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The cognitive preparation of an operation without overt motor execution is referred to as imagery (of any kind). Over the last two decades of progress in brain timing studies, the timing of imagery has received little focus. This study compared the time perception of ten professional violinists' actual and imagery performances to see if such an analysis could offer a different model of timing in musicians' imagery skills. When comparing the timing profiles of the musicians between the two situations (actual and imagery), we found a significant correlation in overestimation of time in the imagery. In our fMRI analysis, we found high activation in the left cerebellum. This finding seems consistent with dedicated models of timing such as the cerebellar timing hypothesis, which assigns a "specialized clock" for tasks. In addition, the present findings might provide empirical data concerning imagery, creativity, and time. Maintaining imagery over time is one of the foundations of creativity, and understanding the underlying temporal neuronal mechanism might help us to apprehend the machinery of creativity per se. [ABSTRACT FROM AUTHOR]

Recent ecological developments and in particular the risks of climate change have led to the emergence of new scientific challenges and fields. One field that has gained momentum over the past decades is environmental psychology. Researching and analyzing environmental phenomena it faces the challenges of connecting conceptual problems, the interdisciplinary use of languages and definitions, different understandings and the use of different methodologies, and the scientific explanation of such phenomena. This paper reflects on the challenges and also the opportunities for establishing a sustainable future from a psychological point of view. The topics addressed are a selection of criteria for adapting to changing environments, perspectives on how to harvest insights from different fields of scientific endeavor and ideas how to make use of the necessary interdisciplinarity. Furthermore, questions are raised concerning personal identity, cultural and spiritual values, the ethical aspects of decision-making in a changing world, and the conceptual challenges facing sustainable ecological development. [ABSTRACT FROM AUTHOR]

The perception of faces correlates with activity in a number of brain areas, but only when a face is perceived as beautiful is the medial orbitofrontal cortex (mOFC) also engaged. Here, we enquire whether it is the emergence of a particular pattern of neural activity in face perceptive areas during the experience of a face as beautiful that determines whether there is, as a correlate, activity in mOFC. Seventeen subjects of both genders viewed and rated facial stimuli according to how beautiful they perceived them to be while the activity in their brains was imaged with functional magnetic resonance imaging. A univariate analysis revealed parametrically scaled activity within several areas, including the occipital face area (OFA), fusiform face area (FFA) and the cuneus; the strength of activity in these areas correlated with the declared intensity of the aesthetic experience of faces; multivariate analyses showed strong patterns of activation in the FFA and the cuneus and weaker patterns in the OFA and the posterior superior temporal sulcus (pSTS). The mOFC was only engaged when specific patterns of activity emerged in these areas. A psychophysiological interaction analysis with mOFC as the seed area revealed the involvement of the right FFA and the right OFA. We conjecture that it is the collective specific pattern‐based activity in these face perceptive areas, with activity in the mOFC as a correlate, that constitutes the neural basis for the experience of facial beauty, bringing us a step closer to understanding the neural determinants of aesthetic experience. [ABSTRACT FROM AUTHOR]

“Seeing with the mind’s eye” and “hearing with the mind’s ear” are two common indicators of musical imagery, and they can be referred to as “visual” and “auditory” musical imagery. However, a question remains open, that is, whether visual and auditory imagery of the same musical composition share the same neural mechanisms. Moreover, how can neural mechanisms guarantee the temporal flow of “musical imagery”? To answer these questions, we report here a preliminary single case study using functional magnetic resonance imaging with an eminent composer who imagined one of his compositions in two states of mind as compared to his resting-state activity. In the visual imagery condition, he imagined visually the score of his composition in a continuous way. In the auditory imagery condition, he imagined auditorily the same musical composition with pauses. In spite of the modality and temporal differences, the two types of mental imagery showed similar temporal durations for the same musical composition. However, different patterns of neural activation were observed for visual and auditory imagery with one important exception, that is, a common activation pattern was observed in the left medial temporal gyrus in both visual and auditory imagery. We speculate that the left medial temporal gyrus may play an important role in the creation of apparent temporal continuity in musical imagery and perhaps even in conscious information processing in general. [ABSTRACT FROM AUTHOR]