Marine heatwaves(MHWs)have become increasingly frequent and persistent in the context of global warming and the related underlying mechanisms are strongly region-dependent.We employed the NOAA(National Oceanic and Atm...Marine heatwaves(MHWs)have become increasingly frequent and persistent in the context of global warming and the related underlying mechanisms are strongly region-dependent.We employed the NOAA(National Oceanic and Atmospheric Administration)CRW(Coral Reef Watch)daily mean sea surface temperature dataset spanning from 1985 to 2022 to comprehensively analyze the fundamental attributes and evolving patterns of marine heatwaves in the offshore waters of China.Eight pronounced marine heatwaves from frequently affected sensitive regions were investigated to explore their formation mechanisms.The relationship between the occurrences of marine heatwave and large-scale climate mode in the region was explored.Results show that the western Pacific subtropical high plays an essential role in triggering marine heatwaves in Chinese offshore waters,with an anomalous downward shortwave radiation flux acting to warm the sea surface,which is remotely associated to the large-scale sea surface temperature state.Distinct mechanisms for the MHWs were identified in the northern and southern offshore waters of China.MHWs in high latitudes(such as the Bohai Sea and the Yellow Sea)mainly occur during the negative phase of the Pacific Decadal Oscillation(PDO),while those in low latitudes(such as the South China Sea)are more common in about 5-month lags behind the El Niño,for which we purposed a mechanism to describe the main differences in the formation of MHWs in China and discussed the related implications.展开更多
Art in general perception is something that transcends our notion of reality.In view of the earliest findings in Paleolithic sites,their abstract appearance and sometimes ceremonial context increased their status of a...Art in general perception is something that transcends our notion of reality.In view of the earliest findings in Paleolithic sites,their abstract appearance and sometimes ceremonial context increased their status of a secret language.Even the first figurative cave paintings remained in a context of an encoded semantic whole.The highly symbolic value of art seemed invulnerable.It was just the claim for“mimesis”in Greek antiquity(Plato)that urged artists to“realistically”depict what can be seen—as to stay in track of eternal messages behind.This devaluated the artistic oeuvre to a purely imitating craft and had to overcome at once several inherent obstacles.First,that reality(the phenomenal world)is in general only a pale reflection of what lays behind(Platonic ideas)and second,that the human eye,unlike the human mind,cannot penetrate to more than ephemeral impressions.Moreover,it mixed up reality with what we are able to see(i.e.visual perception),thus supposing a pinpoint representation of the world by our senses.Aristotle was the first to qualify art as picturing more than we usually are meant to see,filling the gap between the sensual and the spiritual world.Aristotelian aesthetics includes concepts of reduction and selection of composition and emotion,thus a summarized view within any performance of poetics or painting.And it took centuries to close the gap between natural and aesthetic perception or art.Life sciences in the 20th century discovered the evolutionary basis of sensory perception as being highly biased and organized,concept as emotion-driven and thus,mentally equipped as well.This sets a new approach in our understanding of perception,art,and aesthetics as an ongoing communication in process on common bases.Art may cooperate or disagree,but never can cut the nexus with its perceptual prejudices and substrate.展开更多
Patients with lesions in the visual cortex are blind in corresponding regions of the visual field,but they still may process visual information,a phenomenon referred to as residual vision or“blindsight”.Here we repo...Patients with lesions in the visual cortex are blind in corresponding regions of the visual field,but they still may process visual information,a phenomenon referred to as residual vision or“blindsight”.Here we report behavioral and fMRI observations with a patient who reports conscious vision across an extended area of blindness for moving,but not for stationary stimuli.This completion effect is shown to be of perceptual and not of conceptual origin,most likely mediated by spared representations of the visual field in the striate cortex.The neural output to extra-striate areas from regions of the deafferented striate cortex is apparently still intact;this is,for instance,indicated by preserved size constancy of visually completed stimuli.Neural responses as measured with fMRI reveal an activation only for moving stimuli,but importantly on the ipsilateral side of the brain.In a conceptual model this shift of activation to the“wrong”hemisphere is explained on the basis of an imbalance of excitatory and inhibitory interactions within and between the striate cortices due to the brain injury.The observed neuroplasticity indicated by this shift together with the behavioral observations provide important new insights into the functional architecture of the human visual system and provide new insight into the concept of consciousness.展开更多
基金Supported by the National Natural Science Foundation of China(No.41905089)the Laoshan Laboratory(No.LSKJ202202404)+1 种基金the Startup Foundation for Introducing Talent of NUIST,Jiangsu Innovation Research Group(No.JSSCTD202346)the Undergraduates Innovation and Entrepreneurship Training Program of Jiangsu Province(No.202310300087Y)。
文摘Marine heatwaves(MHWs)have become increasingly frequent and persistent in the context of global warming and the related underlying mechanisms are strongly region-dependent.We employed the NOAA(National Oceanic and Atmospheric Administration)CRW(Coral Reef Watch)daily mean sea surface temperature dataset spanning from 1985 to 2022 to comprehensively analyze the fundamental attributes and evolving patterns of marine heatwaves in the offshore waters of China.Eight pronounced marine heatwaves from frequently affected sensitive regions were investigated to explore their formation mechanisms.The relationship between the occurrences of marine heatwave and large-scale climate mode in the region was explored.Results show that the western Pacific subtropical high plays an essential role in triggering marine heatwaves in Chinese offshore waters,with an anomalous downward shortwave radiation flux acting to warm the sea surface,which is remotely associated to the large-scale sea surface temperature state.Distinct mechanisms for the MHWs were identified in the northern and southern offshore waters of China.MHWs in high latitudes(such as the Bohai Sea and the Yellow Sea)mainly occur during the negative phase of the Pacific Decadal Oscillation(PDO),while those in low latitudes(such as the South China Sea)are more common in about 5-month lags behind the El Niño,for which we purposed a mechanism to describe the main differences in the formation of MHWs in China and discussed the related implications.
文摘Art in general perception is something that transcends our notion of reality.In view of the earliest findings in Paleolithic sites,their abstract appearance and sometimes ceremonial context increased their status of a secret language.Even the first figurative cave paintings remained in a context of an encoded semantic whole.The highly symbolic value of art seemed invulnerable.It was just the claim for“mimesis”in Greek antiquity(Plato)that urged artists to“realistically”depict what can be seen—as to stay in track of eternal messages behind.This devaluated the artistic oeuvre to a purely imitating craft and had to overcome at once several inherent obstacles.First,that reality(the phenomenal world)is in general only a pale reflection of what lays behind(Platonic ideas)and second,that the human eye,unlike the human mind,cannot penetrate to more than ephemeral impressions.Moreover,it mixed up reality with what we are able to see(i.e.visual perception),thus supposing a pinpoint representation of the world by our senses.Aristotle was the first to qualify art as picturing more than we usually are meant to see,filling the gap between the sensual and the spiritual world.Aristotelian aesthetics includes concepts of reduction and selection of composition and emotion,thus a summarized view within any performance of poetics or painting.And it took centuries to close the gap between natural and aesthetic perception or art.Life sciences in the 20th century discovered the evolutionary basis of sensory perception as being highly biased and organized,concept as emotion-driven and thus,mentally equipped as well.This sets a new approach in our understanding of perception,art,and aesthetics as an ongoing communication in process on common bases.Art may cooperate or disagree,but never can cut the nexus with its perceptual prejudices and substrate.
基金National Natural Science Foundation of China,Grant/Award Numbers:31771213,31371018,31871098Chinese Academy of Sciences(CAS Visiting Professorships for Senior International Scientists)German Research Foundation。
文摘Patients with lesions in the visual cortex are blind in corresponding regions of the visual field,but they still may process visual information,a phenomenon referred to as residual vision or“blindsight”.Here we report behavioral and fMRI observations with a patient who reports conscious vision across an extended area of blindness for moving,but not for stationary stimuli.This completion effect is shown to be of perceptual and not of conceptual origin,most likely mediated by spared representations of the visual field in the striate cortex.The neural output to extra-striate areas from regions of the deafferented striate cortex is apparently still intact;this is,for instance,indicated by preserved size constancy of visually completed stimuli.Neural responses as measured with fMRI reveal an activation only for moving stimuli,but importantly on the ipsilateral side of the brain.In a conceptual model this shift of activation to the“wrong”hemisphere is explained on the basis of an imbalance of excitatory and inhibitory interactions within and between the striate cortices due to the brain injury.The observed neuroplasticity indicated by this shift together with the behavioral observations provide important new insights into the functional architecture of the human visual system and provide new insight into the concept of consciousness.
