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Displaying 1 - 16  of 16 (Bibliography: WIKINDX Master Bibliography)
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Anderson, M. L. (2003). Embodied cognition: A field guide. Articificial Intelligence, 149, 91–130.   
Added by: Mark Grimshaw-Aagaard 17/02/2011, 07:55
"...having disconnected the form of a symbol from its meaning, cognitivism rules out the possibility of context-sensitive processing, and so requires formal rules to govern the transformation from one cognitive state to another."
Cognitivism derives from the Cartesian world view (that sensing and acting in the world does not require thinking -- the mind is separate from the body and this is what separates man and animals; man is capable of higher-level reasoning and abstraction).

Cognitivism -- thinking is a manipulation of abstract symbols according to explicit rules. Three elements to cognitivism: representation, formalism and transformation. Representation requires symbols pertaining to "specific features or states of affairs", but it is the form of the symbol (not its meaning) "that is the basis of its rule-based transformation."
Anderson critiques the AI framework 'sense-model-plan-act' (SMPA) as being insufficiently dynamic and not taking account of relevance. SMPA depends upon modelling an explicit representation of the world. How can one model for every potential situation and how does one decide which situations are relevant enough to be modelled as representations for future use?
Blesser, B., & Salter, L.-R. (2007). Spaces speak, are you listening? Experiencing aural architecture. Cambridge, Massachusetts: MIT Press.   
Last edited by: Mark Grimshaw-Aagaard 23/10/2023, 15:11
"A cognitive map of space is a combination of the rules of geometry as well as knowledge about the physical world. [...] This knowledge is acquired in childhood and continually modified in our experience as adults, we are not conscious of its existence. When sensing a spatial environment, an individual builds a cognitive map of space using a combination of sensory information and experiences accumulated over a lifetime. [The map] is subjective and personalized -- an active and synthetic creation -- rather than a passive reaction to stimuli."
Clair, R. (1929). The art of sound. Retrieved September 10, 2021, from https://web.archive.org ... ne/575/art-of-sound.htm   
Last edited by: Mark Grimshaw-Aagaard 10/09/2021, 10:17
"We must draw a distinction here between those sound effects which are amusing only by virtue of their novelty (which soon wears off), and those that help one to understand the action, and which excite emotions which could not have been roused by the sight of the pictures alone. The visual world at the birth of the cinema seemed to hold immeasurably richer promise.... However, if imitation of real noises seems limited and disappointing, it is possible that an interpretation of noises may have more of a future in it. Sound cartoons, using "real" noises, seem to point to interesting possibilities."
Doane, M. A. (1980). Ideology and the practice of sound editing and mixing. In T. de Lauretis & S. Heath (Eds), The Cinematic Apparatus (pp. 47–56). London: Macmillan.   
Last edited by: Mark Grimshaw-Aagaard 06/06/2023, 14:41
"Sound is a bearer of a meaning which is communicable and valid but unanalysable."
Evans, D. (2001). Emotion: A very short introduction. Oxford: Oxford University Press.   
Added by: Mark Grimshaw-Aagaard 28/05/2011, 07:52
Possibly a third category of emotions -- 'higher cognitive emtotions' e.g. love. It is universal and innate (to a degree) but typically grows slowly (unlike fear and anger). Such emotions are associated with the neocortex rather than in the subcortical strucutres of the brain. The neocortex supports high level complex cognition such as logical analysis. Emotions derived here may be "influenced by conscious thoughts and this in turn is probably what allows higher cognitive emotions to be more culturally variable than the basic emotions" (p.20).
Other higher cognitive emotions might be jealousy, envy, pride, embarrassment, shame, guilt as well as love.

All of these are fundamentally social unlike basic emotions. "Some basic emotions can also be co-opted for the social functions that typify higher cognitive emotions." (p.21). e.g. disgust at a rotting body's smell (non-social function keeps you away from disease) or disgust at incest or paedophilia (social function).
Grodal, T. (2003). Stories for eye, ear, and muscles: Video games, media, and embodied experiences. In M. J. P. Wolf & B. Perron (Eds), The Video Game Theory Reader (pp. 129–155). New York: Routledge.   
Last edited by: Mark Grimshaw-Aagaard 22/08/2006, 08:23
"...video games and other types of interactive virtual reality are simulations of basic modes of real-life experiences. This means that cognitive psychology provides many advantages as a tool for describing video games compared with a semiotic approach."
Gröhn, M., Lokki, T., Savioja, L., & Takala, T. 2001, January 22–23, Some aspects of role of audio in immersive visualization. Paper presented at Visual Data Exploration and Analysis VIII.   
Added by: Mark Grimshaw-Aagaard 16/02/2006, 08:30
"The cross-modal perception of auditory and visual stimuli is explored mostly with animals. ... little research have [sic] been done in the area of cognitive aspects of simultaneous visual and auditory stimuli in dynamic environments."
Lindley, C. A., & Sennersten, C. C. (2008). Game play schemas: From player analysis to adaptive game mechanics. International Journal of Computer Games Technology, 2008.   
Added by: Mark Grimshaw-Aagaard 06/05/2008, 10:43
"a game play schema is understood as a cognitive structure for orchestrating the various cognitive resources required to generate motor outputs of game play in response to the ongoing perception of an unfolding game. A game play schema is therefore the structure and algorithm determining
the management of attentional and other cognitive, perceptual, and motor resources required to realize the tasks involved in game play. [...] Schemas can be regarded as mechanisms or algorithms that, among other functions, determine the allocation of attention to cognitive tasks."
Maturana, H., & Varela, F. (1980). Autopoiesis and cognition: The realization of the living. Dordecht: D. Reidel Publishing Co.   
Last edited by: Mark Grimshaw-Aagaard 20/06/2006, 08:13
"...autopoiesis generates a phenomenological domain, this is cognition."
Maturana, H., & Varela, F. (1987). The tree of knowledge: The biological roots of human understanding. R. Paolucci, Trans. Boston: Shambhala.   
Last edited by: Mark Grimshaw-Aagaard 27/03/2006, 08:08
"The nervous system does not 'pick up information' from the environment ... The popular metaphor of calling the brain an 'information-processing device' is not only ambiguous but patently wrong"
Niedenthal, P. M. (2007). Embodying emotion. Science, 316, 1002–1005.   
Added by: Mark Grimshaw-Aagaard 26/01/2011, 01:57
"...high-level cognitive processes (such as thought and language) use partial reactivations of states in sensory, motor, and affective systems to do their jobs [...] The brain captures modality-specific states during perception, action and interoception and then reinstates parts of the same states to represent knowledge when needed."
"...shifting from processing in one modality to another involves temporal processing costs: Individuals take longer to judge the location of a visual stimulus after having just detected the location of an auditory one, for example, than if both stimuli arrive to the same modality."
Riddoch, M. 2012, September 9–14, On the non-cochlearity of the sounds themselves. Paper presented at International Computer Music Conference, Ljubljana.   
Last edited by: Mark Grimshaw-Aagaard 23/09/2020, 21:36
"This sensitivity is exhibited even in newborns indicating that an attunement to organized sound is an evolutionary adaptation in the human species."
Schafer, R. M. (1994). The soundscape: Our sonic environment and the tuning of the world. Rochester Vt: Destiny Books.   
Last edited by: Mark Grimshaw-Aagaard 14/02/2014, 16:44
"Sounds may be classified in several ways: according to their physical characteristics (acoustics) or the way in which they are perceived (psychoacoustics); according to their function and meaning (semiotics and semantics); or according to their emotional or affective qualities (aesthetics). While it has been customary to treat these classifications seperately, there are obvious limitations to isolated studies."
Somers, E. 2000, April 2–5, Abstract sound objects to expand the vocabulary of sound design for visual and theatrical media. Paper presented at 6th International Conference on Auditory Display, Atlanta.   
Added by: Mark Grimshaw-Aagaard 16/09/2005, 13:58
Sound intended for dramatic purposes or to communicate can have "varying levels of cognitive precision."
Szabó Gendler, T. (2010). Intuition, imagination, & philosophical methodology. Oxford: Oxford University Press.   
Last edited by: Mark Grimshaw-Aagaard 21/10/2023, 06:42
Quoting Thordyke (1922, p.33) "the mind is ruled by habit throughout" and reasoning is no more than "the organization and cooperation of habits."
Quarantining and contagion appear to be mainly automatic processes whilst mirroring and disparity primarily arise from cognitive control.
Williams, S. M. (1994). Perceptual principles in sound grouping. In G. Kramer (Ed.), Auditory Display: Sonification, Audification, and Auditory Interfaces (pp. 95–125). Reading MA: Addison-Wesley.   
Added by: Mark Grimshaw-Aagaard 06/05/2008, 15:42
Provides a definition for sensation, perception and cognition as these (especially the first two) are confusingly and interchangeably used in the literature: "sensation refers to immediate and basic experiences generated by isolated, simple stimuli; perception involves the interpretation of those sensations, giving them meaning and organisation; and cognition involves the acquisition, storage, retrieval, and use of knowledge."
WIKINDX 6.8.2 | Total resources: 1301 | Username: -- | Bibliography: WIKINDX Master Bibliography | Style: American Psychological Association (APA)