Heavy media multitaskers have been found to perform poorly in certain cognitive tasks involving task switching, selective attention, and working memory. An account for this is that with a breadth-biased style of cognitive control, multitaskers tend to pay attention to various information available in the environment, without sufficient focus on the information most relevant to the task at hand. This cognitive style, however, may not cause a general deficit in all kinds of tasks. We tested the hypothesis that heavy media multitaskers would perform better in a multisensory integration task than would others, due to their extensive experience in integrating information from different modalities. Sixty-three participants filled out a questionnaire about their media usage and completed a visual search task with and without synchronous tones (pip-and-pop paradigm). It was found that a higher degree of media multitasking was correlated with better multisensory integration. The fact that heavy media multitaskers are not deficient in all kinds of cognitive tasks suggests that media multitasking does not always hurt.

Holistic processing has been associated with perceptual expertise in different domains involving faces, cars, fingerprints, musical notes, English words, etc. Curiously Chinese characters are regarded as an exception, as indicated by reduced holistic processing found for experts with the Chinese writing system as compared with novices. We revisit the issue and examine one type of holistic processing, the obligatory attention to all parts of an object, using the composite paradigm from face perception literature. Chinese readers (experts) and non-Chinese readers (novices) matched the target halves of two characters while ignoring the irrelevant halves. We introduced differential response deadlines for experts and novices in order to match their performance level and to avoid ceiling performance for experts. Both experts and novices showed holistic processing, irrespective of the character structure (left-right or top-bottom) or presentation sequence (sequential or simultaneous matching). Experts' holistic processing also showed some sensitivity to the amount of experience with the characters, as it was larger for characters than noncharacters in some situations. Novices, however, did not show a systematic difference, suggesting that their effects were more related to their inefficient decomposition of a novel, complex pattern into parts. The current results, together with other recent findings of holistic processing for English words and musical notes, indicate that the development of holistic processing is not restricted to faces and objects. Instead it may be a general marker of expertise across a wider domain of visual discrimination than previously thought, including alphabetic and nonalphabetic writing systems.

Holistic processing has been regarded as a marker of perceptual expertise for many object categories. However, visual word processing, a common form of perceptual expertise in the population, is traditionally considered part-based instead of holistic, and whether it involves holistic processing remains inconclusive. In 4 experiments, we examined a well-known yet less studied indicator of holistic word processing—observers’ sensitivity to changes in configural information of objects. A paradigm was designed with 2 crucial elements: specific requirement to process configural information within a word and an inversion manipulation. Experiments 1 and 2 showed that experienced observers were more sensitive to configural changes when words were presented in the familiar upright than unfamiliar inverted orientation. Of importance, such an inversion effect was correlated with one’s fluency in word recognition in 1 of the conditions (nonnative Chinese readers viewing Chinese characters) where there was a larger variability in word recognition fluency. Experiments 3 and 4 compared sensitivity to configural and component changes in word processing, showing that expert readers were more sensitive to configural changes than component changes (defined as line thickness of parts) in words. The current findings suggest that, similar to face recognition and other domains of perceptual expertise, word recognition involves holistic processing. Instead of being a hallmark of face recognition, holistic processing is a general expertise marker shared by different domains of perceptual expertise.

Absolute pitch (AP) refers to the rare ability to name the pitch of a tone without external reference. It is widely believed to be only for the selected few with rare genetic makeup and early musical training during the critical period, and therefore acquiring AP in adulthood is impossible. Previous studies have not offered a strong test of the effect of training because of issues like small sample size and insufficient training. In three experiments, adults learned to name pitches in a computerized, gamified and personalized training protocol for 12 to 40 hours, with the number of pitches gradually increased from three to twelve. Across the three experiments, the training covered different octaves, timbre, and training environment (inside or outside laboratory). AP learning showed classic characteristics of perceptual learning, including generalization of learning dependent on the training stimuli, and sustained improvement for at least one to three months. 14% of the participants (6 out of 43) were able to name twelve pitches at 90% or above accuracy, comparable to that of 'AP possessors' as defined in the literature. Overall, AP continues to be learnable in adulthood, which challenges the view that AP development requires both rare genetic predisposition and learning within the critical period. The finding calls for reconsideration of the role of learning in the occurrence of AP, and pushes the field to pinpoint and explain the differences, if any, between the aspects of AP more trainable in adulthood and the aspects of AP that are potentially exclusive for the few exceptional AP possessors observed in the real world. Keywords Absolute pitch. Pitch perception. Musical training. Perceptual learning. Perceptual expertise. Critical period Absolute pitch (AP) refers to the ability to name the pitch of a tone (e.g., naming a tone as "C") or to produce it without external reference tones (Takeuchi & Hulse, 1993; W. D. Ward, 1999). While the majority of us can effortlessly identify a countless number of faces, objects, and visual and auditory words, most people find it very difficult to name the twelve pitches, and professional musicians are no exception (Athos et al., 2007; Levitin & Rogers, 2005; Zatorre, 2003). The most extreme estimate states that, in every 10,000 people, there is one 'AP possessor' who can perform AP judgment accurately