Visual processing of optic flow and motor control in the human posterior cingulate sulcus

Previous studies have shown that the human posterior cingulate contains a visual processing area selective for optic flow (CSv). However, other studies performed in both humans and monkeys have identified a somatotopic motor region at the same location (CMA). Taken together, these findings suggested the possibility that the posterior cingulate contains a single visuomotor integration region. To test this idea we used fMRI to identify both visual and motor areas of the posterior cingulate in the same brains and to test the activity of those regions during a visuomotor task. Results indicated that rather than a single visuomotor region the posterior cingulate contains adjacent but separate motor and visual regions. CSv lies in the fundus of the cingulate sulcus, while CMA lies in the dorsal bank of the sulcus, slightly superior in terms of stereotaxic coordinates. A surprising and novel finding was that activity in CSv was suppressed during the visuomotor task, despite the visual stimulus being identical to that used to localize the region. This may provide an important clue to the specific role played by this region in the utilization of optic flow to control self-motion.

Variável colativa por complexidade, seus efeitos no campo visual monocular

Os resultados das análises feitas com estes dados indicaram diferenças significativas no aumento da amplitude do plano meridiano horizontal nasal do campo visual monocular, medidas em unidades angulares. As diferenças foram interpretadas como indicativas da influência dos três diferentes níveis de complexidade dos estímulos visuais. Concluiu-se, portanto, que a variável colativa por complexidade influi no ato perceptual do reconhecimento visual.

Efeitos da manipulação do estímulo visual e da intenção na oscilação postural de idosas

Este estudo investigou a influência de características do estímulo visual e o efeito da intenção nas respostas do controle postural frente à manipulação visual de adultas idosas. As 20 participantes permaneceram em pé em uma sala móvel durante sete tentativas com duração de 1 minuto cada, olhando para um alvo fixo, medindo-se sua oscilação corporal. Na primeira tentativa não houve qualquer movimento da sala, porém a partir da segunda a sala foi movimentada no sentido ântero-posterior. Para dez participantes, a velocidade de pico da movimentação foi de 0,6 cm/s e, para as demais, de 1,0 cm/s. A partir da quinta tentativa, as participantes foram informadas do movimento da sala e orientadas a resistir à movimentação. Os resultados indicam que a oscilação corporal das idosas é induzida pelo movimento da sala móvel. Intenção e alteração da característica do estímulo visual reduzem a influência da informação visual na oscilação corporal, mas a manipulação de propriedade do estímulo (neste caso, velocidade), é menos efetiva que a intenção. Essa maior dependência da intenção para alterar a influência de um estímulo sensorial no controle postural indica que o funcionamento do sistema de controle postural em idosos não possibilita ajustes automáticos de respostas posturais frente a pequenas variações das condições ambientais. Iinformações sobre tais variações podem ser direcionadas de forma a compensar essa diferença.

Visual information and body sway coupling in infants during sitting acquisition

The purpose of this study was to examine if there is any developmental change in the coupling between visual information and trunk sway in infants as they acquire the sitting position. Twenty-four infants distributed in four groups (6-, 7-, 8-, and 9-month-old) were sat inside a moving room that oscillated back and forward at frequencies of 0.2 and 0.5 Hz. The results revealed that trunk sway matched to the moving room at both frequencies but did not differ among the four age groups. Coherence and gain revealed that the coupling was weaker at 0.2 than at 0.5 Hz. Relative phase showed that at 0.2 Hz, infants were swaying with no lag but at 0.5 Hz they were lagging the room. These results showed that the coupling between visual information and trunk sway in infants varies with the visual stimulus but does not change as infants acquire the sitting position. © 2001 Elsevier B.V.

Efeitos da manipulação do estímulo visual no controle postural nas faixas etárias de 4 a 14 anos de idade

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Informação visual no controle postural de crianças: efeito das características do estímulo

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Age-related differences in postural control: effects of the complexity of visual manipulation and sensorimotor contribution to postural performance

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Adaptive Visual Re-Weighting in Children's Postural Control

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

Dyslexic children suffer from less informative visual cues to control posture

The goal of this study was to investigate the effects of manipulation of the characteristics of visual stimulus on postural control in dyslexic children. A total of 18 dyslexic and 18 non-dyslexic children stood upright inside a moving room, as still as possible, and looked at a target at different conditions of distance between the participant and a moving room frontal wall (25-150 cm) and vision (full and central). The first trial was performed without vision (baseline). Then four trials were performed in which the room remained stationary and eight trials with the room moving, lasting 60 s each. Mean sway amplitude, coherence, relative phase, and angular deviation were calculated. The results revealed that dyslexic children swayed with larger magnitude in both stationary and moving conditions. When the room remained stationary, all children showed larger body sway magnitude at 150 cm distance. Dyslexic children showed larger body sway magnitude in central compared to full vision condition. In the moving condition, body sway magnitude was similar between dyslexic and non-dyslexic children but the coupling between visual information and body sway was weaker in dyslexic children. Moreover, in the absence of peripheral visual cues, induced body sway in dyslexic children was temporally delayed regarding visual stimulus. Taken together, these results indicate that poor postural control performance in dyslexic children is related to how sensory information is acquired from the environment and used to produce postural responses. In conditions in which sensory cues are less informative, dyslexic children take longer to process sensory stimuli in order to obtain precise information, which leads to performance deterioration. (C) 2014 Elsevier Ltd. All rights reserved.

Influência do tipo de estímulo visual na produção escrita de surdos sinalizadores sem queixas de alterações na escrita

OBJETIVO: Analisar a influência do tipo de estímulo visual sobre a produção escrita de surdos sinalizadores sem queixas de alterações na escrita. MÉTODOS: Participaram 14 surdos, de ambos os gêneros, com idades entre 8 e 13 anos, usuários da Língua Brasileira de Sinais, alunos da terceira e quarta séries do Ensino Fundamental de uma escola especial para surdos. Foram avaliados por meio de produções escritas baseadas em dois tipos de estímulos: uma sequência de quatro figuras e uma figura de ação. Cada produção foi pontuada de acordo com critérios adaptados da teoria das Competências Comunicativas (Genérica, Enciclopédica, e Linguística). RESULTADOS: Na análise da Competência Genérica não houve diferença entre as produções a partir da sequencia ou da figura de ação. Entretanto, notou-se que a figura de ação propiciou mais produções de gênero narrativo, enquanto as figuras em sequência eliciaram mais descrições. Quanto às Competências Enciclopédica e Linguística, ambos os estímulos visuais proporcionaram resultados semelhantes nas produções escritas. Tanto na Competência Enciclopédica quanto na Linguística, o desempenho dos surdos foi aquém do esperado para a faixa de escolaridade, demonstrando conhecimento parcial sobre a língua portuguesa escrita. No entanto, observou-se que as figuras sequenciadas propiciaram organização de ideias e coesão global um pouco mais elaboradas. CONCLUSÃO: Nenhum dos tipos de estímulo visual, seja figura de ação ou sequência de figuras, propicia melhores desempenhos de produção escrita de surdos sinalizadores sem queixas de alterações na escrita para a maior parte dos aspectos analisados.

Visual vector inversion during memory antisaccades--a TMS study

In the memory antisaccade task, subjects are instructed to look at an imaginary point precisely at the opposite side of a peripheral visual stimulus presented short time previously. To perform this task accurately, the visual vector, i.e., the distance between a central fixation point and the peripheral stimulus, must be inverted from one visual hemifield to the other. Recent data in humans and monkeys suggest that the posterior parietal cortex (PPC) might be critically involved in the process of visual vector inversion. In the present study, we investigated the temporal dynamics of visual vector inversion in the human PPC by using transcranial magnetic stimulation (TMS). In six healthy subjects, single pulse TMS was applied over the right PPC during a memory antisaccade task at four different time intervals: 100 ms, 217 ms, 333 ms, or 450 ms after target onset. The results indicate that for rightward antisaccades, i.e., when the visual target was presented in the left screen-half, TMS had a significant effect on saccade gain when applied 100 ms after target onset, but not later. For leftward antisaccades, i.e., when the visual target was presented in the right screen-half, a significant TMS effect on gain was found for the 333 ms and 450 ms conditions, but not for the earlier ones. This double dissociation of saccade gain suggests that the initial process of vector inversion can be disrupted 100 ms after onset of the visual stimulus and that TMS interfered with motor saccade planning based on an inversed vector signal at 333 ms and 450 ms after stimulus onset.

The effect of nontemporal stimulus size on perceived duration as assessed by the method of reproduction

Perceived duration is assumed to be positively related to nontemporal stimulus magnitude. Most recently, the finding that larger stimuli are perceived to last longer has been challenged to represent a mere decisional bias induced by the use of comparative duration judgments. Therefore, in the present study, the method of temporal reproduction was applied as a psychophysical procedure to quantify perceived duration. Another major goal was to investigate the influence of attention on the effect of visual stimulus size on perceived duration. For this purpose, an additional dual-task paradigm was employed. Our results not only converged with previous findings in demonstrating a functional positive relationship between nontemporal stimulus size and perceived duration, but also showed that the effect of stimulus size on perceived duration was not confined to comparative duration judgments. Furthermore, the effect of stimulus size proved to be independent of attentional resources allocated to stimulus size; nontemporal visual stimulus information does not need to be processed intentionally to influence perceived duration. Finally, the effect of nontemporal stimulus size on perceived duration was effectively modulated by the duration of the target intervals, suggesting a hitherto largely unrecognized role of temporal context for the effect of nontemporal stimulus size to become evident.

The Quiet Eye and Information Processing: Facilitation of Stimulus Identification and Response Selection

Background: A prerequisite for high performance in motor tasks is the acquisition of egocentric sensory information that must be translated into motor actions. A phenomenon that supports this process is the Quiet Eye (QE) defined as long final fixation before movement initiation. It is assumed that the QE facilitates information processing, particularly regarding movement parameterization. Aims: The question remains whether this facilitation also holds for the information-processing stage of response selection and – related to perception crucial – stage of stimulus identification. Method: In two experiments with sport science students, performance-enhancing effects of experimentally manipulated QE durations were tested as a function of target position predictability and target visibility, thereby selectively manipulating response selection and stimulus identification demands, respectively. Results: The results support the hypothesis of facilitated information processing through long QE durations since in both experiments performance-enhancing effects of long QE durations were found under increased processing demands only. In Experiment 1, QE duration affected performance only if the target position was not predictable and positional information had to be processed over the QE period. In Experiment 2, in a full vs. no target visibility comparison with saccades to the upcoming target position induced by flicker cues, the functionality of a long QE duration depended on the visual stimulus identification period as soon as the interval falls below a certain threshold. Conclusions: The results corroborate earlier findings that QE efficiency depends on demands put on the visuomotor system, thereby furthering the assumption that the phenomenon supports the processes of sensorimotor integration.

Luz industrial e imagen tecnificada: de Moholy Nagy al C.A.V.S. (Center for Advanced Visual Studies)

El desarrollo de la tecnología de la luz implicará la transformación de la vida social, cultural y económica. Tanto las consideraciones espaciales del Movimiento Moderno, como los efectos producidos por la segunda Guerra Mundial, tendrán efectos visibles en las nuevas configuraciones espaciales y en la relación simbiótica y recíproca que se dará entre ideología y tecnología. La transformación en la comprensión de la articulación espacial, asociada al desarrollo tecnológico, afectará al modo en que este espacio es experimentado y percibido. El espacio expositivo y el espacio escénico se convertirán en laboratorio práctico donde desarrollar y hacer comprensible todo el potencial ilusorio de la luz, la proyección y la imagen, como parámetros modificadores y dinamizadores del espacio arquitectónico. Esta experimentación espacial estará precedida por la investigación y creación conceptual en el mundo plástico, donde los nuevos medios mecánicos serán responsables de la construcción de una nueva mirada moderna mediatizada por los elementos técnicos. La experimentación óptica, a través de la fotografía, el cine, o el movimiento de la luz y su percepción, vinculada a nuevos modos de representación y comunicación, se convertirá en elemento fundamental en la configuración espacial. Este ámbito de experimentación se hará patente en la Escuela de la Bauhaus, de la mano de Gropius, Schlemmer o Moholy Nagy entre otros; tanto en reflexiones teóricas como en el desarrollo de proyectos expositivos, arquitectónicos o teatrales, que evolucionarán en base a la tecnología y la modificación de la relación con el espectador. El espacio expositivo y el espacio escénico se tomarán como oportunidad de investigación espacial y de análisis de los modos de percepción, convirtiéndose en lugares de experimentación básicos para el aprendizaje. El teatro se postula como punto de encuentro entre el arte y la técnica, cobrando especial importancia la intersección con otras disciplinas en la definición espacial. Las múltiples innovaciones técnicas ligadas a los nuevos fundamentos teatrales en la modificación de la relación con la escena, que se producen a principios del siglo XX, tendrán como consecuencia la transformación del espacio en un espacio dinámico, tanto física como perceptivamente, que dará lugar a nuevas concepciones espaciales, muchas de ellas utópicas. La luz, la proyección y la creación de ilusión en base a estímulos visuales y sonoros, aparecen como elementos proyectuales efímeros e inmateriales, que tendrán una gran incidencia en el espacio y su modo de ser experimentado. La implicación de la tecnología en el arte conllevará modificaciones en la visualización, así como en la configuración espacial de los espacios destinados a esta. Destacaremos como propuesta el Teatro Total de Walter Gropius, en cuyo desarrollo se recogen de algún modo las experiencias espaciales y las investigaciones desarrolladas sobre la estructura formal de la percepción realizadas por Moholy Nagy, además de los conceptos acerca del espacio escénico desarrollados en el taller de Teatro de la Bauhaus por Oskar Schlemmer. En el Teatro Total, Gropius incorporará su propia visión de cuestiones que pertenecen a la tradición de la arquitectura teatral y las innovaciones conceptuales que estaban teniendo lugar desde finales del s.XIX, tales como la participación activa del público o la superación entre escena y auditorio, estableciendo en el proyecto una nueva relación perceptual entre sala, espectáculo y espectador; aumentando la sensación de inmersión, a través del uso de la física, la óptica, y la acústica, creando una energía concéntrica capaz de extenderse en todas direcciones. El Teatro Total será uno de los primeros ejemplos en los que desde el punto de partida del proyecto, se conjuga la imagen como elemento comunicativo con la configuración espacial. Las nuevas configuraciones escénicas tendrán como premisa de desarrollo la capacidad de transformación tanto perceptiva, como física. En la segunda mitad del s.XX, la creación de centros de investigación como el CAVS (The Center for Advanced Visual Studies,1967), o el EAT (Experiments in Art and Technology, 1966), favorecerán la colaboración interdisciplinar entre arte y ciencia, implicando a empresas de carácter tecnológico, como Siemens, HP, IBM o Philips, facilitando soporte técnico y económico para el desarrollo de nuevos sistemas. Esta colaboración interdisciplinar dará lugar a una serie de intervenciones espaciales que tendrán su mayor visibilidad en algunas Exposiciones Universales. El resultado será, en la mayoría de los casos, la creación de espacios de carácter inmersivo, donde se establecerá una relación simbiótica entre espacio, imagen, sonido, y espectador. La colocación del espectador en el centro de la escena y la disposición dinámica de imagen y sonido, crearán una particular narrativa espacial no lineal, concebida para la experiencia. Desde las primeras proyecciones de cine a la pantalla múltiple de los Eames, las técnicas espaciales de difusión del sonido en Stockhausen, o los experimentos con el movimiento físico interactivo, la imagen, la luz en movimiento y el sonido, quedan inevitablemente convertidos en material arquitectónico. ABSTRACT. Light technology development would lead to a social, cultural and economic transformation. Both spatial consideration of “Modern Movement” and Second World War effects on technology, would have a visible aftereffect on spatial configuration and on the symbiotic and mutual relationship between ideology & technology. Comprehension adjustment on the articulation of space together with technology development, would impact on how space is perceived and felt. Exhibition space and scenic space would turn into a laboratory where developing and making comprehensive all illusory potential of light, projection and image. These new parameters would modify and revitalize the architectonic space. as modifying and revitalizing parameters of architectonic space. Spatial experimentation would be preceded by conceptual creation and investigation on the sculptural field, where new mechanic media would be responsible for a fresh and modern look influenced by technical elements. Optical experimentation, through photography, cinema or light movement and its perception, would turn into essential components for spatial arrangement linked to new ways of performance and communication. This experimentation sphere would be clear at The Bauhaus School, by the hand of Gropius, Schlemmer or Moholy Nag among others; in theoretical, theatrical or architectural performance’s projects, that would evolve based on technology and also based on the transformation of the relationship with the observer. Exhibition and perfor-mance areas would be taken as opportunities of spatial investigation and for the analysis of the different ways of perception, thus becoming key places for learning. Theater is postulated as a meeting point between art and technique, taking on a new significance at its intersection with other disciplines working with spatial definition too. The multiple innovation techniques linked to the new foundations for the theater regarding stage relation, would have as a consequence the regeneration of the space. Space would turn dynamic, both physically and perceptibly, bringing innovative spatial conceptions, many of them unrealistic. Light, projection and illusory creation based on sound and visual stimulus would appear as intangible and momentary design components, which would have a great impact on the space and on the way it is experienced. Implication of technology in art would bring changes on the observer as well as on the spatial configuration of the art spaces2. It would stand out as a proposal Walter Groupis Total Theater, whose development would include somehow the spatial experiments and studies about formal structure of perception accomplished by Moholy Nagy besides the concepts regarding stage space enhanced at the Bauhaus Theater Studio by Oskar Schlemmer. Within Total Theater, Groupis would incorporate his own view about traditional theatric architecture and conceptual innovations that were taking place since the end of the nineteenth century, such as active audience participation or the diffusing limits between scene and audience, establishing a new perception relationship between auditorium, performance and audience, improving the feeling of immersion through the use of physics, optics and acoustics, creating a concentric energy capable of spreading in all directions. Total Theater would be one of the first example in which, from the beginning of the Project, image is combined as a communicating element with the spatial configuration. As a premise of development, new stage arrangement would have the capacity of transformation, both perceptive and physically. During the second half or the twentieth century, the creation of investigation centers such as CAVS (Center for Advanced Visual Studies, 1967) or EAT (Experiments in Art and Technology, 1966), would help to the interdisciplinary collaboration between art and science, involving technology companies like Siemens, HP, IBM or Philips, providing technical and economic support to the development of new systems. This interdisciplinary collaboration would give room to a series of spatial interventions which would have visibility in some Universal Exhibitions. The result would be, in most cases, the creation of immersive character spaces, where a symbiotic relationship would be stablished between space, image, sound and audience. The new location of the audience in the middle of the display, together with the dynamic arrangement of sound and image would create a particular, no lineal narrative conceived to be experienced. Since the first cinema projections, the multiple screen of Eames, the spatial techniques for sound dissemination at Stockhausen or the interactive physical movement experimentation, image, motion light and sound would turn inevitably into architectural material.

Neural mechanisms for visual memory and their role in attention

Recent studies show that neuronal mechanisms for learning and memory both dynamically modulate and permanently alter the representations of visual stimuli in the adult monkey cortex. Three commonly observed neuronal effects in memory-demanding tasks are repetition suppression, enhancement, and delay activity. In repetition suppression, repeated experience with the same visual stimulus leads to both short- and long-term suppression of neuronal responses in subpopulations of visual neurons. Enhancement works in an opposite fashion, in that neuronal responses are enhanced for objects with learned behavioral relevance. Delay activity is found in tasks in which animals are required to actively hold specific information “on-line” for short periods. Repetition suppression appears to be an intrinsic property of visual cortical areas such as inferior temporal cortex and is thought to be important for perceptual learning and priming. By contrast, enhancement and delay activity may depend on feedback to temporal cortex from prefrontal cortex and are thought to be important for working memory. All of these mnemonic effects on neuronal responses bias the competitive interactions that take place between stimulus representations in the cortex when there is more than one stimulus in the visual field. As a result, memory will often determine the winner of these competitions and, thus, will determine which stimulus is attended.