A half century of progress towards a unified neural theory of mind and brain with applications to autonomous adaptive agents and mental disorders

Invited article for the book Artificial Intelligence in the Age of Neural Networks and Brain Computing R. Kozma, C. Alippi, Y. Choe, and F. C. Morabito, Eds. Cambridge, MA: Academic PressThis article surveys some of the main design principles, mechanisms, circuits, and architectures that have been discovered during a half century of systematic research aimed at developing a unified theory that links mind and brain, and shows how psychological functions arise as emergent properties of brain mechanisms. The article describes a theoretical method that has enabled such a theory to be developed in stages by carrying out a kind of conceptual evolution. It also describes revolutionary computational paradigms like Complementary Computing and Laminar Computing that constrain the kind of unified theory that can describe the autonomous adaptive intelligence that emerges from advanced brains. Adaptive Resonance Theory, or ART, is one of the core models that has been discovered in this way. ART proposes how advanced brains learn to attend, recognize, and predict objects and events in a changing world that is filled with unexpected events. ART is not, however, a “theory of everything” if only because, due to Complementary Computing, different matching and learning laws tend to support perception and cognition on the one hand, and spatial representation and action on the other. The article mentions why a theory of this kind may be useful in the design of autonomous adaptive agents in engineering and technology. It also notes how the theory has led to new mechanistic insights about mental disorders such as autism, medial temporal amnesia, Alzheimer’s disease, and schizophrenia, along with mechanistically informed proposals about how their symptoms may be ameliorated

"Mental Rotation" by Optimizing Transforming Distance

The human visual system is able to recognize objects despite transformations that can drastically alter their appearance. To this end, much effort has been devoted to the invariance properties of recognition systems. Invariance can be engineered (e.g. convolutional nets), or learned from data explicitly (e.g. temporal coherence) or implicitly (e.g. by data augmentation). One idea that has not, to date, been explored is the integration of latent variables which permit a search over a learned space of transformations. Motivated by evidence that people mentally simulate transformations in space while comparing examples, so-called "mental rotation", we propose a transforming distance. Here, a trained relational model actively transforms pairs of examples so that they are maximally similar in some feature space yet respect the learned transformational constraints. We apply our method to nearest-neighbour problems on the Toronto Face Database and NORB

Action and non-action oriented body representations. insight from behavioural and grey matter modifications in individuals with lower limb amputation

Following current model of body representations, we aimed to systematically investigate the association between brain modifications, in terms of grey matter loss, and body representation deficits, in terms of alterations of the body schema (BS) and of non-action oriented body representations (NA), in individuals with lower limb amputation (LLA)

Basic gestures as spatiotemporal reference frames for repetitive dance/music patterns in samba and charleston

THE GOAL OF THE PRESENT STUDY IS TO GAIN BETTER insight into how dancers establish, through dancing, a spatiotemporal reference frame in synchrony with musical cues. With the aim of achieving this, repetitive dance patterns of samba and Charleston were recorded using a three-dimensional motion capture system. Geometric patterns then were extracted from each joint of the dancer's body. The method uses a body-centered reference frame and decomposes the movement into non-orthogonal periodicities that match periods of the musical meter. Musical cues (such as meter and loudness) as well as action-based cues (such as velocity) can be projected onto the patterns, thus providing spatiotemporal reference frames, or 'basic gestures,' for action-perception couplings. Conceptually speaking, the spatiotemporal reference frames control minimum effort points in action-perception couplings. They reside as memory patterns in the mental and/or motor domains, ready to be dynamically transformed in dance movements. The present study raises a number of hypotheses related to spatial cognition that may serve as guiding principles for future dance/music studies