An Integrated Working Memory Model for Time‐Based Resource‐Sharing proposes a formalized a theory of working memory, time‐based resource sharing (TBRS), within the ACT‐R cognitive architecture. Instantiating the theory within ACT‐R allowed the authors to predict task accuracy and response times when an articulatory rehearsal mechanism was included with the TBRS mechanism. This paper was awarded the Allen Newell Award for the best student‐ led paper submitted to ICCM 2018 for their research efforts.

Ten cerebellar patients were compared to 10 control subjects on a verbal working memory task in which the phonological similarity of the words to be remembered and their modality of presentation were manipulated. Cerebellar patients demonstrated a reduction of the phonological similarity effect relative to controls. Further, this reduction did not depend systematically upon the presentation modality. These results first document that qualitative differences in verbal working memory may be observed following cerebellar damage, indicating altered cognitive processing, even though behavioral (...) output as measured by the digit span may be within normal limits. However, the results also present problems for the hypothesis that the cerebellar role is specifically associated with articulatory rehearsal as conceptualized in the Baddeley–Hitch model of working memory. (shrink)

Inner speech has been shown to vary in form along several dimensions. Along condensation, condensed inner speech forms have been described, that are supposed to be deprived of acoustic, phonological and even syntactic qualities. Expanded forms, on the other extreme, display articulatory and auditory properties. Along dialogality, inner speech can be monologal, when we engage in internal soliloquy, or dialogal, when we recall past conversations or imagine future dialogs involving our own voice as well as that of others addressing (...) us. Along intentionality, it can be intentional (when we deliberately rehearse material in short-term memory) or it can arise unintentionally (during mind wandering). We introduce the ConDialInt model, a neurocognitive predictive control model of inner speech that accounts for its varieties along these three dimensions. ConDialInt spells out the condensation dimension by including inhibitory control at the conceptualization, formulation or articulatory planning stage. It accounts for dialogality, by assuming internal model adaptations and by speculating on neural processes underlying perspective switching. It explains the differences between intentional and spontaneous varieties in terms of monitoring. We present an fMRI study in which we probed varieties of inner speech along dialogality and intentionality, to examine the validity of the neuroanatomical correlates posited in ConDialInt. Condensation was also informally tackled. Our data support the hypothesis that expanded inner speech recruits speech production processes down to articulatory planning, resulting in a predicted signal, the inner voice, with auditory qualities. Along dialogality, covertly using an avatar’s voice resulted in the activation of right hemisphere homologs of the regions involved in internal own-voice soliloquy and in reduced cerebellar activation, consistent with internal model adaptation. Switching from first-person to third-person perspective resulted in activations in precuneus and parietal lobules. Along intentionality, compared with intentional inner speech, mind wandering with inner speech episodes was associated with greater bilateral inferior frontal activation and decreased activation in left temporal regions. This is consistent with the reported subjective evanescence and presumably reflects condensation processes. Our results provide neuroanatomical evidence compatible with predictive control and in favor of the assumptions made in the ConDialInt model. (shrink)

Using an articulatory model we show that locus equations make special use of the phonetic space of possible locus patterns. There is nothing articulatorily inevitable about their linearity or slope- intercept characteristics. Nonetheless, articulatory factors do play an important role in the origin of simulated locus equations, but they cannot, by themselves, provide complete explanations for the observed facts. As in other domains, there is interaction between perceptual and motor factors.

Social confrontation is a particular kind of communication episode which may be initiated when one actor signals another actor that his or her behavior has violated (or is violating) a rule or expectation for appropriate conduct within the relationship or situation (Newell & Stutman, 1988). This paper explores the decision, structure and process of rehearsing for confrontation. Intensive interviews with 75 actors followed by a questionnaire administered to 99 others revealed that confronters maintain two strands of confrontative goals: strategic and (...) performance goals. Strategic goals for confronters include (a) influence, (b) catharsis, (c) relational maintenance, (d) retribution, and (e) enhanced understanding of the other. While these goals lead to different tactical outcomes, actors also hold intentions related to performance goals. Two performance goals are of central concern to some actors: (a) the desire to be argumentatively complete, and (b) the desire to maintain the position of the confronter rather than the confrontee. An analysis of the data revealed that differences in goal configurations guided both the decision to rehearse and the process of this rehearsal. (shrink)

Iconic words are supposed to exhibit imitative relationships between their linguistic forms and their referents. Many studies have worked to pinpoint sound-to-meaning correspondences for ideophones from different languages. The correspondence patterns show similarities across languages, but what makes such language-specific correspondences universal, as iconicity claims to be, remains unclear. This could be due to a lack of consensus on how to describe and test the perceptuo-motor affordances that make an iconic word feel imitative to speakers. We created and analysed a (...) database of 1,860 ideophones across 13 languages, and found that seven articulatory features, physiologically accessible to all spoken language users, pattern according to semantic features of ideophones. Our findings pave the way for future research to utilize articulatory properties as a means to test and explain how iconicity is encoded in spoken language. The perspective taken here fits in with ongoing research of embodiment, motivation, and iconicity research, three major strands of research within Cognitive Linguistics. The results support that there is a degree of unity between the concepts of imitative communication and the spoken forms through cross-domain mappings, which involve physical articulatory movement. (shrink)

A core area of phonology is the study of phonotactics, or how sounds are linearly combined. Recent cross‐linguistic analyses have shown that the phonology determines not only phonotactics but also the articulatory coordination or timing of adjacent sounds. In this article, I explore how the relation between coordination and phonotactics affects speakers producing nonnative sequences. Recent experimental results (Davidson 2005, 2006) have shown that English speakers often repair unattested word‐initial sequences (e.g., /zg/, /vz/) by producing the consonants with a (...) less overlapping coordination. A theoretical account of the experimental results employs Gafos's (2002) constraint‐based grammar of coordination. In addition to Gafos's Alignment constraints establishing temporal relations between consonants, a family of Release constraints is proposed to encode phonotactic restrictions. The interaction of Alignment and Release constraints accounts for why speakers produce nonnative sequences by failing to adequately overlap the articulation of the consonants. The optimality theoretic analysis also incorporates floating constraints to explain why speakers are not equally accurate on all unattested clusters. (shrink)

The production of emotional speech is determined by the movement of the speaker’s tongue, lips, and jaw. In order to combine articulatory data and acoustic data of speakers, articulatory-to-acoustic conversion of emotional speech has been studied. In this paper, parameters of LSSVM model have been optimized using the PSO method, and the optimized PSO-LSSVM model was applied to the articulatory-to-acoustic conversion. The root mean square error and mean Mel-cepstral distortion have been used to evaluate the results of (...) conversion; the evaluated result illustrates that MMCD of MFCC is 1.508 dB, and RMSE of the second formant is 25.10 Hz. The results of this research can be further applied to the feature fusion of emotion speech recognition to improve the accuracy of emotion recognition. (shrink)

The subject of this research is the rehearsal process in choreographic art. The object of the study is the comprehension of this process as a creative integration of an artist and a teacher-tutor. The author examines in detail such aspects of the topic as the role of an artist, the preparation of a ballet dancer for a performance, gives examples of works of art that contribute to honing the professional skills of dancers. The author focuses on the importance of (...) participation in stage practice during the years of study, which allows you to feel more confident on stage as a professional ballet dancer, and also points out the main contradiction – the time limitation on the preparation of the artist for the part and the need to demonstrate impeccable performance. The importance of this research is expressed in the fact that in modern education and tutoring work in the theater, such a phenomenon as creative integration is an important factor in achieving the goals set, namely in obtaining and maintaining the professional level of academic theaters. The result of the conducted research is the design of a model of modern training of artists to participate in performances of the classical repertoire, with a focus on preserving the choreographic text and heritage as a whole. The novelty of the research lies in a comprehensive approach to the characterization of the creative integration of a ballet dancer and a teacher in the process of preparing for a performance, determining the leading professional traits of dancers, the presence of which allows us to realize the task of creating a high-quality product of joint activity of the performer and the teacher-tutor. (shrink)

Because the evolution of speech production is beyond our expertise (and perhaps beyond everyone's expertise) we restrict our comments to areas in which data actually exist. We provide articulatory evidence consistent with the claims made about syllable structure in adult speech and infant babbling, but we also voice some disagreement about speech errors and the typing data.

Imagery Rehearsal Therapy is effective for trauma-related nightmares and is also a challenge to patients in finding access to their traumatic memories, because these are saved in non-verbal, visual, or audiovisual language. Art therapy is an experiential treatment that addresses images rather than words. This study investigates the possibility of an IRT-AT combination. Systematic literature review and field research was conducted, and the integration of theoretical and practice-based knowledge resulted in a framework for Imagery Rehearsal-based Art Therapy. The (...) added value of AT in IRT appears to be more readily gaining access to traumatic experiences, living through feelings, and breaking through avoidance. Exposure and re-scripting take place more indirectly, experientially and sometimes in a playlike manner using art assignments and materials. In the artwork, imagination, play and fantasy offer creative space to stop the vicious circle of nightmares by changing theme, story line, ending, or any part of the dream into a more positive and acceptable one. IR-AT emerges as a promising method for treatment, and could be especially useful for patients who benefit least from verbal exposure techniques. This description of IR-AT offers a base for further research. (shrink)

The theatre actor’s process in a rehearsal hall is reality and metaphor. It can be a rehearsal for justice, where we can live freely. In this laboratory the actor becomes all of us. Like the actor, we inhabit our bodies and our sexualities, sometimes as spiritual practice, or as sacred and creative, even as incarnations. In particular, women’s bodies remember what it is like to be no-body and what it is like to be a some-body. The texts of (...) women’s bodies contain their history of pain, wellness and illness. In creating a character, the actor creates a biography, an inner life, and the actor’s imagination aligns with the character’s situation. This is the creation of a character’s ‘living story’. Similarly, for all of us, this is akin to self knowledge. When women and sexual minorities tell their stories and listen to each others’ self knowledge, they are reading their bodies as texts. And worlds split open. (shrink)

A scholarly edition of Rehearsal Transpros'd by Donal Ian Brice Smith. The edition presents an authoritative text, together with an introduction, commentary notes, and scholarly apparatus.

This article investigates the identity constructions of a former hooligan in two repeated narratives, obtained through interviews with a time lapse of six years. In both narratives, the interviewee constructs a similar heroic identity and opposes it to other categories such as cowards and followers. However, when relating how he became a hooligan, the interviewee presents himself as a follower. This contradiction with the heroic identity shows his struggle with group membership and that ‘identity work’ is an ongoing process. On (...) the other hand, the striking similarity between the identity constructions in both interviews supports the thesis of a rehearsed self in big stories, but I argue that this is also due to other reasons, namely the role of the same interviewer who co-constructs the interview but who is also an outsider, and the influence of previous ‘rehearsals’ of the story, both within the group of hooligans and in real life. (shrink)

Theater rehearsals are (usually) confronted with the problem of having to transform a written text into an audio-visual, situated and temporal performance. Our contribution focuses on the emergence and stabilization of a gestural form as a solution for embodying a certain aesthetic concept which is derived from the script. This process involves instructions and negotiations, making the process of stabilization publicly and thus intersubjectively accessible. As scenes are repeatedly rehearsed, rehearsals are perspicuous settings for tracking interactional histories. Based on videotaped (...) professional theatre interactions in Germany, we focus on consecutive instances of rehearsing the same scene and trace the interactional history of a particular gesture. This gesture is used by the director to instruct the actors to play a particular aspect of a scene adopting a certain aesthetic concept. Stabilization requires the emergence of shared knowledge. We will show the practices by which shared knowledge is established over time during the rehearsal process and, in turn, how the accumulation of knowledge contributes to a change in the interactional practices themselves. Specifically, we show how a gesture emerges in the process of developing and embodying an aesthetic concept, and how this gesture eventually becomes a sign that refers to and evokes accumulated knowledge. At the same time, we show how this accumulated knowledge changes the instructional activities in the rehearsal process. Our study contributes to the overall understanding of knowledge accumulation in interaction in general and in theater rehearsals in particular. At the same time, it is devoted to the central importance of gestures in theater, which are both a means and a product of theatrical staging. (shrink)

This paper presents a proposal for the description of gesture phases derived from articulatory characteristics observable in their execution. Based on the results of an explorative study examining the execution of gesture phases of ten German speakers, the paper presents two sets of articulatory features, i.e., distinctive and additional features by which gesture phases are characterized from a context-independent and context-sensitive point of view. It will be shown that gesture phases show a particular distribution of the features, thus (...) distinguishing one phase from another. Furthermore, changes in the execution of phases in linear successions can be described by means of features. Contrary to other accounts, whose focus on gesture phases is primarily in relation to speech and/or adjacent phases, this proposal concentrates on the visible physical characteristics of gesture phases. (shrink)

This philosophical study addresses the implications of the legal case Stratechuk v. Board of Education, ruling that a policy prohibiting the performance of religious-themed holiday music did not violate the United States Constitution. Two questions are investigated: the differences between the classroom study and public performance of religious music, and the study of holiday music as a subgenre of religious music. Conclusions suggest that a school policy delineating between the rehearsal and performance of sacred music fails to appreciate the (...) interrelationship of these musical practices. While this type of policy attempts to resolve controversy by moving sacred music out of public performance spaces it does not succeed in addressing the underlying philosophical tensions involved in the curricular use of sacred music. Further, a policy that allows the musical celebration of only secular aspects of particular holidays unnecessarily privileges secular over religious meanings and thus limits students’ contextual understanding of the holiday. The academic performance of sacred music within the comprehensive study of a given holiday should not constitute an endorsement of particular religious beliefs, or violate an appropriate position of religious neutrality. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Rehearsal and Hamilton’s “Ingredients Model” of Theatrical PerformanceDavid Davies (bio)IArtistic performances can be thought of as “doings”—things that are done—that share the following features of performances in general: they involve actions aimed at achieving some result; they are open, at least in principle, to public scrutiny and assessment; and they are usually presented to a relevantly informed public with the intention that they be appreciated and assessed, and (...) perhaps also with the intention that some practical goal be achieved. A performance can be classified as “artistic” in a descriptive (rather than normative) sense if it bears in one of the following ways upon the appreciation and evaluation of a focus of artistic appreciation:1 either (a) the performance is itself a focus of artistic appreciation, or (b) the performance plays an essential part in the artistic appreciation and evaluation of something else that is a focus of artistic appreciation by virtue of being an instance of the latter.Many performances in the performing arts are described and treated as performances of something else that is itself an artwork of some kind. We can term the latter a “performed work” and the former a “work-performance.” A work-performance, insofar as it is an instance of a performed work that bears upon its proper artistic appreciation and evaluation, qualifies as artistic in sense (b). Arguably, a work-performance can itself be an object of artistic appreciation and evaluation and thereby also qualify as artistic in sense (a).2 Where we have an artistic practice in which some acknowledged artworks are designed to be performed works, the practice qualifies as what I shall term a “performance art.” The latter is an artistic practice in which our access to, and appreciation of, works (as receivers) is at least in part mediated [End Page 23] by performances of those works. Drama, music, and dance are usually taken to be performance arts in this sense. Intuitively, our access to performed works in the performance arts is at least in part mediated by performances because certain qualities of those works—relevant to their proper appreciation as the particular works they are—are only realizable, and thereby made apparent to receivers, in performances.Philosophical discussion of the performing arts has largely been concerned with performances taking place in the performance arts as characterized above, and thus with performances of performed works. Indeed, most philosophical discussion of the performing arts has focused on performances of performed works of classical music, the assumption being that the model seen to apply to such examples—what we may term “the classical paradigm”—also applies, with very few exceptions, to performances in other musical genres (in particular, jazz and rock) and to performances in other performance media (in particular, theater and dance). In all of these cases, it has been widely assumed, performances are generally of works, and the work-performance relationship is to be understood on the model of the classical paradigm. Performances not obviously open to such an analysis—free improvisations in music or dance, for example—have been viewed either as limiting cases of the classical paradigm or as of only marginal interest for a philosophical treatment of the performing arts.IIOne among the many virtues of James Hamilton’s book is that it challenges the hegemony of the classical paradigm in the performing arts by questioning its applicability to theatrical performances. He argues instead for an “ingredients model” of the relationship between a literary script and a theatrical work. According to the ingredients model, the text produced by a playwright is merely one ingredient that theatrical performance companies take into account when they set out to create a performance.3 It is taken to be a consequence of this that “a [theatrical] performance is... never a performance of some other work nor is it ever a performance of a text or of anything initiated in a text.”4 The alternative idea that theatrical works are to be understood in terms of the classical paradigm is what Hamilton terms the “text-based” view of such works. But adherents of the views that he opposes to the ingredients model may deny that theatrical... (shrink)

This article argues that the specifically sexual nature of the political violence of the 1947 Partition of British India installs women's bodies as unambiguously sexed and ethnic. Through an analysis of Kirti Jain's 2001 theatre production of Aur Kitne Tukde (How Many Fragments?), I consider how Hindus, Muslims and Sikhs appropriate colonialist and nationalist ideologies surrounding the notion of ‘woman’ as repository of cultural value. The women in Jain's play are not a priori subjects who experience violence but rather the (...) experience of violence makes (and unmakes) them as gendered, ethnic and national subjects. I argue that they come into subjecthood after a violent objectification and are re-constituted by their experience of national and sexual violence. The performance of nationalism – through embodied acts of sexual violence, conversion, martyrdom and state violence – is enacted upon female bodies that are transformed into political artefacts. I ask how bodies are staged and commodified by acts of political violence and argue that marking female bodies through acts of political violence constitutes a mode of transcription to communicate with other men that will encounter this body. (shrink)

In this paper we explore the notion of rehearsal as a way to develop an embodied and enactive account of imagining. After reviewing the neuroscience of motor imagery, we argue, in the context of performance studies, that rehearsal includes forms of imagining that involve motor processes. We draw on Sartre’s phenomenology of imagining which also suggests that imagining involves motor processes. This research in neuroscience and phenomenology, supports the idea of an embodied and enactive account of imagination.

What are the factors that contribute to (or inhibit) diachronic sound change? While acoustically motivated sound changes are well documented, research on the articulatory and audiovisual-perceptual aspects of sound change is limited. This paper investigates the interaction of articulatory variation and audiovisual speech perception in the Northern Cities Vowel Shift (NCVS), a pattern of sound change observed in the Great Lakes region of the United States. We focus specifically on the maintenance of the contrast between the vowels /ɑ/ (...) and /ɔ/, both of which are fronted as a result of the NCVS. We present results from two experiments designed to test how the NCVS is produced and perceived. In the first experiment, we present data from an articulatory and acoustic analysis of the production of fronted /ɑ/ and /ɔ/. We find that some speakers distinguish /ɔ/ from /ɑ/ with a combination of both tongue position and lip rounding, while others do so using either tongue position or lip rounding alone. For speakers who distinguish /ɔ/ from /ɑ/ along only one articulatory dimension, /ɑ/ and /ɔ/ are acoustically more similar than for speakers who produce multiple articulatory distinctions. While all three groups of speakers maintain some degree of acoustic contrast between the vowels, the question is raised as to whether these articulatory strategies differ in their perceptibility. In the perception experiment, we test the hypothesis that visual speech cues play a role in maintaining contrast between the two sounds. The results of this experiment suggest that articulatory configurations in which /ɔ/ is produced with unround lips are perceptually weaker than those in which /ɔ/ is produced with rounding, even though these configurations result in acoustically similar output. We argue that these findings have implications for theories of sound change and variation in at least two respects: 1) visual cues can shape phonological systems through misperception-based sound change, and 2) phonological systems may be optimized not only for auditory but also for visual perceptibility. (shrink)