Improving left spatial neglect through music scale playing

The study assessed whether the auditory reference provided by a music scale could improve spatial exploration of a standard musical instrument keyboard in right‐brain‐damaged patients with left spatial neglect. As performing music scales involves the production of predictable successive pitches, the expectation of the subsequent note may facilitate patients to explore a larger extension of space in the left affected side, during the production of music scales from right to left. Eleven right‐brain‐damaged stroke patients with left spatial neglect, 12 patients without neglect, and 12 age‐matched healthy participants played descending scales on a music keyboard. In a counterbalanced design, the participants' exploratory performance was assessed while producing scales in three feedback conditions: With congruent sound, no‐sound, or random sound feedback provided by the keyboard. The number of keys played and the timing of key press were recorded. Spatial exploration by patients with left neglect was superior with congruent sound feedback, compared to both Silence and Random sound conditions. Both the congruent and incongruent sound conditions were associated with a greater deceleration in all groups. The frame provided by the music scale improves exploration of the left side of space, contralateral to the right hemisphere, damaged in patients with left neglect. Performing a scale with congruent sounds may trigger at some extent preserved auditory and spatial multisensory representations of successive sounds, thus influencing the time course of space scanning, and ultimately resulting in a more extensive spatial exploration. These findings offer new perspectives also for the rehabilitation of the disorder.     

The Symbolism of the Body in Daoism

The body is the center of Daoist practice.In addition to being the carrier of feelings,experiences,and actions,it also plays a major role in the construction and interpretation of religious meanings.What is important here is how it serves as the starting point and springboard for practitioners seeking either to obtain the ideal state of being or acquire transcendent powers.This article explores the formation of the body as a symbol in Daoism,and analyzes its corresponding implications.I attempt to do this through a close textual reading of Daoist texts and a critical review of previous academic work on the Daoist conception of body.Within Daoism,the body is neither some physical object,nor a spirit-flesh hybrid that is the subject of theological reflection.It is the vehicle to immortality,and is in itself a small pantheon to be discovered and promoted.As such,it is an open and rich symbol that both generates and integrates meanings on different levels.The symbol of the body not only brings together diverse meanings,but it also provides a conduit through which these meanings are expressed.After taking on religious meaning,the body comes to actualize its potentiality through Daoist practice and cultivation.     

From single to multiple deficit models of developmental disorders

The emerging etiological model for developmental disorders, like dyslexia, is probabilistic and multifactorial while the prevailing cognitive model has been deterministic and often focused on a single cognitive cause, such as a phonological deficit as the cause of dyslexia. So there is a potential contradiction in our explanatory frameworks for understanding developmental disorders. This paper attempts to resolve this contradiction by presenting a multiple cognitive deficit model of developmental disorders. It describes how this model evolved out of our attempts to understand two comorbidities, those between dyslexia and attention deficit hyperactivity disorder (ADHD) and between dyslexia and speech sound disorder (SSD).     

Claude Debussy's opera Pelléas et Mélisande: Secrecy,mystery and ambiguity in Debussy's life and art

Debussy attempted to conceal the stresses of his early life: his father leaving to fight in the Franco-Prussian War, his younger siblings being sent to live with an aunt, and Debussy remaining alone with his mother. His early-discovered musical talent provided him with a sense of continuity throughout his life. However, he felt his training at the Paris Conservatoire to be restrictive and rebelled against it in the musical style he developed. Debussy’s opera Pelléas et Mélisande gave him an opportunity to creatively depict these thwarted passions and his aversion to restriction.     

Touching words is not enough: How visual experience influences haptic–auditory associations in the “Bouba–Kiki” effect

Since Köhler’s experiments in the 1920s, researchers have demonstrated a correspondence between words and shapes. Dubbed the “Bouba–Kiki” effect, these auditory–visual associations extend across cultures and are thought to be universal. More recently the effect has been shown in other modalities including taste, suggesting the effect is independent of vision. The study presented here tested the “Bouba–Kiki” effect in the auditory–haptic modalities, using 2D cut-outs and 3D models based on Köhler’s original drawings. Presented with shapes they could feel but not see, sighted participants showed a robust “Bouba–Kiki” effect. However, in a sample of people with a range of visual impairments, from congenital total blindness to partial sight, the effect was significantly less pronounced. The findings suggest that, in the absence of a direct visual stimulus, visual imagery plays a role in crossmodal integration.     

Creative surrender: A Milnerian view of works by Y. Z. Kami

Born in 1900, Marion Milner started psychoanalytic training in 1940, following a trajectory which took her into territory later developed by Winnicott. She was an independent thinker who drew on a variety of sources to explore her own and her patients' creativity. She linked the creative process to psychic health and to the ability to achieve a level of perception that leads not to the re‐creation of lost objects but to the creation of what did not exist before. By linking Milner's theory of perception to works by Y.Z. Kami, I draw parallels between a psychoanalyst's perception of the creative process and that process as described and executed by an artist. Milner's lens and Kami's brush both articulate thoughts and feelings about what it means to be human, the condition of mortality and, after Freud, the illusions that sustain mankind through the creation of the gods. This study looks at how the work of an artist and a psychoanalytic thinker can be mutually reinforcing and inter‐animating, thereby broadening and deepening the insights gained from both.     

Can pupillometry index auditory attentional capture in contexts of active visual processing?

The rare presentation of a sound that deviates from the auditory background tends to capture attention, which is known to impede cognitive functioning. Such disruption is usually measured using performance on a concurrent visual task. Growing evidence recently showed that the pupillary dilation response (PDR) could index the attentional response triggered by a deviant sound. Given that the pupil diameter is sensitive to several vision-related factors, it is unclear whether the PDR could serve to study attentional capture in such contexts. Hence, the present study aimed at verifying whether the PDR can be used as a proxy for auditory attentional capture while a visual serial recall task (Experiment 1) or a reading comprehension task (Experiment 2) – respectively producing changes in luminance and gaze position – is being performed. Results showed that presenting a deviant sound within steady-state standard sounds elicited larger PDRs than a standard sound. Moreover, the magnitude of these PDRs was positively related to the amount of performance disruption produced by deviant sounds in Experiment 1. Performance remained unaffected by the deviants in Experiment 2, thereby implying that the PDR may be a more sensitive attention-capture index than behavioural measures. These results suggest that the PDR can be used to assess attentional capture by a deviant sound in contexts where the pupil diameter can be modulated by the visual environment.     

Peer pressure and poverty: exploring fashion brands and consumption symbolism among children of the ‘British poor’

Attitudes towards fashion brands (trainers/athletic shoes) and their symbolic meanings are explored among a sample of 30 children aged 8–12 years from poor homes in the UK, in an interpretive study using projective methods. The children form stereotypes about the owners of trainers: if the trainers are obviously branded and expensive the children believe the owner to be rich and young, if the trainer is unbranded and inexpensive looking the children believe the owner to be poor and old. If a child is wearing branded trainers they are seen as popular and able to fit in with their peers. These opinions are so strongly held that the children would prefer to talk to someone wearing branded trainers than unbranded trainers. The children also feel pressure to wear the trainers that their friends wear, partly to make friends and fit in and partly because of the teasing experienced if they are wearing unbranded clothes or are clearly from a poor home. Copyright © 2004 Henry Stewart Publications.     

Facial expressions modulate the gaze orienting effect on sound localization judgement

Recent studies have shown that cueing eye gaze can affect the processing of visual information, and this phenomenon is called the gaze-orienting effect (visual-GOE). Emerging evidence has shown that the cueing eye gaze also affects the processing of auditory information (auditory-GOE). However, it is unclear whether the auditory-GOE is modulated by emotion. We conducted three behavioural experiments to investigate whether cueing eye gaze influenced the orientation judgement to a sound, and whether the effect was modulated by facial expressions. The current study set four facial expressions (angry, fearful, happy, and neutral), manipulated the display type of facial expressions, and changed the sequence of gaze and emotional expressions. Participants were required to judge the sound orientation after facial expressions and gaze cues. The results showed that the orientation judgement of sound was influenced by gaze direction in all three experiments, and the orientation judgement of sound was faster when the face was oriented to the target location (congruent trials) than when the face was oriented away from the target location (incongruent trials). The modulation of emotion on auditory-GOE was observed only when gaze shifted followed by facial expression (Exp3); the auditory-GOE was significantly greater for angry faces than for neutral faces. These findings indicate that auditory-GOE as a social phenomenon exists widely, and the effect was modulated by facial expression. Gaze shift before the presentation of emotion was the key influencing factor for the emotional modulation in an auditory target gaze-orienting task. Our findings suggest that the integration of facial expressions and eye gaze was context-dependent.     

语音象征的产生机制：基于敏感期的先天后天作用模型

Bouba-Kiki效应(简称BK效应)指语音和形状特征之间的映射关系。针对BK效应的产生机制,先天论和后天论之间争论激烈。先天论的观点认为人们对语音象征的敏感性是出生时便存在的一种语言机制。而后天论的观点则强调语音象征是语言经验的产物。上述理论均获得大量研究证据的支持,且均无法完全否定对方。这表明,上述理论可能均未完整揭示语音象征的产生机制。鉴于此,针对BK效应的产生机制,梳理先天论与后天论的支持证据,并率先提出语言相关的BK效应敏感期假设。同时,梳理了支持BK效应敏感期的初步研究证据及可能的影响因素。进而,以语言相关的BK效应敏感期假设为基础,提出语音象征产生的先天后天相互作用模型,以整合以往研究中的矛盾。最后,展望了语音象征的未来研究进展和方向。