New binary direction aftereffect does not add up

Neural adaptation and inhibition are pervasive characteristics of the primate brain, and are probably understood better within the context of visual processing than any other sensory modality. These processes are thought to underlie illusions in which one motion affects the perceived direction of another, such as the direction aftereffect (DAE) and direction repulsion. The DAE describes how, following prolonged viewing of motion in one direction, the direction of a subsequently viewed test pattern is misperceived. In the case of direction repulsion, the direction difference between two transparently moving surfaces is over-estimated. Explanations of the DAE appeal to neural adaptation whilst direction repulsion is accounted for through lateral inhibition. Here we report on a new illusion, the Binary DAE, in which superimposed slow and fast dots moving in the same direction are perceived to move in different directions following adaptation to a mixed-speed stimulus. This new phenomenon is essentially a combination of the DAE and direction repulsion. Interestingly the magnitude of the binary DAE is greater than would be expected simply through a linear combination of the DAE and direction repulsion, suggesting that the mechanisms underlying these two phenomena interact in a non-linear fashion.

The hierarchy of directional interactions in visual motion processing

It is well known that context influences our perception of visual motion direction. For example, spatial and temporal context manipulations can be used to induce two well-known motion illusions: direction repulsion and the direction after-effect (DAE). Both result in inaccurate perception of direction when a moving pattern is either superimposed on (direction repulsion), or presented following adaptation to (DAE), another pattern moving in a different direction. Remarkable similarities in tuning characteristics suggest that common processes underlie the two illusions. What is not clear, however, is whether the processes driving the two illusions are expressions of the same or different neural substrates. Here we report two experiments demonstrating that direction repulsion and the DAE are, in fact, expressions of different neural substrates. Our strategy was to use each of the illusions to create a distorted perceptual representation upon which the mechanisms generating the other illusion could potentially operate. We found that the processes mediating direction repulsion did indeed access the distorted perceptual representation induced by the DAE. Conversely, the DAE was unaffected by direction repulsion. Thus parallels in perceptual phenomenology do not necessarily imply common neural substrates. Our results also demonstrate that the neural processes driving the DAE occur at an earlier stage of motion processing than those underlying direction repulsion.

The Fraternity of Metaphors: Jean-Luc Godard's Film Socialisme

Since the 'completion' of Histoire(s) du cinema (1988-1998), Jean-Luc Godard's work has become increasingly mosaic-like in its forms and configurations, and markedly elegiac in its ruminations on history, cinema, art, and thought. While his associative aesthetic and citational method –including his choice of ‘actors’, and the fragmentariness of his ‘soundtracks’ – can combine to create a distinctive cinematic event, the films themselves refuse to cohere around a unifying concern, or yield to a thematic schema. Not surprisingly, Film Socialisme does not offer us the illusion of narrative or structural integrity anymore than it contributes to the quotidian rhetoric of political and moral argument. It is, however, a political film in the sense that it alters something more fundamental than opinions and points of view. It transforms a way of seeing and understanding reality and history, fiction and documentary, images, and images of images. If anything, it belongs to that dissident or ‘dissensual’ category of artwork capable of ‘emancipating the spectator’ by disturbing what Jacques Rancière terms ‘the distribution of the sensible’ in that it generates gaps, openings, and spaces, poses questions, invites associations without positing a fixed position, imposing an interpretation, or allowing itself to invest in the illusion of expressive objectivity and the stability of meaning. The myriad citations and fragments that comprise the film are never intended to culminate into anything cohesive, never mind conclusive. In one sense, they have no source and no context beyond their moment in the film itself, and what we make of that moment. This article studies the degree to which Godard allows these images and sounds to combine and collide, associate and dissolve in this film, arguing that Film Socialisme is both an important intervention in the history of contemporary cinema, and necessary point of reference in any serious discussion of the relations between that cinema and political reality.

A STRUCTURE-FROM-MOTION SCHEME THAT LOOKS FOR PARALLELS, AND ITS IMPLICATIONS FOR APPARENT REVERSALS IN ROTATING TRAPEZIA

Apparent reversals in rotating trapezia have been regarded as evidence that human vision favours methods which are heuristic or form dependent. However, the argument is based on the assumption that general algorithmic methods would avoid the illusion, and that has never been clear. A general algorithm for interpreting moving parallels has been developed to address the issue. It handles a considerable range of stimuli successfully, but finds multiple interpretations in situations which correspond closely to those where apparent reversals occur. This strengthens the hypothesis that apparent reversals may occur when general algorithmic methods fail and heuristics are invoked as a stopgap.

The Quest for Fictionality: Prostitution and Metatextuality in Rachilde’s Monsieur Vénus

This article considers the theme of prostitution in the decadent writings of the fin-de-siecle French author, Rachilde. It proposes that an analysis of this critically-neglected trope of her work reveals new connections between the erotics and aesthetics of her fiction. As a vector for considering tensions between fantasy and truth, and illusion and reality, prostitution, in Rachilde's texts, invites us to reflect on two of the most common cultural manifestations of decadence: sexual non-conformism and the cult of artifice. The article focuses in particular on the (male) prostitute-body of Monsieur Venus, arguing that, in its transcendence of nature, reality and utilitarian purpose, it is elevated to the status of art in Rachilde's fictional world.

Successful balance training is associated with improved multisensory function in fall-prone older adults

Balance maintenance relies on a complex interplay between many different sensory modalities. Although optimal multisensory processing is thought to decline with ageing, inefficient integration is particularly associated with falls in older adults. We investigated whether improved balance control, following a novel balance training intervention, was associated with more efficient multisensory integration in older adults, particularly those who have fallen in the past. Specifically, 76 healthy and fall-prone older adults were allocated to either a balance training programme conducted over 5 weeks or to a passive control condition. Balance training involved a VR display in which the on-screen position of a target object was controlled by shifts in postural balance on a Wii balance board. Susceptibility to the sound-induced flash illusion, before and after the intervention (or control condition), was used as a measure of multisensory function. Whilst balance and postural control improved for all participants assigned to the Intervention group, improved functional balance was correlated with more efficient multisensory processing in the fall-prone older adults only. Our findings add to growing evidence suggesting important links between balance control and multisensory interactions in the ageing brain and have implications for the development of interventions designed to reduce the risk of falls.