DOCSLIB.ORG

2010 Program Meeting Schedule

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
2010 Program Meeting Schedule Vision Sciences Society 10th Annual Meeting, May 7-12, 2010 Naples Grande Resort & Club, Naples, Florida Program Contents Board, Review Committee & Staff . 2 Satellite Events. 22 Keynote Address . 3 Club Vision Dance Party. 22 Meeting Schedule . 4 Open House . 23 Schedule-at-a-Glance . 6 Member-Initiated Symposia . 24 Poster Schedule . 8 Friday Sessions . 29 Talk Schedule . 10 Saturday Sessions . 33 Young Investigator Award . 11 Sunday Sessions . 43 Abstract Numbering System. 11 Monday Sessions . 53 VSS Dinner and Demo Night . 12 Tuesday Sessions . 58 VSS Public Lecture . 15 Wednesday Sessions . 68 VSS at ARVO . 15 Topic Index. 71 Attendee Resources . 16 Author Index . 74 Exhibitors . 19 Hotel Floorplan . 86 Travel Awards . 21 Advertisements. 89 Board, Review Committee & Staff Board of Directors Abstract Review Committee Tony Movshon (2011), President David Alais Laurence Maloney New York University Marty Banks Ennio Mingolla Pascal Mamassian (2012), President Elect Irving Biederman Cathleen Moore CNRS & Université Paris 5 Geoff Boynton Shin’ya Nishida Eli Brenner Tony Norcia Bill Geisler (2010), Past President Angela Brown Aude Oliva University of Texas, Austin David Burr Alice O’Toole Marisa Carrasco (2012), Treasurer Patrick Cavanagh John Reynolds New York University Marvin Chun Anna Roe Barbara Dosher (2013) Jody Culham Brian Rogers University of California, Irvine Greg DeAngelis Jeff Schall James Elder Brian Scholl Karl Gegenfurtner (2013) Steve Engel David Sheinberg Justus-Liebig Universität Giessen, Germany Jim Enns Daniel Simons Zoe Kourtzi (2012) Mary Hayhoe George Sperling University of Birmingham, UK John Henderson Jim Tanaka (Year denotes end of term) Anya Hurlbert Bosco Tjan Nancy Kanwisher Preeti Verghese Phil Kellman William Warren Founders Daniel Kersten Takeo Watanabe Ken Nakayama Ruth Kimchi Michael Webster Harvard University Lynne Kiorpes Steve Yantis Margaret Livingstone Yaffa Yeshurun Tom Sanocki University of South Florida Art Credits Staff Mouna Attarha Program and Abstracts cover design Shauney Wilson Executive Director Moran Cerf T-shirt design (front) Shawna Lampkin Administrative Assistant Vu Chu T-shirt design (back) Joan Carole Exhibits & Advertising Manager Jeff Wilson Website & Program 2 Vision Sciences Society Keynote Address Carla Shatz Releasing the Brake on Ocular Professor of Biology and Neurobiology Dominance Plasticity Director, Bio-X, Stanford University Saturday, May 8, 7:45 pm Carla Shatz is professor of Royal Ballroom 4-5 biology and neurobiology and director of Bio-X at Connections in adult visual system are highly precise, but Stanford University. Dr. they do not start out that way. Precision emerges during Shatz’s research focuses critical periods of development as synaptic connections on the development of remodel, a process requiring neural activity and involving the mammalian visual regression of some synapses and strengthening and stabi- system, with an overall lization of others. Activity also regulates neuronal genes; goal of better understand- in an unbiased PCR-based differential screen, we discov- ing critical periods of ered unexpectedly that MHC Class I genes are expressed brain wiring and devel- in neurons and are regulated by spontaneous activity and opmental disorders such visual experience (Corriveau et al, 1998; Goddard et al, as autism, dyslexia and 2007). To assess requirements for MHCI in the CNS, mice schizophrenia, and also lacking expression of specific MHCI genes were examined. for understanding how Synapse regression in developing visual system did not the nervous and immune occur, synaptic strengthening was greater than normal in systems interact. adult hippocampus, and ocular dominance (OD) plasticity in visual cortex was enhanced (Huh et al, 2000; Datwani et Dr. Shatz graduated from Radcliffe College in 1969 with al, 2009). We searched for receptors that could interact with a B.A. in Chemistry. She was honored with a Marshall neuronal MHCI and carry out these activity-dependent Scholarship to study at University College London, where processes. mRNA for PirB, an innate immune receptor, she received an M.Phil. in Physiology in 1971. In 1976, she was found highly expressed in neurons in many regions received a Ph.D. in Neurobiology from Harvard Medical of mouse CNS. We generated mutant mice lacking PirB School, where she studied with Nobel Laureates David function and discovered that OD plasticity is also enhanced Hubel and Torsten Wiesel. During this period, she was (Syken et al., 2006), as is hippocampal LTP. Thus, MHCI appointed as a Harvard Junior Fellow. From 1976 to 1978 ligands signaling via PirB receptor may function to “brake” she obtained postdoctoral training with Dr. Pasko Rakic in activity- dependent synaptic plasticity. Together, results the Department of Neuroscience, Harvard Medical School. imply that these molecules, thought previously to func- In 1978, Dr. Shatz moved to Stanford University, where she tion only in the immune system, may also act at neuronal attained the rank of Professor of Neurobiology in 1989. In synapses to limit how much- or perhaps how quickly- syn- 1992, she moved her laboratory to the University of Cali- apse strength changes in response to new experience. These fornia, Berkeley, where she was Professor of Neurobiol- molecules may be crucial for controlling circuit excitability ogy and an Investigator of the Howard Hughes Medical and stability in developing as well as adult brain, and Institute. In 2000, she assumed the Chair of the Department changes in their function may contribute to developmental of Neurobiology at Harvard Medical School as the Nathan disorders such as Autism, Dyslexia and even Schizophre- Marsh Pusey Professor of Neurobiology. nia. Dr. Shatz received the Society for Neuroscience Young Supported by NIH Grants EY02858, MH071666, the Investigator Award in 1985, the Silvo Conte Award from Mathers Charitable Foundation and the Dana Foundation the National Foundation for Brain Research in 1993, the Charles A. Dana Award for Pioneering Achievement in Keynote Address is sponsored by Health and Education in 1995, the Alcon Award for Out- Cambridge Research Systems standing Contributions to Vision Research in 1997, the Bernard Sachs Award from the Child Neurology Society in A reception will immediately precede the Keynote Address 1999, the Weizmann Institute Women and Science Award and Awards Ceremony. in 2000 and the Gill Prize in Neuroscience in 2006. In 1992, she was elected to the American Academy of Arts and Sci- ences, in 1995 to the National Academy of Sciences, in 1997 to the American Philosophical Society, and in 1999 to the Institute of Medicine. In 2009 she received the Salpeter Life- time achievement award from the Society for Neuroscience. Vision Sciences Society 3 Meeting Schedule Friday, May 7 9:00 am – 8:30 pm Registration Open Royal Foyer 1:00 – 3:00 pm Symposia Session 1 Royal Ballrooms 1-3, 4-5 & 6-8 3:00 – 3:30 pm Coffee Break Royal Foyer 3:30 – 5:30 pm Symposia Session 2 Royal Ballrooms 1-3, 4-5 & 6-8 5:30 – 7:30 pm Opening Night Reception Royal Foyer, Orchid Foyer, Sunset Deck, Vista Deck 5:30 – 9:30 pm Exhibits Open Orchid Foyer 6:30 – 9:30 pm Evening Poster Session Vista Ballroom, Orchid Ballroom Saturday, May 8 7:30 am – 6:45 pm Registration Open Royal Foyer 7:45 – 8:15 am Coffee Royal Foyer, Orchid Foyer 8:15 – 10:00 am Talk Sessions Royal Ballrooms 1-3 & 4-5 8:30 am – 12:30 pm Poster Sessions Royal Ballroom 6-8, Orchid Ballroom, Vista Ballroom 8:30 am – 6:45 pm Exhibits Open Orchid Foyer 10:00 – 11:30 am VSS Public Lecture Renaissance Academy of Florida Gulf Coast University 10:00 – 11:30 am Family & Friends Get-Together Mangrove Pool 10:15 – 10:45 am Coffee Break Royal Foyer, Orchid Foyer 11:00 am – 12:45 pm Talk Sessions Royal Ballrooms 1-3 & 4-5 12:45 – 2:45 pm Lunch Break Purchase a lunch at VSS Marketplace and head to the beach!* 2:45 – 4:15 pm Talk Sessions Royal Ballrooms 1-3 & 4-5 2:45 – 6:45 pm Poster Sessions Royal Ballroom 6-8, Orchid Ballroom, Vista Ballroom 4:30 – 5:00 pm Coffee Break Royal Foyer, Orchid Foyer 5:15 – 6:45 pm Talk Sessions Royal Ballrooms 1-3 & 4-5 6:45 – 7:45 pm Keynote Reception Royal Foyer 7:45 – 9:15 pm Keynote Address and Awards Ceremony Royal Ballroom 4-5 Sunday, May 9 7:30 am – 6:45 pm Registration Open Royal Foyer 7:45 – 8:15 am Coffee Royal Foyer, Orchid Foyer 8:15 – 10:00 am Talk Sessions Royal Ballrooms 1-3 & 4-5 8:30 am – 12:30 pm Poster Sessions Royal Ballroom 6-8, Orchid Ballroom, Vista Ballroom 8:30 am – 6:45 pm Exhibits Open Orchid Foyer 10:15 – 10:45 am Coffee Break Royal Foyer, Orchid Foyer 11:00 am – 12:45 pm Talk Sessions Royal Ballrooms 1-3 & 4-5 12:45 – 2:45 pm Lunch Break Purchase a lunch at VSS Marketplace and head to the beach!* 2:45 – 4:15 pm Talk Sessions Royal Ballrooms 1-3 & 4-5 2:45 – 6:45 pm Poster Sessions Royal Ballroom 6-8, Orchid Ballroom, Vista Ballroom 4:30 – 5:00 pm Coffee Break Royal Foyer, Orchid Foyer 5:15 – 7:00 pm Talk Sessions Royal Ballrooms 1-3 & 4-5 10:00 pm – 1:00 am CVS-VVRC Social Vista Ballroom & Sunset Deck 4 Vision Sciences Society VSS 2010 Program Meeting Schedule Monday, May 10 7:30 am – 1:15 pm Registration Open Royal Foyer 7:45 – 8:15 am Coffee Royal Foyer, Orchid Foyer 8:15 – 10:00 am Talk Sessions Royal Ballrooms 1-3 & 4-5 8:30 am – 12:30 pm Poster Sessions Royal Ballroom 6-8, Orchid Ballroom, Vista Ballroom 8:30 am – 1:15 pm Exhibits Open Orchid Foyer 10:00 – 11:00 am Visual Search Workshop/National Acacia 5 Geospatial-Intelligence Agency 10:15 – 10:45 am Coffee Break Royal Foyer, Orchid
Load more

Recommended publications
  • Listening to Dance...With Our Bodies and Minds Jordan
    Interdisciplinary Panel 4: Looking and listening Listening to dance...with our bodies and minds Stephanie Jordan, Research Professor in Dance, Director of Centre for Dance Research, Roehampton University Through our bodies, we empathise not only with dance, but also with its accompanying music. So, what happens when we experience dance and music together, or ‘choreomusically’? Evidence now suggests that audio, visual and motor imagery share a common representational and neuropsychological base, even though music can be subversive as much as supportive in the partnership with dance. In this regard, might it be useful to explore the interface between perception and empathy in our discussion of dance and music? In experiencing dance and music together, is the response one of integration or of two (or even more) separate ‘voices’ or ‘bodies’, each of which invites empathetic response or ‘virtual motion’? My paper raises questions about how we respond to choreomusical structures, drawing from my experience of integrating ideas from cognitive science into dance analysis (independently and in experimental workshops). My research, though primarily from the point of view of perception, raises key questions about empathetic responses to, or embodiment of, the two simultaneously-presented media. Although a number of valuable crossmodal studies deal with basic temporal and spatial concepts, there are few to date that have foregrounded relations (or structural meetings) between the more complex and extended stimuli of actual dance and music. In the two seminal experiments (Krumhansl and Schenk (1997); Mitchell and Gallaher (2001)), empirical evidence demonstrated that dance can reflect musical formal divisions, pitch level, dynamics and emotions.
    [Show full text]
  • Cognition of Musical and Visual Accent Structure Alignment in Film and Animation
    UNIVERSITY OF CALIFORNIA Los Angeles Cognition of musical and visual accent structure alignment in film and animation A doctoral dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Music by Scott David Lipscomb 1995 © Copyright by Scott David Lipscomb 1995 ii The dissertation of Scott David Lipscomb is approved. __________________________________________ Roger Bourland __________________________________________ Edward C. Carterette __________________________________________ William Hutchinson __________________________________________ James Thomas __________________________________________ Roger A. Kendall, Committee Chair University of California, Los Angeles 1995 ii To my son, John David. iii TABLE OF CONTENTS page # LIST OF FIGURES x LIST OF TABLES xiv ACKNOWLEDGMENTS xvi VITA xvii ABSTRACT OF THE DISSERTATION xix CHAPTER ONE—INTRODUCTION 1 Research Questions 2 Film Music Background 3 Purpose and Significance of the Study 6 Basic Assumptions 7 Delimitation 8 Hypotheses 9 CHAPTER TWO—RELATED LITERATURE 12 Proposed Model and Its Foundation 15 Musical and Visual Periodicity 17 The Communication of Musical Meaning 19 A 3-Dimensional Model of Film Classification 23 Accent Structure Alignment 26 Determinants of Accent 26 Sources of Musical Accent 29 Sources of Visual Accent 34 iv A Common Language 38 Potential Sources of Musical and Visual Accent in the Present Study 39 Mapping of Audio-Visual Accent Structures 41 CHAPTER THREE—METHOD 42 Research Design 42 Subject Selection 43 Stimulus
    [Show full text]
  • Boundaries in Spatial Cognition: How They Look Is More Important Than What They Do
    bioRxiv preprint doi: https://doi.org/10.1101/391037; this version posted August 13, 2018. The copyright holder for this preprint (which was not certified by peer review) is the author/funder. All rights reserved. No reuse allowed without permission. SPATIAL CODING 1 Boundaries in Spatial Cognition: How They Look is More Important than What They Do James Negen1, Angela Sandri2, Sang Ah Lee3, Marko Nardini1 1Department of Psychology, Durham University, Durham, UK 2Department of Psychology and Cognitive Science, University of Trento, Rovereto, Italy 3Department of Bio and Brain Engineering, Korea Advanced Institute of Science and Technology, Daejeon, Korea bioRxiv preprint doi: https://doi.org/10.1101/391037; this version posted August 13, 2018. The copyright holder for this preprint (which was not certified by peer review) is the author/funder. All rights reserved. No reuse allowed without permission. SPATIAL CODING 2 ABSTRACT Typical boundaries (e.g. large walls) strongly influence neural activity related to navigation and representations of spatial layouts. Typical boundaries are also a major aid to reliable navigation in young children and non-human animals. One hypothesis places this as a function of the walls being boundaries, defined by proponents as obstacles to navigation. An alternative hypothesis suggests that this is a function of visual covariates such as the presence of large 3D surfaces. Using immersive virtual reality, we dissociated whether walls in the environment were true boundaries (i.e., obstacles to navigation) or not (i.e., visually identical but not obstacles to navigation), or if they were replaced with smaller objects. 20 adults recalled locations of objects in virtual environments under four conditions: plywood, where a visual wall coincided with a large touchable piece of plywood; pass through, where the wall coincided with empty space and participants could pass through it; pass over, where the wall was underneath a transparent floor, and cones, where there were traffic cones instead of walls.
    [Show full text]
  • PDF Hosted at the Radboud Repository of the Radboud University Nijmegen
    PDF hosted at the Radboud Repository of the Radboud University Nijmegen The following full text is a publisher's version. For additional information about this publication click this link. http://hdl.handle.net/2066/201487 Please be advised that this information was generated on 2021-09-27 and may be subject to change. Rusz, D., et al. (2019). Do Reward-Related Distractors Impair Cognitive Performance? Perhaps Not. Collabra: Psychology, 5(1): 10. DOI: https://doi.org/10.1525/collabra.169 ORIGINAL RESEARCH REPORT Do Reward-Related Distractors Impair Cognitive Performance? Perhaps Not Dorottya Rusz*, Erik Bijleveld† and Michiel A. J. Kompier† Over a hundred prior studies show that reward-related distractors capture attention. It is less clear, however, whether and when reward-related distractors affect performance on tasks that require cognitive control. In this experiment, we examined whether reward-related distractors impair performance during a demanding arithmetic task. Participants (N = 81) solved math problems, while they were exposed to task-irrelevant stimuli that were previously associated with monetary rewards (vs. not). Although we found some evidence for reward learning in the training phase, results from the test phase showed no evidence that reward-related distractors harm cognitive performance. This null effect was invariant across different versions of our task. We examined the results further with Bayesian analyses, which showed positive evidence for the null. Altogether, the present study showed that reward-related distractors did not harm performance on a mental arithmetic task. When considered together with previous studies, the present study suggests that the negative impact of reward-related distractors on cognitive control is not as straightforward as it may seem, and that more research is needed to clarify the circumstances under which reward-related distractors harm cognitive control.
    [Show full text]
  • The Infant's Auditory World: Hearing, Speech, and the Beginnings Of
    dam2_c02.qxd 1/6/06 12:44 PM Page 58 CHAPTER 2 The Infant’s Auditory World: Hearing, Speech, and the Beginnings of Language JENNY R. SAFFRAN, JANET F. WERKER, and LYNNE A. WERNER INFANT AUDITION 59 Stress and Phonotactic Cues 80 Development of the Auditory Apparatus: Higher-Level Units 81 Setting the Stage 59 LEARNING MECHANISMS 81 Measuring Auditory Development 60 Units for Computations 83 Frequency Coding 61 BUILDING FROM THE INPUT DURING THE Intensity Coding 63 1ST YEAR 83 Temporal Coding 67 Learning Phonology and Phonotactics 84 Spatial Resolution 69 Word Segmentation 84 Development of Auditory Scene Analysis 70 Beginnings of Word Recognition 88 Implications for theDevelopment of Listening for Meaning 89 Speech Perception 71 Beginnings of Grammar 91 INFANT SPEECH PERCEPTION AND WORD CONCLUSIONS AND FUTURE DIRECTIONS 92 LEARNING: BEGINNINGS OF LANGUAGE 72 Relationship between Auditory Processing and Emergence of the Field: Phonetic Perception 72 Speech Perception 92 A Preference for Speech 75 Constraints on Learning 93 Perception of the Visible Information in Speech 76 Domain Specificity and Species Specificity 93 Perception of Prosodic Attributes of the The Infant’s Auditory World 94 Speech Signal 77 REFERENCES 95 Perception of Other Aspects of the Speech Signal 78 IMPLICIT DISCOVERY OF CUES IN THE INPUT: A DRIVE TO MAKE SENSE OF THE ENVIRONMENT 80 The auditory world provides a rich source of informa- tion provides a channel for many important sources of tion to be acquired by the developing infant. We are born inputs, including a variety of critical environmental with well-developed auditory systems, capable of gath- sounds such as music and spoken language.
    [Show full text]
  • Parameters of Perception: Vision, Audition, and Twentieth-Century Music and Dance
    Parameters Of Perception: Vision, Audition, and Twentieth-Century Music and Dance Allen Fogelsanger Kathleya Afanador Congress on Research in Dance 38th Annual Conference November 2-5, 2006, Tempe, Arizona Recent experimental psychological research on visual perception, auditory perception, and cross-modal perception has shed light on how these processes differ, and how the relations between visual and auditory stimuli shade our understanding of the events perceived. This work offers a possible way into considering the question of how music and dance “go together” or not, and particularly may shed light on the unusual twentieth-century human behavior of NOT having music and dance “go together.” Our paper presents relevant research in perception, examines factors contributing to the separation of perceptual modalities that has often appeared in twentieth-century dance, and discusses the separation in terms of the specific behaviors of dancing and looking at dance. We come to this paper with a practical interest in what makes music and dance go together, or not, in that one of us choreographs and one of us composes and we share a desire to make computer-interactive pieces. In such pieces the connection between movement and sound must be examined explicitly, and this has led us to explore the literature from experimental psychology relating sound to movement and attempt to connect it to the making and viewing of dances. We start by trying to distinguish between cases where dance and music are seen to “go together” and those where they aren’t.
    [Show full text]
  • Consciousness, Accessibility, and the Mesh Between Psychology and Neuroscience
    BEHAVIORAL AND BRAIN SCIENCES (2007) 30, 481–548 Printed in the United States of America doi: 10.1017/S0140525X07002786 Consciousness, accessibility, and the mesh between psychology and neuroscience Ned Block Department of Philosophy, New York University, New York, NY 10003 [email protected] Abstract: How can we disentangle the neural basis of phenomenal consciousness from the neural machinery of the cognitive access that underlies reports of phenomenal consciousness? We see the problem in stark form if we ask how we can tell whether representations inside a Fodorian module are phenomenally conscious. The methodology would seem straightforward: Find the neural natural kinds that are the basis of phenomenal consciousness in clear cases – when subjects are completely confident and we have no reason to doubt their authority – and look to see whether those neural natural kinds exist within Fodorian modules. But a puzzle arises: Do we include the machinery underlying reportability within the neural natural kinds of the clear cases? If the answer is “Yes,” then there can be no phenomenally conscious representations in Fodorian modules. But how can we know if the answer is “Yes”? The suggested methodology requires an answer to the question it was supposed to answer! This target article argues for an abstract solution to the problem and exhibits a source of empirical data that is relevant, data that show that in a certain sense phenomenal consciousness overflows cognitive accessibility. I argue that we can find a neural realizer of this overflow if we assume that the neural basis of phenomenal consciousness does not include the neural basis of cognitive accessibility and that this assumption is justified (other things being equal) by the explanations it allows.
    [Show full text]
  • Parameters of Perception: Vision, Audition, and Twentieth-Century Music and Dance
    AVANT, Vol. VIII, No. 1/2017 ISSN: 2082-6710 avant.edu.pl/en DOI: 10.26913/80102017.0101.0004 Parameters of Perception: Vision, Audition, and Twentieth-Century Music and Dance Allen Fogelsanger Kathleya Afanador SUNY Purchase College Conservatory of Dance Armadillo Dance Project allen.fogelsanger @ gmail.com kathleya @ armadillodanceproject.com Abstract Recent experimental psychological research on visual perception, auditory perception, and cross-modal perception has shed light on how these processes differ, and how the relations between visual and auditory stimuli shade our understanding of the events perceived. This work offers a possible way into considering the question of how music and dance “go together” or not, and particularly may shed light on the unusual twentieth-century human behavior of NOT having music and dance “go together.” Our paper presents relevant re- search in perception, examines factors contributing to the separation of perceptual modal- ities that has often appeared in twentieth-century dance, and discusses the separation in terms of the specific behaviors of dancing and looking at dance. Keywords: perception; vision; audition; music; dance We come to this paper with a practical interest in what makes music and dance go together, or not, in that one of us choreographs and one of us composes, and we share a desire to make computer-interactive pieces. In such pieces the connection between movement and sound must be examined explicitly, and this has led us to explore the literature from ex- perimental psychology relating sound to movement and attempt to connect it to the making and viewing of dances. We start by trying to distinguish between cases where dance and music are seen to “go together” and those where they are not.
    [Show full text]
  • Ownership Illusions in Patients with Body Delusions: Different Neural Profiles of Visual Capture and Disownership
    cortex xxx (2016) 1e12 Available online at www.sciencedirect.com ScienceDirect Journal homepage: www.elsevier.com/locate/cortex Special issue: Research report Ownership illusions in patients with body delusions: Different neural profiles of visual capture and disownership Olivier Martinaud a,b,1, Sahba Besharati b,c,1,2, Paul M. Jenkinson d and * Aikaterini Fotopoulou b, a Department of Neurology, Rouen University Hospital, France b Clinical, Educational & Health Psychology Research Department, Division of Psychology & Language Sciences, University College London, UK c Academic Unit of Neuropsychiatry, King's College London, UK d School of Life and Medical Sciences, University of Hertfordshire, UK article info abstract Article history: The various neurocognitive processes contributing to the sense of body ownership have Received 9 April 2016 been investigated extensively in healthy participants, but studies in neurological patients Reviewed 24 May 2016 can shed unique light into such phenomena. Here, we aimed to investigate whether visual Revised 22 July 2016 capture by a fake hand (without any synchronous or asynchronous tactile stimulation) Accepted 25 September 2016 affects body ownership in a group of hemiplegic patients with or without disturbed Published online xxx sensation of limb ownership (DSO) following damage to the right hemisphere. We recruited 31 consecutive patients, including seven patients with DSO. The majority of our patients Keywords: (64.5% overall and up to 86% of the patients with DSO) experienced strong feelings of Anosognosia for hemiplegia ownership over a rubber hand within 15 sec following mere visual exposure, which Asomatognosia correlated with the degree of proprioceptive deficits across groups and in the DSO group.
    [Show full text]
  • Cognition of Musical and Visual Accent Structure Alignment in Film and Animation
    PRE-PUBLICATION DRAFT: PLEASE DO NOT PHOTOCOPY THE PERCEPTION OF AUDIO-VISUAL COMPOSITES: ACCENT STRUCTURE ALIGNMENT OF SIMPLE STIMULI Scott D. Lipscomb Northwestern University In contemporary society, the human sensory system is bombarded by sounds and images intended to attract attention, manipulate state of mind, or affect behavior.1 Patients awaiting a medical or dental appointment are often subjected to the "soothing" sounds of Muzak as they sit in the waiting area. Trend-setting fashions are displayed in mall shops blaring the latest Top 40 selec- tions to attract their specific clientele. Corporate training sessions and manage- ment presentations frequently employ not only communication through text and speech, but a variety of multimedia types for the purpose of attracting and main- taining attention, e.g. music, graphs, and animation. Recent versions of word processors allow the embedding of sound files, animations, charts, equations, pictures, and information from multiple applications within a single document. Even while standing in line at an amusement park or ordering a drink at the local pub, the presence of television screens providing aural and visual "companion- ship" is now ubiquitous. In each of these instances mentioned, music is assumed to be a catalyst for establishing the mood deemed appropriate, generating desired actions, or simply maintaining a high level of interest among participants within a given context. Musical affect has also been claimed to result in increased labor produc- tivity and reductions in on-the-job accidents when music is piped into the work- place (Hough, 1943; Halpin, 1943-4; Kerr, 1945), though these studies are often far from rigorous in their method and analysis (McGehee & Gardner, 1949; Car- dinell & Burris-Meyer, 1949; Uhrbock, 1961).
    [Show full text]
  • PDF Hosted at the Radboud Repository of the Radboud University Nijmegen
    PDF hosted at the Radboud Repository of the Radboud University Nijmegen The following full text is a publisher's version. For additional information about this publication click this link. http://hdl.handle.net/2066/201487 Please be advised that this information was generated on 2021-01-04 and may be subject to change. Rusz, D., et al. (2019). Do Reward-Related Distractors Impair Cognitive Performance? Perhaps Not. Collabra: Psychology, 5(1): 10. DOI: https://doi.org/10.1525/collabra.169 ORIGINAL RESEARCH REPORT Do Reward-Related Distractors Impair Cognitive Performance? Perhaps Not Dorottya Rusz*, Erik Bijleveld† and Michiel A. J. Kompier† Over a hundred prior studies show that reward-related distractors capture attention. It is less clear, however, whether and when reward-related distractors affect performance on tasks that require cognitive control. In this experiment, we examined whether reward-related distractors impair performance during a demanding arithmetic task. Participants (N = 81) solved math problems, while they were exposed to task-irrelevant stimuli that were previously associated with monetary rewards (vs. not). Although we found some evidence for reward learning in the training phase, results from the test phase showed no evidence that reward-related distractors harm cognitive performance. This null effect was invariant across different versions of our task. We examined the results further with Bayesian analyses, which showed positive evidence for the null. Altogether, the present study showed that reward-related distractors did not harm performance on a mental arithmetic task. When considered together with previous studies, the present study suggests that the negative impact of reward-related distractors on cognitive control is not as straightforward as it may seem, and that more research is needed to clarify the circumstances under which reward-related distractors harm cognitive control.
    [Show full text]
  • Function Follows Form: How Connectivity Patterns Govern Neural Responses by David Eugene Osher B.Sc
    Function Follows Form: How Connectivity Patterns Govern Neural Responses by David Eugene Osher B.Sc. Psychology The Ohio State University 2006 SUBMITTED TO THE DEPARTMENT OF BRAIN AND COGNITIVE SCIENCES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN NEUROSCIENCE AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY June 2013 © David E. Osher, MMXIII. All rights reserved The author hereby grants to MIT permission to reproduce and distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. Author.......................................................................................................................... David E. Osher Department of Brain and Cognitive Sciences May 3, 2013 Certified by.................................................................................................................. John D. E. Gabrieli Grover Hermann Professor in Health Sciences, Technology and Cognitive Neuroscience Thesis Supervisor Accepted by................................................................................................................. Matthew A. Wilson Sherman Fairchild Professor of Neuroscience Director of Graduate Education for Brain and Cognitive Sciences Page 1 of 129 Function Follows Form: How Connectivity Patterns Govern Neural Responses by David Eugene Osher Submitted to the Department of Brain and Cognitive Sciences on May 3 2013, in partial fulfillment of the requirements for the degree of Doctor of Philosophy
    [Show full text]