Translations: Effects of Viewpoint, Feature, and Naming on Identifying Repeatedly Copied Drawings

Dyson, Benjamin J.; Cohen, Rachel E.

doi:10.1068/p6484

Cited by 1 publication

(2 citation statements)

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“…It remains a question for future research whether the relationship between perceptual report and neural activity also apply to the sensory stimuli to which esthetic value is ascribed. For example, Ishai et al (2007; see also Pepperell, 2011) discuss the consequences of examining indeterminate art and note that, relative to paintings containing recognizable objects, indeterminate paintings yielded longer response latencies (see also Dyson and Cohen, 2010). Therefore, ambiguity within artwork may have the net result of facilitating viewer or listener engagement, and it is interesting to consider how these effects might have their origins in neural activity.…”

Section: Discussionmentioning

confidence: 99%

“…By manipulating the orientation (Latto et al, 2000), line spacing (McManus et al, 1993; Wolach and McHale, 2005), and color distribution (Locher et al, 2005) of the originals, it is possible to establish the extent to which Mondrian had established the “correct” organization of these features in accordance with a universal esthetic. Another way researchers have attempted to bridge the divide between art and science is to take advantage of the observation that differential perceptual and esthetic experiences may be derived from the same input: one only need consider proponents of optical art such as Bridget Riley and Victor Vasarely (Martinez-Conde and Macknik, 2010) to appreciate how the interpretation of ambiguous sensory information relies on an interaction between bottom-up and top-down processes (e.g., Dyson and Cohen, 2010). In this regard, examining the neurological indices associated with ambiguous experience has been an important step in understanding how purely internal processes such as perceptual interpretation might be expressed in the brain.…”

Section: Introductionmentioning

confidence: 99%

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The Advantage of Ambiguity? Enhanced Neural Responses to Multi-Stable Percepts Correlate with the Degree of Perceived Instability

Dyson¹

2011

Front. Hum. Neurosci.

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Artwork can often pique the interest of the viewer or listener as a result of the ambiguity or instability contained within it. Our engagement with uncertain sensory experiences might have its origins in early cortical responses, in that perceptually unstable stimuli might preclude neural habituation and maintain activity in early sensory areas. To assess this idea, participants engaged with an ambiguous visual stimulus wherein two squares alternated with one another, in terms of simultaneously opposing vertical and horizontal locations relative to fixation (i.e., stroboscopic alternating motion; von Schiller, 1933). At each trial, participants were invited to interpret the movement of the squares in one of five ways: traditional vertical or horizontal motion, novel clockwise or counter-clockwise motion, and, a free-view condition in which participants were encouraged to switch the direction of motion as often as possible. Behavioral reports of perceptual stability showed clockwise and counter-clockwise motion to possess an intermediate level of stability compared to relatively stable vertical and horizontal motion, and, relatively unstable motion perceived during free-view conditions. Early visual evoked components recorded at parietal–occipital sites such as C1, P1, and N1 modulated as a function of visual intention. Both at a group and individual level, increased perceptual instability was related to increased negativity in all three of these early visual neural responses. Engagement with increasingly ambiguous input may partly result from the underlying exaggerated neural response to it. The study underscores the utility of combining neuroelectric recording with the presentation of perceptually multi-stable yet physically identical stimuli, in revealing brain activity associated with the purely internal process of interpreting and appreciating the sensory world that surrounds us.

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Section: Discussionmentioning

confidence: 99%