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Charles M Butter

Publications and source records attributed to Charles M Butter.

2 recordsLinked to original sources

Selective visual attention, visual search and visual awareness.

In a previous study, Butter and Goodale (2000) reported that visual search increases the identification of targets relative to distracters. The present series of studies investigated further this effect of search. Search increased identification of Ls when they were targets and decreased their identification when Ls were distracters in concurrent search involving feature conjunctions (Exp. 1). Subjects in Experiment 2 showed increases in sensitivity, but not in response bias, to Ls. Search had a weaker effect on d' for identification of Ts. Increasing the difficulty of searching for Ts or Ls by increasing the number of distracters enhanced identification of targets versus distracters relative to the effect of search involving eight distracters (Exp. 3). Two studies investigated the effects on probe identification of easy search tasks involving differences in stimulus features. In Experiment 4, there were no reliable effects of search on probe identification when targets were distinguished from distracters by straight versus curved lines (Z vs. O). When horizontal and vertical lines were targets and distracters, subjects showed weak and inconsistent effect on probe identification (Exp. 5). These findings, together with results of neurophysiological studies, support the view that executive mechanisms play a role in visual search by augmenting the activity of goal representations in working memory, thus increasing the likelihood of identifying goal stimuli and enhancing the efficiency of visual search.

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Anton Raederscheidt's distorted self-portraits and their significance for understanding balance in art.

Following a right cerebral stroke, the German artist Anton Raederscheidt produced a remarkable series of self-portraits that depicted his severe visual neglect and gradual recovery. These distorted images, like those drawn by others with this disorder, inform us about lateral balance in art and why it is common in the art of cultures separated in time and space. After describing how artists in various cultures have employed lateral balance, I present Arnheim's view that this aspect of art is the result of visual forces generated by the brain. Following a brief history of visual neglect, I present evidence that this disorder provides us with clues to the origin of the visual forces responsible for lateral balance in art. The relevant brain mechanisms control exploration of visual space by integrating orienting movements with visual spatial information. The prevalence of lateral balance in art becomes understandable when we consider that these brain mechanisms evolved to promote survival in our vertebrate ancestors. I end with a speculative neurological account of the aesthetics of lateral balance--why it is pleasing and its absence is displeasing.

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