Not all visual symmetry is equal: partially distinct neural bases for vertical and horizontal symmetry

Visual mirror symmetry plays an important role in visual perception in both human and animal vision; its importance is reflected in the fact that it can be extracted automatically during early stages of visual processing. However, how this extraction is implemented at the cortical level remains an open question. Given the importance of symmetry in visual perception, one possibility is that there is a network which extracts all types of symmetry irrespective of axis of orientation; alternatively, symmetry along different axes might be encoded by different brain regions, implying that that there is no single neural mechanism for symmetry processing. Here we used fMRI-guided transcranial magnetic stimulation (TMS) to compare the neural basis of the two main types of symmetry found in the natural world, vertical and horizontal symmetry. TMS was applied over either right Lateral Occipital Cortex (LO), right Occipital Face Area (OFA) or Vertex while participants were asked to detect symmetry in low-level dot configurations. Whereas detection of vertical symmetry was impaired by TMS over both LO and OFA, detection of horizontal symmetry was delayed by stimulation of LO only. Thus, different types of visual symmetry rely on partially distinct cortical networks

TMS over right OFA affects individuation of faces but not of exemplars of objects

In addition to its well-documented role in processing of faces, the occipital face area in the right hemisphere (rOFA) may also play a role in identifying specific individuals within a class of objects. Here we explored this issue by using fMRI-guided TMS. In a first experiment, participants had to judge whether two sequentially presented images of faces or objects represented exactly the same exemplar or two different exemplars of the same class, while receiving online TMS over either the rOFA, the right lateral occipital cortex (rLO) or the Vertex (control). We found that, relative to Vertex, stimulation of rOFA impaired individuation of faces only, with no effect on objects; in contrast, TMS over rLO reduced individuation of objects but not of faces. In a second control experiment participants judged whether a picture representing a fragment of a stimulus belonged or not to the subsequently presented image of a whole stimulus (part-whole matching task). Our results showed that rOFA stimulation selectively disrupted performance with faces, whereas performance with objects (but not with faces) was selectively affected by TMS over rLO. Overall, our findings suggest that rOFA does not contribute to discriminate between exemplars of non-face objects

Symplectic Microgeometry II: Generating functions

We adapt the notion of generating functions for lagrangian submanifolds to symplectic microgeometry. We show that a symplectic micromorphism always admits a global generating function. As an application, we describe hamiltonian flows as special symplectic micromorphisms whose local generating functions are the solutions of Hamilton-Jacobi equations. We obtain a purely categorical formulation of the temporal evolution in classical mechanics.Comment: 27 pages, 1 figur

Exponential decay in one-dimensional Type II/III thermoelasticity with two porosities

In this paper we consider the theory of thermoelasticity with a double porosity structure in the context of the Green-Naghdi types II and III heat conduction models. For the type II, the problem is given by four hyperbolic equations and it is conservative (there is no energy dissipation). We introduce in the system a couple of dissipation mechanisms in order to obtain the exponential de- cay of the solutions. To be precise, we introduce a pair of the following damping mechanisms: viscoelasticity, viscoporosities and thermal dissipation. We prove that the system is exponentially stable in three different scenarios: viscoporosity in one structure jointly with thermal dissipation, viscoporosity in each structure, and viscoporosity in one structure jointly with viscoelasticity. However, if viscoelasticity and thermal dissipation are considered together, undamped solutions can be obtained.Peer ReviewedPostprint (author's final draft

A volume-based hydrodynamic approach to sound wave propagation in a monatomic gas

We investigate sound wave propagation in a monatomic gas using a volume-based hydrodynamic model. In Physica A vol 387(24) (2008) pp6079-6094, a microscopic volume-based kinetic approach was proposed by analyzing molecular spatial distributions; this led to a set of hydrodynamic equations incorporating a mass-density diffusion component. Here we find that these new mass-density diffusive flux and volume terms mean that our hydrodynamic model, uniquely, reproduces sound wave phase speed and damping measurements with excellent agreement over the full range of Knudsen number. In the high Knudsen number (high frequency) regime, our volume-based model predictions agree with the plane standing waves observed in the experiments, which existing kinetic and continuum models have great difficulty in capturing. In that regime, our results indicate that the "sound waves" presumed in the experiments may be better thought of as "mass-density waves", rather than the pressure waves of the continuum regime.Comment: Revised to aid clarification (no changes to presented model); typos corrected, figures added, paper title change

Investigating the Causal Role of rOFA in Holistic Detection of Mooney Faces and Objects : An fMRI-guided TMS Study

Background: The right occipital face area (rOFA) is known to be involved in face discrimination based on local featural information. Whether this region is also involved in global, holistic stimulus processing is not known. Objective: We used fMRI-guided transcranial magnetic stimulation (TMS) to investigate whether rOFA is causally implicated in stimulus detection based on holistic processing, by the use of Mooney stimuli. Methods: Two studies were carried out: In Experiment 1, participants performed a detection task involving Mooney faces and Mooney objects; Mooney stimuli lack distinguishable local features and can be detected solely via holistic processing (i.e. at a global level) with top-down guidance from previously stored representations. Experiment 2 required participants to detect shapes which are recognized via bottom-up integration of local (collinear) Gabor elements and was performed to control for specificity of rOFA's implication in holistic detection. Results: In Experiment 1, TMS over rOFA and rLO impaired detection of all stimulus categories, with no category-specific effect. In Experiment 2, shape detection was impaired when TMS was applied over rLO but not over rOFA. Conclusions: Our results demonstrate that rOFA is causally implicated in the type of top-down holistic detection required by Mooney stimuli and that such role is not face-selective. In contrast, rOFA does not appear to play a causal role in detection of shapes based on bottom-up integration of local components, demonstrating that its involvement in processing non-face stimuli is specific for holistic processing. (C) 2016 The Authors. Published by Elsevier Inc. This is an open access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/).Peer reviewe

Can music be figurative? Exploring the possibility of crossmodal similarities between music and visual arts

According to both experimental research and common sense, classical music is a better fit for figurative art than jazz. We hypothesize that similar fits may reflect underlying crossmodal structural similarities between music and painting genres. We present two preliminary studies aimed at addressing our hypothesis. Experiment 1 tested the goodness of the fit between two music genres (classical and jazz) and two painting genres (figurative and abstract). Participants were presented with twenty sets of six paintings (three figurative, three abstract) viewed in combination with three sound conditions: 1) silence, 2) classical music, or 3) jazz. While figurative paintings scored higher aesthetic appreciation than abstract ones, a gender effect was also found: the aesthetic appreciation of paintings in male participants was modulated by music genre, whilst music genre did not affect the aesthetic appreciation in female participants. Our results support only in part the notion that classical music enhances the aesthetic appreciation of figurative art. Experiment 2 aimed at testing whether the conceptual categories ‘figurative’ and ‘abstract’ can be extended also to music. In session 1, participants were first asked to classify 30 paintings (10 abstract, 10 figurative, 10 ambiguous that could fit either category) as abstract or figurative and the to rate them for pleasantness; in session 2 participants were asked to classify 40 excerpts of music (20 classical, 20 jazz) as abstract or figurative and to rate them for pleasantness. Paintings which were clearly abstract or figurative were all classified accordingly, while the majority of ambiguous paintings were classified as abstract. Results also show a gender effect for painting’s pleasantness: female participants rated higher ambiguous and abstract paintings. More interestingly, results show an effect of music genre on classification, showing that it is possible to classify music as figurative or abstract, thus supporting the hypothesis of cross-modal similarities between the two sensory-different artistic expressions