The neurocognitive gains of diagnostic reasoning training using simulated interactive veterinary cases

The present longitudinal study ascertained training-associated transformations in the neural underpinnings of diagnostic reasoning, using a simulation game named “Equine Virtual Farm” (EVF). Twenty participants underwent structural, EVF/task-based and resting-state MRI and diffusion tensor imaging (DTI) before and after completing their training on diagnosing simulated veterinary cases. Comparing playing veterinarian versus seeing a colorful image across training sessions revealed the transition of brain activity from scientific creativity regions pre-training (left middle frontal and temporal gyrus) to insight problem-solving regions post-training (right cerebellum, middle cingulate and medial superior gyrus and left postcentral gyrus). Further, applying linear mixed-effects modelling on graph centrality metrics revealed the central roles of the creative semantic (inferior frontal, middle frontal and angular gyrus and parahippocampus) and reward systems (orbital gyrus, nucleus accumbens and putamen) in driving pre-training diagnostic reasoning; whereas, regions implicated in inductive reasoning (superior temporal and medial postcentral gyrus and parahippocampus) were the main post-training hubs. Lastly, resting-state and DTI analysis revealed post-training effects within the occipitotemporal semantic processing region. Altogether, these results suggest that simulation-based training transforms diagnostic reasoning in novices from regions implicated in creative semantic processing to regions implicated in improvised rule-based problem-solving

Design and semantics of form and movement (DeSForM 2006)

Design and Semantics of Form and Movement (DeSForM) grew from applied research exploring emerging design methods and practices to support new generation product and interface design. The products and interfaces are concerned with: the context of ubiquitous computing and ambient technologies and the need for greater empathy in the pre-programmed behaviour of the ‘machines’ that populate our lives. Such explorative research in the CfDR has been led by Young, supported by Kyffin, Visiting Professor from Philips Design and sponsored by Philips Design over a period of four years (research funding £87k). DeSForM1 was the first of a series of three conferences that enable the presentation and debate of international work within this field: • 1st European conference on Design and Semantics of Form and Movement (DeSForM1), Baltic, Gateshead, 2005, Feijs L., Kyffin S. & Young R.A. eds. • 2nd European conference on Design and Semantics of Form and Movement (DeSForM2), Evoluon, Eindhoven, 2006, Feijs L., Kyffin S. & Young R.A. eds. • 3rd European conference on Design and Semantics of Form and Movement (DeSForM3), New Design School Building, Newcastle, 2007, Feijs L., Kyffin S. & Young R.A. eds. Philips sponsorship of practice-based enquiry led to research by three teams of research students over three years and on-going sponsorship of research through the Northumbria University Design and Innovation Laboratory (nuDIL). Young has been invited on the steering panel of the UK Thinking Digital Conference concerning the latest developments in digital and media technologies. Informed by this research is the work of PhD student Yukie Nakano who examines new technologies in relation to eco-design textiles

Beginning from the end : Strategies of composition in lyrical improvisation with end rhyme

The target of this paper is to analyze the structural and rhetorical principles that seem to be emblematic of extempore composition in all three of these rhymed forms of oral poetry.1 The analysis focuses on the methods that improvisers employ in the construction of end rhyme patterns and in structuring the semantic hierarchy of verse units in the spontaneous composition of verses in these traditions.Venla Sykari is a researcher affiliated with Folklore Studies at the University of Helsinki where she specializes in studying short, rhymed, and argumentative forms of oral poetry and contemporary traditions. Her Ph.D. dissertation focused on Cretan rhyming couplets, and in a postdoctoral project she continued the study of European oral poetry and meters, particularly the improvised composition of poetry with end rhyme. Her current research interests include the study of improvised rap and the social processes of learning, practicing, and transmitting knowledge and skills in oral composition and performance

Interpreting silent gesture:Cognitive biases and rational inference in emerging language systems

Natural languages make prolific use of conventional constituent‐ordering patterns to indicate “who did what to whom,” yet the mechanisms through which these regularities arise are not well understood. A series of recent experiments demonstrates that, when prompted to express meanings through silent gesture, people bypass native language conventions, revealing apparent biases underpinning word order usage, based on the semantic properties of the information to be conveyed. We extend the scope of these studies by focusing, experimentally and computationally, on the interpretation of silent gesture. We show cross‐linguistic experimental evidence that people use variability in constituent order as a cue to obtain different interpretations. To illuminate the computational principles that govern interpretation of non‐conventional communication, we derive a Bayesian model of interpretation via biased inductive inference and estimate these biases from the experimental data. Our analyses suggest people's interpretations balance the ambiguity that is characteristic of emerging language systems, with ordering preferences that are skewed and asymmetric, but defeasible

Struggling for Structure: cognitive origins of grammatical diversity and their implications for the Human Faculty of Language

There are between 5,000 and 8,000 distinct living languages spoken in the world today that are characterized by both exceptional diversity as well as significant similarities. Many researchers believe that at least part of this ability to communicate with language arises from a uniquely human Faculty of Language (c.f. Hauser, Chomsky, & Fitch, 2002; Pinker & Jackendoff, 2005)

A new perspective on word order preferences: the availability of a lexicon triggers the use of SVO word order

Word orders are not distributed equally: SOV and SVO are the most prevalent among the world's languages. While there is a consensus that SOV might be the "default" order in human languages, the factors that trigger the preference for SVO are still a matter of debate. Here we provide a new perspective on word order preferences that emphasizes the role of a lexicon. We propose that while there is a tendency to favor SOV in the case of improvised communication, the exposure to a shared lexicon makes it possible to liberate sufficient cognitive resources to use syntax. Consequently SVO, the more efficient word order to express syntactic relations, emerges. To test this hypothesis, we taught Italian (SVO) and Persian (SOV) speakers a set of gestures and later asked them to describe simple events. Confirming our prediction, results showed that in both groups a consistent use of SVO emerged after acquiring a stable gesture repertoire

Keywords in musical free improvisation

This is the final version of the article. Available from the publisher via the link in this record.This article presents some keywords and concepts concerning free improvised music and its recent developments drawing from ongoing bibliographical research. A radical pluralism stems from musicians' backgrounds and the mixtures and fusions of styles and idioms resulting from these mixtures. Seemingly very diferent "performance-driven" and "play-driven" attitudes exist, even among musicians who share the practice of performing at concerts. New models of musical analysis aiming specifcally at free improvised music take into account these interactional dimensions and point to the existence of certain typicalsounding characteristics