Dynamic changes in spatial representation within the posterior parietal cortex in response to visuomotor adaptation

Vertical prism adaptation, but not sound presentation, modulates the visuospatial representation: A manual line-bisection study

The present study aimed at testing whether vertical prism adaptation (PA) can modulate vertical visuospatial representation, assessed with a vertical manual line-bisection (MLB) task (Experiment 1). In a second time, we wanted to investigate the potential influence of sound presentation during such a task. Sound is a spatially valued element that has previously been reported to modify horizontal visuospatial representation. In Experiment 2, we presented either a high pitch, a low pitch, or no sound during the same MLB as in Experiment 1. With this experiment, we also searched for an eventual interaction between the effect of sound presentation and the potential cognitive aftereffects of vertical PA on visual representation. Both Experiments 1 and 2 were constructed with the same design and conducted with two distinct groups of young healthy right-handed participants. First, we assessed the initial sensorimotor state with an open-loop pointing task, and the initial representational state through a vertical MLB (with addition of sound for Experiment 2). Then participants were submitted to a 16-minute PA procedure and were tested again on the open-loop pointing task and the MLB to assess the aftereffects following prism removal. Our results showed sensorimotor aftereffects following both upward and downward PA, in a direction opposed to the optical deviation used. The early aftereffects measured following PA were symmetrical, but at the end of the experiment the residual aftereffects were smaller following downward PA than upward PA. We also provide a new insight on the aftereffects of vertical PA on visuospatial representation, showing that downward PA (but not upward PA) can produce an upward bias on the manual line-bisection task. This is the first proof of such cognitive aftereffects following vertical PA. However, we found no effect of sound presentation on the vertical visual space representation and no interaction between PA and sound presentation.

Influence of postural control difficulty on changes in spatial orienting of attention after leftward prism adaptation

Prism adaptation (PA) affects visuospatial attention such as spatial orienting in both the right and left hemifields; however, the systematic after-effects of PA on visuospatial attention remain unclear. Visuospatial attention can be affected by non-spatial attentional factors, and postural control difficulty, which delays the reaction time (RT) to external stimulation, may be one such factor. Therefore, we aimed to investigate the influence of postural control difficulty on changes in spatial orienting of attention after leftward PA. Seventeen healthy young adults underwent 15-min and 5-min PA procedures for a leftward visual shift (30 diopters). Participants underwent the Posner cueing test immediately before (pre-evaluation) and in between and after the PA procedures (post-evaluations) while standing barefoot on the floor (normal standing condition) and on a balance-disc (balance standing condition). In the pre-evaluation, RTs in the balance standing condition were significantly longer compared to those in the normal standing condition for targets appearing in both the right and left hemifields. Leftward PA improved the RT for targets appearing in the right, but no left, hemifield in the balance standing condition, such that RTs for targets in the right hemifield in the post-evaluation were not significantly different between the two standing conditions. However, leftward PA did not significantly change RTs for targets in both hemifields in the normal standing condition. Therefore, postural control difficulty may enhance sensitivity to the features of the visuospatial cognitive after-effects of leftward PA.

Motivated cognitive control during cued anticipation and receipt of unfamiliar musical themes: An fMRI study

Principal themes, particularly choruses in pop songs, hold a central place in human music. Singing along with a familiar chorus tends to elicit pleasure and a sense of belonging, especially in group settings. These principal themes, which frequently serve as musical rewards, are commonly preceded by distinctive musical cues. Such cues guide listeners' attention and amplify their motivation to receive the impending themes. Despite the significance of cue-theme sequences in music, the neural mechanisms underlying the processing of these sequences in unfamiliar songs remain underexplored. To fill this research gap, we employed fMRI to examine neural activity during the cued anticipation of unfamiliar musical themes and the subsequent receipt of their opening phrase. Twenty-three Taiwanese participants underwent fMRI scans while listening to excerpts of Korean slow pop songs unfamiliar to them, with lyrics they could not understand. Our findings revealed distinct temporal dynamics in lateral frontal activity, with posterior regions being more active during theme anticipation and anterior regions during theme receipt. During anticipation, participants reported substantial increases in arousal levels, aligning with the observed enhanced activity in the midbrain, ventral striatum, inferior frontal junction, and premotor regions. We posit that when motivational musical cues are detected, the ventral striatum and inferior frontal junction played a role in attention allocation, while premotor regions may be engaged in monitoring the theme's entry. Notably, both the anticipation and receipt of themes were associated with pronounced activity in the frontal eye field, dorsolateral prefrontal cortex, posterior parietal cortex, dorsal caudate, and salience network. Overall, our results highlight that within a naturalistic music-listening context, the dynamic interplay between the frontoparietal, dopaminergic midbrain-striatal, and salience networks could allow for precise adjustments of control demands based on the cue-theme structure in unfamiliar songs.