The Mechanics of Embodiment: A Dialogue on Embodiment and Computational Modeling

Embodied theories are increasingly challenging traditional views of cognition by arguing that conceptual representations that constitute our knowledge are grounded in sensory and motor experiences, and processed at this sensorimotor level, rather than being represented and processed abstractly in an amodal conceptual system. Given the established empirical foundation, and the relatively underspecified theories to date, many researchers are extremely interested in embodied cognition but are clamouring for more mechanistic implementations. What is needed at this stage is a push toward explicit computational models that implement sensory-motor grounding as intrinsic to cognitive processes. In this article, six authors from varying backgrounds and approaches address issues concerning the construction of embodied computational models, and illustrate what they view as the critical current and next steps toward mechanistic theories of embodiment. The first part has the form of a dialogue between two fictional characters: Ernest, the �experimenter�, and Mary, the �computational modeller�. The dialogue consists of an interactive sequence of questions, requests for clarification, challenges, and (tentative) answers, and touches the most important aspects of grounded theories that should inform computational modeling and, conversely, the impact that computational modeling could have on embodied theories. The second part of the article discusses the most important open challenges for embodied computational modelling

The very same thing: Extending the object token concept to incorporate causal constraints on individual identity

The contributions of feature recognition, object categorization, and recollection of episodic memories to the re-identification of a perceived object as the very same thing encountered in a previous perceptual episode are well understood in terms of both cognitive-behavioral phenomenology and neurofunctional implementation. Human beings do not, however, rely solely on features and context to re-identify individuals; in the presence of featural change and similarly-featured distractors, people routinely employ causal constraints to establish object identities. Based on available cognitive and neurofunctional data, the standard object-token based model of individual re-identification is extended to incorporate the construction of unobserved and hence fictive causal histories (FCHs) of observed objects by the pre-motor action planning system. Cognitive-behavioral and implementation-level predictions of this extended model and methods for testing them are outlined. It is suggested that functional deficits in the construction of FCHs are associated with clinical outcomes in both Autism Spectrum Disorders and later-stage stage Alzheimer's disease.\u

Precis of neuroconstructivism: how the brain constructs cognition

Neuroconstructivism: How the Brain Constructs Cognition proposes a unifying framework for the study of cognitive development that brings together (1) constructivism (which views development as the progressive elaboration of increasingly complex structures), (2) cognitive neuroscience (which aims to understand the neural mechanisms underlying behavior), and (3) computational modeling (which proposes formal and explicit specifications of information processing). The guiding principle of our approach is context dependence, within and (in contrast to Marr [1982]) between levels of organization. We propose that three mechanisms guide the emergence of representations: competition, cooperation, and chronotopy; which themselves allow for two central processes: proactivity and progressive specialization. We suggest that the main outcome of development is partial representations, distributed across distinct functional circuits. This framework is derived by examining development at the level of single neurons, brain systems, and whole organisms. We use the terms encellment, embrainment, and embodiment to describe the higher-level contextual influences that act at each of these levels of organization. To illustrate these mechanisms in operation we provide case studies in early visual perception, infant habituation, phonological development, and object representations in infancy. Three further case studies are concerned with interactions between levels of explanation: social development, atypical development and within that, developmental dyslexia. We conclude that cognitive development arises from a dynamic, contextual change in embodied neural structures leading to partial representations across multiple brain regions and timescales, in response to proactively specified physical and social environment

Creativity as Cognitive design \ud The case of mesoscopic variables in Meta-Structures\ud

Creativity is an open problem which has been differently approached by several disciplines since a long time. In this contribution we consider as creative the constructivist design an observer does on the description levels of complex phenomena, such as the self-organized and emergent ones ( e.g., Bènard rollers, Belousov-Zhabotinsky reactions, flocks, swarms, and more radical cognitive and social emergences). We consider this design as related to the Gestaltian creation of a language fit for representing natural processes and the observer in an integrated way. Organised systems, both artificial and most of the natural ones are designed/ modelled according to a logical closed model which masters all the inter-relation between their constitutive elements, and which can be described by an algorithm or a single formal model. We will show there that logical openness and DYSAM (Dynamical Usage of Models) are the proper tools for those phenomena which cannot be described by algorithms or by a single formal model. The strong correlation between emergence and creativity suggests that an open model is the best way to provide a formal definition of creativity. A specific application relates to the possibility to shape the emergence of Collective Behaviours. Different modelling approaches have been introduced, based on symbolic as well as sub-symbolic rules of interaction to simulate collective phenomena by means of computational emergence. Another approach is based on modelling collective phenomena as sequences of Multiple Systems established by percentages of conceptually interchangeable agents taking on the same roles at different times and different roles at the same time. In the Meta-Structures project we propose to use mesoscopic variables as creative design, invention, good continuity and imitation of the description level. In the project we propose to define the coherence of sequences of Multiple Systems by using the values taken on by the dynamic mesoscopic clusters of its constitutive elements, such as the instantaneous number of elements having, in a flock, the same speed, distance from their nearest neighbours, direction and altitude. In Meta-Structures the collective behaviour’s coherence corresponds, for instance, to the scalar values taken by speed, distance, direction and altitude along time, through statistical strategies of interpolation, quasi-periodicity, levels of ergodicity and their reciprocal relationship. In this case the constructivist role of the observer is considered creative as it relates to neither non-linear replication nor transposition of levels of description and models used for artificial systems, like reductionism. Creativity rather lies in inventing new mesoscopic variables able to identify coherent patterns in complex systems. As it is known, mesoscopic variables represent partial macroscopic properties of a system by using some of the microscopic degrees of freedom possessed by composing elements. Such partial usage of microscopic as well as macroscopic properties allows a kind of Gestaltian continuity and imitation between levels of descriptions for mesoscopic modelling. \ud \u

Colour for behavioural success

Colour information not only helps sustain the survival of animal species by guiding sexual selection and foraging behaviour but also is an important factor in the cultural and technological development of our own species. This is illustrated by examples from the visual arts and from state-of-the-art imaging technology, where the strategic use of colour has become a powerful tool for guiding the planning and execution of interventional procedures. The functional role of colour information in terms of its potential benefits to behavioural success across the species is addressed in the introduction here to clarify why colour perception may have evolved to generate behavioural success. It is argued that evolutionary and environmental pressures influence not only colour trait production in the different species but also their ability to process and exploit colour information for goal-specific purposes. We then leap straight to the human primate with insight from current research on the facilitating role of colour cues on performance training with precision technology for image-guided surgical planning and intervention. It is shown that local colour cues in two-dimensional images generated by a surgical fisheye camera help individuals become more precise rapidly across a limited number of trial sets in simulator training for specific manual gestures with a tool. This facilitating effect of a local colour cue on performance evolution in a video-controlled simulator (pick-and-place) task can be explained in terms of colour-based figure-ground segregation facilitating attention to local image parts when more than two layers of subjective surface depth are present, as in all natural and surgical images

On Evolutionary Explanations of Musical Expressiveness

In this paper, I will examine an evolutionary hypothesis about musical expressiveness first proposed by Peter Kivy. I will first present the hypothesis and explain why I take it to be different from ordinary evolutionary explanations of musical expressiveness. I will then argue that Kivy’s hypothesis is of crucial importance for most available resemblancebased accounts of musical expressiveness. For this reason, it is particularly important to assess its plausibility. After having reviewed the existing literature on the topic, I will list five challenges the hypothesis is supposed to meet. Although my list of challenges does not aim at exhaustiveness, I believe that the hypothesis must meet all of the challenges I suggest if it is to work as a cornerstone for a theory of musical expressiveness

Computational and Robotic Models of Early Language Development: A Review

We review computational and robotics models of early language learning and development. We first explain why and how these models are used to understand better how children learn language. We argue that they provide concrete theories of language learning as a complex dynamic system, complementing traditional methods in psychology and linguistics. We review different modeling formalisms, grounded in techniques from machine learning and artificial intelligence such as Bayesian and neural network approaches. We then discuss their role in understanding several key mechanisms of language development: cross-situational statistical learning, embodiment, situated social interaction, intrinsically motivated learning, and cultural evolution. We conclude by discussing future challenges for research, including modeling of large-scale empirical data about language acquisition in real-world environments. Keywords: Early language learning, Computational and robotic models, machine learning, development, embodiment, social interaction, intrinsic motivation, self-organization, dynamical systems, complexity.Comment: to appear in International Handbook on Language Development, ed. J. Horst and J. von Koss Torkildsen, Routledg

Environments for sonic ecologies

This paper outlines a current lack of consideration for the environmental context of Evolutionary Algorithms used for the generation of music. We attempt to readdress this balance by outlining the benefits of developing strong coupling strategies between agent and en- vironment. It goes on to discuss the relationship between artistic process and the viewer and suggests a placement of the viewer and agent in a shared environmental context to facilitate understanding of the artistic process and a feeling of participation in the work. The paper then goes on to outline the installation ‘Excuse Me and how it attempts to achieve a level of Sonic Ecology through the use of a shared environmental context