The aim of this study was to search for oculomotor correlates of expertise in visual arts, in particular with regard to paintings. Achieving this goal was possible by gathering data on eye movements of two groups of participants: experts and non-experts in visual arts who viewed and appreciated the aesthetics of paintings. In particular, we were interested in whether visual arts experts more accurately recognize a balanced composition in one of the two paintings being compared simultaneously, and whether people who correctly recognize harmonious paintings are characterized by a different visual scanning strategy than those who do not recognize them. For the purposes of this study, 25 paintings with an almost ideal balanced composition have been chosen. Some of these paintings are masterpieces of the world cultural heritage, and some of them are unknown. Using Photoshop, the artist developed three additional versions of each of these paintings, differing from the original in the degree of destruction of its harmonious composition: slight, moderate, or significant. The task of the participants was to look at all versions of the same painting in pairs (including the original) and decide which of them looked more pleasing. The study involved 23 experts in art, students of art history, art education or the Academy of Fine Arts, and 19 non-experts, students in the social sciences and the humanities. The experimental manipulation of comparing pairs of paintings, whose composition is at different levels of harmony, has proved to be an effective tool for differentiating people because of their ability to distinguish paintings with balanced composition from an unbalanced one. It turned out that this ability only partly coincides with expertise understood as the effect of education in the field of visual arts. We also found that the eye movements of people who more accurately appreciated paintings with balanced composition differ from those who more liked their altered versions due to dwell time, first and average fixation duration and number of fixations. The familiarity of paintings turned out to be the factor significantly affects both the aesthetic evaluation of paintings and eye movement.

A growing body of research has demonstrated that affect modulates cognitive control modes such as proactive and reactive control. Several studies have suggested that positive affect decreases proactive control compared to neutral affect. However, these studies only focused on the valence of affect and often omitted two of its components: arousal and approach motivation. Therefore, we designed the present study to test the hypothesis that cognitive control modes would differ as a function of arousal and approach motivated positive affect. In our study, we used an AX-continuous performance task (AX-CPT), commonly used to examine shifts in proactive and reactive control. We also measured P3b, contingent negative variation (CNV), N2 and P3a components of event-related brain potentials (ERPs) as indicators of the use of cognitive control modes. The findings of the present study demonstrated that approach motivated positive affect modified only the P3b and the CNV without effects on the N2 and P3a components. However, arousal induced by pictures modified P3b, CNV and N2 amplitudes. Specifically, the P3b amplitude was larger, and CNV amplitude was less negative in the high than in the low-approach motivated affect. In contrast, the P3b amplitude was larger and both the CNV and N2 amplitudes more negative in low- compared with high-arousal conditions. These ERP results suggest that approach motivated positive affect enhanced proactive control with no effect on reactive control. However, arousal influenced both proactive and reactive control. High arousal decreased proactive control and increased reactive control compared to low arousal. The present study provides novel insights into the relationship between affect, specifically, arousal and approach motivated positive affect and cognitive control modes. In addition, our results help to explain discrepancies found in previous research.

The challenges of research into brain–computer interfaces (BCI) include significant individual differences in learning pace and in the effective operation of BCI devices. The use of neurofeedback training is a popular method of improving the effectiveness BCI operation. The purpose of the present study was to determine to what extent it is possible to improve the effectiveness of operation of sensorimotor rhythm-based brain–computer interfaces (SMR-BCI) by supplementing user training with elements modifying the characteristics of visual feedback. Four experimental groups had training designed to reinforce BCI control by: visual feedback in the form of dummy faces expressing emotions (Group 1); flashing the principal elements of visual feedback (Group 2) and giving both visual feedbacks in one condition (Group 3). The fourth group participated in training with no modifications (Group 4). Training consisted of a series of trials where the subjects directed a ball into a basket located to the right or left side of the screen. In Group 1 a schematic image a face, placed on the controlled object, showed various emotions, depending on the accuracy of control. In Group 2, the cue and targets were flashed with different frequency (4 Hz) than the remaining elements visible on the monitor. Both modifications were also used simultaneously in Group 3. SMR activity during the task was recorded before and after the training. In Group 3 there was a significant improvement in SMR control, compared to subjects in Group 2 and 4 (control). Differences between subjects in Groups 1, 2 and 4 (control) were insignificant. This means that relatively small changes in the training procedure may significantly impact the effectiveness of BCI control. Analysis of behavioural data acquired from all participants at training showed greater effectiveness in directing the object towards the right side of the screen. Subjects with the greatest improvement in SMR control showed a significantly lower difference in the accuracy of rightward and leftward movement than others.

An improvement in ecological validity is one of the significant challenges for 21st-century neuroscience. At the same time, the study of neurocognitive processes in real-life situations requires good control of all variables relevant to the results. One possible solution that combines the capability of creating realistic experimental scenarios with adequate control of the test environment is virtual reality. Our goal was to develop an integrative research workspace involving a CW-fNIRS and head-mounted-display (HMD) technology dedicated to offline and online cognitive experiments. We designed an experimental study in a repeated-measures model on a group of BCI-naïve participants to verify our assumptions. The procedure included a 3D environment-adapted variant of the classic n-back task (2-back version). Tasks were divided into offline (calibration) and online (feedback) sessions. In both sessions, the signal was recorded during the cognitive task for within-group comparisons of changes in oxy-Hb concentration in the regions of interest (the dorsolateral prefrontal cortex-DLPFC and middle frontal gyrus-MFG). In the online session, the recorded signal changes were translated into real-time feedback. We hypothesized that it would be possible to obtain significantly higher than the level-of-chance threshold classification accuracy for the enhanced attention engagement (2-back task) vs. relaxed state in both conditions. Additionally, we measured participants′ subjective experiences of the BCI control in terms of satisfaction. Our results confirmed hypotheses regarding the offline condition. In accordance with the hypotheses, combining fNIRS and HMD technologies enables the effective transfer of experimental cognitive procedures to a controlled VR environment. This opens the new possibility of creating more ecologically valid studies and training procedures.

Objective: The aim of this study was to test the effects of visual and vestibular spatial disorientation on the cognitive performance of military aviators while they were piloting a flight simulator. Background: Spatial disorientation (SD), the inability to correctly determine the position and orientation of the aircraft in relation to the ground, poses a serious threat in aviation and can impair the cognitive performance of pilots while flying. More evidence is needed on the effects of visual and vestibular SD on cognition in flight simulators. Method: Pilots performed an auditory selective attention (duration discrimination) task (Experiment 1, N = 16) or an auditory working memory (N-back) task (Experiment 2, N = 16) while completing 6 different flight profiles in the disorientation and control conditions in the GYRO-IPT flight simulator. The flight scenarios included 3 visual illusions (false horizon, shape constancy, size constancy) and 3 vestibular illusions (somatogyral illusion, Coriolis effect, the leans). Results: In both experiments the cognitive performance (task accuracy) decreased for flight profiles with the leans illusion. Also, the flight performance (measured as the number of control reversal errors) was worse for the false horizon illusion and for the somatogyral illusion in both experiments. Conclusion: The results suggest that SD, particularly the vestibular illusion of the leans, can impair selective attention and working memory processes.