25 research outputs found
Brain Reorganization in Late Adulthood: Rapid Left-to-Right Switch of Handedness Through Memory-Drawing Training
The neural correlates of hand preference are still debatable, and the very few studies on the mechanisms of enforced change of handedness from left to right are all restricted to early childhood. We were able to address the question of retraining handedness in late adulthood for the first time, well outside the accepted critical period for brain plasticity, through a unique training utilizing the complex motor task of blind memory-guided drawing, in a totally blind, congenitally left-handed man. Ten hours of this Cognitive-Kinesthetic Drawing Training, which the author initially developed to drive neuroplasticity in blindness rehabilitation, was sufficient to generate a profound switch in the cortical lateralization of motor control. This study provides new insights into the neuroplasticity of motor control architecture. The results are of high relevance to the long-standing debate about the sources of hemispheric asymmetry. The unprecedented effect on handedness of the rapid Cognitive-Kinesthetic Drawing Training implies a powerful potential of this training for further rehabilitation domains, such as the rehabilitation of stroke or trauma affecting hand control
Drawing enhances cross-modal memory plasticity in the human brain: a case study in a totally blind adult
In a memory-guided drawing task under blindfolded conditions, we have recently used functional Magnetic Resonance Imaging (fMRI) to demonstrate that the primary visual cortex (V1) may operate as the visuo-spatial buffer, or âsketchpad,â for working memory. The results implied, however, a modality-independent or amodal form of its operation. In the present study, to validate the role of V1 in non-visual memory, we eliminated not only the visual input but all levels of visual processing by replicating the paradigm in a congenitally blind individual. Our novel Cognitive-Kinesthetic method was used to train this totally blind subject to draw complex images guided solely by tactile memory. Control tasks of tactile exploration and memorization of the image to be drawn, and memory-free scribbling were also included. FMRI was run before training and after training. Remarkably, V1 of this congenitally blind individual, which before training exhibited noisy, immature, and non-specific responses, after training produced full-fledged response time-courses specific to the tactile-memory drawing task. The results reveal the operation of a rapid training-based plasticity mechanism that recruits the resources of V1 in the process of learning to draw. The learning paradigm allowed us to investigate for the first time the evolution of plastic re-assignment in V1 in a congenitally blind subject. These findings are consistent with a non-visual memory involvement of V1, and specifically imply that the observed cortical reorganization can be empowered by the process of learning to draw
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The Role of the Visual Arts in Enhancing the Learning Process
With all the wealth of scientific activities, there remains a certain stigma associated with careers in science, as a result of the inevitable concentration on narrow specializations that are inaccessible to general understanding. Enhancement of the process of scientific learning remains a challenge, particularly in the school setting. While direct explanation seems the best approach to expedite learning any specific subject, it is well known that the ability to deeply absorb facts and concepts is greatly enhanced by placing them in a broader context of relevance to the issues of everyday life and to the larger goals of improvement of the quality of life and advancement to a more evolved society as a whole. If the sciences can be associated with areas of artistic endeavor, they may be viewed as more accessible and favorable topics of study. There is consequently an urgent need for research in the relationship between learning and experience in the arts because both art education and scientific literacy remain at an inadequate level even in economically advanced countries. The focus of this review is the concept that inspiration is an integral aspect of the artistic experience, both for the artist and for the viewer of the artwork. As an integrative response, inspiration involves not only higher cortical circuitry but its integration with the deep brain structures such as limbic system and medial frontal structures, which are understood to mediate the experience of emotions, motivational rewards, and the appreciation of the esthetic values of the impinging stimuli. In this sense, inspiration can turn almost any occupation in life into an avocation, a source of satisfaction in achieving life goals. Conversely, when inspiration is lacking, the motivation to learn, adapt, and prosper is impeded. Thus, inspiration may be viewed as a potent aspect of human experience in linking art and science
Do we enjoy what we sense and perceive?:A dissociation between aesthetic appreciation and basic perception of environmental objects or events
This integrative review rearticulates the notion of human aesthetics by critically appraising the conventional definitions, offerring a new, more comprehensive definition, and identifying the fundamental components associated with it. It intends to advance holistic understanding of the notion by differentiating aesthetic perception from basic perceptual recognition, and by characterizing these concepts from the perspective of information processing in both visual and nonvisual modalities. To this end, we analyze the dissociative nature of information processing in the brain, introducing a novel local-global integrative model that differentiates aesthetic processing from basic perceptual processing. This model builds on the current state of the art in visual aesthetics as well as newer propositions about nonvisual aesthetics. This model comprises two analytic channels: aesthetics-only channel and perception-to-aesthetics channel. The aesthetics-only channel primarily involves restricted local processing for quality or richness (e.g., attractiveness, beauty/prettiness, elegance, sublimeness, catchiness, hedonic value) analysis, whereas the perception-to-aesthetics channel involves global/extended local processing for basic feature analysis, followed by restricted local processing for quality or richness analysis. We contend that aesthetic processing operates independently of basic perceptual processing, but not independently of cognitive processing. We further conjecture that there might be a common faculty, labeled as aesthetic cognition faculty, in the human brain for all sensory aesthetics albeit other parts of the brain can also be activated because of basic sensory processing prior to aesthetic processing, particularly during the operation of the second channel. This generalized model can account not only for simple and pure aesthetic experiences but for partial and complex aesthetic experiences as well.</p
Anticlockwise or clockwise?:a dynamic perception-action-laterality model for directionality bias in visuospatial functioning
AbstractOrientation bias and directionality bias are two fundamental functional characteristics of the visual system. Reviewing the relevant literature in visual psychophysics and visual neuroscience we propose here a three-stage model of directionality bias in visuospatial functioning. We call this model the âPerception-Action-Lateralityâ (PAL) hypothesis. We analyzed the research findings for a wide range of visuospatial tasks, showing that there are two major directionality trends in perceptual preference: clockwise versus anticlockwise. It appears these preferences are combinatorial, such that a majority of people fall in the first category demonstrating a preference for stimuli/objects arranged from left-to-right rather than from right-to-left, while people in the second category show an opposite trend. These perceptual biases can guide sensorimotor integration and action, creating two corresponding turner groups in the population. In support of PAL, we propose another model explaining the origins of the biases â how the neurogenetic factors and the cultural factors interact in a biased competition framework to determine the direction and extent of biases. This dynamic model can explain not only the two major categories of biases in terms of direction and strength, but also the unbiased, unreliably biased or mildly biased cases in visuosptial functioning
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Consequences of traumatic brain injury for human vergence dynamics
Purpose: Traumatic brain injury involving loss of consciousness has focal effects in the human brainstem, suggesting that it may have particular consequences for eye movement control. This hypothesis was investigated by measurements of vergence eye movement parameters.
Methods: Disparity vergence eye movements were measured for a population of 123 normally sighted individuals, 26 of whom had suffered diffuse traumatic brain injury (dTBI) in the past, while the remainder served as controls. Vergence tracking responses were measured to sinusoidal disparity modulation of a random-dot field. Disparity vergence step responses were characterized in terms of their dynamic parameters separately for the convergence and divergence directions.
Results: The control group showed notable differences between convergence and divergence dynamics. The dTBI group showed significantly abnormal vergence behavior on many of the dynamic parameters.
Conclusion: The results support the hypothesis that occult injury to the oculomotor control system is a common residual outcome of dTBI
A cross-modal perspective on the relationships between imagery and working memory
Mapping the distinctions and interrelationships between imagery and working memory remains challenging. Although each of these major cognitive constructs is defined and treated in various ways across studies, most accept that both imagery and working memory involve a form of internal representation available to our awareness. In working memory, there is a further emphasis on active maintenance and use of this conscious representation to guide voluntary action. Multicomponent working memory models incorporate representational buffers, such as the visuo-spatial sketchpad, plus central executive functions. If there is a visuo-spatial âsketchpadâ for working memory, does imagery involve the same representational buffer? Alternatively, does working memory employ an imagery-specific representational mechanism to occupy our awareness? Or do both constructs utilize a more generic âprojection screenâ of an amodal nature? In a cross-modal fMRI study a novel memory paradigm is introduced based on drawing, which may be conceptualized as a complex behaviour adaptable to learning in the tactile modality. Blindfolded participants were trained to draw complex objects guided purely by the memory of felt tactile images. If this working memory task had been mediated by transfer of the felt spatial configuration to the visual imagery mechanism, the response profile in visual cortex would be predicted to have the âtop-downâ signature of propagation of the imagery signal downwards through the visual hierarchy. Remarkably, the pattern of cross-modal occipital activation generated by the non-visual memory drawing was essentially the inverse of this typical âimagery signatureâ, with the sole visual hierarchy activation occurring in V1, accompanied by deactivation of the entire extrastriate part of the hierarchy. The implications of these findings for the debate on the interrelationships between the core cognitive constructs of working memory and imagery are evaluated
Tactile object familiarity in the blind brain reveals the supramodal perceptual-mnemonic nature of the perirhinal cortex
This study is the first to investigate the neural underpinnings of tactile object familiarity in the blind during both perception and memory. In the sighted, the perirhinal cortex (PRC) has been implicated in the assessment of visual object familiarityâa crucial everyday taskâas evidenced by reduced activation when an object becomes familiar. Here, to examine the PRCâs role in tactile object familiarity in the absence of vision, we trained blind subjects on a unique memory-guided drawing technique and measured brain activity while they perceptually explored raised-line drawings, drew them from tactile memory, and scribbled (control). FMRI before and after a week of training revealed a significant decrease in PRC activation from pre- to post-training (i.e., from unfamiliar to familiar) during perceptual exploration as well as memory-guided drawing, but not scribbling. This familiarity-based reduction is the first evidence that the PRC represents tactile object familiarity in the blind. Furthermore, the finding of this effect during both tactile perception and tactile memory provides the critical link in establishing the PRC as a structure whose representations are supramodal for both perception and memory