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SeminarNeuroscience

What Art can tell us about the Brain

Margaret Livingstone
Harvard
Oct 5, 2021

Artists have been doing experiments on vision longer than neurobiologists. Some major works of art have provided insights as to how we see; some of these insights are so undamental that they can be understood in terms of the underlying neurobiology. For example, artists have long realized that color and luminance can play independent roles in visual perception. Picasso said, "Colors are only symbols. Reality is to be found in luminance alone." This observation has a parallel in the functional subdivision of our visual systems, where color and luminance are processed by the evolutionarily newer, primate-specific What system, and the older, colorblind, Where (or How) system. Many techniques developed over the centuries by artists can be understood in terms of the parallel organization of our visual systems. I will explore how the segregation of color and luminance processing are the basis for why some Impressionist paintings seem to shimmer, why some op art paintings seem to move, some principles of Matisse's use of color, and how the Impressionists painted "air". Central and peripheral vision are distinct, and I will show how the differences in resolution across our visual field make the Mona Lisa's smile elusive, and produce a dynamic illusion in Pointillist paintings, Chuck Close paintings, and photomosaics. I will explore how artists have figured out important features about how our brains extract relevant information about faces and objects, and I will discuss why learning disabilities may be associated with artistic talent.

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Neural mechanisms of active vision in the marmoset monkey

Jude Mitchell
University of Rochester
May 12, 2021

Human vision relies on rapid eye movements (saccades) 2-3 times every second to bring peripheral targets to central foveal vision for high resolution inspection. This rapid sampling of the world defines the perception-action cycle of natural vision and profoundly impacts our perception. Marmosets have similar visual processing and eye movements as humans, including a fovea that supports high-acuity central vision. Here, I present a novel approach developed in my laboratory for investigating the neural mechanisms of visual processing using naturalistic free viewing and simple target foraging paradigms. First, we establish that it is possible to map receptive fields in the marmoset with high precision in visual areas V1 and MT without constraints on fixation of the eyes. Instead, we use an off-line correction for eye position during foraging combined with high resolution eye tracking. This approach allows us to simultaneously map receptive fields, even at the precision of foveal V1 neurons, while also assessing the impact of eye movements on the visual information encoded. We find that the visual information encoded by neurons varies dramatically across the saccade to fixation cycle, with most information localized to brief post-saccadic transients. In a second study we examined if target selection prior to saccades can predictively influence how foveal visual information is subsequently processed in post-saccadic transients. Because every saccade brings a target to the fovea for detailed inspection, we hypothesized that predictive mechanisms might prime foveal populations to process the target. Using neural decoding from laminar arrays placed in foveal regions of area MT, we find that the direction of motion for a fixated target can be predictively read out from foveal activity even before its post-saccadic arrival. These findings highlight the dynamic and predictive nature of visual processing during eye movements and the utility of the marmoset as a model of active vision. Funding sources: NIH EY030998 to JM, Life Sciences Fellowship to JY

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