Arquitectura Fantasma: Espacio y Producción de Efectos Ambientales

La ciudad es un interior total. Como una nueva naturaleza, el medio urbano tiene tendencia a proliferar indefinidamente y llenar todo el espacio disponible. No sólo está caracterizado por las cualidades atmosféricas de la climatología sino por un rango cada vez mayor de sustancias y fuerzas que forman un vasto océano químico, de energía e información. La arquitectura fantasma que penetra inadvertidamente entre los objetos y ensamblajes presentes en nuestra vida cotidiana es tan importante para la cualificación de nuestro entorno como la arquitectura en sentido tradicional, sólida y visible. En consecuencia, desde el punto de vista de las prácticas materiales ya no es posible situarse en un contexto (social, político, profesional) donde este proceso de densificación ambiental pueda ser ignorado sin más. Vivimos sumergidos en una atmósfera compleja, activa y en gran medida artificial, que de manera voluntaria o involuntaria incorporamos a nuestro organismo, en un proceso en que finalmente sujeto y medio forman un ámbito común. Este es el punto de partida de la presente investigación: a partir de procesos esencialmente arquitectónicos que podemos tildar de ‘encantamientos urbanos’, individuos y objetos comparten una impregnación recíproca, una suerte de erotismo espacial, consistente en la relación a veces inadvertida y agresiva, a veces lúdica y hedonista entre el sujeto y el medio. El objetivo de esta tesis es la construcción de un concepto ampliado y polifacético del ambiente mediante el estudio de los componentes y estímulos físicos que lo caracterizan, los aquí denominados efectos ambientales. Dos elementos fundamentales gravitan inevitablemente en torno a los efectos. Por una parte la estructura, que hace referencia a aquellos objetos o soportes que los producen. Por otra, la afección producida en el sujeto, esto es, las consecuencias emocionales y fisiológicas que comportan su asimilación. La terna resultante, Estructura-Efecto-Afecto, proporcionará un orden conceptual global a la investigación. La tesis está dividida en tres partes. La primera investiga el concepto de efecto ambiental: como figura artística, como detonador de un nuevo paradigma espacial originado en el ámbito de la práctica científica y, finalmente, como categoría estética. La sección intermedia aborda la relación entre estructura y efecto, y se centra en experiencias de diversos ámbitos culturales donde la construcción de determinados artefactos y ensamblajes tiene como único propósito la caracterización del espacio únicamente mediante emisiones ambientales. Finalmente, la tercera parte investiga la arquitectura en busca una materialidad ambiental creciente. Es decir, un espacio donde estructura, atmósfera y psique finalmente convergen. Aquellas estrategias -epistemológicas, teóricas, técnicas- conducentes a la producción de todo tipo de efectos, sean ornamentales, emocionales o fisiológicos, y aquellas prácticas que hacen énfasis en los efectos y no en los objetos de los que proceden serán un importante referente para comprender aquello hoy en día conforma nuestro medio, y contribuirán a concebir la construcción de nuevas formas de habitabilidad. ABSTRACT The city is a total interior. Like a new kind of nature, urban mediums proliferate indefinitely, pervading all available space. Their atmospheric qualities are not only defined by the weather, but by a growing range of substances and forces that form a vast ocean of chemicals, energy and information. The ghost architecture that inadvertently penetrates the objects and assemblages present in our daily lives is as important for the qualification of our environment as traditional, solid and visible architecture. Consequently, there is virtually no context (social, political, professional) where material practices can simply ignore such environmental densification. We live immersed in a complex and—largely artificial—active environment that we voluntarily or involuntarily incorporate to our bodies in a process where ultimately the subject and the environment form a common substance. This is the starting point of our research: through a series of essentially architectural processes that can be called 'urban enchantments,’ individuals and objects come to share a reciprocal impregnation. This spatial erotica consists of the relationship, sometimes unnoticed and violent, sometimes playful and hedonistic, between subject and medium. This research aims at the construction of an expanded and multifaceted idea of environment through the analysis of its quintessential components and physical stimuli, here called ambient effects. Such effects are inevitably accompanied by two key elements. On the one hand there is Structure, which refers to the objects or devices that produce them. On the other hand, the Affect experimented by the subject; namely, the emotional and physiological consequences involved in effect assimilation. The resulting three interlinked concepts, Structure-Effect-Affect, provide the overall conceptual structure of this study. Three main sections are proposed. The first one investigates the concept of ambient effect in different ways: as an artistic figure, as the origin of a new spatial paradigm originated within scientific practices and, finally, as an aesthetic category. The middle section deals with the relationship between structure and effect, and focuses on the construction of certain artifacts and assemblages whose sole purpose is to characterize space by environmental emissions only. Finally, the third part investigates architecture’s quest for ultimate ambiental materiality, that is, a space where structure, atmosphere and psyche finally converge. The strategies, from the epistemological to the technical, leading to the production of all kinds of effects—be they ornamental, emotional or physiological,—and the practices that focus on effects and not the objects from where they come, will be studied. All of them will open new windows to a contemporary notion of environment and will contribute to the construction of new living habitats.

User experience with immersive and interactive media = Experiencia de usuario en entornos 3D inmersivos e interactivos

Estudios recientes promueven la integración de estímulos multisensoriales en activos multimedia con el fin de mejorar la experiencia de usuario mediante la estimulación de nuevos sentidos, más allá de la tradicional experiencia audiovisual. Del mismo modo, varios trabajos proponen la introducción de componentes de interacción capaces de complementar con nuevas características, funcionalidades y/o información la experiencia multimedia. Efectos sensoriales basados en el uso de nuevas técnicas de audio, olores, viento, vibraciones y control de la iluminación, han demostrado tener un impacto favorable en la sensación de Presencia, en el disfrute de la experiencia multimedia y en la calidad, relevancia y realismo de la misma percibidos por el usuario. Asimismo, los servicios basados en dos pantallas y la manipulación directa de (elementos en) la escena de video tienen el potencial de mejorar la comprensión, la concentración y la implicación proactiva del usuario en la experiencia multimedia. El deporte se encuentra entre los géneros con mayor potencial para integrar y explotar éstas soluciones tecnológicas. Trabajos previos han demostrado asimismo la viabilidad técnica de integrar éstas tecnologías con los estándares actualmente adoptados a lo largo de toda la cadena de transmisión de televisión. De este modo, los sistemas multimedia enriquecidos con efectos sensoriales, los servicios interactivos multiplataforma y un mayor control del usuario sobre la escena de vídeo emergen como nuevas formas de llevar la multimedia immersiva e interactiva al mercado de consumo de forma no disruptiva. Sin embargo, existen numerosas interrogantes relativas a los efectos sensoriales y/o soluciones interactivas más adecuadas para complementar un contenido audiovisual determinado o a la mejor manera de de integrar y combinar dichos componentes para mejorar la experiencia de usuario de un segmento de audiencia objetivo. Además, la evidencia científica sobre el impacto de factores humanos en la experiencia de usuario con estas nuevas formas de immersión e interacción en el contexto multimedia es aún insuficiente y en ocasiones, contradictoria. Así, el papel de éstos factores en el potencial de adopción de éstas tecnologías ha sido amplia-mente ignorado. La presente tesis analiza el impacto del audio binaural, efectos sensoriales (de iluminación y olfativos), interacción con objetos 3D integrados en la escena de vídeo e interacción con contenido adicional utilizando una segunda pantalla en la experiencia de usuario con contenidos de deporte. La posible influencia de dichos componentes en las variables dependientes se explora tanto a nivel global (efecto promedio) como en función de las características de los usuarios (efectos heterogéneos). Para ello, se ha llevado a cabo un experimento con usuarios orientado a explorar la influencia de éstos componentes immersivos e interactivos en dos grandes dimensiones de la experiencia multimedia: calidad y Presencia. La calidad de la experiencia multimedia se analiza en términos de las posibles variaciones asociadas a la calidad global y a la calidad del contenido, la imagen, el audio, los efectos sensoriales, la interacción con objetos 3D y la interacción con la segunda pantalla. El posible impacto en la Presencia considera dos de las dimensiones definidas por el cuestionario ITC-SOPI: Presencia Espacial (Spatial Presence) e Implicación (Engagement). Por último, los individuos son caracterizados teniendo en cuenta los siguientes atributos afectivos, cognitivos y conductuales: preferencias y hábitos en relación con el contenido, grado de conocimiento de las tecnologías integradas en el sistema, tendencia a involucrarse emocionalmente, tendencia a concentrarse en una actividad bloqueando estímulos externos y los cinco grandes rasgos de la personalidad: extroversión, amabilidad, responsabilidad, inestabilidad emocional y apertura a nuevas experiencias. A nivel global, nuestro estudio revela que los participantes prefieren el audio binaural frente al sistema estéreo y que los efectos sensoriales generan un aumento significativo del nivel de Presencia Espacial percibido por los usuarios. Además, las manipulaciones experimentales realizadas permitieron identificar una gran variedad de efectos heterogéneos. Un resultado interesante es que dichos efectos no se encuentran distribuidos de forma equitativa entre las medidas de calidad y Presencia. Nuestros datos revelan un impacto generalizado del audio binaural en la mayoría de las medidas de calidad y Presencia analizadas. En cambio, la influencia de los efectos sensoriales y de la interacción con la segunda pantalla se concentran en las medidas de Presencia y calidad, respectivamente. La magnitud de los efectos heterogéneos identificados está modulada por las siguientes características personales: preferencias en relación con el contenido, frecuencia con la que el usuario suele ver contenido similar, conocimiento de las tecnologías integradas en el demostrador, sexo, tendencia a involucrarse emocionalmente, tendencia a a concentrarse en una actividad bloqueando estímulos externos y niveles de amabilidad, responsabilidad y apertura a nuevas experiencias. Las características personales consideradas en nuestro experimento explicaron la mayor parte de la variación en las variables dependientes, confirmando así el importante (y frecuentemente ignorado) papel de las diferencias individuales en la experiencia multimedia. Entre las características de los usuarios con un impacto más generalizado se encuentran las preferencias en relación con el contenido, el grado de conocimiento de las tecnologías integradas en el sistema y la tendencia a involucrarse emocionalmente. En particular, los primeros dos factores parecen generar un conflicto de atención hacia el contenido versus las características/elementos técnicos del sistema, respectivamente. Asimismo, la experiencia multimedia de los fans del fútbol parece estar modulada por procesos emociona-les, mientras que para los no-fans predominan los procesos cognitivos, en particular aquellos directamente relacionados con la percepción de calidad. Abstract Recent studies encourage the integration of multi-sensorial stimuli into multimedia assets to enhance the user experience by stimulating other senses beyond sight and hearing. Similarly, the introduction of multi-modal interaction components complementing with new features, functionalities and/or information the multimedia experience is promoted. Sensory effects as odor, wind, vibration and light effects, as well as an enhanced audio quality, have been found to favour media enjoyment and to have a positive influence on the sense of Presence and on the perceived quality, relevance and reality of a multimedia experience. Two-screen services and a direct manipulation of (elements in) the video scene have the potential to enhance user comprehension, engagement and proactive involvement of/in the media experience. Sports is among the genres that could benefit the most from these solutions. Previous works have demonstrated the technical feasibility of implementing and deploying end-to-end solutions integrating these technologies into legacy systems. Thus, sensorially-enhanced media, two-screen services and an increased user control over the displayed scene emerge as means to deliver a new form of immersive and interactive media experiences to the mass market in a non-disruptive manner. However, many questions remain concerning issues as the specific interactive solutions or sensory effects that can better complement a given audiovisual content or the best way in which to integrate and combine them to enhance the user experience of a target audience segment. Furthermore, scientific evidence on the impact of human factors on the user experience with these new forms of immersive and interactive media is still insufficient and sometimes, contradictory. Thus, the role of these factors on the potential adoption of these technologies has been widely ignored. This thesis analyzes the impact of binaural audio, sensory (light and olfactory) effects, interaction with 3D objects integrated into the video scene and interaction with additional content using a second screen on the sports media experience. The potential influence of these components on the dependent variables is explored both at the overall level (average effect) and as a function of users’ characteristics (heterogeneous effects). To these aims, we conducted an experimental study exploring the influence of these immersive and interactive elements on the quality and Presence dimensions of the media experience. Along the quality dimension, we look for possible variations on the quality scores as-signed to the overall media experience and to the media components content, image, audio, sensory effects, interaction with 3D objects and interaction using the tablet device. The potential impact on Presence is analyzed by looking at two of the four dimensions defined by the ITC-SOPI questionnaire, namely Spatial Presence and Engagement. The users’ characteristics considered encompass the following personal affective, cognitive and behavioral attributes: preferences and habits in relation to the content, knowledge of the involved technologies, tendency to get emotionally involved and tendency to get absorbed in an activity and block out external distractors and the big five personality traits extraversion, agreeableness, conscientiousness, neuroticism and openness to experience. At the overall level, we found that participants preferred binaural audio than standard stereo audio and that sensory effects increase significantly the level of Spatial Presence. Several heterogeneous effects were also revealed as a result of our experimental manipulations. Interestingly, these effects were not equally distributed across the quality and Presence measures analyzed. Whereas binaural audio was foud to have an influence on the majority of the quality and Presence measures considered, the effects of sensory effects and of interaction with additional content through the tablet device concentrate mainly on the dimensions of Presence and on quality measures, respectively. The magnitude of these effects was modulated by individual’s characteristics, such as: preferences in relation to the content, frequency of viewing similar content, knowledge of involved technologies, gender, tendency to get emotionally involved, tendency to absorption and levels of agreeableness, conscientiousness and openness to experience. The personal characteristics collected in our experiment explained most of the variation in the dependent variables, confirming the frequently neglected role of individual differences on the media experience. Preferences in relation to the content, knowledge of involved technologies and tendency to get emotionally involved were among the user variables with the most generalized influence. In particular, the former two features seem to present a conflict in the allocation of attentional resources towards the media content versus the technical features of the system, respectively. Additionally, football fans’ experience seems to be modulated by emotional processes whereas for not fans, cognitive processes (and in particular those related to quality judgment) prevail.

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.

CONSCIÊNCIA E EMOÇÃO: O EFEITO DO PRIMING AFETIVO SUBLIMINAR EM TAREFAS DE ATENÇÃO

Esta tese revisou duas linhas de pesquisa, desenvolvidas nas últimas décadas: o estudo de efeitos de estimulação subliminar priming , e de desencadeamento de reações emocionais por estímulos controlados. Este estudo tem o objetivo de combinar tais linhas para o estudo da consciência com pré-preparo afetivo: efeito de estímulos de conteúdo aversivo, subliminares e supraliminares, sobre a cognição, pela análise do desempenho em tarefa de atenção. Três tarefas experimentais foram realizadas por 35 indivíduos em laboratório de neuropsicologia: a tarefa base onde testamos à detecção de alvo visual simples, e a mesma tarefa de base, porém com estímulos distratores aversivos intercalados, de forma supraliminar ou subliminar (500 ms ou 50 ms de duração), em blocos aleatorizados entre os indivíduos. Calcularam-se índices de detectabilidade e critério de resposta, que serviram para a comparação estatística entre condições (medidas repetidas). Os resultados mostram uma mudança significativa do índice critério , indicando mudança de estratégia na presença de distratores subliminares aversivos. Concluiu-se que a tarefa subliminar fez um efeito destruidor ou devastador na tarefa supraliminar, cometendo menos falso-alarmes protegendo a tarefa supraliminar, tendo um efeito protetor . Os resultados são discutidos no contexto da relevância de influências emocionais sobre o comportamento para a Psicologia da Saúde.

CONSCIÊNCIA E EMOÇÃO: O EFEITO DO PRIMING AFETIVO SUBLIMINAR EM TAREFAS DE ATENÇÃO

Esta tese revisou duas linhas de pesquisa, desenvolvidas nas últimas décadas: o estudo de efeitos de estimulação subliminar priming , e de desencadeamento de reações emocionais por estímulos controlados. Este estudo tem o objetivo de combinar tais linhas para o estudo da consciência com pré-preparo afetivo: efeito de estímulos de conteúdo aversivo, subliminares e supraliminares, sobre a cognição, pela análise do desempenho em tarefa de atenção. Três tarefas experimentais foram realizadas por 35 indivíduos em laboratório de neuropsicologia: a tarefa base onde testamos à detecção de alvo visual simples, e a mesma tarefa de base, porém com estímulos distratores aversivos intercalados, de forma supraliminar ou subliminar (500 ms ou 50 ms de duração), em blocos aleatorizados entre os indivíduos. Calcularam-se índices de detectabilidade e critério de resposta, que serviram para a comparação estatística entre condições (medidas repetidas). Os resultados mostram uma mudança significativa do índice critério , indicando mudança de estratégia na presença de distratores subliminares aversivos. Concluiu-se que a tarefa subliminar fez um efeito destruidor ou devastador na tarefa supraliminar, cometendo menos falso-alarmes protegendo a tarefa supraliminar, tendo um efeito protetor . Os resultados são discutidos no contexto da relevância de influências emocionais sobre o comportamento para a Psicologia da Saúde.

Visual stimuli induce waves of electrical activity in turtle cortex

The computations involved in the processing of a visual scene invariably involve the interactions among neurons throughout all of visual cortex. One hypothesis is that the timing of neuronal activity, as well as the amplitude of activity, provides a means to encode features of objects. The experimental data from studies on cat [Gray, C. M., Konig, P., Engel, A. K. & Singer, W. (1989) Nature (London) 338, 334–337] support a view in which only synchronous (no phase lags) activity carries information about the visual scene. In contrast, theoretical studies suggest, on the one hand, the utility of multiple phases within a population of neurons as a means to encode independent visual features and, on the other hand, the likely existence of timing differences solely on the basis of network dynamics. Here we use widefield imaging in conjunction with voltage-sensitive dyes to record electrical activity from the virtually intact, unanesthetized turtle brain. Our data consist of single-trial measurements. We analyze our data in the frequency domain to isolate coherent events that lie in different frequency bands. Low frequency oscillations (<5 Hz) are seen in both ongoing activity and activity induced by visual stimuli. These oscillations propagate parallel to the afferent input. Higher frequency activity, with spectral peaks near 10 and 20 Hz, is seen solely in response to stimulation. This activity consists of plane waves and spiral-like waves, as well as more complex patterns. The plane waves have an average phase gradient of ≈π/2 radians/mm and propagate orthogonally to the low frequency waves. Our results show that large-scale differences in neuronal timing are present and persistent during visual processing.

Increased sensitivity to apoptotic stimuli in c-abl-deficient progenitor B-cell lines

The protooncogene c-abl encodes a nonreceptor tyrosine kinase whose cellular function is unknown. To study the possible involvement of c-Abl in proliferation, differentiation, and cell cycle regulation of early B cells, long-term lymphoid bone marrow cultures were established from c-abl-deficient mice and their wild-type littermates. Interleukin 7-dependent progenitor B-cell clones and lines expressing B220 and CD43 could be generated from both mutant and wild-type mice. The mutant and wild-type lines displayed no difference in their proliferative capacity as measured by thymidine incorporation in response to various concentrations of interleukin 7. Similarly, c-abl deficiency did not interfere with the ability of mutant clones to differentiate into surface IgM-positive cells in vitro. Analysis of cultures after growth factor deprivation, however, revealed a strikingly accelerated rate of cell death in c-abl mutant cells, due to apoptosis as confirmed by terminal deoxynucleotidyltransferase-mediated UTP nick end labeling analysis. Furthermore, a greater susceptibility to apoptotic cell death in c-abl mutant cells was also observed after glucocorticoid treatment. These results suggest that mutant c-Abl renders the B-cell progenitors more sensitive to apoptosis, and may account for some of the phenotypes observed in c-abl-deficient animals.

Altered emotional and locomotor responses in mice deficient in the transcription factor CREM

Various transcription factors act as nuclear effectors of the cAMP-dependent signaling pathway. These are the products of three genes in the mouse, CREB, CRE modulator (CREM), and ATF-1. CREM proteins are thought to play important roles within the hypothalamic–pituitary axis and in the control of rhythmic functions in the pineal gland. We have generated CREM-mutant mice and investigated their response in a variety of behavioral tests. CREM-null mice show a drastic increase in locomotion. In contrast to normal mice, the CREM-deficient mice show equal locomotor activity during the circadian cycle. The anatomy of the hypothalamic suprachiasmatic nuclei, the center of the endogenous pacemaker, is normal in mutant mice. Remarkably, CREM mutant mice also elicit a different emotional state, revealed by a lower anxiety in two different behavioral models, but they preserve the conditioned reactiveness to stress. These results demonstrate the high degree of functional specificity of each cAMP-responsive transcription factor in behavioral control.

Active hair-bundle movements can amplify a hair cell’s response to oscillatory mechanical stimuli

To enhance their mechanical sensitivity and frequency selectivity, hair cells amplify the mechanical stimuli to which they respond. Although cell-body contractions of outer hair cells are thought to mediate the active process in the mammalian cochlea, vertebrates without outer hair cells display highly sensitive, sharply tuned hearing and spontaneous otoacoustic emissions. In these animals the amplifier must reside elsewhere. We report physiological evidence that amplification can stem from active movement of the hair bundle, the hair cell’s mechanosensitive organelle. We performed experiments on hair cells from the sacculus of the bullfrog. Using a two-compartment recording chamber that permits exposure of the hair cell’s apical and basolateral surfaces to different solutions, we examined active hair-bundle motion in circumstances similar to those in vivo. When the apical surface was bathed in artificial endolymph, many hair bundles exhibited spontaneous oscillations of amplitudes as great as 50 nm and frequencies in the range 5 to 40 Hz. We stimulated hair bundles with a flexible glass probe and recorded their mechanical responses with a photometric system. When the stimulus frequency lay within a band enclosing a hair cell’s frequency of spontaneous oscillation, mechanical stimuli as small as ±5 nm entrained the hair-bundle oscillations. For small stimuli, the bundle movement was larger than the stimulus. Because the energy dissipated by viscous drag exceeded the work provided by the stimulus probe, the hair bundles powered their motion and therefore amplified it.

Dynamic regulation of c-Jun N-terminal kinase activity in mouse brain by environmental stimuli

Activation of the recently identified c-Jun N-terminal kinases (JNKs) typically results in programmed cell death (apoptosis) in neurons and other cell types grown in culture. However, the effects of JNK activation in the central nervous system in vivo are unknown. At baseline, JNK activity in mice was on average 17-fold higher in brain than in peripheral organs, whereas JNK protein levels were similar. In brain, JNK was expressed primarily in neurons. Restraining mice or allowing them to explore a novel environment rapidly increased JNK activity 3- to 15-fold in various brain regions, but these manipulations did not increase brain activity of the extracellular signal-regulated kinase. Because noninvasive environmental stimuli that do not induce neurodegeneration elicited prominent increases in JNK activity in the brain, we conclude that acute activation of the JNK cascade in central nervous system neurons does not induce neuronal apoptosis in vivo. In contrast, the high baseline activity of JNK in the brain and the activation of the JNK cascade by environmental stimuli suggest that this kinase may play an important physiological role in neuronal function.

MEK kinase 1 is critically required for c-Jun N-terminal kinase activation by proinflammatory stimuli and growth factor-induced cell migration

Exposure of eukaryotic cells to extracellular stimuli results in activation of mitogen-activated protein kinase (MAPK) cascades composed of MAPKs, MAPK kinases (MAP2Ks), and MAPK kinase kinases (MAP3Ks). Mammals possess a large number of MAP3Ks, many of which can activate the c-Jun N-terminal kinase (JNK) MAPK cascade when overexpressed, but whose biological function is poorly understood. We examined the function of the MAP3K MEK kinase 1 (MEKK1) in proinflammatory signaling. Using MEKK1-deficient embryonic stem cells prepared by gene targeting, we find that, in addition to its function in JNK activation by growth factors, MEKK1 is required for JNK activation by diverse proinflammatory stimuli, including tumor necrosis factor α, IL-1, double-stranded RNA, and lipopolysaccharide. MEKK1 is also essential for induction of embryonic stem cell migration by serum factors, but is not required for activation of other MAPKs or the IκB kinase signaling cascade.

Assessment and discrimination of odor stimuli in rat olfactory bulb by dynamic functional MRI

Dynamic blood oxygenation level-dependent functional MRI was applied at 7 T in the rat olfactory bulb (OB) with pulsed delivery of iso-amyl acetate (IAA) and limonene. Acquisition times for single-slice and whole OB data were 8 and 32 s, respectively, with spatial resolution of 220 × 220 × 250 μm. On an intrasubject basis, short IAA exposures of 0.6 min separated by 3.5-min intervals induced reproducible spatial activity patterns (SAPs) in the olfactory nerve layer, glomerular layer, and external plexiform layer. During long exposures (≈10 min), the initially dominant dorsal SAPs declined in intensity and area, whereas in some OB regions, the initially weak ventral/lateral SAPs increased first and then decreased. The SAPs of different concentrations were topologically similar, which implies that whereas an odor at various concentrations activates the same subsets of receptor cells, different concentrations are assessed and discriminated by variable magnitudes of laminarspecific activations. IAA and limonene reproducibly activated different subsets of receptor cells with some overlaps. Whereas qualitative topographical agreement was observed with results from other methods, the current dynamic blood oxygenation level-dependent functional MRI results can provide quantitative SAPs of the entire OB.

The adaptor protein Crk connects multiple cellular stimuli to the JNK signaling pathway

c-Jun N-terminal kinases (JNKs) are potently activated by a number of cellular stimuli. Small GTPases, in particular Rac, are responsible for initiating the activation of the JNK pathways. So far, the signals leading from extracellular stimuli to the activation of Rac have remained elusive. Recent studies have demonstrated that the Src homology 2 (SH2)- and Src homology 3 (SH3)-containing adaptor protein Crk is capable of activating JNK when ectopically expressed. We found here that transient expression of Crk induces JNK activation, and this activation was dependent on both the SH2- and SH3-domains of Crk. Expression of p130Cas (Cas), a major binding protein for the Crk SH2-domain, also induced JNK activation, which was blocked by the SH2-mutant of Crk. JNK activation by Cas and Crk was effectively blocked by a dominant-negative form of Rac, suggesting for a linear pathway from the Cas-Crk-complex to the Rac-JNK activation. Many of the stimuli that activate the Rac-JNK pathway enhance engagement of the Crk SH2-domain. JNK activation by these stimuli, such as epidermal growth factor, integrin ligand binding and v-Src, was efficiently blocked by dominant-negative mutants of Crk. A dominant-negative form of Cas in turn blocked the integrin-, but not epidermal growth factor - nor v-Src-mediated JNK activation. Together, these results demonstrate an important role for Crk in connecting multiple cellular stimuli to the Rac-JNK pathway, and a role for the Cas-Crk complex in integrin-mediated JNK activation.

Electric Signaling and Pin2 Gene Expression on Different Abiotic Stimuli Depend on a Distinct Threshold Level of Endogenous Abscisic Acid in Several Abscisic Acid-Deficient Tomato Mutants1

Experiments were performed on three abscisic acid (ABA)-deficient tomato (Lycopersicon esculentum Mill.) mutants, notabilis, flacca, and sitiens, to investigate the role of ABA and jasmonic acid (JA) in the generation of electrical signals and Pin2 (proteinase inhibitor II) gene expression. We selected these mutants because they contain different levels of endogenous ABA. ABA levels in the mutant sitiens were reduced to 8% of the wild type, in notabilis they were reduced to 47%, and in flacca they were reduced to 21%. In wild-type and notabilis tomato plants the induction of Pin2 gene expression could be elicited by heat treatment, current application, or mechanical wounding. In flacca and sitiens only heat stimulation induced Pin2 gene expression. JA levels in flacca and sitiens plants also accumulated strongly upon heat stimulation but not upon mechanical wounding or current application. Characteristic electrical signals evolved in the wild type and in the notabilis and flacca mutants consisting of a fast action potential and a slow variation potential. However, in sitiens only heat evoked electrical signals; mechanical wounding and current application did not change the membrane potential. In addition, exogenous application of ABA to wild-type tomato plants induced transient changes in membrane potentials, indicating the involvement of ABA in the generation of electrical signals. Our data strongly suggest the presence of a minimum threshold value of ABA within the plant that is essential for the early events in electrical signaling and mediation of Pin2 gene expression upon wounding. In contrast, heat-induced Pin2 gene expression and membrane potential changes were not dependent on the ABA level but, rather, on the accumulation of JA.

Activation of memory circuits during cue-elicited cocaine craving.

Evidence accumulated over more than 45 years has indicated that environmental stimuli can induce craving for drugs of abuse in individuals who have addictive disorders. However, the brain mechanisms that subserve such craving have not been elucidated. Here a positron emission tomographic study shows increased glucose metabolism in cortical and limbic regions implicated in several forms of memory when human volunteers who abuse cocaine are exposed to drug-related stimuli. Correlations of metabolic increases in the dorsolateral prefrontal cortex, medial temporal lobe (amygdala), and cerebellum with self-reports of craving suggest that a distributed neural network, which integrates emotional and cognitive aspects of memory, links environmental cues with cocaine craving.