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Institute
When participants in an experiment have to name pictures while ignoring distractor words superimposed on the picture or presented auditorily (i.e., picture-word interference paradigm), they take more time when the word to be named (or target) and distractor words are from the same semantic category (e.g., cat-dog). This experimental effect is known as the semantic interference effect, and is probably one of the most studied in the language production literature. The functional origin of the effect and the exact conditions in which it occurs are however still debated. Since Lupker (1979) reported the effect in the first response time experiment about 40 years ago, more than 300 similar experiments have been conducted. The semantic interference effect was replicated in many experiments, but several studies also reported the absence of an effect in a subset of experimental conditions. The aim of the present study is to provide a comprehensive theoretical review of the existing evidence to date and several Bayesian meta-analyses and meta-regressions to determine the size of the effect and explore the experimental conditions in which the effect surfaces. The results are discussed in the light of current debates about the functional origin of the semantic interference effect and its implications for our understanding of the language production system.
This study focuses on the ability of the adult sound system to reorganise as a result of experience. Participants were exposed to existing and novel syllables in either a listening task or a production task over the course of two days. On the third day, they named disyllabic pseudowords while their electroencephalogram was recorded. The first syllable of these pseudowords had either been trained in the auditory modality, trained in production or had not been trained. The EEG response differed between existing and novel syllables for untrained but not for trained syllables, indicating that training novel sound sequences modifies the processes involved in the production of these sequences to make them more similar to those underlying the production of existing sound sequences. Effects of training on the EEG response were observed both after production training and mere auditory exposure.