Unit activity in vestibular nucleus of the alert monkey during horizontal angular acceleration and eye movement

1975 ◽  
Vol 38 (5) ◽  
pp. 1140-1161 ◽  
Author(s):  
A. F. Fuchs ◽  
J. Kimm

Single units were recorded from the vestibular nuclei of unanesthetized monkeys that were rotated in the horizontal plane while simultaneously pressing individual buttons in a controlled array which turned with hem. Using this behavioral paradigm, it was possible to 1) determine the relationship of unit discharge to eye movements measured by the DC-coupled electrooculogram and calibrated by the button-press task, and 2) determine the relationship of unit discharge to horizontal acceleration, either with or without the compensatory eye movements evoked by vestibular stimulation. Based on their responses during vestibular stimulation and/or eye movements, neurons in the vestibular nuclei (77% of our sample was in the medial nucleus) could be divided into four groups...

1978 ◽  
Vol 47 (3) ◽  
pp. 767-776 ◽  
Author(s):  
John A. Allen ◽  
Stephen R. Schroeder ◽  
Patricia G. Ball

Two groups of 10 subjects tracked a segment of the Aetna training film, Traffic Strategy, six times by manipulating the controls of an Aetna Drivo-Trainer station. One group was composed of licensed drivers, the other, nonlicensed. No significant differences were found with respect to: (1) use of the accelerator, (2) frequency of eye movements, (3) length of eye movements, (4) fixation errors, (5) driving errors, or (6) the relationship of control actions to driving errors. Differences were noted with respect to: (1) steering and braking, (2) the effects of practice on control actions and driving errors, and (3) the relationship of amplitude of eye movement to control actions and driving errors. The results are discussed in terms of possible differences in search strategy between experienced and inexperienced drivers.


2007 ◽  
Vol 98 (3) ◽  
pp. 1549-1565 ◽  
Author(s):  
M. Beraneck ◽  
K. E. Cullen

As a result of the availability of genetic mutant strains and development of noninvasive eye movements recording techniques, the mouse stands as a very interesting model for bridging the gap among behavioral responses, neuronal response dynamics studied in vivo, and cellular mechanisms investigated in vitro. Here we characterized the responses of individual neurons in the mouse vestibular nuclei during vestibular (horizontal whole body rotations) and full field visual stimulation. The majority of neurons (∼2/3) were sensitive to vestibular stimulation but not to eye movements. During the vestibular-ocular reflex (VOR), these neurons discharged in a manner comparable to the “vestibular only” (VO) neurons that have been previously described in primates. The remaining neurons [eye-movement-sensitive (ES) neurons] encoded both head-velocity and eye-position information during the VOR. When vestibular and visual stimulation were applied so that there was sensory conflict, the behavioral gain of the VOR was reduced. In turn, the modulation of sensitivity of VO neurons remained unaffected, whereas that of ES neurons was reduced. ES neurons were also modulated in response to full field visual stimulation that evoked the optokinetic reflex (OKR). Mouse VO neurons, however, unlike their primate counterpart, were not modulated during OKR. Taken together, our results show that the integration of visual and vestibular information in the mouse vestibular nucleus is limited to a subpopulation of neurons which likely supports gaze stabilization for both VOR and OKR.


2021 ◽  
pp. 1-26
Author(s):  
James E. Cutting

Abstract Popular movies are constructed to control our attention and guide our eye movements across the screen. Estimates of fixation locations were made by manually moving a cursor and clicking over frames at the beginnings and ends of more than 30,000 shots in 24 English-language movies. Results provide evidence for three general filmmaking practices in screen composition. The first and overriding practice is that filmmakers generally put the most import content ‒ usually the center of a character’s face ‒ slightly above the center of the screen. The second concerns two-person conversations, which account for about half of popular movie content. Dialogue shots alternate views of the speakers involved, and filmmakers generally place the conversants slightly to opposite sides of the midline. The third concerns all other shots. For those, filmmakers generally follow important content in one shot by similar content in the next shot on the same side of the vertical midline. The horizontal aspect of the first practice seems to follow from the nature of our field of view and vertical aspect from the relationship of heads to bodies depicted. The second practice derives from social norms and an image composition norm called nose room, and the third from the consideration of continuity and the speed of re-engaging attention.


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