Development of a novel fMRI compatible visual perception prototype battery to test older people with and without dementia

Background: Visuoperceptual deficits in dementia are common and can reduce quality of life. Testing of visuoperceptual function is often confounded by impairments in other cognitive domains and motor dysfunction. We aimed to develop, pilot, and test a novel visuocognitive prototype test battery which addressed these issues, suitable for both clinical and functional imaging use. Methods: We recruited 23 participants (14 with dementia, 6 of whom had extrapyramidal motor features, and 9 age-matched controls). The novel Newcastle visual perception prototype battery (NEVIP-B-Prototype) included angle, color, face, motion and form perception tasks, and an adapted response system. It allows for individualized task difficulties. Participants were tested outside and inside the 3T functional magnetic resonance imaging (fMRI) scanner. Functional magnetic resonance imaging data were analyzed using SPM8. Results: All participants successfully completed the task inside and outside the scanner. Functional magnetic resonance imaging analysis showed activation regions corresponding well to the regional specializations of the visual association cortex. In both groups, there was significant activity in the ventral occipital-temporal region in the face and color tasks, whereas the motion task activated the V5 region. In the control group, the angle task activated the occipitoparietal cortex. Patients and controls showed similar levels of activation, except on the angle task for which occipitoparietal activation was lower in patients than controls. Conclusion: Distinct visuoperceptual functions can be tested in patients with dementia and extrapyramidal motor features when tests use individualized thresholds, adapted tasks, and specialized response systems.

Seeing and identifying with a virtual body decreases pain perception

Pain and the conscious mind (or the self) are experienced in our body. Both are intimately linked to the subjective quality of conscious experience. Here, we used virtual reality technology and visuo-tactile conflicts in healthy subjects to test whether experimentally induced changes of bodily self-consciousness (self-location; self-identification) lead to changes in pain perception. We found that visuo-tactile stroking of a virtual body but not of a control object led to increased pressure pain thresholds and self-location. This increase was not modulated by the synchrony of stroking as predicted based on earlier work. This differed for self-identification where we found as predicted that synchrony of stroking increased self-identification with the virtual body (but not a control object), and positively correlated with an increase in pain thresholds. We discuss the functional mechanisms of self-identification, self-location, and the visual perception of human bodies with respect to pain perception.

Neuronal Correlates of Perception, Imagery, and Memory for Familiar Tunes

We used fMRI to investigate the neuronal correlates of encoding and recognizing heard and imagined melodies. Ten participants were shown lyrics of familiar verbal tunes; they either heard the tune along with the lyrics, or they had to imagine it. In a subsequent surprise recognition test, they had to identify the titles of tunes that they had heard or imagined earlier. The functional data showed substantial overlap during melody perception and imagery, including secondary auditory areas. During imagery compared with perception, an extended network including pFC, SMA, intraparietal sulcus, and cerebellum showed increased activity, in line with the increased processing demands of imagery. Functional connectivity of anterior right temporal cortex with frontal areas was increased during imagery compared with perception, indicating that these areas form an imagery-related network. Activity in right superior temporal gyrus and pFC was correlated with the subjective rating of imagery vividness. Similar to the encoding phase, the recognition task recruited overlapping areas, including inferior frontal cortex associated with memory retrieval, as well as left middle temporal gyrus. The results present new evidence for the cortical network underlying goal-directed auditory imagery, with a prominent role of the right pFC both for the subjective impression of imagery vividness and for on-line mental monitoring of imagery-related activity in auditory areas.

Perception of emotion in sounded and imagined music

WE STUDIED THE EMOTIONAL RESPONSES BY MUSICIANS to familiar classical music excerpts both when the music was sounded, and when it was imagined.We used continuous response methodology to record response profiles for the dimensions of valence and arousal simultaneously and then on the single dimension of emotionality. The response profiles were compared using cross-correlation analysis, and an analysis of responses to musical feature turning points, which isolate instances of change in musical features thought to influence valence and arousal responses. We found strong similarity between the use of an emotionality arousal scale across the stimuli, regardless of condition (imagined or sounded). A majority of participants were able to create emotional response profiles while imagining the music, which were similar in timing to the response profiles created while listening to the sounded music.We conclude that similar mechanisms may be involved in the processing of emotion in music when the music is sounded and when imagined.

Effects of training and melodic features on mode perception

The two modes most widely used in Western music today convey opposite moods—a distinction that nonmusicians and even young children are able to make. However, the current studies provide evidence that, despite a strong link between mode and affect, mode perception is problematic. Nonmusicians found mode discrimination to be harder than discrimination of other melodic features, and they were not able to accurately classify major and minor melodies with these labels. Although nonmusicians were able to classify major and minor melodies using affective labels, they performed at chance in mode discrimination. Training, in the form of short lessons given to nonmusicians and the natural musical experience of musicians, improved performance, but not to ceiling levels. Tunes with high note density were classified as major, and tunes with low note density as minor, even though these features were actually unrelated in the experimental material. Although these findings provide support for the importance of mode in the perception of emotion, they clearly indicate that these mode perceptions are inaccurate, even in trained individuals, without the assistance of affective labeling.

Perception of mode, rhythm, and contour in unfamiliar melodies: Effects of age and experience

We explored the ability of older (60-80 years old) and younger (18-23 years old) musicians and nonmusicians to judge the similarity of transposed melodies varying on rhythm, mode, and/or contour (Experiment 1) and to discriminate among melodies differing only in rhythm, mode, or contour (Experiment 2). Similarity ratings did not vary greatly among groups, with tunes differing only by mode being rated as most similar. In the same/different discrimination task, musicians performed better than nonmusicians, but we found no age differences. We also found that discrimination of major from minor tunes was difficult for everyone, even for musicians. Mode is apparently a subtle dimension in music, despite its deliberate use in composition and despite people's ability to label minor as "sad" and major as "happy."

Effect of unilateral temporal-lobe excision on perception and imagery of songs

Auditory imagery for songs was studied in two groups of patients with left or right temporal-lobe excision for control of epilepsy, and a group of matched normal control subjects. Two tasks were used. In the perceptual task, subjects saw the text of a familiar song and simultaneously heard it sung. On each trial they judged if the second of two capitalized lyrics was higher or lower in pitch than the first. The imagery task was identical in all respects except that no song was presented, so that subjects had to generate an auditory image of the song. The results indicated that all subjects found the imagery task more difficult than the perceptual task, but patients with right temporal-lobe damage performed significantly worse on both tasks than either patients with left temporal-lobe lesions or normal control subjects. These results support the idea that imagery arises from activation of a neural substrate shared with perceptual mechanisms, and provides evidence for a right temporal- lobe specialization for this type of auditory imaginal processing.