2015
DOI: 10.3389/fnhum.2015.00669
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Commentary: The embodied brain: towards a radical embodied cognitive neuroscience

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Cited by 4 publications
(7 citation statements)
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“…Kiverstein and Miller ( 2015 ) have also recently emphasized that situated context and emotion knowledge play important roles in the development, processing, and retrieval of conceptual knowledge. Further, we assume that emotion knowledge is multidimensional.…”
Section: Discussionmentioning
confidence: 99%
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“…Kiverstein and Miller ( 2015 ) have also recently emphasized that situated context and emotion knowledge play important roles in the development, processing, and retrieval of conceptual knowledge. Further, we assume that emotion knowledge is multidimensional.…”
Section: Discussionmentioning
confidence: 99%
“…Some “failures” will be mild, some moderate, and some intense, and thus will be, on average, somewhat arousing (its arousal rating is 4.95). Kiverstein and Miller ( 2015 ) suggest that valence and arousal tap into basic and specific dimensions of emotion knowledge that can be abstracted across different situated contexts. Further, these are two important emotionality dimensions that are easily accessible to internal emotion systems evolutionarily designed to track basic and salient environmental features that may impact survival.…”
Section: Discussionmentioning
confidence: 99%
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“…So far, the most frequently cited empirical evidence for the embodiment thesis has been grounded in the observation that music perception automatically engages multi-sensory and motor simulation processes (Schiavio et al, 2015 ), or that bodily states and movement may influence music perception (Maes et al, 2014 ). In this article, we advocated for more rigorous evidence to substantiate the “radical” embodiment thesis in the domain of music perception and performance (Mahon and Caramazza, 2008 ; Chemero, 2011 ; Wilson and Golonka, 2013 ; Kiverstein and Miller, 2015 ). Therefore, we provided a focused review presenting empirical evidence and computer models demonstrating that music perception and performance may be directly determined by the acoustics of sound and by the natural disposition and dynamics of the human sensory and motor system.…”
Section: Discussionmentioning
confidence: 99%
“…It is noteworthy that lately, the embodied approach becomes progressively extended from mere perception and cognition, to related areas of musical affect and emotion (Cochrane, 2010 ; Krueger, 2013 ), reward and motivation (Chanda and Levitin, 2013 ; Zatorre and Salimpoor, 2013 ), and social interaction (Moran, 2014 ; D'Ausilio et al, 2015 ). However, despite serious advances in the field, improvements could be made in order to further develop a “radical” embodiment thesis to music cognition and interaction, and maybe more important, to substantiate this thesis with empirical evidence (Mahon and Caramazza, 2008 ; Chemero, 2011 ; Wilson and Golonka, 2013 ; Kiverstein and Miller, 2015 ). The crux of the radical embodied cognition thesis is the view that music cognition emerges from the real-time interaction of modality-specific processes serving perceptual or sensorimotor functions in the brain, bodily states and dynamics, and environment.…”
Section: Introductionmentioning
confidence: 99%