Schizophrenia (SCHZ) notably impacts various human perceptual modalities, including vision. Prior research has identified marked abnormalities in perceptual organization in SCHZ, predominantly attributed to deficits in bottom-up processing. Our study introduces a novel paradigm to differentiate the roles of top-down and bottom-up processes in visual perception in SCHZ. We analysed eye-tracking fixation ground truth maps from 28 SCHZ patients and 25 healthy controls (HC), comparing these with two mathematical models of visual saliency: one bottom-up, based on the physical attributes of images, and the other top-down, incorporating machine learning. While the bottom-up (GBVS) model revealed no significant overall differences between groups (beta = 0.01, p = 0.281, with a marginal increase in SCHZ patients), it did show enhanced performance by SCHZ patients with highly salient images. Conversely, the top-down (EML-Net) model indicated no general group difference (beta = -0.03, p = 0.206, lower in SCHZ patients) but highlighted significantly reduced performance in SCHZ patients for images depicting social interactions (beta = -0.06, p < 0.001). Over time, the disparity between the groups diminished for both models. The previously reported bottom-up bias in SCHZ patients was apparent only during the initial stages of visual exploration and corresponded with progressively shorter fixation durations in this group. Our research proposes an innovative approach to understanding early visual information processing in SCHZ patients, shedding light on the interplay between bottom-up perception and top-down cognition.
- Publikační typ
- časopisecké články MeSH
Among the main challenges of the predictive brain/mind concept is how to link prediction at the neural level to prediction at the cognitive-psychological level and finding conceptually robust and empirically verifiable ways to harness this theoretical framework toward explaining higher-order mental and cognitive phenomena, including the subjective experience of aesthetic and symbolic forms. Building on the tentative prediction error account of visual art, this article extends the application of the predictive coding framework to the visual arts. It does so by linking this theoretical discussion to a subjective, phenomenological account of how a work of art is experienced. In order to engage more deeply with a work of art, viewers must be able to tune or adapt their prediction mechanism to recognize art as a specific class of objects whose ontological nature defies predictability, and they must be able to sustain a productive flow of predictions from low-level sensory, recognitional to abstract semantic, conceptual, and affective inferences. The affective component of the process of predictive error optimization that occurs when a viewer enters into dialog with a painting is constituted both by activating the affective affordances within the image and by the affective consequences of prediction error minimization itself. The predictive coding framework also has implications for the problem of the culturality of vision. A person's mindset, which determines what top-down expectations and predictions are generated, is co-constituted by culture-relative skills and knowledge, which form hyperpriors that operate in the perception of art.
- Publikační typ
- časopisecké články MeSH
