Textbook Group meeting for Parr, Pezzulo, Friston 2022 .

all right [Music] welcome it's October 17th 2023 and we're in our first discussion of chapter 8 in cohort 4 so to begin with what are just any thoughts or memories that you fellows have about chapter 8 just any any piece that you remember or anything about eight um I was curious about the part where they talk about how movement and attenuation like sensory attenuation that was interesting to me where they I hope I remember calling this correctly but it was like you didn't want to perfectly predict it at a certain point for like to perceive movement which was interesting um I don't know if I perfectly understand that but uh I kind of see an intuitive aspect to that I guess oh yeah that's a very interesting section Andrew anything that that you um think about yeah yeah um I guess I'd second an interest in sensory attenuation as well because I I guess um we could get to that but like box 8.1 is kind of the key bit of interest there the relationship between Precision attention and sensory attenuation so they seem to more or less equate precision and attention um I guess the idea is um you have some kind of belief that is you know I am not moving and you need you need to downplay or decrease the Precision of that belief such that you can actually move in the first place otherwise if you have very high Precision I am not moving um that kind of stays in place and so you never actually get started on moving um yeah know I thought that was really interesting and it comes up a little bit more later in the chapter on how that kind of plays out and the movement of Limbs and such so I thought that was pretty pretty fascinating yeah totally and like where else does that apply like can we understand the example they give with a motor Behavior connected to the Octan fonty and then what other analogous um sensory attenuation cases might be happening let's just see if it's been explored in a question okay we'll definitely look at this question about precision and then here's the Box 8.1 okay no answer what what what's interesting about it um a or what what would you want to know about it or what do I mean um I guess like I was just it was just something where um when I read it it was it made uh sense but I'm still trying to let me see if I can find it it made sense it was just um interesting that we aren't like was it were they saying that the perception of movement itself like in order to perceive movement it was like we were decreasing how um well we were predicting uh those States yeah in order to generate Movement we must be able to ignore the sensory consequences which is to say dis attend to it or attenuate to it yeah of that move movement to form the initially false belief that I am moving okay okay yeah that's like just I don't know something about that's very interesting it's a so and then afterwards are you we are trying to make up for that by uh trying to predict those uh or get those appropriate like inferences right um it's not you're not you're you're going to start attending to it again or is it you just decrease how much attention you're putting on to those States at first and then after you're yeah make certainly it's an oscillatory pattern so one one analogy or another case or sensory tenation is really important is the ey Cade so when the Eyes Are Fixed the Precision is is high so that changes in the visual scene when the Eyes Are Fixed can be informative and then during head movement Andor eye movement you kind of have like a a hyper prior that pixel changes or or um are uninformative because they're they're not going to be very useful there's You're Expecting High volatility on when there's movement so during that there like a sensory attenuation during the seccade and then as soon as the Cade ends it's just like re-engages attenion okay so it's kind of like when when the um when the signal to contract the bicep occurs there's also a descending relaxation of the tricep in in the kind of healthy setting so it's not just…