Search

This study delves into the dynamics of dyadic communication within a predefined acting scenario by analyzing how the utterance and behavior of paired participants change over time and influence each other. Assigned specific roles and objectives within this preset context, participants focus on and verbalize each other's actions. Prior research, which compared verbal characteristics between professional actors and novices, underlines the importance of shifting focus from self to partner in attaining naturalistic performances, referring to authentic communication in an acting setting. The present study incorporates pose estimation into the video analysis of acting training, assessing behavioral dynamics in a natural state. By extracting the correlations in movement changes of the paired participants during role-playing, the dynamic process of interaction in a specific context is traced, elucidating how natural performances develop through intensive mutual attention and interaction. Additionally, examining concurrent changes in utterance provides insights into the reasons behind behavioral changes. Overall, this research not only sheds light on the nuances of performing arts training but also makes a contribution to the broader understanding of action patterns and communication dynamics within specific social roles and interactions.

It is believed that there is a significant difference between the use of technology in technologically advanced and advancing countries, and the users in the former act far better with technology than the users in the latter. However, there is not enough report on how this usage differs in terms of the independent use of technology in a foreign language or for learning that language. Therefore, the present cross-cultural case study was conducted to compare and contrast the patterns of using technology in two Asian universities, one in Japan (a technologically advanced country) and another in Iran (a technologically advancing country). The participants were 248 Japanese and 235 Iranian students. The data were collected through an online questionnaire that gained information about students' use of technology in everyday life in their L1 (Japanese & Persian) and in L2 (English), students' use of discipline-specific technology in English, and their attitudes toward the use of technology for language learning. The findings revealed that there is not a very significant difference between the patterns of using technology in Japan and Iran in both L1 and L2. The major difference was that the Japanese tended to use more information technologies in L1, while the Iranians leaned toward communication technologies. It was also found that Iranian students used technology in L2 more than the Japanese, especially in terms of communication technologies.

In creativity, the importance of interaction with the environment through bodily movement and perceptual information acquired therein has been discussed anecdotally. However, past creativity studies have mainly focused on the connection of creativity with memory and knowledge and the relationship between creativity and cognitive manipulations. The above process of bodily movement and environment was not sufficiently discussed. In this study, we developed a model of the above process and partially checked its validity through an experiment. Our model and the results of our experiment suggested the following processes. The interaction with the environment through the bodily movement changes the content and quality of the ideas generated. That interaction also changes the content of the cognitive manipulations in the idea generation. The above change in the cognitive manipulations partially described the change in the content and quality of the ideas. In these processes, the acquisition of perceptual information that differs greatly from the prediction has an important function. The dynamical relationship between the bodily movement, perception, and cognition in creative activities will require further investigation.

To explain the importance of interaction for a truthful performance in acting, the present study captures the characteristics of interaction and attempts to probe the underlying intrapersonal changes through interaction during an acting course which emphasizes paying attention to a partner. Novice participants tend to change their way of communication as the course progresses, the pattern of which further differs from that of professional actors. While actors devote themselves more to the connection with their partner and demonstrate more balanced communication, novices rely on general inference to speculate about others’ affective states. This study offers a new perspective to elucidate the construction of interaction in acting, and emphasizes the significance of involvement in interaction when applying acting approaches to general training with the aim of improving social understanding.

Recently, the close connection between action and creativity has been gaining attention. However, studies investigating how the body influences creativity are limited. This study proposed the framework for that mechanism called Perception and Action-based Imagination based on studies of creativity and embodied cognition. It suggests that creation proceeds through the cycle of imagination generation based on perceptual information and the acquisition of rich perceptual information through imagination implementation. We conducted an experiment to investigate its validity. We prepared the following three conditions: the participants designed the toy with manipulation of the parts 1) by their bodies. 2) in their mind while seeing the parts. 3) in their mind without seeing the parts. Results showed that in the first condition, high creativity evaluations were obtained, the participants paid more attention to the possibility of part fabrication, and the above condition’s effect was partially explained by the focus of part fabrication.

The purpose of this study is to capture the structure of the interactive role-making process and introduce an integrated perspective to view actors’ creativity in the process. In particular, this study focuses on the characteristics of utterances in an acting training, which emphasizes paying attention to a partner and communicating. Statistical analyses are conducted on temporal changes, individual differences, and the granularity of utterances. The influence of attention toward partners on utterances is discussed, as well as the possible internal changes of actors, which reflects a perspective from which to view creative action as is referred to in the five A’s framework. In addition, by applying the theory of constructed emotion, the present study attempts to provide a possible demonstration of how truthful emotion is born under imaginary settings in acting.

This study examined the roles recognition of the creative process behind artworks plays in cognitive processes of art-viewing. To this end, we conducted an experiment (N = 45) in which prior experience of participants was manipulatedand investigated whether and how creative experience influences subsequent cognitive processes while viewing artworks.We revealed that having creative experience before art viewing changes viewers recognition of the creative process behindartworks and causes them to have a more positive impression of the artworks. It was also revealed that these two changesare correlated. In particular, the emotion of admiration, which is considered a kind of social emotion, was found to behighly correlated with the recognition of assessed difficulty of the creative process. These results suggest the importance ofrecognition of the creative process behind artworks and contribute to understanding the cognitive process of art-viewing.

The present study investigated how younger and expert artistscreate artwork, paying special attention to the modification ofconditions in the art-making process. Here, “processmodification” is the means by which artists generate newartistic ideas/concepts by modifying elements of one’s ownprevious artwork. To examine whether younger artists usesuch modifications in the same manner as experts, weinterviewed 28 contemporary artists (including 14 experts).Results revealed that most of the younger artists modifiedtheir work unsystematically. Younger artists drasticallychanged the subject/motif, method, and concept for their newartwork. Experts, in contrast, actively used processmodification to create a new technique and generated a newconcept based on their creative vision.

Through art appreciation, viewers are sometimes inspired to express or implement creative ideas. Such an experienceis thought to be important for art learning. In this study, we conduct a questionnaire to examine how art appreciationpromotes creative inspiration in non-experts. We hypothesize that: (a) individual experience of art-related activities andself-evaluation of artistic expression affect creative inspiration, mediated by the method of appreciation of artworks; and(b) the type of artworks affects creative inspiration, mediated by the method of appreciation of artworks. The participantswere 373 adults, who were not art professionals (179 women, age: M = 45.02, SD = 13.45, range: 20-69 years). Thedata are analyzed using structured equation modeling for the two hypotheses. The two hypotheses are mostly supported,suggesting that self-evaluation of artistic expression and the type of artworks (especially classic works of art) influencecreative inspiration, mediated by the method of appreciation of artworks. However, experience of art-related activities hasno significant direct effect on inspiration for artistic creation.

In this study, we investigated the reinterpretation process of a non-art object. It is often said that a unique perspectivedifferent from daily life arises in the cognitive process of an art activity. We assumed that such a unique viewpoint canalso be applied to non-art objects and people will discover new aspects of objects and/or their own viewpoints throughthe reinterpretation of non-art objects. We conducted a between-subjects experiment to investigate the process in detail.We expected the artistic context of the participant to influence the interpretation. We conducted two types of interventionsto manipulate participants artistic context. The result of the experiment suggests that the artistic context influenced theinterpretation process of non-art objects.

When producing a new series of artworks, an artist may engage in a variety of activities in the formation of an art concept.In a specific instance, a contemporary artist was demonstrated first to draw his ideas on paper, as an initial phase ofdeveloping his art concept. This paper utilizes data from a previous study to analyze the drawings and interviews conductedduring this drawing phase. The results show that the artist used various types of modification of his art-making process. Bychanging his own creative activity, the artist often reflected upon his creative process, asking himself what he really wantedto do, and explored new images in response to unexpected findings and the feeling of confusion at his own drawings.

This study develops a cognitive model to explain the processof artistic creation in a dance domain. Many researchers in thefield of psychology and cognitive science have investigatedthe process of creativity and developed various theories thatexplain this process. Their efforts have mostly focused onhigher cognitive functions of artists and scientists. However,in recent years, several studies that have highlighted theimportance of the interaction between idea generation andidea externalization processes suggest that people can findand develop new aspects of images and ideas by perceivingand reflecting on the images and ideas they externalize. Thisstudy develops a cognitive model that explains this interactionprocess in dance creation by referring to a famous theory ofmotor learning, the closed-loop model. We also investigatedance creation of an expert breakdancer and check thevalidity of our proposed model.

The process of formation by an artist of an art concept for theproduction of a new series of artwork has not yet beenempirically elucidated. The goal of this study is to describethe process of art concept formation by a contemporary artistthrough quantitative analyses of a text corpus based oninterviews with the artist. From an analysis of the frequencyof occurrence of items of vocabulary in the interview data andthe TF-IDF (term frequency–inverse document frequency),we find that the second of three phases in the artist's creativeprocess was the most critical for the formation of the artconcept, as also shown in our previous qualitative study.Further, based on an analysis of co-occurrence frequencies ofwords, the structure of the art concept is deduced from theimportance of co-occurring vocabulary. By means ofvisualizing the network of co-occurrence analysis, it isclarified that the feature words "The Large Glass" functionedin the first phase as the medium for dividing the structure ofthe concept into two parts. In the second phase, these twoparts of the structure became integrated into one. In the lastphase, the structure of the concept was elaborated on with therevived feature words, "White Noise" and "Duchamp".

The purpose of the present study was to examine the relationship between art experience and artistic inspiration.Focusing on attitudes and behaviors in appreciation and creation as mediating variables, it was hypothesized that (a) the methodof appreciation with comparison between one’s creations and others’ creations is the best predictor of artistic inspiration,and (b) art experiences might affect artistic inspiration, meditated by competence in artistic creation and the method of artappreciation. A total of 185 Japanese undergraduate and graduate students completed the research questionnaire. Data wasanalyzed using multiple linear regression for the first hypothesis and structural equation modeling for the second hypothesis.The two hypotheses were supported. The findings suggest that people with more extensive art experience develop competencein artistic creation and consider their own creations when appreciating others’ artwork. In addition, they experience artisticinspiration more frequently and intensely

This study investigated the longitudinal process of practiceby an expert dancer in breakdance. We examined the abilityof the concept of “deliberate practice” (Ericsson, Krampe, &Tesch-Römer, 1993) to provide a full account of the practiceprocess of an expert dancer. We conducted a fieldwork studyto observe the practice of expert dancers under naturalconditions, and analyzed data gathered from video andinterviews for the progress of a dancer’s proficiency at aparticular skill with respect to the following three points:number of rotations in the skill, contents of the skill, andpurposes of the skill practices. Results indicated that thepractice process involved not only refining the quality of theskill, but also two other activities: the exploration of new andoriginal skills utilizing the characteristics of that skill, andchoreographing that skill so that it could fit into his fullperformance. The practice process of experts is a complicatedand creative one, which cannot be sufficiently explained bythe concept of “deliberate practice” alone

How do expert performers practice as they develop creatively? This study investigated the processes involved in the practice of new skills by expert breakdancers. A great deal of evidence supports the theory of "deliberate practice" (Ericsson, Krampe, & Tesch-Römer, 1993, "Psychological Review," 100, 363) in skill acquisition; however, expert creative performers may emphasize other forms of practice for skill development. Four case studies collected through fieldwork and laboratory observation were analyzed to evaluate expert dancers' practice processes as they developed proficiency in new, specific skills. We focused on three aspects of learning: the degree of skill acquisition, the content of skills included in practice, and dancers' stated purposes for practicing. The results showed that dancers' practice improved skills (as suggested by deliberate practice) and engaged the exploration of new, original skills, along with coordinating skills within performance. In their practice, these dance experts went beyond deliberative practice to highly exploratory processes for skill development.

One of the crucial issues for successful technology-enhanced out-of-class language learning (OCLL) is the learners' continuance intention to use technology. Considering the strong mutual relationship between learners' intention and motivation, the present study extended the technology acceptance model (TAM) with the self-determination theory (SDT) to investigate Japanese EFL learners' intention to use learning technologies for OCLL. The study was conducted in a technology-enhanced OCLL environment using a web-based e-portfolio system. The hypothesised model included two principal antecedents of behavioural intention introduced by TAM--perceived usefulness and perceived ease of use--in addition to the three psychological needs for competence, autonomy, and relatedness introduced by SDT. Path analysis was conducted to find the multivariate relationships between the constructs in the model based on the collected data from 162 Japanese EFL learners. The results indicated that SDT determinants could significantly predict perceived usefulness and perceived ease of use, among which perceived competence was the most influential factor. Furthermore, perceived usefulness highly influenced the learners' intention to continue technology-enhanced OCLL, which in turn influenced their actual usage of the system.

To investigate the cognitive processes underlying creative inspiration, we tested the extent to which viewing or copying prior examples impacted creative output in art. In Experiment 1, undergraduates made drawings under three conditions: (a) copying an artist's drawing, then producing an original drawing; (b) producing an original drawing without having seen another's work; and (c) copying another artist's work, then reproducing that artist's style independently. We discovered that through copying unfamiliar abstract drawings, participants were able to produce creative drawings qualitatively different from the model drawings. Process analyses suggested that participants' cognitive constraints became relaxed, and new perspectives were formed from copying another's artwork. Experiment 2 showed that exposure to styles of artwork considered unfamiliar facilitated creativity in drawing, while styles considered familiar did not do so. Experiment 3 showed that both copying and thoroughly viewing artwork executed using an unfamiliar style facilitated creativity in drawing, whereas merely thinking about alternative styles of artistic representation did not do so. These experiments revealed that deep encounters with unfamiliar artworks--whether through copying or prolonged observation--change people's cognitive representations of the act of drawing to produce novel artwork.

The field of cognitive science is inherently multi?disciplinary. However, it is unclear to what extent truly interdisciplinary work occurs in cognitive science. That is, is cognitive science merely a collection of researchers from different disciplines working separately on commo n problems? Data gathered from a recent cognitive science conference are presented. Interestingly, a significant proportion of interdisciplinary collaborations were found. Analyses were also conducted on the impact of same vs. different backgrounds on the structure of collaborations, and It was found that interdisciplinary collaborations involved more equally distributed contributions among the authors than did intradisciplinary collaborations.

A better understanding of the nature of consultations between professionals engaging in the collaborative process of solving complex problems — expertise in use — offers the potential to reshape our ideas about how to design computer systems that can engage in collaborative problem solving with their human cohorts. The research reported here has sought to account for key behaviors contributing to successful consultation, as identified by a cognitive task assessment of human-human consultation discourse in the medical teaching rounds setting. W e have come to view the communication acts of the presenter/investigator as evidence of his deliberate intention to indirectly construct a particular model of the patient's case — his model — in the expert's mind, resulting in two separate but related diagnostic tasks for the expert: one at the patient level and one at the presenter/investigator level. This dual-diagnostic theory of expert understanding of the presenter/investigator's communication actions is partially implemented in the RUMINATE program. The theory provides insights into the expert's capacity to model aspects of the presenter/investigator's competence — insights that contribute to our understanding of expertise embedded in the context of collaborative problem solving discourse.