Understanding conceptual cueing

为了让人类成功地与我们复杂的视觉环境进行交互，我们必须优先考虑视觉信息，以便进行后续的感知和认知处理。选择性地注意视野的部分的能力对于这种优先化是至关重要的，最近的研究表明，注意力定向可以通过暴露于具有隐含空间意义的概念线索来实现。这样的线索（例如，“魔鬼”、“帽子”、“快乐”）激活内部空间表征，暴露于它们会对空间相容位置的外围目标产生更快的反应。例如，我实验室的工作表明，在空间兼容的位置，对各种概念线索（包括隐含方向的单词）有促进作用（'靴子'; Gozli，Pratt，Martin，& Chasteen，2015），以及涉及宗教的单词（“上帝”; Chasteen，Burdzy，& Pratt，2010），情绪（“快乐”; Gozli，Chasteen，& Pratt，2013），或自尊（“自豪”; Taylor，Lam，Chasteen，& Pratt，2015）。虽然我的实验室和其他人已经证明了不同类型概念的线索效应的普遍性，但关于决定概念线索如何运作的基本过程，还有很多东西需要学习。进一步理解这一点至关重要，因为概念线索无处不在--我们通过各种语境遇到它们，无论是通过音乐或与他人交谈的听觉线索，还是通过媒体的视觉线索。因此，概念线索可以以多种方式触发，然后影响我们在视觉环境中的注意和反应。

In order for humans to successfully interact with our complex visual environments, we must prioritize visual information for subsequent perceptual and cognitive processing. The ability to selectively attend to portions of the visual field is vital for this prioritization, and recent research has shown that attentional orienting may be accomplished through exposure to conceptual cues that hold implicit spatial meaning. Such cues (e.g., ‘devil’, ‘hat’, ‘joy’) activate internal spatial representations and exposure to them produces faster responses to peripheral targets at spatially-compatible locations. For example, work from my laboratory has shown facilitation effects at spatially compatible locations for a variety of conceptual cues, including words with implicit direction (‘boots’; Gozli, Pratt, Martin, & Chasteen, 2015), and words referring to religion (“god”; Chasteen, Burdzy, & Pratt, 2010), mood (‘happy’; Gozli, Chasteen, & Pratt, 2013), or self-esteem (‘proud’; Taylor, Lam, Chasteen, & Pratt, 2015). Although my lab and others have demonstrated the generalizability of cueing effects for different types of concepts, there is still much to be learned regarding the fundamental processes that determine how conceptual cues operate. Furthering this understanding is critical, because conceptual cues are ubiquitous – we encounter them through a variety of contexts, whether through aural cues from music or conversation with others, or visual cues through media. Thus, conceptual cues can be triggered in a number of ways and then subsequently influence what we attend and respond to in our visual environment.