Explore the vast range of titles available.

Previous research has uncovered medical and psychological effects of anabolic–androgenic steroid (AAS) use, but the specific relationship between AAS use and risk-taking behaviors as well as between AAS use and psychopathic tendencies remains understudied. To explore these potential relationships, we anonymously recruited 492 biologically male, self-identified bodybuilders (median age 22; range 18–47 years) from online bodybuilding fora to complete an online survey on Appearance and Performance Enhancing Drug (APED) use, psychological traits, lifestyle choices, and health behaviors. We computed odds ratios and 95% confidence intervals using logistic regression, adjusting for age, race, education, exercise frequency, caloric intake, and lean BMI. Bodybuilders with a prior history of AAS use exhibited heightened odds of psychopathic traits, sexual and substance use risk-taking behaviors, anger problems, and physical problems compared to those with no prior history of AAS use. This study is among the first to directly assess psychopathy within AAS users. Our results on risk-taking, anger problems, and physical problems are consistent with prior AAS research as well as with existing frameworks of AAS use as a risk behavior. Future research should focus on ascertaining causality, specifically whether psychopathy is a risk associated with or a result of AAS use.

Here, we introduce and explore Scintillating Starbursts, a stimulus type made up of concentric star polygons that induce illusory scintillating rays or beams. We test experimentally which factors, such as contrast and number of vertices, modulate how observers experience this stimulus class. We explain how the illusion arises from the interplay of known visual processes, specifically central versus peripheral vision, and interpret the phenomenology evoked by these patterns. We discuss how Starbursts differ from similar and related visual illusions such as illusory contours, grid illusions such as the pincushion grid illusion as well as moiré patterns.

How well do we remember popular music? To investigate how hit songs are recognized over time, we randomly selected number-one Billboard singles from the last 76 years and presented them to a large sample of mostly millennial participants. In response to hearing each song, participants were prompted to indicate whether they recognized it. Plotting the recognition proportion for each song as a function of the year during which it reached peak popularity resulted in three distinct phases in collective memory. The first phase is characterized by a steep linear drop-off in recognition for the music from this millennium; the second phase consists of a stable plateau during the 1960s to the 1990s; and the third phase, a further but more gradual drop-off during the 1940s and 1950s. More than half of recognition variability can be accounted for by self-selected exposure to each song as measured by its play count on Spotify. We conclude that collective memory for popular music is different from that of other historical phenomena.

This is the first comprehensive teaching resource and textbook for the teaching of Matlab in the Neurosciences and in Psychology. Matlab is unique in that it can be used to learn the entire empirical and experimental process, including stimulus generation, experimental control, data collection, data analysis and modeling. Thus a wide variety of computational problems can be addressed in a single programming environment. The idea is to empower advanced undergraduates and beginning graduate students by allowing them to design and implement their own analytical tools. As students advance in their research careers, they will have achieved the fluency required to understand and adapt more specialized tools as opposed to treating them as \"black boxes\".

Adaptations that gave our ancestors an evolutionary edge can cause major problems for modern humans Economists like to assert that humans are cool calculators of maximal utility, considering all options, then deciding on a course of action that leads to the best outcome possible. In this light, it seems puzzling that the news is chock full of reports of people who seem to violate this presumption, sometimes violently. Why We Snap by R. Douglas Fields attempts to explain the seeming paradox from the perspective of neuroscience. In doing so, the book nicely illustrates an irony of evolution: Much of what evolved to keep us safe can get us into serious trouble in the modern world.

Motion transparency occurs when multiple object velocities are present within a local region of retinotopic space. Transparent signals can carry information useful in the segmentation of moving objects and in the extraction of three-dimensional structure from relative motion cues. However, the physiological substrate underlying the detection of motion transparency is poorly understood. Direction tuned neurons in area MT are suppressed by transparent stimuli, suggesting that other motion sensitive areas may be needed to represent this signal robustly. Recent neuroimaging evidence implicated two such areas in the macaque superior temporal sulcus. We studied one of these, FST, with electrophysiological methods and found that a large fraction of the neurons responded well to two opposite directions of motion and to transparent stimuli containing those same directions. A linear combination of MT-like responses qualitatively reproduces this behavior and predicts that FST neurons can be tuned for transparent motion containing specific direction and depth components. We suggest that FST plays a role in motion segmentation based on transparent signals.

Neuroimaging research suggests that watching a movie synchronizes brain activity between observers. This is surprising in light of anecdotal reports that viewers construct their experience radically differently consistent with contemporary cognitive media theory. This article empirically tests the degree of agreement in the appraisal of commercially produced major motion pictures. Ratings for more than two hundred carefully selected movies were solicited from a diverse pool of more than three thousand study participants. Doing so shows that intersubjective movie appraisal is strikingly low but significantly different from zero. The article also shows that these ratings correlate only weakly with the judgment of professional movie critics. Taken together, this study supports the notion that movies are an extremely rich, highly dimensional narrative stimulus with many degrees of freedom for viewers to construct their subjective experience in a highly idiosyncratic fashion.

Motion aftereffects (MAEs) are thought to result from the adaptation of both subcortical and cortical systems involved in the processing of visual motion. Recently, it has been reported that the implied motion of static images in combination with linguistic descriptions of motion is sufficient to elicit an MAE, although neither factor alone is thought to directly activate visual motion areas in the brain. Given that the monotonic change of musical pitch is widely recognized in music as a metaphor for vertical motion, we investigated whether prolonged exposure to ascending or descending musical scales can also produce a visual motion aftereffect. After listening to ascending or descending musical scales, participants made decisions about the direction of visual motion in random-dot kinematogram stimuli. Metaphoric motion in the musical stimuli did affect the visual direction judgments, in that repeated exposure to rising or falling musical scales shifted participants’ sensitivity to visual motion in the opposite direction. The finding that music can induce an MAE suggests that the subjective interpretation of monotonic pitch change as motion may have a perceptual foundation.