Getting a tool gives wings even in schizophrenia: underestimation of tool-related effort in a motor imagery task

Humans frequently use tools to reduce action-related efforts. Interestingly, several studies have demonstrated that individuals had tool-related biases in terms of perceived effort reduction during motor imagery tasks, despite the lack of evidence of real benefits. Reduced effort allocation has been repeatedly found in schizophrenia, but it remains unknown how schizophrenia patients perceive tool-related benefits regarding effort. Twenty-four schizophrenia patients and twenty-four nonclinical participants were instructed to move the same quantities of objects with their hands or with a tool in both real and imagined situations. Imagined and real movement durations were recorded. Similarly to nonclinical participants, patients overestimated tool-related benefits and underestimated tool-related effort in terms of time when they mentally simulated a task requiring the use of a tool. No association between movement durations and psychotic symptoms was found. Our results open new perspectives on the issue of effort in schizophrenia.

Multimodal signal dataset for 11 intuitive movement tasks from single upper extremity during multiple recording sessions

Background Non-invasive brain–computer interfaces (BCIs) have been developed for realizing natural bi-directional interaction between users and external robotic systems. However, the communication between users and BCI systems through artificial matching is a critical issue. Recently, BCIs have been developed to adopt intuitive decoding, which is the key to solving several problems such as a small number of classes and manually matching BCI commands with device control. Unfortunately, the advances in this area have been slow owing to the lack of large and uniform datasets. This study provides a large intuitive dataset for 11 different upper extremity movement tasks obtained during multiple recording sessions. The dataset includes 60-channel electroencephalography, 7-channel electromyography, and 4-channel electro-oculography of 25 healthy participants collected over 3-day sessions for a total of 82,500 trials across all the participants. Findings We validated our dataset via neurophysiological analysis. We observed clear sensorimotor de-/activation and spatial distribution related to real-movement and motor imagery, respectively. Furthermore, we demonstrated the consistency of the dataset by evaluating the classification performance of each session using a baseline machine learning method. Conclusions The dataset includes the data of multiple recording sessions, various classes within the single upper extremity, and multimodal signals. This work can be used to (i) compare the brain activities associated with real movement and imagination, (ii) improve the decoding performance, and (iii) analyze the differences among recording sessions. Hence, this study, as a Data Note, has focused on collecting data required for further advances in the BCI technology.

MODEL GERAKAN DAKWAH DI INDONESIA

Da'wah is the delivery of Islamic teachings can be in the form of amar makruf and nahi munkar. The pattern of da'wah can take the form of cultural propaganda, political preaching, and economic da'wah. Efforts to implement or ground social monotheism supported by four doctrines also live in Muhammadiyah circles. The doctrine is the doctrine of enlightenment of the people, the doctrine of encouraging pious charity, the doctrine of cooperation for virtue, the doctrine of not practicing politics. Da'wah is not understood as a tabligh, but a massive movement on various aspects of human life. Muhammadiyah balances the spirituality of da'wah with social charity as a real movement in response to the problems of the ummah at various levels.Keyword: Da’wah, Muhammadiyah, Case Study.

Penerapan Baitul Arqam untuk Peningkatan Nilai Al Islam dan Kemuhammadiyah bagi Dosen Universitas Muhammadiyah Mataram

Baitul Arqam for lecturers is the principal regeneration training held to unify the vision and build understanding of ideological values, systems, and real movement for lecturers within the Muhammadiyah Universities. The Baitul Arqam training for lecturers of the Muhammadiyah University of Mataram is to build an understanding ideology of Muhammadiyah, strengthening self-identity as a Muhammadiyah community, increasing commitment and integrity in developing Muhammadiyah's charities and organizations, and to build an excellent and Islamic teaching staff of Muhammadiyah University of Mataram. Participants of Baitul Arqam are 32 lecturers. The methods used in this training are varied lectures, demonstrations, simulations, and discussions. For assessment the participants was using the Context, Input, Process and Product (CIPP) model based on cognitive, affective, and psychomotor aspects. Based on the analysis results, the average score of participants in the cognitive aspect was 75.7, affective 76.5 and psychomotor 74.13. Thus, the level of understanding of contract lecturers at Muhammadiyah University of Mataram was good. So, the applied of Baitul Arqam has effect in increasing the participants’ understanding towards Al Islam and Kemuhammadiyahan values for the lectures of Muhammadiyah University of Mataram.

El movimiento-tiempo real y el movimiento-tiempo animado

Animated movement has its own peculiarities, which differentiates itself from real movement. Being animation and performing arts two kinds of artistic expressions that are based on the creation of a work from the movement, we wonder whether the differences between these two kinds of movement propitiate that animated movement is not really a movement as such. This hypothesis is given by peculiarities in the creation of animated movement, as it could be that this would be created from static images or the necessity of being reproduced in audiovisual format. Thus, we analyze characteristics of movement in performing arts and animation through ideas about movement and time of certain thinkers to reach a conclusion on the question proposed.

Path perturbation detection tasks reduce MSTd neuronal self-movement heading responses

We presented optic flow and real movement heading stimuli while recording MSTd neuronal activity. Monkeys were alternately engaged in three tasks: visual detection of optic flow heading perturbations, vestibular detection of real movement heading perturbations, and auditory detection of brief tones. Push-button RTs were fastest for tones and slower for visual and vestibular heading perturbations, suggesting that the tone detection task was easier. Neuronal heading selectivity was strongest during the tone detection task, and weaker during the visual and vestibular heading perturbation detection tasks. Heading selectivity was weaker during visual and vestibular path perturbation detection, despite our presented heading cues only in the visual and vestibular modalities. We conclude that focusing on the self-movement transients of path perturbation distracted the monkeys from their heading and reduced neuronal responsiveness to heading direction. NEW & NOTEWORTHY Heading analysis is critical for steering and navigation. We recorded the activity of monkey cortical heading neurons during naturalistic self-movement. When the monkeys were required to respond to transient changes in their path, neuronal responses to heading direction were diminished. This suggests that the need to respond to momentary path perturbations reduces your ability to process your heading direction.

Serpentine Life: The Nature of Movement in Gothic, Mannerism and Baroque

In many ways, movement is a test case for visual art as much as for philosophy: for both, we have to answer the question of whether they create real movement or merely a representation of it. Does the event really take place or is it only an illusion? This is a problem that pertains especially to Mannerism and the baroque, which rely heavily on the vocabulary of force and movement that has invested the field of art since the Renaissance. Although these styles are still dominated by classical figuration, they also introduce all sorts of distortions, deformations, and exaggerations in it. Mannerism and the baroque are attempts, within representation, to present the unrepresentable and to render visible the invisible. As a consequence, stable form is no longer the foundation of the image, but rather the limit of visual evidency. Inseparable from its relation to the formless, extension itself becomes a delimitation of intensity, a participation in the infinite. Yet the question remains: Have these attempts merely produced sensational and metaphorical works of art that are meant to move us by generating an illusion of movement in what is undeniably a stable structure or a framed picture, or are they somehow literally moving in themselves? The second position is held by Gilles Deleuze. In Francis Bacon: The Logic of Sensation, he develops a deep connection between Bacon and Michelangelo, since Mannerist painting discovered the ‘figural’: the point at which abstract movements or forces are rendered visible within classical figuration such that the organic figurability of sensation is enriched with an inhuman becoming. In his The Fold: Leibniz and the Baroque, Deleuze then goes on to show how the baroque introduces movement in classical art by means of infinite folding, such that forms would emerge from and dissolve into folds: ‘[t]he object is manneristic, not essentializing: it becomes an event’. The first position, by contrast, is taken up by Lars Spuybroek in The Sympathy of Things: Ruskin and the Ecology of Design (2011), who contrasts Mannerism and the baroque with the Gothic, arguing that while the former work away from static form to deformation, only the latter directly imitates the vicissitude and variety of living nature and produces movement in its continuous working towards form. For no matter how much we deform the painted figure and render it dynamic, it remains imprisoned within a frame hanging motionless on a wall. And no matter how much we cover a classical structure with lifelike ornament, it remains a lifeless construction. Worse still, each time we produce an image or effect of movement in this way, our experience actually becomes more detached from real movement than attached to it. ‘The Baroque,’ Spuybroek therefore concludes, ‘is merely distorted classicism’. The proposition I put to the test is that, to a certain, to be determined extent, we should differentiate between Mannerism and the baroque in a way analogous to Spuybroek’s distinction between the Gothic and the baroque. For while the Mannerist fine arts certainly do not arrive at the free aggregation of lines of Gothic ornament, as they are based on the (dis)proportional variation of the single human body rather than on configural variation, they also lack, or do not yet succumb to, the continuity and smoothness of the baroque. Whereas the baroque brings all movement back to a spectacular sensuality and physicality, we still find a much more abstract, or inorganic, experience in Mannerism. It is that of the life of the serpentine line, or what William Hogarth would later call the ‘line of grace’.