Consistent with numerous electrophysiological studies, we recently reported that conscious perception is associated with a widely distributed modulation of the P3 component . We also showed that correct objective performance in the absence of subjective awareness is associated with a spatially more restricted modulation of the P3. The relatively late occurrence of the P3 along with lack of control for post-perceptual processes suggests that this component might reflect processes related to stimulus evaluation or confidence rather than to visual awareness or (...) objective performance. The main aim of the current study was to test this hypothesis. While EEG was recorded, participants performed a forced-choice localization task and reported their subjective perception of the target on a 3-level scale that also indexed their confidence. The results showed that our previous findings are replicated when confidence is controlled for. (shrink)

Event-related potential studies have attempted to discover the processes that underlie conscious visual perception by contrasting ERPs produced by stimuli that are consciously perceived with those that are not. Variability of the proposed ERP correlates of consciousness is considerable: the earliest proposed ERP correlate of consciousness coincides with sensory processes and the last one marks postperceptual processes. A negative difference wave called visual awareness negativity , typically observed around 200 ms after stimulus onset in occipitotemporal sites, gains strong support for (...) reflecting the processes that correlate with, and possibly enable, aware visual perception. Research suggests that the early parts of conscious processing can proceed independently of top-down attention, although top-down attention may modulate visual processing even before consciousness. Evidence implies that the contents of consciousness are provided by interactions in the ventral stream, but indispensable contributions from dorsal regions influence already low-level visual responses. (shrink)

& Awareness of change within a visual scene only occurs in subjects were aware of, replicated those attentional effects, but the presence of focused attention. When two versions of a.

The present work shows the existence of systematic individual differences in change blindness. It can be concluded that the sensitivity for changes is a trait. That is, persons differ in their ability to detect changes, independent from the situation or the measurement method. Moreover, there are two explanations for individual differences in change blindness: a) capacity differences in visual selective attention that may be influenced by top-down activated attention helping to focus attention onto relevant stimuli b) differences in working memory (...) capacity or in decision making. In accordance with this, age-related individual differences in the sensitivity for changes can be explained by attentional processes and by confidence in the own ratings. Together, the present work might form the basis for a more application-oriented research on individual differences in change blindness and its underlying processes. (shrink)

In spite of their striking differences with real-life perception, films are perceived and understood without effort. Cognitive film theory attributes this to the system of continuity editing, a system of editing guidelines outlining the effect of different cuts and edits on spectators. A major principle in this framework is the 180° rule, a rule recommendation that, to avoid spectators’ attention to the editing, two edited shots of the same event or action should not be filmed from angles differing in a (...) way that expectations of spatial continuity are strongly violated. In the present study, we used high-density EEG to explore the neural underpinnings of this rule. In particular, our analysis shows that cuts and edits in general elicit early ERP component indicating the registration of syntactic violations as known from language, music, and action processing. However, continuity edits and cuts-across the line differ from each other regarding later components likely to be indicating the differences in spatial remapping as well as in the degree of conscious awareness of one's own perception. Interestingly, a time–frequency analysis of the occipital alpha rhythm did not support the hypothesis that such differences in processing routes are mainly linked to visual attention. On the contrary, our study found specific modulations of the central mu rhythm ERD as an indicator of sensorimotor activity, suggesting that sensorimotor networks might play an important role. We think that these findings shed new light on current discussions about the role of attention and embodied perception in film perception and should be considered when explaining spectators’ different experience of different kinds of cuts. (shrink)