The problem of which cues, internal or external, permit a person to label and identify his own emotional state has been with us since the days that James (1890) first tendered his doctrine that \"the bodily changes follow directly the perception of the exciting fact, and that our feeling of the same changes as they occur is the emotion\" (p. 449). Since we are aware of a variety of feeling and emotion states, it should follow from James' proposition that the various emotions will be accompanied by a variety of differentiable bodily states. Following James' pronouncement, a formidable number of studies were undertaken in search of the physiological differentiators of the emotions. The results, in these early days, were almost uniformly negative. All of the emotional states experi-

"Cognitive, social, and physiological determinants of emotional state": Erratum

Emotion and Meaning in Music

Music as Cognition.

The McGurk effect, in which auditory [ba] dubbed onto [go] lip movements is perceived as da or tha, was employed in a real-time task to investigate auditory-visual speech perception in prelingual infants. Experiments 1A and 1B established the validity of real-time dubbing for producing the effect. In Experiment 2, 4(1)/(2)-month-olds were tested in a habituation-test paradigm, in which 2 an auditory-visual stimulus was presented contingent upon visual fixation of a live face. The experimental group was habituated to a McGurk stimulus (auditory [ba] visual [ga]), and the control group to matching auditory-visual [ba]. Each group was then presented with three auditory-only test trials, [ba], [da], and [deltaa] (as in then). Visual-fixation durations in test trials showed that the experimental group treated the emergent percept in the McGurk effect, [da] or [deltaa], as familiar (even though they had not heard these sounds previously) and [ba] as novel. For control group infants [da] and [deltaa] were no more familiar than [ba]. These results are consistent with infants'perception of the McGurk effect, and support the conclusion that prelinguistic infants integrate auditory and visual speech information. (C) 2004 Wiley Periodicals, Inc.

Auditory–visual speech integration by prelinguistic infants: Perception of an emergent consonant in the McGurk effect

The field of neuroaesthetics has gained in popularity in recent years but also attracted criticism from the perspectives both of the humanities and the sciences. In an effort to consolidate research in the field, we characterize neuroaesthetics as the cognitive neuroscience of aesthetic experience, drawing on long traditions of research in empirical aesthetics on the one hand and cognitive neuroscience on the other. We clarify the aims and scope of the field, identifying relations among neuroscientific investigations of aesthetics, beauty, and art. The approach we advocate takes as its object of study a wide spectrum of aesthetic experiences, resulting from interactions of individuals, sensory stimuli, and context. Drawing on its parent fields, a cognitive neuroscience of aesthetics would investigate the complex cognitive processes and functional networks of brain regions involved in those experiences without placing a value on them. Thus, the cognitive neuroscientific approach may develop in a way that is mutually complementary to approaches in the humanities.

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Neuroaesthetics: The Cognitive Neuroscience of Aesthetic Experience.

If artists and art explore organization of the brain [Zeki, S., Lamb, M., 1994. The neurology of kinetic art. Brain 117, 607-636], then investigation of response to artistic performance holds promise as a window to perceptual and cognitive processes. A new instrument for recording real-time audience response - the portable Audience Response Facility (pARF) - is described. Twenty, hand-held, Personal Digital Assistants (PDAs) collect responses on customizable skin interfaces. The pARF server transmits the customizable options, synchronizes devices and collects data for export. We report two studies using the pARF that demonstrate respondent agreement of perceived emotion during particular sections of two dance works. Greater agreement was evident in continuous ratings of arousal than valence; arousal appears to be related to surface features of the dance work. Future applications of the pARF to studies of multi-modal perception and cognition are discussed.

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Cognition and the temporal arts: Investigating audience response to dance using PDAs that record continuous data during live performance

A previous study by the first two authors suggests there is visual information for tone perception: under certain conditions Cantonese speakers are able to identify spoken words as one of six Cantonese words differing only in tone on the basis of lip and face movements at a rate better than chance [1]. Here, non-native (tonal, Thai, and non-tonal, English) language speakers were tested on a discrimination version of this task in three modes: auditory-visual (AV), auditory only (AO), and visual only (VO). Auditory stimuli were presented either in the clear or accompanied by noise. In all conditions, even VO, performance was significantly better than chance. In the clear, both English and Thai perceivers performed better in the AO and AV conditions than in the VO condition. With auditory noise added, Thai perceivers performed better in the AV than the AO condition. The results support the existence of visual information for tone, and show that this is available in the absence of experience with the language in question, and even in the absence of experience with the lexical use of tone.

Visual discrimination of cantonese tone by tonal but non-Cantonese speakers, and by non-tonal language speakers.

Are tones phones

Three naming aloud experiments and a lexical decision (LD) experiment used masked priming to index the processing of written Thai vowels and tones. Thai allows for manipulation of the mapping between orthography and phonology not possible in other orthographies, for example, the use of consonants, vowels and tone markers in both horizontal and vertical orthographic positions (HOPs and VOPs). Experiment 1 showed that changing a vowel between prime and target slowed down target naming but changing a tone mark did not. Experiment 1 used an across item-design and a different number of HOPs in the way vowels and tones were specified. Experiment 2 used a within-item design and tested vowel and tone changes for both 2-HOP and 3-HOP targets separately. The 3-HOP words showed the same tone and vowel change effect as Experiment 1, whereas 2-HOP items did not. It was speculated that the 2-HOP result was due to the variable position of the vowel affecting priming. Experiment 3 employed a more stringent control over t...

Colin Schoknecht

Papers

Cognition and the temporal arts: Investigating audience response to dance using PDAs that record continuous data during live performance

Visual discrimination of cantonese tone by tonal but non-Cantonese speakers, and by non-tonal language speakers.

Are tones phones

The Time Course for Processing Vowels and Lexical Tones: Reading Aloud Thai Words.