Featured

Scientists Extract Images From Dreams

A team of Japanese scientists have created a device that enables the processing and imaging of thoughts and dreams as experienced in the brain to appear on a computer screen. While researchers have so far only created technology that can reproduce simple images from the brain, the discovery paves the way for the ability to unlock people’s dreams and other brain processes.

A spokesman at ATR Computational Neuroscience Laboratories said: “It was the first time in the world that it was possible to visualise what people see directly from the brain activity. “By applying this technology, it may become possible to record and replay subjective images that people perceive like dreams.”

The scientists, lead by chief researcher Yukiyaso Kamitani, focused on the image recognition procedures in the retina of the human eye. It is while looking at an object that the eye’s retina is able to recognise an image, which is subsequently converted into electrical signals sent into the brain’s visual cortex. The research investigated how electrical signals are captured and reconstructed into images, according to the study, which will be published in the US journal Neuron.

As part of the experiment, researchers showed testers the six letters of the word “neuron”, before using the technology to measure their brain activity and subsequently reconstruct the letters on a computer screen.

Since Sigmund Freud published The Interpretations of Dreams over a century ago, the workings of the sleeping human mind have been the source of extensive analysis by scientists keen to unlock its mysteries. Dreams were the focus of a scientific survey conducted by the Telegraph last year in which it was concluded that dreams were more likely to be shaped by events of the past week than childhood traumas.

|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||

Scientists Extract Images Directly From The Brain

Researchers from Japan’s ATR Computational Neuroscience Laboratories have developed new brain analysis technology that can reconstruct the images inside a person’s mind and display them on a computer monitor, it was announced on December 11. According to the researchers, further development of the technology may soon make it possible to view other people’s dreams while they sleep.

The scientists were able to reconstruct various images viewed by a person by analyzing changes in their cerebral blood flow. Using a functional magnetic resonance imaging (fMRI) machine, the researchers first mapped the blood flow changes that occurred in the cerebral visual cortex as subjects viewed various images held in front of their eyes. Subjects were shown 400 random 10 x 10 pixel black-and-white images for a period of 12 seconds each. While the fMRI machine monitored the changes in brain activity, a computer crunched the data and learned to associate the various changes in brain activity with the different image designs. Then, when the test subjects were shown a completely new set of images, such as the letters N-E-U-R-O-N, the system was able to reconstruct and display what the test subjects were viewing based solely on their brain activity.

For now, the system is only able to reproduce simple black-and-white images. But Dr. Kang Cheng, a researcher from the RIKEN Brain Science Institute, suggests that improving the measurement accuracy will make it possible to reproduce images in color. “These results are a breakthrough in terms of understanding brain activity,” says Dr. Cheng. “In as little as 10 years, advances in this field of research may make it possible to read a person’s thoughts with some degree of accuracy.”

The researchers suggest a future version of this technology could be applied in the fields of art and design — particularly if it becomes possible to quickly and accurately access images existing inside an artist’s head. The technology might also lead to new treatments for conditions such as psychiatric disorders involving hallucinations, by providing doctors a direct window into the mind of the patient. ATR chief researcher Yukiyasu Kamitani says, “This technology can also be applied to senses other than vision. In the future, it may also become possible to read feelings and complicated emotional states.”

via N8

Related posts:

1. 

   Yes.

    

   Philip Davis pleasures his brain with shifting Shakespearean syntax, measures the results on an electroencephalogram, and finds evidence that powerful writing can literally change the ways in which we think.

    

   From THE READER magazine: I have always been very interested in how literature affects us. But I don't really like it when people say, "This book changed my life!" Struggling with ourselves and our seemingly inextricable mixture of strengths and weaknesses, surely we know that change is much more difficult and much less instant than that. It does scant justice to the deep nature of a life to suppose that a book can simply "change" it. Literature is not a one-off remedy. And actually it is the reading of books itself, amongst other things, that has helped me appreciate that deep complex nature. Nonetheless, I do remain convinced that life without reading and the personal thinking it provokes would be a greatly diminished thing. So, with these varying considerations, I know I need to think harder about what literature does. And here's another thing. In the last few years I have become interested not only in the contents of the thoughts I read—their meaning for me, their mental and emotional effect—but also in the very shapes these thoughts take; a shape inseparable, I feel, from that content. Moreover, I had a specific intuition—about Shakespeare: that the very shapes of Shakespeare's lines and sentences somehow had a dramatic effect at deep levels in my mind. For example, Macbeth at the end of his tether:

   And that which should accompany old age, As honour, love, obedience, troops of friends, I must not look to have, but in their stead Curses, not loud but deep, mouth-honour, breath Which the poor heart would fain deny and dare not.

   I'll say no more than this: it simply would not be the same, would it, if Shakespeare had written it out more straightforwardly: I must not look to have the honour, love, obedience, troops of friends which should accompany old age. Nor would it be the same if he had not suddenly coined that disgusted phrase "mouth-honour" (now a cliché as "lip-service"). I took this hypothesis—about grammatical or linear shapes and their mapping onto shapes inside the brain—to a scientist, Professor Neil Roberts who heads MARIARC (the Magnetic Resonance and Image Analysis Research Centre) at the University of Liverpool. In particular I mentioned to him the linguistic phenomenon in Shakespeare which is known as "functional shift" or "word class conversion". It refers to the way that Shakespeare will often use one part of speech—a noun or an adjective, say—to serve as another, often a verb, shifting its grammatical nature with minimal alteration to its shape. Thus in "Lear" for example, Edgar comparing himself to the king: "He childed as I fathered" (nouns shifted to verbs); in "Troilus and Cressida", "Kingdomed Achilles in commotion rages" (noun converted to adjective); "Othello", "To lip a wanton in a secure couch/And to suppose her chaste!"' (noun "lip" to verb; adjective "wanton" to noun). The effect is often electric I think, like a lightning-flash in the mind: for this is an economically compressed form of speech, as from an age when the language was at its most dynamically fluid and formatively mobile; an age in which a word could move quickly from one sense to another, in keeping with Shakespeare's lightning-fast capacity for forging metaphor. It was a small example of sudden change of shape, of concomitant effect upon the brain. Could we make an experiment out of it? We decided to try to see what happens inside us when the brain comes upon sentences like "The dancers foot it with grace", or "We waited for disclose of news", or "Strong wines thick my thoughts", or "I could out-tongue your griefs" or "Fall down and knee/The way into his mercy". For research suggests that there is one specific part of the brain that processes nouns and another part that processes verbs: but what happens when for a micro-second there is a serious hesitation between whether, in context, this is noun or verb? The main cognitive research done so far on the confusion of verbs and nouns has been to do with mistakes made by those who are brain-damaged and thus on the possible neural correlates of grammatical errors and semantic violations. Hardly anybody appears to have investigated the neural processing of a ‘positive error' such as functional shift in normal healthy organisms. This truly would be a small instance of inner drama. We decided to experiment using three pieces of kit. First, EEG (electroencephalogram) tests, with electrodes placed on different parts of the scalp to measure brain-events taking place in time; then MEG (magnetoencephalograhy), a helmet-like brain-scanner which measures effects in terms of location in the brain as well as their timing; and finally fMRI (Functional Magnetic Resonance Imaging), those tunnel-like brain-scanners which focus even more specifically on brain-activation by location. I knew nothing much of this: I am indebted to Professor Roberts and to Dr Guillaume Thierry of Bangor University who joined us in the enterprise. With the help of my colleague in English language Victorina Gonzalez-Diaz, as well as the scientists, I designed a set of stimuli—40 examples of Shakespeare's functional shift. At this very early and rather primitive stage, we could not give our student-subjects undiluted lines of Shakespeare because too much in the brain would light up in too many places: that is one of the definitions of what Shakespeare-language does. So, the stimuli we created were simply to do with the noun-to-verb or verb-to-noun shift-words themselves, with more ordinary language around them. It is not Shakespeare taken neat; it is just based on Shakespeare, with water. But around each of those sentences of functional shift we also provided three counter-examples which were shown on screen to the experiment's subjects in random order: all they had to do was press a button saying whether the sentence roughly made sense or not. Thus, below, A ("accompany") is a sentence which is conventionally grammatical, makes simple sense, and acts as a control; B ("charcoal") is grammatically odd, like a functional shift, but it makes no semantic sense in context; C ("incubate") is grammatically correct but still semantically does not make sense; D ("companion") is a Shakespearian functional shift from noun to verb, and is grammatically odd but does make sense:

   A) I was not supposed to go there alone: you said you would accompany me. B) I was not supposed to go there alone: you said you would charcoal me. C) I was not supposed to go there alone: you said you would incubate me. D) I was not supposed to go there alone: you said you would companion me.

   What happened to our subjects' brains when they read the critical words on screen in front of them? So far we have just carried out the EEG stage of experimentation under Dr Thierry at Bangor. EEG works as follows in its graph-like measurements. When the brain senses a semantic violation, it automatically registers what is called an N400 effect, a negative wave modulation 400 milliseconds after the onset of the critical word that disrupts the meaning of a sentence. The N400 amplitude is small when little semantic integration effort is needed (e.g., to integrate the word "eat" in the sentence, "The pizza was too hot to eat"), and large when the critical word is unexpected and therefore difficult to integrate (e.g., "The pizza was too hot to sing"). But when the brain senses a syntactic violation there is a P600 effect, a parietal modulation peaking approximately 600 milliseconds after the onset of the word that upsets syntactic integrity. Thus, when a word violates the grammatical structure of a sentence (e.g., "The pizza was too hot to mouth"), a positive going wave is systematically observed. Preliminary results suggest this:

   (A) With the simple control sentence ("You said you would accompany me"), NO N400 or P600 effect because it is correct both semantically and syntactically. (B) With "You said you would charcoal me", BOTH N400 and P600 highs, because it violates both grammar and meaning. (C) With "You said you would incubate me", NO P600 (it makes grammatical sense) but HIGH N400 (it does not make semantic sense). (D) With the Shakespearian "You said you would companion me", HIGH P600 (because it feels like a grammatical anomaly) but NO N400 (the brain will tolerate it, almost straightaway, as making sense despite the grammatical difficulty). This is in marked contrast with B above.

   So what? First, it was as Guillaume Thierry had predicted. It meant that "functional shift" was a robust phenomenon: that is to say, it had a distinct and unique effect on the brain. Instinctively Shakespeare was right to use it as one of his dramatic tools. Second the P600 surge means the brain was thus primed to look out for more difficulty, to work at a higher level, whilst still accepting that fundamental sense was being made. In other words, while the Shakespearian functional shift was semantically integrated with ease, it triggered a syntactic re-evaluation process likely to raise attention and give more weight to the sentence as a whole. Shakespeare is stretching us; he is opening up the possibility of further peaks, new potential pathways or developments. Our findings show how Shakespeare created dramatic effects by implicitly taking advantage of the relative independence—at the neural level—of semantics and syntax in sentence comprehension. It is as though he is a pianist using one hand to keep the background melody going, whilst simultaneously the other pushes towards ever more complex variations and syncopations. This is a small beginning. But it has some importance in the development of inter-disciplinary studies—the co-operation of arts and sciences in the study of the mind, the brain, and the neural inner processing of language felt as an experience of excitement, never fully explained or exhausted by subsequent explanation or conceptualization. It is that neural excitement that gets to me: those peaks of sudden pre-conscious understanding coming into consciousness itself; those possibilities of shaking ourselves up at deep, momentary levels of being. This, then, is a chance to map something of what Shakespeare does to mind at the level of brain, to catch the flash of lightning that makes for thinking. For my guess, more broadly, remains this: that Shakespeare's syntax, its shifts and movements, can lock into the existing pathways of the brain and actually move and change them—away from old and aging mental habits and easy long-established sequences. It could be that Shakespeare's use of language gets so far into our brains that he shifts and new-creates pathways—not unlike the establishment of new biological networks using novel combinations of existing elements (genes/proteins in biology: units of phonology, semantics, syntax , and morphology in language). Then indeed we might be able to see something of the ways literature can cause affect or create change, without resorting to being assertively gushy. I do not think this is reductive. Cognitive science is often to do with the discovery of the precise localization of functions. But suppose that instead we can show the following by neuro-imaging: that for all the localization of noun-processing in one place and the localization of verb-processing in another, when the brain is asked to work at more complex meanings, the localization gives way to the movement between the two static locations. Then the brain is working at a higher level of evolution, at an emergent consciousness paradoxically undetermined by the structures it still works from. And then we might be re-discovering at a demonstrable neural level the experience not merely of specialist "art" but of thinking itself going on not in static terms but in dynamic ones. At present there is of course no brain imaging system that allows the study of continuous thought. But the hope is that, within experimental limitations, we might be able to gain a glimpse within ourselves of a changing neurological configuration of the brain, like the shape of the syntax just ahead of the realization of the semantics. In that case Shakespeare's art would be no more and no less than the supreme example of a mobile, creative and adaptive human capacity, in deep relation between brain and language. It makes new combinations, creates new networks, with changed circuitry and added levels, layers and overlaps. And all the time it works like the cry of "action" on a film-set, by sudden peaks of activity and excitement dramatically breaking through into consciousness. It makes for what William James said of mind in his "Principles of Psychology", "a theatre of simultaneous possibilities". This could be a new beginning to thinking about reading and mental changes. (Philip Davis is editor of The Reader magazine, and teaches in the School of English at the University of Liverpool. This article first appeared in The Reader, Number 23, pp. 39-43, and was prepared in collaboration with Neil Roberts, Victorina Gonzalez-Diaz, and Guillaume Thierry.) Hat tip: Arts & Letters Daily
2. Dennett argues that the 'hard problem' is a red herring - the whole question of how conscious first person experience arises from the biological function of the brain assumes that consciousness is a single thing that needs explaining. He suggests that there isn't a single thing that is consciousness, just a collection of mental components, but the fact we've named it as a single thing fools us. In his article Explaining the "Magic" of Consciousness, he gives a great analogy of how the use of the word 'the' was used in a card trick to make it seem completely mysterious even to fellow professional magicians. Article continues here. via Mind Hackers

3. 

   And then, Dan reckons, if these intelligences are friendly, we'll all be "uploaded" – our entire personalities will be copied into the vast memory banks of these AIs – and we'll live forever.

   All Set for the Big Upload My friend Dan thinks he's going to live forever. He's not religious, or one of those who believes that extreme calorie restriction will let him live a thousand years (or perhaps just feel like he is). No, thinking it through logically Dan has decided that the technological singularity is likely to happen in his lifetime. According to this theory, popularised by Vernor Vinge and Ray Kurzweil among others, within the next 25 years humanity will create a superhuman intelligence, one that is capable of creating intelligences greater than its own. Humanity will no longer control the pace of technological development, which will rapidly advance to the point that our entire environment is directed by artificial intelligences. And then, Dan reckons, if these intelligences are friendly, we'll all be "uploaded" – our entire personalities will be copied into the vast memory banks of these AIs – and we'll live forever. More than that, we'll be able to spend time with our friends, we'll never experience pain or suffering again, all imaginable forms of entertainment will be available to us, along with some that can't be imagined at all. We'll be happy, stimulated, in pleasant company for all eternity. Of course, this is a remarkably similar promise to the assurances various religions have been giving for the past few thousand years. The technological singularity has been called the Geek Rapture or Rapture of the Nerds, referring to the belief held by some Christians that they will be taken up bodily into heaven to be with Jesus before the Day of Judgment. I'm fascinated by the similarities with religion; perhaps it's simply impossible for many people to comfortably accept that they really are going to die, that nothing will come afterwards, that there's no hope of rescue. If we can't believe in God, could technology be the way, the truth and the life? I'm reminded of the Doctor Who spin-off Torchwood, which is very robust in its constant assertion that there is nothing after death. In the very first episode, the team of alien-hunters uses a "resurrection glove" to momentarily bring a murdered man back to life. Asked what he saw after death, what there was to be seen, the murder victim replies, "Nothing. I saw nothing. Oh my god, there's nothing." And yet this statement was retrieved using this imaginary technology, the resurrection glove. One of the characters in Torchwood is immortal, others die and are returned to life using various pieces of alien gadgetry. Even for those who believe that they don't believe in life after death, it seems impossible to stop imagining technological solutions to the problem. Perhaps this is because of the vast array of problems technology can solve. We can speak to people on the other side of the world, fly through the air, carry the music of hundreds of orchestras with us in our pockets; why wouldn't technology one day enable us to live forever? Or perhaps it's simply a quirk of our brains; Scientific American magazine and artist Damien Hirst agree that the mind of a living being cannot conceive its own demise. Either way, I've agreed to try to get Dan into Jewish heaven if he puts in a good word for me with the Technological Singularity. That way we're both covered. by Naomi Alderman | via guardian.co.uk | Photo: Howard Sochurek/Corbis | hat tip Wildcat2030
   
4. In a technological advance that opens up new possibilities in the fields of robotics and wearable computing, researchers at the University of Tokyo have developed a stretchable, rubbery material that conducts electricity and can be incorporated into electronic devices. via Pink Tentacle | Read On
5. The extension we call the net, the grid, the Infobahn, is more than the sum of its parts, it may perchance lead to an actual organizing principle of reality itself. An organizing principle somewhat akin to an operating system, yet directed, and multidimensional, interactive and intelligent. —Wildcat: Mind Habitat, the quest for a home

Related posts brought to you by Yet Another Related Posts Plugin.

© 2009 Reckon .