著者

石橋 健太郎 岡田 猛

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.17, no.1, pp.196-223, 2010 (Released:2010-10-22)

参考文献数

71

被引用文献数

6

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The purpose of this study is to investigate whether copying works of art facilitates creative drawing. Thirty undergraduates, not majoring in art, individually participated in a three-day experiment. Each one was assigned to one of three experimental groups: the Copy and Create (CC) group, the Copy and Reproduce (CR) group, or the control (No copy but Create, NC) group. The participants who copied an artist's drawings (CC group) produced more creative drawings in the post-test than those who did not (NC group). Furthermore, the designs of the drawings by the CC group were different from those by the CR group. Analyses of questionnaires and verbal protocols indicate that copying an unfamiliar style of art (in this case, the abstract style) facilitated a change in the participants' mental representation of artistic creation through the following two cognitive processes: First, it relaxed the constraint of their existing idea about drawing, i.e., ‘a realistic drawing style is important’, and second it helped them to construct a new idea about drawing, i.e., ‘Subjective impression or evaluation is essential’, so that they were able to have a new perspective in drawing their original pictures. They consciously tried to express such impressions or evaluations in the post-test drawing, and the result was that they produced more creative works. Although it has been claimed that copying often plays a negative role in creation, our findings suggest that active interaction with the ideas of others through copying their works of art has great potential to facilitate student's artistic creation.

著者

田岡 大樹 楠見 孝

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.3, pp.461-480, 2022-09-01 (Released:2022-09-15)

参考文献数

36

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Reckless betting is placing a larger bet on a gamble where losing is more likely than winning. It can be considered as an irrational behavior that violates normative rationality. In the present study, we focused on an information processing style derived from the dual process theory and examined the hypothesis that a rational information processing style would inhibit reckless betting. In Study 1 (N = 41), we conducted an exploratory study on the relationship between trait variables including information processing style, and reckless betting. An online experiment of between-subjects comparison design was conducted, where the number of wins and losses in the 1st session of a gambling task was manipulated to induce reckless betting. Participants’ traits, affective states, and recklessness during the gambling task were measured. The results indicated that a rational information processing style inhibited reckless betting by moderating the effect of positive affect on reckless betting. In Study 2 (N = 77), we determined the sample size based on the effect size observed in Study 1 and attempted to replicate Study 1 with a simplified experimental procedure. In addition, Study 3 (N = 75) and Study 4 (N = 76) attempted to replicate Study 1 with variations on the time pressure placed on the task. The results, however, were not consistent with those of Study 1. We discuss the inconsistencies between these results in terms of situational factors specific to online experiments and goal-oriented changes in behavioral norms.

著者

野村 亮太 丸野 俊一

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.14, no.4, pp.494-508, 2007 (Released:2009-04-24)

参考文献数

29

被引用文献数

1

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Illustrative researches suggest that a coordinated relational system between a performer and audience affects on humor elicitation process in vaudeville settings. The present study investigated how the system was formed and developed along with a flow of a story. 7 participants including 4 targets sat down face to face with a performer and watched Rakugo (a Japanese traditional performing art) performance. With using coordination of motion as a quantitative indicator, not only duration of coordination between a performer and each target but also its phase difference were examined. The results demonstrated that the humor scores measured by facial expression were higher for audience who were more strongly coordinated with the performer, compared to audience weakly coordinated. For the highest humor scored audience, in contrast to the lowest scored audience, larger coordinated areas emerged and audience-preceding coordination were established at early stage of the story. Even the lowest humor scored audience, the humor score increased in latter part of the story, following the audience-preceding coordination rising. These results suggest that it is important for humor elicitation to occur audience-preceding coordination based on a performer-audience system, where audience actively anticipate next story line, while a performer acts reflecting audience′s response to construct vaudeville settings each other.

著者

山田 祐樹

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.438-439, 2020-12-01 (Released:2020-12-15)

参考文献数

9

著者

北山 忍

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.6, no.1, pp.106-114, 1999-03-01 (Released:2008-10-03)

参考文献数

37

被引用文献数

4

著者

髙木 紀久子 河瀬 彰宏 横地 早和子 岡田 猛

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.2, pp.235-253, 2015-06-01 (Released:2015-12-01)

参考文献数

28

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The process of formation by an artist of an art concept for the production of a new series of artwork has not yet been empirically elucidated. The goal of this study is to describe the process of art concept formation by a contemporary artist through metrical analyses of a text corpus based on interviews with the artist. From an analysis of the frequency of occurrence of items of vocabulary in the interview data and the TF-IDF (term frequency-inverse document frequency), we find that the second of three phases in the artist’s creative process was the most critical for the formation of the art concept,as shown in our previous qualitative study. Additionally, it is demonstrated that the art concept, White Noise, was inspired by a motif generated by the artist, and its contents were continuously modified and developed over time. Further, based on an analysis of co-occurrence frequencies of words, the structure of the art concept was deduced from the importance of co-occurring vocabulary. By means of visualizing the network of co-occurrence analysis, it is clarified that the feature words Large Glass functioned in the first phase as an intermedium for dividing the structure of the concept into two parts. In the second phase, these two parts of the structure of the concept became integrated into one. In the last phase, the structure of the concept was elaborated with the revived feature words, White Noise and Duchamp.

著者

阿部 慶賀 中川 正宣

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.15, no.4, pp.660-670, 2008 (Released:2010-04-23)

参考文献数

15

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Previous studies (Cosmides, 1989, Cosmides & Tooby, 1989) have shown the Cheater Detection Module (CDM) to be an adaptive heuristic within social environments, and how it can improve human reasoning in many social exchange contexts. The purpose of this study is to examine the effects of the CDM on problem solving. To that aim, the ‘30 dollar room’ problem (Isaak & Just, 1992) is employed, which involves a social exchange context. Generally speaking, we use heuristics to efficiently solve normal problems. However, this particular problem can be considered to be a typical insight problem. While heuristics can function effectively in practical contexts, they can be obstacles to solving insight problems (Knoblich, 1999; Hiraki & Suzuki, 1998). We hypothesize that the CDM will make it difficult to find the correct answer for this insight problem. In order to investigate this hypothesis, we compare solution rates for the standard ‘30 dollar room’ problem with isomorphic problems that do not involve ‘social exchange’ contexts. The results indicate that the solution rates for the isomorphic problems were higher than for the standard version of the problem. The results are supportive of our hypothesis. The results indicate that there are situations in which the CDM, a cognitive system that has emerged in adaptation to social environments, has a negative influence as a cognitive constraint.

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

武藤 崇 ヘイズ スティーブン C.

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.15, no.3, pp.482-495, 2008 (Released:2010-02-15)

参考文献数

80

被引用文献数

3

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This commentary gave some additional findings and implications for “symmetrical bias (or bidirectional relation)” from a viewpoint of Contextual Behavioral Science, in particular, Relational Frame Theory and Acceptance and Commitment Therapy. The given findings were related with a) the transformation of stimulus function through bidirectional relation in persons with specific phobia or mental disorder, b) the emergence or non-emergence of bidirectional relation influenced by baseline-training reversals or protocols in matching-to-sample procedure, and c) the emergence or non-emergence of bidirectional relation in infants or nonhuman subjects. Furthermore, the given implications were related with d) necessity of balancing between abduction and induction, particularly identifying and cumulating the manipulable variables inductively, e) prevention of confusing explanation with cause through symmetrical biases, and f) clarification of own ”purpose and value”, in pursuing symmetry bias or bidirectional relation as one of most fundamental processes in human cognition.

著者

野村 亮太 岡田 猛

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.21, no.2, pp.226-244, 2014-06-01 (Released:2015-02-10)

参考文献数

24

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How do expert storytelling artists captivate audiences with a single performance? In study 1, we observed the eyeblink responses of expertized 7 of 20 audience members (10 male and 10 female, aged 16 to 67 years; M =40.6, SD =16.4) at the performance of two professional story-telling Rakugo artists. With using a surrogate data method,the statistically significant synchronization of eyeblinks among audience members was detected when performers changed scenes and characters and immediately after the performer delivered words essential to the understanding of the story. In study 2, we conducted a laboratory experiment with 32 (19 male and 13 female) participants aged 20 to 34 years (M =22.56, SD =2.85) to examine whether the expertise of the story-teller affected the frequency and intensity of synchronization of eyeblinks by recording each participant’s eyeblinks. The synchronization of eyeblinks was also detected in this study that each participant viewed videotapes alone, which eliminated potential au-dience interaction. The participants who were assigned to the watching a videotaped performance of an expert storyteller displayed frequent synchronized eyeblinks and had a higher score of transportation into the narrative world of Rakugo compared to those were assigned to watch a videotaped performance of a novice. These results imply that expert performers gain a listener’s unintentional process of attention as well as somatic-emotional responses, evidenced by synchronized eyeblinks.

著者

松浦 李恵 岡部 大介 大石 紗織

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.2, pp.268-281, 2015-06-01 (Released:2015-12-01)

参考文献数

23

被引用文献数

1

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This paper analyzes the relationship between participation and learning represented in ethnographic case studies of ten informants aged 23-59 participating in a common-based peer production site, the FabLab Kamakura community. Digital-based personal fabrication is a new wave culture of mavens, who are devoted to alternatives to massproduction, and are on a mission “to make (almost) anything”. FabLab Kamakura is a valuable venue for exchanging information about, for example, digital tools, Arduino,crafts, textiles, and so on. First we frame this work as an effort to think about their participation and learning using the concept of “wildfire activity theory”(Engeström,2009) and “legitimate peripheral participation (LPP)”from Lave and Wenger (1991). Then we argue an overview of FabLab culture in Japan and at FabLab Kamakura. Us-ing SCAT methodology (Otani, 2011), we group our findings in two different categories:(1) learning through participation in FabLab Kamakura, (2) the visualization of weakties and mobility through participation in wildfire activities. We conclude that partic-ipants at FabLab Kamakura are producing and designing available artifacts for their lives and works, and in doing so, what they are designing is the physical manifestation of their very thoughts.

著者

中村 國則

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.523-529, 2009 (Released:2010-09-10)

参考文献数

26

被引用文献数

1

著者

伊藤 崇

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.4, pp.565-566, 2023-12-01 (Released:2023-12-15)

著者

大野 俊尚 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.30, no.3, pp.358-364, 2023-09-01 (Released:2023-09-15)

参考文献数

10

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How do people judge the “kakkoyosa” (coolness) of a performance? In this study, we define “coolness” as “conformity to norms” and examine the factors that determine “coolness,” excluding “skillfulness,” toward freestyle basketball (FB) performers. Six males who had served as judges in FB battles were presented with ten experimental stimulus movies in which the performers were modeled in 3D and asked to rate their impressions. After the experiment was completed, they were asked to explain their ratings. The ratings were not consistent among the experimental participants. It is thought that the experimental participants evaluated the stimulus movies by looking for “specific FB mental images” that could be the “norm” for the stimulus movies and comparing them to the stimulus movies as the “FB norms.” However, we believe that the participants’ evaluations differed because of the different “FB norms” applied by the experimental participants. A qualitative examination of the interviews revealed that participants noticed differences in performer movements in the stimulus movies with regard to “waiting” and “entering.” Particularly, they tended to judge “coolness” in terms of the “waiting” situation, when the performers await their performing turn. It is thought that the “FB norms,” which are easily associated with “skillfulness,” were not used to judge “coolness” in the “waiting” situation. We believe that instead of the “FB norm,” the “performance norm,” referring to whether the performer behaved as a performer being watched by the audience while awaiting his/her turn to perform, was used to evaluate “coolness.”

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

石田 喜美 名城 邦孝 関 敦央 宮崎 雅幸 寺島 哲平

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.4, pp.375-391, 2018-12-01 (Released:2019-06-01)

参考文献数

38

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In recent years, we have witnessed cases of “gamification” in various social fields,such as education, social welfare, and even ecological problem solving. Within the background of such cases, there seems to be a need for change in the reality of our daily lives. In fact, we can see some cases of gamification occurring in our actual lives. According to Suits (2005), to play game is to engage in “the voluntary attempt to overcome unnecessary obstacles.” In daily life, obstacles exist as things to avoid, but in a game context, such obstacles are necessary for our pleasure. Thus, using the method of gamification and introducing the game context, we can change the meaning of various obstacles, and construct alternative meaning to our reality. In this article, we focus on the process in which our reality is reconstructed through the conversation after playing a game-based educational program. Describing how they design their interactions and construct their realities, we aim at finding how games affect our realities. This field of research is RPG-based, and focuses on a user-education program implemented in an academic library, called “Libardry,” which is a combination of the word “library” and the title of a popular game, “Wizardry.” The program consists of two parts: an RPG-based education program and a group discussion (Flick, 2002). The participants were six university students, two females and four males. We focused on conversations in a group discussion and analyzed them to determine how the participants, staff members, and students, elicit meaning from difficulties when accessing library resources as artifacts. As a result, we determined how participants change their meaning collaboratively. In their conversations, they stated that difficulties are “unnecessary obstacles to overcome” for pleasure. Game context not only visualizes the existence of artifacts from the viewpoint of “pleasure,” it also opens up the field of meaning negotiation for people in various fields.

著者

秋谷 直矩 佐藤 貴宣 吉村 雅樹

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.21, no.2, pp.207-275, 2014-06-01 (Released:2015-02-10)

参考文献数

19

被引用文献数

1

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This study examines street-walking training sessions by orientation and mobility spe-cialists for people who are visually impaired. We determine the professional methods used by orientation and mobility specialists to support the spatial perception of people who are visually impaired. Based on the above, when we study the street-walking of people who are visually impaired, we argue the important viewpoint that in this case,walking should be considered “a social action.” We videotape street-walking training sessions and describe the ethno-methods of orientation and mobility specialists. Results indicate that when orientation and mobility specialists describe the surrounding envi-ronment, they highlight spatial arrangements with regard to the boundaries of objects in the street.Through touching and hearing, these objects ’intelligibility is achieved by linking the orientation and mobility specialist’s description of the environment and the spatial perception of the person who is visually impaired. These results suggest walking in the street is a social action, which is related to various configurations of common sense. This research is important to advancing studies on the “order of perception.”

著者

川合 伸幸

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.20, no.1, pp.46-58, 2013-03-01 (Released:2014-11-20)

参考文献数

35

被引用文献数

3

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A Noh mask, carved out of wood, is often said to be a byword for impassivity. However, a Noh mask expresses various emotions during traditional Japanese Noh performances. A Noh mask that looks upward expresses happiness, while a mask looks downward expresses sadness. Nevertheless, previous studies reported the opposite results: people recognize pictures of masks with upward inclinations as being sad, whereas masks with the larger downward inclinations were perceived as happy. This absurdity seems to be occurred partly due to something realized in Mona Lisa’s smile. Livingstone (2000) pointed out that we cannot directly see Mona Lisa’s smile. Her smile appears only when we look at her eyes with seeing her mouth peripherally. A recent empirical study confirmed that this peripheral vision for smile makes a face more mysterious than a neutral or continuously smiling face. I will argue that a smiling mouth of Noh masks with downward inclinations makes a Noh mask mysterious during Noh performances,because hardly Eastern Asia people look at a mouth when they judge facial expressions (i.e., people see a mouth only peripherally). In experimental settings, people look at a mouth of a Noh mask directly, that causes the oppsite results from those expected in the framework of Noh world. I will also discuss similarities and differences between a Noh mask and “Hello Kitty”, which is a fictional character that also expresses countless facial expressions without a mouth.

著者

岡田 猛 横地 早和子 難波 久美子 石橋 健太郎 植田 一博

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.14, no.3, pp.303-321, 2007 (Released:2009-04-24)

参考文献数

46

被引用文献数

14

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The goal of this case study was to describe creation processes of contemporary artists from the perspective of Cognitive Science. We focused on the interaction among activities that affect long term processes of expertise and those that affect shorter term processes as the artist creates a series of work. We conducted retrospective interviews with two contemporary artists in their 40's using the portfolios of their past works so that they could recall their creation processes in detail. We found that the artists used an analogical modification process to produce a new series of artwork. Analogical modification is a cognitive process similar to analogical mapping, but modifies major features of the source structure while mapping it to the target. Artistic vision, which is formed through many years of creative activities and consists of main themes and goals for creation, plays an important role in guiding the usage of analogical modification. Analogical modification correspondingly appeared to deepen artistic vision.

著者

都築 幸恵

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.1, pp.195-198, 2009 (Released:2010-06-11)

参考文献数

4