Perceptual-gestural (mis)mapping in serial short-term memory: The impact of talker variability

The mechanisms underlying the poorer serial recall of talker-variable lists (e.g., alternating female–male voices) as compared with single-voice lists were examined. We tested the novel hypothesis that this talker variability effect arises from the tendency for perceptual organization to partition the list into streams based on voice such that the representation of order maps poorly onto the formation of a gestural sequence-output plan assembled in support of the reproduction of the true temporal order of the items. In line with the hypothesis, (a) the presence of a spoken lead-in designed to further promote by-voice perceptual partitioning accentuates the effect (Experiments 1 and 2); (b) the impairment is larger the greater the acoustic coherence is between nonadjacent items: Alternating-voice lists are more poorly recalled than four-voice lists (Experiment 3); and (c) talker variability combines nonadditively with phonological similarity, consistent with the view that both variables disrupt sequence output planning (Experiment 4). The results support the view that serial short-term memory performance reflects the action of sequencing processes embodied within general-purpose perceptual input-processing and gestural output-planning systems

Bilişsel psikolojinin bir konusu olarak müzik algısı

Music perception has a long and distinguished history as a topic of psychological research because music requires a mental activity in humans. As a complex human activity, music perception is naturally an area of interest especially to cognitive psychology. Cognitive studies suggest that listener's experience of a particular musical sequence is driven and at the same time constrained by the sounds registered by auditory mechanisms but also processed by available mental resources. This assumption indicates that researchers must take into account certain inherent limitations and capabilities of the listener. The main purpose of this paper is to discuss possible cognitive processes underlying music perception. The steps taken towards this purpose will be describing the structure of music and discussing the way that this structure is perceived by human cognition.Müzik insanda zihinsel bir aktivite gerektirdiği için psikolojik araştırmaların bir konusu olarak uzun ve ayrıcalıklı bir tarihe sahiptir. Karmaşık bir insan aktivitesi olarak müzik algısı doğal olarak özellikle bilişsel psikoloji için bir ilgi alanı olmuştur. Bilişsel çalışmalar gösteriyor ki bir dinleyicide oluşan belli bir müzik parçasından edindiği deneyim duyusal mekanizmalar tarafından kaydedilen sesler tarafından yürütülür ve aynı zamanda o sesler tarafından da sınırlandırılır fakat aynı zamanda da dinleyicinin mevcut zihinsel mekanizmaları tarafından işlenir. Bu varsayım gösterir ki araştırmacılar dinleyicinin yetenekleri ve yetersizliklerini göz önüne almalıdırlar. Bu makalenin temel amacı müzik algısının altında yatan bilişsel süreçleri tartışmaktır. Bu amaca yönelik adımlar müziğin yapısını tarif etmek ve bu yapının insan bilişsel yapısı tarafından algılanma yolunu tartışmak olacaktır

Geometric Cross-Modal Comparison of Heterogeneous Sensor Data

In this work, we address the problem of cross-modal comparison of aerial data streams. A variety of simulated automobile trajectories are sensed using two different modalities: full-motion video, and radio-frequency (RF) signals received by detectors at various locations. The information represented by the two modalities is compared using self-similarity matrices (SSMs) corresponding to time-ordered point clouds in feature spaces of each of these data sources; we note that these feature spaces can be of entirely different scale and dimensionality. Several metrics for comparing SSMs are explored, including a cutting-edge time-warping technique that can simultaneously handle local time warping and partial matches, while also controlling for the change in geometry between feature spaces of the two modalities. We note that this technique is quite general, and does not depend on the choice of modalities. In this particular setting, we demonstrate that the cross-modal distance between SSMs corresponding to the same trajectory type is smaller than the cross-modal distance between SSMs corresponding to distinct trajectory types, and we formalize this observation via precision-recall metrics in experiments. Finally, we comment on promising implications of these ideas for future integration into multiple-hypothesis tracking systems.Comment: 10 pages, 13 figures, Proceedings of IEEE Aeroconf 201

Methodological considerations concerning manual annotation of musical audio in function of algorithm development

In research on musical audio-mining, annotated music databases are needed which allow the development of computational tools that extract from the musical audiostream the kind of high-level content that users can deal with in Music Information Retrieval (MIR) contexts. The notion of musical content, and therefore the notion of annotation, is ill-defined, however, both in the syntactic and semantic sense. As a consequence, annotation has been approached from a variety of perspectives (but mainly linguistic-symbolic oriented), and a general methodology is lacking. This paper is a step towards the definition of a general framework for manual annotation of musical audio in function of a computational approach to musical audio-mining that is based on algorithms that learn from annotated data. 1

Music Perception as a Topic of Cognitive Psychology

Müzik insanda zihinsel bir aktivite gerektirdiği için psikolojik araştırmaların bir konusu olarak uzun ve ayrıcalıklı bir tarihe sahiptir. Karmaşık bir insan aktivitesi olarak müzik algısı doğal olarak özellikle bilişsel psikoloji için bir ilgi alanı olmuştur. Bilişsel çalışmalar gösteriyor ki bir dinleyicide oluşan belli bir müzik parçasından edindiği deneyim duyusal mekanizmalar tarafından kaydedilen sesler tarafından yürütülür ve aynı zamanda o sesler tarafından da sınırlandırılır fakat aynı zamanda da dinleyicinin mevcut zihinsel mekanizmaları tarafından işlenir. Bu varsayım gösterir ki araştırmacılar dinleyicinin yetenekleri ve yetersizliklerini göz önüne almalıdırlar. Bu makalenin temel amacı müzik algısının altında yatan bilişsel süreçleri tartışmaktır. Bu amaca yönelik adımlar müziğin yapısını tarif etmek ve bu yapının insan bilişsel yapısı tarafından algılanma yolunu tartışmak olacaktır.Music perception has a long and distinguished history as a topic of psychological research because music requires a mental activity in humans. As a complex human activity, music perception is naturally an area of interest especially to cognitive psychology. Cognitive studies suggest that listener's experience of a particular musical sequence is driven and at the same time constrained by the sounds registered by auditory mechanisms but also processed by available mental resources. This assumption indicates that researchers must take into account certain inherent limitations and capabilities of the listener. The main purpose of this paper is to discuss possible cognitive processes underlying music perception. The steps taken towards this purpose will be describing the structure of music and discussing the way that this structure is perceived by human cognition