Perceptual Coherence : Hearing and Seeing

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Perception of Motion 209 Figure 5.6. If two black-and-white gratings move independently, it is possible to perceive the two gratings forming a single surface and moving in the direction of the intersection of constraints or to see each grating as being a separate surface and sliding past each other. The sliding perception is likely if the two gratings are different in brightness or color (A), move at different speeds (B), have different spatial frequencies (C), or have an angular difference greater than 100° (D).
210 Perceptual Coherence Figure 5.7. The brightness ratios between different surfaces determine whether the surfaces are perceived as transparent (i.e., equal ratios) or whether one surface is perceived as occluding and covering another. influenced by knowledge of the rules determining images formed in natural settings. This is essentially the same argument made by Yuille and Grzywacz (1998), as well as Tse et al. (1998). Strictly computational models do not capture the implicit knowledge about how natural events are organized. The auditory parallel to moving plaids, or generally to coherentincoherent visual stimuli, are interleaved melodies in which one takes two well-known tunes (e.g., “Mary Had a Little Lamb” and “London Bridge”) and alternates the notes, keeping an equal time interval between the onsets of each pair of adjacent notes (coming from different melodies). The experimental question is what conditions lead to the perception of one coherent but meaningless melody and which ones lead to the perception of the two separate melodies, exactly the identical question asked about plaids. If the sound quality of the notes is identical and the notes come from the same scale region so that it is impossible to isolate the notes of each melody by pitch, it is extremely difficult to pick out each melody. The similarity in pitch creates one coherent tonal sequence that does not resemble either melody. If the notes of one melody are progressively raised in pitch until there is no overlap in the notes of each melody, the two melodies separate to form separate coherent melodies, and it becomes easy to identify either one (Dowling, 1973; Hartmann & Johnson, 1991). Furthermore, Bey and McAdams (2003) showed that differences in the timbre between the
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PERCEPTUAL COHERENCE
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Perceptual Coherence Hearing and Se
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To My Family, My Parents, and the B
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Preface The purpose of this book is
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Preface ix intertwined with my own
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Contents 1. Basic Concepts 3 2. Tra
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PERCEPTUAL COHERENCE
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1 Basic Concepts In the beginning G
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Basic Concepts 5 sources moving in
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even though its appearance changes.
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sources. A single sound source is t
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straight line parallel to the actua
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continuous sound. The correspondenc
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Basic Concepts 15 overall uncertain
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problem. The “snapshots” in spa
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segments at different orientations.
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in amplitude across time (analogous
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Basic Concepts 23 visual experience
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we would expect the correlation to
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Transformation of Sensory Informati
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Table 2.1 Derivation of the Recepti
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Figure 2.7. Continued
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3 Characteristics of Auditory and V
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Information =−Σ. Pr(x i ) log 2
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Characteristics of Auditory and Vis
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valleys” that support the high-fr
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Phase Relationships and Power Laws
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systems to be. One possibility woul
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are most active, relatively large c
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(see figure 2.2 based on the Differ
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epresenting these naturally occurri
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found in V1. Even though the filter
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Figure 3.14. The independent compon
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specific persons or objects (e.g.,
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amplitudes of each picture and foun
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4 The Transition Between Noise (Dis
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more cortical levels. For example,
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The Transition Between Noise and St
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The Transition Between Noise and St
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Page 198 and 199: (A) (B) Warbleness The Transition B
Page 206 and 207: 2000 Hz with a single action potent
Page 208 and 209: The same problem of the multiplicit
Page 210 and 211: order to create the appearance of s
Page 212 and 213: Perception of Motion 199 Figure 5.2
Page 216 and 217: Perception of Motion 203 together.
Page 218 and 219: Perception of Motion 205 (The two f
Page 220 and 221: again, two perceptions can result a
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Page 226 and 227: Perception of Motion 213 Braddick (
Page 228 and 229: larger arrays and Baddeley and Tirp
Page 230 and 231: Perception of Motion 217 the judgme
Page 232 and 233: Perception of Motion 219 one color
Page 234 and 235: To review, neurons sensitive to mot
Page 236 and 237: Transparency aftereffects do occur
Page 238 and 239: Perception of Motion 225 stimuli, t
Page 244 and 245: Perception of Motion 231 perception
Page 250 and 251: Perception of Motion 237 same direc
Page 252 and 253: Time 1, Tone 1 is turned off, at Ti
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Page 258 and 259: Gain Control and External and Inter
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Makous (1997) pointed out how diffi
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contrast that defines the boundarie
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per Second Figure 6.10. Continued G
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Gain Control and External and Inter
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ane was linear, the higher sound pr
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(C. D. Geisler, 1998; C. D. Geisler
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noise visual field. 4 The S + N inp
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B. Murray, Bennett, and Sekular (20
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The authors proposed that the four
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Efficiency and Noise in Auditory Pr
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etween samples). Spiegel and Green
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In sum, the masking release is grea
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The Perception of Quality: Visual C
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Visual Worlds Modeling the Light Re
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Indirect Illumination Causing Specu
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of an object but also require the c
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assumed, so that the surface irradi
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Relative Power of Basis Functions S
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that the reflectance of the test co
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amount of light transmitted through
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light reflected by all surfaces in
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magenta to white). Then Bloj et al.
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Why is there opponent processing? O
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8 The Perception of Quality: Audito
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exists at several levels: (a) descr
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The Perception of Quality: Auditory
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mode is proportional to the relativ
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The overall result is that the rela
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obvious. The tension on the vocal c
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(termed the amplitude envelopes) ar
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obviously misplaced). The majority
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Pastore (1991) investigated whether
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experience. Erickson (2003) found t
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Rhythmic patterning usually gives i
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Let me summarize at this point. The
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the oddball note to be the one most
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9 Auditory and Visual Segmentation
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Auditory and Visual Segmentation 37
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processes (e.g., basilar membrane v
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same time, the difficulty of detect
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elease (discussed in chapter 6) dem
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(A) Target Rhythm Target + Masking
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to grouping by perceived position d
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4. Convexity: Convex figures usuall
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filter inferred from the background
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Jackson (1953) found that the sound
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a speaking face is located in front
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was high, then the resolution of th
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Listeners were more likely to repor
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10 Summing Up Perceiving is the con
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Summing Up 423 course of the stimul
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References Adelson, E. H. (1982). S
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References 427 Bermant, R. I., & We
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References 429 Crawford, B. H. (194
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References 431 Feldman, J., & Singh
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References 433 and male voices in t
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References 435 Isabelle, S. K., & C
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References 437 Laughlin, S. B. (200
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References 439 McAdams, S., Winsber
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References 441 Pittinger, J. B., Sh
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References 443 Shamma, S. (2001). O
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References 445 Troost, J. M. (1998)
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References 447 Welch, R. B. (1999).
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Index Boldfaced entries refer to ci
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Barbour, D. L., 83, 367, 426 Barlow
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Color reflectance 1/f c amplitude f
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Figure-ground auditory, 373, 421 in
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Hallikainen, J., 304, 440 Handel, S
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K-order statistics. See Visual text
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separation of things, 5 See also Pe
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Recanzone, G. H., 409-412, 441, 443
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Stream segregation default assumpti
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vibration frequencies of air masses
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Wavelet analysis. See Sparse coding
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Perceptual Coherence : Hearing and Seeing

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