scholarly journals Early Visual Experience is Important for Audiovisual but not for Visuotactile Integration

2016 ◽  
Vol 16 (12) ◽  
pp. 1121 ◽  
Author(s):  
Terri Lewis ◽  
Yi-Chuan Chen ◽  
David Shore ◽  
Brendan Stanley ◽  
Daphne Maurer
Keyword(s):  
Visual Experience ◽  
Visuotactile Integration

Incidental Visual Experience Affects Language Processing: An ERP Study

2008 ◽  
Author(s):  
Rolf A. Zwaan ◽  
Leonora C. Coppens ◽  
Liselotte Gootjes
Keyword(s):  
Language Processing ◽  
Visual Experience

Haptic viewpoint effects depend on surface detail and visual experience

2006 ◽  
Author(s):  
Morton A. Heller ◽  
Lindsay J. Wemple ◽  
Tara Riddle ◽  
Erin Fulkerson ◽  
Crystal L. Kranz ◽  
...  
Keyword(s):  
Visual Experience ◽  
Surface Detail

Differential enrichment potential of visual experience with angles versus curves.

1969 ◽  
Vol 69 (4, Pt.1) ◽  
pp. 644-648 ◽  
Author(s):  
Robert B. McCall ◽  
Michael L. Lester
Keyword(s):  
Visual Experience

The ego-moving metaphor of time relies on visual experience: No representation of time along the sagittal space in the blind.

2018 ◽  
Vol 147 (3) ◽  
pp. 444-450 ◽  
Author(s):  
Luca Rinaldi ◽  
Tomaso Vecchi ◽  
Micaela Fantino ◽  
Lotfi B. Merabet ◽  
Zaira Cattaneo
Keyword(s):  
Visual Experience ◽  
Representation Of Time

The devil’s in the g-tails: Deficient letter-shape knowledge and awareness despite massive visual experience.

2018 ◽  
Vol 44 (9) ◽  
pp. 1324-1335 ◽  
Author(s):  
Kimberly Wong ◽  
Frempongma Wadee ◽  
Gali Ellenblum ◽  
Michael McCloskey
Keyword(s):  
Visual Experience ◽  
Letter Shape

Experience Influences Brain Mechanisms of Watching Dance

2011 ◽  
Vol 29 (supplement) ◽  
pp. 352-377 ◽  
Author(s):  
Seon Hee Jang ◽  
Frank E Pollick
Keyword(s):  
Motor Imagery ◽  
Visual Experience ◽  
Primary Motor Cortex ◽  
Action Observation ◽  
Brain Area ◽  
Retrosplenial Cortex ◽  
Imagery Task ◽  
Temporoparietal Junction ◽  
Action Observation Network ◽  
Viewing Experience

The study of dance has been helpful to advance our understanding of how human brain networks of action observation are influenced by experience. However previous studies have not examined the effect of extensive visual experience alone: for example, an art critic or dance fan who has a rich experience of watching dance but negligible experience performing dance. To explore the effect of pure visual experience we performed a single experiment using functional Magnetic Resonance Imaging (fMRI) to compare the neural processing of dance actions in 3 groups: a) 14 ballet dancers, b) 10 experienced viewers, c) 12 novices without any extensive dance or viewing experience. Each of the 36 participants viewed short 2-second displays of ballet derived from motion capture of a professional ballerina. These displays represented the ballerina as only points of light at the major joints. We wished to study the action observation network broadly and thus included two different types of display and two different tasks for participants to perform. The two different displays were: a) brief movies of a ballet action and b) frames from the ballet movies with the points of lights connected by lines to show a ballet posture. The two different tasks were: a) passively observe the display and b) imagine performing the action depicted in the display. The two levels of display and task were combined factorially to produce four experimental conditions (observe movie, observe posture, motor imagery of movie, motor imagery of posture). The set of stimuli used in the experiment are available for download after this paper. A random effects ANOVA was performed on brain activity and an effect of experience was obtained in seven different brain areas including: right Temporoparietal Junction (TPJ), left Retrosplenial Cortex (RSC), right Primary Somatosensory Cortex (S1), bilateral Primary Motor Cortex (M1), right Orbitofrontal Cortex (OFC), right Temporal Pole (TP). The patterns of activation were plotted in each of these areas (TPJ, RSC, S1, M1, OFC, TP) to investigate more closely how the effect of experience changed across these areas. For this analysis, novices were treated as baseline and the relative effect of experience examined in the dancer and experienced viewer groups. Interpretation of these results suggests that both visual and motor experience appear equivalent in producing more extensive early processing of dance actions in early stages of representation (TPJ and RSC) and we hypothesise that this could be due to the involvement of autobiographical memory processes. The pattern of results found for dancers in S1 and M1 suggest that their perception of dance actions are enhanced by embodied processes. For example, the S1 results are consistent with claims that this brain area shows mirror properties. The pattern of results found for the experienced viewers in OFC and TP suggests that their perception of dance actions are enhanced by cognitive processes. For example, involving aspects of social cognition and hedonic processing – the experienced viewers find the motor imagery task more pleasant and have richer connections of dance to social memory. While aspects of our interpretation are speculative the core results clearly show common and distinct aspects of how viewing experience and physical experience shape brain responses to watching dance.

Moderne Ikonen

2009 ◽  
Vol 54 (2) ◽  
pp. 123-143
Author(s):  
Bernadette Collenberg-Plotnikov
Keyword(s):  
Mass Culture ◽  
Visual Experience ◽  
Modern Art ◽  
The Other ◽  
Recent Discussion ◽  
Christian Church ◽  
Other Hand ◽  
The Absolute ◽  
Modern Mass

›Ikonen‹ sind heute nicht mehr nur die Ikonen der christlichen Kirche, sondern vor allem die Ikonen der modernen Massenkultur. Beide Arten von Ikonen werden in der neueren Kunstreflexion aufgegriffen: Kunst gilt entweder, verstanden als Erbin der religiösen Ikone, als Phänomen, das Absolutes in singulärer Weise anschaulich er- fahrbar macht. Oder aber die Kunst gilt umgekehrt lediglich als Klasse in der Welt der säkularen Ikonen. Demgegenüber wird im Beitrag erstens die These vertretenwerden, daß die neuere Kunst sowohl Aspekte transzendenter als auch immanenter Ikonen umfaßt. Zugleich ist es aber, so die zweite These, für unser Kunstverständnis charakteristisch, ein theoretisches Kontrastverhältnis zwischen Kunst und Ikone an- zunehmen. Dieses gründet auf einer spezifischen Reflexivität der Kunst, durch die sie sich von der Ikone beiderlei Art kategorial unterscheidet. Today, the word ›icon‹ usually no longer refers to the icons of the Christian church, but to the icons of the modern mass-culture. Both sorts of icons play a key-role in the recent discussion about art: Either art is supposed to be a descendant of the religious icon, a phenomenon that gives us a singular visual experience of the Absolute. On the other hand, art is supposed to be just one class among others in the wide world of the secular icons. In contrast to these two positions this essay contends that modern art comprehends aspects of transcendent as well as of immanent icons. Furthermore, it argues that at the same time it is characteristic for our notion of art to suppose a contrast between art and icon. This contrast is based on a specific reflectivity of art, which marks a categorical difference between art and both sorts of icons.

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