Visual enhancement of touch in spatial body representation

Perception of our own bodies is based on integration of visual and tactile inputs, notably by neurons in the brain’s parietal lobes. Here we report a behavioural consequence of this integration process. Simply viewing the arm can speed up reactions to an invisible tactile stimulus on the arm. We observed this visual enhancement effect only when a tactile task required spatial computation within a topographic map of the body surface and the judgements made were close to the limits of performance. This effect of viewing the body surface was absent or reversed in tasks that either did not require a spatial computation or in which judgements were well above performance limits. We consider possible mechanisms by which vision may influence tactile processing.

Muriel Rukeyser: poetry and the body

The human body occupies a central place in Rukeyser’s poetry. Her characters’ physical experiences inspire their search for an artistic form and a holistic vision that reconciles the corporeal and conceptual aspects of their life. My thesis deals with Rukeyser’s reconciliation of disparate aspects of existence through the image of the human body and the practical experiences she underwent in her personal life and incorporated in her poetry. I discuss her poetry of the 1940s, where a tension is observed between the artist’s personal life and her art, which she attempts to resolve by adopting an artistic form that accommodates her quotidian experiences. I study, mainly through her poetry of the 1950s, Rukeyser’s poetic technique in the light of her organicist poetics and the combination of tendencies to coercion and suggestiveness distinguishing her style. I examine her portrayal of the suffering body in her poetry of the 1960s and 1970s. By means of their physical experiences, the ill, her despised and the imprisoned protagonists undergo a process of development whereby they perceive the different aspects of their identity and attempt to broaden perspectives on their situation by reconciling them. I argue that Rukeyser’s engagement with physical encounters and with the poem as an inclusive, organic body enables her to reconcile disparate elements in her poetry, such as her personal life and her art, her individual existence and the public world, as well as the distinct aspects of her characters’ identity. Her vatic outlook, which integrates distinct aspects of experience, is consistent with Merleau-Ponty’s idea of human perception as characterised by the two interdependent positions of immanence and transcendence. Rukeyser’s poetry depicts her physical engagement with quotidian events of her life as a factor of artistic inspiration. These situations constitute shared human experiences that enable her to imagine the links binding her to other people and the world at large. The poet’s personal experiences inspire her search for an artistic form that accommodates them. Her perception of the concrete aspect of her individual existence gains significance when it is linked to social and political issues. Both the private and public are thus seen as interconnected, and they affect the existence of each other while retaining their distinctness.

Visuell Perception : En studie av visuella faktorer kring ett musikaliskt framträdande

The essay investigates the visual element as seen by the audience and artist to be of greatest importance to a musicalperformance. The study was conducted in the form of a field work which included doing interviews with artists, surveys of the audience and interpretive observations of live performance. The fieldwork was conducted in three different environments in which I found myself on the spot and performed the various stages included in the field work. It was done to create a surface that could be used in an essay, and through that use this material to compare and analyze my results and in the end be able to answer my questions. I started from eight different factors which all could beexperienced visually on stage. The factors were light / colors, costumes, props, effects, stage presence, attitude / image, nervousness and dance / body language. Those factors would then be examined in the various musical performances and to be answered by the audience and performers which of those factors they considered to be of great importance or small importance when it comes to visual perception in a musical context. The result was a clear statement where two factors were considered to be most crucial for a musical performance, and a clear statement in which two factors were considered by the majority to be less important. The results demonstrate a common understanding what the artist and the audience thinks is important. A result that can act as a template for what an artist should think about regarding the visual elements before an performance. My theory is my assumption that the visual elements of musical performances can play an important or decisive role, an assumption that was strengthened by my empirical experiences at a concert visit. I wanted in this essay explore and give a clear picture of what it is that artists and audiences consider to be visually crucial for a musical context

Body art, existência e conhecimento :a percepção do corpo na Educação Física

In the Renaissance, the anatomy project a map of the body. Since then, the human body has been investigated for innumerable techniques, configuring new landscapes on the condition human being and the proper knowledge. In accordance with Merleau-Ponty (1975), All technique is body technique. It configures and extends the Metaphysical structure of our meat. In this direction, any intervention in the human body, a tattooing, a surgery or a performance, extends the perception and the directions of the existence of the subject. Merleau-Ponty (1975) still affirms, that all technique presents objective interventions. However, the body, ahead of these interventions, doesn t have to be considered only object, but subject that, from the interventions, attributes sensible and meanings through the movements, also being this its way of being in the world. Searching to extend this reflection on the discontinuities between the object body and the subject body, as well as, with the objective to reflect on the relation between the corporal techniques and the production of the subjectivity and the knowledge of the physical education, we reflect on the body art, as one technique of body that marks the exterior of the body, exteriorizing the subjectivity, to search new means to the body and that ahead of this, we believe being able to project innumerable directions for the corporal transformations in the contemporarily. As a method for our reflection in we will support them in the phenomenology. IT presents as a new ontology, in which distinction does not occur enters the operating paper of the citizen that knows and the influence of the known object. The phenomenological understanding of body will be able to contribute with the knowledge of the Physical Education, a time that gives us important arguments on the experience of the body in relation with the nature, the culture, history. To be a body is to be tied to a world that we do not possess completive, but that we do not cease to search it

Perception-action and adaptation in postural control of children and adolescents with cerebral palsy

The aim of this study was to examine the coupling between visual information and body sway and the adaptation in this coupling of individuals with cerebral palsy (CP). Fifteen children with and 15 without CP. 6-15 years old, were required to stand upright inside of a moving room. All children first performed two trials with no movement of the room and eyes open or closed, then four trials in which the room oscillated at 0.2 or 0.5 Hz (peak velocity of 0.6 cm/s), one trial in which the room oscillated at 0.2 Hz (peak velocity of 3.5 cm/s), and finally two other trials in which the room oscillated again at 0.2 Hz (peak velocity of 0.6 cm/s). Participants with CP coupled body sway to visual information provided by the moving room, comparable to the coupling of participants without CP. However, participants with CP exhibited larger body sway in maintaining upright position and more variable sway when body sway was induced by visual manipulation. They showed adaptive sensory motor coupling, e.g. down-weighting visual influence when a larger stimulus was provided, but not with the same magnitude as typically developing participants. This indicates that participants with CP have less capability of adaptation. (C) 2011 Published by Elsevier Ltd.

Postural control as a function of self- and object-motion perception

The goals of this study were to examine the visual information influence on body sway as a function of self- and object-motion perception and visual information quality. Participants that were aware (object-motion) and unaware (self-motion) of the movement of a moving room were asked to stand upright at five different distances from its frontal wall. The visual information effect on body sway decreased when participants were aware about the sensory manipulation. Moreover, while the visual influence on body sway decreased as the distance increased in the self-motion perception, no effects were observed in the object-motion mode. The overall results indicate that postural control system functioning can be altered by prior knowledge, and adaptation due to changes in sensory quality seem to occur in the self- but not in the object-motion perception mode. (C) 2004 Elsevier B.V.. All rights reserved.

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.

Perception-action coupling in infants with down syndrome: Effects of experience and practice

This study examined the effects of experience and practice on the coupling between visual information and trunk sway in infants with Down syndrome (DS). Five experienced and five novice sitters were exposed to a moving room, which was oscillated at 0.2 and 0.5 Hz. Infants remained in a sitting position and data were collected on the first, fourth, and seventh days. On the first day, experienced sitters were more influenced by room oscillation than were novices. On the following days, however, the influence of room oscillation decreased for experienced but increased for novice sitters. These results suggest that the relationship between sensory information and motor action in infants with DS can be changed with experience and practice.

Comfort, stability and body posture in wheelchair cushions: a preliminary study with able bodied subjects

Long term wheelchair usage has been related to a number of problems, among which pressure ulcers are one of most concern. The design of wheelchair seat cushions has been of increasing interest among researchers, as it can influence seat interface pressure and user's comfort. The aim of this study was to investigate the subjects' perception comfort, stability and body posture of six different commercially available wheelchair cushions. The evaluation was through a questionnaire, where the subjects rate their perceptions on a ten point visual analog scale after staying seated in the cushion for two minutes. The results shows that the Roho^TM aircell cushion was preferred by the users, while the least preferred one was the water cushion. Individuals' subjective perceptions may compliment objective data on seat interface pressure, thus contributing to a more complete view of the users' experience during wheelchair cushion usage.

Exploration time of static images implying different body movements causes time distortions

Studies of subjective time have adopted different methods to understand different processes of time perception. Four sculptures, with implied movement ranked as 1.5-, 3.0-, 4.5-, and 6.0-point stimuli on the Body Movement Ranking Scale, were randomly presented to 42 university students untrained in visual arts and ballet. Participants were allowed to observe the images for any length of time (exploration time) and, immediately after each image was observed, recorded the duration as they perceived it. The results of temporal ratio (exploration time/time estimation) showed that exploration time of images also affected perception of time, i.e., the subjective time for sculptures representing implied movement were overestimated.\

Result on speech perception after conversion from Spectra (R) to Freedom (R)

New technology in the Freedom (R) speech processor for cochlear implants was developed to improve how incoming acoustic sound is processed; this applies not only for new users, but also for previous generations of cochlear implants. Aim: To identify the contribution of this technology - the Nucleus 22 (R) - on speech perception tests in silence and in noise, and on audiometric thresholds. Methods: A cross-sectional cohort study was undertaken. Seventeen patients were selected. The last map based on the Spectra (R) was revised and optimized before starting the tests. Troubleshooting was used to identify malfunction. To identify the contribution of the Freedom (R) technology for the Nucleus22 (R), auditory thresholds and speech perception tests were performed in free field in soundproof booths. Recorded monosyllables and sentences in silence and in noise (SNR = 0dB) were presented at 60 dBSPL. The nonparametric Wilcoxon test for paired data was used to compare groups. Results: Freedom (R) applied for the Nucleus22 (R) showed a statistically significant difference in all speech perception tests and audiometric thresholds. Conclusion: The reedom (R) technology improved the performance of speech perception and audiometric thresholds of patients with Nucleus 22 (R).

Relationship between body image disturbance and incidence of depression: the SUN prospective cohort

[EN] Background: Body image disturbance is an increasing problem in Western societies and is associated with a number of mental health outcomes including anorexia, bulimia, body dysmorphia, and depression. The aim of this study was to assess the association between body image disturbance and the incidence of depression. Methods: This study included 10,286 participants from a dynamic prospective cohort of Spanish university graduates, who were followed-up for a median period of 4.2 years (Seguimiento Universidad de Navarra – the SUN study). The key characteristic of the study is the permanently open recruitment that started in 1999. The baseline questionnaire included information about body mass index (BMI) and the nine figure schemes that were used to assess body size perception. These variables were grouped according to recommended classifications and the difference between BMI and body size perception was considered as a proxy of body image disturbance. A subject was classified as an incident case of depression if he/she was initially free of depression and reported a physician-made diagnosis of depression and/or the use of antidepressant medication in at least one of the follow-up questionnaires. The association between body image disturbance and the incidence of depression was estimated by calculating the multivariable adjusted Odds Ratio (OR) and its 95% Confidence Interval (95% CI), using logistic regression models. Results: The cumulative incidence of depression during follow-up in the cohort was 4.8%. Men who underestimated their body size had a high percentage of overweight and obesity (50.1% and 12.6%, respectively), whereas women who overestimated their body size had a high percentage of underweight (87.6%). The underestimation exhibited a negative association with the incidence of depression among women (OR: 0.72, 95% CI: 0.54 – 0.95), but this effect disappeared after adjusting for possible confounding variables. The proportion of participants who correctly perceived their body size was high (53.3%) and gross misperception was seldom found, with most cases selecting only one silhouette below (42.7%) or above (2.6%) their actual BMI. Conclusion: We found no association between body image disturbance and subsequent depression in a cohort of university graduates in Spain.

Seeing and feeling the body

Recognizing one’s body as separate from the external world plays a crucial role in detecting external events, and thus in planning adequate reactions to them. In addition, recognizing one’s body as distinct from others’ bodies allows remapping the experiences of others onto one’s sensory system, providing improved social understanding. In line with these assumptions, two well-known multisensory mechanisms demonstrated modulations of somatosensation when viewing both one’s own and someone else’s body: the Visual Enhancement of Touch (VET) and the Visual Remapping of Touch (VRT) effects. Vision of the body, in the former, and vision of the body being touched, in the latter, enhance tactile processing. The present dissertation investigated the multisensory nature of these mechanisms and their neural bases. Further experiments compared these effects for viewing one’s own body or viewing another person’s body. These experiments showed important differences in multisensory processing for one’s own body, and for other bodies, and also highlighted interactions between VET and VRT effects. The present experimental evidence demonstrated that a multisensory representation of one’s body – underlie by a high order fronto-parietal network - sends rapid modulatory feedback to primary somatosensory cortex, thus functionally enhancing tactile processing. These effects were highly spatially-specific, and depended on current body position. In contrast, vision of another person’s body can drive mental representations able to modulate tactile perception without any spatial constraint. Finally, these modulatory effects seem sometimes to interact with high order information, such as emotional content of a face. This allows one’s somatosensory system to adequately modulate perception of external events on the body surface, as a function of its interaction with the emotional state expressed by another individual.

The structuring body : a critical study in the description & explanation of perceptual experience

The aims of the dissertation are to find the right description of the structure of perceptual experience and to explore the ways in which the structure of the body might serve to explain it. In the first two parts, I articulate and defend the claim that perceptual experience seems direct and the claim that its objects seem real. I defend these claims as integral parts of a coherent metaphysically neutral conception of perceptual experience. Sense-datum theorists, certain influential perceptual psychologists, and early modern philosophers (most notably Berkeley) all disputed the claim that perceptual experience seems direct. In Part I, I argue that the grounds on which they did so were poor. The aim is then, in Part II, to give a proper appreciation of the distinctive intentionality of perceptual experience whilst remaining metaphysically neutral. I do so by drawing on the early work of Edmund Husserl, providing a characterisation of the perceptual experience of objects as real, qua mind-independent particulars. In Part III, I explore two possible explanations of the structure characterising the intentionality of perceptual experience, both of which accord a distinctive explanatory role to the body. On one account, perceptual experience is structured by an implicit pre-reflective consciousness of oneself as a body engaged in perceptual activity. An alternative account makes no appeal to the metaphysically laden concept of a bodily self. It seeks to explain the structure of perceptual experience by appeal to anticipation of the structural constraints of the body. I develop this alternative by highlighting the conceptual and empirical basis for the idea that a first-order structural affordance relation holds between a bodily agent and certain properties of its body. I then close with a discussion of the shared background assumptions that ought to inform disputes over whether the body itself (in addition to its representation) ought to serve as an explanans in such an account.

Visual-somatosensory interactions in mental representations of the body and the face

The body is represented in the brain at levels that incorporate multisensory information. This thesis focused on interactions between vision and cutaneous sensations (i.e., touch and pain). Experiment 1 revealed that there are partially dissociable pathways for visual enhancement of touch (VET) depending upon whether one sees one’s own body or the body of another person. This indicates that VET, a seeming low-level effect on spatial tactile acuity, is actually sensitive to body identity. Experiments 2-4 explored the effect of viewing one’s own body on pain perception. They demonstrated that viewing the body biases pain intensity judgments irrespective of actual stimulus intensity, and, more importantly, reduces the discriminative capacities of the nociceptive pathway encoding noxious stimulus intensity. The latter effect only occurs if the pain-inducing event itself is not visible, suggesting that viewing the body alone and viewing a stimulus event on the body have distinct effects on cutaneous sensations. Experiment 5 replicated an enhancement of visual remapping of touch (VRT) when viewing fearful human faces being touched, and further demonstrated that VRT does not occur for observed touch on non-human faces, even fearful ones. This suggests that the facial expressions of non-human animals may not be simulated within the somatosensory system of the human observer in the same way that the facial expressions of other humans are. Finally, Experiment 6 examined the enfacement illusion, in which synchronous visuo-tactile inputs cause another’s face to be assimilated into the mental self-face representation. The strength of enfacement was not affected by the other’s facial expression, supporting an asymmetric relationship between processing of facial identity and facial expressions. Together, these studies indicate that multisensory representations of the body in the brain link low-level perceptual processes with the perception of emotional cues and body/face identity, and interact in complex ways depending upon contextual factors.