Eye movements reflect active statistical learning.

What is the link between eye movements and sensory learning? Although some theories have argued for an automatic interaction between what we know and where we look that continuously modulates human information gathering behavior during both implicit and explicit learning, there exists limited experimental evidence supporting such an ongoing interplay. To address this issue, we used a visual statistical learning paradigm combined with a gaze-contingent stimulus presentation and manipulated the explicitness of the task to explore how learning and eye movements interact. During both implicit exploration and explicit visual learning of unknown composite visual scenes, spatial eye movement patterns systematically and gradually changed in accordance with the underlying statistical structure of the scenes. Moreover, the degree of change was directly correlated with the amount and type of knowledge the observers acquired. This suggests that eye movements are potential indicators of active learning, a process where long-term knowledge, current visual stimuli and an inherent tendency to reduce uncertainty about the visual environment jointly determine where we look.

The dynamics of experiencing Gestalt and Aha in cubist art: pupil responses and art evaluations show a complex interplay of task, stimuli content, and time course.

Introduction: Gestalt perception refers to the cognitive ability to perceive various elements as a unified whole. In our study, we delve deeper into the phenomenon of Gestalt recognition in visual cubist art, a transformative process culminating in what is often described as an Aha moment. This Aha moment signifies a sudden understanding of what is seen, merging seemingly disparate elements into a coherent meaningful picture. The onset of this Aha moment can vary, either appearing almost instantaneously, which is in line with theories of hedonic fluency, or manifesting after a period of time, supporting the concept of delayed but more in-depth meaningful insight. Methods: We employed pupillometry to measure cognitive and affective shifts during art interaction, analyzing both maximum pupil dilation and average dilation across the trial. The study consisted of two parts: in the first, 84 participants identified faces in cubist paintings under various conditions, with Aha moments and pupil dilation measured. In part 2, the same 84 participants assessed the artworks through ratings in a no-task free-viewing condition. Results: Results of part 1 indicate a distinctive pattern of pupil dilation, with maximum dilation occurring at both trial onset and end. Longer response times were observed for high-fluent, face-present stimuli, aligning with a delayed but accurate Aha-moment through recognition. Additionally, the time of maximum pupil dilation, rather than average dilation, exhibited significant associations, being later for high-fluent, face-present stimuli and correct detections. In part 2, average, not the time of maximum pupil dilation emerged as the significant factor. Face-stimuli and highly accessible art evoked stronger dilations, also reflecting high clearness and negative valence ratings. Discussion: The study underscores a complex relationship between the timing of recognition and the Aha moment, suggesting nuanced differences in emotional and cognitive responses during art viewing. Pupil dilation measures offer insight into these processes especially for moments of recognition, though their application in evaluating emotional responses through artwork ratings warrants further exploration.

Can we really 'read' art to see the changing brain? A review and empirical assessment of clinical case reports and published artworks for systematic evidence of quality and style changes linked to damage or neurodegenerative disease.

The past three decades have seen multiple reports of people with neurodegenerative disorders, or other forms of changes in their brains, who also show putative changes in how they approach and produce visual art. Authors argue that these cases may provide a unique body of evidence, so-called 'artistic signatures' of neurodegenerative diseases, that might be used to understand disorders, provide diagnoses, be employed in treatment, create patterns of testable hypotheses for causative study, and also provide unique insight into the neurobiological linkages between the mind, brain, body, and the human penchant for art-making itself. However-before we can begin to meaningfully build from such emerging findings, much less formulate applications-not only is such evidence currently quite disparate and in need of systematic review, almost all case reports and artwork ratings are entirely subjective, based on authors' personal observations or a sparse collection of methods that may not best fit underlying research aims. This leads to the very real question of whether we might actually find patterns of systematic change if fit to a rigorous review-Can we really 'read' art to illuminate possible changes in the brain? How might we best approach this topic in future neuroscientific, clinical, and art-related research? This paper presents a review of this field and answer to these questions. We consider the current case reports for seven main disorders-Alzheimer's and Parkinson's disease, frontotemporal and Lewy body dementia, corticobasal degeneration, aphasia, as well as stroke-consolidating arguments for factors and changes related to art-making and critiquing past methods. Taking the published artworks from these papers, we then conduct our own assessment, employing computerized and human-rater-based approaches, which we argue represent best practice to identify stylistic or creativity/quality changes. We suggest, indeed, some evidence for systematic patterns in art-making for specific disorders and also find that case authors showed rather high agreement with our own assessments. More important, through opening this topic and past evidence to a systematic review, we hope to open a discussion and provide a theoretical and empirical foundation for future application and research on the intersection of art-making and the neurotypical, the changed, and the artistic brain.

Social reputation influences on liking and willingness-to-pay for artworks: A multimethod design investigating choice behavior along with physiological measures and motivational factors.

Art, as a prestigious cultural commodity, concerns aesthetic and monetary values, personal tastes, and social reputation in various social contexts-all of which are reflected in choices concerning our liking, or in other contexts, our actual willingness-to-pay for artworks. But, how do these different aspects interact in regard to the concept of social reputation and our private versus social selves, which appear to be essentially intervening, and potentially conflicting, factors driving choice? In our study, we investigated liking and willingness-to-pay choices using-in art research-a novel, forced-choice paradigm. Participants (N = 123) made choices from artwork-triplets presented with opposing artistic quality and monetary value-labeling, thereby creating ambiguous choice situations. Choices were made in either private or in social/public contexts, in which participants were made to believe that either art-pricing or art-making experts were watching their selections. A multi-method design with eye-tracking, neuroendocrinology (testosterone, cortisol), and motivational factors complemented the behavioral choice analysis. Results showed that artworks, of which participants were told were of high artistic value were more often liked and those of high monetary-value received more willingness-to-pay choices. However, while willingness-to-pay was significantly affected by the presumed observation of art-pricing experts, liking selections did not differ between private/public contexts. Liking choices, compared to willingness-to-pay, were also better predicted by eye movement patterns. Whereas, hormone levels had a stronger relation with monetary aspects (willingness-to-pay/ art-pricing expert). This was further confirmed by motivational factors representative for reputation seeking behavior. Our study points to an unexplored terrain highlighting the linkage of social reputation mechanisms and its impact on choice behavior with a ubiquitous commodity, art.

Phylogenetic signal in the vocalizations of vocal learning and vocal non-learning birds.

Some animal vocalizations develop reliably in the absence of relevant experience, but an intriguing subset of animal vocalizations is learned: they require acoustic models during ontogeny in order to develop, and the learner's vocal output reflects those models. To what extent do such learned vocalizations reflect phylogeny? We compared the degree to which phylogenetic signal is present in vocal signals from a wide taxonomic range of birds, including both vocal learners (songbirds) and vocal non-learners. We used publically available molecular phylogenies and developed methods to analyse spectral and temporal features in a carefully curated collection of high-quality recordings of bird songs and bird calls, to yield acoustic distance measures. Our methods were initially developed using pairs of closely related North American and European bird species, and then applied to a non-overlapping random stratified sample of European birds. We found strong similarity in acoustic and genetic distances, which manifested itself as a significant phylogenetic signal, in both samples. In songbirds, both learned song and (mostly) unlearned calls allowed reconstruction of phylogenetic trees nearly isomorphic to the phylogenetic trees derived from genetic analysis. We conclude that phylogeny and inheritance constrain vocal structure to a surprising degree, even in learned birdsong. This article is part of the theme issue 'Vocal learning in animals and humans'.

Does Pictorial Composition Guide the Eye? Investigating Four Centuries of Last Supper Pictures.

Within art literature, there is a centuries-old assumption that the eye follows the lines set out by the composition of a painting. However, recent empirical findings suggest that this may not be true. This study investigates beholders' saccadic eye movements while looking at fourteen paintings representing the scene of the Last Supper, and their perception of the compositions of those paintings. The experiment included three parts: 1) recording the eye movements of the participants looking at the paintings; 2) asking participants to draw the composition of the paintings; and 3) asking them to rate the amount of depth in the paintings. We developed a novel coefficient of similarity in order to quantify 1) the similarity between the saccades of different observers; 2) the similarity between the compositional drawings of different observers; and 3) the similarity between saccades and compositional drawings. For all of the tested paintings, we found a high, above-chance similarity between the saccades and between the compositional drawings. Additionally, for most of the paintings, we also found a high, above-chance similarity between compositional lines and saccades, both on a collective and on an individual level. Ultimately, our findings suggest that composition does influence visual perception.

Absorbing the gaze, scattering looks: Klimt's distinctive style and its two-fold effect on the eye of the beholder.

Among the most renowned painters of the early twentieth century, Gustav Klimt is often associated - by experts and laymen alike - with a distinctive style of representation: the visual juxtaposition of realistic features and flattened ornamental patterns. Art historical writing suggests that this juxtaposition allows a two-fold experience; the perception of both the realm of art and the realm of life. While Klimt adopted a variety of stylistic choices in his career, this one popularised his work and was hardly ever used by other artists. The following study was designed to observe whether Klimt's distinctive style causes a specific behaviour of the viewer, at the level of eye-movements. Twenty-one portraits were shown to thirty viewers while their eye-movements were recorded. The pictures included artworks by Klimt in both his distinctive and non-distinctive styles, as well as other artists of the same historical period. The recorded data show that only Klimt's distinctive paintings induce a specific eyemovement pattern with alternating longer ("absorbed") and shorter ("scattered") fixations. We therefore claim that there is a behavioural correspondence to what art historical interpretations have so far asserted: The perception of "Klimt's style" can be described as two-fold also at a physiological level.

Divergent Solutions to Visual Problem Solving across Mammalian Species.

Our understanding of the neurobiological underpinnings of learning and behavior relies on the use of invasive techniques, which necessitate the use of animal models. However, when different species learn the same task, to what degree are they actually producing the same behavior and engaging homologous neural circuitry? This question has received virtually no recent attention, even as the most powerful new methodologies for measuring and perturbing the nervous system have become increasingly dependent on the use of murine species. Here, we test humans, rats, monkeys, and an evolutionarily intermediate species, tree shrews, on a three alternative, forced choice, visual contrast discrimination task. As anticipated, learning rate, peak performance, and transfer across contrasts was lower in the rat compared to the other species. More interestingly, rats exhibited two major behavioral peculiarities: while monkeys and tree shrews based their choices largely on visual information, rats tended to base their choices on past reward history. Furthermore, as the task became more difficult, rats largely disengaged from the visual stimulus, reverting to innate spatial predispositions in order to collect rewards near chance probability. Our findings highlight the limitation of muridae as models for translational research, at least in the area of visually based decision making.

Basal forebrain contributes to default mode network regulation.

The default mode network (DMN) is a collection of cortical brain regions that is active during states of rest or quiet wakefulness in humans and other mammalian species. A pertinent characteristic of the DMN is a suppression of local field potential gamma activity during cognitive task performance as well as during engagement with external sensory stimuli. Conversely, gamma activity is elevated in the DMN during rest. Here, we document that the rat basal forebrain (BF) exhibits the same pattern of responses, namely pronounced gamma oscillations during quiet wakefulness in the home cage and suppression of this activity during active exploration of an unfamiliar environment. We show that gamma oscillations are localized to the BF and that gamma-band activity in the BF has a directional influence on a hub of the rat DMN, the anterior cingulate cortex, during DMN-dominated brain states. The BF is well known as an ascending, activating, neuromodulatory system involved in wake-sleep regulation, memory formation, and regulation of sensory information processing. Our findings suggest a hitherto undocumented role of the BF as a subcortical node of the DMN, which we speculate may be important for switching between internally and externally directed brain states. We discuss potential BF projection circuits that could underlie its role in DMN regulation and highlight that certain BF nuclei may provide potential target regions for up- or down-regulation of DMN activity that might prove useful for treatment of DMN dysfunction in conditions such as epilepsy or major depressive disorder.