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Viewing of ambiguous stimuli can lead to bistable perception alternating between the possible percepts. During continuous presentation of ambiguous stimuli, percept changes occur as single events, whereas during intermittent presentation of ambiguous stimuli, percept changes occur at more or less regular intervals either as single events or bursts. Response patterns can be highly variable and have been reported to show systematic differences between patients with schizophrenia and healthy controls. Existing models of bistable perception often use detailed assumptions and large parameter sets which make parameter estimation challenging. Here we propose a parsimonious stochastic model that provides a link between empirical data analysis of the observed response patterns and detailed models of underlying neuronal processes. Firstly, we use a Hidden Markov Model (HMM) for the times between percept changes, which assumes one single state in continuous presentation and a stable and an unstable state in intermittent presentation. The HMM captures the observed differences between patients with schizophrenia and healthy controls, but remains descriptive. Therefore, we secondly propose a hierarchical Brownian model (HBM), which produces similar response patterns but also provides a relation to potential underlying mechanisms. The main idea is that neuronal activity is described as an activity difference between two competing neuronal populations reflected in Brownian motions with drift. This differential activity generates switching between the two conflicting percepts and between stable and unstable states with similar mechanisms on different neuronal levels. With only a small number of parameters, the HBM can be fitted closely to a high variety of response patterns and captures group differences between healthy controls and patients with schizophrenia. At the same time, it provides a link to mechanistic models of bistable perception, linking the group differences to potential underlying mechanisms.
Beauty is the single most frequently and most broadly used aesthetic virtue term. The present study aimed at providing higher conceptual resolution to the broader notion of beauty by comparing it with three closely related aesthetically evaluative concepts which are likewise lexicalized across many languages: elegance, grace(fulness), and sexiness. We administered a variety of questionnaires that targeted perceptual qualia, cognitive and affective evaluations, as well as specific object properties that are associated with beauty, elegance, grace, and sexiness in personal looks, movements, objects of design, and other domains. This allowed us to reveal distinct and highly nuanced profiles of how a beautiful, elegant, graceful, and sexy appearance is subjectively perceived. As aesthetics is all about nuances, the fine-grained conceptual analysis of the four target concepts of our study provides crucial distinctions for future research.
The following article analys the perception of th famous character Till Eulenspiegel (Howleglas) in Romania, mostly focusing on „Întâmplãrile ºi faptele de pominã ale nãzdrãvanului Til Buhoglindã”, retold by Al. Alexianu. His fame was currently brought by the numerous translations, in 280 languages. The first complete Romanian translation was published in 1840, in Braºov. The book represented a major success towards the Romanian audience, following other editions being published (1848, 1856, 1858, etc.). The 43 tales chosen in the 1970s edition are focused on Till Eulenspiegels-character (translated in Romanian as Til Buhoglindã), revealing his complex personality, as well as his amuzing and educational side.
In 1957, Craig Mooney published a set of human face stimuli to study perceptual closure: the formation of a coherent percept on the basis of minimal visual information. Images of this type, now known as “Mooney faces”, are widely used in cognitive psychology and neuroscience because they offer a means of inducing variable perception with constant visuo-spatial characteristics (they are often not perceived as faces if viewed upside down). Mooney’s original set of 40 stimuli has been employed in several studies. However, it is often necessary to use a much larger stimulus set. We created a new set of over 500 Mooney faces and tested them on a cohort of human observers. We present the results of our tests here, and make the stimuli freely available via the internet. Our test results can be used to select subsets of the stimuli that are most suited for a given experimental purpose.
Reduction in natural speech
(2009)
Natural (conversational) speech, compared to cannonical speech, is earmarked by the tremendous amount of variation that often leads to a massive change in pronunciation. Despite many attempts to explain and theorize the variability in conversational speech, its unique characteristics have not played a significant role in linguistic modeling. One of the reasons for variation in natural speech lies in a tendency of speakers to reduce speech, which may drastically alter the phonetic shape of words. Despite the massive loss of information due to reduction, listeners are often able to understand conversational speech even in the presence of background noise. This dissertation investigates two reduction processes, namely regressive place assimilation across word boundaries, and massive reduction and provides novel data from the analyses of speech corpora combined with experimental results from perception studies to reach a better understanding of how humans handle natural speech. The successes and failures of two models dealing with data from natural speech are presented: The FUL-model (Featurally Underspecified Lexicon, Lahiri & Reetz, 2002), and X-MOD (an episodic model, Johnson, 1997). Based on different assumptions, both models make different predictions for the two types of reduction processes under investigation. This dissertation explores the nature and dynamics of these processes in speech production and discusses its consequences for speech perception. More specifically, data from analyses of running speech are presented investigating the amount of reduction that occurs in naturally spoken German. Concerning production, the corpus analysis of regressive place assimilation reveals that it is not an obligatory process. At the same time, there emerges a clear asymmetry: With only very few exceptions, only [coronal] segments undergo assimilation, [labial] and [dorsal] segments usually do not. Furthermore, there seem to be cases of complete neutralization where the underlying Place of Articulation feature has undergone complete assimilation to the Place of Articulation feature of the upcoming segment. Phonetic analyses further underpin these findings. Concerning deletions and massive reductions, the results clearly indicate that phonological rules in the classical generative tradition are not able to explain the reduction patterns attested in conversational speech. Overall, the analyses of deletion and massive reduction in natural speech did not exhibit clear-cut patterns. For a more in-depth examination of reduction factors, the case of final /t/ deletion is examined by means of a new corpus constructed for this purpose. The analysis of this corpus indicates that although phonological context plays an important role on the deletion of segments (i.e. /t/), this arises in the form of tendencies, not absolute conditions. This is true for other deletion processes, too. Concerning speech perception, a crucial part for both models under investigation (X-MOD and FUL) is how listeners handle reduced speech. Five experiments investigate the way reduced speech is perceived by human listeners. Results from two experiments show that regressive place assimilations can be treated as instances of complete neutralizations by German listeners. Concerning massively reduced words, the outcome of transcription and priming experiments suggest that such words are not acceptable candidates of the intended lexical items for listeners in the absence of their proper phrasal context. Overall, the abstractionist FUL-model is found to be superior in explaining the data. While at first sight, X-MOD deals with the production data more readily, FUL provides a better fit for the perception results. Another important finding concerns the role of phonology and phonetics in general. The results presented in this dissertation make a strong case for models, such as FUL, where phonology and phonetics operate at different levels of the mental lexicon, rather than being integrated into one. The findings suggest that phonetic variation is not part of the representation in the mental lexicon.
In Hugo von Hofmannsthals ‚Bewegungs-Texten’ wird das Schweigen zu einem beredten Gestus von (bewegten) Körpern und Bildern. Schweigen nicht als Leerstelle, als Negativ des Sprechens, sondern als sein Urgrund generiert Bedeutungen und dringt durch die Weise, wie es jene vermittelt, auf eine Modifikation der Wahrnehmung. Bewegung wird dabei gleichermaßen zum Konzept der Darstellungsabsicht, die eine Transgression des Textuellen anstrebt, wie zur Metapher der Umstrukturierung von Wahrnehmung und Erfahrung des Menschen in der Moderne. Um die ‚stummen’ Künste wie Pantomime, Tanz und Film in den (Be)Griff zu bekommen, stellt Hofmannsthal - ausgehend von der eigenen Beobachter-Erfahrung - den Zuschauer des Schauspiels in den Mittelpunkt seiner Texte. Stets ist in den Szenarien der medienreflexive Blick des Autors auf Bühne, Leinwand und Zuschauer präsent und wird dabei begleitet von Überlegungen zur spezifischen Medialität von Sprache, Musik und Bild. So bedenken beispielsweise auch zahlreiche Texte Hofmannsthals aus der Sammlung der Erfundenen Gespräche und Briefe, die den Zusammenhang von Wahrnehmung, Körper und Sprache thematisieren, den (beweglichen) Standpunkt des Beobachters als eigentlichen Prüfstein des Medialen. Auf diese Weise wird nicht nur erkennbar, wie Medien je unterschiedlich die Wahrnehmungsweisen des Menschen formen, sondern auch wie sie Selbst- und Weltverhältnisse herstellen, indem sie versuchen Absenz in Präsenz zu überführen. Dementsprechend weit gefasst ist Hofmannsthals Medienbegriff. Ihr grundsätzlich symbolischer Charakter verbindet die einzelnen Medien miteinander. Das Interesse des Dichters, der erkennt, dass er niemals „aus seinem Beruf, Worte zu machen, herausgehen“ können wird, konzentriert sich auf die Interdependenzen und die Austauschverhältnisse verschiedener symbolischer Formen, die nichtsdestotrotz nach je eigenen Gesetzmäßigkeiten funktionieren und diesen auch gerecht werden müssen, um ‚das Leben transponieren’ zu können. In den Szenarien für Pantomime, Tanz und Film spürt Hofmannsthal diesen Funktionsweisen nach. Er erkundet den Zusammenhang von Literatur, Musik und Tanz, entdeckt das Wissen des Körpers, dessen Erinnerungsfähigkeit derjenigen der klassischen Memorialtechnik der Schrift gegenübergestellt wird. Er thematisiert über den tanzenden Körper den Konnex von Mimesis und Identität, von Imagination und Wirklichkeit, Projektion und Abbild. Zudem wird der tanzende Körper als Inbegriff des Anderen, Fremden, (Weiblichen) vorgeführt und darüber sein fragwürdiger Status als ‚Natur’ problematisiert. Die vermeintlichen Antagonismen von Natur und Kultur, Leib und Seele, Sprache und Körper, Individuum und Gesellschaft sowie Freiheit und Determiniertheit geraten in Vermittlung und können dergestalt begreiflich machen, wie komplex verschiedene mediale Verfahren der Verkörperung, Einschreibung und Verbildlichung strukturiert und miteinander verzahnt sind. So können mystische Visionen auf der Bühne als filmische Bilderflucht inszeniert, die Schaulust im Kino zum Wahrnehmungsdispositiv einer Pantomime oder der Akt des Schreibens im Film mit dessen Performativiät und der Prozessualität der filmischen Bilderfolge in Beziehung gesetzt werden.
While scene context is known to facilitate object recognition, little is known about which contextual “ingredients” are at the heart of this phenomenon. Here, we address the question of whether the materials that frequently occur in scenes (e.g., tiles in a bathroom) associated with specific objects (e.g., a perfume) are relevant for the processing of that object. To this end, we presented photographs of consistent and inconsistent objects (e.g., perfume vs. pinecone) superimposed on scenes (e.g., a bathroom) and close-ups of materials (e.g., tiles). In Experiment 1, consistent objects on scenes were named more accurately than inconsistent ones, while there was only a marginal consistency effect for objects on materials. Also, we did not find any consistency effect for scrambled materials that served as color control condition. In Experiment 2, we recorded event-related potentials and found N300/N400 responses—markers of semantic violations—for objects on inconsistent relative to consistent scenes. Critically, objects on materials triggered N300/N400 responses of similar magnitudes. Our findings show that contextual materials indeed affect object processing—even in the absence of spatial scene structure and object content—suggesting that material is one of the contextual “ingredients” driving scene context effects.
This essay argues for the philosophical standing of Walter Benjamin’s early work and posits a deeper continuity between this early work as a philosopher and the subsequent development of his work as a writer. When these fragments are read in proper relation to each other, they reveal for the first time many of the key innovations of Benjamin as a philosopher, as well as his points of influence on Horkheimer and Adorno. His early ‘Program’ critiques the Enlightenment conception of experience as a means for gaining empirical knowledge, and announces the need for a new concept of experience. Benjamin follows through on this program with a method of philosophical enquiry that is by turns fragmentary and constellational, developing a series of provisional notions of experience, which form a constellation with one another: perception, mimesis, language as a medium of experience, observation and memory.