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1.
To understand how individuals adapt to and anticipate each other in joint tasks, we employ a bidirectional delay–coupled dynamical system that allows for mutual adaptation and anticipation. In delay–coupled systems, anticipation is achieved when one system compares its own time‐delayed behavior, which implicitly includes past information about the other system’s behavior, with the other system’s instantaneous behavior. Applied to joint music performance, the model allows each system to adapt its behavior to the dynamics of the other. Model predictions of asynchrony between two simultaneously produced musical voices were compared with duet pianists’ behavior; each partner performed one voice while auditory feedback perturbations occurred at unpredictable times during live performance. As the model predicted, when auditory feedback from one musical voice was removed, the asynchrony changed: The pianist’s voice that was removed anticipated (preceded) the actions of their partner. When the auditory feedback returned and both musicians could hear each other, they rapidly returned to baseline levels of asynchrony. To understand how the pianists anticipated each other, their performances were fitted by the model to examine change in model parameters (coupling strength, time‐delay). When auditory feedback for one or both voices was removed, the fits showed the expected decrease in coupling strength and time‐delay between the systems. When feedback about the voice(s) returned, the coupling strength and time‐delay returned to baseline. These findings support the idea that when people perform actions together, they do so as a coupled bidirectional anticipatory system. 相似文献
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Rick Gurnsey G. Keith Humphrey Paula Kapitan 《Attention, perception & psychophysics》1992,52(3):263-276
Recent physiological studies (von der Heydt & Peterhans, 1989) suggest that the orientation of subjective contours is encoded very early in the visual system (V2 in monkey). This result is seemingly at odds with existing psychophysical data which suggest that the detection of subjective contours involves selective attention. It is argued that certain subjective contours are registered in a reflexive (bottom-up) manner by the visual system but that selective attention may be needed to gain access to this representation. To assess this suggestion, a visual-search task was used in which subjects were to detect the presence of a horizontal (vertical) subjective contour (defined by offset gratings) in a variable number of vertical (horizontal) subjective contours (also defined by offset gratings). When there were no competing organizations within the display, detection was indeed independent of the number of nontarget distractors, that is, selective attention was unnecessary. In a second experiment, we found that a curved form (a crescent defined by subjective contours) was easier to detect in a background of vertical bars (also defined by subjective contours) than vice versa, namely, a search asymmetry paralleling those found by Treisman and Gormican (1988). A final experiment showed that when the horizontal and vertical bars of the first experiment formed textured regions, they could be discriminated at very brief display durations (30–120 msec), However, when the line terminations aligned along the subjective contour were tapered rather than abrupt, discrimination dropped off with the degree of tapering. The latter result is consistent with the assumption that the registration of subjective contours in V2 involves the integration of responses from aligned, end-stopped cells found in VI (von der Heydt & Peterhans, 1989). 相似文献
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Francis Gingras Daniel Fiset Marie-Pier Plouffe-Demers Andréa Deschênes Stéphanie Cormier Hélène Forget Caroline Blais 《British journal of psychology (London, England : 1953)》2023,114(3):621-637
Pain experienced by Black individuals is systematically underestimated, and recent studies have shown that part of this bias is rooted in perceptual factors. We used Reverse Correlation to estimate visual representations of the pain expression in Black and White faces, in participants originating from both Western and African countries. Groups of raters were then asked to evaluate the presence of pain and other emotions in these representations. A second group of White raters then evaluated those same representations placed over a neutral background face (50% White; 50% Black). Image-based analyses show significant effects of culture and face ethnicity, but no interaction between the two factors. Western representations were more likely to be judged as expressing pain than African representations. For both cultural groups, raters also perceived more pain in White face representations than in Black face representations. However, when changing the background stimulus to the neutral background face, this effect of face ethnic profile disappeared. Overall, these results suggest that individuals have different expectations of how pain is expressed by Black and White individuals, and that cultural factors may explain a part of this phenomenon 相似文献
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Caroline Whitbeck 《Science and engineering ethics》1995,1(4):322-328
She is guest editor for this special issue ofScience and Engineering Ethics on “Trustworthy Research”. 相似文献
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Two experiments addressed the influences of harmonic relations, melody location, and relative frequency height on the perceptual organization of multivoiced music. In Experiment 1, listeners detected pitch changes in multivoiced piano music. Harmonically related pitch changes and those in the middle-frequency range were least noticeable. All pitch changes were noticeable in the high-frequency voice containing the melody (the most important voice), suggesting that melody can dominate harmonic relations. However, the presence of upper partials in the piano timbre used may have accounted for the harmonic effects. Experiment 2 employed pure sine tones, and replicated the effects of Experiment 1. In addition, the influence of the high-frequency melody on the noticeability of harmonically related pitches was lessened by the presence of a second melody. These findings suggest that harmonic, melodic, and relative frequency height relationships among voices interact in the perceptual organization of multivoiced music. 相似文献
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G. Keith Humphrey Diane Skowbo Lawrence A. Symons Andrew M. Herbert Christina L. Grant 《Attention, perception & psychophysics》1994,56(4):405-413
Five experiments reexamined color aftereffects contingent on the semantic properties of text (Allan, Siegel, Collins, & MacQueen, 1989). The influence of different assessment techniques and the effect of eye movements and overlapping contour information on the induction of color aftereffects by word and nonword letter strings were determined. Experiment 1 showed that no aftereffect was found when a traditional method of assessing color aftereffects was used. Experiments 2 and 4 demonstrated color aftereffects forboth words and nonwords, but only when subjects fixated the same locus during induction and testing and only when assessed with the technique described by Allan et al. (1989). If, however, eye movements were made during induction, no color aftereffect was obtained (Experiment 3). Induction to nontext patterns with properties similar to those of text but with fewer overlapping contours resulted in a strong color aftereffect (Experiment 5). These results suggest that the color aftereffect contingent on text is very weak and is not dependent on semantic factors, but that it is a product of induction to local color and orientation information. 相似文献
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The distinctive skills of child psychotherapy can be utilized in the development of a form of conjoint family therapy especially applicable to the field of child psychiatry. It is suggested that the engagement of children in the process particularly enhances the specific characteristics and potentialities of this form of treatment. 相似文献