著者

三浦 哲都 惠谷 隆英 三嶋 博之 古山 宣洋

出版者

日本認知科学会

雑誌

認知科学 (ISSN:13417924)

巻号頁・発行日

vol.29, no.4, pp.606-629, 2022-12-01 (Released:2022-12-15)

参考文献数

129

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The Japanese word rizumu-kan is a common word that somewhat refers to an ability to perceive and recognize rhythm. It could also mean an ability to move rhythmically involving cognition. Although the word is widely used in scientific discourses, it has not been given a straightforward definition. This paper aimed to discuss what the word rizumu-kan encompasses for human cognition and behavior, especially for artistic physical expression in the field of cognitive science. First, we showed that the ambiguity of rizumu-kan comes from the fact that rhythm is ubiquitous on various spatiotemporal scales and that the definition of rhythm varies from one discipline to another. Second, we reviewed and classified scientific studies on rizumu-kan. Finally, to further understand rizumu-kan for artistic physical expression in cognitive science, we propose the following: (1) to put these studies in a broader context where the behavior is situated, and (2) to develop a mixed research method within the framework of ecological psychology while giving some caveats that should be considered in planning and designing such studies.

著者

友野 貴之 古山 宣洋 三嶋 博之

出版者

日本認知科学会

雑誌

認知科学 (ISSN:13417924)

巻号頁・発行日

vol.24, no.3, pp.435-449, 2017-09-01 (Released:2018-03-01)

参考文献数

24

被引用文献数

1

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When walking through a crowd, we have to pass through between people safely. How do we judge the passability of an aperture of this kind? Do we use the same information for an aperture composed of people as for one composed of other objects? Because studies on personal space have revealed that people have different sensitivities of personal space for approach from different directions (i.e., “anisotropy” of personal space) (Tanaka, 1973), we examined human aperture passability in terms of personal space in two experiments. In Experiment 1, the participants judged whether they could,without rotating their shoulder, pass between two stationary people or between two rectangular wooden posts. The two people to be passed through stood in four different orientations relative to one another and/or the participants; face-to-face, back-to-back,side-by-side facing towards or away from the participants. The wooden posts, which had the same width and depth as the two people, were set up in two directions (the wider sides facing each other vs. the narrower sides facing each other). In Experiment 2, the participants judged whether they could pass between two stationary people or between two human-shaped panels, which were set up in four different directions as in Experiment 1. In the analyses, we used the aperture-to-shoulder-width ratio (A/S) as an index of aperture “passability” judgment (Warren & Whang, 1987). We found that A/S was larger in the face-to-face condition than the other conditions. This is possibly because personal space is “anisotropic.” That is, when judging the passability of a space between two people, participants may consider the anisotropic personal space of each person. We also found that A/S was not significantly different across the board, implying that participants may have perceived a kind of “personal space” of the human-shaped objects, regardless of whether they were human or non-human.

著者

板垣 寧々 谷貝 祐介 三浦 哲都 三嶋 博之 古山 宣洋

出版者

日本認知科学会

雑誌

認知科学 (ISSN:13417924)

巻号頁・発行日

vol.30, no.3, pp.285-302, 2023-09-01 (Released:2023-09-15)

参考文献数

30

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Musicians have to coordinate movements interpersonally to perform in an ensemble. As such, this study explores how violinists coordinate movements to play the same melody together in terms of the leader–follower relationships revealed by players’ movements. Twelve violinists participated in the study and played a violin ensemble in pairs. We applied Granger causality analysis to the three-dimensional displacement data of players’ heads, violins, and bows to identify leader–follower relationships between players. The results revealed the following: i) the participants adopted leader–follower roles during trials; ii) as the performance proceeded, the participants swapped roles; iii) the more difficult the parts of the score, the more notable the leader–follower relationships; iv) compared with between-head and between-violin data, the movements for between-bow data were more similar in more parts of the score that demonstrated leader–follower relationships. Further examination of cases where the leader–follower relationships were identified showed that players may have employed their own strategies to achieve a stable, coordinated state. These results suggest that, when the roles of players are not fixed in violin ensembles, performance can be adjusted in multiple ways, including swapping leader–follower roles, which is in stark contrast to previous studies that reported fixed leader–follower relationship when the first violinist only led the other parts in a string quartet.

著者

藤田 匠 山本 敦 古山 宣洋

出版者

日本認知科学会

雑誌

認知科学 (ISSN:13417924)

巻号頁・発行日

vol.29, no.1, pp.139-142, 2022-03-01 (Released:2022-03-15)

参考文献数

2

著者

阿部 廣二 山本 敦 古山 宣洋

出版者

日本生態心理学会

雑誌

生態心理学研究 (ISSN:13490443)

巻号頁・発行日

vol.11, no.1, pp.27-30, 2018-07-01 (Released:2020-12-01)

参考文献数

8

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往復の旅程において,往路よりも復路のほうが短いと感じる,リターントリップエフェクトと呼ばれる現象がある.本稿では,まずリターントリップエフェクトの発生メカニズムについて,先行研究のレビューを行った.その後,先行研究の問題点を指摘した上で,生態心理学を理論仮説として,リターントリップエフェクトの生成メカニズムを理論的に検討した.その結果,1)往路と復路において同一対象であっても知覚される面が異なる可能性があること,2)表面/裏面のどちらからでも同一対象であることが特定できる付着対象であるランドマークの探索が失敗したとき,”もうここか/まだここか”といった経験をする可能性があること,3)視角の制約や環境内の対象によってもたらされるランドマークの遮蔽のタイミングが,往路と復路で違う可能性があり,復路において早期の段階でスタート付近のランドマークが知覚されたとき”もうここか”といった経験をする可能性があることが示唆された.最後に今後の実証研究の方向性として定性的分析,および実験研究の可能性が示された.

著者

牧野 遼作 古山 宣洋 坊農 真弓

出版者

日本認知科学会

雑誌

認知科学 (ISSN:13417924)

巻号頁・発行日

vol.22, no.1, pp.53-68, 2015-03-01 (Released:2015-09-15)

参考文献数

21

被引用文献数

1

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This study addresses how environments for specialists reciting a narrative are estab-lished when they (e.g., science communicators) need to give an explanation to non- specialists (e.g., visitors). To analyze the videotaped data, we employed the notion of spatial-orientation behavior (proposed by Adam Kendon). Spatial orientation com-prises two formation types: F-formation and H-formation. The F-formation is when the participants stand in an O-space, and everyone has an equal right to speak. The H-formation includes head position as a factor of the study; where, a single participant faces the rest of the participants that are typically lined-up in a row. The single par-ticipant has more rights to speak than the rest. This study focuses on the H-formation with the hypothesis that it is one way to signal readiness to start a narrative, i.e.,establishes the environment to recite a narrative. Two case studies are provided in this study. Case Study I gives an example of the H-formation, wherein the specialist exerts a privileged right to talk to the novices. Case Study II illustrates an example of the F-formation, with the specialist ending up with starting the narrative to the novices, which acts as an excuse, as the specialist does not have the privileged right to talk to the novices. For one thing, the reciting of the narrative in this example only started as a response to a question from one of the novices. Additionally, the narrative including with the contraction structures by gestures giving novice the chance to notice the answer for his/her question. The results demonstrate how the type of formation relates to the construction and presentation of the specialist’s narrative. The results of the two analyses demonstrate that the formation consisted of the two types, and that participants use H-formation as a resource for establishing the environment for reciting the narrative.

著者

古山 宣洋

出版者

日本認知科学会

雑誌

認知科学 (ISSN:13417924)

巻号頁・発行日

vol.16, no.4, pp.494-498, 2009 (Released:2010-09-10)

参考文献数

15

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This paper discusses the present special issue on “Communication Viewed from Hearers' Behaviors,” focusing on Erving Goffman's participation framework and gestural phenomena observed in conversation. In particular, it points out the possibility to conceive of speaker as a) a hearer, b) a receiver of the information, as well as c) an addressee. It also points out that grand gesture and simultaneous gestural matching can be loci of analysis in understanding how social-interactional plain and cognitive plain interact in investigatory conversation between the suspect and the policemen and⁄or prosecutory officials, and in psychological counseling.

著者

谷貝 祐介 古山 宣洋 三嶋 博之

出版者

日本認知科学会

雑誌

認知科学 (ISSN:13417924)

巻号頁・発行日

vol.26, no.2, pp.197-218, 2019-06-01 (Released:2019-12-01)

参考文献数

42

被引用文献数

2

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In drum-set playing,drummers need to maintain accurate and powerful performance.What kind of postural control makes it possible to achieve this? The present study investigated the differences in postural control between expert (N=3) and novice (N = 4) drum-set players.Participants in this study performed an 8-beat rhythm pattern using an electric drum set consisted of hi-hat cymbals,a snare drum,and a bass drum.Tap-pressure data of each instrument and center-of-pressure (CoP) data of the participant were recorded and analyzed. As indices of performance accuracy and intensity,mean and standard deviation (SD) of inter-tap interval (ITI) and mean and coefficient of variation peak tap force applied to each instrument were calculated from the tap-pressure data.A principal component analysis was performed to compute the area of CoP and the circular SD of the principal component angle.The area of CoP and the circular SD were used to evaluate the magnitude of movement and the variance in movement direction, respectively. We found the followings: As for the experts,the SD of ITI and circular SD were small and consistent across the individuals,while the individual differences was relatively large in the peak tap force and area of CoP.The SD of ITI and circular SD of the novices were comparable to those of the experts.The individual differences in the drum-set playing skills seemed to be dependent on musical background of the individuals.

著者

菅原 和孝 木村 大治 舟橋 美保 細馬 宏通 大村 敬一 岩谷 洋史 亀井 伸孝 岩谷 彩子 坊農 真弓 古山 宣洋

出版者

京都大学

雑誌

基盤研究(B)

巻号頁・発行日

2012-04-01

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本研究は、身ぶりと手話を微視的に分析し、対面相互行為の構造を身体性の基盤から照射した。また、通文化的な視野から、映像人類学、コミュニケーション科学、生態心理学の思考を交叉させ、マルティ-モーダルな民族誌記述の土台を作った。とくに、アフリカ狩猟採集民サン、カナダ・イヌイト、インドの憑依儀礼と舞踊、日本の伝統的な祭礼、日本酒の醸造、ろう者コミュニティ、数学者の討議といった多様な文脈における発話と動作の連関を解明し、記憶の身体化を明らかにした。さらに、過去の出来事が語られるプロセスを、表情をおびた身ぶりとして了解することにより、表象と知覚の二項対立を乗り超える理論枠を提示した。

著者

友野 貴之 山本 敦 古山 宣洋 三嶋 博之

出版者

日本認知科学会

雑誌

認知科学 (ISSN:13417924)

巻号頁・発行日

vol.27, no.3, pp.386-399, 2020-09-01 (Released:2020-09-15)

参考文献数

79

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This paper reviews the research on how one passes through an aperture between non-human objects or between humans. In particular, we discuss what it has so far elucidated and what should be investigated in the future. The previous studies have focused on aperture passability between non-human physical objects and revealed the relationship between how people actually pass through an aperture and how they perceive themselves in relation to environmental characteristics by looking at how people judge passability of an aperture (often formalized as π-number). Most researchers have attended to the factors associated with an actor passing an aperture and/or non-human objects constituting an aperture, but few have examined how one passes an aperture comprised of humans. This may be because it is difficult to experimentally control underlying factors such as conversations and/or physical/social interactions between humans, symmetry of an aperture due to different shapes of the human body, anisotropic shape of personal space, eye gaze, and/or eye contact. Despite these difficulties, we consider it important to study how people pass an aperture between humans, because, first and foremost, that is what we do in everyday life, and, secondly, the outcome will illuminate how people consider socio-cultural factors, personal space,opportunities of actions (i.e., affordances) by ourselves and others. Possible solutions to the difficulties may include use of virtual reality technologies, computer simulation to control the experimental settings to guarantee reproducibility. There are the pros and cons with these methods to discuss, because, depending on how they are employed, they may possibly spoil the very social and interactive (improvisational) nature of the phenomenon under discussion.

著者

谷貝 祐介 古山 宣洋 三嶋 博之

出版者

日本認知科学会

雑誌

認知科学 (ISSN:13417924)

巻号頁・発行日

vol.27, no.4, pp.431-432, 2020-12-01 (Released:2020-12-15)

著者

山本 敦 古山 宣洋

出版者

社会言語科学会

雑誌

社会言語科学 (ISSN:13443909)

巻号頁・発行日

vol.23, no.1, pp.84-99, 2020-09-30 (Released:2020-10-07)

参考文献数

29

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演奏表現は,楽曲の解釈や表現意図に沿って,楽譜に示されていない細かな音のゆらぎを付与することで達成されるが,その指導において,このゆらぎの構造は学習者によって概念的・聴覚的に把握されるだけでなく,学習者の知覚–運動の調整を通して,実際の演奏として達成されなければならない.本稿では,音楽大学の学生と教授であるプロの演奏家による1対1のピアノレッスンを録画したデータを対象に,指導の相互行為におけるマルチモーダルな資源が組織化される過程を分析することで,演奏表現が学生と教師によって協働的に構築,産出されていることを明らかにした.教示においてゆらぎの構造は,発話や演奏,歌,ジェスチャなどの組み合わせによって知覚的に構造化され,音楽概念と結びつけられて呈示されていた.その結びつけの構造が維持されたまま,学生,教師双方によってジェスチャ–楽曲の組み合わせが実際の演奏の中で反復・同期されることで,理解の例証,調整の求め,確認の与えといった相互行為上の機能を果たしていた.さらに,このマルチモーダルな呈示の同期を通して,学生の演奏運動それ自体が同時的かつ即興的に調整を受けることで,演奏表現は協働的に達成されていた.これらの結果は,専門的な実践における知覚の相互行為的な調整および音楽教育の観点から考察された.

著者

友野 貴之 古山 宣洋 三嶋 博之

出版者

日本認知科学会

雑誌

認知科学 (ISSN:13417924)

巻号頁・発行日

vol.25, no.1, pp.117-121, 2018-03-01 (Released:2018-09-01)

参考文献数

11