The ultimate tool, it could be said, is the brain and body. Therefore, a way to understand tool use is to study the brain's control of the body. A more manageable aim is to use the tools of cognitive science to explore the planning of physical actions. Here, I focus on two kinds of physical acts which directly or indirectly involve tool use: producing finger‐press sequences, and walking and reaching for objects. The main question is how people make choices between (...) finger‐press sequences, and how people make choices between walk‐and‐reach sequences. Are the choices made with reference to motor imagery, in which case the longer the sequences are the longer it takes to choose between them, or are shortcuts taken which rely on distinctive features of the alternatives? The reviewed experiments favor the latter alternative. The general view of action planning emerging from this work is one in which action features are highlighted and held in memory, not just to choose between potential actions but also to control the unfolding of long actions over time. Speculations are offered about tool use. (shrink)

The arts are one of the most complex of human endeavours, and so it is fitting that a special issue on Complex Systems in Aesthetics and Arts is being published. As the editors of this special issue, we would like to thank the reviewers of the submitted papers for their hard work in making this issue possible, as well as the authors who submitted their work and were very responsive to the comments of the reviewers and editors.

A central goal of cognitive science is to develop a general theory of transfer to explain how people use and apply their prior knowledge to solve new problems. Previous work has identified multiple mechanisms of transfer including (but not limited to) analogy, knowledge compilation, and constraint violation. The central hypothesis investigated in the current work is that the particular profile of transfer processes activated for a given situation depends on both (a) the type of knowledge to be transferred and how (...) it is represented, and (b) the processing demands of the transfer task. This hypothesis was investigated in two laboratory training studies. The results from Experiment 1 show that each mechanism predicts specific behavioural patterns of performance across a common set of transfer tasks. The results from Experiment 2 show that people can adaptively shift between transfer mechanisms depending on their prior knowledge and the characteristics of the task environment. A framework for the development of a general theory of transfer based on multiple mechanisms is proposed and implications of the theory are discussed for measuring and understanding knowledge transfer. (shrink)

We address the problem of musical variation (identification of different musical sequences as variations) and its implications for mental representations of music. According to reductionist theories, listeners judge the structural importance of musical events while forming mental representations. These judgments may result from the production of reduced memory representations that retain only the musical gist. In a study of improvised music performance, pianists produced variations on melodies. Analyses of the musical events retained across variations provided support for the reductionist account (...) of structural importance. A neural network trained to produce reduced memory representations for the same melodies represented structurally important events more efficiently than others. Agreement among the musicians' improvisations, the network model, and music‐theoretic predictions suggest that perceived constancy across musical variation is a natural result of a reductionist mechanism for producing memory representations. (shrink)