Statistical learning enables humans to involuntarily process and utilize different kinds of patterns from the environment. However, the cognitive mechanisms underlying the simultaneous acquisition of multiple regularities from different perceptual modalities remain unclear. A novel multidimensional serial reaction time task was developed to test 40 participants’ ability to learn simple first‐order and complex second‐order relations between uni‐modal visual and cross‐modal audio‐visual stimuli. Using the difference in reaction times between sequenced and random stimuli as the index (...) of domain‐general statistical learning, a significant difference and dissociation of learning occurred between the initial and final learning phases. Furthermore, we used a negative and positive occurrence‐frequency‐and‐reaction‐time correlation to indicate implicit and explicit learning, respectively, and found that learning simple uni‐modal patterns involved an implicit‐to‐explicit segue, while acquiring complex cross‐modal patterns required an explicit‐to‐implicit segue, resulting in a X‐shape crossing of regularity learning. Thus, we propose an X‐way hypothesis to elucidate the dynamic interplay between the implicit and explicit systems at two distinct stages when acquiring various regularities in a multidimensional probability space. (shrink)

Spatial memory relies on encoding, storing, and retrieval of knowledge about objects’ positions in their surrounding environment. Blind people have to rely on sensory modalities other than vision to memorize items that are spatially displaced, however, to date, very little is known about the influence of early visual deprivation on a person’s ability to remember and process sound locations. To fill this gap, we tested sighted and congenitally blind adults and adolescents in an audio-spatial memory task inspired by (...) the classical card game “Memory.” In this research, subjects had to find pairs among sounds displaced on an audio-tactile device composed of loudspeakers covered by tactile sensors. To accomplish this task, participants had to remember the spatialized sounds’ position and develop a proper mental spatial representation of their locations. The test was divided into two experimental conditions of increasing difficulty dependent on the number of sounds to be remembered. Results showed that sighted participants outperformed blind participants in both conditions. Findings were discussed considering the crucial role of visual experience in properly manipulating auditory spatial representations, particularly in relation to the ability to explore complex acoustic configurations. (shrink)

Ageing is associated with declines in several cognitive abilities including working memory. The goal of the present study was to assess whether emotional information could reduce the age gap in the quantity and quality of representations in visual WM. Young and older adults completed a serial image recognition task and a colour-image binding task. Results of the SIR task showed worse performance for negative than neutral and positive images within the older group, hence enlarging the age gap in (...) WM. In the CIB task, recall precision was lower in the old than young adults, showing an ageing decline in the quality of WM representations. Positive images tended to improve precision, but this boost was similar for both age groups. In sum, emotional content did not reduce the age gap in visual WM. (shrink)

People can discriminate the synchrony between audio-visual scenes. However, the sensitivity of audio-visual synchrony perception can be affected by many factors. Using a simultaneity judgment task, the present study investigated whether the synchrony perception of complex audio-visual stimuli was affected by audio-visual causality and stimulus reliability. In Experiment 1, the results showed that audio-visual causality could increase one's sensitivity to audio-visual onset asynchrony (AVOA) of both action stimuli and (...) speech stimuli. Moreover, participants were more tolerant of AVOA of speech stimuli than that of action stimuli in the high causality condition, whereas no significant difference between these two kinds of stimuli was found in the low causality condition. In Experiment 2, the speech stimuli were manipulated with either high or low stimulus reliability. The results revealed a significant interaction between audio-visual causality and stimulus reliability. Under the low causality condition, the percentage of “synchronous” responses of audio-visual intact stimuli was significantly higher than that of visual_intact/auditory_blurred stimuli and audio-visual blurred stimuli. In contrast, no significant difference among all levels of stimulus reliability was observed under the high causality condition. Our study supported the synergistic effect of top-down processing and bottom-up processing in audio-visual synchrony perception. (shrink)

Experimental research has shown that pairs of stimuli which are congruent and assumed to 'go together' are recalled more effectively than an item presented in isolation. Will this multisensory memory benefit occur when stimuli are richer and longer, in an ecological setting? In the present study, we focused on an everyday situation of audio-visual learning and manipulated the relationship between audio guide tracks and viewed portraits in the galleries of the Tate Britain. By varying the gender and (...) narrative style of the voice-over, we examined how the perceived congruency and assumed unity of the audio guide track with painted portraits affected subsequent recall. We show that tracks perceived as best matching the viewed portraits led to greater recall of both sensory and linguistic content. We provide the first evidence that manipulating crossmodal congruence and unity assumptions can effectively impact memory in a multisensory ecological setting, even in the absence of precise temporal alignment between sensory cues. (shrink)

Utilizing a pre-experimental pre-test post-test design, this study investigated the effect of an authentic audio-visual American sitcom on the intercultural sensitivity and intercultural effectiveness of a sample of male and female upper-intermediate English students. To this aim, 34 Iranian EFL students were selected through convenient non-random sampling. In order to assure the participants' homogeneity in English proficiency, the selected students were given the Oxford Quick Placement Test prior to the intervention. Over a 10-week period, the participants were presented (...) with nearly 30-min-long episodes of Friends in a flipped context, two episodes every week uploaded to the accompanying website. An online 10-item quiz on the day of watching and a next-day meeting were held. During the online discussion meetings, the participants discussed cultural questions tailored to the aims of the study. The required data were collected through the administration of the intercultural sensitivity scale and intercultural effectiveness scale in pre- and post-test assessments. The analyses of the data indicated that both ICS and ICE improved significantly during the intervention. However, ICS indicated more improvement. In addition, a semi-structured interview was administered to the participants to examine their perception of the flipped classroom experience. Having analyzed the data using MAXQDA 2020, some significant themes emerged which are reported. On the whole, the participants portrayed positive attitudes toward using technology in flipped classes. The educational and practical implications are discussed. (shrink)

German and English speakers employ different strategies to encode static spatial scenes involving the axial position (standing vs. lying) of an inanimate figure object with respect to a ground object. In a series of three experiments, we show that this linguistic difference is not reflected in native speakers’ ability to detect changes in axial position in nonlinguistic memory tasks. Furthermore, even when participants are required to use language to encode a spatial scene, they do not rely on language (...) during a recognition memory task. These results have implications for the relationship between language and visual memory. (shrink)

Companies increasingly seek to use gay protagonists in audio-visual commercials to attract a new affluent target group. There is also growing demand for the diversity present in society to be reflected in media formats such as advertising. Studies have shown, however, that heterosexual consumers, who may be part of the company's loyal consumer base, tend to react negatively to gay-themed advertising campaigns. Searching for an instrument to mitigate this unwanted effect, the present study investigated whether carefully selected background (...) music can shape the perceived gender of gay male advertising protagonists. In a 2 × 2 between-subjects online experiment, 218 heterosexual participants watched a commercial promoting engagement rings that featured gay male protagonists, scored with feminine- or masculine-connoted background music. As expected, women generally reacted more positively than men to the advertising. Men exposed to the masculine-connoted background music rated the promoted brand more positively, and masculine music also enhanced these men's acceptance of gay men in general more than was the case for feminine background music. Carefully selected background music affecting the perceived gender of gay male advertising protagonists may prevent negative reactions from heterosexual audiences and, therefore, motivate companies to use gay protagonists in television commercials on a more regular basis. (shrink)

This article documents a project that deals with the application of a generative approach for creating audio-visual narration. The project investigates the possibility of producing spatio-temporal montage, offering a kaleidoscopic view of pre-recorded events. Fragmented narratives synthesize a complex whole, which evolve in space and time according to the viewer's behaviour in space. Thus, the viewer becomes the player of a live, constantly changing puzzle. The aim is to create new experiences derived from the synthesis is being pre-recorded (...) memories, according to kinetic commands. A kaleidoscopic narrative is being created according to users' placement, to their movement in space, and to interaction between them. The system's narratives are different if a single observer is interacting with it via his displacement, or if many observers are moving independently towards different directions or as a group. Two kinds of interaction are being developed: humanmachine interaction and humanhuman interaction. Condensings and rarefactions are perceived by the system as different stimuli, and thus they lead to different audio-visual narratives. The environment created by the system is planned to be both procedural and participatory. It is led by rules and by people at the same time. It reacts to the users' acts and is offered for multiple simultaneous personal readings. When interactive environments are offered for simultaneous readings by a number of users, they are altered in a way that depasses the sum of individual interactions, creating an emergent narrative and a collective memory. Video as a means of projecting recorded memories is being edited by the system in order to provoke new experiences and connotations, through semantic montage. (shrink)

This paper revisits some early applications of audio-visual imaging technologies used in physiology in a dialogue with reflections on Henri Bergson’s philosophy. It focuses on the aspects of time and memory in relation to spatial representations of movement measurements and critically discusses them from the perspective of the observing participant and the public exhibitions of scientific films. Departing from an audio-visual example, this paper is informed by a thick description of the philosophical implications and contemporary discourses (...) surrounding the scientific inventions, technologies and theories of moving image technologies, representations of time, and the measurement of bodies in motion such as those by the French physiologist Étienne-Jules Marey. The application of Bergson’s thinking will show how the scientific graphing and representations of the body through technologies inevitably stand in tension with the limits and potentials of the ‘human apparatus’ and its abilities, filters and internalised processes of perception, memory and consciousness. It proposes an ontological approach to scientific imaging technologies and a critical engagement with the ‘realism’ debate in the discourse of audio-visual media. (shrink)

This study investigated the characteristics of neural oscillation and functional connectivity in college students engaging in binge drinking using resting-state electroencephalography. Also, the associations of visual memory, evaluated by the Rey-Osterrieth Complex Figure Test, and neural oscillation with FC during the resting state were investigated. The BD and non-BD groups were selected based on scores of the Korean version of the Alcohol use disorders Identification Test and the Alcohol Use Questionnaire. EEG was performed for 6 min while the participants (...) rested with eyes closed. The theta, lower-alpha, and upper alpha powers did not differ between the BD and non-BD groups. Concerning FC, the BD group exhibited stronger theta coherence than that of the non-BD group, and in the lower and upper alpha bands, the BD group showed stronger coherence in some areas but weaker coherence in others compared with the non-BD group. However, these significant results were not observed after Bonferroni correction. The BD group showed significantly lower delayed recall scores on the RCFT than did the non-BD group. A positive correlation between the left prefrontal-parietal-occipital midline connection and performance on the delayed recall of the RCFT was observed in the BD group. The present results could suggest that binge drinkers have alterations in brain FC, which may be related to their visual memory deficits. (shrink)

The human sentence processor is able to make rapid predictions about upcoming linguistic input. For example, upon hearing the verb eat, anticipatory eye-movements are launched toward edible objects in a visual scene. However, the cognitive mechanisms that underlie anticipation remain to be elucidated in ecologically valid contexts. Previous research has, in fact, mainly used clip-art scenes and object arrays, raising the possibility that anticipatory eye-movements are limited to displays containing a small number of objects in a visually impoverished context. (...) In Experiment 1, we confirm that anticipation effects occur in real-world scenes and investigate the mechanisms that underlie such anticipation. In particular, we demonstrate that real-world scenes provide contextual information that anticipation can draw on: When the target object is not present in the scene, participants infer and fixate regions that are contextually appropriate. Experiment 2 investigates whether such contextual inference requires the co-presence of the scene, or whether memory representations can be utilized instead. The same real-world scenes as in Experiment 1 are presented to participants, but the scene disappears before the sentence is heard. We find that anticipation occurs even when the screen is blank, including when contextual inference is required. We conclude that anticipatory language processing is able to draw upon global scene representations to make contextual inferences. These findings are compatible with theories assuming contextual guidance, but posit a challenge for theories assuming object-based visual indices. (shrink)

This guide accompanies the following article(s): Paisley Livingston, ‘Recent Work on Cinema as Philosophy’, Philosophy Compass 3/4 (2008): 509–603, doi: 10.1111/j.1747‐9991.2008.00158.x Author’s Introduction The idea that films can be philosophical, or in some sense ‘do’ philosophy, has recently found a number of prominent proponents. What is at stake here is generally more than the tepid claim that some documentaries about philosophy and related topics convey philosophically relevant content. Instead, the contention is that cinematic fictions, including popular movies such as The (...) Matrix, make significant contributions to philosophy. Various more specific claims are linked to this basic idea. One, relatively weak, but pedagogically important observation is that some films can be used to provide philosophy students with vivid and thought‐provoking illustrations of philosophical issues. Film screenings stimulate discussion and may motivate renewed engagement with difficult philosophical texts. A stronger contention, however, seeks to link innovative and philosophically valuable thinking to ‘the film itself’ or to the ‘specificity of the cinematic medium’. Such claims raise interesting questions, including questions about the status of the increasingly prevalent philosophically motivated interpretations of particular movies. Who is actually doing the philosophizing in such cases? Is it the audio‐visual display, the film‐maker, or the philosopher who devises an interpretation of the work? What is the role of specifically cinematic devices in the philosophical points made in such interpretations? Is there any tension between the goal of appreciating a film as a work of art and the goal of arguing that a film has significant implications for a position on a problem in philosophy? A course in the general area of cinema as philosophy can focus on issues related to the locus and status of cinematic philosophizing. It can also delve into specific films and film‐makers and philosophically oriented interpretations of specific philosophical topics, such as personal identity. Issues pertaining to interpretation, meaning, and authorship can be usefully investigated in this connection, as can topics in meta‐philosophy related to the very nature of philosophical insight or knowledge. Author Recommends Carroll, Noël and Jinhee Choi, eds. 2008. The Philosophy of Film and Motion Pictures: An Anthology, Part VIII: Film and Knowledge. Malden, MA: Blackwell. 381–405. Inclues a brief introduction by Carroll followed by papers by Bruce Russell, Karen Hanson, and Lester H. Hunt. Kania, Andrew, ed. 2009. Memento. London: Routledge. A number of philosophers elucidate philosophical themes in Memento and discuss more general issues pertaining to cinema’s philosophical significance. Livingston, Paisley. 2009. Cinema, Philosophy, Bergman: On Film as Philosophy. Oxford: Oxford University Press. Part 1 surveys arguments surrounding the cinema as philosophy theme, providing detailed criticisms of some of the bold theses in this area. Part 2 discusses issues related to cinematic authorship and the status of philosophically motivated interpretations of works of fiction, arguing for a partial intentionalist account of a work’s meanings. Part 3 illustrates the intentionalist principles in a discussion of Ingmar Bergman’s philosophical sources, providing insight into themes of motivated irrationality, inauthenticity, and self‐knowledge in some of Bergman’s works. Livingston, Paisley and Carl Plantinga, eds. 2009. The Routledge Companion to Philosophy and Film, Part IV: Film as Philosophy. London: Routledge. 547–659. Offers a succinct survey by Wartenberg as well as entries on Ingmar Bergman, Terrence Malick, and Andrei Tarkovsky, discussions of film and specific philosophical topics (morality, skepticism, personal identity, and practical wisdom), and examples of philosophically motivated interpretations of three specific films: The Five Obstructions, Gattaca, and Memento. Smith, Murray and Thomas E. Wartenberg, eds. 2006. Thinking Through Cinema: Film as Philosophy. Malden, MA: Blackwell. A collection of papers that combines essays devoted to general positions on the cinema as philosophy topic as well as specific interpretations of works in different genres. Turvey, Malcolm. 2008. Doubting Vision: Film and the Revelationist Tradition. Oxford: Oxford University Press. A probing critical investigation into the assumptions underlying influential philosophical claims about the epistemic value of cinema. Wartenberg, Thomas E. 2008. Thinking on Screen: Film as Philosophy. London: Routledge. Ably surveys and responds to arguments against the idea that films can ‘do philosophy’. It defends a conditionalist form of intentionalism in response to the ‘imposition objection’ according to which it is only the commentator who reads philosophical themes ‘into’ the movie; illustrates the favored account of film as philosophy with interpretations of specific cinematic fictions. Online Materials Film‐Philosophy Founded in 1996, this peer‐reviewed online journal is dedicated to philosophically oriented interpretations of films and cinema studies more generally. The e‐mail salon encourages discussion of related topics. Includes essays, festival reports, calls for papers, conference and job information, and book reviews. The archive includes contributions from 1997 to the present. Wartenberg, Thomas E. ‘Philosophy of Film.’The Stanford Encyclopedia of Philosophy; A brief survey of a range of issues in the philosophy of cinema including a few paragraphs on the film as philosophy topic. Philosophical Films A briefly annotated list of philosophical films grouped in rubrics such as ‘The Meaning of Life’ and ‘Environmental Ethics’. Sample Syllabus What follows is a 4‐week ‘start‐up module’ followed by samples of optional units that focus on particular topics and cinematic examples. Introductory Module Week I: Introduction & Overview Livingston, Paisley. ‘Recent Work on Cinema as Philosophy.’Philosophy Compass 3 (2008): 1–14, 20 (DOI: 10.1111/j.1747‐9991.2008.00158.x). Wartenberg, Thomas E. 2009. ‘Film as Philosophy.’The Routledge Companion to Philosophy and Film. Ed. Paisley Livingston and Carl Plantinga. London: Routledge. 549–59. Russell, Bruce. 2008. ‘The Philosophical Limits of Film.’The Philosophy of Film and Motion Pictures: An Anthology. Ed. Noël Carroll and Jinhee Choi. Malden, MA: Blackwell. 387–390. Week II: The Bold Thesis on Film as Philosophy Reading: Livingston, Paisley, ‘Theses on Cinema as Philosophy.’Cinema, Philosophy, Bergman, Chapter One. 11–38. Screening: October (dir. Sergei Eisenstein 1928). Week III: Debating the Bold Thesis: The Case of October Carroll, Noël. 1998. ‘For God and Country.’Interpreting the Moving Image. Cambridge: Cambridge University Press. 80–91. Smuts, Aaron. 2009. ‘Film as Philosophy: In Defense of a Bold Thesis.’Journal of Aesthetics and Art Criticism, 67:4: 409–20. Week IV: Cinema as Philosophy: Objections and Replies Livingston, Paisley. 2009. ‘Arguing over Cinema as Philosophy.’Cinema, Philosophy, Bergman, Chapter Two. 39–59. Additional Optional Units Depending on the instructor’s areas of interest and expertise, any of the following units could be added (and in some cases, easily expanded into longer segments). The Case of Ingmar Bergman Livingston, Paisley. 2009. ‘Ingmar Bergman.’The Routledge Companion to Philosophy and Film. Eds. Paisley Livingston and Carl Plantinga. London: Routledge. 560–568. Screening(s): Wild Strawberries (dir. Ingmar Bergman 1957), or The Seventh Seal (dir. Ingmar Bergman 1957), or Persona (dir. Ingmar Bergman 1966). Skepticism Fumerton, Richard. 2009. ‘Skepticism.’ In The Routledge Companion to Philosophy and Film. Eds. Paisley Livingston and Carl Plantinga. London: Routledge. 601–10. Screening: The Matrix (dir. Andy and Larry Wachowski 1999) or Total Recall (dir. Paul Verhoeven 1990). Ethics Kupfer, Joseph. 1999. Visions of Virtue in Popular Film. Boulder, CO: Westview. 35–60. Falzon, Chris. 2009. ‘Why be Moral?’The Routledge Companion to Philosophy and Film. Eds. Paisley Livingston and Carl Plantinga. London: Routledge. 591–599. Screening: Groundhog Day (dir. Harold Ramis 1993), or Crimes and Misdemeanors (dir. Woody Allen 1989), or Hollow Man (dir. Paul Verhoeven 2000). Personal Identity Knight, Deborah. 2009. ‘Personal Identity.’The Routledge Companion to Philosophy and Film. Eds. Paisley Livingston and Carl Plantinga. London: Routledge. 611–619. Hanley, Richard. 2009. ‘Memento and Personal Identity: Are We Getting it Backwards?’Memento. Ed. Andrew Kania. London: Routledge. 107–126. Martin, Raymond. 2009. ‘The Value of Memory: Reflections on Memento.’Memento. Ed. Andrew Kania. London: Routledge. 87–106. Screening: Memento (dir. Christopher Nolan 2000). Freedom and (Genetic) Determinism Sesardic, Neven. 2009. ‘Gattaca.’The Routledge Companion to Philosophy and Film. Eds. Paisley Livingston and Carl Plantinga. London: Routledge. 641–649. Screening: Gattaca (dir. Andrew Niccol 1997). Focus Questions • Is there anything special about the experience of fiction films that is especially well suited to the stimulation of worthwhile philosophical reflection? • Have any novel and philosophically significant ideas found their first expression in a cinematic work? • Under what circumstances can the film medium be used as an expression of a cinematic author’s views? • What sort of background knowledge has to be in place for a film to be interpreted as articulating reasonably precise philosophical theses and arguments? • Does the goal of spelling out a film’s philosophical meaning sometimes conflict with the goal of appreciating its value as a work of art? (shrink)

Audio description remains the cornerstone of accessibility for visually impaired audiences to all sorts of audiovisual content, including porn. Existing work points to the efficacy of audio description to guarantee immersion and emotional engagement, but evidence on its role in sexual arousal and engagement in porn is still scant. The present study takes on this challenge by comparing sighted and visually impaired participants’ experiences with porn in terms of their physiological response [i.e., cortisol and heart rate ] and (...) self-report measures of affect [Positive and Negative Affect Schedule ; Watson et al., 1988], anxiety [State-Trait Anxiety Inventory ; Spielberger et al., 1970], sexual reactivity and arousal [Sexual Inhibition/Sexual Excitation Scale ; Moyano and Sierra ; and the Ratings of Sexual Arousal ; Mosher ], and narrative engagement or transportation [The Transport Narrative Questionnaire, Green and Brock ]. 69 Spanish participants were allocated into three different groups: 25 sighted participants who watched and heard the porn scenes in their audio-visual version ; 22 sighted participants who listened to the audio described version without images ; and 22 visually impaired participants who also listened to the audio described version without images. Overall, results on physiological and self-report measures revealed no significant differences between groups or different versions of the clips. The analysis of cortisol reactivity to porn as the maximum increase or decrease in cortisol with respect to baseline values revealed no significant differences between the groups, but pointed to a higher percentage of non-responders than responders in the three groups, the highest being found in the ONCE group. As for participants’ cardiac response to the clips, no significant differences were found across the groups, with the highest HR levels being registered in the baseline phase. Self-report measures revealed significant between-group differences in negative affect. The ONCE group displayed the highest pre-task levels of negative affect and was the only group that showed a decrease in negative affect after exposure to the clips. Sighted and visually impaired participants reported to be moderately aroused and immersed in the films, regardless of exposure to AV or AD porn. In addition, correlations found between participants’ levels of self-report sexual arousal and transportation and post-task affect pointed to a positive relationship between exposure to porn and perceived levels of sexual arousal and affect. Results from the study reflected the efficacy of audio description in providing sighted and visually impaired audiences with a similar experience to that offered by original AV porn scenes. This study is exploratory but provides valid, initial groundwork for further research on the impact of audio description on porn reception. (shrink)

Angry faces have been shown to be detected more efficiently in a crowd of distractors compared to happy faces, known as the anger superiority effect (ASE). The present study investigated whether the ASE could be modified by top-down manipulation of working memory (WM), in central and peripheral visual fields. In central vision, participants held a colour in WM for a final memory test while simultaneously performing a visual search task that required them to determine whether a face showed (...) a different expression from other coloured faces. The colour held in WM matched either the colour of the target face (target-matching), the colour of a distractor face (distractor-matching), or neither (non-matching). Results showed that the ASE was observed when the probability of target-matching trials was low. However, when the top-down WM effect was strengthened by raising the probability of target-matching trials, the ASE in the target-matching condition was completely eliminated. Intriguingly, when the visual search task was substituted by a peripheral crowding task, similar results to central vision were found in the target-matching condition. Taken together, our findings indicate that the ASE is subject to the top-down WM effect, regardless of the visual field. (shrink)

Infant and adult learners are able to identify word boundaries in fluent speech using statistical information. Similarly, learners are able to use statistical information to identify word–object associations. Successful language learning requires both feats. In this series of experiments, we presented adults and infants with audio–visual input from which it was possible to identify both word boundaries and word–object relations. Adult learners were able to identify both kinds of statistical relations from the same input. Moreover, their learning was (...) actually facilitated by the presence of two simultaneously present relations. Eight-month-old infants, however, do not appear to benefit from the presence of regular relations between words and objects. Adults, like 8-month-olds, did not benefit from regular audio–visual correspondences when they were tested with tones, rather than linguistic input. These differences in learning outcomes across age and input suggest that both developmental and stimulus-based constraints affect statistical learning. (shrink)

Previous studies of verbal short-term memory indicate that STM for serial order may be linked to language development and developmental language disorder. To clarify whether a domain-general mechanism is impaired in DLD, we studied the relations between age, non-verbal serial STM, and language competence. We hypothesized that non-verbal serial STM differences between groups of children with DLD and typically developing children are linked to their language acquisition differences. Fifty-one children with DLD and sixty-six TD children participated as (...) part of the HelSLI project in this cross-sectional study. The children were 4–6-year-old monolingual native Finnish speakers. They completed several tests of language and cognitive functioning, as well as new game-like tests of visual and auditory non-verbal serial STM. We used regression analyses to examine how serial STM moderates the effect of age on language. A non-verbal composite measure of serial visual and auditory STM moderated cross-sectional development of receptive language in the children with DLD. This moderation was not observed in the TD children. However, we found more rapid cross-sectional development of non-verbal serial STM in the TD children than in the children with DLD. The results suggest that children with DLD may be more likely to have compromised general serial STM processing and that superior non-verbal serial STM may be associated with better language acquisition in children with DLD. (shrink)

Major depression is associated with a decrease of 1st person visual perspective in autobiographical memory, even after full remission. This study aimed to examine visual perspective in healthy never-depressed subjects presenting with either genetic or psychological vulnerability for depression. Sixty healthy participants performed the Autobiographical Memory Test with an assessment of visual perspective. Genetic vulnerability was defined by the presence of at least one S or LG allele of the polymorphism of the serotonin-transporter-linked promoter region . Psychological (...) vulnerability was defined by high scores of harm avoidance measured by the Temperament and Character Inventory. Life stress exposure, depressive mood, rumination, and familial history of depression were assessed through standardized procedures. Visual perspective for positive memories was independently predicted by both harm avoidance and a gene by environment interaction between the 5-HTTLPR polymorphism and life stress exposure. Visual perspective and vulnerability for depression may share some biological bases. (shrink)

A modified visual search task demonstrates that humans are very good at resuming a search after it has been momentarily interrupted. This is shown by exceptionally rapid response time to a display that reappears after a brief interruption, even when an entirely different visual display is seen during the interruption and two different visual searches are performed simultaneously. This rapid resumption depends on the stability of the visual scene and is not due to display or response (...) anticipations. These results are consistent with the existence of an iterative hypothesis-testing mechanism that compares information stored in short-term memory (the perceptual hypothesis) with information about the display (the sensory pattern). In this view, rapid resumption occurs because a hypothesis based on a previous glance of the scene can be tested very rapidly in a subsequent glance, given that the initial hypothesis-generation step has already been performed. (shrink)

Although memories are more retrievable if observers’ emotional states are consistent between encoding and retrieval, it is unclear whether the consistency of emotional states increases the likelihood of successful memory retrieval, the precision of retrieved memories, or both. The present study tested visual long-term memory for everyday objects while consistent or inconsistent emotional contexts between encoding and retrieval were induced using background grey-scale images from the International Affective Picture System. In the study phase, participants remembered colours of sequentially presented (...) objects in a negative or positive context. In the test phase, participants estimated the colours of previously studied objects in either negative versus neutral or positive versus neutral contexts. Note, IAPS images in the test phase were always visually different from those initially paired with the studied objects. We found that reinstating negative context and positive context at retrieval resulted in better mnemonic precision and a higher probability of successful retrieval, respectively. Critically, these effects could not be attributed to a negative or positive context at retrieval alone. Together, these findings demonstrated dissociable effects of emotion on the quantitative and qualitative aspects of visual long-term memory retrieval. (shrink)

Our research aimed to investigate the effectiveness of auditory, visual, and audiovisual warning signals for capturing the attention of the pilot, and how stimulus onset asynchronies in audiovisual stimuli affect pilots perceiving the bimodal warning signals under different perceptual load conditions. In experiment 1 of the low perceptual load condition, participants discriminated the location of visual targets preceded by five different types of warning signals. In experiment 2 of high perceptual load, participants completed the location task identical to (...) a low load condition and a digit detection task in a rapid serial visual presentation stream. The main effect of warning signals in two experiments showed that visual and auditory cues presented simultaneously could effectively and efficiently arouse the attention of the pilots in high and low load conditions. Specifically, auditory, AV, and visual preceding auditory stimulus by 100 ms increased the spatial orientation to a valid position in low load conditions. With the increase in visual perceptual load, auditory preceding the visual stimulus by 100 ms and A warning signals had stronger spatial orientation. The results are expected to theoretically support the optimization design of the cockpit display interface, contributing to immediate flight crew awareness. (shrink)

continent. 2.1 (2012): 56–58 Nechvatal, Joseph, Immersion Into Noise , Open Humanities Press, 2011, 267 pp, $23.99 (pbk), ISBN 1-60785-241-1. As someone who’s knowledge of “art” mostly began with the domestic (Western) and Japanese punk and noise scenes of the late 80’s and early 90’s, practices and theories of noise fall rather close to my heart. It is peeking into the esoteric enclaves of weird music and noise that helped me understand what I think I might like art to be: (...) A way of learning about the world through perturbation—exploration by incitement and speculation of possible conditions. What I have always loved about artistic investigations influenced by noisy aesthetics or sensibilities is that they can be simultaneously transcendent and absurd, amusing and revelatory, singular and pluralistic, mindless and intensely penetrating. The provocative friction that noise brings to bear on aesthetic experience, artistic practice, and “the” Art World acts as a kind of impulse response, proposing new energies while revealing underlying structure; noise signals are a simultaneous synthesis and analysis of spaces, subjects and relations. About two weeks prior to Christmas 2011, Joseph Nechvatal was generous enough to spend some time with me at 39 Quai des Grands Augustins, Paris . We each had one glass of red wine, briefly discussed common acquaintances, shared points of interest, and his published writings. We also, I recall, disagreed lightheartedly about how much contemporary relevance the ideas of telematic-artist Roy Ascott have for today’s art-and-technology practitioner (Joseph > Jamie). After the encounter, I read through a PDF version of Immersion Into Noise Joseph was kind enough to send me ( the HTML version is here ). A number of points of entry into cultures of “noise” are available these days. There are the acoustic-spatial approaches of thinkers like Douglas Kahn, Brandon LaBelle and Salome Voegelin; the techno-cultural musicologies of Jonathan Sterne and David Toop; the political writings of Jacques Attali, former adviser to President François Mitterrand, in his Noise: The Political Economy of Music (spoiler alert: It’s not really about music). Enter the new writings of one Joseph Nechvatal, with his invitation of an Immersion Into Noise . Nechvatal has been active for over 20 years in on- and off-line discussions of art, technology, virtuality, as well as his own set of art-theoretical departures and terminologies. A practicing artist, and instructor at the School of Visual Arts in New York City, Immersion Into Noise , is Nechvatal’s third published volume. His writings, broadly, address a concern with the possibilities of a synthesis between the biological and the virtual, and the contemporary artistic resonances that these possibilities suggest. Nechvatal’s project is to try to name contemporary currents of artistic practice within our technologized culture. He comes at this through art history, post-modern philosophy, anthropology and consciousness studies. Portions of Immersion Into Noise have appeared in his PhD dissertation, as well as online art publications like Zing Magazine . An open-access publication, and part of the impressive and heartening activities of the Open Humanities Press, Nechvatal’s book is a somewhat unexpected addition to the Critical Climate Change series edited by Tom Cohen of SUNY University and Claire Colebrook of Penn State. Other titles in the series have address themes of post-globalism and cultures of threat. Joseph Nachvetal’s title is the first to focus entirely on art history, art practice and aesthetics. It is awkward to too easily fit Nechvatal’s writings in with the aforementioned burgeoning canon of cultural and artistic practice in, and writings on, noise (Russolo, Schaeffer, Cage and Yves Klein through to Kahn, LaBelle, Voegelin, et. al). Immersion Into Noise is not primarily an examination of sound-noise or phenomenologies of sound, and the relativist, non-objectivist possibilities arising therefrom in social, public, and exhibition art practices. Although Nechvatal makes mention of sonic practice and experience (his own encounter in 1968 with the technological complex was set in motion at a Jimi Hendrix concert at the Chicago Coliseum), he does so only by way of introducing a broader concept of “art-noise.” The noise-scape can envelope various kinds of involvement in all kinds of art, by artists, audiences, and distributed amalgams of all of these. Midway through the book, we are offered characteristics of an “immersive noise vision theory.” This theory, leading to an even more syncretic thinking about the art experience, is sketched out through further reference to the author’s personal observation, as well as his art-historical research and notes. Personal examples take on the reflex of a kind of art-noise-travel-writing, as Nechvatal visits Ryoji Ikeda’s Datamatics [ver 2.0] installation at the Centre Pompidou, Paris), hears Cecil Taylor at Alice Tully Hall in New York, spends time with the cave paintings of Lascaux, France, and explores the Wagner-inspired Venus Grotto of Linderhof, Bavaria, to name a few. These site-events, to varying degrees, are renderings of noise-art’s potential to “place us back into a ritual position by dragging art down into the felt 360° noise-perspective of the enthusiastic and participatory.” (p.103) The arc of the ideas proposed here position immersiveness, saturation and “scopic all-over tension” as most productively foundational to noise art, or art-noise. An itinerary from the most ancient of artistic expressions (cave drawings) to the most digital of presentations is charted (Ikeda’s minimal/maximal bitwise works for synchronized audio and visual projection). The harsh sonic onslaught of Masami Akita (a.k.a. Merzbow), is, under this analysis, not so far from colossal denseness of the churches of the High Baroque (Nechvatal visits the Rosario Chapel in Santo Domingo Church, Puebla, Mexico). And there is much more here, eaten up by noise: A rethinking of the work of Duchamp, Jackson Pollock, Nicolas Schöffler (whom Nechvatal names the true “the Father of Cybernetic Art”) and the Happenings of Alan Kaprow, all as art-noise in their own right. Each of these artists and moments demonstrate techniques of destabilization, immersiveness, frame-breaking and “all-over fullness and fervor.” Here is writing on art and art history that is as ambitious as it is promising: “wildly visionary,” Nechvatal states as in conclusion. Self-admittedly far-reaching to the point of verging on totalization, we are asked to consider that the moments, spaces, arts and artists Nechvatal appreciates in the book all derive from an increasingly prevalent “noise consciousness.” Along the way we gain an appreciation of noise as a productive and proactive tension in art, rather than an unwanted signal or unwelcome intrusion. Most promising here for me are Nechvatal’s revealing descriptions of the potential for noise to make manifest the material-perceptual framework of individual and collective art experience. How might we allow what we have been repeatedly taught is our contemporary condition of “information overload” to transform itself into a calm, warm, sympathetic kind of inundation. Treatment of experience in this way, dissolves boundaries between the bodily, informational, material and technical complexes that make up our world, and is the promise of a radical, if momentary, Immersion Into Noise. (shrink)

The functions of the somatosensory system are multiple. We use tactile input to localize and experience the various qualities of touch, and proprioceptive information to determine the position of different parts of the body with respect to each other, which provides fundamental information for action. Further, tactile exploration of the characteristics of external objects can result in conscious perceptual experience and stimulus or object recognition. Neuroanatomical studies suggest parallel processing as well as serial processing within the cerebral somatosensory (...) system that reflect these separate functions, with one processing stream terminating in the posterior parietal cortex (PPC), and the other terminating in the insula. We suggest that, analogously to the organisation of the visual system, somatosensory processing for the guidance of action can be dissociated from the processing that leads to perception and memory. In addition, we find a second division between tactile information processing about external targets in service of object recognition and tactile information processing related to the body itself. We suggest the posterior parietal cortex subserves both perception and action, whereas the insula principally subserves perceptual recognition and learning. (shrink)

Visual word recognition is facilitated by the presence of orthographic neighbors that mismatch the target word by a single letter substitution. However, researchers typically do not consider where neighbors mismatch the target. In light of evidence that some letter positions are more informative than others, we investigate whether the influence of orthographic neighbors differs across letter positions. To do so, we quantify the number of enemies at each letter position (how many neighbors mismatch the target word at that (...) position). Analyses of reaction time data from a visual word naming task indicate that the influence of enemies differs across letter positions, with the negative impacts of enemies being most pronounced at letter positions where readers have low prior uncertainty about which letters they will encounter (i.e., positions with low entropy). To understand the computational mechanisms that give rise to such positional entropy effects, we introduce a new computational model, VOISeR (Visual Orthographic Input Serial Reader), which receives orthographic inputs in parallel and produces an over‐time sequence of phonemes as output. VOISeR produces a similar pattern of results as in the human data, suggesting that positional entropy effects may emerge even when letters are not sampled serially. Finally, we demonstrate that these effects also emerge in human subjects' data from a lexical decision task, illustrating the generalizability of positional entropy effects across visual word recognition paradigms. Taken together, such work suggests that research into orthographic neighbor effects in visual word recognition should also consider differences between letter positions. (shrink)

Working memory, an important posit in cognitive science, allows one to temporarily store and manipulate information in the service of ongoing tasks. Working memory has been traditionally classified as an explicit memory system – that is, as operating on and maintaining only consciously perceived information. Recently, however, several studies have questioned this assumption, purporting to provide evidence for unconscious working memory. In this paper, we focus on visual working memory and critically examine these studies as well as studies of (...) unconscious perception that seem to provide indirect evidence for unconscious working memory. Our analysis indicates that current evidence does not support an unconscious working memory store, though we offer independent reasons to think that working memory may operate on unconsciously perceived information. (shrink)