Temporal Adaptation Enhances Efficient Contrast Gain Control on Natural Images. Abstract Divisive normalization in primary visual cortex has been linked to adaptation to natural image statistics in accordance to Barlow's redundancy reduction hypothesis. Using recent advances in natural image modeling, we show that the previously studied static model of divisive normalization is rather inefficient in reducing local contrast correlations, but that a simple temporal contrast adaptation mechanism of the half-saturation constant can substantially increase its efficiency. Our findings reveal the experimentally observed temporal dynamics of divisive normalization to be critical for redundancy reduction. Author Summary The redundancy reduction hypothesis postulates that neural representations adapt to sensory input statistics such that their responses become as statistically independent as possible.
Based on this hypothesis, many properties of early visual neurons—like orientation selectivity or divisive normalization—have been linked to natural image statistics. Figures or . Ulrich Loock 1. Like the composer La Monte Young, Max Neuhaus rigorously constructs sound experiences by working with the specifics of a given space or location and the tuning of frequency: audibility becomes inconceivable outside the functioning qualities of architectures and the particulars of a given place. Whereas Young seeks the intensity of frequency and psycoacoustics through just-intonation, Neuhaus aims for a tuning of sound and place as an expanded instrument. Working as an established percussionist throughout the 1960s, Neuhaus shifted his practice to more artistic modes after confronting what he saw as an “inadequacy” in the traditions of musical presentation. Rather than situate the musical moment within a concert hall, determined by conventions of the proscenium stage and directed by the musical argument, Neuhaus sought to reach for a more public realm in which the experience of sound might surprise perception: Listening Following the shadow.
CORDIALS IN TEMPORAL TROUBLES. Pragmatics. Introduction This guide is written for students who are following GCE Advanced level (AS and A2) syllabuses in English Language. This resource may also be of general interest to language students on university degree courses, trainee teachers and anyone with a general interest in language science. If you are unsure whether to spend time finding out about this subject, you might like to jump straight to the brief section on pragmatics for exam students. On this page I use red type for emphasis. Brown type is used where italics would appear in print (in this screen font, italic looks like this, and is unkind on most readers). Headings have their own hierarchical logic, too: Back to top What is pragmatics?
Pragmatics is a systematic way of explaining language use in context. We can illustrate how pragmatics works by an example from association football (and other field sports). None of this explains the meaning in the context of the football game. This is an elementary confusion. Speech acts. Auditory masking. Auditory masking occurs when the perception of one sound is affected by the presence of another sound.[1] Auditory masking in the frequency domain is known as simultaneous masking, frequency masking or spectral masking.
Auditory masking in the time domain is known as temporal masking or non-simultaneous masking. Masked threshold[edit] The unmasked threshold is the quietest level of the signal which can be perceived without a masking signal present. The masked threshold is the quietest level of the signal perceived when combined with a specific masking noise. The amount of masking is the difference between the masked and unmasked thresholds. Figure A - adapted from Gelfand (2004)[1] Gelfand provides a basic example.[1] Let us say that for a given individual, the sound of a cat scratching a post in an otherwise quiet environment is first audible at a level of 10 dB SPL. Simultaneous masking[edit] Critical bandwidth[edit] Masking illustrates the limits of frequency selectivity.
See also[edit] Archie Malloch Graduate Fellows in Public Learning | Institute for the Public Life of Arts and Ideas. Ms. Caroline Bem PhD candidate in Communication Studies Malloch Fellow, 2014 - 2015 From Writing Tablets to System Reboots: Death Proof and the Cinematic Diptych My dissertation draws on writings that span the fields of philosophy, art history, film, media and (video)game studies, legal theory, and literary theory, to explore a single artifact, Quentin Tarantino’s 2007 film Death Proof, from a variety of angles. While there have been a number of art historical studies on the triptych, few writings exist on the diptych specifically and none, thus far, theorize it in a holistic way.
Ms. PhD candidate in Musicology, Schulich School of Music Towards a Philosophy of Operatic Storytelling: A Theory of Point of View I am interested in comparing the mechanics of storytelling in different media, particularly opera as compared with literature, film, and theatre. Ms. PhD candidate, Schulich School of Music Malloch Fellow, Fall 2013 Orchestral Gestures and Peak Emotional Responses to Music Mr. Ms. Mr. Mr. Malick’s Music of the Spheres: <em>The Tree of Life</em> The small but accelerating output of Terrence Malick has largely been approached via its visual poetry. Balancing this, each film has also brought a distinctive soundtrack, in particular the extended use of voice overs.
The music channel has frequently combined an original score with increasingly long (unedited) excerpts from classical music. Via a brief survey of earlier Malick film scores, this article examines the role and context of classical music in The Tree of Life (2011). The sonic core of this film has an abundance for which even the earlier films fail to prepare us. Malick’s film is an illuminating example of what John Bruns has termed the ‘polyphonic film’, one which ‘preserves the independence of its individual elements’.[6] Independence, within an overall fusion – the term ‘polyphonic’, already taken from music, also applies to Bakhtin’s sense of the multi-focal novel exemplified by Dostoyevsky, as opposed to the overarching unity of perspective in Tolstoy and others. Sounds (Stanford Encyclopedia of Philosophy/Spring 2012 Edition) First published Thu Jul 14, 2005; substantive revision Tue Oct 5, 2010 Philosophy of perception typically centered on colors, as did the metaphysics of mind when discussing the mind-dependence of secondary qualities.
Possibly, the philosophical privilege of the visible just reflects the cognitive privilege of the visible—as vision is considered to account for most of useful sensory information gathering. This neglect of sounds is at times a regrettable state of affairs, as sounds are not only an important element of the perceptual scene but are also philosophically idiosyncratic in many intriguing ways; in particular, their temporal and spatial unfolding, as presented in perception, has interesting metaphysical and epistemological aspects. There is, however, an advantage of the neglect. Many philosophical aspects of sound and sound perception are not idiosyncratic and indeed make for general issues in philosophy of perception. 1. 1.1 Sounds as Sensations 1.2 Sounds as Proximal Stimuli 2.