This occurs because noise can modulate the reliability without disrupting the precision of spikes evoked by small-amplitude, fast-onset signals. Using simulations and in vitro experiments in which mouse S1 pyramidal neurons were stimulated with inputs emulating those induced by vibrotactile stimuli, we show that fewer cycles are skipped as stimulus intensity increases, as required for rate coding, and that intrinsic or synaptic noise can induce irregular skipping without disrupting phase locking, as required for temporal coding. Spikes must phase-lock to the stimulus for spike times (intervals) to encode stimulus frequency, but, in addition, skipping must occur irregularly to avoid aliasing. The proportion of skipped cycles must vary inversely with stimulus intensity for firing rate to encode stimulus intensity. Because they fire at low rates, pyramidal neurons cannot entrain 1:1 with high-frequency (100 to 600 Hz) inputs and, instead, must skip (i.e., not respond to) some stimulus cycles. For example, some pyramidal neurons in primary somatosensory cortex (S1) use the rate and timing of their spikes to, respectively, encode the intensity and frequency of vibrotactile stimuli. In-person classes have resumed at the National Theatre Drama School and enrolments are open for 2022.Neurons can use different aspects of their spiking to simultaneously represent (multiplex) different features of a stimulus. ‘It’s an opportunity, in a structured space, to re-practice those social skills – it’s great fun. Noting that there may be some social anxiety around reopening after prolonged isolation, Cawthorne said this was where drama classes can help. ‘One of the things that people don’t think about when taking care of their mental health is how helpful it can be for you just to be able to release tension, to allow yourself to be more open.’ ‘All of them just really wanted to be more present and by the end of the course they all agreed that they felt that way … they were prepared to be silly and not take themselves so seriously, which was lovely because that’s my whole life.’Ĭawthorne continued: ‘As adults, we do forget that we’re allowed to play because we get into this very serious work world. Image supplied.įor some, entering the unfamiliar terrain of drama may be nerve-wracking, but Cawthorne guides them through a process where they can feel more confident and learn the tools to release their tension. The Adult Intro to Acting class is one which Cawthorne finds especially rewarding: ‘I loved teaching that class because people were very honest with me at the beginning.’ Drama classes can help build your confidence, says Cawthorne. BRINGING OUT YOUR BESTĪdult short courses attract beginners who just want a taste of acting as well as professionals seeking to propel their careers. ‘The aim is always to try to build towards a performance where they can practice those skills and look at how they can affect an audience,’ said Cawthorne, adding that ‘parents and friends usually come along’. The performance theme is always developed in collaboration with the students in order to explore social and political issues they feel strongly about. Youth drama classes usually involve skills building in term one, which are then incorporated into a performance in term two. I love seeing them actually feel confident in their own body, with their own opinions and their own thoughts,’ she added.Ĭawthorne expects the return of in-person classes at The National Theatre to further fuel the enthusiasm that young people have for drama in the presence of their peers and expressing themselves in a safe space. ‘The development that I see in young people when they can tell their own story is unbelievable. ‘I’m really interested in ensuring that young people have a platform for their voice to be heard, because often it’s a voice that can be a minority in the world we live in,’ said Cawthorne.
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