What do infants understand of others’ action? A theoretical account of early social cognition

Intention reading and action understanding have been reported in ever-younger infants. However, the notions of intention attribution and action understanding, as well as their relation to each other, are surrounded by much confusion, making it difficult to assess the meaning and value of such findings. In this paper we set out to clarify the notions of ‘action understanding’ and ‘intention attribution’. We will show that what is commonly referred to as ‘action understanding’ in fact encompasses various heterogeneous association and prediction mechanisms. In general, these forms of action understanding will not result in the attribution of an intention to an observed actor. By detaching intention attribution from action understanding, and by exposing the latter as an umbrella notion, we provide a theoretical framework on early social cognition that allows for better comparison of findings from different experimental paradigms, and better assessment of infant action understanding abilities. Taking into account the plurality of forms that action understanding can adopt will help cognitive neuroscience to gain a full understanding of the early roots of social cognition.     

“Cuts in Action”: A High‐Density EEG Study Investigating the Neural Correlates of Different Editing Techniques in Film

In spite of their striking differences with real‐life perception, films are perceived and understood without effort. Cognitive film theory attributes this to the system of continuity editing, a system of editing guidelines outlining the effect of different cuts and edits on spectators. A major principle in this framework is the 180° rule, a rule recommendation that, to avoid spectators’ attention to the editing, two edited shots of the same event or action should not be filmed from angles differing in a way that expectations of spatial continuity are strongly violated. In the present study, we used high‐density EEG to explore the neural underpinnings of this rule. In particular, our analysis shows that cuts and edits in general elicit early ERP component indicating the registration of syntactic violations as known from language, music, and action processing. However, continuity edits and cuts‐across the line differ from each other regarding later components likely to be indicating the differences in spatial remapping as well as in the degree of conscious awareness of one's own perception. Interestingly, a time–frequency analysis of the occipital alpha rhythm did not support the hypothesis that such differences in processing routes are mainly linked to visual attention. On the contrary, our study found specific modulations of the central mu rhythm ERD as an indicator of sensorimotor activity, suggesting that sensorimotor networks might play an important role. We think that these findings shed new light on current discussions about the role of attention and embodied perception in film perception and should be considered when explaining spectators’ different experience of different kinds of cuts.