The contributions of sensory dominance and attentional bias to cross-modal enhancement of visual cortex excitability.

Approaching or looming sounds (L-sounds) have been shown to selectively increase visual cortex excitability [Romei, V., Murray, M. M., Cappe, C., & Thut, G. Preperceptual and stimulus-selective enhancement of low-level human visual cortex excitability by sounds. Current Biology, 19, 1799-1805, 2009]. These cross-modal effects start at an early, preperceptual stage of sound processing and persist with increasing sound duration. Here, we identified individual factors contributing to cross-modal effects on visual cortex excitability and studied the persistence of effects after sound offset. To this end, we probed the impact of different L-sound velocities on phosphene perception postsound as a function of individual auditory versus visual preference/dominance using single-pulse TMS over the occipital pole. We found that the boosting of phosphene perception by L-sounds continued for several tens of milliseconds after the end of the L-sound and was temporally sensitive to different L-sound profiles (velocities). In addition, we found that this depended on an individual's preferred sensory modality (auditory vs. visual) as determined through a divided attention task (attentional preference), but not on their simple threshold detection level per sensory modality. Whereas individuals with "visual preference" showed enhanced phosphene perception irrespective of L-sound velocity, those with "auditory preference" showed differential peaks in phosphene perception whose delays after sound-offset followed the different L-sound velocity profiles. These novel findings suggest that looming signals modulate visual cortex excitability beyond sound duration possibly to support prompt identification and reaction to potentially dangerous approaching objects. The observed interindividual differences favor the idea that unlike early effects this late L-sound impact on visual cortex excitability is influenced by cross-modal attentional mechanisms rather than low-level sensory processes.

Bilateral Sequential NAION: A Comparison of Visual Outcomes in Fellow Eyes Using Quantitative Analysis of Goldmann Visual Fields

Purpose: Previous studies of the visual outcome in bilateral non-arteritic anterior ischemic optic neuropathy (NAION) have yielded conflicting results, specifically regarding congruity between fellow eyes. Prior studies have used measures of acuity and computerized perimetry but none has compared Goldmann visual field outcomes between fellow eyes. In order to better define the concordance of visual loss in this condition, we reviewed our cases of bilateral sequential NAION, including measures of visual acuity, pupillary function and both pattern and severity of visual field loss.Methods: We performed a retrospective chart review of 102 patients with a diagnosis of bilateral sequential NAION. Of the 102 patients, 86 were included in the study for analysis of final visual outcome between the affected eyes. Visual function was assessed using visual acuity, Goldmann visual fields, color vision and RAPD. A quantitative total visual field score and score per quadrant was analyzed for each eye using the numerical Goldmann visual field scoring method previously described by Esterman and colleagues. Based upon these scores, we calculated the total deviation and pattern deviation between fellow eyes and between eyes of different patients. Statistical significance was determined using nonparametric tests.Results: A statistically significant correlation was found between fellow eyes for multiple parameters, including logMAR visual acuity (P = 0.0101), global visual field (P = 0.0001), superior visual field (P = 0.0001), and inferior visual field (P = 0.0001). In addition, the mean deviation of both total (P = 0.0000000007) and pattern (P = 0.000000004) deviation analyses was significantly less between fellow eyes ("intra"-eyes) than between eyes of different patients ("inter"-eyes).Conclusions: Visual function between fellow eyes showed a fair to moderate correlation that was statistically significant. The pattern of vision loss was also more similar in fellow eyes than between eyes of different patients. These results may help allow better prediction of visual outcome for the second eye in patients with NAION. These findings may also be useful for evaluating efficacy of therapeutic interventions.

Leitura de imagens, cultura visual e prática educativa

Quase tudo do pouco que sabemos sobre o conhecimento produzido nos chega pelos meios de informação e comunicação. Estes, por sua vez, também constroem imagens do mundo. Imagens para deleitar, entreter, vender, sugerindo o que devemos vestir, comer, aparentar, pensar. Em nossa sociedade contemporânea discute-se a necessidade de uma alfabetização visual, que se expressa em várias designações, como leitura de imagens e compreensão crítica da cultura visual. Freqüentes mudanças de expressões e conceitos dificultam o entendimento dessas propostas para o currículo escolar, assim como a própria definição do professor ou professora que será responsável por esse conhecimento e seu referencial teórico. Este artigo apresenta os conceitos que fundamentam as propostas da leitura de imagens e cultura visual, sinalizando suas proximidades e distâncias. Contrasta alguns referenciais teóricos da antropologia, arte, educação, história, sociologia, e sugere linhas de trabalho em ambientes de aprendizagem para que se possa refletir a permanente formação docente.

Performance anxiety : cardiorespiratory activity in high- and low-anxious professional music students in a performance situation

Questionnaire studies indicate that high-anxious musicians may suffer from hyperventilation symptoms before and/or during performance. Reported symptoms include amongst others shortness of breath, fast or deep breathing, dizziness and thumping heart. A self-report study by Widmer, Conway, Cohen and Davies (1997) shows that up to seventy percent of the tested highly anxious musicians are hyperventilators during performance. However, no study has yet tested if these self-reported symptoms reflect actual cardiorespiratory changes just before and during performance. Disturbances in breathing patterns and hyperventilation may negatively affect the performance quality in stressful performance situations. The main goal of this study is to determine if music performance anxiety is manifest physiologically in specific correlates of cardiorespiratory activity. We studied 74 professional music students of Swiss Music Universities divided into two groups (high- and lowanxious) based on their self-reported performance anxiety (State-Trait Anxiety Inventory by Spielberger). The students were tested in three distinct situations: baseline, performance without audience, performance with audience. We measured a) breathing patterns, end-tidal carbon dioxide, which is a good non-invasive estimator for hyperventilation, and cardiac activation and b) self-perceived emotions and self-perceived physiological activation. Analyses of heart rate, respiratory rate, self-perceived palpitations, self-perceived shortness of breath and self-perceived anxiety for the 15 most and the 15 least anxious musicians show that high-anxious and low-anxious music students have a comparable physiological activation during the different measurement periods. However, highanxious music students feel significantly more anxious and perceive significantly stronger palpitations and significantly stronger shortness of breath just before and during a public performance. The results indicate that low- and high-anxious music students a) do not differ in the considered physiological responses and b) differ in the considered self-perceived physiological symptoms and the selfreported anxiety before and/or during a public performance.

Visual-gustatory interaction: orbitofrontal and insular cortices mediate the effect of high-calorie visual food cues on taste pleasantness.

Vision provides a primary sensory input for food perception. It raises expectations on taste and nutritional value and drives acceptance or rejection. So far, the impact of visual food cues varying in energy content on subsequent taste integration remains unexplored. Using electrical neuroimaging, we assessed whether high- and low-calorie food cues differentially influence the brain processing and perception of a subsequent neutral electric taste. When viewing high-calorie food images, participants reported the subsequent taste to be more pleasant than when low-calorie food images preceded the identical taste. Moreover, the taste-evoked neural activity was stronger in the bilateral insula and the adjacent frontal operculum (FOP) within 100 ms after taste onset when preceded by high- versus low-calorie cues. A similar pattern evolved in the anterior cingulate (ACC) and medial orbitofrontal cortex (OFC) around 180 ms, as well as, in the right insula, around 360 ms. The activation differences in the OFC correlated positively with changes in taste pleasantness, a finding that is an accord with the role of the OFC in the hedonic evaluation of taste. Later activation differences in the right insula likely indicate revaluation of interoceptive taste awareness. Our findings reveal previously unknown mechanisms of cross-modal, visual-gustatory, sensory interactions underlying food evaluation.

Changes in volume, surface estimate, three-dimensional shape and total number of neurons of the human primary visual cortex from midgestation until old age.

Macroscopic features such as volume, surface estimate, thickness and caudorostral length of the human primary visual cortex (Brodman's area 17) of 46 human brains between midgestation and 93 years were studied by means of camera lucida drawings from serial frontal sections. Individual values were best fitted by a logistic function from midgestation to adulthood and by a regression line between adulthood and old age. Allometric functions were calculated to study developmental relationships between all the features. The three-dimensional shape of area 17 was also reconstructed from the serial sections in 15 cases and correlated with the sequence of morphological events. The sulcal pattern of area 17 begins to develop around 21 weeks of gestation but remains rather simple until birth, while it becomes more convoluted, particularly in the caudal part, during the postnatal period. Until birth, a large increase in cortical thickness (about 83% of its mean adult value) and caudorostral length (69%) produces a moderate increase in cortical volume (31%) and surface estimate (40%) of area 17. After birth, the cortical volume and surface undergo their maximum growth rate, in spite of a rather small increase in cortical thickness and caudorostral length. This is due to the development of the pattern of gyrification within and around the calcarine fissure. All macroscopic features have reached the mean adult value by the end of the first postnatal year. With aging, the only features to undergo significant regression are the cortical surface estimate and the caudorostral length. The total number of neurons in area 17 shows great interindividual variability at all ages. No decrease in the postnatal period or in aging could be demonstrated.

Us explico un conte? Ús de llibres il·lustrats per a la didàctica de l'educació visual i plàstica

L'objectiu d'aquest article és promoure la incorporació de llibres il-lustrats a l'espai docent, tot defensant la interacció entre escola i entorn. Amb aquesta intenció es presenta una experiència docent que es du a terme a les classes de Didàctica de l'Educació Visual i Plàstica (UB), en la formació inicial del professorat d'educació primària, que empra el llibre il-lustrat com a eina docent. Es tracta d'un corpus d'obres de gran qualitat, la temàtica dels quals està relacionada amb el fet artístic i la seva didàctica. Amb l'ús a les aules universitàries d'aquest tipus de llibres es volen aconseguir principalment tres objectius: donar-los a conèixer als futurs mestres per a la seva formació i perquè els puguin compartir amb els seus futurs alumnes a les aules d'Educació Primària; tractar temes específics de l'àrea de plàstica, i fomentar la reflexió sobre la pràctica docent o altres temes específics.

La didàctica de l'educació visual i plàstica, entre el discurs visual i el discurs estètic. La perversió del model

El presente trabajo es el resultado de un año de investigación de campo y de estudio bibliográfico, que se formalizó en un proyecto educativo dirigido a alumnos de 3 de secundaria en la área de educación visual y plástica. " Las manos" , título del proyecto, se presentó como una alternativa en la didáctica de la educación visual y plástica cuando se plantea desde un aprendizaje lineal, desde un modelo. El planteamiento consistió en potenciar la comprensión y expresión artísticas a partir de la interrelación de otras áreas de conocimiento con la visual y plástica para sensibilizar al alumno en la importancia que tiene el proceso en el acto creativo. Valorar el proceso facilitó la asimilación de conceptos como figuración, abstracción y síntesis tan importantes para entender el hecho artístico. La valoración positiva del proyecto no pretende contraponer dos metodologías diferentes: la lineal con modelos y la que se presenta en espiral, inductiva, con referentes que no tienen que ser necesariamente visuales. Las dos opciones pueden actuar en simbiosis siempre que el alumno sepa percibir el significado que quiere dar a su obra y que todo no quede en una pura representación decorativa.

Dins el bosc de la cultura visual. Apunts per a una actualització pedagògica

L'era de la comunicació acara la comunitat educativa davant de nous reptes, especialment en l'àmbit de la cultura visual. La cultura visual es manifesta avui arreu i no hi ha àmbit ni familiar ni social ni educatiu que no en participi. Més enllà de la visualització i experimentació d'alguns procediments artístics canònics, l'ensenyament de les arts visuals i plàstiques observa la necessitat d'ampliar el seu radi d'acció, reflexió i anàlisi de manera coparticipada. Un repàs a la trajectòria històrica de l'aprenentatge artístic dóna peu a algunes preguntes rellevants com ara, quins aprenentatges per a quines competències? Per a quina societat i amb quins instruments cal educar els infants? Quines inèrcies i teories s¿hereten del passat i quin lloc cal que tinguin en el futur? Quines aportacions cognitives o empíriques permetrien una renovació positiva en l'àmbit de l¿educació visual i plàstica? Són preguntes difícils però peremptòries si no es vol girar l'esquena a l'evidència dels canvis comunicatius i socials del nostre temps.