Bevil Conway: Difference between revisions
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Conway's research originally set out to explore the principle of [[color vision|double opponency]] in the primate visual system, showing (in 2001<ref>{{cite journal| first=Bevil R. |last=Conway |url=http://www.wellesley.edu/Neuroscience/Faculty_page/Conway/science/my_papers/Conway2001.pdf |title=Spatial Structure of Cone Inputs to Color Cells in Alert Macaque Primary Visual Cortex (V-1) |work=The Journal of Neuroscience |publisher=Wellesley.edu |date=April 15, 2001 |volume=21 |issue=8 |pages=2768-2783 |accessdate=2010-06-10}}</ref> and 2006<ref>{{cite journal|url=http://www.wellesley.edu/Neuroscience/Faculty_page/Conway/science/my_papers/Conway&Livingstone2006.pdf |title=Spatial and Temporal Properties of Cone Signals in Alert Macaque Primary Visual Cortex |work=The Journal of Neuroscience |publisher=Wellesley.edu |date=October 18, 2006 |first=Bevil R |last=Conway |coauthors=Margaret S. Livingstone |accessdate=2010-06-10|volume=26 |issue=42 |pages=10826-10846}}</ref>) that color cells in the first stage of cortical processing (V1) compute local ratios of cone activity, making them both color-opponent (red-green and blue-yellow) and spatially-opponent, pinning them down as the likely basis for color constancy and the building blocks for specific hues. |
Conway's research originally set out to explore the principle of [[color vision|double opponency]] in the primate visual system, showing (in 2001<ref>{{cite journal| first=Bevil R. |last=Conway |url=http://www.wellesley.edu/Neuroscience/Faculty_page/Conway/science/my_papers/Conway2001.pdf |title=Spatial Structure of Cone Inputs to Color Cells in Alert Macaque Primary Visual Cortex (V-1) |work=The Journal of Neuroscience |publisher=Wellesley.edu |date=April 15, 2001 |volume=21 |issue=8 |pages=2768-2783 |accessdate=2010-06-10}}</ref> and 2006<ref>{{cite journal|url=http://www.wellesley.edu/Neuroscience/Faculty_page/Conway/science/my_papers/Conway&Livingstone2006.pdf |title=Spatial and Temporal Properties of Cone Signals in Alert Macaque Primary Visual Cortex |work=The Journal of Neuroscience |publisher=Wellesley.edu |date=October 18, 2006 |first=Bevil R |last=Conway |coauthors=Margaret S. Livingstone |accessdate=2010-06-10|volume=26 |issue=42 |pages=10826-10846}}</ref>) that color cells in the first stage of cortical processing (V1) compute local ratios of cone activity, making them both color-opponent (red-green and blue-yellow) and spatially-opponent, pinning them down as the likely basis for color constancy and the building blocks for specific hues. |
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Subsequent work has focused on the representation of color in extrastriate areas of the brain that receive input from V1. In collaboration with Doris Tsao, he used fMRI to identify such functionally defined regions and coined the term "[[Glob (visual system)|globs]]" to describe them. In 2007 he used targeted single-unit recording techniques to characterize the behavior of cells in these color areas, showing that individual neurons in these areas respond selectively to specific hues.<ref>{{cite journal|url=http://www.wellesley.edu/Neuroscience/Faculty_page/Conway/science/my_papers/Conwayetal_2007_wc.pdf |title=Specialized Color Modules in Macaque Extrastriate Cortex |format=PDF |work=Neuron |publisher=Wellesley.edu |date=November 8, 2007 |first=Bevil R |last=Conway |coauthors=Sebastian Moeller, Doris Y. Tsao |volume=56 |issue=3 |pages=560-573 |accessdate=2010-06-10}}</ref> The behavior of these cells and the networks they are involved in are the current focus of his work. |
Subsequent work has focused on the representation of color in extrastriate areas of the brain that receive input from V1. In collaboration with Doris Tsao, he used fMRI to identify such functionally defined regions and coined the term "[[Glob (visual system)|globs]]" to describe them. In 2007 he used targeted single-unit recording techniques to characterize the behavior of cells in these color areas, showing that individual neurons in these areas respond selectively to specific hues.<ref>{{cite journal|url=http://www.wellesley.edu/Neuroscience/Faculty_page/Conway/science/my_papers/Conwayetal_2007_wc.pdf |title=Specialized Color Modules in Macaque Extrastriate Cortex |format=PDF |work=Neuron |publisher=Wellesley.edu |date=November 8, 2007 |first=Bevil R |last=Conway |coauthors=Sebastian Moeller, Doris Y. Tsao |volume=56 |issue=3 |pages=560-573 |accessdate=2010-06-10}}</ref> The behavior of these cells and the networks they are involved in are the current focus of his work.<ref>Conway BR, Tsao DY. (2009). Color-tuned neurons are spatially clustered according to color preference within alert macaque posterior inferior temporal cortex. Proc Natl Acad Sci U S A. 106:18035-18039. PMID 19805195</ref> |
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==Art== |
==Art== |
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Much of Conway's research is guided by the underlying thought that visual art can be used to reveal insights about how visual information is processed. An ongoing research project examines the idea that poor stereopsis may be an asset to artists (the startling finding that Rembrandt may have lacked stereopsis was widely discussed in the media).<ref>{{cite web|last=Blakeslee |first=Sandra |url=http://query.nytimes.com/gst/fullpage.html?res=9C07E6D71E30F935A2575AC0A9629C8B63&sec=health |title=Deconstructing the Gaze Of Rembrandt; Scientists Say a Vision Flaw May Have Aided His Genius |publisher=New York Times |date=2004-09-16 |accessdate=2010-06-10}}</ref> His interest in the dove-tailing of science and art has also spawned an interdisciplinary upper level course at Wellesley, [http://www.wellesley.edu/Neuroscience/Neuro320/ Vision and Art: Physics, Physiology, Perception, and Practice].<ref>{{cite journal|url=http://www.funjournal.org/downloads/200981/laferSousa-Conway81.pdf |title=Vision and Art: An Interdisciplinary Approach to Neuroscience Education |format=PDF |date=Fall 2009 |first=Rosa |last=Lafer-Sousa |coauthors=Bevil R. Conway |volume=8 |issue=1 |pages=A10-A17 |accessdate=2010-06-10}} |work=The Journal of Undergraduate Neuroscience Education (JUNE)</ref> |
Much of Conway's research is guided by the underlying thought that visual art can be used to reveal insights about how visual information is processed.<ref>http://www.boston.com/news/science/articles/2008/11/10/artists_vision_decode_color_perception/</ref> An ongoing research project examines the idea that poor stereopsis may be an asset to artists (the startling finding that Rembrandt may have lacked stereopsis was widely discussed in the media).<ref>{{cite web|last=Blakeslee |first=Sandra |url=http://query.nytimes.com/gst/fullpage.html?res=9C07E6D71E30F935A2575AC0A9629C8B63&sec=health |title=Deconstructing the Gaze Of Rembrandt; Scientists Say a Vision Flaw May Have Aided His Genius |publisher=New York Times |date=2004-09-16 |accessdate=2010-06-10}}</ref><ref>http://www.boston.com/news/nation/articles/2004/09/16/an_eye_on_rembrandt/</ref> His interest in the dove-tailing of science and art has also spawned an interdisciplinary upper level course at Wellesley, [http://www.wellesley.edu/Neuroscience/Neuro320/ Vision and Art: Physics, Physiology, Perception, and Practice].<ref>{{cite journal|url=http://www.funjournal.org/downloads/200981/laferSousa-Conway81.pdf |title=Vision and Art: An Interdisciplinary Approach to Neuroscience Education |format=PDF |date=Fall 2009 |first=Rosa |last=Lafer-Sousa |coauthors=Bevil R. Conway |volume=8 |issue=1 |pages=A10-A17 |accessdate=2010-06-10}} |work=The Journal of Undergraduate Neuroscience Education (JUNE)</ref> |
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As an artist Conway is active in visual media, predominantly watercolors, oils, and prints. A larger, ongoing project is a series of sculptures in the shape glass boxes. His interest is driven by fundamental questions of art making: How do brain and visual apparatus co-operate in making an art object? What is the role of muscle memory in making marks on paper and, more broadly, in the creative process? How do artists challenge the constraints and limitations of our visual system? His works are in the collection of the Fogg Art Museum, private collections in Europe, North America and Africa, and have been featured in books and commercials. |
As an artist Conway is active in visual media, predominantly watercolors, oils, and prints. A larger, ongoing project is a series of sculptures in the shape glass boxes.<ref>http://www.wellesley.edu/Neuroscience/Faculty_page/Conway/index.htm</ref> His interest is driven by fundamental questions of art making: How do brain and visual apparatus co-operate in making an art object? What is the role of muscle memory in making marks on paper and, more broadly, in the creative process? How do artists challenge the constraints and limitations of our visual system? His works are in the collection of the Fogg Art Museum, private collections in Europe, North America and Africa, and have been featured in books and commercials.<ref>http://www.wellesley.edu/Neuroscience/Faculty_page/Conway/index.htm</ref> |
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==Notes== |
==Notes== |
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Revision as of 12:16, 21 June 2010
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Bevil Conway (born November 4, 1974, Harare, Zimbabwe) neuroscientist and artist. Conway specializes in visual perception in his scientific work, and he often explores the limitations of the visual system in his artwork. He is currently Knafel Assistant Professor at Wellesley College.
Conway was educated at McGill University and Harvard University. On finishing his PhD, Conway was elected a Junior Fellow at the Harvard Society of Fellows, and spent a year as an Alexander von Humboldt Foundation Fellow at the University of Bremen, Germany. Since 2006 he has been Knafel Assistant Professor in the program of Neuroscience at Wellesley College. Conway also helped establish the Kathmandu University Medical School in Nepal, where he taught as Assistant Professor in 2002-03
Science
Conway's research originally set out to explore the principle of double opponency in the primate visual system, showing (in 2001[1] and 2006[2]) that color cells in the first stage of cortical processing (V1) compute local ratios of cone activity, making them both color-opponent (red-green and blue-yellow) and spatially-opponent, pinning them down as the likely basis for color constancy and the building blocks for specific hues.
Subsequent work has focused on the representation of color in extrastriate areas of the brain that receive input from V1. In collaboration with Doris Tsao, he used fMRI to identify such functionally defined regions and coined the term "globs" to describe them. In 2007 he used targeted single-unit recording techniques to characterize the behavior of cells in these color areas, showing that individual neurons in these areas respond selectively to specific hues.[3] The behavior of these cells and the networks they are involved in are the current focus of his work.[4]
Art
Much of Conway's research is guided by the underlying thought that visual art can be used to reveal insights about how visual information is processed.[5] An ongoing research project examines the idea that poor stereopsis may be an asset to artists (the startling finding that Rembrandt may have lacked stereopsis was widely discussed in the media).[6][7] His interest in the dove-tailing of science and art has also spawned an interdisciplinary upper level course at Wellesley, Vision and Art: Physics, Physiology, Perception, and Practice.[8]
As an artist Conway is active in visual media, predominantly watercolors, oils, and prints. A larger, ongoing project is a series of sculptures in the shape glass boxes.[9] His interest is driven by fundamental questions of art making: How do brain and visual apparatus co-operate in making an art object? What is the role of muscle memory in making marks on paper and, more broadly, in the creative process? How do artists challenge the constraints and limitations of our visual system? His works are in the collection of the Fogg Art Museum, private collections in Europe, North America and Africa, and have been featured in books and commercials.[10]
Notes
- ^ Conway, Bevil R. (April 15, 2001). "Spatial Structure of Cone Inputs to Color Cells in Alert Macaque Primary Visual Cortex (V-1)" (PDF). The Journal of Neuroscience. 21 (8). Wellesley.edu: 2768–2783. Retrieved 2010-06-10.
- ^ Conway, Bevil R (October 18, 2006). "Spatial and Temporal Properties of Cone Signals in Alert Macaque Primary Visual Cortex" (PDF). The Journal of Neuroscience. 26 (42). Wellesley.edu: 10826–10846. Retrieved 2010-06-10.
{{cite journal}}: Unknown parameter|coauthors=ignored (|author=suggested) (help) - ^ Conway, Bevil R (November 8, 2007). "Specialized Color Modules in Macaque Extrastriate Cortex" (PDF). Neuron. 56 (3). Wellesley.edu: 560–573. Retrieved 2010-06-10.
{{cite journal}}: Unknown parameter|coauthors=ignored (|author=suggested) (help) - ^ Conway BR, Tsao DY. (2009). Color-tuned neurons are spatially clustered according to color preference within alert macaque posterior inferior temporal cortex. Proc Natl Acad Sci U S A. 106:18035-18039. PMID 19805195
- ^ http://www.boston.com/news/science/articles/2008/11/10/artists_vision_decode_color_perception/
- ^ Blakeslee, Sandra (2004-09-16). "Deconstructing the Gaze Of Rembrandt; Scientists Say a Vision Flaw May Have Aided His Genius". New York Times. Retrieved 2010-06-10.
- ^ http://www.boston.com/news/nation/articles/2004/09/16/an_eye_on_rembrandt/
- ^ Lafer-Sousa, Rosa (Fall 2009). "Vision and Art: An Interdisciplinary Approach to Neuroscience Education" (PDF). 8 (1): A10–A17. Retrieved 2010-06-10.
{{cite journal}}: Cite journal requires|journal=(help); Unknown parameter|coauthors=ignored (|author=suggested) (help) |work=The Journal of Undergraduate Neuroscience Education (JUNE) - ^ http://www.wellesley.edu/Neuroscience/Faculty_page/Conway/index.htm
- ^ http://www.wellesley.edu/Neuroscience/Faculty_page/Conway/index.htm