Texture segmentation in Williams syndrome

Williams syndrome (WS) is a developmental disorder in which visuo-spatial cognition is poor relative to verbal ability. At the level of visuo-spatial perception, individuals with WS can perceive both the local and global aspects of an image. However, the manner in which local elements are integrated into a global whole is atypical, with relative strengths in integration by luminance, closure, and alignment compared to shape, orientation and proximity. The present study investigated the manner in which global images are segmented into local parts. Segmentation by seven gestalt principles was investigated: proximity, shape, luminance, orientation, closure, size (and alignment: Experiment I only). Participants were presented with uniform texture squares and asked to detect the presence of a discrepant patch (Experiment 1) or to identify the form of a discrepant patch as a capital E or H (Experiment 2). In Experiment 1, the pattern and level of performance of the WS group did not differ from that of typically developing controls, and was commensurate with the general level of non-verbal ability observed in WS. These results were replicated in Experiment 2, with the exception of segmentation by proximity, where individuals with WS demonstrated superior performance relative to the remaining segmentation types. Overall, the results suggest that, despite some atypical aspects of visuo-spatial perception in WS, the ability to segment a global form into parts is broadly typical in this population. In turn, this informs predictions of brain function in WS, particularly areas V1 and V4. (c) 2006 Elsevier Ltd. All rights reserved.

Reality monitoring and visual hallucinations in Parkinson's disease

Between 8 and 40% of Parkinson disease (PD) patients will have visual hallucinations (VHs) during the course of their illness. Although cognitive impairment has been identified as a risk factor for hallucinations, more specific neuropsychological deficits underlying such phenomena have not been established. Research in psychopathology has converged to suggest that hallucinations are associated with confusion between internal representations of events and real events (i.e. impaired-source monitoring). We evaluated three groups: 17 Parkinson's patients with visual hallucinations, 20 Parkinson's patients without hallucinations and 20 age-matched controls, using tests of visual imagery, visual perception and memory, including tests of source monitoring and recollective experience. The study revealed that Parkinson's patients with hallucinations appear to have intact visual imagery processes and spatial perception. However, there were impairments in object perception and recognition memory, and poor recollection of the encoding episode in comparison to both non-hallucinating Parkinson's patients and healthy controls. Errors were especially likely to occur when encoding and retrieval cues were in different modalities. The findings raise the possibility that visual hallucinations in Parkinson's patients could stem from a combination of faulty perceptual processing of environmental stimuli, and less detailed recollection of experience combined with intact image generation. (C) 2002 Elsevier Science Ltd. All fights reserved.

Percepção e ação: direções teóricas e experimentais atuais

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Percepcao de espaco e a formacao do horizonte geografico.

The division of the population into income groups is a determinant of spatial perception differentiated by people for the structuring of geographical limits. The analysis, when cartographic, can however show the distortion of reality.-translated by C.Wilson

Percepção da distância egocêntrica em idosos ativos e sedentários

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Indução ao esforço e seus efeitos em parâmetros da percepção espacial de indivíduos atletas deficientes visuais e não deficientes

Pós-graduação em Ciências da Motricidade - IBRC

Espaço e identidade visual: uma investigação sobre soluções de design para empresas

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Parâmetros construtivos de kirigami tridimensional de 90 graus de abertura

Origami folds and kirigami cuts merged in an oriental technique called Origamic Architecture (or 3D kirigami) that has intrinsic relationships with geometry as well as these paper arts. Despite its potential, it is not very used as a didactic resource because of the lack of parameters in its construction. There are many studies about programs development and computational language to help the design of pop-up structures, as origamic architecture is also known. However, there are few studies concerning the study of positioning the lines and creases, which is essential in the process of creating a 3D kirigami design, especially in the development of spatial perception of the figure. Limited to the 90o open type models, this article is about the establishment of some initial guidelines for design of an origamic architecture through visual elements as point, line and shape. It is presented some basic models to illustrate the constructive parameters detected as well as some models elaborated by the author, showing the viability of the guidelines established.

Lo spazio senso-motorio come rappresentazione dei comportamenti intersoggettivi. Una nuova ipotesi sperimentale dalla filosofia alle neuroscienze

La ricerca ha preso le mosse da tre ipotesi fondamentali: 1) Esiste un legame tra processi cognitivi di basso ed alto livello; 2) Lo spazio senso-motorio è una percezione soggettiva; 3) Lo spazio senso-motorio varia in funzione delle diverse modalità di interazione sociale. La tesi sostiene che lo spazio senso-motorio si lascia modulare dalla semplice co-presenza di un altro agente umano e da interazioni cooperative e non cooperative. I capitoli I, II, III, hanno lo scopo di scomporre e spiegare il significato della prima, seconda e terza ipotesi; giungendo a formulare la tesi centrale che sarà poi dimostrata sperimentalmente nel capitolo IV. Il capitolo V introduce future linee di ricerca nell’ambito dell’etica proponendo una nuova ipotesi sul legame che potrebbe sussistere tra la percezione dello spazio durante l’interazione sociale e i giudizi morali. Il lavoro svolto chiama ad operare insieme diverse discipline che concorrono a formare le scienze cognitive: la storia della filosofia, la filosofia della mente contemporanea, la neuropsicologia sperimentale ed alcuni temi della psicologia sociale.

A virtual environment for the assessment and the rehabilitation of the visuo-constructional ability in dementia patients

This study proposes a VE that offers a reliable diagnosis of the stage of cognitive decline in dementia patients and assists the delay of this decline in terms of the visuo-constructional ability. The proposed VE, in the case of the assessment, presents a visuo-constructional completion task, which requires spatial perception, motor memory and the perception of the target object. In the case of the rehabilitation the VE uses sound as audio-feedback that, with the aid of the music perception, tends to develop an enhancement in the visuo-construction ability of the dementia patients that can be generalized even outside of the VE. The study examined 30 subjects that were normal controls (N), 30 patients suffering from memory disorders (Age-Associated Memory Impairment--AAMI) and 30 suffering from Alzheimer's Disease (AD). The results showed that there is a significant correlation between the performance in the visuo-constructional task and the dementia diagnosis. It also seems that the visuo-constructional ability of the (AD) patients can be statistically improved by the audio experience in the VE. The empirical results of this study offer an alternative diagnosis and treatment of dementia patients and could share some light in the brain sub-systems that are responsible for the visuo-constructional ability. Further studies are required in order to investigate the nature of this phenomenon more.

Pulsiones del espacio : Oteiza y la aproximación a la arquitectura como vacío activo

Este trabajo se centra en el estudio de las investigaciones de Jorge Oteiza en torno a la funcionalidad estética del espacio, en especial, en la actividad artística que desarrolló en el año 1958, un año decisivo en la vida del escultor en el que dio por finalizado su proceso de experimentación sobre la naturaleza espacial de la estatua. En este desenlace tuvo un papel fundamental la relación funcional que planteó, a la hora de retomar su trabajo después de su triunfo en la IV Bienal de São Paulo de 1957, entre la escultura y la arquitectura. La primera, entendida como organismo puramente espacial, debía de responder a las condiciones de su mundo circundante, el espacio arquitectónico. Su función: acondicionarlo estéticamente para satisfacer las necesidades espirituales del habitante. Siguiendo el canon estético que para la escultura acababa de anunciar en Brasil, la desocupación espacial (la liberación de la energía espacial de la estatua, el rompimiento de la neutralidad del espacio libre) no se trataba de embellecer superficialmente la arquitectura sino de activar su vacío interior. Oteiza, que siempre estuvo muy interesado por la arquitectura y que había colaborado con anterioridad en numerosas ocasiones con los mejores arquitectos del país, fue durante este año cuando profundizó de manera más sistemática (teórica y prácticamente) sobre la relación arte-arquitectura. De hecho, él mismo nombraba como el último trabajo de su línea de experimentación en escultura a su propuesta para el concurso del Monumento a José Batlle en Montevideo, que junto al arquitecto Roberto Puig acabaron a finales de año. En el proyecto se planteaba a escala urbana, y como ejemplo concreto, el modelo teórico de integración arquitectura + (arte=0) que había elaborado los meses anteriores, la integración vacía. En el texto explicativo que acompañaba al proyecto (un texto que desbordaba los límites de una memoria al uso) demandaba la necesidad de la toma de conciencia estética del espacio, como acto de libertad individual, y declaraba el fin del rol de espectador del hombre frente a la obra de arte, reclamando su participación activa en la misma. Para él, la noción del espacio estético no era una condición innata en el hombre, se descubría, se aprendía, evolucionaba y se olvidaba (una vez convertido en hábito). Frente a la ceguera de la sensibilidad espacial del hombre, proponía la educación de la percepción espacial, condicionar emocionalmente la reflexión espontánea ante el juego espacial de las formas en la naturaleza y el espectáculo natural de la ciudad. Aprender a leer el lenguaje emocional del espacio, a pensar visualmente. La obra de arte era así un catalizador espiritual del contorno del mundo, modificador de la vida espacial circundante que corregía hábitos visuales y condicionaba estímulos y reflejos. Desde una resonancia afectiva con la definición psicológica del término (como energía psíquica profunda que invita o incita a pasar a la acción), a diferencia del instinto, la pulsión (siendo la fuente de toda conducta espontánea) es susceptible de ser modificada por la experiencia, por la educación, por la cultura, por el deseo. Es desde esta aproximación en términos de energía desde la que se propone la noción pulsiones del espacio como fórmula (reversible) entre la energía espacial liberada en el proceso de desocupación definido por Oteiza y caracterizadora de la obra como vacío activo (en escultura, en arquitectura), y la energía psíquica profunda que invita o incita a la toma de posesión del espacio (la voluntad espacial absoluta con la que Oteiza definía su modelo de arte=0, cero como expresión formal). Si el hombre modifica su entorno al mismo tiempo que es condicionado por él, es indispensable una conciencia estética del espacio que le enseñe, de entre todas las posibilidades que este le ofrece, qué es lo que necesita (qué es lo que le falta), para tomar posesión de él, para un efectivo ser o existir en el espacio. Es desde esta caracterización como energía por lo que las pulsiones del espacio se sitúan entre el hombre y su entorno (construido) y permiten la transformación entre energía espacial y energía psíquica; entre su hábitat y sus hábitos. Por estas mismas fechas, Oteiza definía una casa como un conjunto articulado de vacíos activos, como una obra de plástica pura que no es arte sino en función del habitante. Es este habitante, educado en la toma de conciencia estética del espacio, el que participando activamente en la interpretación de los espacios previstos por el arquitecto, sintiendo y movido por las pulsiones del espacio, hará uso adecuado de la arquitectura; pasando de un arte como objeto a un arte como comportamiento, transformará su habitar en un arte, el arte de habitar. ABSTRACT This work focuses on the study of Jorge Oteiza’s investigations on the aesthetic functionality of space, especially on his artistic activity developed in 1958, a decisive year in the life of the sculptor, in which he gave end to his process of experimentation on the spatial nature of the statue. In this outcome it was fundamental the functional relationship that he propounded, at the time of returning to work after his triumph in the IV Bienal de São Paulo in 1957, between sculpture and architecture. The first, understood as a purely spatial organism, should respond to the conditions of its environment (umwelt), the architectonic space. Its function: set it up aesthetically to meet the spiritual needs of the inhabitant. Following the aesthetic canon that he had just announced in Brazil for sculpture, the spatial disoccupation (the liberation of the spatial energy of the statue, the breaking of the neutrality of the free space) the aim was not to superficially beautify architecture but to activate its inner void. Oteiza, who had always been very interested in architecture and who had previously collaborated on numerous occasions with the best architects in the country, was in this year when he deepened in a more systematic way (theoretically and practically) about the art-architecture relationship. In fact, he named as the last work of his line of experimentation in sculpture to his proposal for the competition of the Monument to José Batlle in Montevideo, which, developed together with the architect Roberto Puig, was ended at the end of the year. The project proposed on an urban scale, and as a concrete example, the theoretical model of integration architecture + (art = 0) which he had elaborated the previous months, the empty integration. In the explanatory text accompanying the project (a text that exceeded the normal extents of a competition statement) he demanded the need of the aesthetic awareness of space, as an act of individual freedom, and it declared the end of the role of man as passive spectator in front of the work of art, claiming his actively participation in it. For him, the notion of the aesthetic space was not an inborn condition in man; first it was discovered, then learned, evolved and finally forgotten (once converted into a habit). To counteract blindness of the spatial sensitivity of man, he proposed the education of spatial perception, to emotionally influence the spontaneous reflection in front of the spatial game of forms in nature and the natural spectacle of the city. Learn to read the emotional language of space, to think visually. The work of art was thus a spiritual catalyst of the world’s contour, a modifier of the surrounding spatial life that corrected visual habits and conditioned stimuli and reflexes. From an emotional resonance with the psychological definition of the term (such as deep psychic power that invites or urges action), as opposed to instinct, drive (being the source of all spontaneous behavior) is likely to be modified by experience, by education, by culture, by desire. It is from this approach in terms of energy from which the notion drives of space is proposed, as a (reversible) formula between the spatial energy released in the process of disoccupation defined by Oteiza and characterizing of the work as a charged void (in sculpture, in architecture), and the deep psychic energy that invites or encourages the taking possession of the space (the absolute spatial will with which Oteiza defined its model of Art = 0, zero as a formal expression). If man changes his environment at the same time that is conditioned by it, it is essential an aesthetic awareness of space that shows him, among all the possibilities that it offers, what he needs (what is what he lacks), in order to take possession of it, for an effective being or existing in space. It is this characterization as energy by what drives of space lie between man and his (built) environment and allow the transformation between spatial and psychological energy; between his habitat and his habits. Around this same time, Oteiza defined a House as an articulated set of charged voids, as a work of pure plastic that is not art but according to the inhabitant. It is this inhabitant, educated in aesthetic awareness of space, who actively participating in the interpretation of the spaces provided by the architect, feeling and moved by the drives of the space, will make proper use of the architecture; from an art as object to an art as behavior, he will transform his inhabitation into an art, the art of inhabitation.

Dynamic occupational therapy cognitive assessment for children: Perceived utility in Australian occupational therapy practice

Background and Aim: The Dynamic Occupational Therapy Cognitive Assessment for Children (DOTCA-Ch), recently developed in Israel, assesses the cognitive areas: orientation, spatial perception, praxis, visuomotor construction and thinking operations of 6- to 12-year-old children. The dynamic aspect, which incorporates mediation and prompting, has been presented as a valuable clinical feature of this new assessment. This study investigated the cultural suitability, dynamic nature and comprehensiveness of the DOTCA-Ch as a single cognitive assessment for occupational therapy practice in Australia. Methods: Twenty-three paediatric occupational therapists participated in three tutorial and video demonstrations, which were then followed by a group interview. Results and Conclusion: Thematic analysis of transcripts identified four main themes: appropriateness of assessment tasks, language, mediation and clinical utility. Within each theme, the participants raised both positive and negative features. This paper highlights occupational therapists' mixed views on the clinical utility of this assessment in Australia. Limitations of this study and areas for further research are suggested

Neural Dynamics of Motion Perception, Recognition Learning, and Spatial Attention

Advanced Research Projects Agency (ONR N00014-92-J-4015); National Science Foundation (IRI-90-24877); Office of Naval Research (N00014-91-J-4100)

Spatial hearing and sound perception in musical composition

This thesis explores the possibilities of spatial hearing in relation to sound perception, and presents three acousmatic compositions based on a musical aesthetic that emphasizes this relation in musical discourse. The first important characteristic of these compositions is the exclusive use of sine waves and other time invariant sound signals. Even though these types of sound signals present no variations in time, it is possible to perceive pitch, loudness, and tone color variations as soon as they move in space due to acoustic processes involved in spatial hearing. To emphasize the perception of such variations, this thesis proposes to divide a tone in multiple sound units and spread them in space using several loudspeakers arranged around the listener. In addition to the perception of sound attribute variations, it is also possible to create rhythm and texture variations that depend on how sound units are arranged in space. This strategy permits to overcome the so called "sound surrogacy" implicit in acousmatic music, as it is possible to establish cause-effect relations between sound movement and the perception of sound attribute, rhythm, and texture variations. Another important consequence of using sound fragmentation together with sound spatialization is the possibility to produce diffuse sound fields independently from the levels of reverberation of the room, and to create sound spaces with a certain spatial depth without using any kind of artificial sound delay or reverberation.