The Embodied Penman: Effector‐Specific Motor–Language Integration During Handwriting

Several studies have illuminated how processing manual action verbs (MaVs) affects the programming or execution of concurrent hand movements. Here, to circumvent key confounds in extant designs, we conducted the first assessment of motor–language integration during handwriting—a task in which linguistic and motoric processes are co‐substantiated. Participants copied MaVs, non‐manual action verbs, and non‐action verbs as we collected measures of motor programming and motor execution. Programming latencies were similar across conditions, but execution was faster for MaVs than for the other categories, regardless of whether word meanings were accessed implicitly or explicitly. In line with the Hand‐Action‐Network Dynamic Language Embodiment (HANDLE) model, such findings suggest that effector‐congruent verbs can prime manual movements even during highly automatized tasks in which motoric and verbal processes are naturally intertwined. Our paradigm opens new avenues for fine‐grained explorations of embodied language processes.     

陈莲笙道长生平

陈莲笙道长生于1917年10月25日,上海市人.历任中国道教协会副会长,中国道教协会顾问,上海市道教协会会长.上海市道教协会名誉会长,上海城隍庙住持,上海道学院院长,<上海道教>杂志主编,上海市宗教学会理事,上海市政协第七届委员,上海市政协第八、九届常委等职.     

When two limbs are weaker than one: Sensorimotor syncopation with alternating hands

This study addresses the demands of alternating bimanual syncopation, a coordination mode in which the two hands move in alternation while tapping in antiphase with a metronomic tone sequence. Musically trained participants were required to engage in alternating bimanual syncopation and five other coordination modes: unimanual syncopation where taps are made (with the left or right hand) after every tone; unimanual syncopation where taps are made after every other tone; bimanual synchronization with alternating hands; unimanual synchronized tapping with every tone; and unimanual tapping with every other tone. Variability in tap timing was greatest overall for alternating bimanual syncopation, indicating that it is the most difficult. This appears to be due to instability arising from the simultaneous presence of two levels of antiphase coordination (one between the pacing sequence and the hands, the other between the two hands) rather than factors relating to movement frequency or dexterity limits of the nonpreferred hand.     

What does it mean to ‘live’ and ‘die’? A cross‐linguistic analysis of parent–child conversations in English and Indonesian

Previous work on children's intuitive knowledge about the natural world has documented their difficulty in acquiring an overarching concept of biological life that includes plants as well as humans and non‐human animals. It has also suggested that the acquisition of fundamental biological concepts like alive and die may be influenced by the language used to describe them, as evidenced by differences between English‐ and Indonesian‐speaking children's performance in tasks involving these concepts. Here, we examine one particularly important source of linguistic information available to children during this acquisition process: everyday conversations with their parents. We take a cross‐linguistic approach in analysing the evidence available to English‐ and Indonesian‐speaking children as they acquire meanings for words corresponding to the concepts alive and die . Our analysis illustrates that young children acquiring English and Indonesian are faced with distinct problems, but that parental input in both languages does little to support the acquisition of broad, inclusive biological concepts.     

The Creativity Matrix: Spotlights and Blind Spots in Our Understanding of the Phenomenon

In this paper, we organize past and present theories and models of creativity by using a new conceptual framework—the creativity matrix—with the aim of highlighting the dimensions of creativity we know a lot about and those we tend to either ignore or find difficult to study. This matrix is formed by bringing together a developmental model of creativity (the 4 C's) and a structural one (the 5 A's). We start by briefly describing these two conceptual frameworks, and then, we proceed to exploring the matrix itself by describing how the 5 A's are dynamically organized at each “level” of the 4 C's. Importantly, our overview of the matrix is informed by existing models and concepts that address one of more of the C's and the A's. This gives us a unique opportunity to take stock of what has been studied so far and, toward the end, consider new avenues for the development of theory and research agendas within creativity studies.