Brains, it has recently been argued, are essentially prediction machines. They are bundles of cells that support perception and action by constantly attempting to match incoming sensory inputs with top-down expectations or predictions. This is achieved using a hierarchical generative model that aims to minimize prediction error within a bidirectional cascade of cortical processing. Such accounts offer a unifying model of perception and action, illuminate the functional role of attention, and may neatly capture the special contribution of cortical processing to adaptive success. This target article critically examines this "hierarchical prediction machine" approach, concluding that it offers the best clue yet to the shape of a unified science of mind and action. Sections 1 and 2 lay out the key elements and implications of the approach. Section 3 explores a variety of pitfalls and challenges, spanning the evidential, the methodological, and the more properly conceptual. The paper ends (sections 4 and 5) by asking how such approaches might impact our more general vision of mind, experience, and agency.

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Whatever next? Predictive brains, situated agents, and the future of cognitive science

is one of the most recognizablecharacters in 20th century cinema. HAL is an artiﬁcial agent capable of such advancedlanguage behavior as speaking and understanding English, and at a crucial moment inthe plot, even reading lips. It is now clear that HAL’s creator, Arthur C. Clarke, wasa little optimistic in predicting when an artiﬁcial agent such as HAL would be avail-able. But just how far off was he? What would it take to create at least the language-relatedpartsofHAL?WecallprogramslikeHALthatconversewithhumansinnatural

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Speech and Language Processing

This paper describes a system for extracting typed dependency parses of English sentences from phrase structure parses. In order to capture inherent relations occurring in corpus texts that can be critical in real-world applications, many NP relations are included in the set of grammatical relations used. We provide a comparison of our system with Minipar and the Link parser. The typed dependency extraction facility described here is integrated in the Stanford Parser, available for download.

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Generating Typed Dependency Parses from Phrase Structure Parses

Adaptive Resonance Theory (ART) neural networks model real-time prediction, search, learning, and recognition. ART networks function both as models of human cognitive information processing [1,2,3] and as neural systems for technology transfer [4]. A neural computation central to both the scientific and the technological analyses is the ART matching rule [5], which models the interaction between topdown expectation and bottom-up input, thereby creating a focus of attention which, in turn, determines the nature of coded memories. Sites of early and ongoing transfer of ART-based technologies include industrial venues such as the Boeing Corporation [6] and government venues such as MIT Lincoln Laboratory [7]. A recent report on industrial uses of neural networks [8] states: “[The] Boeing ... Neural Information Retrieval System is probably still the largest-scale manufacturing application of neural networks. It uses [ART] to cluster binary templates of aeroplane parts in a complex hierarchical network that covers over 100,000 items, grouped into thousands of self-organised clusters. Claimed savings in manufacturing costs are in millions of dollars per annum.” At Lincoln Lab, a team led by Waxman developed an image mining system which incorporates several models of vision and recognition developed in the Boston University Department of Cognitive and Neural Systems (BU/CNS). Over the years a dozen CNS graduates (Aguilar, Baloch, Baxter, Bomberger, Cunningham, Fay, Gove, Ivey, Mehanian, Ross, Rubin, Streilein) have contributed to this effort, which is now located at Alphatech, Inc. Customers for BU/CNS neural network technologies have attributed their selection of ART over alternative systems to the model's defining design principles. In listing the advantages of its THOT technology, for example, American Heuristics Corporation (AHC) cites several characteristic computational capabilities of this family of neural models, including fast on-line (one-pass) learning, “vigilant” detection of novel patterns, retention of rare patterns, improvement with experience, “weights [which] are understandable in real world terms,” and scalability (www.heuristics.com). Design principles derived from scientific analyses and design constraints imposed by targeted applications have jointly guided the development of many variants of the basic networks, including fuzzy ARTMAP [9], ART-EMAP [10], ARTMAP-IC [11],

Knowledge-Based Intelligent Information and Engineering Systems

The comparative study of music and language is drawing an increasing amount of research interest. Like language, music is a human universal involving perceptually discrete elements organized into hierarchically structured sequences. Music and language can thus serve as foils for each other in the study of brain mechanisms underlying complex sound processing, and comparative research can provide novel insights into the functional and neural architecture of both domains. This review focuses on syntax, using recent neuroimaging data and cognitive theory to propose a specific point of convergence between syntactic processing in language and music. This leads to testable predictions, including the prediction that that syntactic comprehension problems in Broca's aphasia are not selective to language but influence music perception as well.

Language, music, syntax and the brain.

We develop a formal grammatical system called a link grammar, show how English grammar can be encoded in such a system, and give algorithms for efficiently parsing with a link grammar. Although the expressive power of link grammars is equivalent to that of context free grammars, encoding natural language grammars appears to be much easier with the new system. We have written a program for general link parsing and written a link grammar for the English language. The performance of this preliminary system -- both in the breadth of English phenomena that it captures and in the computational resources used -- indicates that the approach may have practical uses as well as linguistic significance. Our program is written in C and may be obtained through the internet.

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Parsing English with a Link Grammar

We develop a formal grammatical system called a link grammar, show how English grammar can be encoded in such a system, and give algorithms for efficiently parsing with a link grammar. Although the expressive power of link grammars is equivalent to that of context free grammars, encoding natural language grammars appears to be much easier with the new system. We have written a program for general link parsing and written a link grammar for the English language. The performance of this preliminary system ‐ both in the breadth of English phenomena that it captures and in the computational resources used ‐ indicates that the approach may have practical uses as well as linguistic significance. Our program is written in C and may be obtained through the internet.

In this book, David Temperley addresses a fundamental question about music cognition: how do we extract basic kinds of musical information, such as meter, phrase structure, counterpoint, pitch spelling, harmony, and key from music as we hear it? Taking a computational approach, Temperley develops models for generating these aspects of musical structure. The models he proposes are based on preference rules, which are criteria for evaluating a possible structural analysis of a piece of music. A preference rule system evaluates many possible interpretations and chooses the one that best satisfies the rules.After an introductory chapter, Temperley presents preference rule systems for generating six basic kinds of musical structure: meter, phrase structure, contrapuntal structure, harmony, and key, as well as pitch spelling (the labeling of pitch events with spellings such as A flat or G sharp). He suggests that preference rule systems not only show how musical structures are inferred, but also shed light on other aspects of music. He substantiates this claim with discussions of musical ambiguity, retrospective revision, expectation, and music outside the Western canon (rock and traditional African music). He proposes a framework for the description of musical styles based on preference rule systems and explores the relevance of preference rule systems to higher-level aspects of music, such as musical schemata, narrative and drama, and musical tension.

The Cognition of Basic Musical Structures

In Music and Probability, David Temperley explores issues in music perception and cognition from a probabilistic perspective. The application of probabilistic ideas to music has been pursued only sporadically over the past four decades, but the time is ripe, Temperley argues, for a reconsideration of how probabilities shape music perception and even music itself. Recent advances in the application of probability theory to other domains of cognitive modeling, coupled with new evidence and theoretical insights about the working of the musical mind, have laid the groundwork for more fruitful investigations. Temperley proposes computational models for two basic cognitive processes, the perception of key and the perception of meter, using techniques of Bayesian probabilistic modeling. Drawing on his own research and surveying recent work by others, Temperley explores a range of further issues in music and probability, including transcription, phrase perception, pattern perception, harmony, improvisation, and musical styles. Music and Probability--the first full-length book to explore the application of probabilistic techniques to musical issues--includes a concise survey of probability theory, with simple examples and a discussion of its application in other domains. Temperley relies most heavily on a Bayesian approach, which not only allows him to model the perception of meter and tonality but also sheds light on such perceptual processes as error detection, expectation, and pitch identification. Bayesian techniques also provide insights into such subtle and advanced issues as musical ambiguity, tension, and "grammaticality," and lead to interesting and novel predictions about compositional practice and differences between musical styles.

Music and probability

In this study, we report a corpus analysis of rock harmony. As a corpus, we used Rolling Stone magazine's list of the ‘500 Greatest Songs of All Time’; we took the 20 top-ranked songs from each decade (the 1950s through the 1990s), creating a set of 100 songs. Both authors analysed all 100 songs by hand, using conventional Roman numeral symbols. Agreement between the two sets of analyses was over 90 per cent. The analyses were encoded using a recursive notation, similar to a context-free grammar, allowing repeating sections to be encoded succinctly. The aggregate data was then subjected to a variety of statistical analyses. We examined the frequency of different chords and chord transitions. The results showed that IV is the most common chord after I and is especially common preceding the tonic. Other results concern the frequency of different root motions, patterns of co-occurrence between chords, and changes in harmonic practice across time.

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David Temperley

Papers

Parsing English with a Link Grammar

Parsing English with a Link Grammar

The Cognition of Basic Musical Structures

Music and probability

A corpus analysis of rock harmony