Perceptual Coherence : Hearing and Seeing

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Stream segregation default assumption is one source (one stream), 386 inability to attend to two streams simultaneously, 387 obligatory split at combinations of frequency separation and presentation rate, two streams, 386–387 Van Noorden’s frequency-time relationship, 211–212, 385–386 See also Visual apparent motion “Stuff ” and “things” of perceiving, 21, 60, 152, 161, 381 Suga, N., 270n, 444 Sugita, Y., 408, 444 Sumby, W. H., 417, 422, 444 Summerfield, Q., 384, 417, 444 Sumner, C. J., 271, 444 Super, B. J., 175–176, 432 Sutter, A.,165–167, 444 Sutter, M. L., 73–76, 83, 128, 367, 442, 444 Suzuki, Y., 408, 444 Swets, J. A., 281–282, 432, 444 Swinnen, V., 203, 446 Switkes, E., 169–170, 447 Tanaka, K., 90, 436 Temporal integration window, 407–408 Temporal ventriloquism auditory rhythms dominate visual rhythms, 409 obligatory and preattentive, 410 tonal amplitude modulation brings about illusionary visual modulation, 408–409 See also Integrating auditory and visual information Terhardt, E., 382, 444 Ternus visual array, 200 Textons. See Visual texture segmentation Texture definition, lack of inclusive definition, 151 surface characteristics, 151 Theunissen, F. E., 37, 81–86, 102, 427, 442, 444 Thibos, L. N., 26, 444 Thomas, J. P., 264, 440 Index 465 Thomson, M. G. A., 119, 444 Thurlow, W. R., 414–415, 435, 444 Tian, B., 91, 427, 441 Timbre color corresponds to pitch, 292–293, 335, descriptors are ambiguous, no fixed referents, 334 perceptual cues experience objects as short duration events, 348 importance of any cue depends on context, 352 multiplicity of non-independent cues that are substitutable, 352 necessary to perceive both excitation source and sound body filter, 348 redundant cues make performance robust, 352 sequences of sounds: rhythms and timings, 351 single sounds: attack, steady state, decay, 349–351 proximal and distal description, 335 as sound quality can different receptive fields explain sound quality, 367 dimensions found using multidimensional scaling (mds), 352–361 individual differences in similarity judgments, 360–361 spectral amplitude envelope: spectral flux and spectral spread, 354–357, 359–360 spectral centroid, predominant cue, 355–357 spectral properties: attack time and spectral centroid, 352–357, as source variable amplitude variation within frequency bands, 364 cognitive factors, causal uncertainty, 367–368 close coupling between physical properties of objects and the resulting sounds, 361–362, 364 discrimination among natural events, 358–359
466 Index Timbre (continued) double representation of striking object and struck object, 366 identification of width:height ratio of bars and plates, 363–365 identification of wind instruments, 357–358 organization of objects and events in terms of physical actions, 362 physically inspired modeling, 372 rhythmic patterning, distinguish among actions, 363 spectral properties, distinguish among materials, 361–362, 364 summary, identification arises from information in different domains, 368 trajectories to connect sounds from the same source at different frequencies and intensities, 368–371 See also Color and timbre: comparisons Tirpathy, S. P., 215, 426 Tohkura, Y., 419, 442 Tolhurst, D. J., 148–149, 440 Tonal and non-tonal pitch perception (infrapitch), 179 Tonotopic organization, 63, 72 Trajectories, perceptual aging faces, 14 analogy to asymmetric color matching, 368, 370n instrumental and singing voice timbre, 369–371 Troost, J. M., 300, 445 Troscianko, T., 148–149, 308, 440 Tse, P., 203–205, 210, 445 Tsou, B. H., 149 Tucker, F. M., 113, 439 Tudor, L., 402–403, 442 Turgeon, M., 388–390, 445 Turner, G. C., 131, 142, 144–145, 440 Turvey, M. T., 365, 436 Tyler, C. W., 118, 158n, 445 Unique point heuristic, 11n Univariance assumption, lack of history in neural spike train, 61 Uttal, W. R., 24, 445 Van de Grind, W. A., 223, 445 Van de Smagt, M. J., 223, 445 van der Helm, P. A., 375, 377, 445 Van Essen, D. C., 87, 89–90, 431, 445 Van Gool, L., 203, 446 Van Horebeek, J., 203, 446 Van Noorden, L. P. A. S., 211–212, 386, 445 Van Valkenburg, D., 23, 436 Vanderveer, N. J., 363–364, 445 Vatikiotis-Bateson, E., 417, 439 Verbrugge, R. R., 363–364, 446 Verstraten, F. A., 223, 445 Vibration modes in general damping, 337 resonant frequencies, 336–337 set of source excitations coupled to a set of filter resonant modes, 337–338 simple harmonic motion, 336 of percussion instruments, short attack and exponential decay, 344 of plates effect of manner and position of excitation, 340 resonant frequencies of partials, 339–340 vibration modes not related by integers, 340 of singing and speaking vocal cord excitation, 344–345 vocal tract filter, coupling among flexible cascaded tubes, 345–347 vowels and fricatives, 345–347 of strings effect of manner and position of excitation, 338–339 fundamental frequency and harmonics, 338–339 source (string)-filter (sound body) coupling, 340–341 vibrato, 339 of wind instruments (clarinet and trumpet) asynchrony in the onsets of harmonics, 343 effect of manner of source excitation (blowing), 342–343
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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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about poorer performance by creatin
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Figure 4.8. Continued The Transitio
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Surface Textures Visual Glass Patte
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Figure 4.11. Continued The Transiti
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(A) (B) (C) The Transition Between
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(A) (B) Warbleness The Transition B
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2000 Hz with a single action potent
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The same problem of the multiplicit
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order to create the appearance of s
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Perception of Motion 199 Figure 5.2
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Perception of Motion 203 together.
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Perception of Motion 205 (The two f
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again, two perceptions can result a
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Perception of Motion 211 notes of t
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Perception of Motion 213 Braddick (
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larger arrays and Baddeley and Tirp
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Perception of Motion 217 the judgme
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Perception of Motion 219 one color
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To review, neurons sensitive to mot
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Transparency aftereffects do occur
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Perception of Motion 225 stimuli, t
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Perception of Motion 231 perception
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Perception of Motion 237 same direc
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Time 1, Tone 1 is turned off, at Ti
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6 Gain Control and External and Int
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a signal-to-noise ratio), and Barlo
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Gain Control and External and Inter
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Suppose we have a background that h
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R Gain Control and External and Int
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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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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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Page 436 and 437: Summing Up 423 course of the stimul
Page 438 and 439: References Adelson, E. H. (1982). S
Page 440 and 441: References 427 Bermant, R. I., & We
Page 442 and 443: References 429 Crawford, B. H. (194
Page 444 and 445: References 431 Feldman, J., & Singh
Page 446 and 447: References 433 and male voices in t
Page 448 and 449: References 435 Isabelle, S. K., & C
Page 450 and 451: References 437 Laughlin, S. B. (200
Page 452 and 453: References 439 McAdams, S., Winsber
Page 454 and 455: References 441 Pittinger, J. B., Sh
Page 456 and 457: References 443 Shamma, S. (2001). O
Page 458 and 459: References 445 Troost, J. M. (1998)
Page 460 and 461: References 447 Welch, R. B. (1999).
Page 462 and 463: Index Boldfaced entries refer to ci
Page 464 and 465: Barbour, D. L., 83, 367, 426 Barlow
Page 466 and 467: Color reflectance 1/f c amplitude f
Page 468 and 469: Figure-ground auditory, 373, 421 in
Page 470 and 471: Hallikainen, J., 304, 440 Handel, S
Page 472 and 473: K-order statistics. See Visual text
Page 474 and 475: separation of things, 5 See also Pe
Page 476 and 477: Recanzone, G. H., 409-412, 441, 443
Page 480 and 481: vibration frequencies of air masses
Page 482: Wavelet analysis. See Sparse coding
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