16 research outputs found

    Similarity topographies.

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    <p>The similarity topographies are shown across the recording locations for the six songs selected by participant 1. For each song, the six comparisons are shown for various repetitions, in the same order shown in <a href="http://www.plosone.org/article/info:doi/10.1371/journal.pone.0122148#pone.0122148.g003" target="_blank">Fig. 3</a>.</p

    Point representation of similarity topographies.

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    <p>For each musical excerpt, the six similarity topographies were represented using points with (x,y,z) coordinates. The three dimensional distribution of these points are shown for the representative similarity topographies. The distribution of the points in space corresponded to the consistency of the similarity topographies (i.e. points corresponding to similar topographies are closer in the three dimensional space on the right). The point coordinates were normalized to facilitate representation, in this figure.</p

    The procedures involved in determining pair-wise consistency indexes.

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    <p>The three dimensional representation of similarity topographies was used to determine distances between points. The histogram and cumulative sum of these distances was used to determine the pair-wise consistency index (i.e. <i>P</i>).</p

    Driving the similarity index.

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    <p>The spatio-temporal characteristics of the hemodynamic response, recorded across regions shown in <a href="http://www.plosone.org/article/info:doi/10.1371/journal.pone.0122148#pone.0122148.g002" target="_blank">Fig. 2</a>, were compared across four repetitions of the same musical excerpt. This figure summarizes the procedures involved in comparing these repetitions for one musical excerpt. (NIR: near infrared, PDW: phase distinction waveform (see (<a href="http://www.plosone.org/article/info:doi/10.1371/journal.pone.0122148#pone.0122148.e002" target="_blank">2</a>))).</p

    Valence ratings.

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    <p>The boxplots depict the distribution of valence ratings (1: most negative, 9: most positive) across four repetitions. For each participant, six songs and six boxes are illustrated. The self-selected songs represented here are arranged so that the emotional contents are alternating between positive and negative such that the first song is a self-selected piece for inducing positive emotions, the second is a piece inducing negative emotions, and the rest follow similarly.</p

    Organization of blocks for each session.

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    <p>36 blocks were collected during each session. The aural stimulus for 6 of the blocks (marked in grey) consisted of a unique song selected by the participant. Only the 6 blocks of self-selected songs collected from each session were considered in this analysis.</p

    Recording layout.

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    <p>The layout of light sources (circles) and detectors (X's). The vertical line denotes anatomical midline. The annotated shaded areas correspond to recording locations.</p

    Scatter plots showing the relationship between rest and activation for Participant 2.

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    <p>The word generation task is on the left, and the mental rotation task on the right. The three most frequently selected features for each task have been used to characterize each state. Rest and activation states are represented by ‘x’ and ‘o’ respectively. Both tasks are highly separable for this participant.</p

    Recordings from two rest-activation cycles for participant 4.

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    <p>The solid line depicts CBFV in the left MCA, while the broken line depicts CBFV in the right MCA. Decreasing trends in CBFV during rest and increasing trends during activation are apparent. The signal is the mean of the maximum velocity, filtered by a Butterworth low-pass filter with a cutoff frequency of 0.6 Hz.</p
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