Effects of Practice, Visual Loss, Limb Amputation, and Disuse on Motor Imagery Vividness

Malouin, Francine; Richards, Carol L.; Durand, Anne; Descent, Micheline; Poiré, Diane; Frémont, Pierre; Pelet, Stéphane; Gresset, Jacques; Doyon, Julien

doi:10.1177/1545968308328733

Cited by 80 publications

(67 citation statements)

References 60 publications

(127 reference statements)

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“…Despite a slight decline in the vividness and time required to imagine movements with the residual limb [49], individuals with lower limb loss retain the ability to activate the appropriate regions of the sensorimotor cortex when imagining movements of the missing limb segment(s) and the residuum [50]. Therefore, the use of mental practice with motor imagery seems plausible and could likely be used to assist in learning a variety of motor skills with a prosthesis.…”

Section: Motor Learning Training Strategies Utilized Before Practicementioning

confidence: 99%

Traumatic amputation: Psychosocial adjustment of six Army women to loss of one or more limbs

Cater¹

2012

JRRD

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Abstract-Relatively little attention has been given to the use of well-established motor learning strategies to enable individuals with lower limb loss to effectively and safely learn to walk with their prostheses in the home and community. Traditionally, such outcomes have been pursued by focusing on the design and function of a patient's prosthesis, rather than on how he or she should learn to use it. The use of motor learning strategies may enhance physical rehabilitation outcomes among individuals with lower limb loss. This review explores these motor learning strategies and ways in which they can be applied to the physical rehabilitation of individuals with lower limb loss and highlights some of the challenges to their implementation, as well as unanswered research questions.

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Section: Motor Learning Training Strategies Utilized Before Practicementioning

confidence: 99%

Traumatic amputation: Psychosocial adjustment of six Army women to loss of one or more limbs

Cater¹

2012

JRRD

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“…Mental rehearsal is reported as an effective aid in learning music, athletics, dance and used in movement rehabilitation and brain-computer interfaces (Gerven et al, 2009;Owen et al, 2006), but is also dependent on sensory imagery skills (Clark & Williamon, 2011), which has been identified as a problem for its application in rehabilitation (Malouin & Richards, 2010). Somewhat conflicting results can be found in the literature for other modalities of imagination, such as for instance athletes (Ozel, Larue, & Molinaro, 2004) and dancers (Malouin et al, 2009) reporting more vivid deliberate movement imagery than nonexperts, while dancers counter-intuitively show slower performance in mental rotation (Jola & Mast, 2005), the latter finding interpreted as due to a difference in strategy. This interpretation is supported by findings illustrating that for some aspects of spatial abilities, such as mental rotation, a range of strategies may be used, that may also impact task ability (Logie, Pernet, Buonocore, & Della Sala, 2011).…”

Section: Discussionmentioning

confidence: 99%

Mental Representations in Musical Processing and their Role in Action-Perception Loops

Schaefer

2015

EMR

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I address the diverging usage of the term "imagery" by delineating different types of imagery, each of which is supported by multimodal mental representations that are informed and modulated by the body and its in-and outputs, and that in turn modulate and inform perception and action through predictive processing. These multimodal representations, viewed here as mental models, underlie our individual perceptual experience of music, which is constructed in the listener as it is perceived and interpreted. While tracking incoming auditory information, mental representations of music unfold on multiple levels as we listen, from regularities detected across notes to the structure of entire pieces of music, generating predictions for different musical aspects. These predictions lead to specific percepts and behavioral outputs, illustrating a tight coupling of cognition, perception and action. This coupling and the prominence of predictive mechanisms in music processing are described in the context of the broader role of predictive processing in cognitive function, which is well suited to account for the role of mental models in musical perception and action. As a proxy for mental representations, investigating the cerebral correlates of constructive imagination may offer an experimentally tractable approach to clarifying how mental models of music are implemented in the brain. KEYWORDS: music imagination, predictive processing, embodied music cognitionIF one thing has become abundantly clear from decades of research in music cognition, it is that musical experiences are highly personal. Although it is clear that a range of common (or predictable) responses to music can be identified, there is no assurance that two people will feel the same way about a piece of music, or even necessarily have the same experience at repeated listening. The internalized, automatic processes that drive these experiences are the focus of the current paper. When perceiving music, we can generally say that a waveform of sound -with no inherent meaning -is transformed into music once it is perceived and interpreted through processes driven by the unique listening biography of the listener. This may in turn trigger various memory associations, or lead to differences in directing attention to specific musical aspects that are most salient to that person. The way we make sense of music thus depends on how we relate what we hear to previous experience -models built up from exposure to a lifetime of music, created by the unique auditory environment in which an individual has existed. This previously encountered environment provides the statistical basis for what we expect from auditory signals around us, by tracking incoming information and placing it into our own unique context of what we have previously experienced, based on the incidence of occurrences of those experiences. In this way, the unique implicit representations we have of what is common (and thus expected) drive our unique response to music. It also follows that having a ...

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“…Este fato corrobora com os achados de outros autores, o que evidencia que indivíduos acometidos por AVE são elegíveis para um tratamento baseado na imaginação, uma vez que esta capacidade de representação mental da ação pode ser mantida mesmo quando há perda e comprometimento da função motora (MALOUIN et al, 2008(MALOUIN et al, , 2009) ou após longos períodos de desuso (JOHNSON, 2000;JOHNSON;SPREHN;SAYKIN, 2002).…”

Section: Discussionunclassified

Treinabilidade da capacidade de imaginação em indivíduos pós acidente vascular encefálico

et al. 2012

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Effects of Practice, Visual Loss, Limb Amputation, and Disuse on Motor Imagery Vividness

Abstract: The mental representation of actions is highly modulated by imagery practice and motor activities. The ability to generate vivid images of movements can be specifically weakened by limb loss or disuse, but lack of movement does not affect the temporal characteristics of motor imagery.

Cited by 80 publications

References 60 publications

Traumatic amputation: Psychosocial adjustment of six Army women to loss of one or more limbs

Traumatic amputation: Psychosocial adjustment of six Army women to loss of one or more limbs

Mental Representations in Musical Processing and their Role in Action-Perception Loops

Treinabilidade da capacidade de imaginação em indivíduos pós acidente vascular encefálico

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