for the degree of egocentricity in event construal. Furthermore, we explored how L1-based conceptualisation of event roles influences the linguistic expressions of event roles in L2. Our results demonstrate that Japanese learners of English had difficulty reconceptualising event roles in L2 English. This study adds a piece of quantitative evidence to the cognitive linguistics theory on subjective construal in Japanese and questions the universality of the agent-first hypothesis in the Thematic Hierarchy. (shrink)

Our daily lives unfold continuously, yet our memories are organised into distinct events, situated in a specific context of space and time, and chunked when this context changes (at event boundaries). Previous research showed that this process, termed event segmentation, enhances object-context binding but impairs temporal order memory. Physiologically, peaks in pupil dilation index event segmentation, similar to emotion-induced bursts of autonomic arousal. Emotional arousal also modulates object-context binding and temporal order memory. Yet, these two critical factors have not been (...) systematically studied together. To address this gap, we ran a behavioural experiment using a paradigm validated to study event segmentation and extended it with emotion manipulation. During encoding, we sequentially presented greyscale objects embedded in coloured frames (colour changes defining events), with a neutral or aversive sound. During retrieval, we tested participants’ memory of temporal order memory and object-colour binding. We found opposite effects of emotion and event segmentation on episodic memory. While event segmentation enhanced object-context binding, emotion impaired it. On the contrary, event segmentation impaired temporal order memory, but emotion enhanced it. These findings increase our understanding of episodic memory organisation in laboratory settings, and potentially in real life with perceptual changes and emotion fluctuations constantly interacting. (shrink)

Why does time seem to fly by when we are absorbed? The case of listening to music is of particular interest, given that listening to music itself requires experiencing time. In this paper, I argue that neither the prevailing psychological model nor some initially appealing alternative explanations can account for the experience of time flying by in cases where, like listening to music, the activity we are absorbed in itself requires experiencing time. I then put forward a novel view on (...) which the fragmentation of felt time is what best explains these cases. More specifically, I develop a view on which attentive engagement fragments felt time such that we experience the activity we are engaged in as if it is located in a temporally isolated branch or fragment of the main timeline. Time then seems to pass only in this branch, creating the sensation — upon integration — that less time has passed in the main timeline. In support of this proposal, I draw upon ideas in the empirical literature, and I suggest some underlying neuropsychological mechanisms that might serve to implement the model. I then extend the fragmentation model to cases where thinking about time makes it feel as though more of it passes. I end the paper by examining the possibility that an analogous model holds for the case of space. (shrink)

Clinical use of the term “confabulation” began as a reference to false memories in dementia patients. The term has remained in circulation since, which belies shifts in its definition and scope over time. “Confabulation” now describes a range of disorders, deficits, and anomalous behaviors. The increasingly wide and varied use of this term has prompted many to ask: what is confabulation? In recent years, many have offered answers to this question. As a general rule, recent accounts are accounts of broad (...) confabulation: attempts to unify the seemingly disparate features of all or most confabulatory phenomena under a shared set of characteristics or mechanisms. In this paper, I approach the question differently. I focus on a particular form of confabulation—mnemonic confabulation—so as to understand its distinctive features and the ways in which it does fit into accounts of broad confabulation. Understanding mnemonic confabulation is a project in the philosophy of memory; it plays an important role in guiding theories of remembering, as a form of error that must be distinguished from genuine remembering. Mnemonic confabulation, as I define it in Sect. 2, occurs when there is no relation between a person’s seeming to remember a particular event or experience and any event or experience from their past—either because there is no such event in their past or because any similarity to such an event is entirely coincidental. This account draws on my own theory of remembering, but shares many important points of consensus with other accounts of mnemonic confabulation, which I highlight in Sect. 3. In Sect. 4, I turn to accounts of broad confabulation—identifying three features such accounts have in common—and, for each, I argue that mnemonic confabulation lacks the requisite feature. As an error, mnemonic confabulation has more in common with perceptual hallucination than with the confabulatory phenomena included in standard accounts of broad confabulation. Recognizing that, despite the shared use of the term “confabulation” mnemonic confabulation and broad forms of confabulation are unrelated, is important for continued progress in debates about each. (shrink)

Amongst philosophers, there is ongoing debate about what successful event remembering requires. Causal theorists argue that it requires a causal connection to the past event. Simulation theorists argue, in contrast, that successful remembering requires only production by a reliable memory system. Both views must contend with the fact that people can remember past events they have experienced with varying degrees of accuracy. The debate between them thus concerns not only the account of successful remembering, but how each account explains the (...) various forms of memory error as well. Advancing the debate therefore must include exploration of the cognitive architecture implicated by each view and whether that architecture is capable of producing the range of event representations seen in human remembering. Our paper begins by exploring these architectures, framing casual theories as best suited to the storage of event instances and simulation theories as best suited to store schemas. While each approach has its advantages, neither can account for the full range of our event remembering abilities. We then propose a novel hybrid theory that combines both instance and schematic elements in the event memory. In addition, we provide an implementation of our theory in the context of a cognitive architecture. We also discuss an agent we developed using this system and its ability to remember events in the blocks world domain. (shrink)

Filmmakers use continuity editing to engender a sense of situational continuity or discontinuity at editing boundaries. The goal of this study was to assess the impact of continuity editing on how people perceive the structure of events in a narrative film and to identify brain networks that are associated with the processing of different types of continuity editing boundaries. Participants viewed a commercially produced film and segmented it into meaningful events, while brain activity was recorded with functional magnetic resonance imaging (...) (MRI). We identified three degrees of continuity that can occur at editing locations: edits that are continuous in space, time, and action; edits that are discontinuous in space or time but continuous in action; and edits that are discontinuous in action as well as space or time. Discontinuities in action had the biggest impact on behavioral event segmentation, and discontinuities in space and time had minor effects. Edits were associated with large transient increases in early visual areas. Spatial-temporal changes and action changes produced strikingly different patterns of transient change, and they provided evidence that specialized mechanisms in higher order perceptual processing regions are engaged to maintain continuity of action in the face of spatiotemporal discontinuities. These results suggest that commercial film editing is shaped to support the comprehension of meaningful events that bridge breaks in low-level visual continuity, and even breaks in continuity of spatial and temporal location. (shrink)

Topics in Cognitive Science, Volume 13, Issue 1, Page 187-205, January 2021.

Understanding how people comprehend visual narratives (including picture stories, comics, and film) requires the combination of traditionally separate theories that span the initial sensory and perceptual processing of complex visual scenes, the perception of events over time, and comprehension of narratives. Existing piecemeal approaches fail to capture the interplay between these levels of processing. Here, we propose the Scene Perception & Event Comprehension Theory (SPECT), as applied to visual narratives, which distinguishes between front-end and back-end cognitive processes. Front-end processes occur (...) during single eye fixations and are comprised of attentional selection and information extraction. Back-end processes occur across multiple fixations and support the construction of event models, which reflect understanding of what is happening now in a narrative (stored in working memory) and over the course of the entire narrative (stored in long-term episodic memory). We describe relationships between front- and back-end processes, and medium-specific differences that likely produce variation in front-end and back-end processes across media (e.g., picture stories vs. film). We describe several novel research questions derived from SPECT that we have explored. By addressing these questions, we provide greater insight into how attention, information extraction, and event model processes are dynamically coordinated to perceive and understand complex naturalistic visual events in narratives and the real world. (shrink)

Thomas Reid offers an explanation of how memory of events is possible. This paper presents, criticize,s and amends his view that memory not only preserves our knowledge of the external world, but also contributes to such knowledge, by being essential for the perception of events. Reid’s views on memory are in line with his generalanti-skeptical commitments, and thus attractive, for several reasons. One reason is that, just like perception, memory is not infallible, but it can constitute or, at least, ground (...) knowledge. Reid argues that memory, like perception, is immediate: it gives direct access to the external world, and not to mental representations of the external world. Another reason is that Reid’s explanation of how memory of events works emphasizes the impor- tance of the divide between memory and perception and consciousness: it is one thing to perceive or be conscious of something; it is another to remember that thing. Despite these advantages, a careful study of Reid’s views on memory will uncover a serious problem of general philosophical interest: it is unclear how exactly we are able to remember events episodically, since it is not settled whether we ever literally perceive events. This problem is engendered by a clash of the following two intuitions: (i) we can perceive only presently existing things, and (ii) we can remember events, which usually span periods of time longer than the present (whether the present is durationless or not). (shrink)

Inspired by, and in close relation with, the contributions of this special issue, Kuperberg elegantly links event comprehension, production, and learning. She proposes an overarching hierarchical generative framework of processing events enabling us to make sense of the world around us and to interact with it in a competent manner.

Shin and DuBrow propose that a key principle driving event segmentation relates to causal analyses: specifically, that experiences that are attributed as having the same underlying cause are grouped together into an event. This offers an alternative to accounts of segmentation based on prediction error.

The construct “remembering” is equivocal between an epistemic sense, denoting a distinctive ground for knowledge, and empirical sense, denoting the typical behavior of a neurocognitive mechanism. Because the same kind of equivocation arises for other psychologistic terms (such as believe, decide, know, judge, decide, infer and reason), the effort to spot and remedy the confusion in the case of remembering might prove generally instructive. The failure to allow these two senses of remembering equal play in their respective domains leads, I (...) argue, to unnecessary confusion about memory externalism, the possibility of episodic memory in non-human species, and the thesis of memory continuism. By distinguishing these equivocal senses of remembering, we thus gain leverage on understanding how the distinctive epistemic norms that define many of our psychologic terms are more plausibly related to the capacities studied by empirical science, given that neither identity nor elimination are possible. (shrink)

Event integration – the conflation of multiple events into a unitary event – plays a vital role in language and cognition. However, the conditions under which event integration occurs in linguistic representation and the differences in how linguistic forms encode complex events remain unclear. This corpus study examines two types of Japanese complex predicates – compound verbs [V1-V2]V and complex predicates consisting of a deverbal compound noun and the light verb suru ‘do’ [[V1-V2]N suru]V – using an original “related-event approach”. (...) Findings indicate that [[V1-V2]N suru]V can be established based on coextensiveness alone, whereas [V1-V2]V typically requires direct or shared causality (“the inevitable co-occurrence constraint”). The related-event approach examines related events of linguistic concepts, such as causes and purposes of an event, identified through “complex sentences” from ultra-large-scale web corpora. This study demonstrates that such an approach is effective in clarifying causal relationships between verbs. Furthermore, this paper contributes to the “iconicity versus frequency” debate by showing that conceptually more accessible events (causality plus coextensiveness) tend to be represented in a simpler form than less accessible events (coextensiveness only), due to “efficiency”. The frequency of usage is a result of the nature of concepts rather than the driving force of coding asymmetries. (shrink)

The way we represent and perceive time has crucial implications for studying temporality in conscious experience. Contrasting positions posit that temporal information is separately abstracted out like any other perceptual property through specialized mechanisms or that time is represented through the temporality of experiences themselves. To add to this debate, we investigate alterations in felt time in conditions where only conscious visual experience is altered through perceptual switches while a bistable figure remains physically unchanged. We predicted that if perceived time (...) is a function of temporally evolving conscious content, then a break in it (here via a perceptual switch) would also lead to a break in felt time. In three experiments, we showed participants a Necker cube that was manipulated to induce a perceptual switch (experiments 1(a) and 1(b)) or left to switch on its own (experiment 2). We asked participants to report both perceptual switches and felt durations (experiments 1(a) and 2) or only estimate time (experiment 1(b)). Over these three experiments, we find evidence of contraction of felt time in trials with a perceptual switch, consistent with the idea that perceived time is a function of temporally evolving conscious experience. Additionally, we present a phenomenological demonstration to support our empirical data. Overall, the study provides evidence for temporal mirroring and isomorphism in visual experience, arguing for a link between the timing of experience and time perception. (shrink)

Topics in Cognitive Science, Volume 13, Issue 1, Page 63-78, January 2021.

In the present study, we combined first-, second-, and third-person levels of analysis to explore the feeling of being and acting together in the context of collaborative artistic performance. Following participation in an international competition held in Czech Republic in 2018, a team of ten artistic swimmers took part in the study. First, a self-assessment instrument was administered to rate the different aspects of togetherness emerging from their collective activity; second, interviews based on video recordings of their performance were conducted (...) individually with all team members; and third, the performance was evaluated by external artistic swimming experts. By combining these levels of analysis in different ways, we explore how changes in togetherness and lived experience in individual behavior may shape, disrupt, and stabilize joint performance. Our findings suggest that the experience of being and acting together is transient and changing, often alternating phases of decrease and increase in felt togetherness that can be consistently recognized by swimmers and external raters. (shrink)