Task-effector asymmetries in a rhythmic continuation task

The Amount and Pattern of Reciprocal Compensations Predict Performance Stability in a Visually Guided Finger Force Production Task

Previous work suggests that synergistic activity among motor elements implicated in force production tasks underlies enhanced performance stability associated with visual feedback. A hallmark of synergistic activity is reciprocal compensation, that is, covariation in the states of motor elements that stabilizes critical performance variables. The present study examined if characteristics of reciprocal compensation are indicators of individuals' capacity to respond adaptively to variations in the resolution of visual feedback about criterion performance. Twenty healthy adults (19.25 ± 1.25 years; 15 females and five males) pressed two sensors with their index fingers to produce a total target force equivalent to 20% of their maximal voluntary contraction under nine conditions that differed in the spatial resolution of real-time feedback about their performance. By combining within-trial uncontrolled manifold and sample entropy analyses, we quantified the amount and degree of irregularity (i.e., non-repetitiveness) of reciprocal compensations over time. We found a U-shaped relationship between performance stability and gain. Importantly, this relationship was moderated by the degree of irregularity of reciprocal compensation. Lower irregularity in reciprocal compensation patterns was related to individuals' capacity to maintain (or minimize losses in) performance under changes in feedback resolution. Results invite future investigation into how interindividual variations in reciprocal compensation patterns relate to differences in control strategies supporting adaptive responses in complex, visually guided motor tasks.

A novel method for estimating properties of attentional oscillators reveals an age-related decline in flexibility

Dynamic attending theory proposes that the ability to track temporal cues in the auditory environment is governed by entrainment, the synchronization between internal oscillations and regularities in external auditory signals. Here, we focused on two key properties of internal oscillators: their preferred rate, the default rate in the absence of any input; and their flexibility, how they adapt to changes in rhythmic context. We developed methods to estimate oscillator properties (Experiment 1) and compared the estimates across tasks and individuals (Experiment 2). Preferred rates, estimated as the stimulus rates with peak performance, showed a harmonic relationship across measurements and were correlated with individuals' spontaneous motor tempo. Estimates from motor tasks were slower than those from the perceptual task, and the degree of slowing was consistent for each individual. Task performance decreased with trial-to-trial changes in stimulus rate, and responses on individual trials were biased toward the preceding trial's stimulus properties. Flexibility, quantified as an individual's ability to adapt to faster-than-previous rates, decreased with age. These findings show domain-specific rate preferences for the assumed oscillatory system underlying rhythm perception and production, and that this system loses its ability to flexibly adapt to changes in the external rhythmic context during aging.

Interdependence of movement amplitude and tempo during self-paced finger tapping: evaluation of a preferred velocity hypothesis

This study examined the relation between movement amplitude and tempo during self-paced rhythmic finger tapping to test a preferred velocity account of the preferred tempo construct. Preferred tempo refers to the concept that individuals have preferences for the pace of actions or events in their environment (e.g., the desired pace of walking or tempo of music). The preferred velocity hypothesis proposes that assessments of preferred tempo do not represent a pure time preference independent of spatial movement characteristics, but rather reflects a preference for an average movement velocity, predicting that preferred tempo will depend on movement amplitude. We tested this by having participants first perform a novel spontaneous motor amplitude (SMA) task in which they repetitively tapped their finger at their preferred amplitude without instructions about tapping tempo. Next, participants completed the spontaneous motor tempo (SMT) task in which they tapped their finger at their preferred tempo without instructions about tapping amplitude. Finally, participants completed a target amplitude version of the SMT task where they tapped at their preferred tempo at three target amplitudes (low, medium, and high). Participants (1) produced similar amplitudes and tempi regardless of instructions to produce either their preferred amplitude or preferred tempo, maintaining the same average movement velocity across SMA and SMT tasks and (2) altered their preferred tempo for different target amplitudes in the direction predicted by their estimated preferred velocity from the SMA and SMT tasks. Overall, results show the interdependence of movement amplitude and tempo in tapping assessments of preferred tempo.

Spontaneous motor tempo over the course of a week: the role of the time of the day, chronotype, and arousal

The spontaneous motor tempo (SMT) or internal tempo describes the natural pace of predictive and emergent movements such as walking or hand clapping. One of the main research interests in the study of the spontaneous motor tempo relates to factors affecting its pace. Previous studies suggest an influence of the circadian rhythm (i.e., 24-h cycle of the biological clock), physiological arousal changes, and potentially also musical experience. This study aimed at investigating these effects in participants' everyday life by measuring their SMT four times a day over seven consecutive days, using an experience sampling method. The pace of the SMT was assessed with a finger-tapping paradigm in a self-developed web application. Measured as the inter-tap interval, the overall mean SMT was 650 ms (SD = 253 ms). Using multi-level modelling (MLM), results show that the pace of the SMT sped up over the course of the day, and that this effect depended on the participants' chronotype, since participants tending towards morning type were faster in the morning compared to participants tending towards evening type. During the day, the pace of the SMT of morning types stayed relatively constant, whereas it became faster for evening-type participants. Furthermore, higher arousal in participants led to a faster pace of the SMT. Musical sophistication did not influence the SMT. These results indicate that the circadian rhythm influences the internal tempo, since the pace of SMT is not only dependent on the time of the day, but also on the individual entrainment to the 24-h cycle (chronotype).

Reliable estimation of internal oscillator properties from a novel, fast-paced tapping paradigm

Rhythmic structure in speech, music, and other auditory signals helps us track, anticipate, and understand the sounds in our environment. The dynamic attending framework proposes that biological systems possess internal rhythms, generated via oscillatory mechanisms, that synchronize with (entrain to) rhythms in the external world. Here, we focused on two properties of internal oscillators: preferred rate, the default rate of an oscillator in the absence of any input, and flexibility, the oscillator's ability to adapt to changes in external rhythmic context. We aimed to develop methods that can reliably estimate preferred rate and flexibility on an individual basis. The experiment was a synchronization-continuation finger tapping paradigm with a unique design: the stimulus rates were finely sampled over a wide range of rates and were presented only once. Individuals tapped their finger to 5-event isochronous stimulus sequences and continued the rhythm at the same pace. Preferred rate was estimated by assessing the best-performance conditions where the difference between the stimulus rate and continuation tapping rate (tempo-matching error) was minimum. The results revealed harmonically related, multiple preferred rates for each individual. We maximized the differences in stimulus rate between consecutive trials to challenge individuals' flexibility, which was then estimated by how much tempo-matching errors in synchronization tapping increase with this manipulation. Both measures showed test-retest reliability. The findings demonstrate the influence of properties of the auditory context on rhythmic entrainment, and have implications for development of methods that can improve attentional synchronization and hearing.

Spontaneous Motor Tempo: Investigating Psychological, Chronobiological, and Demographic Factors in a Large-Scale Online Tapping Experiment

The spontaneous motor tempo (SMT) describes the pace of regular and repeated movements such as hand clapping or walking. It is typically measured by letting people tap with their index finger at a pace that feels most natural and comfortable to them. A number of factors have been suggested to influence the SMT, such as age, time of the day, arousal, and potentially musical experience. This study aimed at investigating the effects of these factors in a combined and out-of-the-lab context by implementing the finger-tapping paradigm in an online experiment using a self-developed web application. Due to statistical multimodality in the distribution of participants' SMT (N = 3,576), showing peaks at modes of around 250 ms, a Gaussian mixture model was applied that grouped participants into six clusters, ranging from Very Fast (M = 265 ms, SD = 74) to Very Slow (M = 1,757 ms, SD = 166). These SMT clusters differed in terms of age, suggesting that older participants had a slower SMT, and time of the day, showing that the earlier it was, the slower participants' SMT. While arousal did not differ between the SMT clusters, more aroused participants showed faster SMTs across all normalized SMT clusters. Effects of musical experience were inconclusive. With a large international sample, these results provide insights into factors influencing the SMT irrespective of cultural background, which can be seen as a window into human timing processes.

A general procedure to measure the pacing of body movements timed to music and metronome in younger and older adults

Finger-tapping tasks are classically used to investigate sensorimotor synchronization in relation to neutral auditory cues, such as metronomes. However, music is more commonly associated with an entrained bodily response, such as toe tapping, or dancing. Here we report an experimental procedure that was designed to bridge the gap between timing and intervention studies by directly comparing the effects of metronome and musical cue types on motor timing abilities across the three naturalistic voluntary actions of finger tapping, toe tapping, and stepping on the spot as a simplified case of whole body movement. Both pacing cues were presented at slow, medium, and fast tempi. The findings suggested that the task of stepping on the spot enabled better timing performances than tapping both in younger and older adults (75+). Timing performances followed an inverse U shape with best performances observed in the medium tempi that were set close to the spontaneous motor tempo in each movement type. Finally, music provided an entrainment effect in addition to pace setting that enabled better motor timing and greater stability than classically reported using a metronome. By applying time-stamp analyses to kinetic data, we demonstrate that tapping and stepping engage different timing modes. This work details the importance of translational research for a better understanding of motor timing. It offers a simple procedure that strengthens the validity of applying academic work and contributes in knowledge towards a wide range of therapeutic interventions.

Cadence Modulation in Walking and Running: Pacing Steps or Strides?

A change in cadence during walking or running might be indicated for a variety of reasons, among which mobility improvement and injury prevention. In a within-subject study design, we examined whether walking or running cadences are modulated best by means of step-based or stride-based auditory pacing. Sixteen experienced runners walked and ran on a treadmill while synchronizing with step-based and stride-based pacing at slow, preferred and fast pacing frequencies in synchronization-perturbation and synchronization-continuation conditions. We quantified the variability of the relative phase between pacing cues and footfalls and the responses to perturbations in the pacing signal as measures of coordinative stability; the more stable the auditory-motor coordination, the stronger the modulating effect of pacing. Furthermore, we quantified the deviation from the prescribed cadence after removal of the pacing signal as a measure of internalization of this cadence. Synchronization was achieved less often in running, especially at slow pacing frequencies. If synchronization was achieved, coordinative stability was similar, and the paced cadence was well internalized for preferred and fast pacing frequencies. Step-based pacing led to more stable auditory-motor coordination than stride-based pacing in both walking and running. We therefore concluded that step-based auditory pacing deserves preference as a means to modulate cadence in walking and running.

Predictability, force, and (anti)resonance in complex object control

Manipulation of complex objects as in tool use is ubiquitous and has given humans an evolutionary advantage. This study examined the strategies humans choose when manipulating an object with underactuated internal dynamics, such as a cup of coffee. The dynamics of the object renders the temporal evolution complex, possibly even chaotic, and difficult to predict. A cart-and-pendulum model, loosely mimicking coffee sloshing in a cup, was implemented in a virtual environment with a haptic interface. Participants rhythmically manipulated the virtual cup containing a rolling ball; they could choose the oscillation frequency, whereas the amplitude was prescribed. Three hypotheses were tested: 1) humans decrease interaction forces between hand and object; 2) humans increase the predictability of the object dynamics; and 3) humans exploit the resonances of the coupled object-hand system. Analysis revealed that humans chose either a high-frequency strategy with antiphase cup-and-ball movements or a low-frequency strategy with in-phase cup-and-ball movements. Counter to hypothesis 1, they did not decrease interaction force; instead, they increased the predictability of the interaction dynamics, quantified by mutual information, supporting hypothesis 2. To address hypothesis 3, frequency analysis of the coupled hand-object system revealed two resonance frequencies separated by an antiresonance frequency. The low-frequency strategy exploited one resonance, whereas the high-frequency strategy afforded more choice, consistent with the frequency response of the coupled system; both strategies avoided the antiresonance. Hence, humans did not prioritize small interaction forces but rather strategies that rendered interactions predictable. These findings highlight that physical interactions with complex objects pose control challenges not present in unconstrained movements. NEW & NOTEWORTHY Daily actions involve manipulation of complex nonrigid objects, which present a challenge since humans have no direct control of the whole object. We used a virtual-reality experiment and simulations of a cart-and-pendulum system coupled to hand movements with impedance to analyze the manipulation of this underactuated object. We showed that participants developed strategies that increased the predictability of the object behavior by exploiting the resonance structure of the object but did not minimize the hand-object interaction force.

Tapping Into Rate Flexibility: Musical Training Facilitates Synchronization Around Spontaneous Production Rates

The ability to flexibly adapt one’s behavior is critical for social tasks such as speech and music performance, in which individuals must coordinate the timing of their actions with others. Natural movement frequencies, also called spontaneous rates, constrain synchronization accuracy between partners during duet music performance, whereas musical training enhances synchronization accuracy. We investigated the combined influences of these factors on the flexibility with which individuals can synchronize their actions with sequences at different rates. First, we developed a novel musical task capable of measuring spontaneous rates in both musicians and non-musicians in which participants tapped the rhythm of a familiar melody while hearing the corresponding melody tones. The novel task was validated by similar measures of spontaneous rates generated by piano performance and by the tapping task from the same pianists. We then implemented the novel task with musicians and non-musicians as they synchronized tapping of a familiar melody with a metronome at their spontaneous rates, and at rates proportionally slower and faster than their spontaneous rates. Musicians synchronized more flexibly across rates than non-musicians, indicated by greater synchronization accuracy. Additionally, musicians showed greater engagement of error correction mechanisms than non-musicians. Finally, differences in flexibility were characterized by more recurrent (repetitive) and patterned synchronization in non-musicians, indicative of greater temporal rigidity.

Rhythmic facilitation of sensory processing: A critical review

Here we review the role of brain oscillations in sensory processing. We examine the idea that neural entrainment of intrinsic oscillations underlies the processing of rhythmic stimuli in the context of simple isochronous rhythms as well as in music and speech. This has been a topic of growing interest over recent years; however, many issues remain highly controversial: how do fluctuations of intrinsic neural oscillations-both spontaneous and entrained to external stimuli-affect perception, and does this occur automatically or can it be actively controlled by top-down factors? Some of the controversy in the literature stems from confounding use of terminology. Moreover, it is not straightforward how theories and findings regarding isochronous rhythms generalize to more complex, naturalistic stimuli, such as speech and music. Here we aim to clarify terminology, and distinguish between different phenomena that are often lumped together as reflecting "neural entrainment" but may actually vary in their mechanistic underpinnings. Furthermore, we discuss specific caveats and confounds related to making inferences about oscillatory mechanisms from human electrophysiological data.

Motor errors lead to enhanced performance in older adults

Young individuals make larger and faster forearm movements when visual feedback about the movement is not available, compared to when it is. We set out to test whether this behavior persists with aging. We tested 40 participants, 20 in each age group - young and old, on a task that required making rhythmic movements of the forearm with and without visual feedback. Surprisingly, we found that older adults increased the speed and the amplitude of their movements to an even greater extent than did the young adults. Furthermore, we found that the increase in speed and amplitude during the non-vision trial segments improved their performance on the task, and they were able to leverage the change in these movement parameters (speed and amplitude) to improve their performance during subsequent trial segments that did include visual feedback. The improvement in accuracy on the task was accompanied by a decrease in path variability. The results indicate that older adults can adapt their movement parameters to enhance performance following a motor perturbation. They further suggest that motor variability in old age can be advantageous under certain circumstances.

Moving the arm at different rates: slow movements are avoided

Qualitative and quantitative changes characterize locomotion and rhythmic interlimb coordination at different speeds. Legs and hands do not move more or less quickly; they also adopt different relative coordination patterns. In the present article, the authors asked whether similar transitions occur for unimanual hand movements when speed is slowed below the preferred speed. Participants moved a handheld dowel back and forth between 2 large circular targets in time with a metronome at periods between 370 ms and 1667 ms. The authors analyzed the kinematics of participants' movements at each period and found that proportional dwell time and number of peaks in the velocity profile increased as driving periods increased. Path lengths and peak velocities remained relatively constant for driving periods exceeding 800 ms. Participants made only gradual changes to their movement parameters, so that they went from a continuous mode to a more discrete mode of behavior for longer driving periods. Thus, unlike for rhythmic bimanual movements or locomotory patterns, there are quantitative but no clear qualitative changes for unimanual movements. The results suggest that participants tried to move close to their preferred tempo at different rates, and that they avoided moving slowly.

The impact of the perception of rhythmic music on self-paced oscillatory movements

Inspired by theories of perception-action coupling and embodied music cognition, we investigated how rhythmic music perception impacts self-paced oscillatory movements. In a pilot study, we examined the kinematic parameters of self-paced oscillatory movements, walking and finger tapping using optical motion capture. In accordance with biomechanical constraints accounts of motion, we found that movements followed a hierarchical organization depending on the proximal/distal characteristic of the limb used. Based on these findings, we were interested in knowing how and when the perception of rhythmic music could resonate with the motor system in the context of these constrained oscillatory movements. In order to test this, we conducted an experiment where participants performed four different effector-specific movements (lower leg, whole arm and forearm oscillation and finger tapping) while rhythmic music was playing in the background. Musical stimuli consisted of computer-generated MIDI musical pieces with a 4/4 metrical structure. The musical tempo of each song increased from 60 BPM to 120 BPM by 6 BPM increments. A specific tempo was maintained for 20 s before a 2 s transition to the higher tempo. The task of the participant was to maintain a comfortable pace for the four movements (self-paced) while not paying attention to the music. No instruction on whether to synchronize with the music was given. Results showed that participants were distinctively influenced by the background music depending on the movement used with the tapping task being consistently the most influenced. Furthermore, eight strategies put in place by participants to cope with the task were unveiled. Despite not instructed to do so, participants also occasionally synchronized with music. Results are discussed in terms of the link between perception and action (i.e., motor/perceptual resonance). In general, our results give support to the notion that rhythmic music is processed in a motoric fashion.

Rhythmic movements are larger and faster but with the same frequency on removal of visual feedback

The brain controls rhythmic movement through neural circuits combining visual information with proprioceptive information from the limbs. Although rhythmic movements are fundamental to everyday activities the specific details of the responsible control mechanisms remain elusive. We tested 39 young adults who performed flexion/extension movements of the forearm. We provided them with explicit knowledge of the amplitude and the speed of their movements, whereas frequency information was only implicitly available. In a series of 3 experiments, we demonstrate a tighter control of frequency compared with amplitude or speed. We found that in the absence of visual feedback, movements had larger amplitude and higher peak speed while maintaining the same frequency as when visual feedback was available; this was the case even when participants were aware of performing overly large and fast movements. Finally, when participants were asked to modulate continuously movement frequency, but not amplitude, we found the local coefficient of variability of movement frequency to be lower than that of amplitude. We suggest that a misperception of the generated amplitude in the absence of visual feedback, coupled with a highly accurate perception of generated frequency, leads to the performance of larger and faster movements with the same frequency when visual feedback is not available. Relatively low local coefficient of variability of frequency in a task that calls for continuous change in movement frequency suggests that we tend to operate at a constant frequency at the expense of variation in amplitude and peak speed.

The sources of two components of variance: an example of multifinger cyclic force production tasks at different frequencies

In a multifinger cyclic force production task, the finger force variance measured across trials can be decomposed into two components, one that affects the combined force output ("bad variance") and one that does not ("good variance"). Previous studies have found similar time patterns of "bad variance" and force rate leading to an approximately linear relationship between them. Based on this finding and a recently developed model of multifinger force production, we expected the "bad variance" during cyclic force production to increase monotonically with the rate of force change, both within a cycle and across trials at different frequencies. Alternatively, "bad variance" could show a dependence on task frequency, not on actual force derivative values. Healthy subjects were required to produce cyclic force patterns to prescribed targets by pressing on unidimensional force sensors, at a frequency set by a metronome. The task was performed with only the index finger, and with all four fingers. In the task with all four fingers, the "good variance" increased approximately linearly with an increase in the force magnitude. The "bad variance" showed within-a-cycle modulation similar to that of the force rate. However, an increase in the frequency did not lead to an increase in the "bad variance" that could be expected based on the natural relationships between action frequency and the rate of force change modulation. The results have been interpreted in the framework of an earlier model of multifinger force production where "bad variance" is a result of variance of the timing parameter. The unexpected lack of modulation of the "bad variance" with frequency suggests a drop in variance of the timing parameter with increased frequency. This mechanism may serve to maintain a constant acceptable level of variance under different conditions.

Postural control during upper body locomotor-like movements: similar synergies based on dissimilar muscle modes

We studied the organization of leg and trunk muscles into groups (M-modes) and co-variation of M-mode involvement (M-mode synergies) during whole-body tasks associated with large variations of the moment of force about the vertical body axis. Our major questions were: (1) can muscle activation patterns during such tasks be described with a few M-modes common across tasks and subjects? (2) do these modes form the basis for synergies stabilizing M(z) time pattern? (3) will this organization differ between an explicit body-rotation task and a task associated with locomotor-like alternating arm movements? Healthy subjects stood barefoot on the force platform and performed two motor tasks while paced by the metronome at 0.7, 1.0, and 1.4 Hz: cyclic rotation of the upper body about the vertical body axis (body-rotation task), and alternating rhythmic arm movements imitating those during running or quick walking (arm-movement task). Principal component analysis was used to identify three M-modes within the space of integrated indices of muscle activity. The M-mode vectors showed clustering neither across subjects nor across frequencies. Variance in the M-mode space across sway cycles was partitioned into two components, one that did not affect the average value of M(z) shift ("good variance") and the other that did. An index was computed reflecting the relative amount of the "good variance"; positive values of this index have been interpreted as reflecting a multi-M-mode synergy stabilizing the M(z) trajectory. On average, the index was positive for both tasks and across all frequencies studied. However, the magnitude of the index was smaller for the intermediate frequency (1 Hz). The results show that the organization of muscles into groups during relatively complex whole-body tasks can differ significantly across both task variations and subjects. Nevertheless, the central nervous system seems to be able to build M(z) stabilizing synergies based on different sets of M-modes, within the approach accepted in this study. The drop in the synergy index at the frequency of 1 Hz, which was close to the preferred movement frequency, may be interpreted as corroborating the neural origin of the M-mode co-variation.

Chaotic frequency scaling in a coupled oscillator model for free rhythmic actions

The question of how best to model rhythmic movements at self-selected amplitude-frequency combinations, and their variability, is a long-standing issue. This study presents a systematic analysis of a coupled oscillator system that has successfully accounted for the experimental result that humans' preferred oscillation frequencies closely correspond to the linear resonance frequencies of the biomechanical limb systems, a phenomenon known as resonance tuning or frequency scaling. The dynamics of the coupled oscillator model is explored by numerical integration in different areas of its parameter space, where a period doubling route to chaotic dynamics is discovered. It is shown that even in the regions of the parameter space with chaotic solutions, the model still effectively scales to the biomechanical oscillator's natural frequency. Hence, there is a solution providing for frequency scaling in the presence of chaotic variability. The implications of these results for interpreting variability as fundamentally stochastic or chaotic are discussed.

A neuro-mechanical model for interpersonal coordination

The present study investigates the coordination between two people oscillating handheld pendulums, with a special emphasis on the influence of the mechanical properties of the effector systems involved. The first part of the study is an experiment in which eight pairs of participants are asked to coordinate the oscillation of their pendulum with the other participant's in an in-phase or antiphase fashion. Two types of pendulums, A and B, having different resonance frequencies (Freq A=0.98 Hz and Freq B=0.64 Hz), were used in different experimental combinations. Results confirm that the preferred frequencies produced by participants while manipulating each pendulum individually were close to the resonance frequencies of the pendulums. In their attempt to synchronize with one another, participants met at common frequencies that were influenced by the mechanical properties of the two pendulums involved. In agreement with previous studies, both the variability of the behavior and the shift in the intended relative phase were found to depend on the task-effector asymmetry, i.e., the difference between the mechanical properties of the effector systems involved. In the second part of the study, we propose a model to account for these results. The model consists of two cross-coupled neuro-mechanical units, each composed of a neural oscillator driving a wrist-pendulum system. Taken individually, each unit reproduced the natural tendency of the participants to freely oscillate a pendulum close to its resonance frequency. When cross-coupled through the vision of the pendulum of the other unit, the two units entrain each other and meet at a common frequency influenced by the mechanical properties of the two pendulums involved. The ability of the proposed model to address the other effects observed as a function of the different conditions of the pendulum and intended mode of coordination is discussed.

Sensorimotor synchronization: A review of the tapping literature

Sensorimotor synchronization (SMS), the rhythmic coordination of perception and action, occurs in many contexts, but most conspicuously in music performance and dance. In the laboratory, it is most often studied in the form of finger tapping to a sequence of auditory stimuli. This review summarizes theories and empirical findings obtained with the tapping task. Its eight sections deal with the role of intention, rate limits, the negative mean asynchrony, variability, models of error correction, perturbation studies, neural correlates of SMS, and SMS in musical contexts. The central theoretical issue is considered to be how best to characterize the perceptual information and the internal processes that enable people to achieve and maintain SMS. Recent research suggests that SMS is controlled jointly by two error correction processes (phase correction and period correction) that differ in their degrees of cognitive control and may be associated with different brain circuits. They exemplify the general distinction between subconscious mechanisms of action regulation and conscious processes involved in perceptual judgment and action planning.

Bimanual adaptation: internal representations of bimanual rhythmic movements

From tying your shoes and clipping your tie to the claps at the end of a fine seminar, bimanual coordination plays a major role in our daily activities. An important phenomenon in bimanual coordination is the predisposition toward mirror symmetry in the performance of bimanual rhythmic movements. Although learning and adaptation in bimanual coordination are phenomena that have been observed, they have not been studied in the context of adaptive control and internal representations-approaches that were successfully employed in the arena of reaching movements and adaptation to force perturbations. In this paper we examine the dynamics of the learning mechanisms involved when subjects are trained to perform a bimanual non-harmonic polyrhythm in a bimanual index finger tapping task. Subjects are trained in this task implicitly, using altered visual feedback, while their performance is continuously monitored throughout the experiment. Our experimental results indicate the existence of significant (p<<0.01) learning curves (i.e., error plots with significantly negative slopes) during training and aftereffects with a washout period after the visual feedback ceases to be altered. These results confirm the formation of internal representations in bimanual motor control. We present a simple, physiologically plausible, neural model that combines feedback and adaptation in the control process and which is able to reproduce key phenomena of bimanual coordination and adaptation.