The spatial layout of doorways and environmental boundaries shape the content of event memories

Prediction error and event segmentation in episodic memory

Organizing the continuous flow of experiences into meaningful events is a crucial prerequisite for episodic memory. Prediction error and event segmentation both play important roles in supporting the genesis of meaningful mnemonic representations of events. We review theoretical contributions discussing the relationship between prediction error and event segmentation, as well as literature on episodic memory related to prediction error and event segmentation. We discuss the extent of overlap of mechanisms underlying memory emergence through prediction error and event segmentation, with a specific focus on attention and working memory. Finally, we identify areas in research that are currently developing and suggest future directions. We provide an overview of mechanisms underlying memory formation through predictions, violations of predictions, and event segmentation.

Aesthetic experience enhances first-person spatial representation

Episodic autobiographical memories are characterized by a spatial context and an affective component. But how do affective and spatial aspects interact? Does affect modulate the way we encode the spatial context of events? We investigated how one element of affect, namely aesthetic liking, modulates memory for location, in three online experiments (n = 124, 79, and 80). Participants visited a professionally curated virtual art exhibition. They then relocated previously viewed artworks on the museum map and reported how much they liked them. Across all experiments, liking an artwork was associated with increased ability to recall the wall on which it was hung. The effect was not explained by viewing time and appeared to modulate recognition speed. The liking-wall memory effect remained when participants attended to abstractness, rather than liking, and when testing occurred 24 h after the museum visit. Liking also modulated memory for the room where a work of art was hung, but this effect primarily involved reduced room memory for disliked artworks. Further, the liking-wall memory effect remained after controlling for effects of room memory. Recalling the wall requires recalling one's facing direction, so our findings suggest that positive aesthetic experiences enhance first-person spatial representations. More generally, a first-person component of positive affect transfers to wider spatial representation and facilitates the encoding of locations in a subject-centered reference frame. Affect and spatial representations are therefore important, and linked, elements of sentience and subjectivity. Memories of aesthetic experiences are also spatial memories of how we encountered a work of art. This linkage may have implications for museum design.