Author Archives: hqa5147

Visual Imagery

 

Screen shot 2016-08-02 at 1.19.11 PM

A book is a friend that knows the secret to waking up its reader’s imagination. An artist enhances the imagination by sharing experiences associated with visual imagery.

My friend Amber is a gifted artist, who created the artwork for my children’s book. I remember our first meeting at her studio. Amber enthusiastically took her place at her state-of-the-art workstation. Her artist’s palette was smudged with sample watercolors that allowed me to visually roll in a surreal field of wildflowers. Her art books felt right at home on a family heirloom bookshelf. I selected one of the books, inhaled deeply and said, “It still has that wonderful, musty, library smell.”

Amber reached for a seasoned charcoal pencil then focused her energy and talent on a sketchpad she took almost everywhere. She immediately started creating characters as I verbally described them. Within minutes, she had the lisianthus and monarch butterfly sketched, much to my amazement. She visited my gardens on many occasions and could visualize the flowers and butterfly, which frequented the gardens as well. We “clinked” our ice tea glasses as a sign of good things to come.

Now is the perfect opportunity for me to share the power and beauty of visual imagery as it applies to artists. Visual imagery allows us to see in the absence of visual stimuli. (Goldstein, Bruce E. 2011) I dared to think that visual imagery might be an art form in and of itself.

Some researchers suggest that visual imagery is the result of perception, and that artists benefit from bottom-up processing. If that were the case then electromagnetic energy (light) would focus an image from a visual stimulus onto Amber’s retina. That energy would then be converted into action potentials through the process of transduction and sent to her brain. (Lesson 3) The end result is perception, which is a function of the visual cortex. However, it has been suggested that the transduction associated with perception doesn’t apply to visual/mental imagery (recreation of the sensory world in absence of physical stimuli), and that imagery originates as a top-down process. (Goldstein, Bruce E. 2011) The cerebral cortex (grey matter) is defined as a higher brain area responsible for many cognitive functions such as perception, memory, thought, creativity, abstraction, and synthesis of movements. Because there is no visual input to be processed by the visual cortex, visual/mental images are the result of knowledge, expectations, and experiences, which reflect top-down processing. (Goldstein, Bruce E. 2011)

Researchers using a voxel-based morphometry scanning devices determined that artists have more grey matter in a part of their brains called the precuenus, which is located in the parietal lobe. This region might be linked to visual imagery and the ability to “manipulate visual images in the brain, combine them and deconstruct them.” (Hogenboom, Melissa 2014) Additional research suggests that artists have more grey and white matter in the cerebellum, which is responsible for the fine tuning of motor movements that make those movements more adaptive and accurate. (Knierim, James, Ph.D. n.yr.)

Other research builds a case for nature vs. nurture in that an artist may have a genetic predisposition for artistic talent, and that environmental upbringing and training are influential in terms of cultivating the talent. (Hogenbroom, Melissa 2014) Amber’s mother was a gifted artist as well.

I hope you experienced visual and mental imagery as a result of “visiting” Amber’s studio. Her visual imagery and apparent top-down processing assisted with the book’s character creation. Although I do not share the elements critical for the visual imagery that may define an artist, I appreciate the power of the brain areas that activate the visual and metal images.

Works Cited

Goldstein, Bruce E. “Glossary.” Cognitive Psychology Connecting Mind, Research, and Everyday Experience. 3rd Edition. Wadsworth Cengage Learning. Copyright 2011, 2008. pp. 270, 274.

Web Publications

Swenson, Rand, DC, MD, Ph.D. “Chapter 11: The Cerebral Cortex: General Organization.” Review of Clinical and Functional Neuroscience. Dartmouth Medical School. ©Swenson 2006. Web 28 July 2016.

https://www.dartmouth.edu/~rswenson/NeuroSci/chapter_11.html

Hogenboom, Melissa. Artists ‘have structurally different brains.’ BBC News. Science and Environment. © 2016 BBC. Web 28 July 2016.

http://www.bbc.com/news/science-environment-26925271

Knierim, James, Ph.D. “Cerebellum: Section 3, Chapter 5.” Neurosciences Online. ©1997-Present. The University of Texas Health Science Center.

http://neuroscience.uth.tmc.edu/s3/chapter05.html

Visual Imagery

Screen shot 2016-08-02 at 1.19.11 PMLisianthus & Monarch Butterfly (Danaus plexippus)

A book is a friend that knows the secret to waking up its reader’s imagination. An artist enhances the imagination by sharing experiences associated with visual imagery.

My friend Amber is a gifted artist, who created the artwork for my children’s book. I remember our first meeting at her studio. Amber enthusiastically took her place at her state-of-the-art workstation. Her artist’s palette was smudged with sample watercolors that allowed me to visually roll in a surreal field of wildflowers. Her art books felt right at home on a family heirloom bookshelf. I selected one of the books, inhaled deeply and said, “It still has that wonderful, musty, library smell.”

Amber reached for a seasoned charcoal pencil then focused her energy and talent on a sketchpad she took almost everywhere. She immediately started creating characters as I verbally described them. Within minutes, she had the lisianthus and monarch butterfly sketched, much to my amazement. She visited my gardens on many occasions and could visualize the flowers and butterfly, which frequented the gardens as well. We “clinked” our ice tea glasses as a sign of good things to come.

Now is the perfect opportunity for me to share the power and beauty of visual imagery as it applies to artists. Visual imagery allows us to see in the absence of visual stimuli. (Goldstein, Bruce E. 2011) I dared to think that visual imagery might be an art form in and of itself.

Some researchers suggest that visual imagery is the result of perception, and that artists benefit from bottom-up processing. If that were the case then electromagnetic energy (light) would focus an image from a visual stimulus onto Amber’s retina. That energy would then be converted into action potentials through the process of transduction and sent to her brain. (Lesson 3) The end result is perception, which is a function of the visual cortex. However, it has been suggested that the transduction associated with perception doesn’t apply to visual/mental imagery (recreation of the sensory world in absence of physical stimuli), and that imagery originates as a top-down process. (Goldstein, Bruce E. 2011) The cerebral cortex (grey matter) is defined as a higher brain area responsible for many cognitive functions such as perception, memory, thought, creativity, abstraction, and synthesis of movements. Because there is no visual input to be processed by the visual cortex, visual/mental images are the result of knowledge, expectations, and experiences, which reflect top-down processing. (Goldstein, Bruce E. 2011)

Researchers using a voxel-based morphometry scanning devices determined that artists have more grey matter in a part of their brains called the precuenus, which is located in the parietal lobe. This region might be linked to visual imagery and the ability to “manipulate visual images in the brain, combine them and deconstruct them.” (Hogenboom, Melissa 2014) Additional research suggests that artists have more grey and white matter in the cerebellum, which is responsible for the fine tuning of motor movements that make those movements more adaptive and accurate. (Knierim, James, Ph.D. n.yr.)

Other research builds a case for nature vs. nurture in that an artist may have a genetic predisposition for artistic talent, and that environmental upbringing and training are influential in terms of cultivating the talent. (Hogenbroom, Melissa 2014) Amber’s mother was a gifted artist as well.

I hope you experienced visual and mental imagery as a result of “visiting” Amber’s studio. Her visual imagery and apparent top-down processing assisted with the book’s character creation. Although I do not share the elements critical for the visual imagery that may define an artist, I appreciate the power of the brain areas that activate the visual and metal images.

Works Cited

Goldstein, Bruce E. “Glossary.” Cognitive Psychology Connecting Mind, Research, and Everyday Experience. 3rd Edition. Wadsworth Cengage Learning. Copyright 2011, 2008. pp. 270, 274.

Web Publications

Swenson, Rand, DC, MD, Ph.D. “Chapter 11: The Cerebral Cortex: General Organization.” Review of Clinical and Functional Neuroscience. Dartmouth Medical School. ©Swenson 2006. Web 28 July 2016.

https://www.dartmouth.edu/~rswenson/NeuroSci/chapter_11.html

Hogenboom, Melissa. Artists ‘have structurally different brains.’ BBC News. Science and Environment. © 2016 BBC. Web 28 July 2016.

http://www.bbc.com/news/science-environment-26925271

Knierim, James, Ph.D. “Cerebellum: Section 3, Chapter 5.” Neurosciences Online. ©1997-Present. The University of Texas Health Science Center.

http://neuroscience.uth.tmc.edu/s3/chapter05.html

The Aging Brain

Screen shot 2016-07-12 at 6.40.53 PM

One of the greatest concerns I have in terms of adjusting to getting older is how the process will impact my cognitive functioning in terms of long term (LTM), short-term (STM)/working memory (WM).

My dad succumbed to the cognitive ravages of Alzheimer’s disease; therefore, I considered whether I might be genetically pre-disposed to the disease. If not, what was my fate in terms of normal brain aging and cognition? What could I do to improve cognitive functioning in terms of memory?

Alzheimer’s disease is not a normal part of aging. Its mission is to slowly and mercilessly erode cognitive functions including memory. My dad had some good moments during his initial battle with the disease. My family and I would observe him use implicit memory to confidently and safely walk to the kitchen to get a beverage then drink it without issue; therefore, his right parietal lobe, at least at this time, was functioning as well as his cerebellum. In addition, in terms of working memory, his “visuospatial sketchpad held visual and spatial information.” (Goldstein, Bruce E. 2011) The observation was painful in light of the circumstances, yet had an element of fleeting comfort.

Eventually, he was unable to feed himself as a result of his left parietal lobe degeneration. (Alzheimer’s Society 2014) My dad was an engineer, who excelled at and enjoyed process optimization, which defines the work of an engineer. Yet the disease, ultimately, would not allow him to invoke episodic memories that pertained to his career, family and friends. Episodic memories are adversely impacted by the deterioration of parts of the medial temporal lobe: the hippocampus, which is responsible for the formation of new LTM, the thalmus, which is responsible for sensory perception, and the amygdala, which processes emotions associated with memory). (UCSF Aging and Memory Center 2014)

But what of his retrieval of a LTM regarding his mother’s preparation of breakfast many, many years ago (episodic memory), then his “awareness of the stored information that was (apparently) moved back to STM?” (Goldstein, Bruce E. 2011) Is STM not the first cognitive function to start declining as a result of the disease? The answer is that the initial resiliency of LTM is the result of an unconscious rehearsal of the best remembered memories so recall is strengthened.” (Morris, John C. 2016) Apparently recall of these long ago events relies on the hippocampus less. (Alzheimer’s Society 2014)

My dad’s right temporal lobe deteriorated; therefore, in terms of visual coding for LTM, my dad could not recognize family members based on their face or appearance. (Alzheimer’s Society 2014) (Goldstein, Bruce E. 2011) That reality was almost unbearable.

During the normal course of research, I learned that the probability of succumbing to early onset familial Alzheimer’s disease was low. In addition, “fewer than one in five adults age 65 or older have the disease, which rises exponentially with age.” (American Psychological Association 2016)

For those of you in your early 20’s, you will be happy to know that your brain’s volume is at its peak; however, it’s a downward spiral from there. The cortex shrinks, neurons atrophy, dendritic connections are reduced, and blood flow declines. Episodic, source, and flashbulb memories decline the most, while semantic and procedural memory decline the least. Planning and organizing activities take more effort. (American Psychological Association 2011)

I currently focus on a lifestyle that may improve my cognitive functioning in terms of memory by (1) eliminating distractions as the process of information encoding and retrieval can be adversely impacted, (2) exercising: I take intermediate level ballet classes, (3) socializing, (4) staying positive about the aging process as memory might improve as a result, 5) challenging myself intellectually (I am enrolled in the PSU psychology degree program), (6) reducing stress: I’m working on that, and (7) practicing self-efficacy. (American Psychological Society)

I have no reason to believe that my brain is not going through a normal, age-related, degenerative process. I do my due diligence in terms of researching credible information on the topic, then discussing the information with my doctor. I don’t want the fear of decreasing cognitive abilities such as memory to keep me from understanding and managing the normal brain aging process in spite of the “downward spiral.”

Works Cited

Goldstein, Bruce E. “Glossary.” Cognitive Psychology Connecting Mind, Research, and Everyday Experience. 3rd Edition. Wadsworth Cengage Learning. Copyright 2011, 2008. pg. 132.

Web Publications

Image credit: Jannis Productions. Rebekah Fredenburg, computer animation; Stacy Jannis, illustration/art direction.“Under the Microscope.” Braintour. Alzheimer’s Association. Copyright © 2011 Alzheimer’s Association®. web 12 July 2016

http://www.alz.org/braintour/tour_credits.asp

“Dementia and the Brain.” Alzheimer’s Society. Last reviewed: September 2014. All content Ó 2106 Alzheimer’s Society. web 11 July 2016. n.pg.

https://www.alzheimers.org.uk/site/scripts/documents_info.php?documentID=114

“Episodic Memory.” Brain 101: Topics in Neuroscience. University of California San Francisco Memory and Aging Center. © 2016 The Regents of the University of California. Page Content Reviewed: December 8, 2014. web 11 July 2016. n.pg.

http://memory.ucsf.edu/brain/memory/episodic

Morris, John C,. M.D.“Why do Alzheimer’s Patients Remember Certain Things and Forget Others?” Washington University School of Medicine St. Louis. Copyright 2007-2016 Caring. Web 11 July 2016. n. pg.

https://www.caring.com/questions/alzheimers-patients-remember-past

https://wuphysicians.wustl.edu/for-patients/find-a-physician/john-carl-morris

Memory Changes in Older Adults. American Psychological Association. Ó2016 American Psychological Association. web 11 June 2016. N. pg.

http://www.apa.org/research/action/memory-changes.aspx

Vierck, Elizabeth.“Memory and Aging.” APA Office on Aging and Committee on Aging. Ó2016 American Psychological Association. web 11 June 2016. N. pg.

http://www.apa.org/pi/aging/memory-and-aging.pdf

 

 

Cracking the Neural Code

 

image001

“Cracking the Neural Code” is the topic I will briefly tackle. I selected the topic because I am in the process of editing a children’s book I wrote, and it presents some information associated with the neural code. I need to internalize the concepts associated with the code and other scientific concepts, and communicate them effectively to my readers.

By definition, the neural code is the representation of specific stimuli or experiences by the firing of neurons. (Goldstein, E. Bruce 2011) So our retina contains neurons called rods and cones, which contain light receptors that harness electromagnetic or light energy, then convert the light energy into electrical signals or action potentials that travel to the brain. “Action potentials facilitate neural communication and cognition.” (Koch and Marcus) So when we see a tree, for an example, we might see it from the perspective of an artist’s rendering in terms of how he or she envisions and perceives the world.

Cracking the neural code entails ‘mapping’ the brain and understanding how the brain communicates with itself. (Koch and Marcus) Therefore, mapping is key to a comprehensive understanding of the regions of the brain, their function(s) in terms of cognition, and relationships with one another. In addition, “neurons are not connected to one another indiscriminately, but form connections with specific neurons.” (Goldstein, Bruce. E). Therefore, this neural circuitry is the navigational feature necessary for brain mapping.

I was fascinated with a code that seems to define me, and which structures a relationship between a physiological process (neuron firing) and “translating the firing of neurons into mental events such as thoughts and emotions. Mapping efforts are based on this concept.” (Lieff, Jon M.D.)

My blog will address (1) why the code is hard to crack, (2) how discovery of a code advances real-world applications in the diagnosis of brain disorders, and (3) the neural codes for faces and long-term memory.

Cracking the code presents an unprecedented challenge because the human brain has 86 billion neurons linked by something on the order of a quadrillion synaptic connections. While we are awake, the action potential rate is 100 trillion per second. (Koch and Marcus)

The impact of and interest in cracking such a code has real-world applications in terms of diagnosing brain disorders. “Neuroscientists can compare differences in ordinary brains vs. the brains of people with disorders such as autism, Alzheimer’s disease, and schizophrenia as a result of seeing the brain in action, including its flaws.” (Zimmer, Carl 2014) The beauty of such applications is the alleviation of the suffering, stigma, and social and economic impacts of the disorders.

Cracking the code will lead to technological advances in the field of optogenetics. Instead of accepting a form of blindness caused by “optical degenerative disorders, such as retinitis pigmentosa,” optogenetics will use a virus gene, injected into the eyeball, to modify the light-sensing retinal cells of the eye. “A camera mounted on glasses would pulse beams of light into the retina and trigger electrical activity in the genetically modified cells, which would directly stimulate the next set of neurons in the signal path—restoring sight.” (Koch and Marcus)

In terms of the neural code for faces, the brain can selectively wire relatively small groups of neurons that represent (code for) something or someone of perceived value. “Recordings from microelectrodes implanted deep inside the brains of epileptic patients revealed single neurons that responded to extremely specific stimuli such as different pictures of actress Jennifer Aniston.” (Koch and Marcus)

Long-term memory is also a brain representation and uses an alternate form of coding. Instead of spikes associated with action potential, long-term memory is encoded by neural re-wiring and re-sculpting of the synapses. (Cooney, Elizabeth)

Re-sculpting is the result of microglia, the brain’s immune cell, which seeks out and destroys debris such as “idle” synapses, “allowing for more precise brain wiring.” (Cooney, Elizabeth)

Cracking the neural code even incrementally suggests a new technological road map that leads to a destination of advanced diagnosis and radical treatment of diseases such as Alzheimer’s. The code will partner with neuroengineers in their quest to, for example, enhance cognition in terms of memories as a result of brain implants. The neural code is a powerful tool and collaborator that needs to be understood, revealed, and its information applied to brain disorders that impede cognitive functioning.

Works Cited

Zimmer, Carl. “The Glow of Memory-Courtesy University of Southern California. Secrets of the Brain. The New Science of the Brain. National Geographic. Volume 225- No. 2. Copyright 2014 National Geographic Society. Pg. 39. web 27 June 2016.

Goldstein, Bruce E. “Glossary.” Cognitive Psychology Connecting Mind, Research, and Everyday Experience. 3rd Edition. Wadsworth Cengage Learning. Copyright 2011, 2008. pg. 402.

Zimmer, Carl. “Secrets of the Brain.” The New Science of the Brain. National Geographic. Volume 225- No. 2. Copyright 2014 National Geographic Society. Pp. 38, 39. web 27 June 2016.

Web Publications

Lieff, Jon, M.D. “Complexity in Searching for the Neural Code.” Searching for the Mind. 12 May 2013. Copyright Jon Lieff 2011. web. 27 June 2016. n.pg.

http://jonlieffmd.com/blog/complexity-in-searching-for-the-neural-code.

Koch, Cristof. Gary Marcus. “Cracking the Brain’s Code.” MIT Technology Review. Biomedicine. 17 June 2014. © 2016. web 27 June 2016. n.pg.

https://www.technologyreview.com/s/528131/cracking-the-brains-codes/

Cooney, Elizabeth. “Synaptic Sculpting Investigating Microglia.” Harvard Medical School. Home/News/Harvard Medicine/Voices/Synaptic Sculpting. © 2016 by the President and Fellows of Harvard College. web 27 June 2016. n.d., n. pg.

https://hms.harvard.edu/harvard-medicine/voices/synaptic-sculpting