The Unique Value of Perspective-Taking: Innovative uses of technology to see how toddlers creatively explore the world

What can we learn through seeing the world from a child’s point of view? Source: Matthias Süßen via Wikimedia Commons

 

Learning new words by a toddler is not a simple matter.  They hear unfamiliar words uttered in a cluttered, complex, dynamically changing scene. How are they to know, from the vast number of options, just what it is that an unfamiliar word is supposed to point toward?

Yet, despite the myriad number of potentially “pointed-to” alternatives, learning new words is something that many toddlers do surprisingly well.  Not too long after they utter their first few words, most toddlers begin to acquire new words at an astounding rate, hungrily absorbing them like a tiny purpose-built learning-machine.

How does the toddler accomplish this remarkable word-learning feat? It’s a long-standing puzzle that many cognitive and developmental scientists have taken up. The immense number of possibilities seem so potentially overwhelming that it may even seem that some sort of specialized language-based wizardry must kick in to propel the toddler’s remarkable spurt of word learning.

Bringing in some technological magic – to capture another point of view

Would it be easier to understand this mysterious language spurt if we could somehow get closer to the child’s point of view?  What if we were able to see the world as it appears from the toddler’s own unique perspective – as seen from their specific child-size bodies, their particular opportunities for action (with their smaller fingers, hands, and arms), and their more limited chances for moving about.  What might we learn?

An innovative way to get closer to the child’s perspective on the world is to ask the child to wear a mini “head camera.”  Embedded low on the toddler’s forehead, in a custom-made soft headband, is a mini head camera.  The head camera now can track what – from the child’s particular vantage point – is “out there” for the toddler to see, touch, or reach.

One team of developmental researchers in a pioneering study using such a head camera uncovered a finding that sharply spurred the team’s curiosity. The team found that the child’s play world – when discovered through the head-band camera – was highly dynamic and changing. Many objects remained in view only for seconds or split seconds, before disappearing.  But interspersed among all the rapidly moving images that formed the usual turbulent “visual diet” of the active toddler, there were occasional brief moments of a different sort.

Every once in a while, despite the constant variation and dynamic changes and tremendous clutter of objects closely surrounding the child, there were occasional moments during which “there was just one object stably dominating the head camera image, being much larger in visual size because it was closer and un-occluded” (p. 179).

Make us some novel objects to play with!

The researchers wondered: “Are these periods of stable, clean, nearly one-object views optimal sensory moments for the early learning of object names?” (p. 179)  Could there be something especially important about these rare moments when an object looms large and alone and dominates a toddler’s point of view?

To try to answer this question about stable one-object views, the researchers themselves first enlisted the creative help of an artist adept in making novel objects from hardened clay.  To ensure that the children had not already encountered any of the objects, they wanted to conduct the experiment with purposively-constructed novel objects, so every child would be equally unfamiliar with the objects.

The artist created six novel objects, each with a unique shape and texture.  These novel objects were then painted, either blue, red, or green, two objects for each color, forming two sets of three differently-colored objects.  And then each object was randomly paired with one novel name:  zeebee, tema, dodi, habble, wawa, and mapoo.

Next, parents and their toddlers (at a mean age of 20 months) were invited to a play session in the research lab.  They were asked to sit across from one another at a small white table, in a white room, with a white floor. The parent was told the names of the six novel objects, and the objects were placed in small boxes. On the side of each box, was a picture of the object, and a reminder of the object’s name.

Parents were instructed to encourage their toddler to interact with the clay objects in as natural a way as possible.  Parent and toddler then engaged in play with the objects over four toy play periods; each play period lasted just under two minutes, and each set of three toys was used twice.

The instructions did not tell the parents to try to teach their child the names of the objects, and parents were not told that their toddlers’ ability to remember the names of the objects would later be tested.  All of the play period was video and audio recorded.

After the play periods, the toddlers were given a surprise memory test for the names of the novel objects.  The experimenter entered the room, holding high a tray with three of the objects, each of a different color, one on the right, one to the left, and one in the middle. Looking steadfastly into the infant’s eyes (as confirmed by a later review of the video), and never at the objects on the tray so as not to unintentionally guide the child to the answer, the experimenter said, “Show me the ___!  Get the __!”  The experimenter then moved the tray forward for the infant to select the object.  This test was completed twice for each of the six object names, each time with different distractors.  The toddlers correctly reached for the novel objects more than would be expected by chance, with a few of the toddlers even learning all six novel names.

Looming visually large and alone

Now the researchers looked back at the videos of the play periods between the toddlers and their parents.  And they found a clear answer to their question.  In precisely those moments when parents named a novel object for their child, the child’s head-camera video revealed that the object loomed large and centered in the child’s visual field.And the more this was true, the more likely it was that the toddler later showed that they remembered the name of the object.  So: the more that the object filled the center of the child’s viewpoint at the moment of the parent’s naming (e.g., “zeebee”), the more likely the child was to correctly choose the “zeebee” from the tray.

These results show that, at least in this miniature table-top “play world,” parents most often chose to name unfamiliar objects at precisely those moments when their child was already visually attending– and often also touching– an object. And the more strongly the child’s visual attention was centrally and predominantly focused on that object, the more likely the child was to later recognize that name.

Once we get closer to the child’s perspective, at least a little of the mystery of how children so adeptly learn to correctly map words to the intended parts of the world is dispelled.  It turns out that, at these moments of naming, rather than there being a teeming multitude of competing items to which the unfamiliar label might apply, there is often only a single object in central view.

Perspective-taking and another developmental mystery

Concretely and specifically trying to see the world through a young child’s eyes may help to explain another developmental mystery – that is also closely connected to exploration.  Why do toddlers learn to walk? Why do children move from a form of locomotion that they have fully mastered and even become experts at – that of crawling – and embark on the decidedly difficult (and not infrequently painful) task of learning to walk?

A partial explanation may be that what they can seewhen they walk (rather than crawl) is very different.  Data from a head-mounted eye-tracker worn by fifteen 13-month old children who were still crawling as their primary form of locomotion compared with fifteen 13-month old children who had begun to walk, revealed many differences.  For crawlers, the “scene camera” revealed that on about 25% of their “steps” the only thing in view was the floor.  Lifting their heads while crawling was an awkward, gravity-defying move.  Compared to crawlers, walkers could see many more enticing toys, and could see their caregiver’s face twice as often.

It may, in part, be the tantalizing promise of getting to see and to experience more – a world that is richer, more varied, more social, and more extended – that motivates the young infant to stand up and begin to walk.

By literally and concretely trying to see “what’s in view” for a child, we can begin to understand how children creatively explore and learn about the world.  The transition from crawling to walking is a developmental “cusp” that completely changes the options and opportunities open to the child.

What “cusps,” akin to those that confront the toddler who is first learning to walk, might we, as adults, be over-cautiously stepping back from – and so needlessly limiting much of our view?  How can we be encouraged to reorient our own perspective to explore the farther reaches of what we can’t even now see?

References

Kretch, K.S., Franchak, J.M., & Adolph, K.E. (2014). Crawling and walking infants see the world differently. Child Development85, 1503–1518.

Pereira, A. F., Smith, L. B., & Yu, C. (2014). A bottom-up view of toddler word learning. Psychonomic Bulletin and Review, 21, 178–185.

Smith, L. B., Yu, C., & Pereira, A. F. (2011). Not your mother’s view: The dynamics of toddler visual experience. Developmental Science, 14, 9–17.

Are you giving sound enough space in your creative world?

The many places and spaces of sound. Source:Victor Talking Machine Company; Right: Dnoahg via Wikimedia Commons

 

Given our (often) tremendous visual capacities, it’s easy to just let vision habitually take the reins, and assign other senses to lower rungs in our sensory hierarchy. For example, sounds and hearing often play “second fiddle.” What would it mean to place a higher priority on other senses, especially the roles of sound, in our sensory repertoire?

—> For more, including a Q & A with vocalist, musician, and Resonance Box founder Aida Shahghasemi see: Exploring and Expanding our Auditory Horizons 

 

Why do we experience the urge to be creative?

Source: A-Durand via Wikimedia Commons

 

Why be creative?  Often the answer to this simple question is couched in terms of how creativity can bring us and others a bountiful bevy of better things:  better products, better services, better ways of doing.  Creativity brings with it, it is true, a host of instrumental advantages –– improvements in how we work, play, think, and live.  A better this, a better that _______ (you fill in the blanks).

But is this answer the full story?  Might there be more to be said?  Might being creative (often) be something desirable just in and of itself?  Is being creative itself rewarding?  Does being creative feel good?

There are many reasons to think so. . . .

—> To read more,  see Wilma’s “Creativity Feels Good!”

Are we hard-wired to be curious?

Source: Nilay pati via Wikimedia Commons

 

Resolving our curiosity is both something we’re willing to pay a cost for and that has a clear and understandable signature in the brain.

Curiosity has been said to be a form of intrinsically motivated search for information or knowledge. But how could we test this out?

What if you were shown a brief preview of an upcoming event, and you couldn’t in any way influence the outcome: would you be curious to know what happened? Would you be more curious if the preview was more ambiguous?

Five cognitive neuroscientists recently teamed up to tackle this question. The approach they used was at once surprisingly simple, and surprisingly elegant.

The preview image that the researchers used was a picture of a “lottery vase.” For example:

Source: W. Koutstaal based on van Lieshout et al, 2018

—> For more please see Wilma’s: “Why do you ask?”

 

Brains, bridges, and creativity boosts

bridges_four

Picturing a swing-bridge in action. Source: adapted from Y tambe, Wikimedia Commons

“Truly, one of the most joyous things that I do in preparing for a performance is the warming-up part.” 
– opera singer Jessye Norman (from her 2014 book Stand Up Straight and Sing! p. 53)

Dancers and drummers, singers and swimmers, all regularly warm-up before their performances. Should we, too, sometimes be warming up before diving into a creative endeavor? If so, how might we better ready ourselves to innovatively think and make? And why might it work?

For creativity boosting suggestions and for how creativity might relate to swing-bridges and brains, see Wilma’s latest Psychology Today post.

Looking in, looking out: Spontaneous cognition, intention, and creativity

At this time of year, many of us may find our thoughts turned inward, reflecting on what we have experienced and achieved in the past year, and our goals and aspirations for the upcoming year. This underscores an important distinction in our thinking between inner-directed attention, and outer-directed attention, and their interplay.

When our attention is directed externally, whether intentionally or not, we are responding to, and interpreting, stimuli or events outside of ourselves, with information coming in to us from the external world through our senses. When, though, our attention is directed internally, we draw on our own memory and knowledge, reliving past experiences, and imaginatively anticipating future events using what we already know.

In many situations, our internally directed cognition and our externally directed cognition compete with one another. Think of the times we may drift into reverie during a long talk or while overhearing an extended conversation—only to find ourselves unable to capture what was said just moments before. Or, conversely, think of what happens when we’re trying to recall an uncommon word or an unfamiliar name, and we might close our eyes or avert our glance, as we try to fully turn our attention inward and block out external distractions.

This competition is also often observed in brain imaging studies. An interconnected set of brain regions (often referred to as the “default mode network”) is strongly activated when we turn our attention inward. A different set is often activated (for example, in what has been called the “executive control network”) when we are purposefully responding to externally presented words, objects, or sounds. When activation in one set of brain regions goes up, activation in the other set goes down and vice versa.

But do internally directed and externally directed thinking always compete with each other? What would it mean for creativity and imagination if they could, instead, cooperate?

A growing number of studies show that during creative or imaginative activities, when we are partially thinking in spontaneous or automatic ways, there can be a more cooperative relationship between internal and external thinking.

What might this mean for our creative processes? During our creative endeavors, we need to exert some deliberate guidance, but not be too rigid and unrelenting a “controller,” weaving in with our guidance and goals, and then loosening control before we weave in again. In the longer-term, developing effortless ease in parts of our creative process may lead to conditions that promote even more discoveries because there’s a powerful blending of the spontaneous and the intended, and of our internally and our externally directed thinking.

 

—> For a recent and comprehensive review on the relationship between externally and internally directed cognition in the brain see:

Matthew L. Dixon, Kieran C.R. Fox, & Kalina Christoff (2014). A framework for understanding the relationship between externally and internally directed cognition. Neuropsychologia, 62, pp. 321-330.

Dynamic brains & dynamic environments for creativity: How so?

Everyone today is telling us that we need to regularly “exercise” our brain. But what does mental exercise mean for creativity? When we regularly workout “mentally” what is really changing in our brain?

By mental exercise, we mean engaging in challenging activities that require us to pay close attention and learn new things and make novel, often subtle, distinctions between similar-appearing things. The distinctions could be sensory-perceptual, or about meaning, or about action. Our brains are continually learning and forming predictions based on the environments we choose and make for ourselves. Environments matter.

Our brain—in response to our environments—changes continually, in multiple ways, and across multiple timescales. Both the structure of the brain (that is, how it is built) and the function (that is, the ways it processes information) may change in the face of experience. At the structural level, stimulating mental exercise may lead to the formation of new synaptic connections between neurons (that is, changing “gray matter”). It may also lead to more efficient connections between neurons and neuronal ensembles at long distances through changing what is known as “white matter” or axons. Greater white and gray matter connectivity may enable us to process and understand information more quickly and efficiently.

In the longer-term, our increased active grappling with novelty might lead to the generation of new neurons (neurogenesis) in regions of the brain such as the hippocampus, important in memory and in making connections between our experiences. Challenging mental exercise may make it more likely that new neurons that are born throughout our lifespan actually survive and become meaningfully connected to our existing memory and experience networks. New, effortful, and successful learning is the ticket to the survival and integration of many newly generated neurons. This could allow us to develop an increasingly deeper and richer wellspring of knowledge to draw upon in our discoveries and problem solving.

We should also consider the conjoined benefits of mental with physical exercise. Putting the two together may yield benefits that are more than the sum of their parts.

So what works best? Particularly potent are activities that involve naturally occurring combinations of mental and physical actions and that call on fine-grained multimodal coordination in time and space, such as various forms of dance, theater, filmmaking, musical performance, or real-world making and shaping. Dislodging old unproductive habits, deliberately varying, and paying attention in the moment all help our brains to dynamically develop brand new neural connections. We should choose and nurture activities that offer us long-term challenges with ever-unfolding possibilities.

As we observe in Part 1 of our book, Innovating Minds:

“We cannot understand creativity, or identify potential barriers to the generation of novel and innovative ideas and methods, if we isolate our mind or brain from our environments.  Our minds, brains, and environments are in perpetual interplay.  It is at their intersections that new ideas emerge and can be realized.”

 

–>For some empirical research on our dynamic brains and environments see:

Newly learning to juggle is a stimulus to brain plasticity. Juggling changes the brain’s gray matter. And juggling changes the brain’s white matter.

How stimulating environments “makes new neurons, and effortful learning keeps them alive.”