Visual selective behavior can be triggered by a feed-forward process

The ventral visual pathway implements object recognition and categorization in a hierarchy of processing areas with neuronal selectivities of increasing complexity. The presence of massive feedback connections within this hierarchy raises the possibility that normal visual processing relies on the use of computational loops. It is not known, however, whether object recognition can be performed at all without such loops (i.e., in a purely feed-forward mode). By analyzing the time course of reaction times in a masked natural scene categorization paradigm, we show that the human visual system can generate selective motor responses based on a single feed-forward pass. We confirm these results using a more constrained letter discrimination task, in which the rapid succession of a target and mask is actually perceived as a distractor. We show that a masked stimulus presented for only 26 msec—and often not consciously perceived—can fully determine the earliest selective motor responses: The neural representations of the stimulus and mask are thus kept separated during a short period corresponding to the feed-forward "sweep." Therefore, feedback loops do not appear to be "mandatory" for visual processing. Rather, we found that such loops allow the masked stimulus to reverberate in the visual system and affect behavior for nearly 150 msec after the feed-forward sweep

Spectators’ aesthetic experiences of sound and movement in dance performance

In this paper we present a study of spectators’ aesthetic experiences of sound and movement in live dance performance. A multidisciplinary team comprising a choreographer, neuroscientists and qualitative researchers investigated the effects of different sound scores on dance spectators. What would be the impact of auditory stimulation on kinesthetic experience and/or aesthetic appreciation of the dance? What would be the effect of removing music altogether, so that spectators watched dance while hearing only the performers’ breathing and footfalls? We investigated audience experience through qualitative research, using post-performance focus groups, while a separately conducted functional brain imaging (fMRI) study measured the synchrony in brain activity across spectators when they watched dance with sound or breathing only. When audiences watched dance accompanied by music the fMRI data revealed evidence of greater intersubject synchronisation in a brain region consistent with complex auditory processing. The audience research found that some spectators derived pleasure from finding convergences between two complex stimuli (dance and music). The removal of music and the resulting audibility of the performers’ breathing had a significant impact on spectators’ aesthetic experience. The fMRI analysis showed increased synchronisation among observers, suggesting greater influence of the body when interpreting the dance stimuli. The audience research found evidence of similar corporeally focused experience. The paper discusses possible connections between the findings of our different approaches, and considers the implications of this study for interdisciplinary research collaborations between arts and sciences

Methodology development for evaluation of selective-fidelity rotorcraft simulation

This paper addressed the initial step toward the goal of establishing performance and handling qualities acceptance criteria for realtime rotorcraft simulators through a planned research effort to quantify the system capabilities of 'selective fidelity' simulators. Within this framework the simulator is then classified based on the required task. The simulator is evaluated by separating the various subsystems (visual, motion, etc.) and applying corresponding fidelity constants based on the specific task. This methodology not only provides an assessment technique, but also provides a technique to determine the required levels of subsystem fidelity for a specific task

Perceptual bistability in auditory streaming: how much do stimulus features matter?

The auditory two-tone streaming paradigm has been used extensively to study the mechanisms that underlie the decomposition of the auditory input into coherent sound sequences. Using longer tone sequences than usual in the literature, we show that listeners hold their first percept of the sound se¬quence for a relatively long period, after which perception switches between two or more alternative sound organizations, each held on average for a much shorter duration. The first percept also differs from subsequent ones in that stimulus parameters influence its quality and duration to a far greater degree than the subsequent ones. We propose an account of auditory streaming in terms of rivalry be¬tween competing temporal associations based on two sets of processes. The formation of associations (discovery of alternative interpretations) mainly affects the first percept by determining which sound group is discovered first and how long it takes for alternative groups to be established. In contrast, sub¬sequent percepts arise from stochastic switching between the alternatives, the dynamics of which are determined by competitive interactions between the set of coexisting interpretations

Drawing cartoon faces - a functional imaging study of the cognitive neuroscience of drawing

We report a functional imaging study of drawing cartoon faces. Normal, untrained participants were scanned while viewing simple black and white cartoon line-drawings of human faces, retaining them for a short memory interval, and then drawing them without vision of their hand or the paper. Specific encoding and retention of information about the faces was tested for by contrasting these two stages (with display of cartoon faces) against the exploration and retention of random dot stimuli. Drawing was contrasted between conditions in which only memory of a previously viewed face was available versus a condition in which both memory and simultaneous viewing of the cartoon was possible, and versus drawing of a new, previously unseen, face. We show that the encoding of cartoon faces powerfully activates the face sensitive areas of the lateral occipital cortex and the fusiform gyrus, but there is no significant activation in these areas during the retention interval. Activity in both areas was also high when drawing the displayed cartoons. Drawing from memory activates areas in posterior parietal cortex and frontal areas. This activity is consistent with the encoding and retention of the spatial information about the face to be drawn as a visuo-motor action plan, either representing a series of targets for ocular fixation or as spatial targets for the drawing actio

Beliefs about the Minds of Others Influence How We Process Sensory Information

Attending where others gaze is one of the most fundamental mechanisms of social cognition. The present study is the first to examine the impact of the attribution of mind to others on gaze-guided attentional orienting and its ERP correlates. Using a paradigm in which attention was guided to a location by the gaze of a centrally presented face, we manipulated participants' beliefs about the gazer: gaze behavior was believed to result either from operations of a mind or from a machine. In Experiment 1, beliefs were manipulated by cue identity (human or robot), while in Experiment 2, cue identity (robot) remained identical across conditions and beliefs were manipulated solely via instruction, which was irrelevant to the task. ERP results and behavior showed that participants' attention was guided by gaze only when gaze was believed to be controlled by a human. Specifically, the P1 was more enhanced for validly, relative to invalidly, cued targets only when participants believed the gaze behavior was the result of a mind, rather than of a machine. This shows that sensory gain control can be influenced by higher-order (task-irrelevant) beliefs about the observed scene. We propose a new interdisciplinary model of social attention, which integrates ideas from cognitive and social neuroscience, as well as philosophy in order to provide a framework for understanding a crucial aspect of how humans' beliefs about the observed scene influence sensory processing