Object‐spatial imagery: a new self‐report imagery questionnaire

A new instrument, the Object‐Spatial Imagery Questionnaire (OSIQ), was designed to assess individual differences in visual imagery preferences and experiences. The OSIQ consists of two scales: an object imagery scale that assesses preferences for representing and processing colourful, pictorial, and high‐resolution images of individual objects and a spatial imagery scale that assesses preferences for representing and processing schematic images, spatial relations amongst objects, and spatial transformations. Across a series of studies, the object imagery scale was significantly correlated with the performance on object imagery tasks; the spatial imagery scale was significantly correlated with the performance on spatial imagery tasks; but neither correlated with measures of intelligence. Additionally, compared to visual artists and humanities professionals, scientists reported higher spatial imagery ratings; however, compared to scientists and humanities professionals, visual artists reported higher object imagery ratings. Thus, the results from the studies supported the predictive, discriminant, and ecological validity of the OSIQ. Copyright © 2006 John Wiley & Sons, Ltd.     

Spatial versus object visualizers: A new characterization of visual cognitive style

The visual system processes object properties (such as shape and color) and spatial properties (such as location and spatial relations) in distinct systems, and neuropsychological evidence reveals that mental imagery respects this distinction. The findings reported in this article demonstrate that verbalizers typically perform at an intermediate level on imagery tasks, whereas visualizers can be divided into two groups. Specifically, scores on spatial and object imagery tasks, along with a visualizer-verbalizer cognitive style questionnaire, identified a group of visualizers who scored poorly on spatial imagery tasks but excelled on object imagery tasks. In contrast, a second group of visualizers scored high on spatial imagery tasks but poorly on object imagery tasks. The results also indicate that object visualizers encode and process images holistically, as a single perceptual unit, whereas spatial visualizers generate and process images analytically, part by part. In addition, we found that scientists and engineers excel in spatial imagery and prefer spatial strategies, whereas visual artists excel in object imagery and prefer object-based strategies.     

Visual-object ability: a new dimension of non-verbal intelligence

The goal of the current research was to introduce a new component of intelligence: visual-object intelligence, that reflects one's ability to process information about visual appearances of objects and their pictorial properties (e.g., shape, color and texture) as well as to demonstrate that it is distinct from visual-spatial intelligence, which reflects one's ability to process information about spatial relations and manipulate objects in space. Study 1 investigated the relationship between performance on various measures of visual-object and visual-spatial abilities, and areas of specialization (visual art, science and humanities). Study 2 examined qualitative differences in approaches to interpreting visual abstract information between visual artists, scientists and humanities/social science professionals. Study 3 investigated qualitative differences in visual-object versus visual-spatial processing by examining how members of different professions generate, transform, inspect, and manipulate visual images. The results of the three studies demonstrated that visual-object ability satisfies the requirements of an independent component of intelligence: (1) it uniquely relates to specialization in visual art; (2) it supports processing of abstract visual-object information; and (3) it has unique quantitative and qualitative characteristics, distinct from those of visual-spatial processing.     

Trade-off in object versus spatial visualization abilities: Restriction in the development of visual-processing resources

Previous research indicates relative independence between the ventral and dorsal visual pathways, nassociated with object and spatial visual processing, respectively. The present research shows that, at the individualdifferences level, there is a trade-off, rather than independence, between object and spatial visualization abilities. Across five different age groups with different professional specializations, participants with above-average object visualization abilities (artists) had below-average spatial visualization abilities, and the inverse was true for those with above-average spatial visualization abilities (scientists). No groups showed both above-average object and above-average spatial visualization abilities. Furthermore, while total object and spatial visualization resources increase with age and experience, the trade-off relationship between object and spatial visualization abilities does not. These results suggest that the trade-off originates through a bottleneck that restricts the development of overall visualization resources, rather than through preferential experience in one type of visualization.     

Style and spectral power: processing of abstract and representational art in artists and non-artists

We investigated cortical activity in response to abstract and representational paintings in artists and non-artists. Participants engaged in visual inspection of works of art and recalled them immediately afterwards through mental imagery. Meanwhile, we recorded their EEG, and calculated the power of their alpha band and theta band activity afterwards. In accordance with previous studies, theta band and alpha band power differed between artists and non-artists; these differences were found to depend, however, on the abstract or representational character of the paintings. Differences between abstract and representational art, and between inspection and imagery, occurred in alpha band power for non-artists only and in theta band power for artists. These results were taken to suggest that effects in artists reflect sustained focused attention and perceptual flexibility; in non-artists motivation and engagement with the task. The results were essentially whole-head, despite the local character of the measurement.     

Neural correlates of object indeterminacy in art compositions

Indeterminate art invokes a perceptual dilemma in which apparently detailed and vivid images resist identification. We used event-related fMRI to study visual perception of representational, indeterminate and abstract paintings. We hypothesized increased activation along a gradient of posterior-to-anterior ventral visual areas with increased object resolution, and postulated that object resolution would be associated with visual imagery. Behaviorally, subjects were faster to recognize familiar objects in representational than in both indeterminate and abstract paintings. We found activation within a distributed cortical network that includes visual, parietal, limbic and prefrontal regions. Representational paintings, which depict scenes cluttered with familiar objects, evoked stronger activation than indeterminate and abstract paintings in higher-tier visual areas. Perception of scrambled paintings was associated with imagery-related activation in the precuneus and prefrontal cortex. Finally, representational paintings evoked stronger activation than indeterminate paintings in the temporoparietal junction. Our results suggest that perception of familiar content in art works is mediated by object recognition, memory recall and mental imagery, cognitive processes that evoke activation within a distributed cortical network.     

Visual imagery ability and the recognition of verbal and nonverbal stimuli.

High and low visual imagers, defined as such primarily on the basis of spatial manipulation test performance, were required to identify tachistoscopically-presented pictures, concrete words, and abstract words varying in familiarity. Two recognition paradigms were employed, recognition threshold and recognition latency. High imagers were faster in picture recognition under both paradigms when a nonverbal set or strategy was primed and when pictures were relatively unfamiliar in the threshold paradigm. No relationship was found between imagery ability and word recognition in the visual modality, nor was visual imagery ability related to the auditory recognition of verbal and nonverbal stimuli, such as words and environmental sounds. Commonalities between these findings and others in the imagery ability literature were noted.     

Inter-individual neural differences in movement imagery abilities

ObjectivesBuilding on mounting evidence distinguishing the neurological basis of different movement imagery abilities (visual versus kinesthetic), this study compared brain activity (i.e., blood flow changes) through functional magnetic resonance imaging elicited by movement imagery in participants self-reporting good and poor imagery abilities with the Movement Imagery Questionnaire-3. Participants also completed the Vividness of Movement Imagery Questionnaire-2. Method: Thirty-seven females (good imagery ability = 18; poor imagery ability = 19) were randomly presented with four experimental conditions (i.e., Kinesthetic, Internal Perspective, External Perspective and Rest) counterbalanced for condition, during three separate 11-min functional brain scans. Results: Kinesthetic and visual (internal/external) subscale mean differences of the Vividness of Movement Imagery Questionnaire-2 favored good imagers and high Movement Imagery Questionnaire-3 inter-scale correlations evidenced convergent validity. As in prior published work, kinesthetic, internal, and external visual imagery elicited distinct patterns of brain activation relative to rest. Overall, the patterns of brain activity in the good and poor imager groups were remarkably similar, indicating that they both generally relied on a similar brain network during movement imagery. Conclusions: Contrary to processing efficiency hypotheses (i.e., neural efficiency hypothesis) we report that during kinesthetic imagery and external visual imagery only, good imagers actually activated a greater number of spatially distinct cortical sites than did poor imagers. Furthermore, research is needed to fully characterize the neural signature of movement imagery in good and poor imagers. Such research is critical to the appropriate creation and proper application of neuroscience-inspired movement imagery-based learning interventions in healthy and clinical populations.     

The differential contributions of visual imagery constructs on autobiographical thinking

There is a growing theoretical and empirical consensus on the central role of visual imagery in autobiographical memory. However, findings from studies that explore how individual differences in visual imagery are reflected on autobiographical thinking do not present a coherent story. One reason for the mixed findings was suggested to be the treatment of visual imagery as an undifferentiated construct while evidence shows that there is more than one type of visual imagery. The present study investigates the relative contributions of different imagery constructs; namely, object and spatial imagery, on autobiographical memory processes. Additionally, it explores whether a similar relation extends to imagining the future. The results indicate that while object imagery was significantly correlated with several phenomenological characteristics, such as the level of sensory and perceptual details for past events – but not for future events – spatial imagery predicted the level of episodic specificity for both past and future events. We interpret these findings as object imagery being recruited in tasks of autobiographical memory that employ reflective processes while spatial imagery is engaged during direct retrieval of event details. Implications for the role of visual imagery in autobiographical thinking processes are discussed.     

Haptic identification of raised-line drawings: high visuospatial imagers outperform low visuospatial imagers

It has been assumed (Lederman et al. 1990, Perception & Psychophysics) that a visual imagery process is involved in the haptic identification of raised-line drawings of common objects. The finding of significant correlations between visual imagery ability and performance on picture-naming tasks was taken as experimental evidence in support of this assumption. However, visual imagery measures came from self-report procedures, which can be unreliable. The present study therefore used an objective measure of visuospatial imagery abilities in sighted participants and compared three groups of high, medium and low visuospatial imagers on their accuracy and response times in identifying raised-line drawings by touch. Results revealed between-group differences on accuracy, with high visuospatial imagers outperforming low visuospatial imagers, but not on response times. These findings lend support to the view that visuospatial imagery plays a role in the identification of raised-line drawings by sighted adults.     

Object imagery and object identification: object imagers are better at identifying spatially-filtered visual objects

Object imagery refers to the ability to construct pictorial images of objects. Individuals with high object imagery (high-OI) produce more vivid mental images than individuals with low object imagery (low-OI), and they encode and process both mental images and visual stimuli in a more global and holistic way. In the present study, we investigated whether and how level of object imagery may affect the way in which individuals identify visual objects. High-OI and low-OI participants were asked to perform a visual identification task with spatially-filtered pictures of real objects. Each picture was presented at nine levels of filtering, starting from the most blurred (level 1: only low spatial frequencies—global configuration) and gradually adding high spatial frequencies up to the complete version (level 9: global configuration plus local and internal details). Our data showed that high-OI participants identified stimuli at a lower level of filtering than participants with low-OI, indicating that they were better able than low-OI participants to identify visual objects at lower spatial frequencies. Implications of the results and future developments are discussed.     

The Role of Vividness of Visual Mental Imagery on Different Dimensions of Creativity

Although research demonstrated that people can mentally manipulate and synthesize visual elements into a creative object, the role that vividness of visual imagery plays on creative imagery is still unclear. This study explored the relationships between vividness of visual imagery and 3 dimensions of creative imagery: originality, practicality, and mental spatial transformations of visual elements. Fifty-three participants performed the creative mental synthesis task and completed the Vividness of Visual Imagery Questionnaire (VVIQ). Results revealed a positive relationship between vividness and the practicality dimension of objects. No relationship was found either between vividness and originality or between vividness and transformational complexity. The association vividness–practicality seems to reflect the ability to use pictorial information of imagery when people generate functional objects that belong to specific categories. Future research directions are discussed.     

Individual differences in visual imagery determine how event information is remembered

Individuals differ in how they mentally imagine past events. When reminiscing about a past experience, some individuals remember the event accompanied by rich visual images, while others will remember it with few of these images. In spite of the implications that these differences in the use of imagery have to the understanding of human memory, few studies have taken them into consideration. We examined how imagery interference affecting event memory retrieval was differently modulated by spatial and object imagery ability. We presented participants with a series of video-clips depicting complex events. Participants subsequently answered true/false questions related to event, spatial, or feature details contained in the videos, while simultaneously viewing stimuli that interfered with visual imagery processes (dynamic visual noise; DVN) or a control grey screen. The impact of DVN on memory accuracy was related to individual differences in spatial imagery ability. Individuals high in spatial imagery were less accurate at recalling details from the videos when simultaneously viewing the DVN stimuli compared to those low in spatial imagery ability. This finding held for questions related to the event and spatial details but not feature details. This study advocates for the inclusion of individual differences when studying memory processes.     

客体-空间表象和言语认知风格模型及其测量

在言语-表象认知风格模型中, 视觉表象认知风格一直被视为单一的结构, 且在此基础上发展出的各种测量方法均存在效度上的缺陷, 导致了研究者对该认知风格模型的普遍质疑。随着对视觉认知加工研究的深入, 尤其是对视觉客体表象与视觉空间表象在功能和解剖上的双分离的理解, 为进一步区分表象型认知风格提供了理论和实证依据, 进而促进了客体-空间表象和言语(Object-Spatial Imagery and Verbal, OSIV)认知风格模型的提出, 而在此基础上开发的新测量工具(Object-Spatial Imagery and Verbal Questionnaire, OSIVQ)具有良好的信、效度, 有力地支持了OSIV认知风格模型。OSIV认知风格模型及其测量为研究人类的认知风格以及视觉认知拓展了新视野。尽管如此, 两种不同视觉表象子系统并存于个体的视觉表象系统中, 因此, 它们分离的原因、相互作用及其与视觉注意之间的关系有待进一步研究。     

Creativity and involvement in art in different types of synaesthesia

The aim of the present study was to test the relationship between different types of synaesthesia and their involvement in art, creative, and visual abilities. We tested 20 grapheme‐colour, 18 sound‐colour, 19 grapheme‐colour‐and‐sound‐colour, 20 sequence‐space synaesthetes, and the same number of controls matched by age, gender, and education. We assessed the number of artistic professions, involvement in art, and the performance in psychometric tests of divergent and convergent creativity, as well as visual and visuo‐spatial abilities. Results show a higher prevalence of artists among synaesthetes, especially sound‐colour synaesthetes. Sound‐colour synaesthetes also showed a higher involvement in artistic activities overall while sequence‐space synaesthetes showed higher involvement in visual art. Only grapheme‐colour‐and‐sound‐colour synaesthetes showed significantly higher divergent creativity compared to matched controls. Additionally, overall, synaesthetes scored higher in visuo‐spatial abilities (i.e., mental rotation). For synaesthetes and controls, visuo‐spatial abilities correlated with divergent creativity. We discuss that synaesthetes’ higher involvement in art is not necessarily reflected in their basic creative abilities.     

Vividness of visual imagery and source memory for audio and text

Two groups of high and low vivid imagers heard an audiotape of a crime, read an account of it with both correct and new information, then took recognition and source memory tests. While listening and reading, both groups were told to attend carefully, but one was also instructed to form visual images of the scene. Recognition memory accuracy was greater for material from the text only than from the audio only, whereas source memory accuracy was greater for audio than for text. For source memory of text, high imagers performed more poorly than low imagers under imagery instructions. These results replicate previous work and extend it from an initial film source to an audio source. Copyright © 2002 John Wiley & Sons, Ltd.     

Differential aspects of visual short and long-term memory

Abstract

This paper is concerned with the decomposition of visual imagery ability in subcomponents. Basically, it is assumed that visual imagery consists of several components which are relatively independent of spatial imagery components (Kosslyn, Brunn, Cave, & Wallach, 1984; Poltrock & Agnoli, 1986; Poltrock & Brown, 1984).

Theoretical assumptions on individual differences in visual imagery are formulated within a framework of general information processing principles. Based on the assumption that data and conceptually driven processes are involved in visual imagery, we turned to the question of whether vivid and non-vivid imagers differ on a primary data or conceptually driven processing level. To induce primary data-driven visual processes, unfamiliar visual patterns were used (Logie, 1986; Phillips, 1983). A visual long-term memory task (Marks, 1973) should involve primary conceptually driven visual processes.

The analysis of relationships between self-report measures of visual imagery ability (VVIQ; Marks, 1973; TVIC; Gordon, 1949) and visual memory performance measures, showed that vivid imagers prefer, when already on a primary data-driven processing level, visual coding strategies that might favour the long-term storage of information contained in real-life pictures.