Automatically Characterizing Sensory-Motor Patterns Underlying Reach-to-Grasp Movements on a Physical Depth Inversion Illusion

Hughes's Reverspectives: Radical Uses of Linear Perspective on Non-Coplanar Surfaces

Two major uses of linear perspective are in planar paintings—the flat canvas is incongruent with the painted 3-D scene—and in forced perspectives, such as theater stages that are concave truncated pyramids, where the physical geometry and the depicted scene are congruent. Patrick Hughes pioneered a third major art form, the reverse perspective, where the depicted scene opposes the physical geometry. Reverse perspectives comprise solid forms composed of multiple planar surfaces (truncated pyramids and prisms) jutting toward the viewer, thus forming concave spaces between the solids. The solids are painted in reverse perspective: as an example, the left and right trapezoids of a truncated pyramid are painted as rows of houses; the bottom trapezoid is painted as the road between them and the top forms the sky. This elicits the percept of a street receding away, even though it physically juts toward the viewer. Under this illusion, the concave void spaces between the solids are transformed into convex volumes. This depth inversion creates a concomitant motion illusion: when a viewer moves in front of the art piece, the scene appears to move vividly. Two additional contributions by the artist are discussed, in which he combines reverse-perspective parts with forced and planar-perspective parts on the same art piece. The effect is spectacular, creating objects on the same planar surface that move in different directions, thus “breaking” the surface apart, demonstrating the superiority of objects over surfaces. We conclude with a discussion on the value of these art pieces in vision science.

Rethinking the Study of Volition for Clinical Use

Volition, the acquired voluntary control of our actions (at will), requires from birth to development and beyond a proper balance across multiple layers of the nervous systems. These levels range from the autonomic, to the automatic, to the voluntary control level, providing as well taxonomy with phylogenetic order of appearance in evolution. In the past few decades of movement research at the behavioral and systems levels, there has been a paucity of studies focusing on the possible contributions of involuntary movements to volitional control. Moreover, the work focusing on voluntary behavior has given us a valuable body of knowledge about constrained and highly over practiced activities while work involving unrestrained, naturalistic behaviors remains scarce. Perhaps in making theoretical assumptions about our data acquisition and analyses without properly empirically verifying, these assumptions have left us with a somewhat skewed notion of how we think the brain may be realizing the neural control of bodily motions; a notion that does not exactly correspond to the outcome of the extant empirical work assessing unrestrained movements as the nervous system acquires them and modifies skillful behaviors on demand. This chapter takes advantage of new technological advances and new analytics to invite rethinking some of the problems that we study in movement science by enforcing somewhat oversimplified assumptions on the data that we model, acquire, and analyze. I show that by relaxing our a priori assumptions of normality, linearity and stationarity in data from biophysical rhythms of the nervous systems, we would gain better insights into the motor phenomena. Further, we would shy away from a "self-fulfilling prophesy" paradigm with a tendency to a priori handcraft the outcome of our inquiry. The new lens to study natural movements and their control includes as well involuntary motions that take place largely beneath deliberate awareness. I present examples of solutions amenable to the habilitation and rehabilitation of volition in patient populations and discuss a new vision for movement science in light of making a seamless transition from volitional to intentional control of actions and thoughts.