9,590 research outputs found
Rapid induction of false memory for pictures
No full textIn this thesis, a new procedure is proposed which achieves the rapid induction of false recognition memory for rich pictorial stimuli. Chapter 2 presents the basic three-step procedure in which participants study some pictures, imagine others in response to words, and perform a picture recognition test. Imagining pictures leads to a false alarm rate of 27% above baseline (Experiments 1a and 1b). In Chapter 3, a source monitoring test is used to demonstrate that this effect is not solely due to diffuse familiarity (Experiment 2) and does not appear to be driven by perceptual processing (Experiment 3). Chapter 4 investigates whether imagination impairs discrimination between studied and new items presented side by side. On a two-alternative forced choice test, participants are less accurate in indicating the studied picture when it is paired with an imagined picture than when paired with a new picture (Experiment 4). The role of indirect tests in verbal false memory research and the value of applying them to pictorial stimuli is discussed in Chapter 5. An indirect perceptual identification test previously used for words is adapted to pictures and shown to be highly perceptually driven (Experiment 5). Chapter 6 presents consistent evidence for the lack of perceptual priming of imagined items in the current procedure despite high levels of false recognition (Experiments 6-7), again indicating that the effect is conceptually driven. Chapter 7 discusses how the new procedure presented in the thesis can further our understanding of the similarities and differences between true and false memories
Communicating pictures : a course in image and video coding /
No full textCommunicating Pictures starts with a unique historical perspective of the role of images in communications and then builds on this to explain the applications and requirements of a modern video coding system. It draws on the author's extensive academic and professional experience of signal processing and video coding to deliver a text that is algorithmically rigorous, yet accessible, relevant to modern standards, and practical. It offers a thorough grounding in visual perception, and demonstrates how modern image and video compression methods can be designed.Includes bibliographical references and index.Print version record.Communicating Pictures starts with a unique historical perspective of the role of images in communications and then builds on this to explain the applications and requirements of a modern video coding system. It draws on the author's extensive academic and professional experience of signal processing and video coding to deliver a text that is algorithmically rigorous, yet accessible, relevant to modern standards, and practical. It offers a thorough grounding in visual perception, and demonstrates how modern image and video compression methods can be designed.The human visual system -- Discrete-time analysis for images and video -- Digital picture formats and representations -- Transforms for image and video coding -- Filter banks and wavelet compression -- Lossless compression methods -- Coding moving pictures : motion prediction -- The block-based hybrid video codec -- Measuring and managing picture quality -- Communicating pictures : delivery across networks -- Video coding standards -- Communicating pictures : the future.Elsevie
IMMEDIATE INTEGRATION OF PROSODIC INFORMATION FROM SPEECH AND VISUAL INFORMATION FROM PICTURES IN THE ABSENCE OF FOCUSED ATTENTION: A MISMATCH NEGATIVITY STUDY
No full textLanguage is often perceived together with visual information. Recent experimental evidences indicated that, during spoken language comprehension, the brain can immediately integrate visual information with semantic or syntactic information from speech. Here we used the mismatch negativity to further investigate whether prosodic information from speech could be immediately integrated into a visual scene context or not, and especially the time course and automaticity of this integration process. Sixteen Chinese native speakers participated in the study. The materials included Chinese spoken sentences and picture pairs. In the audiovisual situation, relative to the concomitant pictures, the spoken sentence was appropriately accented in the standard stimuli, but inappropriately accented in the two kinds of deviant stimuli. In the purely auditory situation, the speech sentences were presented without pictures. It was found that the deviants evoked mismatch responses in both audiovisual and purely auditory situations; the mismatch negativity in the purely auditory situation peaked at the same time as, but was weaker than that evoked by the same deviant speech sounds in the audiovisual situation. This pattern of results suggested immediate integration of prosodic information from speech and visual information from pictures in the absence of focused attention.Language is often perceived together with visual information. Recent experimental evidences indicated that, during spoken language comprehension, the brain can immediately integrate visual information with semantic or syntactic information from speech. Here we used the mismatch negativity to further investigate whether prosodic information from speech could be immediately integrated into a visual scene context or not, and especially the time course and automaticity of this integration process. Sixteen Chinese native speakers participated in the study. The materials included Chinese spoken sentences and picture pairs. In the audiovisual situation, relative to the concomitant pictures, the spoken sentence was appropriately accented in the standard stimuli, but inappropriately accented in the two kinds of deviant stimuli. In the purely auditory situation, the speech sentences were presented without pictures. It was found that the deviants evoked mismatch responses in both audiovisual and purely auditory situations; the mismatch negativity in the purely auditory situation peaked at the same time as, but was weaker than that evoked by the same deviant speech sounds in the audiovisual situation. This pattern of results suggested immediate integration of prosodic information from speech and visual information from pictures in the absence of focused attention. (C) 2009 IBRO. Published by Elsevier Ltd. All rights reserved
Cognitive mechanisms underlying emotion regulation
No full textTraditional theories of emotion have emphasised the automatic and unconscious nature of emotion generation and hence emotion regulation via antecedent and response focused strategies. Response strategies either inhibit the
expression of an emotional response or modulate it via cognitive reappraisal. Antecedent strategies involve avoidance behaviour i. e. avoiding situations in which
the emotional response is likely to occur. Recent evidence has now demonstrated, however, that the cognitive and emotional systems are highly interactive and that
conscious attention may be necessary to generate emotion. Conscious attention can be controlled via executive functioning and the requirements of immediate goals.
This evidence opens up the possibility of regulating emotions by executive functioning on-line i. e. as they occur.
The aim of this thesis was to investigate on-going emotion generation and the mechanisms and processes that regulate it. A series of experiments manipulated cognitive functioning via direct instructions to Feel and Not Feel emotional responses to negative and neutral pictures and, indirectly, by manipulating cognitive resources available for processing the pictures. Participants in the latter experiments were required to maintain visual attention to the stimuli in order to rate the strength of their emotional responses to them whilst simultaneously holding in mind pictures or words requiring a subsequent same-different decision to a following item. It was believed that depleting cognitive resources could attenuate emotional responses.
Results from the experiments showed that emotional responses can be attenuated by depleting cognitive resources available for processing emotional stimuli; an explanation that can explain both direct and indirect manipulations of cognitive functioning. It was not clear, however, whether emotion generation is not automatic or whether automatic processing requires some input from cognitive resources. Further research is also required to discover whether the cognitive resources required to generate emotions involve executive functioning for visual
attentional processing, to maintain conscious attention for higher order processing, or for low level cognitive appraisals
[[alternative]]Research of Moussorgsky/Ravel :"Pictures at an Exhibition"
No full text[[abstract]]Abstract
Although educated as a young officer, Moussorgky was completely a musician all his Life. With tragic characteristic, he was the most talented one among "the Russian Five". Mussorgsky composed very few piano works and even fewer orchestral works. His "Pictures at an Exhibition", born in piano form, was not popular until Ravel's orchestral arrangement was performed nearly half century later. This research about "Pictures at an Exhibition", Moussorgsky's most famous work, also one of the author's favorite, is to analyze this work.
A literature review was made including the life time of Moussorgsky, the characteristics of his music and the progress of composing "Pictures at an Exhibition". Emphases ". Emphases were also placed upon the painter Hartman, the manusaript and the premiere. Analyses of the work itself including the structure, form, the relation with the pictures, the music language. After a brief introduction of the different arrangements, studies were made regarding Maestro Ravel's orchestral arrangement. The conducting of "Pictures at an Exhibition" was discussed in detailes based on several CDs and LD, live concerts, interviews with conductors, and personal interpentation of the author.
Though emphasized on realism, Moussorgsky's colorful fantasy made people experience the natural Rassian spririt through music. With the efforts of so many arrangers and the master work of Ravel, it was proved that how possible and how progressive this piece was. No wonder Moussorgsky was considered as the most master musician of interpretating Russian soul .
The time course of implicit processing of erotic pictures: An event-related potential study
No full textThe current study investigated the time course of the implicit processing of erotic stimuli using event-related potentials (ERPs). ERPs elicited by erotic pictures were compared with those by three other types of pictures: non-erotic positive, negative, and neutral pictures. We observed that erotic pictures evoked enhanced neural responses compared with other pictures at both early (P2/N2) and late (P3/positive slow wave) temporal stages. These results suggested that erotic pictures selectively captured individuals' attention at early stages and evoked deeper processing at late stages. More importantly, the amplitudes of P2, N2, and P3 only discriminated between erotic and non-erotic (i.e., positive, neutral, and negative) pictures. That is, no difference was revealed among non-erotic pictures, although these pictures differed in both valence and arousal. Thus, our results suggest that the erotic picture processing is beyond the valence and arousal. (C) 2012 Elsevier B.V. All rights reserved
The cathedral and the bazaar of e-repository development: encouraging community engagement with moving pictures and sound
No full textThis paper offers an insight into the development, use and governance of e‐repositories for learning and teaching, illustrated by Eric Raymond's bazaar and cathedral analogies and by a comparison of collection strategies that focus on content coverage or on the needs of users. It addresses in particular the processes that encourage and achieve community engagement. This insight is illustrated by one particular e‐repository, the Education Media On‐Line (EMOL) service. This paper draws analogies between the bazaar approach for open source software development and its possibilities for developing e‐repositories for learning and teaching. It suggests in particular that the development, use and evaluation of online moving pictures and sound objects for learning and teaching can benefit greatly from the community engagement lessons provided by the development, use and evaluation of open source software. Such lessons can be underpinned by experience in the area of learning resource collections, where repositories have been classified as ‘collections‐based’ or ‘user‐based’. Lessons from the open source movement may inform the development of e‐repositories such as EMOL in the future
Sensible Signs: Pictures and Not Painting After Conceptual Art
No full textThis PhD by published work contributes to debates regarding aesthetics versus art history and theory. It provides a contextual review of anti-aesthetic legacies of pop and conceptual art developing from an understanding of modern art as de-humanized. The research is concerned with why, how and what to paint after conceptual art and proceeds by making a distinction between postconceptual painting and a return to painting. These themes are tested in the first of two of the author’s solo exhibitions titled ‘Four Circle Paintings’. The show consisted of lo-fi mechanical mono-chrome copies of gestural painting and promotes a conclusion that the label postconceptual painting is applied to artworks that are representations of painting and as such are not real painting. The thesis argues that in its urgency to distinguish itself from (authentic) painting, postconceptual painting demonstrates a contradictory appeal to aesthetics, which prevents the artwork from becoming merely a sign. Therefore, at risk of the same return to painting, the postconceptual painter values sensibility with the intention that the “fake” painting––or sign––is vexed by a ‘real’ aesthetic.
In an attempt to circumnavigate the requirement to validate medium, the second exhibition titled ‘Handmade Colour Pictures’ argues for a categorical shift from the making of ‘paintings’ to ‘pictures’. The show consisted of eight mid-sized works, using painting conventions––oil paint on primed linen stretched over rectangular frames––to produce images, derived from a hunting theme, that brought attention to their own pictorial conditions. The author, having outlined visual attention as a premeditated motivation, concludes that the “there” and “not there” quality of the picture that must be consciously switched between to see it as either image or object, provides an “experience of meaning” that is significant for the artwork in its distinction from an anti-aesthetic dominance of rationality
Models of verbal working memory capacity: What does it take to make them work?
No full textTheories of working memory (WM) capacity limits will be more useful when we know what aspects of performance are governed by the limits and what aspects are governed by other memory mechanisms. Whereas considerable progress has been made on models of WM capacity limits for visual arrays of separate objects, less progress has been made in understanding verbal materials, especially when words are mentally combined to form multiword units or chunks. Toward a more comprehensive theory of capacity limits, we examined models of forced-choice recognition of words within printed lists, using materials designed to produce multiword chunks in memory (e.g., leather brief case). Several simple models were tested against data from a variety of list lengths and potential chunk sizes, with test conditions that only imperfectly elicited the interword associations. According to the most successful model, participants retained about 3 chunks on average in a capacity-limited region of WM, with some chunks being only subsets of the presented associative information (e.g., leather brief case retained with leather as one chunk and brief case as another). The addition to the model of an activated long-term memory component unlimited in capacity was needed. A fixed-capacity limit appears critical to account for immediate verbal recognition and other forms of WM. We advance a model-based approach that allows capacity to be assessed despite other important processing contributions. Starting with a psychological-process model of WM capacity developed to understand visual arrays, we arrive at a more unified and complete model.</p
9/11, fear & the selling of American empire
No full textIncludes interviews with: Scott Ritter, Daniel Ellsberg, Jody Williams, Norman Mailer, Noam Chomsky, Medea Benjamin, Mark Crispin Miller, William Hartung, Vandana Shiva, Kevin Danaher, Chalmers Johnson, Benjamin Barber, Stan Goff, and Karen Kwiatkowski.A discussion of how the events of September 11, 2001 have influenced the United States' politics, from advancing a pre-existing military agenda to curtailing civil liberties and social programs. Places the Bush administration's justifications for the war(s) in the context of the struggle by neo-conservatives to increase American power globally by means of force. Contends that the administration has deliberately manipulated intelligence, political imagery, and fear to garner support for American military intervention
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