A Model of the Ventral Visual System Based on Temporal Stability and Local Memory

The cerebral cortex is a remarkably homogeneous structure suggesting a rather generic computational machinery. Indeed, under a variety of conditions, functions attributed to specialized areas can be supported by other regions. However, a host of studies have laid out an ever more detailed map of functional cortical areas. This leaves us with the puzzle of whether different cortical areas are intrinsically specialized, or whether they differ mostly by their position in the processing hierarchy and their inputs but apply the same computational principles. Here we show that the computational principle of optimal stability of sensory representations combined with local memory gives rise to a hierarchy of processing stages resembling the ventral visual pathway when it is exposed to continuous natural stimuli. Early processing stages show receptive fields similar to those observed in the primary visual cortex. Subsequent stages are selective for increasingly complex configurations of local features, as observed in higher visual areas. The last stage of the model displays place fields as observed in entorhinal cortex and hippocampus. The results suggest that functionally heterogeneous cortical areas can be generated by only a few computational principles and highlight the importance of the variability of the input signals in forming functional specialization

Developmental Robots - A New Paradigm

It has been proved to be extremely challenging for humans to program a robot to such a sufficient degree that it acts properly in a typical unknown human environment. This is especially true for a humanoid robot due to the very large number of redundant degrees of freedom and a large number of sensors that are required for a humanoid to work safely and effectively in the human environment. How can we address this fundamental problem? Motivated by human mental development from infancy to adulthood, we present a theory, an architecture, and some experimental results showing how to enable a robot to develop its mind automatically, through online, real time interactions with its environment. Humans mentally “raise” the robot through “robot sitting” and “robot schools” instead of task-specific robot programming

Ventral-stream-like shape representation : from pixel intensity values to trainable object-selective COSFIRE models

Keywords: hierarchical representation, object recognition, shape, ventral stream, vision and scene understanding, robotics, handwriting analysisThe remarkable abilities of the primate visual system have inspired the construction of computational models of some visual neurons. We propose a trainable hierarchical object recognition model, which we call S-COSFIRE (S stands for Shape and COSFIRE stands for Combination Of Shifted FIlter REsponses) and use it to localize and recognize objects of interests embedded in complex scenes. It is inspired by the visual processing in the ventral stream (V1/V2 → V4 → TEO). Recognition and localization of objects embedded in complex scenes is important for many computer vision applications. Most existing methods require prior segmentation of the objects from the background which on its turn requires recognition. An S-COSFIRE filter is automatically configured to be selective for an arrangement of contour-based features that belong to a prototype shape specified by an example. The configuration comprises selecting relevant vertex detectors and determining certain blur and shift parameters. The response is computed as the weighted geometric mean of the blurred and shifted responses of the selected vertex detectors. S-COSFIRE filters share similar properties with some neurons in inferotemporal cortex, which provided inspiration for this work. We demonstrate the effectiveness of S-COSFIRE filters in two applications: letter and keyword spotting in handwritten manuscripts and object spotting in complex scenes for the computer vision system of a domestic robot. S-COSFIRE filters are effective to recognize and localize (deformable) objects in images of complex scenes without requiring prior segmentation. They are versatile trainable shape detectors, conceptually simple and easy to implement. The presented hierarchical shape representation contributes to a better understanding of the brain and to more robust computer vision algorithms.peer-reviewe

Aesthetic preference for art emerges from a weighted integration over hierarchically structured visual features in the brain

It is an open question whether preferences for visual art can be lawfully predicted from the basic constituent elements of a visual image. Moreover, little is known about how such preferences are actually constructed in the brain. Here we developed and tested a computational framework to gain an understanding of how the human brain constructs aesthetic value. We show that it is possible to explain human preferences for a piece of art based on an analysis of features present in the image. This was achieved by analyzing the visual properties of drawings and photographs by multiple means, ranging from image statistics extracted by computer vision tools, subjective human ratings about attributes, to a deep convolutional neural network. Crucially, it is possible to predict subjective value ratings not only within but also across individuals, speaking to the possibility that much of the variance in human visual preference is shared across individuals. Neuroimaging data revealed that preference computations occur in the brain by means of a graded hierarchical representation of lower and higher level features in the visual system. These features are in turn integrated to compute an overall subjective preference in the parietal and prefrontal cortex. Our findings suggest that rather than being idiosyncratic, human preferences for art can be explained at least in part as a product of a systematic neural integration over underlying visual features of an image. This work not only advances our understanding of the brain-wide computations underlying value construction but also brings new mechanistic insights to the study of visual aesthetics and art appreciation