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

Incomprehension of and resistance to contemporaneous art have been constant features in the development of modern art. The predictive coding framework can be used to analyse this response by outlining the difference between the misunderstanding of (i) contemporary conceptual/minimalist art and (ii) early modern avant-garde art and by elucidating their underlying cognitive mechanisms. In both of these cases, incomprehension and its behavioural consequences are tied to the failure of the optimal prediction error (PE) minimization that is involved in the perception of such art works. In the case of contemporary conceptual/minimalist art the failure stems from the fact that the encounter results in non-salient visual sensations and generates no PE. In early modern avant-garde art, the occasional inability of viewers to recognize pictorial content using new pictorial conventions reflected the absence of suitable priors to explain away ambiguous sensory data. The capacity to recognize pictorial content in modernist painting, as a prerequisite for a satisfying encounter with such works and ultimately a wider acceptance of new artistic styles, required an updating of a number of expectations in order to optimize the fit between priors and sensations, from low-level perceptual priors to the development of higher-level, culturally determined expectations. This article is part of the theme issue 'Art, aesthetics and predictive processing: theoretical and empirical perspectives'.

• Klíčová slova
• contemporary art, hyperprior, incomprehension, modern art, predictive coding, recognition,
• MeSH
• čití, cítění MeSH
• mozek MeSH
• umění * MeSH
• Publikační typ
• časopisecké články MeSH

Visual perception is one of the basic tools for exploring the world. However, in schizophrenia, this modality is disrupted. So far, there has been no clear answer as to whether the disruption occurs primarily within the brain or in the precortical areas of visual perception (the retina, visual pathways, and lateral geniculate nucleus [LGN]). A web-based comprehensive search of peer-reviewed journals was conducted based on various keyword combinations including schizophrenia, saliency, visual cognition, visual pathways, retina, and LGN. Articles were chosen with respect to topic relevance. Searched databases included Google Scholar, PubMed, and Web of Science. This review describes the precortical circuit and the key changes in biochemistry and pathophysiology that affect the creation and characteristics of the retinal signal as well as its subsequent modulation and processing in other parts of this circuit. Changes in the characteristics of the signal and the misinterpretation of visual stimuli associated with them may, as a result, contribute to the development of schizophrenic disease.

• Publikační typ
• časopisecké články MeSH
• přehledy MeSH

In this review, we deal with two central questions of consciousness how and why, and we outline their possible future development. The question how refers to the empirical endeavor to reveal the neural correlates and mechanisms that form consciousness. On the other hand, the question why generally refers to the "hard problem" of consciousness, which claims that empirical science will always fail to provide a satisfactory answer to the question why is there conscious experience at all. Unfortunately, the hard problem of consciousness will probably never completely disappear because it will always have its most committed supporters. However, there is a good chance that its weight and importance will be highly reduced by empirically tackling consciousness in the near future. We expect that future empirical endeavor of consciousness will be based on a unifying brain theory and will answer the question as to what is the function of conscious experience, which will in turn replace the implications of the hard problem. The candidate of such a unifying brain theory is predictive coding, which will have to explain both perceptual consciousness and conscious mind-wandering in order to become the truly unifying theory of brain functioning.

• Klíčová slova
• consciousness, default mode network (DMN), mind-wandering, neural correlates of consciousness (NCCs), predictive coding,
• Publikační typ
• časopisecké články MeSH
• přehledy 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.

• Klíčová slova
• affective affordance, art experience, art perception, culturality of vision, predictive coding, predictive error minimization, reward in art,
• Publikační typ
• časopisecké články MeSH