When dissimilar images are presented to the two eyes, binocular rivalry (BR) occurs, and perception alternates spontaneously between the images. Although neural correlates of the oscillating perception during BR have been found in multiple sites along the visual pathway, the source of BR dynamics is unclear. Psychophysical and modeling studies suggest that both low- and high-level cortical processes underlie BR dynamics. Previous neuroimaging studies have demonstrated the involvement of high-level regions by showing that frontal and parietal cortices responded time locked (...) to spontaneous perceptual alternation in BR. However, a potential contribution of early visual areas to BR dynamics has been overlooked, because these areas also responded to the physical stimulus alternation mimicking BR. In the present study, instead of focusing on activity during perceptual switches, we highlighted brain activity during suppression periods to investigate a potential link between activity in human early visual areas and BR dynamics. We used a strong interocular suppression paradigm called continuous flash suppression to suppress and fluctuate the visibility of a probe stimulus and measured retinotopic responses to the onset of the invisible probe using functional MRI. There were ∼130-fold differences in the median suppression durations across 12 subjects. The individual differences in suppression durations could be predicted by the amplitudes of the retinotopic activity in extrastriate visual areas (V3 and V4v) evoked by the invisible probe. Weaker responses were associated with longer suppression durations. These results demonstrate that retinotopic representations in early visual areas play a role in the dynamics of perceptual alternations during BR. (shrink)

The connection between Kabuki theatre and Japanese woodblock prints of the Edo period (1603–1868), especially in their portraits of actors called yakusha‑e, offers an exceptional opportunity to analyse perceptions of the sex of the actor: as the hero of the drama, as well as the character performed on the stage. Both phenomena flourished in the Edo period and had a crucial impact on the visual art of the time, inspiring pictures of the Floating World (Jap. Ukiyo‑e). The images on Ukiyo‑e (...) woodblock prints serve as a pretext for approaching the matter of whether to portray an actor as a performer (a man) or as the character performed by him (which could also be a woman, as in the case of the onnagata actor). The author focuses on the actors’ identification with their own sex (only men appeared on the Kabuki stage) and on cases of breaking the convention between the real actor and his stage emploi. In the first part, the paper discusses the historical background of Kabuki theatre, which was invented by a woman (Izumo‑no Okuni) and then after a few government edicts, was allowed to be performed on the stage only by adult men. Since the Kabuki tradition has successfully continued until today, apart from surveys of theatrical archives, the author supports her arguments by also referring to contemporary phenomena, especially the Kabuki performances she has watched in Japan (in such theatres as: Kabuki‑za, Minami‑za, the National Theatre in Tokyo, and Zenshin‑za), and through interviews with actors and people of the theatre. In parallel, Ukiyo‑e images of the Edo period are studied, with core research from the National Museum in Kraków, Poland, and its collection of Japanese woodblock prints (including over 4600 original works from the Edo Period), and with special attention paid to the yakusha‑e portrait by Utagawa Kuniyoshi. (shrink)