Learning-Based Cross-Modal Plasticity in the Human Brain: Insights from Visual Deprivation fMRI
Learning-Based Cross-Modal Plasticity in the Human Brain: Insights from Visual Deprivation fMRI
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DOI：
10.5772/58263
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发表时间：
2014-05
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通讯作者：
Lora T. Likova
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作者：
Lora T. Likova
神经影像学，特别是功能性磁共振成像（fMRI），给大脑研究的各个领域带来了巨大的变化，其中一个值得注意的领域是大脑可塑性的研究。为了克服典型的实验范式的人为性，本章提出了一套相互关联的调查集中在重组的工作记忆和感觉运动机制作为一个复杂的“现实生活”的范式培训的结果。我所介绍的新范式是基于绘画-从艺术到技术-因为它是一个“现实生活”的任务，独特地融合了视觉，认知和运动处理的各个方面。通过这种方式，绘画激活了完整的“感知-认知-行动循环”。（我引入了这个扩展的术语，超越了通常的“感知-动作循环”，以强调感知输入处理和动作成分之间的认知联系的关键作用。重要的是要认识到，绘画涉及广泛的空间操纵能力（例如，空间-构造、坐标变换、几何理解和可视化），以及参与精确的心理表征、概念知识、运动规划和运动控制机制、工作和长期记忆、注意力以及移情、情感和具身认知形式（Grossi和Trojano，1999，用于综述; Trojano等人，2009; Likova，2012 a; 2013）。此外，认知-动觉绘画方法（Likova，2010 a; 2012 a，B; 2013）的发展-一种即使没有视觉也能训练绘画的新方法-使得使用绘画来研究由非视觉任务激活的视觉区域中的跨通道重组成为可能。
Neuroimaging, and functional Magnetic Resonance Imaging (fMRI) in particular, has brought dramatic changes in all fields of brain studies, one notable field under intensive development being that of brain plasticity. To overcome the artificiality of typical experimental paradigms, this chapter presents a set of interrelated investigations focused on the reorganization of working memory and sensorimotor mechanisms as a result of training in a complex ‘real-life’ paradigm. The novel paradigm that I have introduced is based on drawing – from artistic to technical – because it is a ‘real-life’ task that uniquely incorporates diverse aspects of percep‐ tual, cognitive and motor processing. In this way, drawing activates the full ‘perceptioncognition-action loop’. (I have introduced this expanded terminology, going beyond the usual ‘perceptuion-action loop’, to emphasize the key role of the cognitive linkages between the perception input processing and the action components.) It is important to recognize that drawing engages a wide range of spatial manipulation abilities (e.g., spatio-constructional, coordinate transformations, geometric understanding and visualization), together with engaging precise mental representations, conceptual knowledge, motor planning and motor control mechanisms, working and long-term memory, attention, as well as, empathy, emotions and forms of embodied cognition (Grossi and Trojano, 1999, for review; Trojano et al., 2009; Likova, 2012a; 2013). Furthermore, the development of the Cognitive-Kinesthetic Drawing Method (Likova, 2010a; 2012a,b; 2013) – a novel method to train drawing even without vision – makes it possible to use drawing to study cross-modal reorganization in visual areas activated by non-visual tasks.