All of these elements are experienced perceptually in a painting.
|
|
What you didn't do are the ones that are more perceptually deranged.
|
|
But you can't get around the fact that there was something perceptually very wrong being done.
|
|
Needless to say, Ursa is almost as big a change perceptually as it is sonically for its members.
|
|
Deep learning is great for things we do perceptually as human beings — image recognition, speech recognition and so on.
|
|
Given that most VR simulations are intense—emotionally engaging, perceptually harrowing, and psychologically compelling—five to 10 minutes is often enough.
|
|
Perceptually, the typewriter is either resting on a blue and white rug or it is part of the blue and white wallpaper.
|
|
"It has this doorlike quality to it," said Mr. Shear, noting how the white shape perceptually "flips" between projecting forward and receding.
|
|
If this is the case, then it puts the President-Elect in another situation where Mr. Romney, perceptually, is "begging" him for something.
|
|
We had so-called "dazzle ships" in World War I, for example, and the design of perceptually baffling military camouflage continues to undergo innovation today.
|
|
" When Evernote launched its marketplace, former CEO Phil Libin told The Verge, "There's always this trade-off perceptually in the public space between focus and stagnation.
|
|
And immersion is not free, it's distracting, it's perceptually taxing, it pulls you out of your world, so we should reserve it for the things it's actually gonna be good for.
|
|
It takes you out of your environment, it's perceptually taxing at times, and it's not something that we can use the way we use other media, for hours and hours and hours a day.
|
|
Commissioned by the de Menils in 1964, Rothko painted his perceptually subtle canvases in his carriage house studio on East 69th street in New York under a broad skylight, pulling a parachute across to modulate light.
|
|
"The key to building believable digital characters is to extract the perceptually salient features from a human face in 3D: for instance, Mark Ruffalo's version of the Hulk in The Avengers," said Bhat in a press release.
|
|
Youngsters as well as grown-ups also may be fascinating by the perceptually confounding "Mirror Labyrinth NY," which consists of mirror-surfaced planks of stainless steel in varying heights planted in the grass in a spiral formation.
|
|
It's about the expansive possibilities of the digital age, the new ways the motion picture — traditionally two-dimensional in both visual and, the show argues, narrative terms — can be an immersive, multidimensional experience, perceptually, physically and conceptually.
|
|
Netflix's tech blog gets into more details about the feature, noting that the high-quality sound is not lossless, but is "perceptually transparent" — meaning that even though the audio is compressed, it's indistinguishable from the original source, Netflix claims.
|
|
This isn't meant as a postmortem or a doomsday column, but there's a lot on the line here, perceptually, and the Raptors are in a position where they have no choice but to be deeply introspective and self-critical.
|
|
"When opened, containers could materialize/display digital possessions such as text, images, or sounds one at a time for the last time before they perceptually drift away (symbolically representing the deletion taking place) never to be found or seen again," the paper explains.
|
|
In the studio, while I may not be standing at the exact site where a painting began, I can continue working perceptually because of the studio's proximity to the river; its light, movement, and sensations that keep my subject within constant reach, something I depend upon.
|
|
He's the one who took a show like The Apprentice and made it spectacle TV. He's the one who saved the dying sports wrestling industry and made it profitable again — and while he was there, found that naming opponents essentialized them into perceptually defeatable characters (Little Mario, 'Low-Energy' Jeb Bush, Rocketman, Pocahontas…).
|
|
According to Professor David Alais from the University of Sydney's school of psychology, who spoke to the Guardian however, the illusion is an example of a "perceptually ambiguous stimulus" which essentially means that because the recording is ambiguous (read: a bit slurry and crap), our brain will lock onto one hearing of the recording and just go with it.
|
|
Beardyman: The man who can make any noise "Perceptually, Freddie Mercury's irregular (and typically faster) vibrato is clearly audible in the sustained notes of famous songs such as 'Bohemian Rhapsody' (A Night at the Opera) or 'We Are the Champions' (News of the World), and it appears to be one of the hallmarks of his vocal style," the study says.
|
|
Do you feel like, and I guess this is probably true of any journalist doing anything, frankly, that the asymmetry between what your resources are and the resources of a Facebook that you're trying to learn about, stripping out the David and Goliath, sort of, morality play of it, that just like, you're just perceptually at this giant disadvantage and you can never really get to the answer you want.
|
|
A fully immersive, perceptually-real environment will consist of multiple components.
|
|
Children extended labels to two perceptually similar animals more often than when they were dissimilar.
|
|
These colors are perceptually impossible and suggest an opponent relationship between red and green as well as blue and yellow.
|
|
Mach bands Visual illusions can occur at transitions, as in Mach bands, which perceptually exhibit a similar undershoot/overshoot to the Gibbs phenomenon.
|
|
Intonation is said to have a number of perceptually significant functions in English and other languages, contributing to the recognition and comprehension of speech.
|
|
All perceptually redundant information is thereby removed from the transform domain representation of the video. Compression is then performed by an entropy removal process.
|
|
CIELAB produces a color space that is more perceptually linear than other color spaces. Perceptually linear means that a change of the same amount in a color value should produce a change of about the same visual importance. CIELAB has almost entirely replaced an alternative related Lab color space called “Hunter Lab”. This space is commonly used for surface colors, but not for mixtures of (transmitted) light.
|
|
It is later revealed that Michael has low latent inhibition, a perceptually differing condition in which one sees the world as pieces, rather than mere objects.
|
|
Law of symmetry The law of symmetry states that the mind perceives objects as being symmetrical and forming around a center point. It is perceptually pleasing to divide objects into an even number of symmetrical parts. Therefore, when two symmetrical elements are unconnected the mind perceptually connects them to form a coherent shape. Similarities between symmetrical objects increase the likelihood that objects are grouped to form a combined symmetrical object.
|
|
Global processing is the default strategy for most individuals, but local stimuli are often more perceptually demanding to recognize and identify, showing the effect of stimuli on visual processing.
|
|
Motion is > intrinsically indeterminate, but perceptually determinable, with respect to > its length. Acts of perception function as determiners; the result is > determinate units of kinetic length, which is precisely what a temporal unit > is.
|
|
Some of these terms have a standardised definition (for instance in the ANSI Acoustical Terminology ANSI/ASA S1.1-2013). More recent approaches have also considered temporal envelope and temporal fine structure as perceptually relevant analyses.
|
|
The brain activity was recorded in primary visual cortex in a retinotopic position corresponding to the perceptually filled-in region. Also in this condition, no activity was found at this level in response to the filled-in signal.
|
|
Logically, the louder the volume of group of tones, the greater likelihood of melodic fission. In addition, when two streams are perceptually segregated due to differences in volume, the quieter stream is perceived as continuous, but interrupted by the louder stream.
|
|
Krug challenged Schelling to deduce his quill or pen from German Idealism's Philosophy of Nature. In so doing, he challenged the thinking that particular, perceptually real things could be logically known from general concepts. Beiträge zur Geschichte der Philos. des XIX. Jahrh.
|
|
In an experiment, Richard M. Warren replaced one phoneme of a word with a cough-like sound. His subjects restored the missing speech sound perceptually without any difficulty. Moreover, they were not able to accurately identify which phoneme had even been disturbed.
|
|
It seems that inattentional blindness can be explained by both memory and perceptual failures because in experimental research participants may fail to report what was on display due to failures in encoded information (memory) or a failure in perceptually processed information (perception).
|
|
McDaniel, M., Robinson, B., & Einstein, P. (1998). Prospective remembering: Perceptually driven or conceptually driven processes? Memory & Cognition, 26, 121-134. Subjects completed a prospective memory task in either a condition where full attention was given or a condition where attention was divided on other tasks.
|
|
Simultaneously, the model perceptually underestimates the spatial separation between stimuli, thereby reproducing the cutaneous rabbit illusion and the tau effect. Goldreich (2007) speculated that a Bayesian slow-speed prior might explain the visual kappa effect as well the tactile one. Recent empirical studies support this suggestion.
|
|
Constance Thalken (/tah-kin/; born 1952 in Nebraska) is an American intermedia artist known foremost for her photographic explorations of the complexities of loss. She has gained recognition for her ability to carefully convey subject matter that simultaneously engages the viewer perceptually, emotionally, viscerally, and intellectually.
|
|
Pictures hold two encoding advantages over words. Pictures are perceptually more distinct from one another than are words, thus increasing their chance for retrieval. In experiments when similarity among pictures was high, no picture superiority effect was present. Pictures are also believed to assess meaning more directly than words.
|
|
To know is a feeling (unconscious) of familiarity. It is the sensation that the item has been seen before, but not being able to pin down the reason why. Knowing simply reflects the familiarity of an item without recollection. Knowing utilizes semantic memory that requires perceptually based, data-driven processing.
|
|
In perception and psychophysics, auditory scene analysis (ASA) is a proposed model for the basis of auditory perception. This is understood as the process by which the human auditory system organizes sound into perceptually meaningful elements. The term was coined by psychologist Albert Bregman.Bregman, A. S. (1990) Auditory scene analysis.
|
|
In many cases, the surgical treatment options described above (temporary injection medialization, medialization thyroplasty, arytenoid adduction, and laryngeal reinnervation) have led to favourable outcomes as measured perceptually, acoustically, by laryngoscope, or via quality of life measures. However, none of these surgical interventions has been shown to be significantly better than the others.
|
|
Rand rejected the traditional rationalist/empiricist dichotomy, arguing that it embodies a false alternative: conceptually-based knowledge independent of perception (rationalism) versus perceptually-based knowledge independent of concepts (empiricism). Rand argued that neither is possible because the senses provide the material of knowledge while conceptual processing is also needed to establish knowable propositions.
|
|
This cutoff frequency corresponds to a time constant of about 1 - 3 ms for the auditory system of normal-hearing humans. Correlated envelope fluctuations across frequency in a masker can aid detection of a pure tone signal, an effect known as comodulation masking release. AM applied to a given carrier can perceptually interfere with the detection of a target AM imposed on the same carrier, an effect termed modulation masking. Modulation-masking patterns are tuned (greater masking occurs for masking and target AMs close in modulation rate), suggesting that the human auditory system is equipped with frequency-selective channels for AM. Moreover, AM applied to spectrally remote carriers can perceptually interfere with the detection of AM on a target sound, an effect termed modulation detection interference.
|
|
Cues originating at the same or slowly changing positions usually have the same source. When two sounds are separated in space, the cue of location (see: sound localization) helps an individual to separate them perceptually. If a sound is moving, it will move continuously. Erratically jumping sound is unlikely to come from the same source.
|
|
That is, it was pure phenomenal motion. He dubbed it phi ("phenomenal") motion. Wertheimer's publication of these results in 1912 Available in translation as marks the beginning of Gestalt psychology. In comparison to von Ehrenfels and others who had used the term "gestalt" earlier in various ways, Wertheimer's unique contribution was to insist that the "gestalt" is perceptually primary.
|
|
Experiences of determination are linked to a recognizable facial expression that involves frowning of the eyebrows, an expression that is perceptually similar to anger.Harmon-Jones, C., Schmeichel, B. J., Mennitt, E., & Harmon-Jones, E. (2011). The expression of determination: Similarities between anger and approach-related positive affect. Journal of Personality and Social Psychology, 100(1), 172-181.
|
|
High levels of noise are almost always undesirable, but there are cases when a certain amount of noise is useful, for example to prevent discretization artifacts (color banding or posterization). Some noise also increases acutance (apparent sharpness). Noise purposely added for such purposes is called dither; it improves the image perceptually, though it degrades the signal-to-noise ratio.
|
|
In data compression and psychoacoustics, transparency is the result of lossy data compression accurate enough that the compressed result is perceptually indistinguishable from the uncompressed input. In other words, transparent compression has no perceptible compression artifacts. A transparency threshold is a given value at which transparency is reached. It is commonly used to describe compressed data bitrates.
|
|
5, 322-337.Dowling, W.J., Lung, K.M., and Herrbold, S., "Aiming Attention in Pitch and Time in the Perception of Interleaved Melodies". Perception & Psychophysics, 1987, Vol. 41, 642-656 Studies involving the interleaving of two melodies have found that the closer the melodies are in register, the more difficult it is for listeners to perceptually separate the melodies.
|
|
The surgical technique of alloplasty if completed incorrectly can cause significant and irreversible damage to surrounding nerves by the improper placement of osteotomy. For example, in osteoplastic genioplasty, the risk of injuring a mental nerve is high. If the mental nerve injured or damaged, the lower lip and front of the chin can perceptually feel numb.
|
|
A conceptual domain can be any mental organization of human experience. The regularity with which different languages employ the same metaphors, often perceptually based, has led to the hypothesis that the mapping between conceptual domains corresponds to neural mappings in the brain.e.g. Feldman, J. and Narayanan, S. (2004). Embodied meaning in a neural theory of language.
|
|
The Brixton test is a visuospatial sequencing task with rule changes. This test measures the ability to detect rules in sequences of stimuli. It usually takes between five and ten minutes to administer, and yields an easily understood scaled score of between 1 and 10. The Brixton Test is perceptually simple and does not require a verbal response.
|
|
The term "brightness" is also used in discussions of sound timbres, in a rough analogy with visual brightness. Timbre researchers consider brightness to be one of the perceptually strongest distinctions between sounds , and formalize it acoustically as an indication of the amount of high-frequency content in a sound, using a measure such as the spectral centroid.
|
|
Penny says one of his interests "is to situate the sculptures perceptually between the way we might see each other in real time and space and the way we imagine our equivalent in a photographic representation." Though his creations are lifelike, Penny believes that "the real can't be represented or symbolized," leaving everything to be a representation.
|
|
Cathode ray tube displays are driven by red, green, and blue voltage signals, but these RGB signals are not efficient as a representation for storage and transmission, since they have a lot of redundancy. YCbCr and Y′CbCr are a practical approximation to color processing and perceptual uniformity, where the primary colors corresponding roughly to red, green and blue are processed into perceptually meaningful information. By doing this, subsequent image/video processing, transmission and storage can do operations and introduce errors in perceptually meaningful ways. Y′CbCr is used to separate out a luma signal (Y′) that can be stored with high resolution or transmitted at high bandwidth, and two chroma components (CB and CR) that can be bandwidth-reduced, subsampled, compressed, or otherwise treated separately for improved system efficiency.
|
|
Video codecs seek to represent a fundamentally analog data set in a digital format. Because of the design of analog video signals, which represent luminance (luma) and color information (chrominance, chroma) separately, a common first step in image compression in codec design is to represent and store the image in a YCbCr color space. The conversion to YCbCr provides two benefits: first, it improves compressibility by providing decorrelation of the color signals; and second, it separates the luma signal, which is perceptually much more important, from the chroma signal, which is less perceptually important and which can be represented at lower resolution using chroma subsampling to achieve more efficient data compression. It is common to represent the ratios of information stored in these different channels in the following way Y:Cb:Cr.
|
|
Augmented reality is used to enhance natural environments or situations and offer perceptually enriched experiences. With the help of advanced AR technologies (e.g. adding computer vision, incorporating AR cameras into smartphone applications and object recognition) the information about the surrounding real world of the user becomes interactive and digitally manipulated. Information about the environment and its objects is overlaid on the real world.
|
|
Signal strength plays an important role in the literature of binocular rivalry and visual suppression. Similarly in BSS, it is one of the factors that determine which stimulus gets suppressed perceptually. It is a multidimensional construct that is related to the stimulus' properties. These factors determine signal strength and numerous researchers have proposed the following parameters: luminance contrast,Levelt, W. J. (1965).
|
|
Categories at the middle level are perceptually and conceptually the more salient. The generic level of a category tends to elicit the most responses and richest images and seems to be the psychologically basic level. Typical taxonomies in zoology for example exhibit categorization at the embodied level, with similarities leading to formulation of "higher" categories, and differences leading to differentiation within categories.
|
|
An ascending tone is interrupted by a noise burst, but is perceptually continuous. Example of illusory continuity stimulus: discontinuous rising tone. The tone sounds continuous to some listeners. The illusory continuity of tones is the auditory illusion caused when a tone is interrupted for a short time (approximately 50ms or less), during which a narrow band of noise is played.
|
|
This is described as "finding the presence of awareness in the dimension of sensation".Déchen (2009), p. 5 Physical exercises are used to "shake" the tsa-lung system of energetic "channels", winds", and "essences".Déchen (2009), p. 7 This perceptually disorients the practitioner,Déchen (2009), p. 10Julia Lee Barclay, Ansuman Biswas, Traci Kelly, Kira O'Reilly and Franc Chamberlain, "Playing with Post- Secular Performance.
|
|
Cue recruitment was demonstrated by Haijiang et al. (2006) using a computer- generated rotating Necker cube stimulus. This stimulus is perceptually bistable and may appear to rotate either left or right. To test for cue recruitment, binocular disparity cues (3D cues) were added to the Necker cube, to specify which part of the cube was in front and which was in back.
|
|
The phrase ‘sometimes behave so strangely’ as it appears to be sung after several repetitions The speech-to-song illusion is an auditory illusion discovered by Diana Deutsch in 1995. A spoken phrase is repeated several times, without altering it in any way, and without providing any context. This repetition causes the phrase to transform perceptually from speech into song.
|
|
As noted in two recent theoretical reviews, the theoretical basis for the inclusion of self-identity in the theories of reasoned action and planned behavior has many similarities to social identity theory and its extension, self-categorization theory. According to social identity theory, an important component of the self-concept is derived from memberships in social groups and categories. When people define and evaluate themselves in terms of a self-inclusive social category (e.g., sex, class, team) two processes come into play: (1) categorization, which perceptually accentuates differences between the in-group and out-group, and similarities among in-group members (including the self) on stereotypical dimensions; and (2) self-enhancement which, because the self-concept is defined in terms of group membership, seeks behaviorally and perceptually to favor the in-group over the out-group.
|
|
Planckian locus and co-ordinates of several illuminants shown in illustration below. (u, v) chromaticity diagram with several CIE illuminants # Using the 2° standard observer, find the chromaticity co-ordinates of the test source in the CIE 1960 color space.Note that when CRI was designed in 1965, the most perceptually uniform chromaticity space was the CIE 1960 UCS, the CIE 1976 UCS not yet having been invented.
|
|
Different types of acquisition processes (e.g.: reading, thinking, listening) and different types of events (e.g.: newspaper, thoughts, conversation) will produce mental depictions that perceptually differ from one another in the brain, making it harder to retrieve where information was learned when placed in a different context of retrieval. Source monitoring involves a systematic process of slow and deliberate thought of where information was originally learned.
|
|
Image fidelity refers to the ability of a process to render a given copy in a perceptually similar way to the original (without distortion or information loss), i.e., through a digitization or conversion process from analog media to digital image. The process of determining the level of accuracy is called Image Quality Assessment (IQA). Image quality assessment is part of the quality of experience measures.
|
|
248 (1961) One definition of the term is "...a frequency scale on which equal distances correspond with perceptually equal distances. Above about 500 Hz this scale is more or less equal to a logarithmic frequency axis. Below 500 Hz the Bark scale becomes more and more linear." The scale ranges from 1 to 24 and corresponds to the first 24 critical bands of hearing.
|
|
The goal of EID is to make constraints and complex relationships in the work environment perceptually evident (e.g. visible, audible) to the user. This allows more of users' cognitive resources to be devoted to higher cognitive processes such as problem solving and decision making. EID is based on two key concepts from cognitive engineering research: the Abstraction Hierarchy (AH) and the Skills, Rules, Knowledge (SRK) framework.
|
|
Martinet predicted that perceptually similar pairs of phonemes with low functional load would merge. This has not been proved empirically; indeed, all empirical tests have come out against it; for example, merged with in Cantonese in word-initial position in the late 20th century although of all the consonants in binary opposition to , only the opposition had a higher functional load than the opposition.
|
|
Tony Martin began painting in Chicago and San Francisco in the early 1960s. There were shows of his work, during that time, at the Boreas and Batman Galleries. His premise, always using oil paint, was and continues to be for the viewer to experience "looking in, not at". This is in regard to the composition perceptually, and also in terms of thought and feeling.
|
|
Physiologically, each spectral pitch depends on both temporal and spectral aspects (i.e. periodicity of the waveform and position of excitation on the basilar membrane), but in Terhardt's approach the spectral pitch itself is a purely experiential parameter, not a physical parameter: it is the outcome of a psychoacoustical experiment in which the conscious listener plays an active role. Psychoacoustic measurements and models can predict which partials are "perceptually relevant" in a given complex tone; they are perceptually relevant if you can hear a difference in the whole sound if the frequency or amplitude of a partial is changed). The ear has evolved to separate spectral frequencies, because due to reflection and superposition in everyday environments spectral frequencies are more reliably carriers of environmental information than spectral amplitudes, which in turn are more reliable carriers of environmentally relevant information than phase relationships between partials (when perceived monoaurally).
|
|
The coloration of G. fornicata has also been shown to take advantage of prey visual systems of hymenopterans and dipterans. Using an insect color vision modeling, the white striped version of Gasteracantha fornicata are indistinguishable from sympatric flowers, and the yellow striped version are perceptually indistinguishable from yellow flowers. Further studies have shown that hiding and covering the distinctive stripes of Gasteracantha fornicata have contributed to diminished prey acquisition.
|
|
The MP-DP effect and the influence of distinct repetitions on recognition of random shapes. Italian Journal of Psychology, 4(1),65-76. Russo proposed that with cued memory of unfamiliar stimuli, a short-term perceptually-based repetition priming mechanism supports the spacing effect. When unfamiliar stimuli are used as targets in a cued-memory task, memory relies on the retrieval of structural- perceptual information about the targets.
|
|
A color picker is used to select and adjust color values. In graphic design and image editing, users typically choose colors via an interface with a visual representation of a color--organized with quasi- perceptually-relevant hue, saturation and lightness dimensions (HSL) – instead of keying in alphanumeric text values. Because color appearance depends on comparison of neighboring colors (see color vision), many interfaces attempt to clarify the relationships between colors.
|
|
In low-bandwidth environments it uses lossy compression where a highly compressed image is quickly delivered, followed by additional data to refine that image, a process termed "build to perceptually lossless". The default is to use lossless compression which is used when there is minimal network congestion or when explicitly configured, as might be required for scenarios where image fidelity is more important than conserving bandwidth, e.g. for medical imaging.
|
|
It is an upmixer > designed to function with traditional channel-based layouts, as well as > Atmos enabled layouts that include overhead or Atmos-enabled speakers. It > processes native stereo, 5.1, and 7.1 content. How does it work? > The Dolby Surround upmixer is based on phase and gain relationships of > elements in the signal, but importantly employs wideband functionality that > analyzes and processes multiple perceptually spaced frequency bands in the > signal.
|
|
Providing cue about the target location tends to reduce crowding. Crowding is broken when the flankers are collectively masked, but this happens only when the flankers are masked with noise or using metacontrast masks but not with substitution masks. When people are adapted to look for a target stimulus in a certain spatial position, it renders the flankers perceptually invisible (adaptation induced blindness), thus releasing the effect of crowding.
|
|
The blue ghost fireflies’ ideal conditions for mating season include warm and moist forest areas that are surrounded by spongy leaf litter. The male fireflies fly a few feet off the ground spotting a female that is flickering a perceptually "blue" light. The female blue ghosts however, are wingless, unable to fly, and possess paedomorphism, a trait where the adult female firefly remains in larval form through adulthood.
|
|
The YDbDr color space used in the analog SECAM and PAL-N television broadcasting systems, are also related. As for etymology, Y, Y′, U, and V are not abbreviations. The use of the letter Y for luminance can be traced back to the choice of XYZ primaries. This lends itself naturally to the usage of the same letter in luma (Y′), which approximates a perceptually uniform correlate of luminance.
|
|
Heyes proposes that, over time, a bidirectional associative link is formed such that activation of one representation excites the other. Put simply, as a consequence of paired 'doing' and 'seeing' links are established which allow action observation to prime action execution. In the above example, correlated sensorimotor experience is provided by self- observation. However, this cannot explain the development of sensorimotor associations for so-called 'perceptually opaque' actions.
|
|
Rollins said that he stopped using the move as "from a PR standpoint ... it was too perceptually violent ... I never hurt anyone with it. It was just something we didn't want kids trying on each other". On the January 15, 2018, edition of Monday Night Raw, Rollins brought the move back but now it's referred to simply as "stomp".Seth Rollins' Curb Stomp ist zurück in der WWE, heute.
|
|
Psychotic-like symptoms, such as hallucinations and unusual perceptual experience, involve gross alterations in the experience of reality. Normal perception is substantially constructive and what we perceive is strongly influenced by our prior experiences and expectancies. Healthy individuals prone to hallucinations, or scoring highly on psychometric measures of positive schizotypy, tend to show a bias toward reporting stimuli that did not occur under perceptually ambiguous experimental conditions.Bentall R.P, & Slade P.D. (1985).
|
|
A digital watermark is called robust with respect to transformations if the embedded information may be detected reliably from the marked signal, even if degraded by any number of transformations. Typical image degradations are JPEG compression, rotation, cropping, additive noise, and quantization. For video content, temporal modifications and MPEG compression often are added to this list. A digital watermark is called imperceptible if the watermarked content is perceptually equivalent to the original, unwatermarked content.
|
|
A digital watermark is called imperceptible if the original cover signal and the marked signal are perceptually indistinguishable. A digital watermark is called perceptible if its presence in the marked signal is noticeable (e.g. Digital On-screen Graphics like a Network Logo, Content Bug, Codes, Opaque images). On videos and images, some are made transparent/translucent for convenience for consumers due to the fact that they block portion of the view; therefore degrading it.
|
|
This experience also explains the ability to mirror-read. In April 1963, the conference Explorations into the Problems of the Perceptually Handicapped Child, Samuel Kirk introduced the term learning disability to provided a more collective term for reading disability and other related difficulties. In 1964, the Associated for Children with Learning Disabilities (now known as Learning Disability Association of America) was formed. In 1968, Makita suggested that dyslexia was mostly absent among Japanese children.
|
|
Lossy compression typically achieves far greater compression than lossless compression, by discarding less-critical data based on psychoacoustic optimizations. Psychoacoustics recognizes that not all data in an audio stream can be perceived by the human auditory system. Most lossy compression reduces redundancy by first identifying perceptually irrelevant sounds, that is, sounds that are very hard to hear. Typical examples include high frequencies or sounds that occur at the same time as louder sounds.
|
|
Chapter 7. Sometimes the experience is so realistic perceptually (the sleeper seeming to wake in his or her own bedroom, for example) that insight is not achieved at once, or even until the dreamer really wakes up and realises that what has occurred was hallucinatory. Such experiences seem particularly liable to occur to those who deliberately cultivate lucid dreams. However, they may also occur spontaneously and be associated with the experience of sleep paralysis.
|
|
This is perceptually indistinguishable from septimal meantone temperament. Since they are the inverse of each other, by definition A4 and d5 always add up to exactly one perfect octave: : A4 + d5 = P8. On the other hand, two A4 add up to six whole tones. In equal temperament, this is equal to exactly one perfect octave: : A4 + A4 = P8. In quarter-comma meantone temperament, this is a diesis (128:125) less than a perfect octave: : A4 + A4 = P8 − diesis.
|
|
For example, the figure that depicts the law of closure portrays what we perceive as a circle on the left side of the image and a rectangle on the right side of the image. However, gaps are present in the shapes. If the law of closure did not exist, the image would depict an assortment of different lines with different lengths, rotations, and curvatures—but with the law of closure, we perceptually combine the lines into whole shapes.
|
|
In his "Walls" series, Ding Fang expressed his alternate consciousness of history and reality. The artist could sense the magnificence of history while at the same time being perceptually alive to the precipitation primitive culture planted within the national spirit. By way of contrast, reality was a wasteland. When his characters encounter some grand historical monument from the past standing in the wasteland and are buffeted by the winds of cold reality, they are moved naturally to tears.
|
|
Art continuously creates new ways of observing. Even more so, visual art can be understood as actually being a history of evolving and varying schemes of observation. Previous learning experiences dominate the way in which we subsequently observe and describe our environment, says Jokela. He underpins this claim by quoting Arnold Berleant, as follows: “environments are not physical places but perceptual ones that we collaborate in making, and it is perceptually that we determine their identity and extent”.
|
|
In most computer games, speed of the processors and gameplay are more important than accuracy of simulation. This leads to designs for physics engines that produce results in real-time but that replicate real world physics only for simple cases and typically with some approximation. More often than not, the simulation is geared towards providing a "perceptually correct" approximation rather than a real simulation. However some game engines, such as Source, use physics in puzzles or in combat situations.
|
|
Beta movement is sometimes confused with the phi phenomenon but they are quite different perceptually. One way to describe the difference is this. In beta movement, you see two stimuli, a and b, in succession, but you perceive the movement of a single object, a, into position b. In phi movement, you see the two stimuli a and b in succession, but what you perceive is the motion of something shadowy passing over a and b.
|
|
In reality, only imaginary "primary colors" used in colorimetry can "mix" or quantify all visible (perceptually possible) colors; but to do this, these imaginary primaries are defined as lying outside the range of visible colors; i.e., they cannot be seen. Any three real "primary" colors of light, paint or ink can mix only a limited range of colors, called a gamut, which is always smaller (contains fewer colors) than the full range of colors humans can perceive.
|
|
Law of similarity The law of similarity states that elements within an assortment of objects are perceptually grouped together if they are similar to each other. This similarity can occur in the form of shape, colour, shading or other qualities. For example, the figure illustrating the law of similarity portrays 36 circles all equal distance apart from one another forming a square. In this depiction, 18 of the circles are shaded dark, and 18 of the circles are shaded light.
|
|
Clear quarter note pulse in at a tempo of =120 . At =600 the pulse becomes a drone , while at =30 the pulse becomes disconnected sounds . While ideal pulses are identical, when pulses are variously accented, this produces two- or three-pulse pulse groups such as strong-weak and strong-weak-weak and any longer group may be broken into such groups of two and three. In fact there is a natural tendency to perceptually group or differentiate an ideal pulse in this way.
|
|
Wertheimer took the more radical line that "what is given me by the melody does not arise ... as a secondary process from the sum of the pieces as such. Instead, what takes place in each single part already depends upon what the whole is", (1925/1938). In other words, one hears the melody first and only then may perceptually divide it up into notes. Similarly in vision, one sees the form of the circle first – it is given "im-mediately" (i.e.
|
|
The need for certain hues to be designated as unique came with the advent of Opponent process theory. Ewald Hering first proposed the idea that red, green, blue, and yellow were unique in 1892. His theory suggests that color vision is based on two opposing axes of color: a red-green axis and a blue-yellow axis. This theory is based strongly on the existence of perceptually impossible colors or color hue mixtures that have no meaning such as redgreen or yellowblue.
|
|
Roberta "Bobby Lou" Klatzky is a Professor of Psychology at Carnegie Mellon University (CMU). She specializes in human perception and cognition, particularly relating to visual and non-visual perception and representation of space and geometric shapes. Klatzky received a B.A. in mathematics from the University of Michigan in 1968 and a Ph.D in psychology from Stanford University in 1972. She has done extensive research on human haptic and visual object recognition, navigation under visual and nonvisual guidance, and perceptually guided action.
|
|
The gestalt defines the parts from which it is composed, rather than being a secondary quality that emerges from those parts. Wertheimer took the more radical position that "what is given me by the melody does not arise ... as a secondary process from the sum of the pieces as such. Instead, what takes place in each single part already depends upon what the whole is", (1925/1938). In other words, one hears the melody first and only then may perceptually divide it up into notes.
|
|
Another theory, referred to as functional specialization, states that individual parts of the brain specialize in different tasks. According to this theory, if an area of the brain is damaged, the function that the area is responsible for may decline as well. Yet another theory suggests that the pattern of deficit arise from independent impairments to a particular input modality and a single non perceptual semantic system that is organized by category. Deficits are largely due to semantics, however many categories are related perceptually as well.
|
|
Disjunctivism is a position in the philosophy of perception that rejects the existence of sense data in certain cases. The disjunction is between appearance and the reality behind the appearance "making itself perceptually manifest to someone." Veridical perceptions and hallucinations are not members of a common class of mental states or events. According to this theory, the only thing common to veridical perceptions and hallucinations is that in both cases, the subject cannot tell, via introspection, whether he is having a veridical perception or not.
|
|
The data rate for both the audio and video is constant and is roughly the same as DV data rate. The relatively low video data rate can cause bit rate starvation in scenes that have much fine detail, rapid movement or other complex activity like flashing lights, and may result in visible artifacts, such as blockiness and blurring. In contrast to the video, HDV audio bitrate is relatively generous. At the coded bitrate of 384 kbit/s, MPEG-1 Layer 2 audio is regarded as perceptually lossless.
|
|
In a classic experiment, Richard M. Warren (1970) replaced one phoneme of a word with a cough-like sound. Perceptually, his subjects restored the missing speech sound without any difficulty and could not accurately identify which phoneme had been disturbed, a phenomenon known as the phonemic restoration effect. Therefore, the process of speech perception is not necessarily uni-directional. Another basic experiment compared recognition of naturally spoken words within a phrase versus the same words in isolation, finding that perception accuracy usually drops in the latter condition.
|
|
These learners can be largely in the thrall of the animation's raw perceptual effects and so tend to process the presented information in a bottom-up manner. For example, their attention within the display is likely to be directed to items that have conspicuous dynamic characteristics. As a result, there is a danger that they will attend to unimportant information merely because it is perceptually compelling. However, learners who already have considerable domain specific background knowledge are likely to be less influenced by perception alone.
|
|
Napoleon I on his Imperial Throne by Ingres (French, 1806), oil on canvas The creative arts are often divided into more specific categories, typically along perceptually distinguishable categories such as media, genre, styles, and form. Art form refers to the elements of art that are independent of its interpretation or significance. It covers the methods adopted by the artist and the physical composition of the artwork, primarily non-semantic aspects of the work (i.e., figurae), such as color, contour, dimension, medium, melody, space, texture, and value.
|
|
It has been widely acknowledged that uncertainty in sensory domains results in an increased dependence of multisensory integration. Hence, it follows that cues from multiple modalities that are both temporally and spatially synchronous are viewed neurally and perceptually as emanating from the same source. The degree of synchrony that is required for this 'binding' to occur is currently being investigated in a variety of approaches. The integrative function only occurs to a point beyond which the subject can differentiate them as two opposing stimuli.
|
|
V1, also known as the primary visual cortex, is located in Brodmann area 17. V1 is known for its pre-processing capabilities of visual information; however, it is no longer considered the only perceptually effective gateway to the cortex. Motion information can reach V5 without passing through V1 and a return input from V5 to V1 is not required for seeing simple visual motion. Motion-related signals arrive at V1 (60–70 ms) and V5 (< 30 ms) at different times, with V5 acting independently of V1.
|
|
The underlying causes of this phenomenon have been attributed to several possible origins, including nonlinear synaptic depression and facilitation, and/or a cortical network of thalamic excitation and cortical inhibition. There are many functionally significant and perceptually relevant reasons for the coexistence of these two complementary dynamic response modes. They include the ability to accurately encode onsets and other rapid ‘events’ in the ENVp of complex acoustic and other sensory signals, features that are critical for the perception of consonants (speech) and percussive sounds (music), as well as the texture of complex sounds.
|
|
Perceptual deadband is a region which captures perceptual limitations of human perception. The Weber fraction and the level crossings constant are employed to define the perceptual deadband for haptic force stimulus. The deadband has an important application in designing perceptually adaptive sampling mechanisms for haptic data compression , which is required for transmitting haptic data over a communication network. There are many factors which affect the possible shapes of the perceptual deadband, for example: # Rate of change of force stimulus: The Weber fraction or level crossings constant decrease for a faster change in the force stimulus.
|
|
This scale can be used to determine participant's forgiveness and the pain which they have perceptually experienced. As forgiveness is such a complex concept, this attempt to measure it using psychological methodology is very useful to researchers but should not be thought of as an exhaustive measure of forgiveness. Research has shown that individual differences in one's willingness and ability to forgive are apparent. Therefore dispositional tests such as the TFF can be beneficial in improving the ability to predict forgiveness in conflicts and give insight into the interpersonal differences in forgiveness tendencies.
|
|
"Since abstract objects are outside the nexus of causes and effects, and thus perceptually inaccessible, they cannot be known through their effects on us" — Katz, J. Realistic Rationalism, 2000, p. 15Philosophy Now: "Mathematical Knowledge: A dilemma" Standard Encyclopaedia of Philosophy Another way of making the point is that if the Platonic world were to disappear, it would make no difference to the ability of mathematicians to generate proofs, etc., which is already fully accountable in terms of physical processes in their brains. Field developed his views into fictionalism.
|
|
Tangible symbols are a type of augmentative and alternative communication (AAC) that uses objects or pictures that share a perceptual relationship with the items they represent as symbols. A tangible symbol's relation to the item it represents is perceptually obvious and concrete – the visual or tactile properties of the symbol resemble the intended item. Tangible Symbols can easily be manipulated and are most strongly associated with the sense of touch. These symbols can be used by individuals who are not able to communicate using speech or other abstract symbol systems, such as sign language.
|
|
From the end of the 1970s a new tendency evolved that would dominate his third creative period, especially from the late 1990s: autonomous, "absolute" composition . Instead of working with discrepancies, as in "polystylism" or in his previous works, for instance, Goldmann sought interactions and integrations of techniques and material. This approach aims at overcoming assumed antagonisms between different “layers of material.” Within the resulting consistent shapes formed from transitions between tones, microtones, and noise, assumed parameter boundaries are meant to dissolve perceptually—thus challenging the concept of musical material as a set of stable entities.
|
|
Binocular switch suppression (BSS) is a technique to suppress usually salient images from an individual's awareness, a type of experimental manipulation used in visual perception and cognitive neuroscience. In BSS, two images of differing signal strengths are repetitively switched between the left and right eye at a constant rate of 1 Hertz. During this process of switching, the image of lower contrast and signal strength is perceptually suppressed for a period of time. Other techniques for such manipulation include binocular rivalry, continuous flash suppression (CFS), visual masking and flicker switch suppression.
|
|
A blurred image is more likely to be suppressed perceptually as opposed to a better focused one. Rivalry dominance and perceptual suppression is also expected to be greater when the difference in signal strength is greater. It is conceptualised that increasing signal strength of an image shown to one particular eye will increase the probability of perceptual dominance of the stimulus and this dominance is likely to last for prolonged periods of time. As such, manipulating signal strength can enable one to control perceptual dominance and also perceptual suppression during binocular rivalry and BSS.
|
|
They represent something conceptually, and sometimes, arbitrarily, as opposed to perceptually. Similar to the way a watch may represent information in the form of numbers to display the time, symbolic codes represent information in our mind in the form of arbitrary symbols, like words and combinations of words, to represent several ideas. Each symbol (x, y, 1, 2, etc.) can arbitrarily represent something other than itself. For instance, the letter x is often used to represent more than just the concept of an x, the 24th letter of the alphabet.
|
|
This is one reason for the use of interlacing – since only every other line is drawn in a single field of broadcast video, the bright newly-drawn lines interlaced with the somewhat dimmed older drawn lines create relatively more even illumination. Second, by persistence of vision, the viewed image persists for a moment on the retina, and is perceived as relatively steady. By the related flicker fusion threshold, these pulsating pixels appear steady. These perceptually steady still images are then pieced together to produce a moving picture, similar to a movie projector.
|
|
In his 1996 study, researchers noticed that when looking at ethnicity, in-group faces are processed without acknowledgement of ethnic-specific details and features. People code faces that deviate from the norm of their ethnic group through the absence or presence of distinctive ethnic features. This is supported by the finding that the classification of other-race faces tends to be faster than same-race faces. This suggests that race seems to be a more perceptually salient feature than other more discerning facial features when the face belongs to a different race.
|
|
He invested his time working on Munsell Color System. He has published a few books which were called A Color Notation (1905), Altas of Munsell Color System (1915) and A Grammar of Color: Arrangements of Strathmore Papers in a Variety of Printed Color Combinations According to The Munsell Color System (1921). He was the first one to create the Munsell color system to separate three attributes – hue, value, and chroma – to be perceptually uniform. And the data of the Munsell color system was the most accurate measurement of human's visual responses to color.
|
|
Each loudspeaker produces a phrase consisting of two words or syllables. The same sequence is presented repeatedly through both loudspeakers; however, they are offset in time so that when the first sound (word or syllable) is coming from the speaker on the left, the second sound is coming from the speaker on the right, and vice versa. After listening for a while, phantom words and phrases suddenly emerge, and these often appear to reflect what is on the listener's mind, and they transform perceptually into different words and phrases as the sequence continues.
|
|
Margulis and Simchi-Gross have reported related illusions in which different types of sound are transformed into music by repetition. Random sequences of tones were heard as more musical when they were looped, and clips consisting of a mix of environmental sounds sounded more musical following repetition. These effects were weaker than that of the original speech-to-song illusion, perhaps because speech and song are particularly intertwined perceptually, and also because the characteristics of the speech producing the original illusion are particularly conducive to a strong effect.
|
|
In his companion essay, he demonstrates that this process of causality may indeed be reversed, which he explains through a set of "models of development": # Undeveloped # Partially developed # Fully developed In response, there are three ways that outside experience may affect this development: through (A) induction, (B) modification, or (C) deprivation. Thus the logical possibilities are 1A & 1C; 2A, 2B & 2C; and 3B & 3C. Using this format, he explains that developmental altering in hue categories "entail perceptual 'sharpening' and 'broadening'". He attributes this to either "maturation" (perceptually) or "experience".
|
|
The Munsell value has long been used as a perceptually uniform lightness scale. A question of interest is the relationship between the Munsell value scale and the relative luminance. Aware of the Weber–Fechner law, Munsell remarked "Should we use a logarithmic curve or curve of squares?" Neither option turned out to be quite correct; scientists eventually converged on a roughly cube-root curve, consistent with the Stevens's power law for brightness perception, reflecting the fact that lightness is proportional to the number of nerve impulses per nerve fiber per unit time.
|
|
Older people, whose ability to hear higher frequencies is more likely to have degraded, usually hear "Laurel". Kevin Franck, the director of audiology at the Boston hospital Massachusetts Eye and Ear says that the clip exists on a "perceptual boundary" and compared it to the Necker Cube illusion. Professor David Alais from the University of Sydney's school of psychology also compared the clip to the Necker Cube or the face/vase illusion, calling it a "perceptually ambiguous stimulus". Brad Story, a professor of speech, language, and audiology at the University of Arizona said that the low quality of the recording creates ambiguity.
|
|
Human listeners combine information from two ears to localize and separate sound sources originating in different locations in a process called binaural hearing. The powerful signal processing methods found in the neural systems and brains of humans and other animals are flexible, environmentally adaptable, and take place rapidly and seemingly without effort. Emulating the mechanisms of binaural hearing can improve recognition accuracy and signal separation in DSP algorithms, especially in noisy environments. Furthermore, by understanding and exploiting biological mechanisms of sound localization, virtual sound scenes may be rendered with more perceptually relevant methods, allowing listeners to accurately perceive the locations of auditory events.
|
|
Moreover auditors tend to perceive word stresses to fall at equal intervals in time, making English a perceptually "stress-timed" language; it seems that the same amount of time occurs between stresses.Chatman 1965, p 21-22. So the conventional patterns of accentual and accentual-syllabic English verse are perceived as regularly rhythmic, whereas to the listener, syllabic verse generally is not distinguishable from free verse. Thus syllabic technique does not — in English — convey a metrical rhythm; rather it is a compositional device: primarily of importance to the author, perhaps noticed by the alert reader, and imperceptible to the hearer.
|
|
The world line (or worldline) of an object is the path that object traces in 4-dimensional spacetime. It is an important concept in modern physics, and particularly theoretical physics. The concept of a "world line" is distinguished from concepts such as an "orbit" or a "trajectory" (e.g., a planet's orbit in space or the trajectory of a car on a road) by the time dimension, and typically encompasses a large area of spacetime wherein perceptually straight paths are recalculated to show their (relatively) more absolute position states—to reveal the nature of special relativity or gravitational interactions.
|
|
One cannot adequately discuss the vocal passaggio without having a basic understanding of the different vocal registers. In his book The Principles of Voice Production, Ingo Titze states, "The term register has been used to describe perceptually distinct regions of vocal quality that can be maintained over some ranges of pitch and loudness."Ingo R. Titze, The Principles of Voice Production, Second Printing (Iowa City: National Center for Voice and Speech, 2000) 282. When discussing vocal registration, it is important to note that discrepancies in terminology exist between different fields of vocal study, such as teachers and singers, researchers, and clinicians.
|
|
According to Vasubandhu, the absolute, reality itself (dharmatā) is non-dual, and the dichotomy of perception into perceiver and perceived is actually a conceptual fabrication. For Vasubandhu, to say that something is non-dual is that it is both conceptually non-dual and perceptually non-dual. To say that "I" exist is to conceptually divide the causal flux of the world into self and other, a false construct. Just the same, to say that an observed object is separate from the observer is also to impute a false conception into the world as it really is - perception only.
|
|
Audio mining is used in areas such as musical audio mining (also known as music information retrieval), which relates to the identification of perceptually important characteristics of a piece of music such as melodic, harmonic or rhythmic structure. Searches can then be carried out to find pieces of music that are similar in terms of their melodic, harmonic and/or rhythmic characteristics. Within the field of linguistics, audio mining has been used for phonetic processing and semantic analysis. The efficiency of audio mining in processing audio-visual data lends aid in speaker identification and segmentation, as well as text transcription.
|
|
In Llinás & Ribary (1993), the authors propose that the specific loops give the content of cognition, and that a nonspecific loop gives the temporal binding required for the unity of cognitive experience. A lead article by Andreas K. Engel et al. in the journal Consciousness and Cognition (1999) that argues for temporal synchrony as the basis for consciousness, defines the gamma wave hypothesis thus: :The hypothesis is that synchronization of neuronal discharges can serve for the integration of distributed neurons into cell assemblies and that this process may underlie the selection of perceptually and behaviorally relevant information.
|
|
Establishing a hierarchy of weakening within the class is not an easy task. Recent studies have called into question the traditional view that mutation of and is less widespread geographically than → , and in areas where the rule is not automatic, is often more likely to weaken than or . On the other hand, deletion in rapid speech always affects first and foremost wherever it occurs, but reduces less often to , especially in the most common forms such as participles ( "gone"). Fricativisation of is by far the most perceptually salient of the three, however, and so it has become a stereotype of Tuscan dialects.
|
|
Fundamental but difficult to define, the concept of "concept" was discussed for hundreds of years by philosophers before it became a focus of psychological study. Concepts enable humans and animals to organize the world into functional groups; the groups may be composed of perceptually similar objects or events, diverse things that have a common function, relationships such as same versus different, or relations among relations such as analogies. Extensive discussions on these matters together with many references may be found in Shettleworth (2010) Wasserman and Zentall (2006) and in Zentall et al. (2008). The latter is freely available online.
|
|
Qiyang dialect is quite unusual in that it is reported to have two "double contour" tones, high and low fall–rise–fall, or perhaps high fall – low fall and low fall – high fall: the entering tones yin qu (陰去) (4232) and yang qu (陽去) (2142). However, phonetically the pitch of a syllable depends on the voicing of the initial consonant, so these are phonemically a single tone. Moreover, the final fall of the yin qu tone is "not perceptually relevant", so it may be that 'dipping' (for yin qu) and 'peaking' (for yang qu) are a sufficient categorization.
|
|
Metres with more than four beats are called quintuple metres (5), sextuple metres (6), septuple metres (7), etc. In classical music theory it is presumed that only divisions of two or three are perceptually valid, so in meters not divisible by 2 or 3, such as quintuple meter, say , is assumed to either be equivalent to a measure of followed by a measure of , or the opposite: then . Higher meters which are divisible by 2 or 3 are considered equivalent to groupings of tuple or triple meter measures, thus, , for example, is rarely used because it is considered equivalent to two measures of . See: hypermetre and additive rhythm and divisive rhythm.
|
|
The analog implementation of CNN processors requires less area and consumes less power than their digital counterparts. Although the accuracy of analog CNN processors does not compare to their digital counterparts, for many applications, noise and process variances are small enough not to perceptually affect the image quality. The first algorithmically programmable, analog CNN processor was created in 1993. It was named the CNN Universal Processor because its internal controller allowed multiple templates to be performed on the same data set, thus simulating multiple layers and allowing for universal computation. Included in the design was a single layer 8x8 CCN, interfaces, analog memory, switching logic, and software.
|
|
Even the notion of consciousness as drafts is not unique to Dennett. According to Hankins, Dieter Teichert suggests that Paul Ricoeur's theories agree with Dennett's on the notion that "the self is basically a narrative entity, and that any attempt to give it a free-floating independent status is misguided." [Hankins] Others see Derrida's (1982) representationalism as consistent with the notion of a mind that has perceptually changing content without a definitive present instant. To those who believe that consciousness entails something more than behaving in all ways conscious, Dennett's view is seen as eliminativist, since it denies the existence of qualia and the possibility of philosophical zombies.
|
|
In perception, neither the pattern played by one nor the pattern played by the other musician is perceived, and although the parallel octaves can be heard, they are hardly noticeable. Instead, perceptually, the music seems to consist of two to three pitch levels in which irregular melodic/rhythmic inherent patterns can be heard. The inherent patterns in the middle pitch level combine out of low pitch notes of the higher octave and high pitch notes of the lower octave. Generally, the patterns that can be heard are not played by any of the musicians but result from the combination of the actions of both musicians.
|
|
The greater relative mass of the membrane, due to the presence of the otoconia, causes it to lag behind the macula temporarily, leading to transient displacement of the hair bundle. One consequence of the similar effects exerted on otolithic hair cells by certain head tilts and linear accelerations is that otolith afferents cannot convey information that distinguishes between these two types of stimuli. Consequently, one might expect that these different stimuli would be rendered perceptually equivalent when visual feedback is absent, as occurs in the dark or when the eyes are closed. However, this is not the case because blindfolded subjects can discriminate between these two types of stimuli.
|
|
Figure 1: Spectrograms of syllables "dee" (top), "dah" (middle), and "doo" (bottom) showing how the onset formant transitions that define perceptually the consonant differ depending on the identity of the following vowel. (Formants are highlighted by red dotted lines; transitions are the bending beginnings of the formant trajectories.) Acoustic cues are sensory cues contained in the speech sound signal which are used in speech perception to differentiate speech sounds belonging to different phonetic categories. For example, one of the most studied cues in speech is voice onset time or VOT. VOT is a primary cue signaling the difference between voiced and voiceless plosives, such as "b" and "p".
|
|
Russo et al., 2002; Mammarella, Russo, & Avons, 2005). Cornoldi and Longoni (1977) have even found a significant spacing effect in a forced-choice recognition memory task when nonsense shapes were used as target stimuli. Russo et al. (1998) proposed that with cued memory of unfamiliar stimuli, a short-term perceptually-based repetition priming mechanism supports the spacing effect. When unfamiliar stimuli are used as targets in a cued-memory task, memory relies on the retrieval of structural-perceptual information about the targets. When the items are presented in a massed fashion, the first occurrence primes its second occurrence, leading to reduced perceptual processing of the second presentation.
|
|
Recent work done in the field studying social cues has found that perception of social cues is best defined as the combination of multiple cues and processing streams, also referred to as cue integration. Stimuli are processed through experience sharing and mentalizing and the likelihood of the other person’s internal state is inferred by the Bayesian logic. Experience sharing is a person's tendency to take on another person's facial expressions, posture and internal state and is often related to the area of empathy. A stimulus that is perceptually salient can cause a person to automatically use a bottom-up approach or cognitive top-down intentions or goals.
|
|
More recently, Albert Kok reviewed the literature on cognitive workload, and concluded that P3b amplitude depends on the demands on cognitive capacity. In dual-task paradigms like those described above, subjects are required to perform a primary and a secondary task. When the primary task is more perceptually and cognitively demanding, the P3b amplitude in response to oddballs in the secondary task is decreased. Kok also supports aspects of Johnson's theory, stating that the amount of attention allocated to a task, the relevance of the stimulus to the task, and the probability of the stimulus will all help determine what the P3b amplitude will be.
|
|
If they do not try to do so, it is hypocrisy; if they try to do so, it can only lead to infinite regress, according to Mīmānsākas. Any historic scripture with widespread social acceptance, according to Mīmānsāka, is an activity of communication (vyavaharapravrtti) and is accepted as authoritative because it is socially validated practice, unless perceptually verifiable evidence emerges that proves parts or all of it as false or harmful. Mīmānsākas were predominantly concerned with the central motivation of human beings, the highest good, and actions that make this possible. They stated that human beings seek niratisaya priti (unending ecstatic pleasure, joy, happiness) in this life and the next.
|
|
Although visual stimuli are fundamentally multi-interpretable, the human visual system usually has a clear preference for only one interpretation. To explain this preference, SIT introduced a formal coding model starting from the assumption that the perceptually preferred interpretation of a stimulus is the one with the simplest code. A simplest code is a code with minimum information load, that is, a code that enables a reconstruction of the stimulus using a minimum number of descriptive parameters. Such a code is obtained by capturing a maximum amount of visual regularity and yields a hierarchical organization of the stimulus in terms of wholes and parts.
|
|
TurboVNC is an offshoot of TightVNC that accelerates the Tight and JPEG encoding paths of the latter, in part by taking advantage of libjpeg-turbo, a SIMD-accelerated version of libjpeg. On 100 Megabit Ethernet networks, TurboVNC is capable of displaying more than 50 Megapixels/second with perceptually lossless image quality. TurboVNC includes further optimizations that allow it to display 10–12 Megapixels/second over a 5 Megabit broadband link, with noticeably less but usable image quality. TurboVNC also extends TightVNC to include client-side double buffering and other features targeted at 3D applications, such as the ability to send a lossless copy of the screen image during periods of inactivity.
|
|
Perceptually unrelated stimuli may come to be responded to as members of a class if they have a common use or lead to common consequences. An oft-cited study by Vaughan (1988) provides an example. Vaughan divided a large set of unrelated pictures into two arbitrary sets, A and B. Pigeons got food for pecking at pictures in set A but not for pecks at pictures in set B. After they had learned this task fairly well, the outcome was reversed: items in set B led to food and items in set A did not. Then the outcome was reversed again, and then again, and so on.
|
|
Principal photography took place entirely on sound stages at L.A. Center Studios in downtown Los Angeles. The animal characters were created entirely in computer animation, with the assistance of footage of real animal movement, the actors recording their lines, and performance capture for reference. The production team underwent a thorough process to realistically convey the animals' speaking, while still making them perceptually believable to the audience. Favreau researched earlier films featuring anthropomorphic animals, including Walt Disney's animated features, such as Snow White and the Seven Dwarfs and Bambi, as well as modern films such as Babe and adopted certain techniques from those films into The Jungle Book.
|
|
The illusion was discovered by Deutsch in 1995 when she was preparing the spoken commentary on her CD ‘Musical Illusions and Paradoxes'. She had the phrase ‘sometimes behave so strangely' on a loop, and noticed that after it had been repeated several times it appeared to be sung rather than spoken. Later she included this illusion on her CD ‘Phantom Words and other Curiosities' and noted that once the phrase had perceptually morphed into song, it continued to be heard as song when played in the context of the full sentence in which it occurred. Deutsch, Henthorn, and Lapidis examined the illusion in detail.
|
|
With the right environmental influence, conforming, in early childhood years, allows one to learn and thus, adopt the appropriate behaviours necessary to interact and develop correctly within one's society. Conformity influences formation and maintenance of social norms, and helps societies function smoothly and predictably via the self-elimination of behaviors seen as contrary to unwritten rules. In this sense it can be perceived as a positive force that prevents acts that are perceptually disruptive or dangerous. As conformity is a group phenomenon, factors such as group size, unanimity, cohesion, status, prior commitment and public opinion help determine the level of conformity an individual displays.
|
|
"The Daily Princetonian, "Renowned artist Richard Serra to speak the language of sculpture" 9 October, 2001 That statement fits within the wider intention behind Serra's work. In a lecture given at Yale University in 1990, he declared that his sculptures are meant to "become part of the site and restructure both conceptually and perceptually the organization of the site".Quoted by Frances You in "Hedging Space", The Daily Princetonian, 9 November 2000 He further underlined this in his speech at the dedication of "The Fox and the Hedgehog" at Princeton. "It seems to be that one of the basic functions of art is to enable us to acknowledge thought and perception in ways that other things do not.
|
|
Researchers have demonstrated that by creating banks of tones whose note names are clearly defined perceptually but whose perceived heights are ambiguous, one can create scales that appear to ascend or descend endlessly in pitch. Roger Shepard achieved this ambiguity of height by creating banks of complex tones, with each tone composed only of components that stood in octave relationship. In other words, the components of the complex tone C consisted only of Cs, but in different octaves, and the components of the complex tone F consisted only of Fs, but in different octaves. When such complex tones are played in semitone steps the listener perceives a scale that appears to ascend endlessly in pitch.
|
|
Crucial to his thinking is the idea that non-verbal representation is not a quasi-linguistic form of communication. It relies on the de facto socially efficacious substitutability of one thing for another thing even in cases where relevant properties are not shared. He argues that this perceptually mediated substitutive felicity must have been available to pre-linguistic organisms or language itself could not possibly have evolved. Brook’s elucidation of the concept of art, as what he at first called ‘experimental modelling of actual and possible worlds,’ is first comprehensively spelled out in his paper ‘A new theory of art’.[4]‘A new theory of art.’ British Journal of Aesthetics 20 (1980): 305-321.
|
|
To determine what information in an audio signal is perceptually irrelevant, most lossy compression algorithms use transforms such as the modified discrete cosine transform (MDCT) to convert time domain sampled waveforms into a transform domain. Once transformed, typically into the frequency domain, component frequencies can be allocated bits according to how audible they are. Audibility of spectral components calculated using the absolute threshold of hearing and the principles of simultaneous masking—the phenomenon wherein a signal is masked by another signal separated by frequency—and, in some cases, temporal masking—where a signal is masked by another signal separated by time. Equal-loudness contours may also be used to weight the perceptual importance of components.
|
|
Her work is usually perceptually based in the individual (Drift, Jerusalem Windows, Monumenti), informed by her own phenomenological investigations of how music functions, based on the writings of Edmund Husserl and Martin Heidegger. There is often, as with history, a presentation of incomplete ideas, which are intended to be completed in the mind of the listener. It is a language of connotations; within each piece, a new syntax is fully established to allow the perceptive, active listener to respond to or to complete fragmentary statements, which the composer, in turn, comments upon, verifies or denies later in the work. There is a deliberate engagement of the listener, a demand upon one’s attention which is rewarded through correspondence.
|
|
If the former stimulus induces longer looking times than the latter, then, so the argument goes, infants expect that objects obey the continuity rule, and are surprised when they violate this rule. Some researchers have suggested, of some such experiments, that infants have innate knowledge of those rules the violation of which they can perceptually discriminate. Common criticisms of this innateness thesis include that the infant has already acquired enough experience of non-teleporting objects to justify its surprise, and that teleporting objects are attention-grabbing for reasons other than expectancy violation. Findings from preferential looking experiments have suggested that humans innately possess sets of beliefs about how objects interact ("folk physics" or "folk mechanics") and about how animate beings interact ("folk psychology").
|
|
It seems that a fundamental level, our perceptual system is attuned to detect and follow such changes, irrespective of their importance in terms of the subject matter. As with static displays discussed above, items that are perceptually compelling (in this case because of their dynamic character) may not necessarily be of great thematic relevance to the given learning task. The big orange float in the accompanying animation is far more perceptible than the small grey air valve because of both its visuospatial characteristics, and its high level of dynamic contrast with the rest of the display. The misleading effects of the dynamic contrast are likely to be particularly problematic for learners who lack background knowledge in the content domain depicted in an animation.
|
|
Feature detection is a process by which the nervous system sorts or filters complex natural stimuli in order to extract behaviorally relevant cues that have a high probability of being associated with important objects or organisms in their environment, as opposed to irrelevant background or noise. Feature detectors are individual neurons—or groups of neurons—in the brain which code for perceptually significant stimuli. Early in the sensory pathway feature detectors tend to have simple properties; later they become more and more complex as the features to which they respond become more and more specific. For example, simple cells in the visual cortex of the domestic cat (Felis catus), respond to edges—a feature which is more likely to occur in objects and organisms in the environment.
|
|
It is important to note that there is a distinction, often confounded in acquisition research, between mapping a label to a specific instance or individual and mapping a label to an entire class of objects. This latter process is sometimes referred to as generalization or rule learning. Research has shown that if input is encoded in terms of perceptually salient dimensions rather than specific details and if patterns in the input indicate that a number of objects are named interchangeably in the same context, a language learner will be much more likely to generalize that name to every instance with the relevant features. This tendency is heavily dependent on the consistency of context clues and the degree to which word contexts overlap in the input.
|
|
By general agreement, abstract entities cannot interact causally with physical entities ("the truth-values of our mathematical assertions depend on facts involving platonic entities that reside in a realm outside of space-time"Field, Hartry, 1989, Realism, Mathematics, and Modality, Oxford: Blackwell, p. 68) Whilst our knowledge of physical objects is based on our ability to perceive them, and therefore to causally interact with them, there is no parallel account of how mathematicians come to have knowledge of abstract objects."Since abstract objects are outside the nexus of causes and effects, and thus perceptually inaccessible, they cannot be known through their effects on us" — Jerrold Katz, Realistic Rationalism, 2000, p. 15Stanford Encyclopedia of Philosophy Field developed his views into fictionalism.
|
|
Ecological interface design was proposed as a framework for interface design by Kim Vicente and Jens Rasmussen in the late 80s and early 90s following extensive research into human-system reliability at the Risø National Laboratory in Denmark (Rasmussen & Vicente et al, 1989; Vicente, 2001). The term ecological in EID originates from a school of psychology developed by James J. Gibson known as ecological psychology. This field of psychology focuses on human-environment relationships, in particular in relation to human perception in actual environments rather than in laboratory environments. EID borrows from ecological psychology in that the constraints and relationships of the work environment in a complex system are reflected perceptually (through an interface) in order to shape user behaviour.
|
|
In video streaming formats, such as H.264, fast forward algorithms use the I-frames to sample the video at faster than normal speed. In streaming videos, fast-forward represents a useful search or browsing mechanism, but introduces extra network overhead when non-I-frames are transmitted in addition to the viewed I-frames and extra computational complexity in the video transcoder. Finding more network bandwidth-conserving and computationally efficient algorithms for accommodating both fast-forward and normal speed viewing is an active area of research. When fast-forwarding is used as a search mechanism (sometimes called a fast-forward video surrogate) in video libraries, the question arises as to what is perceptually the best fast-forward strategy for effective browsing.
|
|
Evocative or object constancy therefore involves the ability to maintain positive affective relationships with significant others during their absence (i.e., when they are not perceptually available) or during moments of negative affect. And as this capacity matures, it comes to involve the ability to maintain these same emotional ties in an environment involving significant emotional relationships with multiple figures. In the third year of life, as self-reflective capacity consolidates, as indexed by the capacity to recognize oneself in the mirror and therefore to regard oneself as an object who can be perceived by others, evocative constancy expands to include constancy of the self—that is, the maintenance of a consistent and coherent self-representation through time, space, and varying emotional states.
|
|
"Phonemic diversity" denotes the number of perceptually distinct units of sound — consonants, vowels and tones — in a language. The current worldwide pattern of phonemic diversity potentially contains the statistical signal of the expansion of modern Homo sapiens out of Africa, beginning around 60-70 thousand years ago. Some scholars argue that phonemic diversity evolves slowly and can be used as a clock to calculate how long the oldest African languages would have to have been around in order to accumulate the number of phonemes they possess today. As human populations left Africa and expanded into the rest of the world, they underwent a series of bottlenecks — points at which only a very small population survived to colonise a new continent or region.
|
|
PSQM uses a psychoacoustical mathematical modeling (both perceptual and cognitive) algorithm to analyze the pre and post transmitted voice signals, yielding a PSQM value which is a measure of signal quality degradation and ranges from 0 (no degradation) to 6.5 (highest degradation). In turn, this result may be translated into a mean opinion score (MOS), which is an accepted measure of the perceived quality of received media on a numeric scale ranging from 1 to 5. A value of 1 indicates unacceptable, poor quality voice while a value of 5 indicates high voice quality with no perceptible issues. The PSQM algorithm converts the physical-domain signal(s) into the perceptually meaningful psychoacoustic domain through a series of nonlinear processes such as time- frequency mapping, frequency warping and intensity warping.
|
|
Following a process of divisive normalization based on a model of cortical (area V1) processing in the brain, the processed reference and test videos are combined in a weighted difference to produce a prediction of spatial picture quality. At the same time, a prediction of the temporal (time-varying or inter-frame) motion picture quality is calculated by using the responses of the same Gabor space-time frequency decomposition of reference and test videos, but in a different manner. Temporal MOVIE weights these responses using an excitatory- inhibitory weighting of the Gabor responses to motion-tune them in accordance with a local measurement of video motion. The motion measurements are also made using the space-time filter bank using a perceptually relevant measurement of phase-based optical flow.
|
|
The possibility of precisely manipulating visual percepts in time and space has made vision a preferred modality in the quest for the NCC. Psychologists have perfected a number of techniques – masking, binocular rivalry, continuous flash suppression, motion induced blindness, change blindness, inattentional blindness – in which the seemingly simple and unambiguous relationship between a physical stimulus in the world and its associated percept in the privacy of the subject's mind is disrupted.Kim and Blake 2004 In particular a stimulus can be perceptually suppressed for seconds or even minutes at a time: the image is projected into one of the observer's eyes but is invisible, not seen. In this manner the neural mechanisms that respond to the subjective percept rather than the physical stimulus can be isolated, permitting visual consciousness to be tracked in the brain.
|
|
The goals of CBASP treatment are (1) to connect patients perceptually and behaviorally to the interpersonal world they live in so that their behavior is informed by environmental (interpersonal) influences; (2) CBASP teaches patients how to make themselves feel better emotionally as well as how to maintain affective control; (3) patients are taught to negotiate interpersonal relationships successfully which means that patients acquire the requisite skills to obtain desirable interpersonal goals [McCullough, 2000, 2006]; (4) finally, patients learn the crucial importance of "maintaining" the treatment gains after psychotherapy ends. Maintaining the gains requires daily practice of the in-session learning which protects (perpetuates) the extinction of the old pathological patterns of behavior. Post-therapy practice for the rest of their lives holds in abeyance the ever-present danger of relapse and recurrence.
|
|
James J. Gibson, too, stressed the importance of the environment, in particular, the (direct) perception of how the environment of an organism affords various actions to the organism. Thus, an appropriate analysis of the environment was crucial for an explanation of perceptually guided behaviour. He argued that animals and humans stand in a 'systems' or 'ecological' relation to the environment, such that to adequately explain some behaviour it was necessary to study the environment or niche in which the behaviour took place and, especially, the information that 'epistemically connects' the organism to the environment. It is Gibson's emphasis that the foundation for perception is ambient, ecologically available information – as opposed to peripheral or internal sensations – that makes Gibson's perspective unique in perceptual science in particular and cognitive science in general.
|
|
The dimensions of the HSL and HSV geometries—simple transformations of the not-perceptually-based RGB model—are not directly related to the photometric color-making attributes of the same names, as defined by scientists such as the CIE or ASTM. Nonetheless, it is worth reviewing those definitions before leaping into the derivation of our models. For the definitions of color-making attributes which follow, see:Kuehni (2003)Poynton (1997) ; Hue: The "attribute of a visual sensation according to which an area appears to be similar to one of the perceived colors: red, yellow, green, and blue, or to a combination of two of them". ; Radiance (Le,Ω): The radiant power of light passing through a particular surface per unit solid angle per unit projected area, measured in SI units in watt per steradian per square metre ().
|
|
Einar Haugen expanded the diaphonic approach to the study of bilingualism,, citing believing diaphones represented the process of interlingual identification wherein sounds from different languages are perceptually linked into a single category. Because interlingual identifications may happen between unrelated varieties, it is possible to construct a diasystem for many different language contact situations, with the appropriateness of such a construction depending on its purpose and its simplicity depending on how isomorphic the phonology of the systems are. For example, the Spanish of Los Ojos (a small village in Rio Arriba County, New Mexico) and the local variety of Southwestern English are fairly isomorphic with each other so a diaphonic approach for such a language contact situation would be relatively straightforward. makes use of a diaphonic approach in discussing the phonology of the pidgin English used by Japanese immigrants on Hawaiian plantations.
|
|
Perceptually, the problem of transparency is much more challenging: both the light rays coming from the transparent surface and those coming from the object behind it do reach the same retinal location, triggering a single sensorial process. The system somehow maps this information onto a perceptual representation of two different objects. Physical transparency was shown to be neither a sufficient nor a necessary condition for perceptual transparency. Click on the image to see the full-size version Click on the image to see the full-size version Click on the image to see the full-size version Fuchs (1923) showed that when a small portion of a transparent surface is observed, neither the surface colour, nor the fusion colour is perceived, but only the colour resulting from the fusion of that of the transparent surface and that of the background.
|
|
If an object is moving or changing position, it would be likely to stimulate both pathways and result in a percept of beta movement. Whereas if the object changes position too rapidly, it might result in a percept of pure movement such as phi phenomenon. Secondly, phi phenomenon and beta movement are also different perceptually. For phi phenomenon, two stimuli A and B are presented successively, what you perceive is some motion passing over A and B; while for beta movement, still with two stimuli A and B presented in succession, what you perceive would be an object actually passing from position A to position B. The difference also lies on cognitive level, about how our visual system interprets movement, which is based on the assumption that visual system solves an inverse problem of perceptual interpretation.
|
|
Logluv TIFF's design solves two specific problems: storing high dynamic image data and doing so within a reasonable amount of space. Traditional image format generally stores pixel data in RGB- space occupying 24 bits, with 8 bits for each color component. This limits the representable colors to a subset of all visible and distinguishable colors, introducing quantization and clamping artifacts clearly visible to human observers. Using a triplet of floats to represent RGB would be a viable solution, but it would quadruple the size of the file (occupying 32 bits for each color-component, as opposed to 8 bits). Instead of using RGB, LogLuv uses the logarithm of the luminance and the CIELUV (u’, v’) chromaticity coordinates in order to provide a perceptually uniform color space. LogLuv allocates 8 bits for each of the u’ and v’ coordinates, which allows encoding the full visible gamut with imperceptible step sizes.
|
|
After viewing Wheatstone's improved replica of the Speaking Machine at an exposition, a young Alexander Graham Bell set out to construct his own speaking machine with the help and encouragement of his father.[4][5] Bell's experiments and research ultimately led to his invention of the telephone in 1876[4], which revolutionized global communication. In 1968, Marcel van den Broecke (University of Amsterdam) built a replica as part of an MA thesis, about which he reported in "Sound Structures", Marcel van den Broecke, Vincent van Heuven and Wim Zonneveld (eds.), chapter 2, p 9-19: "Wolfgang von Kempelen's Speaking Machine as a Performer", Foris Publications, Dordrecht-Netherlands/Cinnaminson-USA, 1983. Acoustic predictions using N-tube approximations of the vocal tract and applying them to the replica's characteristics showed what had already been established perceptually, namely that the machine could only produce two vowel-like sounds, viz.
|
|
The use of red wax is also part of his repertoire, evocative of flesh, blood, and transfiguration. In 2007, he showed Svayambh (which translated from Sanskrit means "self-generated"), a 1.5-metre block of red wax that moved on rails through the Nantes Musée des Beaux-Arts as part of the Biennale estuaire; this piece was shown again in a major show at the Haus der Kunst in Munich and in 2009 at the Royal Academy in London. Some of Kapoor's work blurs the boundaries between architecture and art. In 2008, Kapoor created Memory in Berlin and New York for the Guggenheim Foundation, his first piece in Cor-Ten, which is formulated to produce a protective coating of rust. Weighing 24 tons and made up of 156 parts, it calls to mind Richard Serra's huge, rusty steel works, which also invite viewers into perceptually confounding interiors.
|
|
Macaque monkeys can be trained to report whether they see the left or the right image. The distribution of the switching times and the way in which changing the contrast in one eye affects these leaves little doubt that monkeys and humans experience the same basic phenomenon. In the primary visual cortex (V1) only a small fraction of cells weakly modulated their response as a function of the percept of the monkey while most cells responded to one or the other retinal stimulus with little regard to what the animal perceived at the time. But in a high-level cortical area such as the inferior temporal cortex along the ventral stream almost all neurons responded only to the perceptually dominant stimulus, so that a "face" cell only fired when the animal indicated that it saw the face and not the pattern presented to the other eye.
|
|
Limerence is characterised by internal experiences such as ruminative thinking, anxiety and depression, temporary fixation, and the disintegration of the self, and found in their case studies that these themes find relation to unresolved past life experiences and attempts at self-actualization. Limerence is sometimes also interpreted as infatuation, or what is colloquially known as a "crush". However, in common speech, infatuation includes aspects of immaturity and extrapolation from insufficient information, and is usually short-lived. Tennov notes how limerence "may dissolve soon after its initiation, as in an early teenage buzz-centered crush", but she is more concerned with the point when "limerent bonds are characterized by 'entropy' crystallization as described by Stendhal in his 1821 treatise On Love, where a new love infatuation perceptually begins to transform ... [and] attractive characteristics are exaggerated and unattractive characteristics are given little or no attention ... [creating] a 'limerent object'".
|
|
According to the Yogacara phenomenology the ālambana condition, whether immediate direct or remote, means if there exists a dharma it will have a distinct appearance, the mind will sometimes correspond with it (lakshana) for that dharma to be cognized and perceptually grasped. This condition leads to the awakening which results in the ending of the eight consciousnesses and replacing them with four enlightened cognitive abilities. The Buddhist consider ālambana as a cause same as hetu, samanantara and adhipati, they consider it to be the object- condition which is taken as the cause in the production of knowledge and mentals, such as citta and caitta. According to Nagarjuna there are three motivational contexts of love and compassion viz, sattva-ālambana, motivated by the similarity of one’s self with other selves, dharma-ālambana, motivated by the sameness of psycho-physical elements, and ānalambana which is not motivated by these two i.e.
|
|
Sniffing is a perceptually-relevant behavior, defined as the active sampling of odors through the nasal cavity for the purpose of information acquisition. This behavior, displayed by all terrestrial vertebrates, is typically identified based upon changes in respiratory frequency and/or amplitude, and is often studied in the context of odor guided behaviors and olfactory perceptual tasks. Sniffing is quantified by measuring intra-nasal pressure or flow or air or, while less accurate, through a strain gauge on the chest to measure total respiratory volume. Strategies for sniffing behavior vary depending upon the animal, with small animals (rats, mice, hamsters) displaying sniffing frequencies ranging from 4 to 12 Hz but larger animals (humans) sniffing at much lower frequencies, usually less than 2 Hz. Subserving sniffing behaviors, evidence for an "olfactomotor" circuit in the brain exists, wherein perception or expectation of an odor can trigger brain respiratory center to allow for the modulation of sniffing frequency and amplitude and thus acquisition of odor information.
|
|
Crossplane crankshafts used in a four-stroke, four-cylinder engine result in uneven firing, since the natural separation of ignition events is (720°/4 =) 180° in such an engine (hence the popularity of 180° flat-plane crank). The firing intervals (the space between ignition events) for the crossplane R1 and URS engines are 90-180-270-180 (crank degrees), but other intervals are possible including those due to so-called big-bang firing orders. The uneven firing is the cause of the distinctive sound of this configuration, which is superficially a combination of the 270-450 (90° V-Twin), 180-540 (180° straight twin) and 90-630 ("twingled" V-Twin) intervals, the dominant interval perceptually being the 270° one. The 90° throw separation would make the cross-plane crank a natural choice for a two-stroke straight four, providing the advantages of both evenly spaced firing and less secondary vibration when the increased rocking vibrations are countered with a crank-speed balance shaft.
|
|
Rauhauser was hired as a faculty member at the College for Creative Studies in 1970 by Bob Vigiletti, chair of photography at what was then the Art School for the Detroit Society of Arts and Crafts and for more than 30 years taught historical, theoretical and technical courses, with one year as guest lecturer at the University of Michigan in Ann Arbor, and four years at Wayne State University. Well respected as an educator, he said; His alumni include Michelle Andonian, Gene Meadows, Nancy Barr, and Carlos Diaz. Aside from street photography, and inspired by his teaching, he branched out into industrial and construction site imagery from the 1960s, and then more conceptual projects; his Pipe series made in the mid 1970s that simply shows cropped, deadpan details of plumbing, the series Object, Cubist Still Life and Temples and Tombs which evolve as high contrast illusionistic abstractions and mechanical or geometric still life objects against a stark black background of the 1980s. The latter have companion pieces that exploit perceptually puzzling geometric details in interiors.
|
|
Bluffs along the North Shore Delineated perceptually by the Queens-Nassau border, the North Shore is marked by a series of necks (peninsulas) and populated harbors. North Hempstead, Oyster Bay and Huntington Towns comprise the land ownership of this area, which is noted for its preservation of Gilded Age Estates. Beyond here, the North Shore becomes Towns of Smithtown and Brookhaven, where a similar trend of peninsulas and sheltered harbors are the sites of hamlets and towns such as Stony Brook, Port Jefferson, Wading River, etc.. Once the island splits into two forks at its east end, the North Shore's hills largely flatten out (and enter the Town of Riverhead) to an out-wash plain and becomes largely rural (and enters the Town of Southold), with an economic stronghold on agriculture, particularly in the shape of wineries and vineyards. This recent trend, beginning in the 1980s with the conversion of potato farms, has given the North Fork the distinction of being the most productive agricultural area in New York State.
|
|
Richardson had been well known as an art theorist and the poetic practice of his apprentice was soon to be questioned by other theorists. William Gilpin, in his popularisation of the concept of the Picturesque, Observations on the River Wye and several parts of South Wales, relative chiefly to Picturesque Beauty (1782), found Dyer's poetry deficient in that quality. “His distances, I observed, are all in confusion; and indeed it is not easy to separate them from his foregrounds.” And while the immediate detail of the passage beginning “Below me trees unnumber’d rise” (lines 57ff) was justly observed, it was perceptually wrong to discern in equal detail the ivy on the walls of Dinevawr Castle.Observations on the River Wye etc, London 1782, pp.101–06 Not all artists were so outspoken. In his textbook Instructions for Drawing and Colouring Landscapes (London, 1805), Edward Dayes returned to the same description of trees downhill that Gilpin cites as a correct middle ground. Though perhaps “it is too much detailed for any mass in a picture” in itself, he finds it commendable nevertheless as illustrating the principle that diversification of form and colour is needed in painting “to prevent monotony”.
|
|
This file format generalized the data representation using perceptually additive real world units, redefined some of the instrument layering features within the format, added true stereo sample support and removed some obscure features of the first version whose behavior was difficult to specify. This version was fully disclosed as a public specification, with the goal of making the SoundFont format an industry standard. All SoundFont 1.0 compatible devices were updated to support the SoundFont 2.0 format shortly after it was released to the public, and consequently the 1.0 version became obsolete. Files in this and all other 2.x formats (see below) conventionally have the file extension of .SF2. Version 2.01 (usually, but incorrectly called 2.1) of the SoundFont file format was introduced in 1998 with an E-mu sound card product called the Audio Production Studio. The 2.01 version added features allowing sound designers to configure the way MIDI controllers influence synthesizer parameters. The 2.01 format is bidirectionally compatible with 2.0, which means that synthesizers capable of rendering 2.01 format will also by definition render 2.0 format, and synthesizers that are only capable of rendering 2.0 format will also read and render 2.01 format, but just not apply the new features.
|
|
Like the OSA-UCS and Munsell systems, the Coloroid attempts to model a perceptually uniform color space or UCS. However the UCS standard applied in the Coloroid system is equal appearing increments in color when the entire range of colors is presented to the viewer, in contrast to the standard of equal "just noticeable" or small color differences between pairs of similar colors presented in isolation. Colors in the Coloroid color space are fundamentally specified according to the perceptual attributes of "luminosity" (luminance factor, V), "saturation" (excitation purity, T) and hue (the matching or dominant spectral wavelength, A). The VAT components are used to define a cylindrical color geometry, with V as the achromatic vertical axis (lightness or brightness), T as the horizontal distance from the achromatic axis (chroma), and A as the hue angle around the hue circle. The circumferential limits of this cylinder are defined by the spectrum locus, or colors as they appear in a single wavelength of light (or a mixture of single "violet" and "red" wavelengths); this ambit varies vertically in V around the hue circle, showing whether the relative luminance or brightness of each wavelength is high (yellow hue) or low (violet blue hue).
|
|