Contrast Information Dynamics: A Novel Information Measure for Cognitive Modelling.

We present , a novel application of some specific cases of relative entropy, designed to be useful for the cognitive modelling of the sequential perception of continuous signals. We explain the relevance of entropy in the cognitive modelling of sequential phenomena such as music and language. Then, as a first step to demonstrating the utility of constrast information for this purpose, we empirically show that its discrete case correlates well with existing successful cognitive models in the literature.

Modelling of Musical Perception using Spectral Knowledge Representation.

We present a novel approach to representing perceptual and cognitive knowledge, , that is focused on the oscillatory behaviour of the brain. The model is presented in the context of a larger hypothetical cognitive architecture. The model uses literal representations of waves to describe the dynamics of neural assemblies as they process perceived input.

Multilevel rhythms in multimodal communication.

It is now widely accepted that the brunt of animal communication is conducted via several modalities, e.g. acoustic and visual, either simultaneously or sequentially.

Statistical Properties of Musical Creativity: Roles of Hierarchy and Uncertainty in Statistical Learning.

Creativity is part of human nature and is commonly understood as a phenomenon whereby something original and worthwhile is formed. Owing to this ability, humans can produce innovative information that often facilitates growth in our society. Creativity also contributes to esthetic and artistic productions, such as music and art.

Neural entrainment is associated with subjective groove and complexity for performed but not mechanical musical rhythms.

Both movement and neural activity in humans can be entrained by the regularities of an external stimulus, such as the beat of musical rhythms. Neural entrainment to auditory rhythms supports temporal perception, and is enhanced by selective attention and by hierarchical temporal structure imposed on rhythms. However, it is not known how neural entrainment to rhythms is related to the subjective experience of groove (the desire to move along with music or rhythm), the perception of a regular beat, the perception of complexity, and the experience of pleasure.

Learning and Consolidation as Re-representation: Revising the Meaning of Memory.

In this Hypothesis and Theory paper, we consider the problem of learning deeply structured knowledge representations in the absence of predefined ontologies, and in the context of long-term learning. In particular, we consider this process as a sequence of re-representation steps, of various kinds. The Information Dynamics of Thinking theory (IDyOT) admits such learning, and provides a hypothetical mechanism for the human-like construction of hierarchical memory, with the provision of symbols constructed by the system that embodies the theory.

Modeling Metaphor Perception Using Dynamically Contextual Distributional Semantics.

In this paper, we present a novel context-dependent approach to modeling word meaning, and apply it to the modeling of metaphor. In distributional semantic approaches, words are represented as points in a high dimensional space generated from co-occurrence statistics; the distances between points may then be used to quantifying semantic relationships. Contrary to other approaches which use static, global representations, our approach discovers contextualized representations by dynamically projecting low-dimensional subspaces; in these spaces, words can be re-represented in an open-ended assortment of geometrical and conceptual configurations as appropriate for particular contexts.

Creativity, information, and consciousness: The information dynamics of thinking.

This paper presents a theory of the basic operation of mind, Information Dynamics of Thinking, which is intended for computational implementation and thence empirical testing. It is based on the information theory of Shannon, and treats the mind/brain as an information processing organ that aims to be information-efficient, in that it predicts its world, so as to use information efficiently, and regularly re-represents it, so as to store information efficiently. The theory is presented in context of a background review of various research areas that impinge upon its development.

Linking Neural and Symbolic Representation and Processing of Conceptual Structures.

We compare and discuss representations in two cognitive architectures aimed at representing and processing complex conceptual (sentence-like) structures. First is the Neural Blackboard Architecture (NBA), which aims to account for representation and processing of complex and combinatorial conceptual structures in the brain. Second is IDyOT (Information Dynamics of Thinking), which derives sentence-like structures by learning statistical sequential regularities over a suitable corpus.

Entraining IDyOT: Timing in the Information Dynamics of Thinking.

We present a novel hypothetical account of entrainment in music and language, in context of the Information Dynamics of Thinking model, IDyOT. The extended model affords an alternative view of entrainment, and its companion term, pulse, from earlier accounts. The model is based on hierarchical, statistical prediction, modeling expectations of both what an event will be and when it will happen.

Linking melodic expectation to expressive performance timing and perceived musical tension.

This research explored the relations between the predictability of musical structure, expressive timing in performance, and listeners' perceived musical tension. Studies analyzing the influence of expressive timing on listeners' affective responses have been constrained by the fact that, in most pieces, the notated durations limit performers' interpretive freedom. To circumvent this issue, we focused on the unmeasured prelude, a semi-improvisatory genre without notated durations.

The evolutionary roots of creativity: mechanisms and motivations.

We consider the evolution of cognition and the emergence of creative behaviour, in relation to vocal communication. We address two key questions: (i) what cognitive and/or social mechanisms have evolved that afford aspects of creativity?; (ii) has natural and/or sexual selection favoured human behaviours considered 'creative'? This entails analysis of 'creativity', an imprecise construct: comparable properties in non-humans differ in magnitude and teleology from generally agreed human creativity. We then address two apparent problems: (i) the difference between merely novel productions and 'creative' ones; (ii) the emergence of creative behaviour in spite of high cost: does it fit the idea that females choose a male who succeeds in spite of a handicap (costly ornament); or that creative males capable of producing a large and complex song repertoire grew up under favourable conditions; or a demonstration of generally beneficial heightened reasoning capacity; or an opportunity to continually reinforce social bonding through changing communication tropes; or something else? We illustrate and support our argument by reference to whale and bird song; these independently evolved biological signal mechanisms objectively share surface properties with human behaviours generally called 'creative'.

Principles of structure building in music, language and animal song.

Human language, music and a variety of animal vocalizations constitute ways of sonic communication that exhibit remarkable structural complexity. While the complexities of language and possible parallels in animal communication have been discussed intensively, reflections on the complexity of music and animal song, and their comparisons, are underrepresented. In some ways, music and animal songs are more comparable to each other than to language as propositional semantics cannot be used as indicator of communicative success or wellformedness, and notions of grammaticality are less easily defined.

Mind the gap: an attempt to bridge computational and neuroscientific approaches to study creativity.

Creativity is the hallmark of human cognition and is behind every innovation, scientific discovery, piece of music, artwork, and idea that have shaped our lives, from ancient times till today. Yet scientific understanding of creative processes is quite limited, mostly due to the traditional belief that considers creativity as a mysterious puzzle, a paradox, defying empirical enquiry. Recently, there has been an increasing interest in revealing the neural correlates of human creativity.

Probabilistic models of expectation violation predict psychophysiological emotional responses to live concert music.

We present the results of a study testing the often-theorized role of musical expectations in inducing listeners' emotions in a live flute concert experiment with 50 participants. Using an audience response system developed for this purpose, we measured subjective experience and peripheral psychophysiological changes continuously. To confirm the existence of the link between expectation and emotion, we used a threefold approach.

Auditory expectation: the information dynamics of music perception and cognition.

Following in a psychological and musicological tradition beginning with Leonard Meyer, and continuing through David Huron, we present a functional, cognitive account of the phenomenon of expectation in music, grounded in computational, probabilistic modeling. We summarize a range of evidence for this approach, from psychology, neuroscience, musicology, linguistics, and creativity studies, and argue that simulating expectation is an important part of understanding a broad range of human faculties, in music and beyond.

The role of expectation and probabilistic learning in auditory boundary perception: a model comparison.

Grouping and boundary perception are central to many aspects of sensory processing in cognition. We present a comparative study of recently published computational models of boundary perception in music. In doing so, we make three contributions.

Unsupervised statistical learning underpins computational, behavioural, and neural manifestations of musical expectation.

The ability to anticipate forthcoming events has clear evolutionary advantages, and predictive successes or failures often entail significant psychological and physiological consequences. In music perception, the confirmation and violation of expectations are critical to the communication of emotion and aesthetic effects of a composition. Neuroscientific research on musical expectations has focused on harmony.