Intersensory Perception and Sensory Integration PERCEPTION and PERCEPTUAL DEVELOPMENT a Critical Review Series

Total Page:16

File Type:pdf, Size:1020Kb

Intersensory Perception and Sensory Integration PERCEPTION and PERCEPTUAL DEVELOPMENT a Critical Review Series Intersensory Perception and Sensory Integration PERCEPTION AND PERCEPTUAL DEVELOPMENT A Critical Review Series Series Editors: Herbert L. Pick, Jr. University of Minnesota, Minneapolis, Minnesota and Richard D. Walk George Washington University, Washington, D.G. Volume 1 Perception and Experience Edited by Richard D. Walk and Herbert L. Pick,Jr. Volume 2 Intersensory Perception and Sensory Integration Edited by Richard D. Walk and Herbert L. Pick, Jr. A Continuation Order Plan is available for this series. A continuation order will bring delivery of each new volume immediately upon publication. Volumes are billed only upon actual shipment. For further information please contact the publisher. Intersensory Perception and Sensory Integration Edited by RICHARD D. WALK George Washington University Washington, D.C. and HERBERT L. PICK, JR. University of Minnesota Minneapolis, Minnesota PLENUM PRESS • NEW YORK AND LONDON Library of Congress Cataloging in Publication Data Main entry under title: Intersensory perception and sensory integration. (Perception and perceptual development; v. 2) Includes bibliographical references and index. 1. Perception. 2. Intersensory effects. I. Walk, Richard D. II. Pick, Herbert L. III. Series. [DNLM: 1. Perception. 2. Sensation. WI PE78GM v. 2/WL 705 162) BF311.I59 153.7 80·29204 ISBN 978-1-4615-9199-3 ISBN 978-1-4615-9197-9 (eBook) DOl 10.1007/978-1-4615-9197-9 © 1981 Plenum Press, New York Softcover reprint ofthe hardcover 1st edition 1981 A Division of Plenum Publishing Corporation 227 West 17th Street, New York, N.Y. 10011 Ail rights reserved No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, microfilming, recording, or otherwise, without written permission from the Publisher Contributors Eugene Abravanel, Department of Psychology, George Washington Uni­ versity, Washington, D.C. Emily W. Bushnell, Department of Psychology, Tufts University, Med­ ford, Massachusetts George Butterworth, Department of Psychology, University of South­ ampton, Southampton, England Malcolm M. Cohen, Naval Air Development Center, Warminster, Penn­ sylvania Bryant J. Cratty, Department of Kinesiology, University of California, Los Angeles, California James E. Cutting, Department of Psychology, Cornell University, Ithaca, New York Paul Fraisse, Centre H. Pieron, Universite Rene Descartes, Paris, France B. Hermelin, Medical Research Council (MRC) , Developmental Psy­ chology Unit, London, England Bill Jones, Department of Psychology, Carleton University, Ottawa, Ontario, Canada James R. Lackner, Department of Psychology, Brandeis University, Waltham, Massachusetts Susanna Millar, Department of Experimental Psychology, University of Oxford, Oxford, England N. O'Connor, Medical Research Center (MRC) , Developmental Psy­ chology Unit, London, England v vi Contributors Herbert L. Pick, Jr., Center for Research in Human Learning, University of Minnesota, Minneapolis, Minnesota Dennis R. Proffitt, Department of Psychology, University of Virginia, Charlottesville, Virginia Jacqueline M. F. Samuel, Department of Psychology, George Washing­ ton University, Washington, D.C. Richard D. Walk, Department of Psychology, George Washington Uni­ versity, Washington, D.C. Preface This volume on intersensory perception and sensory integration is the second volume of the series, Perception and Perceptual Development: A Critical Review Series. The topic of the volume is timely, for in recent years, many investigators have noted that information about any natural event is obtained by a perceiver from a variety of sources. Such an observation immediately leads to the question of how this information is synthesized and organized. Of course, the implication that there are several discrete input channels that must be processed has come under immediate attack by researchers such as the Gibsons. They find it extremely artificial to regard natural information as being cut up and requiring cementing. Nevertheless, the possibility that during ontogene­ sis, perception involves the integration of separate information has attracted the attention of scholars concerned with both normal and abnormal development. In the case of normal development, a lively controversy has arisen between those who believe perceptual develop­ ment goes from integration toward differentiation and those who hold the opposite view. In the case of abnormal psychological development such as learning disabilities, many workers have suggested that percep­ tual integration is at fault. In thinking about the issues raised in this volume, we are particularly indebted to our former teachers and colleagues: Eleanor and James Gibson, T. A. Ryan, Robert B. MacLeod, and Jerome Bruner. We are pleased to acknowledge the secretarial help of Karen Weeks in the preparation of this volume. Preparation of the book was supported in part by a Program Project Grant from the National Institute of Child Health and Human Development (HD-05027) to the Institute of Child Development, by the Center for Research in Human Learning of the University of Minnesota, and by a National Institutes of Health Biomed- vii viii Preface ical Research Support Grant (2-S07-RR07019-14) to George Washington University. HERBERT L. PICK, JR. RICHARD D. WALK Introduction This book is concerned with the interrelation of sense modalities. How does stimulation of one modality-vision, for example-interact with that of another-audition, for example? The book's primary focus is on the perceptual aspects of intermodal relations in contrast with sensory aspects. Thus none of the contributions addresses such questions as whether stimulation of one sense modality changes the threshold for detection of stimulation in another. Rather, the chapters address such questions as whether a tactual and visual shape are the same, or whether a visual and auditory spatial locus are perceived as the same place. It seems patently obvious that the way to understand perception is to analyze how sensory stimulation is processed by the different sense modalities. In fact, it sometimes appears that there is no other alternative. This pervasive view is perhaps a tribute to the success of 10hanes MOller's doctrine of Specific Nerve Energies. According to this doctrine the different qualities of our sensory experience were based on the nerve energies which the different nerves carried from receptor organ to brain, or on the particular loci of the brain at which these nerves ended. MOller's doctrine was based on the anatomical and physiological evidence of the time and on a philosophical tradition which argued that we could not know anything of the external world, only the state of our nerves. MOller's doctrine led in turn to the structuralist psychology of Wundt and Titchener, in which our mental experience was analyzed in terms of a set of attributes such as quality, intensity, protensity, attensity, etc. Any given percept could be broken down into sensations of vision, audition, taste, etc., of a particular intensity, duration, clarity and size, or combinations of these attributes. Although the extreme mentalism of this approach is now gone, its heritage is still reflected in our emphasis on the processing of stimulation by the specific sense modalities. Con­ sider, for example, the typical courses in a psychology department on vision and audition. (There are usually no courses for the other sense ix x Introduction modalities simply because there is not as big a knowledge base for how these work.) And consider the listing in psychological abstracts of the main topics for audition, vision, and the lower senses. Our current commonsense view of how to understand perception has not always been so one-track. Although the concept of separate sense modalities can be traced back to Aristotle, he also had the concept of sensus comunis, which referred to a capacity for awareness of properties which were common to the various sense modalities. These resembled the attributes of the structural psychologists, and included, for example, magnitude, number, form, unity, and motion. (See Marks, 1978 for a review and analysis of this concept.) Focus on this aspect of perception draws our attention away from the separate sense modalities and permits us to consider the common information that we gain about the world. Although the attributes of Aristotle's sensus comunis are fairly abstract, thinking about these common attributes permits one to take seriously an alternative way of understanding perception. This alternative, following Gibson (1966), involves analyzing the way stimu­ lation provides information about the real world as we believe it exists. The implications of such an approach for intermodal aspects of perception are that instead of an analysis of separate sense modalities perception is analyzed in terms of the information which is acquired about important aspects of the world, or for various specific purposes whether through one or several of the traditional sense modalities. This is a very functional approach to perception and is brought out in this book most explicitly in Cohen's chapter on visual-proprioceptive interactions. Both of these approaches to intermodal perception and sensory integration generate their own problems and questions, many of which are the topics of chapters in this volume. The classic sense-modality approach is both anatomically and phenomenologically based. Each sense modality has its own receptor organ and nerve system and creates
Recommended publications
  • Listening to Dance...With Our Bodies and Minds Jordan
    Interdisciplinary Panel 4: Looking and listening Listening to dance...with our bodies and minds Stephanie Jordan, Research Professor in Dance, Director of Centre for Dance Research, Roehampton University Through our bodies, we empathise not only with dance, but also with its accompanying music. So, what happens when we experience dance and music together, or ‘choreomusically’? Evidence now suggests that audio, visual and motor imagery share a common representational and neuropsychological base, even though music can be subversive as much as supportive in the partnership with dance. In this regard, might it be useful to explore the interface between perception and empathy in our discussion of dance and music? In experiencing dance and music together, is the response one of integration or of two (or even more) separate ‘voices’ or ‘bodies’, each of which invites empathetic response or ‘virtual motion’? My paper raises questions about how we respond to choreomusical structures, drawing from my experience of integrating ideas from cognitive science into dance analysis (independently and in experimental workshops). My research, though primarily from the point of view of perception, raises key questions about empathetic responses to, or embodiment of, the two simultaneously-presented media. Although a number of valuable crossmodal studies deal with basic temporal and spatial concepts, there are few to date that have foregrounded relations (or structural meetings) between the more complex and extended stimuli of actual dance and music. In the two seminal experiments (Krumhansl and Schenk (1997); Mitchell and Gallaher (2001)), empirical evidence demonstrated that dance can reflect musical formal divisions, pitch level, dynamics and emotions.
    [Show full text]
  • 2010 Program Meeting Schedule
    Vision Sciences Society 10th Annual Meeting, May 7-12, 2010 Naples Grande Resort & Club, Naples, Florida Program Contents Board, Review Committee & Staff . 2 Satellite Events. 22 Keynote Address . 3 Club Vision Dance Party. 22 Meeting Schedule . 4 Open House . 23 Schedule-at-a-Glance . 6 Member-Initiated Symposia . 24 Poster Schedule . 8 Friday Sessions . 29 Talk Schedule . 10 Saturday Sessions . 33 Young Investigator Award . 11 Sunday Sessions . 43 Abstract Numbering System. 11 Monday Sessions . 53 VSS Dinner and Demo Night . 12 Tuesday Sessions . 58 VSS Public Lecture . 15 Wednesday Sessions . 68 VSS at ARVO . 15 Topic Index. 71 Attendee Resources . 16 Author Index . 74 Exhibitors . 19 Hotel Floorplan . 86 Travel Awards . 21 Advertisements. 89 Board, Review Committee & Staff Board of Directors Abstract Review Committee Tony Movshon (2011), President David Alais Laurence Maloney New York University Marty Banks Ennio Mingolla Pascal Mamassian (2012), President Elect Irving Biederman Cathleen Moore CNRS & Université Paris 5 Geoff Boynton Shin’ya Nishida Eli Brenner Tony Norcia Bill Geisler (2010), Past President Angela Brown Aude Oliva University of Texas, Austin David Burr Alice O’Toole Marisa Carrasco (2012), Treasurer Patrick Cavanagh John Reynolds New York University Marvin Chun Anna Roe Barbara Dosher (2013) Jody Culham Brian Rogers University of California, Irvine Greg DeAngelis Jeff Schall James Elder Brian Scholl Karl Gegenfurtner (2013) Steve Engel David Sheinberg Justus-Liebig Universität Giessen, Germany Jim Enns Daniel Simons
    [Show full text]
  • Cognition of Musical and Visual Accent Structure Alignment in Film and Animation
    UNIVERSITY OF CALIFORNIA Los Angeles Cognition of musical and visual accent structure alignment in film and animation A doctoral dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Music by Scott David Lipscomb 1995 © Copyright by Scott David Lipscomb 1995 ii The dissertation of Scott David Lipscomb is approved. __________________________________________ Roger Bourland __________________________________________ Edward C. Carterette __________________________________________ William Hutchinson __________________________________________ James Thomas __________________________________________ Roger A. Kendall, Committee Chair University of California, Los Angeles 1995 ii To my son, John David. iii TABLE OF CONTENTS page # LIST OF FIGURES x LIST OF TABLES xiv ACKNOWLEDGMENTS xvi VITA xvii ABSTRACT OF THE DISSERTATION xix CHAPTER ONE—INTRODUCTION 1 Research Questions 2 Film Music Background 3 Purpose and Significance of the Study 6 Basic Assumptions 7 Delimitation 8 Hypotheses 9 CHAPTER TWO—RELATED LITERATURE 12 Proposed Model and Its Foundation 15 Musical and Visual Periodicity 17 The Communication of Musical Meaning 19 A 3-Dimensional Model of Film Classification 23 Accent Structure Alignment 26 Determinants of Accent 26 Sources of Musical Accent 29 Sources of Visual Accent 34 iv A Common Language 38 Potential Sources of Musical and Visual Accent in the Present Study 39 Mapping of Audio-Visual Accent Structures 41 CHAPTER THREE—METHOD 42 Research Design 42 Subject Selection 43 Stimulus
    [Show full text]
  • Boundaries in Spatial Cognition: How They Look Is More Important Than What They Do
    bioRxiv preprint doi: https://doi.org/10.1101/391037; this version posted August 13, 2018. The copyright holder for this preprint (which was not certified by peer review) is the author/funder. All rights reserved. No reuse allowed without permission. SPATIAL CODING 1 Boundaries in Spatial Cognition: How They Look is More Important than What They Do James Negen1, Angela Sandri2, Sang Ah Lee3, Marko Nardini1 1Department of Psychology, Durham University, Durham, UK 2Department of Psychology and Cognitive Science, University of Trento, Rovereto, Italy 3Department of Bio and Brain Engineering, Korea Advanced Institute of Science and Technology, Daejeon, Korea bioRxiv preprint doi: https://doi.org/10.1101/391037; this version posted August 13, 2018. The copyright holder for this preprint (which was not certified by peer review) is the author/funder. All rights reserved. No reuse allowed without permission. SPATIAL CODING 2 ABSTRACT Typical boundaries (e.g. large walls) strongly influence neural activity related to navigation and representations of spatial layouts. Typical boundaries are also a major aid to reliable navigation in young children and non-human animals. One hypothesis places this as a function of the walls being boundaries, defined by proponents as obstacles to navigation. An alternative hypothesis suggests that this is a function of visual covariates such as the presence of large 3D surfaces. Using immersive virtual reality, we dissociated whether walls in the environment were true boundaries (i.e., obstacles to navigation) or not (i.e., visually identical but not obstacles to navigation), or if they were replaced with smaller objects. 20 adults recalled locations of objects in virtual environments under four conditions: plywood, where a visual wall coincided with a large touchable piece of plywood; pass through, where the wall coincided with empty space and participants could pass through it; pass over, where the wall was underneath a transparent floor, and cones, where there were traffic cones instead of walls.
    [Show full text]
  • PDF Hosted at the Radboud Repository of the Radboud University Nijmegen
    PDF hosted at the Radboud Repository of the Radboud University Nijmegen The following full text is a publisher's version. For additional information about this publication click this link. http://hdl.handle.net/2066/201487 Please be advised that this information was generated on 2021-09-27 and may be subject to change. Rusz, D., et al. (2019). Do Reward-Related Distractors Impair Cognitive Performance? Perhaps Not. Collabra: Psychology, 5(1): 10. DOI: https://doi.org/10.1525/collabra.169 ORIGINAL RESEARCH REPORT Do Reward-Related Distractors Impair Cognitive Performance? Perhaps Not Dorottya Rusz*, Erik Bijleveld† and Michiel A. J. Kompier† Over a hundred prior studies show that reward-related distractors capture attention. It is less clear, however, whether and when reward-related distractors affect performance on tasks that require cognitive control. In this experiment, we examined whether reward-related distractors impair performance during a demanding arithmetic task. Participants (N = 81) solved math problems, while they were exposed to task-irrelevant stimuli that were previously associated with monetary rewards (vs. not). Although we found some evidence for reward learning in the training phase, results from the test phase showed no evidence that reward-related distractors harm cognitive performance. This null effect was invariant across different versions of our task. We examined the results further with Bayesian analyses, which showed positive evidence for the null. Altogether, the present study showed that reward-related distractors did not harm performance on a mental arithmetic task. When considered together with previous studies, the present study suggests that the negative impact of reward-related distractors on cognitive control is not as straightforward as it may seem, and that more research is needed to clarify the circumstances under which reward-related distractors harm cognitive control.
    [Show full text]
  • The Infant's Auditory World: Hearing, Speech, and the Beginnings Of
    dam2_c02.qxd 1/6/06 12:44 PM Page 58 CHAPTER 2 The Infant’s Auditory World: Hearing, Speech, and the Beginnings of Language JENNY R. SAFFRAN, JANET F. WERKER, and LYNNE A. WERNER INFANT AUDITION 59 Stress and Phonotactic Cues 80 Development of the Auditory Apparatus: Higher-Level Units 81 Setting the Stage 59 LEARNING MECHANISMS 81 Measuring Auditory Development 60 Units for Computations 83 Frequency Coding 61 BUILDING FROM THE INPUT DURING THE Intensity Coding 63 1ST YEAR 83 Temporal Coding 67 Learning Phonology and Phonotactics 84 Spatial Resolution 69 Word Segmentation 84 Development of Auditory Scene Analysis 70 Beginnings of Word Recognition 88 Implications for theDevelopment of Listening for Meaning 89 Speech Perception 71 Beginnings of Grammar 91 INFANT SPEECH PERCEPTION AND WORD CONCLUSIONS AND FUTURE DIRECTIONS 92 LEARNING: BEGINNINGS OF LANGUAGE 72 Relationship between Auditory Processing and Emergence of the Field: Phonetic Perception 72 Speech Perception 92 A Preference for Speech 75 Constraints on Learning 93 Perception of the Visible Information in Speech 76 Domain Specificity and Species Specificity 93 Perception of Prosodic Attributes of the The Infant’s Auditory World 94 Speech Signal 77 REFERENCES 95 Perception of Other Aspects of the Speech Signal 78 IMPLICIT DISCOVERY OF CUES IN THE INPUT: A DRIVE TO MAKE SENSE OF THE ENVIRONMENT 80 The auditory world provides a rich source of informa- tion provides a channel for many important sources of tion to be acquired by the developing infant. We are born inputs, including a variety of critical environmental with well-developed auditory systems, capable of gath- sounds such as music and spoken language.
    [Show full text]
  • Parameters of Perception: Vision, Audition, and Twentieth-Century Music and Dance
    Parameters Of Perception: Vision, Audition, and Twentieth-Century Music and Dance Allen Fogelsanger Kathleya Afanador Congress on Research in Dance 38th Annual Conference November 2-5, 2006, Tempe, Arizona Recent experimental psychological research on visual perception, auditory perception, and cross-modal perception has shed light on how these processes differ, and how the relations between visual and auditory stimuli shade our understanding of the events perceived. This work offers a possible way into considering the question of how music and dance “go together” or not, and particularly may shed light on the unusual twentieth-century human behavior of NOT having music and dance “go together.” Our paper presents relevant research in perception, examines factors contributing to the separation of perceptual modalities that has often appeared in twentieth-century dance, and discusses the separation in terms of the specific behaviors of dancing and looking at dance. We come to this paper with a practical interest in what makes music and dance go together, or not, in that one of us choreographs and one of us composes and we share a desire to make computer-interactive pieces. In such pieces the connection between movement and sound must be examined explicitly, and this has led us to explore the literature from experimental psychology relating sound to movement and attempt to connect it to the making and viewing of dances. We start by trying to distinguish between cases where dance and music are seen to “go together” and those where they aren’t.
    [Show full text]
  • Parameters of Perception: Vision, Audition, and Twentieth-Century Music and Dance
    AVANT, Vol. VIII, No. 1/2017 ISSN: 2082-6710 avant.edu.pl/en DOI: 10.26913/80102017.0101.0004 Parameters of Perception: Vision, Audition, and Twentieth-Century Music and Dance Allen Fogelsanger Kathleya Afanador SUNY Purchase College Conservatory of Dance Armadillo Dance Project allen.fogelsanger @ gmail.com kathleya @ armadillodanceproject.com Abstract Recent experimental psychological research on visual perception, auditory perception, and cross-modal perception has shed light on how these processes differ, and how the relations between visual and auditory stimuli shade our understanding of the events perceived. This work offers a possible way into considering the question of how music and dance “go together” or not, and particularly may shed light on the unusual twentieth-century human behavior of NOT having music and dance “go together.” Our paper presents relevant re- search in perception, examines factors contributing to the separation of perceptual modal- ities that has often appeared in twentieth-century dance, and discusses the separation in terms of the specific behaviors of dancing and looking at dance. Keywords: perception; vision; audition; music; dance We come to this paper with a practical interest in what makes music and dance go together, or not, in that one of us choreographs and one of us composes, and we share a desire to make computer-interactive pieces. In such pieces the connection between movement and sound must be examined explicitly, and this has led us to explore the literature from ex- perimental psychology relating sound to movement and attempt to connect it to the making and viewing of dances. We start by trying to distinguish between cases where dance and music are seen to “go together” and those where they are not.
    [Show full text]
  • Ownership Illusions in Patients with Body Delusions: Different Neural Profiles of Visual Capture and Disownership
    cortex xxx (2016) 1e12 Available online at www.sciencedirect.com ScienceDirect Journal homepage: www.elsevier.com/locate/cortex Special issue: Research report Ownership illusions in patients with body delusions: Different neural profiles of visual capture and disownership Olivier Martinaud a,b,1, Sahba Besharati b,c,1,2, Paul M. Jenkinson d and * Aikaterini Fotopoulou b, a Department of Neurology, Rouen University Hospital, France b Clinical, Educational & Health Psychology Research Department, Division of Psychology & Language Sciences, University College London, UK c Academic Unit of Neuropsychiatry, King's College London, UK d School of Life and Medical Sciences, University of Hertfordshire, UK article info abstract Article history: The various neurocognitive processes contributing to the sense of body ownership have Received 9 April 2016 been investigated extensively in healthy participants, but studies in neurological patients Reviewed 24 May 2016 can shed unique light into such phenomena. Here, we aimed to investigate whether visual Revised 22 July 2016 capture by a fake hand (without any synchronous or asynchronous tactile stimulation) Accepted 25 September 2016 affects body ownership in a group of hemiplegic patients with or without disturbed Published online xxx sensation of limb ownership (DSO) following damage to the right hemisphere. We recruited 31 consecutive patients, including seven patients with DSO. The majority of our patients Keywords: (64.5% overall and up to 86% of the patients with DSO) experienced strong feelings of Anosognosia for hemiplegia ownership over a rubber hand within 15 sec following mere visual exposure, which Asomatognosia correlated with the degree of proprioceptive deficits across groups and in the DSO group.
    [Show full text]
  • Cognition of Musical and Visual Accent Structure Alignment in Film and Animation
    PRE-PUBLICATION DRAFT: PLEASE DO NOT PHOTOCOPY THE PERCEPTION OF AUDIO-VISUAL COMPOSITES: ACCENT STRUCTURE ALIGNMENT OF SIMPLE STIMULI Scott D. Lipscomb Northwestern University In contemporary society, the human sensory system is bombarded by sounds and images intended to attract attention, manipulate state of mind, or affect behavior.1 Patients awaiting a medical or dental appointment are often subjected to the "soothing" sounds of Muzak as they sit in the waiting area. Trend-setting fashions are displayed in mall shops blaring the latest Top 40 selec- tions to attract their specific clientele. Corporate training sessions and manage- ment presentations frequently employ not only communication through text and speech, but a variety of multimedia types for the purpose of attracting and main- taining attention, e.g. music, graphs, and animation. Recent versions of word processors allow the embedding of sound files, animations, charts, equations, pictures, and information from multiple applications within a single document. Even while standing in line at an amusement park or ordering a drink at the local pub, the presence of television screens providing aural and visual "companion- ship" is now ubiquitous. In each of these instances mentioned, music is assumed to be a catalyst for establishing the mood deemed appropriate, generating desired actions, or simply maintaining a high level of interest among participants within a given context. Musical affect has also been claimed to result in increased labor produc- tivity and reductions in on-the-job accidents when music is piped into the work- place (Hough, 1943; Halpin, 1943-4; Kerr, 1945), though these studies are often far from rigorous in their method and analysis (McGehee & Gardner, 1949; Car- dinell & Burris-Meyer, 1949; Uhrbock, 1961).
    [Show full text]
  • PDF Hosted at the Radboud Repository of the Radboud University Nijmegen
    PDF hosted at the Radboud Repository of the Radboud University Nijmegen The following full text is a publisher's version. For additional information about this publication click this link. http://hdl.handle.net/2066/201487 Please be advised that this information was generated on 2021-01-04 and may be subject to change. Rusz, D., et al. (2019). Do Reward-Related Distractors Impair Cognitive Performance? Perhaps Not. Collabra: Psychology, 5(1): 10. DOI: https://doi.org/10.1525/collabra.169 ORIGINAL RESEARCH REPORT Do Reward-Related Distractors Impair Cognitive Performance? Perhaps Not Dorottya Rusz*, Erik Bijleveld† and Michiel A. J. Kompier† Over a hundred prior studies show that reward-related distractors capture attention. It is less clear, however, whether and when reward-related distractors affect performance on tasks that require cognitive control. In this experiment, we examined whether reward-related distractors impair performance during a demanding arithmetic task. Participants (N = 81) solved math problems, while they were exposed to task-irrelevant stimuli that were previously associated with monetary rewards (vs. not). Although we found some evidence for reward learning in the training phase, results from the test phase showed no evidence that reward-related distractors harm cognitive performance. This null effect was invariant across different versions of our task. We examined the results further with Bayesian analyses, which showed positive evidence for the null. Altogether, the present study showed that reward-related distractors did not harm performance on a mental arithmetic task. When considered together with previous studies, the present study suggests that the negative impact of reward-related distractors on cognitive control is not as straightforward as it may seem, and that more research is needed to clarify the circumstances under which reward-related distractors harm cognitive control.
    [Show full text]
  • Sensation and Perception
    Sensation and Perception OUTLINE OF RESOURCES Introducing Sensation and Perception Podcast/Lecture/Discussion Topic: Person Perception (p. 3) UPDATED Basic Principles of Sensation and Perception Lecture/Discussion Topics: Sensation Versus Perception (p. 4) Top-Down Processing (p. 5) “Thin-Slicing” (p. 6) Classroom Exercises: A Scale to Assess Sensory-Processing Sensitivity (p. 6) UPDATED Human Senses Demonstration Kits (p. 6) UPDATED Classroom Exercises/Student Projects: The Wundt-Jastrow Illusion (p. 4) LaunchPad Video: The Man Who Cannot Recognize Faces* Thresholds Lecture/Discussion Topics: Gustav Fechner and Psychophysics (p. 7) Subliminal Smells (p. 8) Subliminal Persuasion (p. 9) Applying Weber’s Law (p. 10) Student Projects: The Variability of the Absolute Threshold (p. 8) Understanding Weber’s Law (p. 9) Sensory Adaptation Student Project: Sensory Adaptation (p. 10) UPDATED Classroom Exercises: Eye Movements (p. 10) Sensory Adaptation in the Marketplace (p. 11) Perceptual Set Lecture/Discussion Topic: Do Red Objects Feel Warmer or Colder Than Blue Objects? (p. 11) NEW Classroom Exercises: Perceptual Set (p. 11) UPDATED Perceptual Set and Gender Stereotypes (p. 12) Context Effects (see also Brightness Contrast, p. 22) Lecture/Discussion Topic: Context and Perception (p. 13) Vision: Sensory and Perceptual Processing Classroom Exercise/Student Project: Physiology of the Eye—A CD-ROM for Teaching Sensation and Perception (p. 13) LaunchPad Video: Vision: How We See* The Eye and the Stimulus Input Lecture/Discussion Topic:Classroom as Eyeball (p. 13) Student Projects: Color the Eyeball (p. 13) NEW Locating the Retinal Blood Vessels (p. 13) Student Projects/Classroom Exercises: Rods, Cones, and Color Vision (p. 14) UPDATED Locating the Blind Spot (p.
    [Show full text]