1,720,970 research outputs found
sj-docx-2-msx-10.1177_10298649211062724 – Supplemental material for Auditory and visual mental imagery in musicians and non-musicians
No full textSupplemental material, sj-docx-2-msx-10.1177_10298649211062724 for Auditory and visual mental imagery in musicians and non-musicians by Francesca Talamini, Julia Vigl, Elizabeth Doerr, Massimo Grassi and Barbara Carretti in Musicae Scientiae</p
sj-docx-1-msx-10.1177_10298649211062724 – Supplemental material for Auditory and visual mental imagery in musicians and non-musicians
No full textSupplemental material, sj-docx-1-msx-10.1177_10298649211062724 for Auditory and visual mental imagery in musicians and non-musicians by Francesca Talamini, Julia Vigl, Elizabeth Doerr, Massimo Grassi and Barbara Carretti in Musicae Scientiae</p
Sounds Are Perceived as Louder When Accompanied by Visual Movement
No full textIn this study, we present three experiments investigating the influence of visual movement on auditory judgements. In Experiments 1 and 2, two bursts of noise were presented and participants were required to judge which was louder using a forced-choice task. One of the two bursts was accompanied by a moving disc. The other burst either was accompanied by no visual stimulus (Experiment 1) or by a static disc (Experiment 2). When the two sounds were of identical intensity participants judged the sound accompanied by the moving disc as louder. The effect was greater when auditory stimuli were of the same intensity but it was still present for mid-to-high intensities. In a third, control, experiment participants judged the pitch (and not the loudness) of a pair of tones. Here the pattern was different: there was no effect of visual motion for sounds of the same pitch, with a reversed effect for mid-to-high pitch differences (the effect of motion lowered the pitch). This showed no shift of response towards the interval accompanied by the moving disc. In contrast, the effect on pitch was reversed in comparison to what observed for loudness, with mid-to-high frequency sound accompanied by motion rated as lower in pitch respect to the static intervals.The natural tendency for moving objects to elicit sounds may lead to an automatic perceptual influence of vision over sound particularly when the latter is ambiguous. This is the first account of this novel audio-visual interaction.</jats:p
The subjective duration of audiovisual looming and receding stimuli
No full textLooming visual stimuli (log-increasing in proximal size over time) and auditory stimuli (of increasing sound intensity over time) have been shown to be perceived as longer than receding visual and auditory stimuli (i. e., looming stimuli reversed in time). Here, we investigated whether such asymmetry in subjective duration also occurs for audiovisual looming and receding stimuli, as well as for stationary stimuli (i. e., stimuli that do not change in size and/or intensity over time). Our results showed a great temporal asymmetry in audition but a null asymmetry in vision. In contrast, the asymmetry in audiovision was moderate, suggesting that multisensory percepts arise from the integration of unimodal percepts in a maximum-likelihood fashion. © 2012 Psychonomic Society, Inc.</p
The subjective duration of audiovisual looming and receding stimuli
No full textLooming visual stimuli (log-increasing in proximal size over time) and auditory stimuli (of increasing sound intensity over time) have been shown to be perceived as longer than receding visual and auditory stimuli (i. e., looming stimuli reversed in time). Here, we investigated whether such asymmetry in subjective duration also occurs for audiovisual looming and receding stimuli, as well as for stationary stimuli (i. e., stimuli that do not change in size and/or intensity over time). Our results showed a great temporal asymmetry in audition but a null asymmetry in vision. In contrast, the asymmetry in audiovision was moderate, suggesting that multisensory percepts arise from the integration of unimodal percepts in a maximum-likelihood fashion. © 2012 Psychonomic Society, Inc.</p
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Sounds are perceived as louder when accompanied by visual movement
No full textIn this study, we present three experiments investigating the influence of visual movement on auditory judgements. In Experiments 1 and 2, two bursts of noise were presented and participants were required to judge which was louder using a forced-choice task. One of the two bursts was accompanied by a moving disc. The other burst either was accompanied by no visual stimulus (Experiment 1) or by a static disc (Experiment 2). When the two sounds were of identical intensity participants judged the sound accompanied by the moving disc as louder. The effect was greater when auditory stimuli were of the same intensity but it was still present for mid-to-high intensities. In a third, control, experiment participants judged the pitch (and not the loudness) of a pair of tones. Here the pattern was different: there was no effect of visual motion for sounds of the same pitch, with a reversed effect for mid-to-high pitch differences (the effect of motion lowered the pitch). This showed no shift of response towards the interval accompanied by the moving disc. In contrast, the effect on pitch was reversed in comparison to what observed for loudness, with mid-to-high frequency sound accompanied by motion rated as lower in pitch respect to the static intervals.The natural tendency for moving objects to elicit sounds may lead to an automatic perceptual influence of vision over sound particularly when the latter is ambiguous. This is the first account of this novel audio-visual interaction
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