Beta-band differences in primary motor cortex between media and non-media professionals when watching motor actions in movies.

To watch a person doing an activity has an impact on the viewer. In fact, the film industry hinges on viewers looking at characters doing all sorts of narrative activities. From previous works, we know that media and non-media professionals perceive differently audiovisuals with cuts. Media professionals present a lower eye-blink rate, a lower activity in frontal and central cortical areas, and a more organized functional brain connectivity when watching audiovisual cuts. Here, we aimed to determine how audiovisuals with no formal interruptions such as cuts were perceived by media and non-media professionals. Moreover, we wondered how motor actions of characters in films would have an impact on the brain activities of the two groups of observers. We presented a narrative with 24 motor actions in a one-shot movie in wide shot with no cuts to 40 participants. We recorded the electroencephalographic (EEG) activity of the participants and analyzed it for the periods corresponding to the 24 motor actions (24 actions × 40 participants = 960 potential trials). In accordance with collected results, we observed differences in the EEG activity of the left primary motor cortex. A spectral analysis of recorded EEG traces indicated the presence of significant differences in the beta band between the two groups after the onset of the motor activities, while no such differences were found in the alpha band. We concluded that media expertise is related with the beta band identified in the EEG activity of the left primary motor cortex and the observation of motor actions in videos.

Positive and Negative Affect Schedule in early COVID-19 pandemic.

The COVID-19 pandemic is the first pandemic in the Information Age. It started in Asia and spread rapidly around the world. As a consequence, millions of people were subject to lockdowns, and traditional media and social media reached more people. Our study, carried out during the lockdown, asked people about their feelings and emotions and included a Positive and Negative Affect Schedule (PANAS). Here, we present the data resulting from that study, which could potentially be reused by psychologists interested in learning about the emotional effects of the COVID-19 pandemic as well as to make comparisons before and after the lockdown period in 2020.

The attributes of the images representing the SARS-CoV-2 coronavirus affect people's perception of the virus.

BACKGROUND: The recent COVID-19 pandemic has seen an explosion of coronavirus-related information. In many cases, this information was supported by images representing the SARS-CoV-2. AIM: To evaluate how attributes of images representing the SARS-CoV-2 coronavirus that were used in the initial phase of the coronavirus crisis in 2020 influenced the public's perceptions. METHODS: We have carried out an in-depth survey using 46 coronavirus images, asking individuals how beautiful, scientific, realistic, infectious, scary and didactic they appeared to be. RESULTS: We collected 91,908 responses, obtaining 15,315 associations for each category. While the reference image of SARS-CoV-2 used in the media is a three-dimensional, colour, illustration, we found that illustrations of the coronavirus were perceived as beautiful but not very realistic, scientific or didactic. By contrast, black and white coronavirus images are thought to be the opposite. The beauty of coronavirus images was negatively correlated with the perception of scientific realism and didactic value. CONCLUSION: Given these effects and the consequences on the individual's perception, it is important to evaluate the influence that different images of SARS-CoV-2 may have on the population.

Viewers Change Eye-Blink Rate by Predicting Narrative Content.

Eye blinks provoke a loss of visual information. However, we are not constantly making conscious decisions about the appropriate moment to blink. The presence or absence of eye blinks also denotes levels of attention. We presented three movies with the exact same narrative but different styles of editing and recorded participants' eye blinks. We found that moments of increased or decreased eye blinks by viewers coincided with the same content in the different movie styles. The moments of increased eye blinks corresponded to those when the actor leaves the scene and when the movie repeats the same action for a while. The moments of decreased eye blinks corresponded to actions where visual information was crucial to proper understanding of the scene presented. According to these results, viewers' attention is more related to narrative content than to the style of editing when watching movies.

The Effect of Media Professionalization on Cognitive Neurodynamics During Audiovisual Cuts.

Experts apply their experience to the proper development of their routine activities. Their acquired expertise or professionalization is expected to help in the development of those recurring tasks. Media professionals spend their daily work watching narrative contents on screens, so learning how they manage visual perception of those contents could be of interest in an increasingly audiovisual society. Media works require not only the understanding of the storytelling, but also the decoding of the formal rules and presentations. We recorded electroencephalographic (EEG) signals from 36 participants (18 media professionals and 18 non-media professionals) while they were watching audiovisual contents, and compared their eyeblink rate and their brain activity and connectivity. We found that media professionals decreased their blink rate after the cuts, suggesting that they can better manage the loss of visual information that blinks entail by sparing them when new visual information is being presented. Cuts triggered similar activation of basic brain processing in the visual cortex of the two groups, but different processing in medial and frontal cortical areas, where media professionals showed a lower activity. Effective brain connectivity occurred in a more organized way in media professionals-possibly due to a better communication between cortical areas that are coordinated for decoding new visual content after cuts.

Chaotic and Fast Audiovisuals Increase Attentional Scope but Decrease Conscious Processing.

Audiovisual cuts involve spatial, temporal, and action narrative leaps. They can even change the meaning of the narrative through film editing. Many cuts are not consciously perceived, others are, just as we perceive or not the changes in real events. In this paper, we analyze the effects of cuts and different editing styles on 36 subjects, using electroencephalographic (EEG) techniques and the projection of stimuli with different audiovisual style of edition but the same narrative. Eyeblinks, event-related potentials (ERPs), EEG spectral power and disturbances, and the functional and effective connectivity before and after the cuts were analyzed. Cuts decreased blink frequency in the first second following them. Cuts also caused an increase of the alpha rhythm, with a cortical evolution from visual toward rostral areas. There were marked differences between a video-clip editing style, with greater activities evoked in visual areas, and the classic continuous style of editing, which presented greater activities in the frontal zones. This was reflected by differences in the theta rhythm between 200 and 400 ms, in visual and frontal zones, and can be connected to the different demands that each style of edition makes on working memory and conscious processing after cutting. Also, at the time of cuts, the causality between visual, somatosensory, and frontal networks is altered in any editing style. Our findings suggest that cuts affect media perception and chaotic and fast audiovisuals increase attentional scope but decrease conscious processing.

Using Electroencephalography Measurements and High-quality Video Recording for Analyzing Visual Perception of Media Content.

This article explores a method to detect differences in visual perception in humans. The method used is based on the psychological (or "cognitive") function of eyeblinks. Participants' eyeblinks are detected and acquired while watching videos specifically created for the investigation. The detection and acquisition of eyeblinks are carried out with the help of a 20-channel electroencephalographic (EEG) wireless device. The international 10-20 system for electrode placement is followed. A high-definition (HD) video camera is used to record participants' facial expressions, for contrast purposes. Instead of using pre-existing media content, purpose-made video content has been created following specific criteria of interest for this investigation, with stimuli enabling researchers to manage the precise parameters of interest. Otherwise, results could be contaminated with uncontrolled variables. The synchronization of the presentation of video stimuli with EEG recordings needs to be done in milliseconds. Analysis of collected data is performed with robust software for working with big matrices. Statistically significant differences in eyeblink rate related to media professionalization and editing style are found with the reported experimental procedures.

Looking at reality versus watching screens: Media professionalization effects on the spontaneous eyeblink rate.

This article explores whether there are differences in visual perception of narrative between theatrical performances and screens, and whether media professionalization affects visual perception. We created a live theatrical stimulus and three audio-visual stimuli (each one with a different video editing style) having the same narrative, and displayed them randomly to participants (20 media professionals and 20 non-media professionals). For media professionals, watching movies on screens evoked a significantly lower spontaneous blink rate (SBR) than looking at theatrical performances. Media professionals presented a substantially lower SBR than non-media professionals when watching screens, and more surprisingly, also when seeing reality. According to our results, media professionals pay higher attention to both screens and the real world than do non-media professionals.

A Cognition-Related Neural Oscillation Pattern, Generated in the Prelimbic Cortex, Can Control Operant Learning in Rats.

The prelimbic (PrL) cortex constitutes one of the highest levels of cortical hierarchy dedicated to the execution of adaptive behaviors. We have identified a specific local field potential (LFP) pattern generated in the PrL cortex and associated with cognition-related behaviors. We used this pattern to trigger the activation of a visual display on a touch screen as part of an operant conditioning task. Rats learned to increase the presentation rate of the selected θ to ß-γ (θ/ß-γ) transition pattern across training sessions. The selected LFP pattern appeared to coincide with a significant decrease in the firing of PrL pyramidal neurons and did not seem to propagate to other cortical or subcortical areas. An indication of the PrL cortex's cognitive nature is that the experimental disruption of this θ/ß-γ transition pattern prevented the proper performance of the acquired task without affecting the generation of other motor responses. The use of this LFP pattern to trigger an operant task evoked only minor changes in its electrophysiological properties. Thus, the PrL cortex has the capability of generating an oscillatory pattern for dealing with environmental constraints. In addition, the selected θ/ß-γ transition pattern could be a useful tool to activate the presentation of external cues or to modify the current circumstances.SIGNIFICANCE STATEMENT Brain-machine interfaces represent a solution for physically impaired people to communicate with external devices. We have identified a specific local field potential pattern generated in the prelimbic cortex and associated with goal-directed behaviors. We used the pattern to trigger the activation of a visual display on a touch screen as part of an operant conditioning task. Rats learned to increase the presentation rate of the selected field potential pattern across training. The selected pattern was not modified when used to activate the touch screen. Electrical stimulation of the recording site prevented the proper performance of the task. Our findings show that the prelimbic cortex can generate oscillatory patterns that rats can use to control their environment for achieving specific goals.

Eyeblink rate watching classical Hollywood and post-classical MTV editing styles, in media and non-media professionals.

While movie edition creates a discontinuity in audio-visual works for narrative and economy-of-storytelling reasons, eyeblink creates a discontinuity in visual perception for protective and cognitive reasons. We were interested in analyzing eyeblink rate linked to cinematographic edition styles. We created three video stimuli with different editing styles and analyzed spontaneous blink rate in participants (N = 40). We were also interested in looking for different perceptive patterns in blink rate related to media professionalization. For that, of our participants, half (n = 20) were media professionals, and the other half were not. According to our results, MTV editing style inhibits eyeblinks more than Hollywood style and one-shot style. More interestingly, we obtained differences in visual perception related to media professionalization: we found that media professionals inhibit eyeblink rate substantially compared with non-media professionals, in any style of audio-visual edition.