Aspects of phonological fusion.

Phonological fusion occurs when the phonemes of two different speech stimuli are combined into a new percept that is longer and linguistically more complex than either of the two inputs. For example, when PAY is presented to one ear and LAY to the other, the subject often perceives PLAY. The present article is an investigation of the conditions necessary and sufficient for fusion to occur. The rules governing phonological fusion appear to be the same for synthetic and natural speech, but synthetic stimuli fuse more readily. Fusion occurs considerably more often in dichotic stimulus presentation than in binaural presentation. The phenomenon is remarkably tolerant of differences in relative onset time between the to-be-fused stimuli and of relative differences in fundamental frequency, intensity, and vocal tract configuration. Although phonological fusion is insensitive to such nonlinguistic stimulus parameters, it is sensitive to linguistic variations at the semantic, phonemic, and acoustic levels.     

Categorical perception of nonspeech sounds by 2-month-old infants

According to recent investigations, adult listeners perceive rise-time differences in both speech and nonspeech stimuli in a categorical manner (Cutting & Rosner, 1974). Adults labeled sawtooth-wave stimuli as either plucked or bowed. The present study uses the high-amplitude sucking technique to explore the 2-month-old infant’s perception of rise-time differences for sawtooth stimuli. Infants discriminated rise-time differences which marked off the different nonspeech categories, but did not discriminate equal differences within either category. Thus, the present study shows that infants, like adults, can perceive nonspeech stimuli in a categorical manner.     

The minimum principle and the perception of absolute,common, and relative motions

Wheel-generated motions have served as a touchstone for discussion of the perception of wholes and parts since the beginning of Gestalt psychology. The reason is that perceived common motions of the whole and the perceived relative motions of the parts are not obviously found in the absolute motion paths of points on a rolling wheel. In general, two types of theories have been proposed as to how common and relative motions are derived from absolute motions: one is that the common motions are extracted from the display first, leaving relative motions as the residual; the other is that relative motions are extracted first leaving common motions as the residual. A minimum principle can be used to defend both positions, but application of the principle seems contingent on the particular class of stimuli chosen. We propose a third view. It seems that there are at least two simultaneous processes—one for common motions and one for relative motions—involved in the perception of these and other stimuli and that a minimum principle is involved in both. However, for stimuli in many domains the minimization of relative motion dominates the perception. In general, we propose that any given stimulus can be organized to minimize the complexity of either its common motions or its relative motions; that which component is minimized depends on which of two processes reaches completion first (that for common or that for relative motions); and that the similarity of any two displays depends on whether common or relative motions are minimized.     

Perceiving the centroid of configurations on a rolling wheel

Undergraduates observed configurations of point-lights undergoing wheel-generated motions and judged how wheel-like the movement of each stimulus appeared on a 7-point scale. Viewer judgments were predicted by a metric defining the variable parameters for the motion path of each configuration’s geometric center—the centroid. The effects on judgments of eye movement and the stimulus characteristics of rotation, translation, and configuration were explored in six experiments. First, a strain operation on the dynamic stimuli did not affect the ability of the metric to predict perceptual judgments. Second, the predictive strength of the metric did not interact with the type of eye movements used in viewing the stimuli, though judged wheel-likeness was greater under pursuit vision than under static fixation. Third, variations in the extent of translation yielded little, if any, effect on observers’ judgments, nor did translation in a circular path. Finally, for stimuli having two lights extremely close together in the configuration, the metric’s predictive value was slightly lessened but only at the limits of visual acuity. Thus, within a wide range of presentation conditions, and for a wide variety of configurations, a metric that defined the variable parameters for the motion path of the centroid was an accurate predictor of observers’ judgments of goodness of perceived rotary motion.     

Images, imagination, and movement: pictorial representations and their development in the work of James Gibson

For more than 30 years James Gibson studied pictures and he studied motion, particularly the relationship between movement through an environment and its visual consequences. For the latter, he also struggled with how best to present his ideas to students and fellow researchers, and employed various representations and formats. This article explores the relationships between the concepts of the fidelity of pictures (an idea he first promoted and later eschewed) and evocativeness as applied to his images. Gibson ended his struggle with an image of a bird flying over a plane surrounded by a spherical representation of a vector field, an image high in evocativeness but less than completely faithful to optical flow.     

Narrative theory and the dynamics of popular movies

Popular movies grab and hold our attention. One reason for this is that storytelling is culturally important to us, but another is that general narrative formulae have been honed over millennia and that a derived but specific filmic form has developed and has been perfected over the last century. The result is a highly effective format that allows rapid processing of complex narratives. Using a corpus analysis I explore a physical narratology of popular movies—narrational structure and how it impacts us—to promote a theory of popular movie form. I show that movies can be divided into 4 acts—setup, complication, development, and climax—with two optional subunits of prolog and epilog, and a few turning points and plot points. In 12 studies I show that normative aspects in patterns of shot durations, shot transitions, shot scale, shot motion, shot luminance, character introduction, and distributions of conversations, music, action shots, and scene transitions reduce to 5 correlated stylistic dimensions of movies and can litigate among theories of movie structure. In general, movie narratives have roughly the same structure as narratives in any other domain—plays, novels, manga, folktales, even oral histories—but with particular runtime constraints, cadences, and constructions that are unique to the medium.     

The association of neurofibromatosis type 1 and attention deficit hyperactivity disorder.

Some research and clinical observations have linked Neurofibromatosis Type 1 (NF-1) and Attention Deficit Hyperactivity Disorder (ADHD). In order to investigate whether ADHD is part of the phenotype of NF-1 or is a separate, unrelated disorder within families, we compared the ADHD status of children affected with NF-1 to that of their unaffected-NF-1 siblings and to that of their biological parents. Results of matched-pair analyses were calculated and revealed a significant with-in pair discordance, when comparing children with NF-1 and their siblings and when comparing children with NF-1 and their biological parents (in families with a sporadic, non-familial NF-1 child). These findings suggest that ADHD may occur as a component of the NF-1 phenotype.     

Fractal curves and complexity

Fractal curves were generated on square initiators and rated in terms of complexity by eight viewers. The stimuli differed in fractional dimension, recursion, and number of segments in their generators. Across six stimulus sets, recursion accounted for most of the variance in complexity judgments, but among stimuli with the most recursive depth, fractal dimension was a respectable predictor. Six variables from previous psychophysical literature known to effect complexity judgments were compared with these fractal variables: symmetry, moments of spatial distribution, angular variance, number of sides,P ² A, and Leeuwenberg codes. The latter three provided reliable predictive value and were highly correlated with recursive depth, fractal dimension, and number of segments in the generator, respectively. Thus, the measures from the previous literature and those of fractal parameters provide equal predictive value in judgments of these stimuli.