"Biological geometry perception": visual discrimination of eccentricity is related to individual motor preferences

Hearing elliptic movements reveals the imprint of action on prototypical geometries

Within certain categories of geometric shapes, prototypical exemplars that best characterize the category have been evidenced. These geometric prototypes are classically identified through the visual and haptic perception or motor production and are usually characterized by their spatial dimension. However, whether prototypes can be recalled through the auditory channel has not been formally investigated. Here we address this question by using auditory cues issued from timbre-modulated friction sounds evoking human drawing elliptic movements. Since non-spatial auditory cues were previously found useful for discriminating distinct geometric shapes such as circles or ellipses, it is hypothesized that sound dynamics alone can evoke shapes such as an exemplary ellipse. Four experiments were conducted and altogether revealed that a common elliptic prototype emerges from auditory, visual, and motor modalities. This finding supports the hypothesis of a common coding of geometric shapes according to biological rules with a prominent role of sensory-motor contingencies in the emergence of such prototypical geometry.

A parsimonious oscillatory model of handwriting

We propose an oscillatory model that is theoretically parsimonious, empirically efficient and biologically plausible. Building on Hollerbach's (Biol Cybern 39:139-156, 1981) model, our Parsimonious Oscillatory Model of Handwriting (POMH) overcomes the latter's main shortcomings by making it possible to extract its parameters from the trace itself and by reinstating symmetry between the [Formula: see text] and [Formula: see text] coordinates. The benefit is a capacity to autonomously generate a smooth continuous trace that reproduces the dynamics of the handwriting movements through an extremely sparse model, whose efficiency matches that of other, more computationally expensive optimizing methods. Moreover, the model applies to 2D trajectories, irrespective of their shape, size, orientation and length. It is also independent of the endeffectors mobilized and of the writing direction.

Switching among graphic patterns is governed by oscillatory coordination dynamics: implications for understanding handwriting

Revisiting an original idea by Hollerbach (1981), previous work has established that the production of graphic shapes, assumed to be the blueprint for handwriting, is governed by the dynamics of orthogonal non-linear coupled oscillators. Such dynamics determines few stable coordination patterns, giving rise to a limited set of preferred graphic shapes, namely, four lines and four ellipsoids independent of orientation. The present study investigates the rules of switching among such graphic coordination patterns. Seven participants were required to voluntarily switch within twelve pairs of shapes presented on a graphic tablet. In line with previous theoretical and experimental work on bimanual coordination, results corroborated our hypothesis that the relative stability of the produced coordination patterns determines the time needed for switching: the transition to a more stable pattern was shorter, and inversely. Moreover, switching between patterns with the same orientation but different eccentricities was faster than with a change in orientation. Nonetheless, the switching time covaried strictly with the change in relative phase effected by the transition between two shapes, whether this implied a change in eccentricity or in orientation. These findings suggest a new operational definition of what the (motor) units or strokes of handwriting are and shed a novel light on how coarticulation and recruitment of degrees of freedom may occur in graphic skills. They also yield some leads for understanding the acquisition and the neural underpinnings of handwriting.