1,973 research outputs found

    Snowbound

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    Tripartite Organization of the Ventral Stream by Animacy and Object Size

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    Occipito-temporal cortex is known to house visual object representations, but the organization of the neural activation patterns along this cortex is still being discovered. Here we found a systematic, large-scale structure in the neural responses related to the interaction between two major cognitive dimensions of object representation: animacy and real-world size. Neural responses were measured with functional magnetic resonance imaging while human observers viewed images of big and small animals and big and small objects. We found that real-world size drives differential responses only in the object domain, not the animate domain, yielding a tripartite distinction in the space of object representation. Specifically, cortical zones with distinct response preferences for big objects, all animals, and small objects, are arranged in a spoked organization around the occipital pole, along a single ventromedial, to lateral, to dorsomedial axis. The preference zones are duplicated on the ventral and lateral surface of the brain. Such a duplication indicates that a yet unknown higher-order division of labor separates object processing into two substreams of the ventral visual pathway. Broadly, we suggest that these large-scale neural divisions reflect the major joints in the representational structure of objects and thus place informative constraints on the nature of the underlying cognitive architecture.Psycholog

    Visual Awareness Is Limited by the Representational Architecture of the Visual System

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    Visual perception and awareness have strict limitations. We suggest that one source of these limitations is the representational architecture of the visual system. Under this view, the extent to which items activate the same neural channels constrains the amount of information that can be processed by the visual system and ultimately reach awareness. Here, we measured how well stimuli from different categories (e.g., faces and cars) blocked one another from reaching awareness using two distinct paradigms that render stimuli invisible: visual masking and continuous flash suppression. Next, we used fMRI to measure the similarity of the neural responses elicited by these categories across the entire visual hierarchy. Overall, we found strong brain–behavior correlations within the ventral pathway, weaker correlations in the dorsal pathway, and no correlations in early visual cortex (V1–V3). These results suggest that the organization of higher level visual cortex constrains visual awareness and the overall processing capacity of visual cognition.National Science Foundation (U.S.). Graduate Research FellowshipNational Institutes of Health (U.S.). Ruth L. Kirschstein National Research Service Award (F32EY024483

    Real-World Objects Are Not Represented as Bound Units: Independent Forgetting of Different Object Details from Visual Memory

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    Are real-world objects represented as bound units? Although a great deal of research has examined binding between the feature dimensions of simple shapes, little work has examined whether the featural properties of real-world objects are stored in a single unitary object representation. In a first experiment, we found that information about an object's color is forgotten more rapidly than the information about an object's state (e.g., open, closed), suggesting that observers do not forget objects as entirely bound units. In a second and third experiment, we examined whether state and exemplar information are forgotten separately or together. If these properties are forgotten separately, the probability of getting one feature correct should be independent of whether the other feature was correct. We found that after a short delay, observers frequently remember both state and exemplar information about the same objects, but after a longer delay, memory for the two properties becomes independent. This indicates that information about object state and exemplar are forgotten separately over time. We thus conclude that real-world objects are not represented in a single unitary representation in visual memory.Psycholog

    Visual Long-Term Memory Has the Same Limit on Fidelity as Visual Working Memory

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    Visual long-term memory can store thousands of objects with surprising visual detail, but just how detailed are these representations, and how can one quantify this fidelity? Using the property of color as a case study, we estimated the precision of visual information in long-term memory, and compared this with the precision of the same information in working memory. Observers were shown real-world objects in random colors and were asked to recall the colors after a delay. We quantified two parameters of performance: the variability of internal representations of color (fidelity) and the probability of forgetting an object’s color altogether. Surprisingly, the fidelity of color information in long-term memory was comparable to the asymptotic precision of working memory. These results suggest that long-term memory and working memory may be constrained by a common limit, such as a bound on the fidelity required to retrieve a memory representation.Psycholog

    MARILYN MONROE’S STAR CANON: POSTWAR AMERICAN CULTURE AND THE SEMIOTICS OF STARDOM

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    Although Marilyn Monroe was one of the most famous American film stars, and a monumental cultural figure, her film work has been studied far less than her biography. Applying C.S. Peirce’s semiotic categories of icon, index, and symbol, this research explains how Monroe acquired meaning as an actress: Monroe was a powerful, but simplified, public image (an icon); an indicator of a particular historical and social context (an index); and an embodiment of significant cultural debates (a symbol). Analyzing Monroe as an icon reveals how her personal life, which contradicted her official publicity story, generated public sympathy and led to a perceived intimacy between the star and her fans. Monroe’s persona developed through her roles in films about marriage. We’re Not Married (1952) and Niagara (1953) expose the pitfalls of marriage. In response to fan criticism of Monroe’s aggressive persona in these films, however, Darryl F. Zanuck, in Gentlemen Prefer Blondes and How to Marry a Millionaire (1953), consciously distanced Monroe both from her aggressive persona and her implicit criticism of marriage. Monroe’s films, in particular, The Seven Year Itch (1955), Bus Stop (1956), and Some Like it Hot (1959), also revealed the tensions inherent in postwar understandings of female sexuality. Monroe’s role in her final completed film, The Misfits (1960), both acknowledges and resists her status as a symbol. This film unites Monroe’s screen persona and off-screen life in resistance to conventional values: her character embraces divorce, lives with a man who is not her husband, and openly criticizes men who betray trust. This film most extensively interweaves Monroe as an icon, an index, and a symbol. In so doing, it reveals how Monroe embodied the contradictions inherent in both postwar culture and Hollywood stardom

    First-Year Experience and Second-Year Experience

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