Though dividing one’s attention between two input streams typically impairs performance, detecting a behaviorally relevant stimulus can sometimes enhance the encoding of unrelated information presented at the same time. Previous research has shown that selection of this kind boosts visual cortical activity and memory for concurrent items. An important unanswered question is whether such effects are reflected in processing quality and functional connectivity in visual regions and in the hippocampus. In this fMRI study, participants were asked to (...) memorize a stream of naturalistic images and press a button only when they heard a predefined target tone. Images could be presented with a target tone, with a distractor tone, or without a tone. Auditory target detection increased activity throughout the ventral visual cortex but lowered it in the hippocampus. Enhancements in functional connectivity between the ventral visual cortex and the hippocampus were also observed following auditory targets. Multi-voxel pattern classification of image category was more accurate on target tone trials than on distractor and no tone trials in the fusiform gyrus and parahippocampal gyrus. This effect was stronger in visual cortical clusters whose activity was more correlated with the hippocampus on target tone than on distractor tone trials. In agreement with accounts suggesting that subcortical noradrenergic influences play a role in the attentional boost effect, auditory target detection also caused an increase in locus coeruleus activity and phasic pupil responses. These findings outline a network of cortical and subcortical regions that are involved in the selection and processing of information presented at behaviorally relevant moments. (shrink)

Steady-state visual evoked potentials are commonly used for functional objective diagnostics. In general, the main response at the stimulation frequency is used. However, some studies reported the main response at the second harmonic of the stimulation frequency. The aim of our study was to analyze the influence of the stimulus design on the harmonic components of ssVEPs. We studied 22 subjects using a circular layout. At a given eccentricity, the stimulus was presented according to a 7.5 Hz (...) square wave with 50% duty cycle. To analyze the influence of the stimulus eccentricity, a background luminance of 30 cd/m2 was added to suppress foveal stray light effects; to analyze the influence of simultaneous foveal and peripheral stimulations, stimulations are performed without stray light suppression. For statistical analysis, medians M of the amplitude ratios for amplitudes at the second harmonic to the first harmonic and the probability of the occurrence of the main response at the second harmonic P are calculated. For stimulations with foveal stray light suppression, the medians were M0–1.6° = 0.45, M1.6–3.5° = 0.45, M3.5–6.4° = 0.76, M6.4–10.9° = 0.72, and M10.9–18° = 0.48, and the probabilities were P0–1.6° = 0.05, P1.6–3.5° = 0.05, P3.5–6.4° = 0.32, P6.4–10.9° = 0.29, and P10.9–18° = 0.30. For stimulations without foveal stray light suppression, the medians M were M0–1.6° = 0.29, M1.6–3.5° = 0.37, M3.5–6.4° = 0.98, M6.4–10.9° = 1.08, and M10.9–18° = 1.24, and the probabilities were P0–1.6° = 0.09, P1.6–3.5° = 0.05, P3.5–6.4° = 0.50, P6.4–10.9° = 0.55, and P10.9–18° = 0.55. In conclusion, the stimulus design has an influence on the harmonic components of ssVEPs. An increase in stimulation eccentricity during extrafoveal stimulation leads to a transition of the main response to the second harmonic. The effect is enhanced by a simultaneous foveal stimulation. (shrink)

The greatest intensity of “live” life is captured from as close as possible in order to be borne as far as possible away. Jacques Derrida. Echographies of Television . Rainer Ganahl has made a study of studying. As part of his extensive autobiographical art practice, he documents and presents many of the ambitious educational activities he undertakes. For example, he has been videotaping hundreds of hours of solitary study that show him struggling to learn Chinese, Arabic and a host of (...) other languages. The stacked boxes of tapes are then presented like minimalist monoliths, dense archives of effort. About fifteen years ago, Ganahl began photographing the lectures that he attends. At the time, he hadn’t seen anyone else doing it, so besides his spare selection of images of the speaker and the audience, much of the time the lectures would just pass into memory, undocumented, or recorded in writing alone. Since then, he has felt the transition to digital cause a significant shift in his process. At the same time, he has seen the habit become ubiquitous as others photograph, record, and videotape the lectures all around him. In keeping with the theme of this inaugural issue of continent. , can we propose each small grouping of photographs that result an isthmus stretching between two disparate bodies of mind? The first being the body of the lecture as spelled out in the title of each work – the experience of the event in all its constituent parts. The second is the body of the recipient, the listener, in this case an artist, who plays a minimal role just beyond the prescripted behavior of sitting and listening. He uses a gesture of documentation to draw a line between himself and the event, creating an artwork. Františka + Tim Gilman: As we mentioned before, the theme of the magazine for this issue is "isthmus." It seems like a very good way into your work, and it leads us to ask what connection you see between your photographs of the lecture and the lecture itself? Rainer Ganahl: The relationship is of course a concrete, pictorial one, or if you want a mimetic one but also an abstract one because the photographs carry the title of the lecture, the names of the lecturers, the site, the institution and the time of the lecture. Photos are fixed moments of time and can reproduce images displayed and reproduce visuals presented at a moment but they don’t come with time based recordings that video or sound takes are offering. What remains of a lecture is usually just the memory, some notes and all the announcements of it. In my case I end up with a visual product I declare as my artwork. It might not differ from any snapshot taken by any other student or member of the audience but I do this in a semi-systematic way with certain rules and procedures I have set up. While I am at a lecture I am mainly focusing on the lecture itself. Last night I went to one of Slavoj Žižek which demanded quite some concentration. I even was asking him a question at the end. I took photos as well but still didn’t lose track of the lecture. I didn’t walk around, I was not preoccupied by where I was sitting and what light I was having like some of the other photographing and filming people in the room who came and left, moved around and tried to capture him from this and that angle, from close and far. I just sat there and concentrated on the lecture and yet managed to take about 30 or so images of him, the public around me and of the film clips he presented. Once the lecture is over the story changes: it all becomes a question of the images, their selection, their visual qualities, their labeling and archiving. The function of the images also change: not only do they stand for an intellectual event in a row of lectures that become part of my intellectual history within many possible such histories but they also have to function as art, something not everybody else with images of lecturers demands of their images. This is my specific claim as an artist to impose them as artworks. And as with all artistic propositions the offer can be accepted or rejected. I basically spend my life trying to do exactly that: making what I declare as art, offering something to anybody interested in it as my art, an offer that is not and will never be accepted as such by all people. F+T: What are your criteria for selection, i.e. how do you choose which lectures to photograph, by lecturer, by topic, or do you photograph any and every lecture you can? RG: As everything in my life, I go by my interest which is the result of many factors. If I am aware of a lecturer, read his books or appreciate his works my interest of attending his much higher than if I am not aware of it. I usually don’t go to lecturers simply based on their subjects—something that can happen of course, if the subject, the title of the lecture is promising or at the heart of my interest. Sometimes I also wait for years to get a change to photograph certain people but I do that in a very low-level “keep your ears up” mentality and not in a systematic scanning of all channels and possibilities. I do not go into philosophy departments and photograph everybody teaching there. I go with the flow—and unfortunately a great deal of great talks I also miss because I hear too late of them. Often, I also stumble into them by traveling, by getting emails from friends and by simply being in the right spot at the right time. Somehow you could look at my lecture par cours as some kind of loose intellectual flâneurism . If you know of interesting lectures and events, please, let me know. F+T: Is your selection of images more of a production or post-production method? That is, do you take a lot of photos and select only a few images from each lecture, or do you take them very selectively? Do you have a particular methodology for the selection of images? RG: This all changed a bit with the arrival of digital photography. In the beginning I had to pay a lot of money for film developing. Hence, I was taking either one role - 36 images - or half a role - 13 images - depending on who talked and whether they projected images. With the unlimited capacity of digital imaging I easily end up between 30 and 150 images of one event still depending of whether images are presented or not. In the first years of that project when I wasn’t fully aware yet of what I was doing, I printed at least 2 images of any lecture and sometimes three or even four, a choice that was also constrained by costs. But again, since I have a web site and since images can easily be selected and presented on my web site without generating remarkable costs I have now more and more pain to reduce them to less than ten or eight images for an event. Now, before I have them printed which really is expensive, I can present them already as artwork on my web site without any immediate costs. Thus the economic factor is at the end of the chain which enables me to be more ‘generous’ and include more images. Over the last years I have been mostly selecting at least four photographs for a lecture unit but recently also as many as ten. But so far only one set above four images has been actually printed and sold. What might sound even more shocking is the likely fact that if a curator or a collector demands me to reduce the number of images due to costs, I might compromise at this current stage if the images have not been yet printed or published outside my own web site. This means that to a certain degree any selection that has only seen publication on my web site and not yet been produced runs the risk to change in numbers of images included. Needless to say, I am the last one that finally makes a decision and I do honor all given earlier decision if those were final. F+T: How do you feel the act of photographing the lecture affects your reception of the contents of the lecture? And your recollection afterwards, do you remember the lecture more having photographed it, or just having sat and listened? RG: As mentioned above, I get very little distraction from photographing since I can multitask well and do not obsess about the quality of the image: I photograph from where I am and listen with my ears and not my eyes. I am not sure whether the images serve as a mnemonic devise to the content of the lecture if there are no images involved but they at least remind me that the lecture existed, the title of the lecture and the name of the people and institutions involved. The titles of the hundreds of lectures I took during the past 15 years can also be read as an essay of theoretical life in that period. This will be come more and more visible as time passes by. These images age much better than I do. F+T: You mentioned at the outset of our discussions that you started this practice some time ago and have seen the practice of photographing lecturers become more commonplace. Why do you think that this shift has taken place? RG: The answer is very simple. Photographing is now free of any charge and hence omnipresent. You buy a phone or any other personal digital assistant and it has a camera integrated in it whether you want it or not. There is no need to develop images and there is no hassle to keep images, to distribute images, to organize images and save them. It is all virtual, not creating any costs and doesn’t require any efforts. You don’t spend twenty dollars for photo-developing anymore, you don’t need to walk anymore to your pharmacy or your photo shop to drop off and return to pick up and pay. You don’t need to go to the post office to send somebody a picture. You have a program like Photoshop already built into your camera. Photographing is now a thing for everybody—with functioning cameras made for two year olds. It is technically now nearly impossible to make bad images. The image quality is virtually guaranteed by cheap, high performing, mini-computers packed into miniscule cameras. With all these technological changes, we are undergoing now a cultural paradigm shift that includes permanent recording (not only still image taking) of everything. I wonder even whether babies are just born to be photographed—at least a process where the first photograph is right there. What is interesting now, is how the law is trying to catch up. I am experiencing and expecting more restrictions on photographing and recording—something already in place in many museums and in certain galleries—as the recording devices become more and more invisible and undetectable. It is an interesting cat and mouse play and will end up with some of us that are photographing the world around us in court. The world has become very transparent and everybody is contributing to it with social networking technologies—like twitter and Facebook—that are designed to monitor and communicate every step we make in our lives. F+T: Why did you start the practice? As a way to remember, or to capture the experience of the lecture and the environment there? RG: A couple of years earlier I started to photograph my own reading seminars as part of my art work with results that surprised me positively. I really liked these images of students and people discussing heavy non-fiction with me. The reading seminars justified this kind of pictorialism. Then in 1995 I had the chance to attend an entire seminar by Edward Said entitled “The Representation of Intellectuals at Columbia University,” which really gave me the idea to start this series. Why not also photograph these lectures I visit all the time since this really is a way of representing intellectuals? F+T: The constellation of images and the title seem like a kind of portrait, do you agree? If so, is it a portrait of the speaker, of yourself, or of the event? RG: Well, to follow up on the previous question the lectures are more than just portraits of lecturers since I include not only the speakers but also the audience, an audience that is not named or specifically highlighted as is the speaker. So if we stick with the metaphor of the portrait we would have to extend it also to the environment, the class room, the lecture hall, the arrangements of seats or benches, tables, lecture stands and other stuff typically seen on my images. Often the walls are decorated or even tagged with graffiti or posters and other stuff. There is a big difference between a small seminar room at the English Department of Columbia University, full with books and cabinets and a lecture room at a Paris or Frankfurt university that accommodates 50 to 150 people. We should, maybe, also distinguish between lectures that are one time events—mostly open to the public, free of charge or paid—and events that are weekly, closed to the public and held mostly in universities that can cost fortunes or be paid by the State as it is still predominantly the case in continental Europe. All this, of course, is not necessarily announced in the title of the lecture and is subject to information that isn’t visible on the images. To a certain degree we see also portraits of a general privilege when it comes to the public of certain institutions that are highly selective and extremely costly without forgetting that most of the lectures are dealing with theory, art, philosophy and other highbrow subjects. In general, I would say we see very little if we don’t know already what’s going on, who the lecturer, the institutions, the context are in which we subsequently can zoom into variants like sexual, racial, or age-related make-up without ignoring clothing fashions, hair styling, body mannerisms, gadgets and stuff. F+T: Do you see a relation between this body of work and your other work, for example your language studies? RG: Everything I do is “unfortunately” related. I say unfortunately because this makes my work not so easy to grasp. The relationship to the language studies is relatively clear since both are originally grounded in the domain of education and knowledge production. Nearly all my work comes across that nexus where knowledge and power are addressed. I was at one point wondering what the relationship was to some of my earlier indexical work where I was happy alone with footnotes from books painted on the walls: I came to understand that both are just different manifestations of knowledge and information. F+T: Do you foresee continuing the series indefinitely, or is there an end to it? RG: I think that I will continue this series indefinitely or to be more precise, as long as I go listen to lectures and want to learn something which brings me to your previous question: What do the reading seminars, language studies, historical research and lecture hopping have in common: I learn something. Further Reading Rainer Ganahl’s website William Kaizen. “ Vulgar Politics .” art&education . April 2009. Web. Smith, Roberta. “ Rainer Ganahl: ‘Language of Emigration & Pictures of Emigration .’” New York Times April 23 2010. Web. (shrink)

Visual processing is thought to function in a coarse-to-fine manner. Low spatial frequencies, conveying coarse information, would be processed early to generate predictions. These LSF-based predictions would facilitate the further integration of high spatial frequencies, conveying fine details. The predictive role of LSF might be crucial in automatic face processing, where high performance could be explained by an accurate selection of clues in early processing. In the present study, we used a visual Mismatch Negativity paradigm by presenting (...) an unfiltered face as standard stimulus, and the same face filtered in LSF or HSF as deviant, to investigate the predictive role of LSF vs. HSF during automatic face processing. If LSF are critical for predictions, we hypothesize that LSF deviants would elicit less prediction error than HSF deviants. Results show that both LSF and HSF deviants elicited a mismatch response compared with their equivalent in an equiprobable sequence. However, in line with our hypothesis, LSF deviants evoke significantly reduced mismatch responses compared to HSF deviants, particularly at later stages. The difference in mismatch between HSF and LSF conditions involves posterior areas and right fusiform gyrus. Overall, our findings suggest a predictive role of LSF during automatic face processing and a critical involvement of HSF in the fusiform during the conscious detection of changes in faces. (shrink)

We present a model for generating a kind of neural synchrony in which the individual spike trains of one neuron or group of neurons closely match the spike trains of another. This kind of neural synchrony has been observed in animals performing auditory, visual and attentional information processing tasks. Our model is realized in a system of functionally identical, refractory spiking neurons. Larger systems with more sophisticated information processing capabilities can be constructed from aggregated instances of the basic network.

Humans have the ability to learn surprisingly complicated statistical information in a variety of modalities and situations, often based on relatively little input. These statistical learning (SL) skills appear to underlie many kinds of learning, but despite their ubiquity, we still do not fully understand precisely what SL is and what individual differences on SL tasks reflect. Here, we present experimental work suggesting that at least some individual differences arise from stimulus-specific variation in perceptual fluency: the ability to rapidly (...) or efficiently code and remember the stimuli that SL occurs over. Experiment 1 demonstrates that participants show improved SL when the stimuli are simple and familiar; Experiment 2 shows that this improvement is not evident for simple but unfamiliar stimuli; and Experiment 3 shows that for the same stimuli (Chinese characters), SL is higher for people who are familiar with them (Chinese speakers) than those who are not (English speakers matched on age and education level). Overall, our findings indicate that performance on a standard SL task varies substantially within the same (visual) modality as a function of whether the stimuli involved are familiar or not, independent of stimulus complexity. Moreover, test–retest correlations of performance in an SL task using stimuli of the same level of familiarity (but distinct items) are stronger than correlations across the same task with stimuli of different levels of familiarity. Finally, we demonstrate that SL performance is predicted by an independent measure of stimulus-specific perceptual fluency that contains no SL component at all. Our results suggest that a key component of SL performance may be related to stimulus-specific processing and familiarity. (shrink)

Many situations require the simultaneous processing of auditory and visual information, however, stimuli presented to one sensory modality can sometimes interfere with processing in a second sensory modality (i.e., modality dominance). The current study further investigated modality dominance by examining how task demands and bimodal presentation affect speeded auditory and visual discriminations. Participants in the current study had to quickly determine if two words, two pictures, or two word-picture pairings were the same or different, and we (...) manipulated task demands across three different conditions. In an immediate recognition task, there was only one second between the two stimuli/stimulus pairs and auditory dominance was found. Compared to the respective unimodal baselines, pairing pictures and words together slowed down visual responses and sped up auditory responses. Increasing the interstimulus interval to four seconds and blocking verbal rehearsal weakened auditory dominance effects, however, conflicting and redundant visual cues sped up auditory discriminations. Thus, simultaneously presenting pictures and words had different effects on auditory and visual processing, with bimodal presentation slowing down visual processing and speeding up auditory processing. These findings are consistent with a proposed mechanism underlying auditory dominance, which posits that auditory stimuli automatically grab attention and attenuate/delay visual processing. (shrink)

Researchers in the fields of sign language and gesture studies frequently present their participants with video stimuli showing actors performing linguistic signs or co-speech gestures. Up to now, such video stimuli have been mostly controlled only for some of the technical aspects of the video material, leaving open the possibility that systematic differences in video stimulus materials may be concealed in the actual motion properties of the actor’s movements. Computer vision methods such as OpenPose enable the fitting of body-pose (...) models to the consecutive frames of a video clip and thereby make it possible to recover the movements performed by the actor in a particular video clip without the use of a point-based or markerless motion-tracking system during recording. The OpenPoseR package provides a straightforward and reproducible way of working with these body-pose model data extracted from video clips using OpenPose, allowing researchers in the fields of sign language and gesture studies to quantify the amount of motion pertaining only to the movements performed by the actor in a video clip. These quantitative measures can be used for controlling differences in the movements of an actor in stimulus video clips or, for example, between different conditions of an experiment. In addition, the package also provides a set of functions for generating plots for data visualization, as well as an easy-to-use way of automatically extracting metadata from large sets of video files. (shrink)

Visual attention evolved as an adaptive mechanism allowing us to cope with a rapidly changing environment. It enables the facilitated processing of relevant information, often automatically and governed by implicit motives. However, despite recent advances in understanding the relationship between consciousness and visual attention, the functional scope of unconscious attentional control is still under debate. Here, we present a novel masking paradigm in which volunteers were to distinguish between varying orientations of a briefly presented, masked grating stimulus. (...) Combining signal detection theory and subjective measures of awareness, we show that performance on unaware trials was consistent with visual selection being weighted towards repeated orientations of Gabor patches and reallocated in response to a novel unconsciously processed orientation. This was particularly present in trials in which the prior feature was strongly weighted and only if the novel feature was invisible. Thus, our results provide evidence that invisible orientation stimuli can trigger the reallocation of history-guided visual selection weights. (shrink)

In three experiments, subjects attempted to track multiple items as they moved independently and unpredictably about a display. Performance was not impaired when the items were briefly (but completely) occluded at various times during their motion, suggesting that occlusion is taken into account when computing enduring perceptual objecthood. Unimpaired performance required the presence of accretion and deletion cues along fixed contours at the occluding boundaries. Performance was impaired when items were present on the visual field at the same times (...) and to the same degrees as in the occlusion conditions, but disappeared and reappeared in ways which did not implicate the presence of occluding surfaces (e.g. by imploding and exploding into and out of existence, instead of accreting and deleting along a fixed contour). Unimpaired performance did not require visible occluders (i.e. Michotte’s tunnel effect) or globally consistent occluder positions. We discuss implications of these results for theories of objecthood in visual attention. (shrink)

Our ability to select relevant information from the environment is limited by the resolution of attention – i.e., the minimum size of the region that can be selected. Neural mechanisms that underlie this limit and its development are not yet understood. Functional MRI was performed during an object tracking task in 7- and 11-year-old children, and in young adults. Object tracking activated canonical fronto-parietal attention systems and motion-sensitive area MT in children as young as 7 years. Object (...) class='Hi'>tracking performance improved with age, together with stronger recruitment of parietal attention areas and a shift from low-level to higher-level visual areas. Increasing the required resolution of spatial attention – which was implemented by varying the distance between target and distractors in the object tracking task – led to activation increases in fronto-insular cortex, medial frontal cortex including anterior cingulate cortex (ACC) and supplementary motor area, superior colliculi, and thalamus. This core circuitry for attentional precision was recruited by all age groups, but ACC showed an age-related activation reduction. Our results suggest that age-related improvements in selective visual attention and in the resolution of attention are characterized by an increased use of more functionally specialized brain regions during the course of development. (shrink)

Machine learning, deep learning and neural networks are extensively applied for the development of many fields. Though their technologies are improved greatly, they are often said to be opaque in terms of explainability. Their explainable neural functions will be essential to realization in the networks. In this paper, it is shown that the bio-inspired networks are useful for the explanation of tracking and classification of features. First, the asymmetric network with nonlinear functions is created based on the bio-inspired retinal (...) network. They have orthogonal properties useful for the tracking of features compared with the conventional symmetric networks, which is also proposed on the biological functions. Next, the analysis for the independence of the subspaces between the Fourier bases and the asymmetric network bases is performed. It was that the asymmetric networks have better performances in the classification compared with the symmetric ones. Further, the layered asymmetric networks generate the higher dimensional orthogonal bases that improve the classification accuracies by the replacements of bases. Finally, we classified Reuters collections data applying the explainable processing steps, which consist of the linear discriminations and the sparse coding with nearest neighbor relation for classification. (shrink)

This paper investigates the stabilization and trajectory tracking problem of wheeled mobile robot with a ceiling-mounted camera in complex environment. First, an adaptive visual servoing controller is proposed based on the uncalibrated kinematic model due to the complex operation environment. Then, an adaptive controller is derived to provide a solution of uncertain dynamic control for a wheeled mobile robot subject to parametric uncertainties. Furthermore, the proposed controllers can be applied to a more general situation where the parallelism requirement (...) between the image plane and operation plane is no more needed. The overparameterization of regressor matrices is avoided by exploring the structure of the camera-robot system, and thus, the computational complexity of the controller can be simplified. The Lyapunov method is employed to testify the stability of a closed-loop system. Finally, simulation results are presented to demonstrate the performance of the suggested control. (shrink)

The current contents of visual working memory can be disrupted by previously formed memories. This phenomenon is known as proactive interference, and it can be used to index the availability of old memories. However, there is uncertainty about the robustness and lifetime of proactive interference, which raises important questions about the role of temporal factors in forgetting. The present study assessed different factors that were expected to influence the persistence of proactive interference over an inter-trial interval in the (...) class='Hi'>visual recent probes task. In three experiments, participants encoded arrays of targets and then determined whether a single probe matched one of those targets. On some trials, the probe matched an item from the previous trial, whereas on other trials the probe matched a more distant item. Prior studies have found that recent negative probes can increase errors and slow response times in comparison to non-recent negative probes, and this offered a behavioral measure of proactive interference. In Experiment 1, factors of array size and inter-trial interval were manipulated in the recent probes task. There was a reduction in proactive interference when a longer delay separated trials on one measure, but only when participants encoded two targets. When working memory capacity was strained by increasing the array size to four targets, proactive interference became stronger after the long delay. In Experiment 2, the inter-trial interval length was again manipulated, along with stimulus novelty. Proactive interference was modestly stronger when a smaller number of stimuli were used throughout the experiment, but proactive interference was minimally affected by the inter-trial interval. These findings are problematic for temporal models of forgetting, but Experiment 3 showed that proactive interference also resisted disruption produced by a secondary task presented within the inter-trial interval. Proactive interference was constantly present and generally resilient to the different manipulations. The combined data suggest a relatively durable, passive representation that can disrupt current working memory under a variety of different circumstances. (shrink)

Sensory feedback, which can be presented in different modalities - single and combined, aids task performance in human-robot interaction (HRI). However, combining feedback modalities does not always lead to optimal performance. Indeed, it is not known how feedback modalities affect operator performance under stress. Furthermore, there is limited information on how feedback affects neural processes differently for males and females and under stress. This is a critical gap in the literature, particularly in the domain of surgical robotics, where surgeons are (...) under challenging socio-technical environments that burden them physiologically. In the present study, we posited operator performance as the summation of task performance and neurophysiological cost of maintaining that performance. In a within-subject design, we used functional near-infrared spectroscopy (fNIRS) to assess cerebral activations of 12 participants who underwent a 3D manipulation task within a virtual environment with concurrent feedback (visual and visual + haptic) in the presence and absence of a cognitive stressor. Cognitive stress was induced with the serial-7 subtraction test. We found that while task performance was higher with visual than visual + haptic feedback, it degraded under stress. The two feedback modalities were found to be associated with varying neural activities and neural efficiencies, and these were stress- and gender-dependent. Our findings engender further investigation into effectiveness of feedback modalities on males and females under stressful conditions in HRI. (shrink)

Access to communication is critical for individuals with late-stage amyotrophic lateral sclerosis and minimal volitional movement, but they sometimes present with concomitant visual or ocular motility impairments that affect their performance with eye tracking or visual brain-computer interface systems. In this study, we explored the use of modified eye tracking and steady state visual evoked potential BCI, in combination with the Shuffle Speller typing interface, for this population. Two participants with late-stage ALS, visual impairments, (...) and minimal volitional movement completed a single-case experimental research design comparing copy-spelling performance with three different typing systems: commercially available eye tracking communication software, Shuffle Speller with modified eye tracking, and Shuffle Speller with SSVEP BCI. Participant 1 was unable to type any correct characters with the commercial system, but achieved accuracies of up to 50% with Shuffle Speller eye tracking and 89% with Shuffle Speller BCI. Participant 2 also had higher maximum accuracies with Shuffle Speller, typing with up to 63% accuracy with eye tracking and 100% accuracy with BCI. However, participants’ typing accuracy for both Shuffle Speller conditions was highly variable, particularly in the BCI condition. Both the Shuffle Speller interface and SSVEP BCI input show promise for improving typing performance for people with late-stage ALS. Further development of innovative BCI systems for this population is needed. (shrink)

The target and background will change continuously in the long-term tracking process, which brings great challenges to the accurate prediction of targets. The correlation filter algorithm based on manual features is difficult to meet the actual needs due to its limited feature representation ability. Thus, to improve the tracking performance and robustness, an improved hierarchical convolutional features model is proposed into a correlation filter framework for visual object tracking. First, the objective function is designed by (...) lasso regression modeling, and a sparse, time-series low-rank filter is learned to increase the interpretability of the model. Second, the features of the last layer and the second pool layer of the convolutional neural network are extracted to realize the target position prediction from coarse to fine. In addition, using the filters learned from the first frame and the current frame to calculate the response maps, respectively, the target position is obtained by finding the maximum response value in the response map. The filter model is updated only when these two maximum responses meet the threshold condition. The proposed tracker is evaluated by simulation analysis on TC-128/OTB2015 benchmarks including more than 100 video sequences. Extensive experiments demonstrate that the proposed tracker achieves competitive performance against state-of-the-art trackers. The distance precision rate and overlap success rate of the proposed algorithm on OTB2015 are 0.829 and 0.695, respectively. The proposed algorithm effectively solves the long-term object tracking problem in complex scenes. (shrink)

Increasing behavioural evidence suggests that expert video game players (VGPs) show enhanced visual attention and visuospatial abilities, but what underlies these enhancements remains unclear. We administered the Poffenberger paradigm with concurrent electroencephalogram (EEG) recording to assess occipital N1 latencies and interhemispheric transfer time (IHTT) in expert VGPs. Participants comprised 15 right-handed male expert VGPs and 16 non-VGP controls matched for age, handedness, IQ and years of education. Expert VGPs began playing before age 10, had a minimum 8 years experience, (...) and maintained playtime of at least 20 hours per week over the last 6 months. Non-VGPs had little-to-no game play experience (maximum 1.5 years). Participants responded to checkerboard stimuli presented to the left and right visual fields while 128-channel EEG was recorded. Expert VGPs responded significantly more quickly than non-VGPs. Expert VGPs also had significantly earlier occipital N1s in direct visual pathways (the hemisphere contralateral to the visual field in which the stimulus was presented). IHTT was calculated by comparing the latencies of occipital N1 components between hemispheres. No significant between-group differences in electrophysiological estimates of IHTT were found. Shorter N1 latencies may enable expert VGPs to discriminate attended visual stimuli significantly earlier than non-VGPs and contribute to faster responding in visual tasks. As successful video-game play requires precise, time pressured, bimanual motor movements in response to complex visual stimuli, which in this sample began during early childhood, these differences may reflect the experience and training involved during the development of video-game expertise, but training studies are needed to test this prediction. (shrink)

This study investigated the characteristics of neural oscillation and functional connectivity in college students engaging in binge drinking using resting-state electroencephalography. Also, the associations of visual memory, evaluated by the Rey-Osterrieth Complex Figure Test, and neural oscillation with FC during the resting state were investigated. The BD and non-BD groups were selected based on scores of the Korean version of the Alcohol use disorders Identification Test and the Alcohol Use Questionnaire. EEG was performed for 6 min while the participants (...) rested with eyes closed. The theta, lower-alpha, and upper alpha powers did not differ between the BD and non-BD groups. Concerning FC, the BD group exhibited stronger theta coherence than that of the non-BD group, and in the lower and upper alpha bands, the BD group showed stronger coherence in some areas but weaker coherence in others compared with the non-BD group. However, these significant results were not observed after Bonferroni correction. The BD group showed significantly lower delayed recall scores on the RCFT than did the non-BD group. A positive correlation between the left prefrontal-parietal-occipital midline connection and performance on the delayed recall of the RCFT was observed in the BD group. The present results could suggest that binge drinkers have alterations in brain FC, which may be related to their visual memory deficits. (shrink)

Despite the various perceptual-motor deficits documented in strabismus, there is a paucity of studies evaluating visual illusions in patients with strabismus. The aim of this study was to examine how the illusionary perception occurs in children/adolescents with strabismus with referral for surgery to correct ocular deviations. A controlled cross-sectional study was carried out in which 45 participants with strabismus and 62 healthy volunteers aged 10–15 years were evaluated. The behavioral response to three geometric illusions [Vertical-Horizontal illusion, Müller-Lyer illusion and (...) Ponzo illusion] and respective neutral stimuli regarding the estimation of image size and response time were measured using the Method of Adjustment. To analyze the influence of secondary factors: type of ocular deviation ; amount of eye deviation; presence of amblyopia and stereopsis, a one-way ANOVA was performed. Among the tested illusions, children with strabismus showed greater susceptibility and response time to Ponzo’s illusory images. Children with strabismus and preserved stereopsis, on the other hand, showed similar susceptibility and response time to control group patients to the Ponzo illusion. Patients with amblyopia showed overcorrection in the estimate of non-illusory Ponzo images. Children with horizontal ocular deviation associated with vertical deviation showed higher susceptibility to vertical adjustment images for the Müller-Lyer illusion. Individuals with strabismus tended to overcorrect the length of the straight-line segment adjusted for non-illusory images when testing non-illusory images in the Müller-Lyer test, as well as for the neutral images in the Vertical-Horizontal test. The findings indicated impairment in the perception of geometric illusions and neutral figures, especially for the Ponzo illusion test by children with strabismus. As the behavioral response to illusory images may indirectly reflect the visual and morphofunctional alterations present in these individuals, we suggest that the investigation of visual illusory perception can be used as a new research strategy in the field of investigating the visual function in strabismus. (shrink)

Visual and cognitive skills are key to successful functioning in highly demanding settings such as elite sports. However, their mutual influence and interdependencies are not sufficiently understood yet. This cross-sectional study examined the relationship between visual skills and executive functions in elite soccer players. Fifty-nine male elite soccer players performed tests assessing visual clarity, contrast sensitivity, near-far quickness, and hand-eye coordination. Executive function measures included working memory capacity, cognitive flexibility, inhibition and selective attention. Overall, visual (...) abilities were largely correlated with executive functions. Near-far quickness performance showed a large correlation with an executive function total score as well as with cognitive flexibility, working memory, and especially selective attention. Visual clarity and contrast sensitivity were moderately correlated with the cognition total score. Most consistent correlations with the visual functions were present for working memory. These findings present an overall vision-cognition relationship but also very specific linkages among subcategories of these functions, especially meaningful relations between near-far quickness, selective attention and cognitive flexibility. Further studies are needed to investigate the neuropsychological mechanisms accounting for the correlations and possible improvements of the executive functions by training specific visual skills. (shrink)

The purpose of this paper is to present an overview of current studies on the general limitations of using the International Classification of Functioning, Disability and Health (ICF), as well as to review the results of its application in adults with visual impairment. The literature search was performed in ERIC, EBSCO-Host, ScienceDirect, PROKUEST, SCOPUS, and Google Scholar. Articles were selected if they reported on any of the strengths and weaknesses of the ICF, also its application to adults with (...) class='Hi'>visual impairment. The literature review was performed using the PRISMA criteria. The search of relevant literature revealed 8 articles that met the eligibility criteria. The overall conclusion is that while the ICF is a valuable tool for describing how a person functions, it is not an evaluation instrument in itself. (shrink)

Self-motion through space generates a visual pattern called optic flow. It can be used to determine one’s direction of self-motion (heading). Previous studies have already shown thatthis perceptual ability, which is of critical importance during everyday life, changes with age. In most of these studies subjects were asked to judge whether they appeared to be heading to the left or right of a target. Thresholds were found to increase continuously with age. In our current study, we were interested in (...) absolute rather than relative heading judgements and in the question about a potential neural correlate of an age-related deterioration of heading perception. Two groups, older test subjects and younger controls, were shown optic flow stimuli in a virtual-reality setup. Visual stimuli simulated self-motion through a 3-D cloud of dots and subjects had to indicate their perceived heading direction after each trial. In different subsets of experiments we varied individuallyrelevant stimulus parameters: presentation time, number of dots in the display, stereoscopic vs. non-stereoscopic stimulation, and motion coherence. We found decrements in heading performance with agefor each stimulus parameter. In a final step we aimed to determine a putative neural basis of this behavioural decline. To this end we modified a neural network model which previously has proven to be capable of reproduce and predict certain aspects of heading perception. We show that the observed data can be modeled by implementing an age related neuronal cell loss in this neural network. We conclude that a continuous decline of certain aspects of motion perception, among them heading, might directly be based on anage-related progressive loss of groups of neurons being activated by visual motion. (shrink)

We investigated whether and how emotional facial expressions affect sustained attention in face tracking. In a multiple-identity and object tracking paradigm, participants tracked multiple target faces that continuously moved around together with several distractor faces, and subsequently reported where each target face had moved to. The emotional expression of the target and distractor faces was manipulated. Tracking performance was better when the target faces were angry rather than neutral, whereas angry distractor faces did not affect tracking. (...) The effect persisted when the angry faces were presented upside-down and when surface features of the faces were irrelevant to the ongoing task. There was only suggestive and weak evidence for a facilitatory effect of happy targets and a distraction effect of happy distractors in comparison to neutral faces. The results show that angry expressions on the target faces can facilitate sustained attention on the targets via increased vigilance, yet this effect likely depends on both emotional information and visual features of the angry faces. (shrink)

When consciousness is examined using subjective ratings, the extent to which processing is conscious or unconscious is often estimated by calculating task performance at the subjective threshold or by calculating the correlation between accuracy and awareness. However, both these methods have certain limitations. In the present article, we propose describing task accuracy and awareness as functions of stimulus intensity as suggested by Koch and Preuschoff . The estimated lag between the curves describes how much stimulus intensity must increase (...) for awareness to change proportionally as much as accuracy and the slopes of the curves are used to assess how fast accuracy and awareness increases and whether awareness is dichotomous. The method is successfully employed to assess consciousness characteristics on data from four different awareness scales. (shrink)

Stimuli that resemble humans, but are not perfectly human-like, are disliked compared to distinctly human and nonhuman stimuli. Accounts of this “Uncanny Valley” effect often focus on how changes in human resemblance can evoke different emotional responses. We present an alternate account based on the novel hypothesis that the Uncanny Valley is not directly related to ‘human-likeness’ per se, but instead reflects a more general form of stimulus devaluation that occurs when inhibition is triggered to resolve conflict between competing (...) stimulus-related representations. We consider existing support for this inhibitory-devaluation hypothesis and further assess its feasibility through tests of two corresponding predictions that arise from the link between conflict-resolving inhibition and aversive response: 1) that the pronounced disliking of Uncanny-type stimuli will occur for any image that strongly activates multiple competing stimulus representations, even in the absence of any human-likeness, and 2) that the negative peak of an ‘Uncanny Valley’ should occur at the point of greatest stimulus-related conflict and not (in the presence of human-likeness) always closer to the ‘human’ end of a perceptual continuum. We measured affective responses to a set of line drawings representing nonhuman animal-animal morphs, in which each continuum midpoint was a bistable image (Exp. 1), as well as to sets of human-robot and human-animal computer-generated morphs (Exp. 2). Affective trends depicting classic Uncanny Valley functions occurred for all continua, including the nonhuman stimuli. Images at continua midpoints elicited significantly more negative affect than images at endpoints, even when the continua included a human endpoint. This illustrates the feasibility of the inhibitory-devaluation hypothesis and the need for further research into the possibility that the strong dislike of Uncanny-type stimuli reflects the negative affective consequences of cognitive inhibition. (shrink)

The ability to resist distracting stimuli whilst voluntarily focusing on a task is fundamental to our everyday cognitive functioning. Here, we investigated how this ability develops, and thereafter declines, across the lifespan using a single task/experiment. Young children (5–7 years), older children (10–11 years), young adults (20–27 years), and older adults (62–86 years) were presented with complex visual scenes. Endogenous (voluntary) attention was engaged by having the participants search for a visual target presented on either the left or (...) right side of the display. The onset of the visual scenes was preceded – at stimulus onset asynchronies (SOAs) of 50, 200, or 500 ms – by a task-irrelevant sound (an exogenous crossmodal spatial distractor) delivered either on the same or opposite side as the visual target, or simultaneously on both sides (cued, uncued, or neutral trials, respectively). Age-related differences were revealed, especially in the extreme age-groups, which showed a greater impact of crossmodal spatial distractors. Young children were highly susceptible to exogenous spatial distraction at the shortest SOA (50 ms), whereas older adults were distracted at all SOAs, showing significant exogenous capture effects during the visual search task. By contrast, older children and young adults' search performance was not significantly affected by crossmodal spatial distraction. Overall, these findings present a detailed picture of the developmental trajectory of endogenous resistance to crossmodal spatial distraction from childhood to old age and demonstrate a different efficiency in coping with distraction across the four age-groups studied. (shrink)

In this study, 44 late elementary students’ visual behavior patterns when reading mind maps were investigated, more particularly, the intuitive processing nature of their visual characteristics, reading sequence and presentation mode. Eye-tracked data were investigated by means of static early attention and dynamic educational process mining analysis and combined with learning performance and retrospective interview data. All students seem to struggle with the map’s radial structure during initial reading. Also, the picture’s position in the map diverts students (...) from consecutively reading interconnected branches. EPM analyses revealed different reading patterns in proceeding reading behavior. Students receiving a text first, seem to grasp the radial structure slightly more and show higher information integration attempts. They also attained higher free recall and coherence scores. The study concludes with instructional design principles for urgently needed explicit visual literacy instruction in elementary grades. (shrink)

The issue of how basic sensory and temporal processing are related is still unresolved. We studied temporal processing, as assessed by simple visual reaction times (RT) and double-pulse resolution (DPR), in patients with partial vision loss after visual pathway lesions and investigated whether vision restoration training (VRT), a training program designed to improve light detection performance, would also affect temporal processing. Perimetric and campimetric visual field tests as well as maps of DPR thresholds and RT were acquired (...) before and after a 3 months training period with VRT. Patient performance was compared to that of age-matched healthy subjects. Intact visual field size increased during training. Averaged across the entire visual field, DPR remained constant while RT improved slightly. However, in transition zones between the blind and intact areas (areas of residual vision) where patients had shown between 20 and 80% of stimulus detection probability in pre-training visual field tests, both DPR and RT improved markedly. The magnitude of improvement depended on the defect depth (or degree of intactness) of the respective region at baseline. Inter-individual training outcome variability was very high, with some patients showing little change and others showing performance approaching that of healthy controls. Training-induced improvement of light detection in patients with visual field loss thus generalized to dynamic visual functions. The findings suggest that similar neural mechanisms may underlie the impairment and subsequent training-induced functional recovery of both light detection and temporal processing. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 39.1 (2005) 31-47 [Access article in PDF] Holistic Integrated Design Education: Art Education in a Complex and Uncertain World Christopher Nokes Egosystem All art is the solution to an initiating design problem that must be articulated, even if the problem is this: to create something without meaning. As such, all art is a literary process, whereby the idea is articulated before that idea is (...) re-presented as an art form. And this is precisely what I attempt to do in the classroom when I assign highly challenging, universal, socio-cultural based and interpretive design problems. Both intent and solutions are implicit in the design assignments given to students. In each case the design process is emphasised, and students define the problem, research (often collaboratively), brainstorm (diving deeply into the problem for potential solutions), develop alternative solutions, use free-hand sketches and storyboarding to track the design and decision-making process, and (finally) select the best design for development and evaluation. Definition of key terms, research and storyboarding are the initial steps in the process to solving each of the design problems. Some examples of problem solving performance tasks are provided below (Table 1).Regarding the last example, in my first year of teaching I accepted a position on agreement that I teach Grade 10 (sophomore) mathematics. Even though my teaching background favored art and history, this was not a hardship because my original degree was in architecture (University of Toronto, 1978). I realized quickly that my personal romance with D.N. Perkins's Knowledge as Design demanded that I attempt to teach mathematics as a design process (much to the dismay of the department head).1 Nevertheless, imaginative mathematical works of mind were explored, based on original "design problems." As well, collaborative math tests were developed (and structured as design problems), where students divided into groups or design teams, each team having a "competent mathematician" on [End Page 31] Click for larger viewTable 1 Works of Mind; Visual Arts as a Problem-Solving Design Process [End Page 32]board. Each team worked together to solve one challenging mathematical problem, or a series of challenging mathematical design problems, under a time limit. This ensured that each student had a role to play. A key group dynamic here is that students speak to each other as peers, in a way teachers cannot: "No! You don't do it that way, silly. It's like this!" says A. "Ok! Ok! Don't yell at me," says B tenderly. "It's like this?" "Yes!" says A. "See! You really are good at math!" It was a beautiful thing to watch. The so-called "stupid-at-math" students saw how the "brainy" math students interpreted and approached mathematics, while the "brainy" students pulled those students who always believed they were "stupid at math" up to their level. In the end (to say the least), it greatly increased the weaker students' comfort level entering the classroom, and (at best) it gave weaker math students confidence by dispelling some of the mystical mystery which mathematics seems to possess — mathematics is not a mystery, it is a problem waiting to be solved as any other design problem once you know the process. Click for larger viewTable 2 Components of the Egosystem This is holistic integrated design education (or HIDE). Transforming students from the traditional, isolated receiver of information to the holistic child requires a fundamental transformation of the associative-cognitive paradigm of learning behavior and psychology, based on the child's ego development in a kind of object-filled, symbolical, self-contained world.2 In actuality, the world is complex, multi-faceted, hyper-sensitive, with many people of different socio-cultural and intellectual frames of mind interacting; and it is (thus) hardly self-contained. The world has indeed evolved that far. Somehow, like all paradigms, the ego must undergo a similar evolution, a similar transformation.3 A new version of ego must be invented, one that takes into account all the stuff of objective reality — the... (shrink)

Using the Multiple Object Tracking (MOT) task, Pylyshyn & Leonard (VSS03) showed that a small brief probe dot was detected more poorly when it occurred on a nontarget than when it occurred either on a target or in the space between items, suggesting that moving nontarget items were inhibited. Here we generalize this finding by comparing probe detection performance against a baseline condition in which no tracking was required. We examined both a baseline condition in which objects did (...) not move and one in which they moved exactly as in the probe detection task, but without tracking. Detection in the nonmoving control was essentially error-free, but probe detection performance in the moving (non-tracking) control task did depend on the probe location. Nonetheless, the findings reported earlier (worse detection on nontargets than anywhere else) remained after we took account of the baseline performance (using several different baseline comparison methods). Using this new baseline-control method we also showed that inhibition does not spread more than about 1.3 degrees of visual angle from the nontargets as the latter move during a tracking trial. In the present report we also describe some preliminary studies of conditions under which enhancement of targets, as well as inhibition of nontargets, may be obtained. Increasing the number and type of nontargets appeared to improve the detection of probes on targets, relative to baseline. However, we failed to find evidence that potentially distracting nontarget objects were inhibited more than clearly task-irrelevant objects, as would be expected if inhibition were a top-down process applied in order to improve performance on the main tracking task. For example, using the comparison with its matching baseline, we showed that task-irrelevant stationary items (which are never confused with targets in the tracking task) appeared to be inhibited even more than nontargets. (shrink)

PurposeTo evaluate the relationship between intraocular straylight perception and: (i) contrast sensitivity (CS), (ii) halo size, and (iii) hazard recognition distance, in the presence and absence of glare.Subjects and methodsParticipants were 15 (5 female) ophthalmologically healthy adults, aged 54.6–80.6 (median: 67.2) years. Intraocular straylight (log s) was measured using a straylight meter (C-Quant; Oculus GmbH, Wetzlar, Germany). CS with glare was measured clinically using the Optovist I device (Vistec Inc., Olching, Germany) and also within a driving simulator using Landolt Cs. (...) These were presented under both static or dynamic viewing conditions, and either with or without glare. Hazard detection distance was measured for simulated obstacles of varying contrast. For this, the participant was required to maintain a speed of 60 km/h within a custom-built nighttime driving simulator. Glare was simulated by LED arrays, moved by cable robots to mimic an oncoming car’s headlights. Halo size (“halometry”) was measured by moving Landolt Cs outward originating from the center of a static glare source. The outcome measure from “halometry” was the radius of the halo (angular extent, in degrees visual angle).ResultsThe correlation between intraocular straylight perception, log s, and hazard recognition distance under glare was poor for the low contrast obstacles (leading/subdominant eye: r = 0.27/r = 0.34). Conversely, log CS measured with glare strongly predicted hazard recognition distances under glare. This was true both when log CS was measured using a clinical device (Optovist I: r = 0.93) and within the driving simulator, under static (r = 0.69) and dynamic (r = 0.61) conditions, and also with “halometry” (r = 0.70). Glare reduced log CS and hazard recognition distance for almost all visual function parameters.ConclusionIntraocular straylight was a poor predictor of visual function and driving performance within this experiment. Conversely, CS was a strong predictor of both hazard recognition and halo extent. The presence of glare and motion lead to a degradation of CS in a driving simulator. Future studies are necessary to evaluate the effectiveness of all above-mentioned vision-related parameters for predicting fitness to drive under real-life conditions. (shrink)

In this article we present a new experimental paradigm: comparative visual search. Each half of a display contains simple geometrical objects of three different colors and forms. The two display halves are identical except for one object mismatched in either color or form. The subject's task is to find this mismatch. We illustrate the potential of this paradigm for investigating the underlying complex processes of perception and cognition by means of an eye‐tracking study. Three possible search strategies are (...) outlined, discussed, and reexamined on the basis of experimental results. Each strategy is characterized by the way it partitions the field of objects into “chunks.” These strategies are: (i) Stimulus‐wise scanning with minimization of total scan path length (a “traveling salesman” strategy), (ii) scanning of the objects in fixed‐size areas (a “searchlight” strategy), and (iii) scanning of object sets based on variably sized clusters defined by object density and heterogeneity (a “clustering” strategy). To elucidate the processes underlying comparative visual search, we introduce besides object density a new entropy‐based measure for object heterogeneity. The effects of local density and entropy on several basic and derived eye‐movement variables clearly rule out the traveling salesman strategy, but are most compatible with the clustering strategy. (shrink)

This article reviews experimental evidence for a specific sensorimotor function which can be dissociated from higher level representations of space. It attempts to delineate this function on the basis of results obtained by psychophysical experiments performed with brain damaged and healthy subjects. Eye and hand movement control exhibit automatic features, such that they are incompatible with conscious control. In addition, they rely on a reference frame different from the one used by conscious perception. Neuropsychological cases provide a strong (...) support for this specific motor representation of space, which can be spared in patients with lesions of primary sensory systems who have lost conscious perception of visual, tactile or proprioceptive stimuli. Observation of these patients also showed that their motor behavior can be ''attracted'' by a goal only under specific conditions, that is, when the response is immediate and when no cognitive representation of this goal is elaborated at the same time. Beyond the issue of the dissociation between an implicit motor representation and more cognitive processing of spatial information, the issue of the interaction between these two systems is thus a matter of interest. It is suggested that the conscious, cognitive representation of a stimulus can contaminate or override the short-lived motor representation, but no reciprocal influence seem to occur. The interaction observed in patients can also be investigated in normals. The literature provides examples of interaction between sensorimotor and cognitive framing of space, which confirm that immediate action is not mediated by the same system as delayed action, and that elaborating a categorial representation of the action goal prevents the expression of the short-lived sensorimotor representation. It is concluded that action can be controlled by a sensory system which is specialized for on-line processing of relevant goal characteristics. The temporal constraints of this system are such that it can affect the action before a full sensory analysis of this goal has been completed. The performance obtained on the basis of this spatial sensory processing suggests that short-lived motor representations may rather be considered as real ''presentation'' of the action world, which share its metric properties. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Knowing Better: Sex, Cultural Criticism, and the Pedagogical Imperative in the 1990sRichard Burt (bio) and Jeffrey Wallen (bio)Teacher Petting“A distinguished professor and her graduate student French-kissed in front of a semicircle of gaping students. Were they furthering ‘an exploration of the erotics of the relation between teacher and student’ as the professor says—or was it part of a pattern of sexual harassment as the student later charged?” So ran (...) the copy on an envelope advertising in 1994 an “extraordinary one-time offer $9.95 trial subscription” to Lingua Franca in 1994. 1 The enclosed letter relates an anecdote about two complaints against Jane Gallop filed by two female graduate students alleging she had sexually harassed them. Gallop defended having French-kissed a graduate student in a bar in front of other students in the same class by saying it was a pedagogical performance. The letter quotes from a Lingua Franca cover story that came to Gallop’s defense [Talbot].As sex between students and professors has become a topic of new interest in the wake of sexual harassment legislation, as colleges have adopted campus sexual conduct codes or debate doing so, and as debates and incidents involving sex and teaching have attracted widespread media attention, the anecdote has become central. Some critics might want to dismiss the Lingua Franca story as nothing more than titillating tabloid gossip or take it seriously only by regarding it as an effort to combat a right-wing agenda to smear innocent professors who, as feminist or queer, are politically and intellectually well to the left of the mainstream. But the anecdotal interests us precisely because it involves more than just a tabloid scandal in any simple sense. Sex is not merely a way one can slur kinds of criticism one doesn’t like by tarnishing its proponents (for teaching sexual, transgressive material to shock, pervert, or in the extreme case—as in this instance—literally seduce students) though it can sometimes function in this way. For sex comes up in anecdotes told by cultural critics to one another, and when it comes up, it comes up in the same way it does in “tabloid” coverage. The anecdote about sex is never really just about sex, about who did or didn’t (French) kiss, suck, and/or fuck whom: it is rather a story about something in the pedagogical relation that has gone wrong, about a connection that has gone off track. Anecdotes about sex and teaching are really stories about criticism, about pedagogy itself as a form of criticism, and about failed pedagogy as the occasion for self-criticism.Yet if the anecdote is not really about sex, sex is hardly irrelevant to the production of what the anecdote is really about, namely, criticism. Indeed, we want to focus on the question of sex between students and professors because it is precisely sexuality that puts pressure on different, key aspects of the project of cultural criticism and on the present contestation over it within and outside of academia. Campus codes are being introduced [End Page 72] as new pedagogical practices, and new courses are being introduced into the classroom: disruption though impersonation, performative strategies, bringing the personal and the erotic into the classroom, and classes making use of pornography, even hardcore visual pornography, often taught by feminist women. 2 According to leading cultural critics, destabilizing gender roles shows us how gender is constructed, and tells us about power in ways that are politically and performatively effective. 3But there is often a moment when the game breaks down in the classroom. Someone gets offended, and given the way that for some sexual harassment extends from unwanted sexual advances or trading grades for sexual favors to classroom materials (both written and visual), offense can easily move into complaint, legal action, media attention, and of course administrative and professorial panic. The usual rationale for transgressive pedagogy is that this disruption will be successful, not just anarchic: it will be successful in that it gets in the way of the replication and reproduction of power (this is the new mission for teaching: to disrupt the transmission and reproduction of patriarchal power structures... (shrink)

Sustained neural activity during the delay phase of spatial working memory tasks is compelling evidence for the neural correlate of active storage and maintenance of spatial information, however, it does not provide insight into specific mechanisms of spatial coding. This activity may reflect a range of processes, such as maintenance of a stimulus position or a prepared motor response plan. The aim of our study was to examine neural evidence for the use of different coding strategies, depending on the (...) characteristics and demands of a spatial working memory task. Thirty-one and 44 participants performed a spatial working memory task while we measured their brain activity using fMRI in two separate experiments. Participants were asked to remember the position of a briefly presented target stimulus and, after a delay period, to use a joystick to indicate either the position of the remembered target or an indicated non-matching location. The task was designed so that the predictability of the response could be manipulated independently of task difficulty and memory retrieval process. We were particularly interested in contrasting conditions in which participants could use prospective coding of the motor response or had to rely on retrospective sensory information. Prospective motor coding was associated with activity in somatomotor, premotor, and motor cortices and increased integration of brain activity with and within the somatomotor network. In contrast, retrospective sensory coding was associated with increased activity in parietal regions and increased functional connectivity with and within secondary visual and dorsal attentional networks. The observed differences in activation levels, dynamics of differences over trial duration, and integration of information within and between brain networks provide compelling evidence for the use of complementary spatial working memory strategies optimized to meet task demands. (shrink)

Eye movements during false-belief tasks can reveal an individual's capacity to implicitly monitor others' mental states (theory of mind - ToM). It has been suggested, based on the results of a single-trial-experiment, that this ability is impaired in those with a high-functioning autism spectrum disorder (ASD), despite neurotypical-like performance on explicit ToM measures. However, given there are known attention differences and visual hypersensitivities in ASD it is important to establish whether such impairments are evident over time. In addition, investigating (...) implicit ToM using a repeated trial approach allows an assessment of whether learning processes can reduce the ASD impairment in this ability, as is the case with explicit ToM. Here we investigated the temporal profile of implicit ToM in individuals with ASD and a control group. Despite similar performance on explicit ToM measures, ASD-diagnosed individuals showed no evidence of implicit false-belief tracking even over a one-hour period and many trials, whereas control participants did. These findings demonstrate that the systems involved in implicit and explicit ToM are distinct and hint that impaired implicit false-belief tracking may play an important role in ASD. Further, they indicate that learning processes do not alleviate this impairment across the presentation of multiple trials. (shrink)

The present paper introduces a simple framework for modeling the relationship between environmental states, perceptual states, and action. The framework represents situations where an agent’s perceptual state forms the basis for choosing an action, and what action the agent performs determines the agent’s payoff, as a function of the environmental conditions in which the action is performed. The framework is used as the basis for a simulation study of the sorts of correspondence between perceptual and environmental states that are (...) important for successful navigation of the world. Some of the results are surprising and conflict with long held views about the kind of perception-to-environment correspondence that is important for knowledge of the world. The results also raise doubts concerning the view that our perceptual states provide a basis for knowledge of the real structure of the external world. (shrink)

Hassin recently proposed the “Yes It Can” (YIC) principle to describe the division of labor between conscious and unconscious processes in human cognition. According to this principle, unconscious processes can carry out every fundamental high-level cognitive function that conscious processes can perform. In our commentary, we argue that the author presents an overly idealized review of the literature in support of the YIC principle. Furthermore, we point out that the dissimilar trends observed in social and cognitive psychology, with respect (...) to published evidence of strong unconscious effects, can better be explained by the way how awareness is defined and measured in both research fields. Finally, we show that the experimental paradigm chosen by Hassin to rule out remaining objections against the YIC principle is unsuited to verify the new default notion that all high-level cognitive functions can unfold unconsciously. (shrink)

Since 2008 I have been closely following the conceptual/performance/video work of Daniel Peltz. Gently rendered through media installation, ethnographic, and performance strategies, Peltz’s work reverently and warmly engages the inner workings of social systems, leaving elegant rips and tears in any given socio/cultural quilt. He engages readymades (of social and media constructions) and uses what are identified as interruptionist/interventionist strategies to disrupt parts of an existing social system, thus allowing for something other to emerge. Like the stereoscope that requires two (...) identical images to create an illusion of a three-dimensional image, Peltz sometimes visualizes two separate elements to create an object or moment that requires space and depth to focus on its varied layers. They say your brain has to process and make meaningful sense out of all that visual information before it can accept the illusion. I say your brain has to do a similar thing when looking and seeing the divine, magical, and faithful (social) art making of Daniel Peltz. Daniel Peltz is Associate Professor of Film/Animation/Video at RISD. He divides his time between Rhode Island and Sweden and is currently at work on an exhibition at Botkyrka Konsthall, Stockholm opening February 2013 and a new project to be included in the IASKA: Spaced Biennial (Australia) in 2014. This interview took place on Skype and is part one of a two-part interview. Feliz Lucia Molina: Are you in Providence, RI? Daniel Peltz: I’m at my house in Providence. I’ve been back for six days teaching winter session at RISD and doing this workshop series—these investors’ drum circles with a group of wealth managers. a client of the firm, 2013, photo Shirin Adhami FLM: The wealth managers were all drumming together? DP: They were all drumming in response to the performance of their retirement portfolios. FLM: Is this part of the “Unrealized Gain/Loss” piece? DP: Yes, it’s part of a show I’m working on in Sweden. I can show you because it was just today. I’ll show you some of this. Lets see—share screen [click, click, click]. This is the room. I’ve been using the camera system that’s already installed in the conference rooms to record them. So the video is being recorded directly by the wealth management office’s tech staff. These are the people I worked with in the last workshop. This conference table is less wondrous. They’ve been learning to drum in response to their retirement portfolios. I started by bringing in my little bit of wealth for them to propose a management strategy, I came to the follow-up meeting with a counter proposal, which was this workshop. So they agreed to do this series of workshops instead of managing my wealth. FLM: Does everybody in the room manage your wealth? That’s kind of a lot of people. DP: That woman in the back there and Craig —they handle new client business. So when you come there with your wealth, they sit down with you and suggest to you how they would manage it. They’re very nice, responsible people. FLM: And where is this? DP: This is in Providence and the one I was showing you is in Waltham, where I was today. Then I’m going to Newport for the last one on Friday. So I will have done four of them. This is the group in Waltham that I just played with today. I played directly with the two groups in Providence and I’m working with an ethnomusicologist at Brown, Asha Tamarisa, who is facilitating the last two. She’s helped develop the workshop in terms of figuring out how to train a group to do this and thinking about the compositional challenges of working in response to retirement portfolio data. FLM: Screensharing helps me to figure out tiny bits here and there about the project. DP: I might even be able to play you a little of the audio I’ve also been working with a group of professional percussionists on what will become a quarterly public investors’ drum circle event. Their stuff was really nice, but I want you to hear what we sounded like in the workshops. They’ve all been recorded by the a/v system in the offices. We use a simple structure where the drummer investors interpret the sensation of gain or loss as embellishments to a base heartbeat rhythm. The group holds the heartbeat and, as each person experiences gain or loss, they embellish that rhythm. "Screensharing helps me to figure out tiny bits here and there about the project" FLM: Is the process all very spontaneous? DP: Its actually quite structured. We produce a custom stock ticker that shows the performance of their collective portfolios. In advance of the workshop each participant submits assets in their retirement portfolio. Then we make a stock ticker that shows the real-time performance of their assets so that they can respond to almost live data. FLM: Are they reading the stock ticker projected up on the screen in the room? Do people drum in correspondence to the visual live data of the performance of their assets? DP: Exactly. They’re looking at the stock ticker as opposed to each other, so it’s a slightly shifted drum circle. They’re looking at the ticker but they’re listening to each other—that’s what we’re practicing. For example, NVO—the price is 172.08 but it’s down -1.16 and as that moves across the screen, the person who’s retirement is invested in that asset starts to embellish when that arrow first appears, based on their experience of loss. They stop when it exits the screen and return to the heartbeat. You could have one ticker for each retirement portfolio, but the way the workshop is constructed is that we just isolate one asset from each person’s portfolio so that everyone in the group is represented in a single ticker. So they’re drumming and looking at the ticker, but they’re hearing each other experience gain and loss. We’ve removed direct visual engagement from the social structure of a drum circle but the oral engagement is still there. FLM: So they had their own sound interpretation of gain and loss? DP: Yeah and that part is quite spontaneous as you were saying. In some of the preparatory exercises we’ve been working to give the participants more strategies for interpreting the sensations of gain and loss. We’re trying to develop their capacity to embellish a heartbeat or base rhythm but I’m not invested in having a melodious result. I’m quite curious about what this kind of structure will result in without any desire for a particular result. FLM: For context, can you talk about the project you did a couple years ago in Bali, “Unrealized Gain/Loss” in relation to this current wealth management project? DP: The workshops I’ve been doing use a similar strategy to the other components in this project. It started in Indonesia on my sabbatical and I was really trying to understand where I was physically and where I was being on sabbatical—this kind of strange jubilee structure where every seventh year you’re supposed to renew your self. And it was around the time of the global financial crisis. I was on sabbatical for the global financial crisis. I remember watching my father, in particular, respond to the financial crisis by monitoring his retirement portfolio and trying to make sense of it. I realized on a visit to their home that he checked his retirement portfolio every single day and I was really struck by that because in some way our parents are mysteries to us as children, especially their moods. We know how important their moods are but we don’t know what governs them. And somehow it was like I’d figured it out, it’s the performance of the DOW! So I think there was something in that. Then I was in Indonesia and I had been drawn there by an interest in their highly ritualized Hindu culture, where so much of life is driven by a ceremonial calendar. I was interested in Bali as this predominantly Hindu pocket within a predominantly Islamic country and life there being organized by this ritual calendar functioning as a kind of resistance to the dominant global religion of free-market capitalism. So I started to explore that correlation between the ways in which this culture that I was living in was sort of “living for the afterlife” and this idea within certain segments of American society of “living for the afterwork life”. The idea that your wellbeing in the “afterwork life” is tied to forces that are unseen and largely beyond your control has strong similarities to many religious understandings of the universe. So I started to explore that and the crafts and materials that were around me were primarily Batik and percussion. Percussion is a huge part of daily life in Bali. These gamelan troupes were everywhere. And I also happened to be there for Nyepi, the day of silence, which is preceded by a very elaborate procession and construction of demonic statues. These were the things that were around me and I started studying Batik with one of the Batik artists there and also started a conversation with two master Batik artists, one who is American and her Indonesian husband. I developed these patterns that were based on symbols from the performance of my retirement portfolio and worked with the batik artists to produce two sarongs. d. peltz - 2012 In producing the designs, I treated the performance of my retirement portfolio since my arrival at RISD [7 years] as a significant interval and then I looked at the ways in which decisions are made within retirement portfolios as having an extension outwards from the individual assets that underlie the retirement portfolio, which are kind of like the base elements of the retirement world. Then there’s the allocation of your assets, which is a global way of understanding an individual according to typologies, which are often referred to in terms of risk—this notion of a ‘risk profile’. What type of ‘person’ you are is determined by your attitude towards risk, or potentiality, and I found that to be a really fascinating way of understanding the universe. I remember looking at the tabs in my retirement portfolio and finding this one for viewing ‘Unrealized Gain/Loss’ and that’s often how I work—is just going through the Cambridge Parking Code, for example, and finding this section of the code that was called ‘Crossing Non-Signalized Locations’ and just feeling “I can’t do any better than that,” you know? That’s what I was talking about in terms of ready-mades that exist in the social sphere. So I found that tab, actually, a long time ago, and I pulled it out of a journal when I was there [in Bali] working on these pieces and I wound up making these two sarongs and later on a series of porcelain vessels for holding one’s unrealized gains and losses. At the time, I knew that I wanted a performance to come out of them, but I wasn’t sure what it was. I was inspired very much by this sort of thing: Pulls out a TIAA-CREF brochure with a man in a suit seated at a table. This guy is probably an actor, and [the brochure] says “TIAA-Cref announces “Individual counseling sessions at the Rhode Island School of Design. Individual counseling sessions at no additional cost to you. You can discuss your personal financial situation with an experienced TIAA consultant on a confidential basis. We are available to help you discuss how to achieve your financial goals by investing in financial solutions such as mutual funds, brokerage, life insurance, and annuities...etc....What retirement benefits best fits your situation?” Often I encounter this and I think O.K., this is one way to prepare for the after-work life and it seems inadequate to me. But, I also find it really inspiring. I really like the visual language of it. I kind of want to be that man. I’d like to see if I could maybe buy his clothes. FLM: What it is about the man on the brochure that interests you? DP: He’s offering personalized objective advice and a detailed evaluation of everything you need to know and do. Who wouldn’t want that? But he’s also something of a contemporary priest or priestess, mediating between the unseen all-powerful universe of global capitalism and the common worker. So I started off developing Unrealized Gain/Loss directly from the charts that represent the performance of my retirement portfolio. Then I came home and I wanted to use those. I had this word in my journal “unrealized gain/loss vessel.” I had this notion of vessels that would contain unrealized gains and losses. That felt really important to me that they would have somewhere to go. I had been thinking a lot about altars and making offerings—that somehow this really fickle, massive, difficult-to-comprehend-universe of the financial world—that somehow it might be nice if you could making an offering to it. [In Bali] they made such beautiful elaborate offerings. So I studied offering making as well with one of the women there and she taught me some of the standard forms created by folding leaves and the significance of the floral arrangements. I started working in clay and then moved to porcelain and I made these unrealized gain/loss vessels. I made a few of them, they have holes on either side that you can’t get your fingers in. But something can go in there and something can go out of there. It’s a nice size for putting on an altar. Then I got this commission from Artists in Context who was interested in my doing something for this project “Artists Perspectives for the Nation” project. I proposed initiating these investors’ drum circles as a new public performance form. I’m interested in bringing together those two symbols—the symbol of the djembe and the drum circle. unrealized gain/loss vessel - d.peltz - 2012 FLM: I can imagine the public digital stock ticker performing like a soft fleeting stream of information, a kind of (meaningless) illusory comfort blanket. DP: In some way you have to understand its relevance outside of the obvious, right? Because the obvious is illogical. Nobody is actually using that data to day trade, for example. People aren’t sitting there with their computers watching the market data in Times Square or setting up an outdoor office and being like “OK it’s up 3 points or it’s up 1.56, trade! Ok now buy, Ok now sell!” That would be a kind of a nice performance, actually. But actual day traders would want more up to date data than that. To understand what that data is doing is really important. And that’s something I’ve realized—that I’m interested in a particular kind of data visualization, which is not about what data can tell people, but what data can tell people who are visualizing it. For example, in the Cambridge Project “Crossing Non-Signalized Locations” I was interested in the 10,000 excuses archive of data recording five years worth of excuses for why people thought they shouldn’t have received their parking ticket. I was not interested in making that excuse wall so that the public could see and understand this data. Inevitably the data will be seen by others but I was really interested in what the action of visualizing the data told those who were visualizing it. The parking attendants themselves were writing those excuses on the wall—I was interested in what that kind action of writing the excuses on the wall told them about the data. Similarly, I’m interested in designing a way to allow people to pass this data from the unseen universe of the market, through their own bodies, which happens through the merging of the drum and the stock ticker. I’m interested in those two also as symbols; the drum as this symbol of the earth, the body and a pagan counterculture, and the stock ticker referring to the ethereal world of global markets—bringing those two together and making them dependent. I’m often drawn to conceptual propositions that I become invested in testing in a sincere way—at first they often they sound humorous to others, but I have to remember that there is humor in them. I don’t sit around and laugh about these things. I stop finding them funny at all. I’m interested in the proposition that we could know something about the after-work life by drumming in response to our retirement portfolio. So then I become really interested in how to craft that into a viable performance form for myself and others. FLM: The aspect of using sound in “Unrealized Gain/Loss” as a way of embodying the information to the asset holder is really intriguing—using sound as a means of embodying the asset data. Was sound a medium that made sense to use immediately or were you considering other means of attempting to embody it? DP: Well I do use other mediums within the project like textile, ceramic, and batik patterns. I was first drawn to the history of Batik patterns as a socio-economic stratification system and the vessels as a way of embodying or manifesting this data of unrealized gain and loss. My first approach was to work with meditation actually—a meditation workshop with my colleagues. I was going to offer this “Unrealized Gain/Loss” workshop where you would explore the sensations of gain and loss by adapting the way yogi-nidra brings you into contact with your physical surroundings and stretches your perception. FLM: At Naropa University there are/were business & compassion workshops—a sort of mash-up of business and compassion and how compassion could be incorporated into a business model. This process and engagement of “embodying data” also has to do with “Participatory Democracy and the Future of Karaoke” you created at the DNC in Denver in 2008. DP: That kind of appropriation and instrumentalization of spiritual practice could be disturbing and thus compelling as a strategy. For various reasons, I’ve come to be drawn to both the form of a quarterly public performance and the established performance form of a drum circle. Its something I’ve seen myself do before, that is to mess up a really good functional social system like a drum circle or karaoke. I remember I was developing language for the karaoke project and started calling it “Participatory Democracy and the Future of Karaoke” and one of my assistants on the project, who’s an incredible artist, said, “but don’t you think the future of karaoke is guitar hero?” and I realized that maybe he thought I was trying to improve the form. I’m just trying to get people to have this shifted embodied experience, I need to craft the performance context so that they can do that. In the case of the karaoke project, for example, what did I need in order to be able to do this [a person to stand up in front of a bar and deliver a karaoke speech]? I realized that the body is very vulnerable so I built a podium so that the speaker can feel secure enough to do this, otherwise you couldn’t get to this state achieved by passing these speeches through the body. Then I was, like, well you need to be able to practice the lyrics because you don’t know all the “songs” by heart, which became an insert to the massive track books carried by most karaoke VJs. And then sometimes the crowd in the bar isn’t there with me, so I needed to extract the voice of the crowd cheering from the original venue and I needed the local audience to cheer if they wanted to. I’m interested in both where the form succeeds and fails. In particular, one of the most interesting things is this auditory gap between the space where you are, the reduced scale of applause in your own little bar, and this grand scale of applause at the convention center where the speech was originally delivered. FLM: How did the concept of “Participatory Democracy Karaoke” come about and why did you use karaoke as a means of engaging what was happening at the DNC in 2008? DP: I was looking at a lot of different readymade media infrastructures within the city at the time. I was interested in the emergency broadcast systems and I developed a proposal to repurpose that system and karaoke became an important symbol because it was this populist form that was already engaged in exploring the sensation of celebrity but also visualizing the gap between ourselves and those with more power and influence. So it had this readymade capacity to play with power and celebrity and I felt like the Obama presidential campaign, the first one in particular, had some very curious overlaps with this culture of celebrity. Obama of course rose to power partly based on his oratory abilities and I was interested in how karaoke as a vehicle was so adept at offering people all that was left of authentic expression in a political speech. Managing a politician and constructing their identity is such a developed practice that it becomes, kind of automatically, a metaphor for the way that our own identities are constructed. Of course the Obama campaign was very hip and savvy and deploying this notion of grassroots. It was really pioneering in its use of social media and this deployment of notions of populism. I was interested at that time in the capacity of karaoke to track speech patterns, precise tempos of anyone’s delivery, and that to me was a way of thinking about what might be left of the authentic self. I was interested in karaoke’s capacity to extract that authentic component and offer it to others. So not just to stand up and be them, but to [literally] pass their speech patterns through your own body. A long time ago, it started to strike me as odd that one would make media at all. It struck me as a kind of un-contemporary way of going about making art in an age of media overflow. That logic extended into my thinking on delivery devices and installation as well. Why would one buy a screen or even set one up when there are so many out there? And the way in which these media displays function in karaoke bars and bars in general is very interesting to me. I’m drawn to this passive consumption of media where your primary social interaction is with the bartender or a few other individuals but these screens are around you and your attention is shifting back and forth between these spaces. So much political rhetoric is spoken to a half-listening audience. I was interested in what was happening in the slippage and that karaoke was a kind of slippage amplifier. So if you put people in a bar and they are delivering a Kucinich speech and Kucinich comes up on a screen then your getting a sound bite of Kucinich and an image of Kucinich and your friend is talking to you— FLM: A kind of magic takes place in that incongruency between sound and image and the karaoke participant who’s relaying the speech-text at the same time. DP: Exactly and there’s some kind of truth in that experience of reality. FLM: Yeah, there’s something uncanny about seeing the body close-up like that as though it can’t lie to you in that moment or context. It’s a weird moment of luminous clarity. The work you’ve done and all of what you’re saying about karaoke is so very interesting to me. Growing up, my dad and uncles sang karaoke a lot (and still do) and being first-generation Filipino American is a different cultural subtext entirely. I’m also seeing it from the position of witnessing family members who are carriers of these stories and songs. And seeing them cherish these Tony Bennett, Frank Sinatra, Elvis Presley songs so much, I also see how their bodies are literal vessels of popular music that signifies something greater—it signifies their cultural and socioeconomic place in the world. The way that they cherish these American 1950s and 1960s pop songs is similar to having a certain kind of reverence for their spiritual faith or Catholicism. It’s a similar kind of care, focus, and attention exerted in karaoke and Catholicism—that these two structures and systems give something to focus on. Setsuko, Seiji and Hitoshi in Obama, Japan as Obama in Indiana — d. peltz — 2008 DP: Sure there something about the relationship we have to our candidate or the way we go about choosing a candidate, which is very similar to a deity or idol. I learned a lot about karaoke culture through this project. I’d never done karaoke. I’d never been interested in it as a form and then I travelled to Japan as part of the project when I made “Setsuko, Seiji and Hitoshi in Obama, Japan as Barack Obama in Indiana” and it was quite fascinating because my image of karaoke had always been this very public forum in a karaoke bar and then I discovered there’s this whole other world of karaoke where people even go on their own, they go and rent a room or cubicle and sing, or they go on a date—just the two of them go and sit in a room and do karaoke together. FLM: I’m interested in issues that take place within or as a result of specific karaoke culture(s). In the Philippines within the last several years there’s been occurring the “My Way Killings” phenomenon. Apparently baklas or gay men are employed by karaoke establishments to help “smooth over conflicts over karaoke singing”—these social forms of conduct, or lack thereof that arise out of the infrastructures of this social sport. In this one rural part of the Philippines there’s a village karaoke machine that the whole village shares—the Aeta indigenous people have an appointed “keeper” of the karaoke machine. I also see karaoke as a proxy to the confessional box in Catholicism where one goes to pour out their sins (minus the penance and redemption). The karaoke machine enables one to literally sing out whatever’s going on internally, but through highly saturated popular song lyrics. While karaoke is a public and social sport, it can also be a private one. Karaoke is a means of communion with each other. DP: Right, this preference for this kind of mediated communication. In Japan I was trying to organize people to work on this project and I was talking about throwing a party and they were like, well, we have to rent a karaoke machine because what else are we going to do? And I think its kind of serving that function of surrogacy—emotional surrogacy. FLM: And karaoke tools can be read as ritual tools—the magic mic that holds everything. There’s got to be some overlap at some point—between religious ceremony and devotion to the karaoke machine. DP: The way I designed the piece was so that it could slip right on top of the ready-made karaoke infrastructure. There was a flat-packed podium and it was made of a single sheet of plywood with no fasteners that slotted into itself. Those were sent out to a network of karaoke bars that I invited to become “karaoke convention centers.” The local VJs downloaded our custom-made, speech-extracted tracks that were designed to play on their existing equipment. In this sense the piece is a permanent installation. If you go to Denver today, some of the VJs still have the tracks in their library of offerings, the Ramones and Romney. It was this notion of re-purposing readymade infrastructure to create a distributable populist form. Obama was coming and the convention was in the Pepsi Center and 30,000 people were coming including 10,000 journalists. The impetus behind the larger art project that commissioned international artists to make works in Denver, was that local people weren’t going to have much access to this convention. It was like an invasion, the city was being descended upon, but if you lived a block away from the site, you had the same access as people in Zimbabwe&mash;30 second media bits excerpted from the speeches. So it seemed to me that the fundamental gesture was how do I take that signal, which was travelling out of the convention center, and create a local interruption? FLM: Is that what you mean by ‘intervention’? The term is frequently used to help describe your work. DP: It depends on the day. Around that karaoke project I had a conversation with Krzysztof Wodiczko and he was proposing that maybe rather than intervention, we should consider the word interruption. Because intervention is kind of an overused term in the field of art and it has militaristic and therapeutic associations outside of the art context. Fundamentally, the idea of intervening speaks to the readymade social world as your primary material. So it’s basically suggesting a kind of subtractive process, which gets back to this question: what is the role of the contemporary media artist in a world that’s so saturated with media? You can’t work additively in a saturated field. If you want to make a visible mark you have to work subtractively. That’s what intervention is about to me, just another way of saying “to work subtractively.” FLM: So the interventions or interruptions aren’t necessarily adding or subtracting, but are they putting orange cones there? What are they doing exactly? DP: I think you’re right about that, they’re not really subtracting. They’re adding to the scope of possibility. I’ve been thinking (with this exhibition I’m mounting next month) about the work as explorations and expansions of social possibility. Maybe it’s more insertion. I started calling the pieces ‘insertions’ that I was making in Rejmyre—a small town in Sweden where I’ve been working for six years now. My favorite site to install there is the tourist bureau. I started calling the video pieces that I made for the tourist bureau, video insertions. This idea that you’re inserting something into the readymade media infrastructure of the world resonates with me. Insertion leverages a context, creating a possibility that the inserted object might be naturalized in the process — that someone can encounter my video in Rejmyre as tourist information. And then all of a sudden tourist information can include some American guy prostrating through town and it can include really bad relationship advice. Maybe insertion is a better word. tourist information – d. peltz 2009-present  . (shrink)

We present a computational model of multiple-object tracking that makes trial-level predictions about the allocation of visual attention and the effect of this allocation on observers' ability to track multiple objects simultaneously. This model follows the intuition that increased attention to a location increases the spatial resolution of its internal representation. Using a combination of empirical and computational experiments, we demonstrate the existence of a tight coupling between cognitive and perceptual resources in this task: Low-level tracking of (...) objects generates bottom-up predictions of error likelihood, and high-level attention allocation selectively reduces error probabilities in attended locations while increasing it at non-attended locations. Whereas earlier models of multiple-object tracking have predicted the big picture relationship between stimulus complexity and response accuracy, our approach makes accurate predictions of both the macro-scale effect of target number and velocity on tracking difficulty and micro-scale variations in difficulty across individual trials and targets arising from the idiosyncratic within-trial interactions of targets and distractors. (shrink)

Analysis of grip force signals tailored to hand and finger movement evolution and changes in grip force control during task execution provide unprecedented functional insight into somatosensory cognition. Somatosensory cognition is a basis of our ability to manipulate, move, and transform objects of the physical world around us, to recognize them on the basis of touch alone, and to grasp them with the right amount of force for lifting and manipulating them. Recent technology has permitted the wireless monitoring of grip (...) force signals recorded from biosensors in the palm of the human hand to track and trace human grip forces deployed in cognitive tasks executed under conditions of variable sensory (visual, auditory) input. Non-invasive multi-finger grip force sensor technology can be exploited to explore functional interactions between somatosensory brain mechanisms and motor control, in particular during learning a cognitive task where the planning and strategic execution of hand movements is essential. Sensorial and cognitive processes underlying manual skills and/or hand-specific (dominant versus non-dominant hand) behaviors can be studied in a variety of contexts by probing selected measurement loci in the fingers and palm of the human hand. Thousands of sensor data recorded from multiple spatial locations can be approached statistically to breathe functional sense into the forces measured under specific task constraints. Grip force patterns in individual performance profiling may reveal the evolution of grip force control as a direct result of cognitive changes during task learning. Grip forces can be functionally mapped to from-global-to-local coding principles in brain networks governing somatosensory processes for motor control in cognitive tasks leading to a specific task expertise or skill. Under the light of a comprehensive overview of recent discoveries into the functional significance of human grip force variations, perspectives for future studies in cognition, in particular the cognitive control of strategic and task relevant hand movements in complex real-world precision task, are pointed out. (shrink)

This study investigated the relative role of sub-syllabic components in spoken word recognition of Mandarin Chinese using an eye-tracking experiment with a visual world paradigm. Native Mandarin speakers were presented with four pictures and an auditory stimulus. They were required to click the picture according to the sound stimulus they heard, and their eye movements were tracked during this process. For a target word, nine conditions of competitors were constructed in terms of the amount of their (...) phonological overlap with the target: consonant competitor, rime competitor, tone competitor, consonant plus rime competitor, consonant plus tone competitor, rime plus tone competitor, cohort competitor, cohort plus tone competitor, and baseline competitor. A growth curve analysis was conducted with the fixation to competitors, targets, and distractors, and the results showed that competitors with consonant or rime overlap can be adequately activated, while tone overlap plays a weaker role since additional tonal information can strengthen the competitive effect only when it was added to a candidate that already bears much phonological similarity with the target. Mandarin words are processed in an incremental way in the time course of word recognition since different partially overlapping competitors could be activated immediately; like the pattern found in English, both cohort and rime competitors were activated to compete for lexical activation, but these two competitors were not temporally distinctive and mainly differed in the size of their competitive effects. Generally, the gradation of activation based on the phonological similarity between target and candidates found in this study was in line with the continuous mapping models and may reflect a strategy of native speakers shaped by the informative characteristics of the interaction among different sub-syllabic components. (shrink)

According to the shared signal hypothesis the impact of facial expressions on emotion processing partially depends on whether the gaze is directed toward or away from the observer. In autism spectrum disorder several aspects of face processing have been found to be atypical, including attention to eye gaze and the identification of emotional expressions. However, there is little research on how gaze direction affects emotional expression processing in typically developing individuals and in those with ASD. This question is investigated here (...) in two multimodal experiments. Experiment 1 required processing eye gaze direction while faces differed in emotional expression. Forty-seven children participated. Their Autism Diagnostic Observation Schedule scores ranged from 0 to 6 in the experiment. Event-related potentials were sensitive to gaze direction and emotion, but emotion processing did not depend on gaze direction. However, for angry faces the gaze direction effect on the N170 amplitude, as typically observed in TD individuals, diminished with increasing ADOS score. For neutral expressions this correlation was not significant. Experiment 2 required explicit emotion classifications in a facial emotion composite task while eye gaze was manipulated incidentally. A group of 22 children with ASD was compared to a propensity score-matched group of TD children. The same comparison was carried out for a subgroup of nine children with ASD who were less trained in social cognition, according to clinician’s report. The ASD group performed overall worse in emotion recognition than the TD group, independently of emotion or gaze direction. However, for disgust expressions, eye tracking data revealed that TD children fixated relatively longer on the eyes of the stimulus face with a direct gaze as compared with averted gaze. In children with ASD we observed no such modulation of fixation behavior as a function of gaze direction. Overall, the present findings from ERPs and eye tracking confirm the hypothesis of an impaired sensitivity to gaze direction in children with ASD or elevated autistic traits, at least for specific emotions. Therefore, we conclude that multimodal investigations of the interaction between emotional processing and stimulus gaze direction are promising to understand the characteristics of individuals differing along the autism trait dimension. (shrink)

This paper presents two formation tracking control strategies for a combined set of single and double integrator agents with an arbitrary undirected communication topology. The first approach is based on the design of distance-based potential functions with interagent collision avoidance using local information about the distance and orientation between agents and the desired trajectory. The second approach adds signed area constraints to the desired formation specification and a control strategy that uses distance as well as area terms is designed (...) to achieve tracking convergence. Numerical simulations show the performance from both control laws. (shrink)

Despite the importance of effective observational analysis in the technical aspects of climbing performance, limited research informs this aspect of climbing coach education. Thus, the purpose of the present research was to explore cognitive-perceptual mechanisms underpinning visual search strategies of expert and novice climbing coaches through the novel combination of eye-tracking technology and retrospective think-aloud methodology. Analysis of gaze data revealed expert climbing coaches to demonstrate fewer fixations of greater duration, and fixate on distinctly different areas of the (...) visual display, than their novice counterparts. Retrospective think-aloud interviews further demonstrated differences in the cognitive-perceptual mechanisms underpinning these visual search strategies, with expert coaches more cognisant of their visual search strategy. To expand, the gaze behaviour of expert climbing coaches was underpinned by hierarchical and complex knowledge structures relating to principles of climbing movement. This enabled expert coaches to actively focus on the most relevant aspects of a climber’s performance for analysis. Findings demonstrate the utility of combining eye tracking and retrospective think-aloud interviewing as a new, efficient methodology of capturing the cognitive-perceptual processes of climbing coaches to inform coaching education/strategies. (shrink)