No description available.

Chronic low back pain (CLBP) is a critical public health issue and affects a significant number of people physically, emotionally, and financially. There is evidence that pain may affect one’s perception of time, but more work is needed to understand how different types of pain (acute, chronic) impact temporal perception. This study aimed to examine how acute experimental pain and CLBP, together and separately, impact the perception of time. A sample of 77 participants, 10 with CLBP and 67 healthy pain-free controls, completed two temporal perception tasks (Bisection and Threshold) twice, once with induced acute pressure pain and once without pain. The effects of acute pain and CLBP on temporal perception were examined using repeated measures ANOVAs. Results showed that the presence of either acute or chronic pain was related to overestimating time during shorter stimuli presentations and underestimating time during longer stimuli presentations. Further, subjects with chronic pain generally required a longer time difference to accurately distinguish between stimuli of differing lengths. This study demonstrates that both acute and chronic pain affect temporal perception, though the combination of acute and chronic pain does not confer additive adverse effects. The results of this study broaden our understanding of the impact of different types of pain on a person’s perception of time. / 2025-02-03T00:00:00Z

An observer’s inference that multimodal signals come from a common underlying source can facilitate cross-modal binding in the temporal domain. This ‘unity assumption’ can cause asynchronous audiovisual speech streams to seem simultaneous (Vatakis & Spence, 2007), but follow-up work has been unable to replicate this effect for non-speech, musical events (Vatakis & Spence, 2008). Given that amplitude envelope (the changes in energy of a sound over time) has been shown to affect audiovisual integration, the current study investigates whether previous null findings with musical stimuli can be explained by the similarity in amplitude envelope between audiovisual conditions. To test whether amplitude envelope affects temporal cross-modal binding, Experiment 1 contrasted events with clearly differentiated envelopes: cello and marimba audiovisual stimuli. Participants performed an un-speeded temporal order judgments task; they viewed audio-visually matched (e.g. marimba auditory with marimba video) and mismatched (e.g. cello auditory with marimba video) versions of stimuli at various stimulus onset asynchronies and indicated which modality was presented first. As predicted, participants were less sensitive to temporal order (greater JNDs) in matched conditions, suggesting that the unity assumption facilitates synchrony perception outside of non-speech stimuli. Results from Experiments 2 and 3 revealed that when spectral information was removed, amplitude envelope alone could not facilitate the influence of audiovisual unity on temporal binding. We propose that both amplitude and spectral cues affect the percept of audiovisual ‘unity’, likely working in concert to help an observer determine the causal source of an auditory event. / Thesis / Master of Science (MSc)

This thesis investigated developmental changes in temporal perception of hearing and touch (audiotactile). Three empirical chapters provide converging evidence on the unique characteristics of this modality pairing. In Chapter 2, a simultaneity judgment task assessed temporal perception. Three groups of children (aged 7-, 9-, and 11-years-old) were compared to a group of adults, examining measures such as the temporal simultaneity window and the point of subjective simultaneity. By age 11, mature temporal perception between hearing and touch was observed. Chapter 3 investigated developmental changes in temporal-based integration using the fission and fusion illusions. The study involved comparing three groups of children to adults (aged 9-, 11-, and 13-years-old). The measure of illusion strength combined with a signal detection analysis demonstrated that children did not exhibit adult-like integration until around age 13. Chapter 4 explored the potential impact of short-term congenital visual deprivation on hearing and touch temporal perception. An audiotactile simultaneity task was used to test a group of adults who received treatment for congenital bilateral cataracts. The results of this final experiment are considered preliminary because of limitations imposed by the COVID-19 pandemic; instead of the planned age- and gender-matched control participants, we utilized the adult data from Chapter 2 for comparison. The General Discussion provides a comprehensive account of how these findings relate to one another and how they situate in the broader literature. Additionally, a novel hypothetical theory is presented, incorporating the established causal inference framework, to offer insights into observed changes in multisensory perception across development. / Thesis / Doctor of Philosophy (PhD) / Perception relies on combining information from our senses. Multiple cues determine whether we integrate or segregate sensory information. Timing provides one crucial cue. Children's timing perception requires development to reach the same precision as adults. Most studies on the development of time perception between the senses have included vision. However, this thesis investigated the development of time perception between hearing and touch. The first two empirical chapters explored typical development using complementary tasks, while the third empirical chapter investigated the impact of congenital cataracts on timing perception. By studying children with cataracts who underwent early cataract removal, we can observe the effects of visual deprivation on these senses. These chapters shed light on the development of audiotactile temporal perception and propose that different combinations of senses may develop independently.

No description available.

RAMOS, Danilo. Fatores emocionais durante uma escuta musical afetam a percepção temporal de músicos e não músicos? 2008, 268 p. Tese (Doutorado). Faculdade de Filosofia, Ciências e Letras de Ribeirão Preto. Universidade de São Paulo, Ribeirão Preto, 2008. Esta pesquisa teve como objetivo verificar o papel das emoções desencadeadas pela música na percepção temporal de músicos e não músicos. Quatro experimentos foram realizados: no Experimento I, músicos e não músicos realizaram tarefas de associações emocionais a trechos musicais de 36 segundos de duração, pertencentes ao repertório erudito ocidental. A tarefa consistia em escutar cada trecho musical e associá-lo às categorias emocionais Alegria, Serenidade, Tristeza, Medo ou Raiva. Os resultados mostraram que a maioria dos trechos musicais desencadeou uma única emoção específica nos ouvintes; além disso, as associações emocionais dos músicos foram semelhantes às associações emocionais dos não músicos para a maioria dos trechos musicais apresentados. No Experimento II, músicos e não músicos realizaram tarefas de associação temporal aos trechos musicais mais representativos de cada emoção, utilizados no Experimento I. Assim, os trechos musicais eram apresentados e os participantes deveriam associar cada um deles a durações de 16, 18, 20, 22 ou 24 segundos. Os resultados mostraram que, para o grupo Músicos, os três trechos musicais associados à Tristeza foram subestimados em relação às suas durações reais; nenhuma outra categoria emocional apresentou mais do que um trecho musical sendo subestimado ou superestimado em relação a suas durações reais, para ambos os grupos. Pesquisas recentes em Psicologia da Música têm mostrado duas propriedades estruturais como sendo moduladoras da percepção de emoções específicas durante uma escuta musical: o modo (organização das notas dentro de uma escala musical) e o andamento (número de batidas por minuto). Assim, no Experimento III, músicos e não músicos realizaram tarefas de associações emocionais a composições musicais construídas em sete modos (Jônio, Dórico, Frígio, Lídio, Mixolídio, Eólio e Lócrio) e três andamentos (adágio, moderato e presto). O procedimento foi o mesmo utilizado no Experimento I. Os resultados mostraram que o modo musical modulou a valência afetiva desencadeada pelos trechos musicais: trechos musicais apresentados em modos maiores obtiveram índices positivos de valência afetiva e trechos musicais apresentados em modos menores obtiveram índices negativos de valência afetiva; além disso, o andamento musical modulou o arousal desencadeado pelos trechos musicais: quanto mais rápido o andamento do trecho musical, maiores os níveis de arousal desencadeados e vice-versa. No Experimento IV, músicos e não músicos realizaram tarefas de associação temporal aos trechos musicais modais utilizados no Experimento III. O procedimento foi o mesmo utilizado no Experimento II. Os resultados mostraram que manipulações, principalmente no arousal, afetaram a percepção temporal dos ouvintes: para ambos os grupos, foram encontradas subestimações temporais para trechos musicais desencadeadores de baixos índices de arousal; além disso, para o grupo Não Músicos, foram encontradas superestimações temporais para trechos musicais desencadeadores de altos índices de arousal. Estes resultados mostraram que, no caso dos músicos, a percepção temporal foi afetada por atmosferas emocionais relacionadas à Tristeza; no caso dos Não Músicos, a percepção temporal foi afetada por fatores relacionados ao nível do arousal dos eventos musicais apreciados. / RAMOS, Danilo. Do emotional factors during music listening tasks affect time perception of musicians and nonmusicians? 2008, 268 pages. Thesis (PhD). Faculty of Philosophy, Sciences and Letters of Ribeirão Preto. University of São Paulo, Ribeirão Preto, 2008. This study aimed to verify the role of emotions triggered by music on time perception of musicians and nonmusicians. Four experiments were conducted: In Experiment I, musicians and nonmusicians performed emotional association tasks for musical excerpts of 36 seconds duration belonging to the Western classic repertoire. The tasks required to listen to each musical excerpt and to associate it with emotional categories: Joy, Serenity, Sadness, or Fear/Anger. The results showed that most musical excerpts triggered a specific single emotion in listeners; moreover, the emotional associations of musicians were similar to the emotional associations of nonmusicians for most musical excerpts presented. In Experiment II, musicians and nonmusicians performed temporal association tasks for the three most representative excerpts of each emotion used in Experiment I. Thus, the participants had to associate each of such musical excerpts with the following durations: 16, 18, 20, 22 or 24 seconds. The results showed that for the musicians, the three musical excerpts associated with Sadness were underestimated in relation to their real time; moreover, no other emotional category was associated with more than one musical excerpt whether being underestimated or overestimated, regarding their real time, for both groups. Recent researches in Psychology of Music have shown two structural properties as the modulators of specific emotions perceived during a music listening task: the mode (the organization of the notes in a musical scale) and tempo (the number of beats per minute). Thus, in Experiment III, musicians and nonmusicians carried out emotional association tasks with musical compositions constructed in seven modes (Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian) and three tempi (adagio, moderato, and presto). The procedure was the same used in Experiment I. The results showed that the musical mode modulated the affective valence triggered by the excerpts: musical excerpts based on major modes obtained positive affective valence indexes and musical excerpts based on minor modes obtained negative affective valence indexes; moreover, the musical tempo modulated the arousal triggered by the excerpts: the faster the tempo of the musical excerpts, the higher the arousal levels and vice versa, for both groups. In Experiment IV, musicians and nonmusicians performed temporal association tasks for those modal musical excerpts used in Experiment III. The procedure was the same used in Experiment II. The results showed that manipulations concerning arousal affected the time perception of the listeners: time underestimations due to low arousal excerpts were found for both groups; moreover, time underestimations due to high arousal excerpts were found only for nonmusicians. These results showed that in the case of musicians, time perception was affected by emotional atmospheres related to Sadness; in the case of nonmusicians, time perception was affected by factors related to the level of arousal of music events appreciated.

Afin d’analyser le rôle de la plasticité striatale dans la perception temporelle, nous avons réalisé une étude comportementale et électrophysiologique d’un modèle rat transgénique de la maladie de Huntington impliquant la dégénérescence progressive du striatum. Pour ce faire, nous avons élaboré une étude longitudinale (4-15 mois) du suivi de la maladie de Huntington au niveau moteur, motivationnel et temporel, et une étude présymptomatique (4-5 mois) de l’estimation temporelle et électrophysiologique in vivo de la voie préfronto-striatale. Nous avons détecté un dysfonctionnement de la perception temporelle et de la plasticité synaptique de manière présymptomatique, suggérant une corrélation entre ces deux dysfonctionnements. En symptomatique, le comportement temporel discriminatif est plus fortement altéré, corrélat d’une dégénérescence du striatum. / In order to assess the role of striatal plasticity in temporal perception, we have realized a behavioral and electrophysiological study of a transgenic rat model for Huntington’s disease that implicates progressive neurodegeneration of the striatum. For that purpose, we have done a longitudinal study (4-15 months) of Huntington’s disease at a motor, motivational and temporal level, and a presymptomatic study (4-5 months) of temporal estimation and of in vivo electrophysiological prefronto-striatal pathway. We have detected a dysfunction in temporal perception as well as an alteration of synaptic plasticity at a presymptomatic stage, suggesting the existence of a correlation between those two dysfunctions. At a symptomatic stage, the temporal discriminative behavior is deeply altered, correlating with striatum degeneration.

Le gène NR4A2 est un membre de la super famille des récepteurs nucléaires qui sont des facteurs de transcription activés par un ligand, tel que hormone stéroïde, rétinoïde ou hormone thyroïdienne. Cependant au sein de cette super famille, un groupe de facteurs, dont NR4A2 fait parti, ne possèdent pas de ligand identifié, c’est pourquoi ils sont dits orphelins. Le récepteur NR4A2, qui est un gène à réponse immédiate, induit par différents stimuli, est largement exprimé dans le cerveau. La description de son expression pendant le développement chez la souris montre que sa distribution anatomique va de pair avec certains neurones à dopamine. Afin d’étudier sa fonction, des souris (NR4A2 -/-) ont été générées. L’analyse de ces souris a montrée que l’absence de ce gène altère le développement et le maintien des neurones dopaminergiques de la substance noire et de l’aire tegmentaire ventrale, ainsi que l’expression de plusieurs gènes marqueurs du phénotype dopaminergique. Ces résultats ont placés NR4A2, au rang des gènes d’intérêt dans l’étude de la neuro-dégénérescence des neurones dopaminergiques impliquée dans la maladie de Parkinson. Pourtant, la description de l’expression de ce facteur chez le poisson, montre, que bien qu’il soit exprimé dans des régions dopaminergiques, il est aussi largement exprimé dans des régions qui ne sont pas dopaminergiques. L’analyse de NR4A2 par perte de fonction transitoire chez le poisson Danio rerio, sujet de ce mémoire, a permit de mettre en évidence certains aspects inconnus des fonctions de ce récepteur nucléaire. Ainsi, le gène NR4A2 régule l’expression d’un gène inhibiteur de CDK et l’expression d’un inhibiteur de neurogenèse. Par ce biais NR4A2 régule l’expression de gènes dits proneuraux, car exprimés dans les progéniteurs des neurones. Ces gènes proneuraux sont connus pour participer à la spécification cellulaire, à la sous spécification et à la différenciation de plusieurs phénotypes neuronaux. Ainsi, le gène NR4A2 induit chez Danio rerio le phénotype dopaminergique, mais il participe aussi à l’induction du neuro-phénotype NPY, du neuro-phénotype sérotoninergique et du neuro-phénotype Gabaergique. Ces nouvelles données in vivo font de NR4A2 un acteur important de la neurogénèse dont le rôle s’avère beaucoup plus large que ce qui était supposé jusqu’à présent. / The gene NR4A2 is a member of the great family of the nuclear receptors which are factors of transcription activated by a ligand, such as hormone steroid, rétinoide or thyroid hormone. However within this great family, a group of factors, NR4A2 of which makes left, does not possess an identified ligand, this is why they are said orphans. The receptor NR4A2, an immediate early gene, induced by different stimuli, is widely expressed in the brain. The description of its expression during the development to the mouse shows that its anatomical distribution goes together with certain dopaminergics neurons. To study its function, mice (NR4A2-/-) were generated. The analysis of these mice showed that the absence of this gene alters the development and the preservation of dopaminergics neurons in substancia nigra and in ventral tegmental area, as well as the expression of several genes markers of the dopaminergic phenotype. These results placed NR4A2, to the rank of the genes of interest in the study of the neuro-degeneration of dopaminergics neurons involved in the Parkinson's disease. Nevertheless, the description of the expression of this factor in fish, shows, that although it is expressed in dopaminergics regions, it is also widely expressed in regions which are not dopaminergic. The analysis of NR4A2 by loss of function in the fish Danio rerio, the subject of this thesis, has allowed bringing to light certain unknown aspects of the functions of this orphan nuclear receptor. So, the gene NR4A2 regulates the expression of an inhibitive gene of CDK and the expression of an inhibitor of neurogenesis. By this way NR4A2 regulates the expression of said proneuraux genes, because expressed in neuron’s progenitors. These proneural genes are known to participate in the cellular specification, in sub-specification and in the differentiation of several neuronal phenotypes. So, the gene NR4A2 leads to the dopaminergic phenotype in Danio rerio, but it also participates in the induction of the neuro-phenotype NPY, the serotoninergic neuro-phenotype and the neuro-phenotype Gabaergique. These new in vivo data make of NR4A2 an important actor of the neurogenesis whose role turns out much wider than what was supposed until now.

RAMOS, Danilo. Fatores emocionais durante uma escuta musical afetam a percepção temporal de músicos e não músicos? 2008, 268 p. Tese (Doutorado). Faculdade de Filosofia, Ciências e Letras de Ribeirão Preto. Universidade de São Paulo, Ribeirão Preto, 2008. Esta pesquisa teve como objetivo verificar o papel das emoções desencadeadas pela música na percepção temporal de músicos e não músicos. Quatro experimentos foram realizados: no Experimento I, músicos e não músicos realizaram tarefas de associações emocionais a trechos musicais de 36 segundos de duração, pertencentes ao repertório erudito ocidental. A tarefa consistia em escutar cada trecho musical e associá-lo às categorias emocionais Alegria, Serenidade, Tristeza, Medo ou Raiva. Os resultados mostraram que a maioria dos trechos musicais desencadeou uma única emoção específica nos ouvintes; além disso, as associações emocionais dos músicos foram semelhantes às associações emocionais dos não músicos para a maioria dos trechos musicais apresentados. No Experimento II, músicos e não músicos realizaram tarefas de associação temporal aos trechos musicais mais representativos de cada emoção, utilizados no Experimento I. Assim, os trechos musicais eram apresentados e os participantes deveriam associar cada um deles a durações de 16, 18, 20, 22 ou 24 segundos. Os resultados mostraram que, para o grupo Músicos, os três trechos musicais associados à Tristeza foram subestimados em relação às suas durações reais; nenhuma outra categoria emocional apresentou mais do que um trecho musical sendo subestimado ou superestimado em relação a suas durações reais, para ambos os grupos. Pesquisas recentes em Psicologia da Música têm mostrado duas propriedades estruturais como sendo moduladoras da percepção de emoções específicas durante uma escuta musical: o modo (organização das notas dentro de uma escala musical) e o andamento (número de batidas por minuto). Assim, no Experimento III, músicos e não músicos realizaram tarefas de associações emocionais a composições musicais construídas em sete modos (Jônio, Dórico, Frígio, Lídio, Mixolídio, Eólio e Lócrio) e três andamentos (adágio, moderato e presto). O procedimento foi o mesmo utilizado no Experimento I. Os resultados mostraram que o modo musical modulou a valência afetiva desencadeada pelos trechos musicais: trechos musicais apresentados em modos maiores obtiveram índices positivos de valência afetiva e trechos musicais apresentados em modos menores obtiveram índices negativos de valência afetiva; além disso, o andamento musical modulou o arousal desencadeado pelos trechos musicais: quanto mais rápido o andamento do trecho musical, maiores os níveis de arousal desencadeados e vice-versa. No Experimento IV, músicos e não músicos realizaram tarefas de associação temporal aos trechos musicais modais utilizados no Experimento III. O procedimento foi o mesmo utilizado no Experimento II. Os resultados mostraram que manipulações, principalmente no arousal, afetaram a percepção temporal dos ouvintes: para ambos os grupos, foram encontradas subestimações temporais para trechos musicais desencadeadores de baixos índices de arousal; além disso, para o grupo Não Músicos, foram encontradas superestimações temporais para trechos musicais desencadeadores de altos índices de arousal. Estes resultados mostraram que, no caso dos músicos, a percepção temporal foi afetada por atmosferas emocionais relacionadas à Tristeza; no caso dos Não Músicos, a percepção temporal foi afetada por fatores relacionados ao nível do arousal dos eventos musicais apreciados. / RAMOS, Danilo. Do emotional factors during music listening tasks affect time perception of musicians and nonmusicians? 2008, 268 pages. Thesis (PhD). Faculty of Philosophy, Sciences and Letters of Ribeirão Preto. University of São Paulo, Ribeirão Preto, 2008. This study aimed to verify the role of emotions triggered by music on time perception of musicians and nonmusicians. Four experiments were conducted: In Experiment I, musicians and nonmusicians performed emotional association tasks for musical excerpts of 36 seconds duration belonging to the Western classic repertoire. The tasks required to listen to each musical excerpt and to associate it with emotional categories: Joy, Serenity, Sadness, or Fear/Anger. The results showed that most musical excerpts triggered a specific single emotion in listeners; moreover, the emotional associations of musicians were similar to the emotional associations of nonmusicians for most musical excerpts presented. In Experiment II, musicians and nonmusicians performed temporal association tasks for the three most representative excerpts of each emotion used in Experiment I. Thus, the participants had to associate each of such musical excerpts with the following durations: 16, 18, 20, 22 or 24 seconds. The results showed that for the musicians, the three musical excerpts associated with Sadness were underestimated in relation to their real time; moreover, no other emotional category was associated with more than one musical excerpt whether being underestimated or overestimated, regarding their real time, for both groups. Recent researches in Psychology of Music have shown two structural properties as the modulators of specific emotions perceived during a music listening task: the mode (the organization of the notes in a musical scale) and tempo (the number of beats per minute). Thus, in Experiment III, musicians and nonmusicians carried out emotional association tasks with musical compositions constructed in seven modes (Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian) and three tempi (adagio, moderato, and presto). The procedure was the same used in Experiment I. The results showed that the musical mode modulated the affective valence triggered by the excerpts: musical excerpts based on major modes obtained positive affective valence indexes and musical excerpts based on minor modes obtained negative affective valence indexes; moreover, the musical tempo modulated the arousal triggered by the excerpts: the faster the tempo of the musical excerpts, the higher the arousal levels and vice versa, for both groups. In Experiment IV, musicians and nonmusicians performed temporal association tasks for those modal musical excerpts used in Experiment III. The procedure was the same used in Experiment II. The results showed that manipulations concerning arousal affected the time perception of the listeners: time underestimations due to low arousal excerpts were found for both groups; moreover, time underestimations due to high arousal excerpts were found only for nonmusicians. These results showed that in the case of musicians, time perception was affected by emotional atmospheres related to Sadness; in the case of nonmusicians, time perception was affected by factors related to the level of arousal of music events appreciated.

Orientador: Prof. Dr. Raphael Yokoingawa de Camargo / Dissertação (mestrado) - Universidade Federal do ABC, Programa de Pós-Graduação em Neurociência e Cognição, 2017. / Causalidade pode ser entendida como a relação de causa e efeito entre eventos subsequentes. Já a percepção de causalidade está relacionada a como percebemos relações causais em uma sequência de eventos, mesmo que essas relações sejam inexistentes. Por mais de meio século a percepção de causalidade é objeto de estudo frequente, mas seus mecanismos e origens ainda não são conhecidos. Existem evidências empíricas de que diversas modalidades de percepção são processadas no sistema nervoso utilizando janelas perceptuais discretas, o que chamamos de Percepção Discreta. Argumenta-se que a percepção de causalidade também pode apresentar processamento em janelas discretas. A literatura também apresenta a Percepção Rítmica, onde ciclos alfa possuem fases de maior ou menor excitação e essas fases modulam a probabilidade de um dado estímulo ser processado. Neste trabalho, propomos um modelo probabilístico de alto nível que mescla as hipóteses das percepções discreta e rítmica para explicar resultados experimentais de diversas tarefas. Nossa hipótese é que, dependendo da fase do ciclo alfa em que um estímulo chegar existe uma probabilidade, que varia em função da fase da oscilação, do processamento ser realizado apenas no ciclo seguinte. Propomos diferentes maneiras como a mudança de ciclo de processamento ocorre e comparamos as predições do modelo com dados de 2 experimentos psicofísicos diferentes. Encontramos que, considerando a probabilidade de mudança do ciclo de processamento e faixas de frequências mínimas e máximas dentro dos limites do alfa, o modelo foi capaz de reproduzir os dados experimentais testados. / Causality can be understood as the cause and effect relationship between subsequent events. On the other hand the perception of causality is related to how we perceive causal relations in a sequence of events, even if these relations are non-existent. For more than half a century the perception of causality is the subject of frequent study, but its mechanisms and origins are not yet known. There are empirical evidence that diverse perception modalities are processed in the nervous system using discrete perceptual windows, what we call Discrete Perception. It is argued that the perception of causality may also present processing in discrete windows. The literature also presents Rhythmic Perception, where alpha cycles have phases of greater or lesser excitation and these phases modulate the probability of a given stimulus being processed. In this work, we propose a high level probabilistic model that merges discrete and rhythmic perceptions hypotheses to explain experimental results of several tasks. Our hypothesis is that depending on the phase of the alpha cycle in which a stimulus arrives there is a probability, which varies as a function of the oscillation phase, for the processing to be performed only in the next cycle. We propose different ways in which the change of processing cycle occurs and we compare the predictions of the model with data from 2 different psychophysical experiments. We found, considering the probability of changing the processing cycle and minimum and maximum frequency bands within the limits of the alpha, the model was able to reproduce the tested experimental data.