visual space
Recently Published Documents


TOTAL DOCUMENTS

990
(FIVE YEARS 185)

H-INDEX

66
(FIVE YEARS 6)

2022 ◽  
Author(s):  
Divyansh Gupta ◽  
Wiktor Mlynarski ◽  
Olga Symonova ◽  
Jan Svaton ◽  
Maximilian Joesch

Visual systems have adapted to the structure of natural stimuli. In the retina, center-surround receptive fields (RFs) of retinal ganglion cells (RGCs) appear to efficiently encode natural sensory signals. Conventionally, it has been assumed that natural scenes are isotropic and homogeneous; thus, the RF properties are expected to be uniform across the visual field. However, natural scene statistics such as luminance and contrast are not uniform and vary significantly across elevation. Here, by combining theory and novel experimental approaches, we demonstrate that this inhomogeneity is exploited by RGC RFs across the entire retina to increase the coding efficiency. We formulated three predictions derived from the efficient coding theory: (i) optimal RFs should strengthen their surround from the dimmer ground to the brighter sky, (ii) RFs should simultaneously decrease their center size and (iii) RFs centered at the horizon should have a marked surround asymmetry due to a stark contrast drop-off. To test these predictions, we developed a new method to image high-resolution RFs of thousands of RGCs in individual retinas. We found that the RF properties match theoretical predictions, and consistently change their shape from dorsal to the ventral retina, with a distinct shift in the RF surround at the horizon. These effects are observed across RGC subtypes, which were thought to represent visual space homogeneously, indicating that functional retinal streams share common adaptations to visual scenes. Our work shows that RFs of mouse RGCs exploit the non-uniform, panoramic structure of natural scenes at a previously unappreciated scale, to increase coding efficiency.


2022 ◽  
pp. 1-54
Author(s):  
Doris Voina ◽  
Stefano Recanatesi ◽  
Brian Hu ◽  
Eric Shea-Brown ◽  
Stefan Mihalas

Abstract As animals adapt to their environments, their brains are tasked with processing stimuli in different sensory contexts. Whether these computations are context dependent or independent, they are all implemented in the same neural tissue. A crucial question is what neural architectures can respond flexibly to a range of stimulus conditions and switch between them. This is a particular case of flexible architecture that permits multiple related computations within a single circuit. Here, we address this question in the specific case of the visual system circuitry, focusing on context integration, defined as the integration of feedforward and surround information across visual space. We show that a biologically inspired microcircuit with multiple inhibitory cell types can switch between visual processing of the static context and the moving context. In our model, the VIP population acts as the switch and modulates the visual circuit through a disinhibitory motif. Moreover, the VIP population is efficient, requiring only a relatively small number of neurons to switch contexts. This circuit eliminates noise in videos by using appropriate lateral connections for contextual spatiotemporal surround modulation, having superior denoising performance compared to circuits where only one context is learned. Our findings shed light on a minimally complex architecture that is capable of switching between two naturalistic contexts using few switching units.


2021 ◽  
Vol 48 (4) ◽  
pp. 135-146
Author(s):  
Sophie Léchauguette

Many books designed for international distribution combine text blocks and images. Their layout offers hybrid messages organized on the visual space of a double page. Texts both in the original language and in translation must fit into limited spaces or boxes positioned around illustrations. Thus, translators practice multimodal translation, writing texts that preserve or enhance the cohesion between visual and textual messages. This skill requires some training. Unfortunately, while theoretical writings on pragmatic translation acknowledge its intersemiotic nature, few training programs address this aspect. The creation of a course on multimodal translation would be a valued addition to any translator training program. The concept of a hybrid translation unit offers a way of structuring material to introduce both intersemiotic and multimodal translation in professional curricula. The author draws on her professional experience to discuss the role of illustrations in grasping meaning through practical examples. She suggests generalizable translation strategies to strengthen text-image cohesion, or even generate text from images alone, while adapting the book in translation to its intended readership.


2021 ◽  
pp. 191-216
Author(s):  
Nicolas Bilchi

The purpose of this article is to highlight a few stylistic and aesthetic principles, common to the genre of the travel film (both documentary and fictional), as employed by immersive media and devices from the twentieth century – such as the Hale’s Tours of the World, Todd-AO, and Cinerama – up to today’s digital systems like Virtual Reality and 4D Cinema. I will discuss how the different experiences of simulated travels, proffered by those media, are all related to a broader aesthetic tendency in creating what I label as enveloping tactile images. Such images are programmed to surround the viewer from every side, thus increasing their spectacular dimension, but at the same time they strive to temper and weaken the haptic solicitations aroused in the viewer by the immersive apparatus itself. In this sense I propose that the spectator of immersive travelogue films is ‘immersed, yet distant’: she is tangled in the illusion of traversing an enveloping visual space, but the position she occupies is nonetheless a metaphysical one, not different from that of Renaissance perspective, because even if she can see everything, the possibility to interact with the images is denied, in order to preserve the realistic illusion. By analysing the stylistic techniques employed to foster the viewer’s condition of non-interactive immersion in the enveloping world presented by the medium, I will consequently address the topic of the conflict that such immersive aesthetics establish with traditional forms of audiovisual storytelling.


2021 ◽  
Vol 4 (2) ◽  
Author(s):  
Andrii Synakh ◽  
Nina Svitailo ◽  
Olga Boyko ◽  
Tatiana Povalii ◽  
Svitlana Podolkova

Introduction. “Visual turn” in art has determined the specifics of the civilized development of modern society. Information technology and virtual nature of the visual space development have influenced not only the language of communication but in general the entire system of social management. Purpose and methods. The purpose of the article is to substantiate the influence of modern visual art on our everyday life, opportunities for self-expression, communication, and social management. Methodological basis of the study is presented by historical, axiological, comparative, system and structural, formal and logical methods. Results. The article considers the modern reading of the visual image, its demand in modern culture, the reasons, and backgrounds of the “visual turn” in art, which has led to the diffusion of high and low in art, synthesis of creativity, and everyday life. The influence of communication virtualization, urbanization of the society and massification of culture on the formation of the individual's visual space and picture of the world are proved. Conclusions. Both positive and negative aspects of such social and cultural transformation in the process of contemporary art visualization are substantiated. The article proves that visualization of art through advertising, fashion, performance, industrial design is becoming the most important factor in social management and determination of consumers', social and cultural, ideological matrix of individual behavior. Under conditions of this hypertrophied visual component of everyday life, constructing and modeling of the newest methods of visual literacy and culture formation are justified.


2021 ◽  
Author(s):  
Thomas Trevelyan James Sainsbury ◽  
Giovanni Diana ◽  
Martin Patrick Meyer

AbstractVisual neurons can have their tuning properties contextually modulated by the presence of visual stimuli in the area surrounding their receptive field, especially when that stimuli contains natural features. However, stimuli presented in specific egocentric locations may have greater behavioural relevance, raising the possibility that the extent of contextual modulation may vary with position in visual space. To explore this possibility we utilised the small size and optical transparency of the larval zebrafish to describe the form and spatial arrangement of contextually modulated cells throughout an entire tectal hemisphere. We found that the spatial tuning of tectal neurons to a prey-like stimulus sharpens when the stimulus is presented in the context of a naturalistic visual scene. These neurons are confined to a spatially restricted region of the tectum and have receptive fields centred within a region of visual space in which the presence of prey preferentially triggers hunting behaviour. Our results demonstrate that circuits that support behaviourally relevant modulation of tectal neurons are not uniformly distributed. These findings add to the growing body of evidence that the tectum shows regional adaptations for behaviour.


Menotyra ◽  
2021 ◽  
Vol 28 (1-2) ◽  
Author(s):  
Jūratė Landsbergytė

The historical context opens its unresolved issues inside contemporary cultural consciousness. It gives the language of music a specific dimension of dramatic tensions. Here, composers’ propositions acquire a coded imagery close to the aesthetics of modernist catastrophe. The musical text becomes highly contextual and filled with the knowledge arisen from history. It is like an encrypted message about the current transformation of history. The texture of the work becomes an expression of the signs incorporating also non-musical sounds or visual space. Semantics play a crucial role in soundscapes. In this sense, we can talk about the war and post-war semantics, which is making its comeback into Lithuanian music. Here, the aesthetic poles of tension or the dramaturgy of conflict arise and are realised through the spectra of hum or expression of identities. In this context, two recent works by Lithuanian composers should be mentioned: they accurately respond to the tensions and wounds of the Second World War that continue to bleed inside the identity consciousness of the Lithuanian nation. These wounds are the Holocaust and the post-war partisan struggle against the Soviet occupation. The topic of ‘war after war’ acquires its musical task in Vytautas Germanavičius’s (b.1969) work Red Trees (2018) for flute, cello, and organ dedicated to the partisan commander Adolfas Ramanauskas-Vanagas. It is important to stress that Vanagas has been recognised as a de facto leader of the state and, thanks to sustained efforts of historians and archaeologists, his remains, which were discovered in the Vilnius Orphans’ Cemetery, were reburied in the Pantheon of State Leaders. All this forms an exceptional historical dimension, which finds an original reflection in Germanavičius’s work. Meanwhile, the Holocaust theme connects vividly with the 80th anniversary (late in 2020), of the deed of Chiune Sugihara, the Japanese diplomat who saved over 6,000 Jews in 1940. Algirdas Martinaitis (b.1950) work Visa for Life (2020) for two flutes, oboe, and organ is dedicated to Chiune Sugihara. Here, the composer combines, in a unique way, the worlds of the Japanese, the European tradition and Jewish music. His musical expression is based on the dramaturgy of transformation (the constant running of the toccata). In this way, each composer voices the context of the past: its tension transforms the language of music. It should be noted that both works bring back the catastrophe of the Second World War and the post-war period, which is a painful drama of the history of the Baltic States and not yet sufficiently understood in the world. As a result, the former meditative face of Baltic music identity changes accordingly.


eLife ◽  
2021 ◽  
Vol 10 ◽  
Author(s):  
Tom P Franken ◽  
John H Reynolds

To understand a visual scene, the brain segregates figures from background by assigning borders to foreground objects. Neurons in primate visual cortex encode which object owns a border (border ownership), but the underlying circuitry is not understood. Here, we used multielectrode probes to record from border ownership-selective units in different layers in macaque visual area V4 to study the laminar organization and timing of border ownership selectivity. We find that border ownership selectivity occurs first in deep layer units, in contrast to spike latency for small stimuli in the classical receptive field. Units on the same penetration typically share the preferred side of border ownership, also across layers, similar to orientation preference. Units are often border ownership-selective for a range of border orientations, where the preferred sides of border ownership are systematically organized in visual space. Together our data reveal a columnar organization of border ownership in V4 where the earliest border ownership signals are not simply inherited from upstream areas, but computed by neurons in deep layers, and may thus be part of signals fed back to upstream cortical areas or the oculomotor system early after stimulus onset. The finding that preferred border ownership is clustered and can cover a wide range of spatially contiguous locations suggests that the asymmetric context integrated by these neurons is provided in a systematically clustered manner, possibly through corticocortical feedback and horizontal connections.


2021 ◽  
Vol 11 (1) ◽  
Author(s):  
Neta B. Maimon ◽  
Dominique Lamy ◽  
Zohar Eitan

AbstractIncreasing evidence has uncovered associations between the cognition of abstract schemas and spatial perception. Here we examine such associations for Western musical syntax, tonality. Spatial metaphors are ubiquitous when describing tonality: stable, closural tones are considered to be spatially central and, as gravitational foci, spatially lower. We investigated whether listeners, musicians and nonmusicians, indeed associate tonal relationships with visuospatial dimensions, including spatial height, centrality, laterality, and size, implicitly or explicitly, and whether such mappings are consistent with established metaphors. In the explicit paradigm, participants heard a tonality-establishing prime followed by a probe tone and coupled each probe with a subjectively appropriate location (Exp.1) or size (Exp.4). The implicit paradigm used a version of the Implicit Association Test to examine associations of tonal stability with vertical position (Exp.2), lateral position (Exp3) and size (Exp.5). Tonal stability was indeed associated with perceived physical space: the spatial distances between the locations associated with different scale-degrees significantly correlated with the tonal stability differences between these scale-degrees. However, inconsistently with musical discourse, stable tones were associated with leftward (instead of central) and higher (instead of lower) spatial positions. We speculate that these mappings are influenced by emotion, embodying the “good is up” metaphor, and by the spatial structure of music keyboards. Taken together, the results demonstrate a new type of cross-modal correspondence and a hitherto under-researched connotative function of musical structure. Importantly, the results suggest that the spatial mappings of an abstract domain may be independent of the spatial metaphors used to describe that domain.


Sign in / Sign up

Export Citation Format

Share Document