The article is the first Russian translation of the most well-known piece in conversation analysis, written by the founders of CA Harvey Sacks, Emanuel Schegloff and Gail Jefferson. It has become a milestone in the development of the discipline. The authors offer a comprehensive approach to the study of conversational interactions. The approach is based on the analysis of detailed transcripts of the records of natural conversations. The authors show that in the course of the conversation co-conversationalists use a number (...) of techniques to organize the turn-taking. These techniques are combined in four rules: the first option is the transfer of speakership via allocation of the next speaker by the current speaker; if this first option is not realized, turn-taking may happen via the self-selection by one of the participants; if the second option remains unrealized too, the current speaker continues speaking, with all three options being recurrently provided at all next transition relevant places. The result of the operation of these rules is an orderly conversation based on the principle “one speaker at a time.” According to the authors, this model is compatible with obvious observations concerning conversational practices that they make. The authors show that in every conversation there is a turn-taking system in operation, which provides for a flexible adaptation of the every conversation’s structure to any possible topics and any possible speakers’ identities. Such approach considers how the participants in social interactions order their communication with each other, achieving a sense of normally occurring interaction. (shrink)

The core niche for language use is in verbal interaction, involving the rapid exchange of turns at talking. This paper reviews the extensive literature about this system, adding new statistical analyses of behavioral data where they have been missing, demonstrating that turn-taking has the systematic properties originally noted by Sacks et al. (1974 ; hereafter SSJ). This system poses some significant puzzles for current theories of language processing: the gaps between turns are short (of the order of 200 ms), but (...) the latencies involved in language production are much longer (over 600 ms). This seems to imply that participants in conversation must predict (or ‘project’ as SSJ have it) the end of the current speaker’s turn in order to prepare their response in advance. This in turn implies some overlap between production and comprehension despite their use of common processing resources. Collecting together what is known behaviorally and experimentally about the system, the space for systematic explanations of language processing for conversation can be significantly narrowed, and we sketch some first model of the mental processes involved for the participant preparing to speak next. (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.

Perception of temporal patterns is fundamental to normal hearing, speech, motor control, and music. Certain types of pattern understanding are unique to humans, such as musical rhythm. Although human responses to musical rhythm are universal, there is much we do not understand about how rhythm is processed in the brain. Here, I consider findings from research into basic timing mechanisms and models through to the neuroscience of rhythm and meter. A network of neural areas, including motor regions, is regularly implicated (...) in basic timing as well as processing of musical rhythm. However, fractionating the specific roles of individual areas in this network has remained a challenge. Distinctions in activity patterns appear between "automatic" and "cognitively controlled" timing processes, but the perception of musical rhythm requires features of both automatic and controlled processes. In addition, many experimental manipulations rely on participants directing their attention toward or away from certain stimulus features, and measuring corresponding differences in neural activity. Many temporal features, however, are implicitly processed whether attended to or not, making it difficult to create controlled baseline conditions for experimental comparisons. The variety of stimuli, paradigms, and definitions can further complicate comparisons across domains or methodologies. Despite these challenges, the high level of interest and multitude of methodological approaches from different cognitive domains (including music, language, and motor learning) have yielded new insights and hold promise for future progress. (shrink)

Previous studies of auditory expectation have focused on the expectedness perceived by listeners retrospectively in response to events. In contrast, this research examines predictive uncertainty —a property of listeners' prospective state of expectation prior to the onset of an event. We examine the information-theoretic concept of Shannon entropy as a model of predictive uncertainty in music cognition. This is motivated by the Statistical Learning Hypothesis, which proposes that schematic expectations reflect probabilistic relationships between sensory events learned implicitly through exposure. Using (...) probability estimates from an unsupervised, variable-order Markov model, 12 melodic contexts high in entropy and 12 melodic contexts low in entropy were selected from two musical repertoires differing in structural complexity (simple and complex). Musicians and non-musicians listened to the stimuli and provided explicit judgments of perceived uncertainty (explicit uncertainty). We also examined an indirect measure of uncertainty computed as the entropy of expectedness distributions obtained using a classical probe-tone paradigm where listeners rated the perceived expectedness of the final note in a melodic sequence (inferred uncertainty). Finally, we simulate listeners' perception of expectedness and uncertainty using computational models of auditory expectation. A detailed model comparison indicates which model parameters maximize fit to the data and how they compare to existing models in the literature. The results show that listeners experience greater uncertainty in high-entropy musical contexts than low-entropy contexts. This effect is particularly apparent for inferred uncertainty and is stronger in musicians than non-musicians. Consistent with the Statistical Learning Hypothesis, the results suggest that increased domain-relevant training is associated with an increasingly accurate cognitive model of probabilistic structure in music. (shrink)

Sensitivity to interpersonal timing was assessed in mother–infant interaction. In Study 1, 3-month-old infants interacted with their mothers over television and the mothers’ audio-visual presentation was either live or temporally delayed by 1 second. Infants gazed longer when the mother was presented live compared to delayed by 1 second, indicating that they detected the temporal delay. In Study 2, mothers interacted with their 3-month-old infants over television and the infants’ audio-visual presentation was either live or temporally delayed by 1 second. (...) Mothers’ behavior was not altered by a 1-second delay in their infants’ behavior compared to a live presentation. In Study 3 and 4, the results were replicated with 6-month-old infants. Whereas infants detected the temporal delay in maternal responses, mothers likely adjusted to the delay in infant behavior. The discussion focuses on the role of interpersonal timing for detecting social contingency in dyadic and triadic communication. (shrink)

Creativity is the hallmark of human cognition, yet scientific understanding of creative processes is limited. However, there is increasing interest in revealing the neural correlates of human creativity. Though many of these studies, pioneering in nature, help demystification of creativity, but the field is still dominated by popular beliefs in associating creativity with "right brain thinking", "divergent thinking", "altered states" and so on (Dietrich and Kanso, 2010). In this article, we discuss a computational framework for creativity based on Baars' global (...) workspace theory (Baars, 1988) enhanced with mechanisms based on information theory. Next we propose a neurocognitive architecture of creativity with a strong focus on various facets (i.e., unconscious thought theory, mind wandering, spontaneous brain states) of un/pre-conscious brain responses. Our principal argument is that pre-conscious creativity happens prior to conscious creativity happens prior to conscious creativity and the proposed computational model may provide a mechanism by which this transition is managed. This integrative approach, albeit unconventional, will hopefully stimulate future neuroscientific studies of the inscrutable phenomenon of creativity. (shrink)

An obvious result of including time rules into specifications of world patterns is the rather persuasive representation of rhythm. Rhythm as a property of world patterns has received relatively little attention recently, although it has had a long and distinguished history in psychology. Nonetheless, its recent neglect means that all too often we have failed to consider the implications of time patterning of stimuli that we as psychologists routinely present to individuals in our attempts to study human performance in many (...) tasks, tasks which often do involve explicitly musical stimuli. Often in our psychological studies we present as stimuli words, lights, colored forms, or other items in a fashion that is regularly spaced in time. It's just common sense, and besides it's easier. And other current paradigms have not encouraged experimental questions about the temporal patterning of stimuli. But consider what this pacing means. We are rhythmically programming events. Is it possible that this temporal regularity forms attentional waves that buoy up our studies and so make it likely that we can study what we are most interested in? And, with our own attention as psychologists fixed steadily upon the topic of our immediate concern , is it possible that we overlook the fact that underlying our effects is a rhythmic regularity that is crucial to having the subject's attention on the task at hand? Mari Riess Jones is professor of psychology at Ohio State University and has written numerous articles on the human response to patterns in time. (shrink)

Part II systematically develops a fully temporal theory of meter that engages a variety of interpretive possibilities open to the performer. Here analyses of music from the early 17th century to the mid-20th century demonstrate the explanatory power of the theory and address broader issues of musical rhythm. The concluding chapters open the theory to more general questions of musical experience and its theoretical representation.