The Experts below are selected from a list of 360 Experts worldwide ranked by ideXlab platform
Neil Cohn - One of the best experts on this subject based on the ideXlab platform.
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getting a cue before getting a clue event related potentials to inference in visual Narrative comprehension
Neuropsychologia, 2015Co-Authors: Neil Cohn, Marta KutasAbstract:Inference has long been emphasized in the comprehension of verbal and visual Narratives. Here, we measured event-related brain potentials to visual sequences designed to elicit inferential processing. In Impoverished sequences, an expressionless “onlooker” watches an undepicted event (e.g., person throws a ball for a dog, then watches the dog chase it) just prior to a surprising finale (e.g., someone else returns the ball), which should lead to an inference (i.e., the different person retrieved the ball). Implied sequences alter this Narrative Structure by adding visual cues to the critical panel such as a surprised facial expression to the onlooker implying they saw an unexpected, albeit undepicted, event. In contrast, Expected sequences show a predictable, but then confounded, event (i.e., dog retrieves ball, then different person returns it), and Explicit sequences depict the unexpected event (i.e., different person retrieves then returns ball). At the critical penultimate panel, sequences representing depicted events (Explicit, Expected) elicited a larger posterior positivity (P600) than the relatively passive events of an onlooker (Impoverished, Implied), though Implied sequences were slightly more positive than Impoverished sequences. At the subsequent and final panel, a posterior positivity (P600) was greater to images in Impoverished sequences than those in Explicit and Implied sequences, which did not differ. In addition, both sequence types requiring inference (Implied, Impoverished) elicited a larger frontal negativity than those explicitly depicting events (Expected, Explicit). These results show that neural processing differs for visual Narratives omitting events versus those depicting events, and that the presence of subtle visual cues can modulate such effects presumably by altering Narrative Structure.
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you re a good Structure charlie brown the distribution of Narrative categories in comic strips
Cognitive Science, 2014Co-Authors: Neil CohnAbstract:Cohn's (2013) theory of "Visual Narrative Grammar" argues that sequential images take on categorical roles in a Narrative Structure, which organizes them into hierarchic constituents analogous to the organization of syntactic categories in sentences. This theory proposes that Narrative categories, like syntactic categories, can be identified through diagnostic tests that reveal tendencies for their distribution throughout a sequence. This paper describes four experiments testing these diagnostics to provide support for the validity of these Narrative categories. In Experiment 1, participants reconstructed unordered panels of a comic strip into an order that makes sense. Experiment 2 measured viewing times to panels in sequences where the order of panels was reversed. In Experiment 3, participants again reconstructed strips but also deleted a panel from the sequence. Finally, in Experiment 4 participants identified where a panel had been deleted from a comic strip and rated that strip's coherence. Overall, categories had consistent distributional tendencies within experiments and complementary tendencies across experiments. These results point toward an interaction between categorical roles and a global Narrative Structure.
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the architecture of visual Narrative comprehension the interaction of Narrative Structure and page layout in understanding comics
Frontiers in Psychology, 2014Co-Authors: Neil CohnAbstract:How do people make sense of the sequential images in visual Narratives like comics? A growing literature of recent research has suggested that this comprehension involves the interaction of multiple systems: The creation of meaning across sequential images relies on a “Narrative grammar” that packages conceptual information into categorical roles organized in hierarchic constituents. These images units are encapsulated into panels arranged in the layout of a physical page. Finally, how panels frame information can impact both the Narrative Structure and page layout. Altogether, these systems operate in parallel to construct the gestalt whole of comprehension of this visual language found in comics.
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Visual Narrative Structure.
Cognitive science, 2012Co-Authors: Neil CohnAbstract:Narratives are an integral part of human expression. In the graphic form, they range from cave paintings to Egyptian hieroglyphics, from the Bayeux Tapestry to modern day comic books (Kunzle, 1973; McCloud, 1993). Yet not much research has addressed the Structure and comprehension of Narrative images, for example, how do people create meaning out of sequential images? This piece helps fill the gap by presenting a theory of Narrative Grammar. We describe the basic Narrative categories and their relationship to a canonical Narrative arc, followed by a discussion of complex Structures that extend beyond the canonical schema. This demands that the canonical arc be reconsidered as a generative schema whereby any Narrative category can be expanded into a node in a tree Structure. Narrative "pacing" is interpreted as a reflection of various patterns of this embedding: conjunction, left-branching trees, center-embedded constituencies, and others. Following this, diagnostic methods are proposed for testing Narrative categories and constituency. Finally, we outline the applicability of this theory beyond sequential images, such as to film and verbal discourse, and compare this theory with previous approaches to Narrative and discourse.
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pea nuts and bolts of visual Narrative Structure and meaning in sequential image comprehension
Cognitive Psychology, 2012Co-Authors: Neil Cohn, Martin Paczynski, Ray Jackendoff, Phillip J Holcomb, Gina R KuperbergAbstract:Just as syntax differentiates coherent sentences from scrambled word strings, the comprehension of sequential images must also use a cognitive system to distinguish coherent Narrative sequences from random strings of images. We conducted experiments analogous to two classic studies of language processing to examine the contributions of Narrative Structure and semantic relatedness to processing sequential images. We compared four types of comic strips: (1) Normal sequences with both Structure and meaning, (2) Semantic Only sequences (in which the panels were related to a common semantic theme, but had no Narrative Structure), (3) Structural Only sequences (Narrative Structure but no semantic relatedness), and (4) Scrambled sequences of randomly-ordered panels. In Experiment 1, participants monitored for target panels in sequences presented panel-by-panel. Reaction times were slowest to panels in Scrambled sequences, intermediate in both Structural Only and Semantic Only sequences, and fastest in Normal sequences. This suggests that both semantic relatedness and Narrative Structure offer advantages to processing. Experiment 2 measured ERPs to all panels across the whole sequence. The N300/N400 was largest to panels in both the Scrambled and Structural Only sequences, intermediate in Semantic Only sequences and smallest in the Normal sequences. This implies that a combination of Narrative Structure and semantic relatedness can facilitate semantic processing of upcoming panels (as reflected by the N300/N400). Also, panels in the Scrambled sequences evoked a larger left-lateralized anterior negativity than panels in the Structural Only sequences. This localized effect was distinct from the N300/N400, and appeared despite the fact that these two sequence types were matched on local semantic relatedness between individual panels. These findings suggest that sequential image comprehension uses a Narrative Structure that may be independent of semantic relatedness. Altogether, we argue that the comprehension of visual Narrative is guided by an interaction between Structure and meaning.
Robyn Fivush - One of the best experts on this subject based on the ideXlab platform.
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developing Narrative Structure in parent child reminiscing across the preschool years
Developmental Psychology, 1997Co-Authors: Catherine A Haden, Rachel A Haine, Robyn FivushAbstract:This study is a longitudinal exploration of relations between parents' and children's provision of Narrative Structure in joint retellings of the past and children's developing personal Narrative skills. Fifteen White, middle-class families participated when children were 40 and 70 months old. At both ages, mothers and fathers talked separately with children about shared past events and uniformed experimenters elicited children's personal Narratives. Whereas mothers and fathers did not differ in how they Structured past Narratives, children narrated differently with fathers than with mothers. Further, even at 40 months, girls' Narratives were more contexted and evaluative than boys, but parents' provision of Narrative Structure increased similarly with daughters and sons over time. Children's early abilities to provide evaluative Narratives was a strong predictor of their later abilities to provide evaluative Narratives; maternal emphasis on evaluations also predicted children's later Narrative Structure. Parental and child influences on personal Narrative skill development are discussed.
Susan Goldinmeadow - One of the best experts on this subject based on the ideXlab platform.
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a tale of two hands children s early gesture use in Narrative production predicts later Narrative Structure in speech
Journal of Child Language, 2015Co-Authors: Ozlem Ece Demir, Susan C Levine, Susan GoldinmeadowAbstract:Speakers of all ages spontaneously gesture as they talk. These gestures predict children's milestones in vocabulary and sentence Structure. We ask whether gesture serves a similar role in the development of Narrative skill. Children were asked to retell a story conveyed in a wordless cartoon at age five and then again at six, seven, and eight. Children's Narrative Structure in speech improved across these ages. At age five, many of the children expressed a character's viewpoint in gesture, and these children were more likely to tell better-Structured stories at the later ages than children who did not produce character-viewpoint gestures at age five. In contrast, framing Narratives from a character's perspective in speech at age five did not predict later Narrative Structure in speech. Gesture thus continues to act as a harbinger of change even as it assumes new roles in relation to discourse.
Michael L Creech - One of the best experts on this subject based on the ideXlab platform.
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biological storytelling a software tool for biological information organization based upon Narrative Structure
Advanced Visual Interfaces, 2002Co-Authors: Allan Kuchinsky, Kathy Graham, David Moh, Annette Adler, Ketan Babaria, Michael L CreechAbstract:The main task of molecular biologists seeking to understand the molecular basis of disease is identifying and interpreting the relationships of genes, proteins, and pathways in living organisms. While emerging technologies have provided powerful analysis tools to this end, they have also produced an explosion of data, which biologists need to make sense of. We have built software tools to support the synthesis activities of molecular biologists, in particular the activities of organizing, retrieving, using, sharing, and reusing diverse biological information. A key aspect of our approach, based upon the findings of user studies, is the use of Narrative Structure as a conceptual framework for developing and representing the "story" of how genes, proteins, and other molecules interact in biological processes. Biological stories are represented both textually and graphically within a simple conceptual model of items, collections, and stories.
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Biological Storytelling: A Software Tool for Biological Information Organization Based upon Narrative Structure
Proceedings of the Workshop on Storytelling in Collaborative Virtual Environments, 2002Co-Authors: Allan Kuchinsky, Kathy Graham, David Moh, Annette Adler, Ketan Babaria, Michael L CreechAbstract:We have built software tools to support the hypothesis formulation activities of molecular biologists, in particular the activities of organizing, retrieving, using, sharing, and reusing diverse biological information. A key aspect of our approach, based upon the findings of user studies, is the use of Narrative Structure as a conceptual framework for developing and representing the "story" of how genes, proteins, and other molecules interact in biological processes. Biological stories are represented textually and graphically within a simple conceptual model of items, collections, and stories.
Kevin M Brooks - One of the best experts on this subject based on the ideXlab platform.
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do story agents use rocking chairs the theory and implementation of one model for computational Narrative
ACM Multimedia, 1997Co-Authors: Kevin M BrooksAbstract:Narrative Structure models are useful tools for understanding how and why Narratives of any medium affect an audience’s level of participation in their role of story reconstruction and understanding. [14] With the advent of the computer comes the potential to negotiate through many such models and variables within models as a means of generating multiple Narratives quickly and semi-autonomously. The computational Narrative model presented in this paper offers one approach to Narrative generation, that of splitting the task into three functional areas: 1) defining an abstract Narrative Structure; 2) defining a collection and organization of story pieces with some representation of their meaning; and 3) a navigational strategy or reasoning through that collection of story pieces. Agent Stories is a story design and presentation environment for non-linear, multiple-point-ofview cinematic stories. It is designed to be placed in the hands of the non-linear story writer to use as a tool to promote structuring and re-writing of non-linear Narratives before and as they are realized in audio and video.
