Search results for 'Aural' (try it on Scholar)

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  1. James Rogers & Geoffrey K. Pullum (2011). Aural Pattern Recognition Experiments and the Subregular Hierarchy. Journal of Logic, Language and Information 20 (3):329-342.score: 24.0
    We explore the formal foundations of recent studies comparing aural pattern recognition capabilities of populations of human and non-human animals. To date, these experiments have focused on the boundary between the Regular and Context-Free stringsets. We argue that experiments directed at distinguishing capabilities with respect to the Subregular Hierarchy, which subdivides the class of Regular stringsets, are likely to provide better evidence about the distinctions between the cognitive mechanisms of humans and those of other species. Moreover, the classes of (...)
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  2. Franklin M. Berry, Douglas K. Detterman & Thomas Mulhern (1973). Stimulus Encoding as a Function of Modality: Aural Versus Visual Paired-Associate Learning. Journal of Experimental Psychology 99 (1):140-142.score: 21.0
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  3. Diana Boros (2012). Public Art as Aural Installation: Surprising Musical Intervention as Civic Rejuvenation in Urban Life. Evental Aesthetics 1 (3):50-81.score: 18.0
    Surprising artistic interventions in the landscape of the public everyday are psychologically, socially, and politically beneficial to individuals as well as their communities. Such interventions enable their audiences to access moments of surprising inspiration, self-reflection, and revitalization. These spontaneous moments may offer access to the experience of distance from the rational “self,” allowing the irrational and purely emotive that resides within all of us to assert itself. It is this sensual instinct that all we too frequently push aside, particularly in (...)
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  4. Andy Hamilton (2007). Music and the Aural Arts. British Journal of Aesthetics 47 (1):46-63.score: 15.0
    The visual arts include painting, sculpture, photography, video, and film. But many people would argue that music is the universal or only art of sound. In the modernist era, Western art music has incorporated unpitched sounds or ‘noise’, and I pursue the question of whether this process allows space for a non-musical soundart. Are there non-musical arts of sound—is there an art phonography, for instance, to parallel art photography? At the same time, I attempt a characterization of music, contrasting acoustic, (...)
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  5. D. T. Evans (2005). Speaking Over and Above the Plot: Aural Fixation, Scopophilia, Opera and the Gay Sensibility. Theory, Culture and Society 22 (2):99-119.score: 15.0
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  6. Barry Blesser & Linda-Ruth Salter (2006). Spaces Speak, Are You Listening?: Experiencing Aural Architecture. The Mit Press.score: 15.0
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  7. Eugene Eoyang (1979). Beyond Visual and Aural Criteria: The Importance of Flavor in Chinese Literary Criticism. Critical Inquiry 6 (1):99.score: 15.0
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  8. Brian Lightbody (2009). Leaving the Island of Cyclops : Practicing an Aural Genealogy Within the Surrealist Community of Fellowship. In Leslie Anne Boldt-Irons, Corrado Federici & Ernesto Virgulti (eds.), Disguise, Deception, Trompe-L'oeil: Interdisciplinary Perspectives. Peter Lang. 99--115.score: 15.0
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  9. Mimmo Peruffo (2012). Part III-The Aural Dimension-7 Balance on the Lute: The Role of the Strings. Proceedings of the British Academy 176:135.score: 15.0
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  10. Charles L. Richman & Leon Lorenc (1974). Effects of Overtraining on Reversal and Half-Reversal Shift Performance Employing Aural Stimuli. Bulletin of the Psychonomic Society 4 (5):503-504.score: 15.0
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  11. James Rogers & Geoffrey Pullum (forthcoming). Forthcoming. Aural Pattern Recognition Experiments and the Subregular Hierarchy. Journal of Logic, Language and Information. Paper Presented at the 10th Meeting of the Association for Mathematics of Language In.score: 15.0
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  12. David Cecchetto (2013). The Sonic Effect: Aurality and Digital Networks in Exurbia. Evental Aesthetics 2 (2):34-62.score: 8.0
    This essay examines the problem of medial specificity in music and sound art, giving particular attention to Seth Kim-Cohen’s call for a non-cochlear sound art based on the notion of “expansion” that has been decisive in visual arts discourses. I argue that Kim-Cohen’s non-cochlear intervention in In the Blink of an Ear might be productively pressured towards the concept of a “sonic effect” that acknowledges the material-discursive particularity of sound without recourse to the phenomenological claims of authenticity that Kim-Cohen correctly (...)
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  13. Stanley R. Parkinson (1972). Short-Term Memory While Shadowing: Multiple-Item Recall of Visually and of Aurally Presented Letters. Journal of Experimental Psychology 92 (2):256.score: 7.0
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  14. Neal E. Kroll, Theodore Parks, Stanley R. Parkinson, Stephen L. Bieber & Alford Lee Johnson (1970). Short-Term Memory While Shadowing: Recall of Visually and of Aurally Presented Letters. Journal of Experimental Psychology 85 (2):220.score: 7.0
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  15. Kathleen Akins (1993). What is It Like to Be Boring and Myopic? In B. Dahlbom (ed.), Dennett and His Critics. Blackwell.score: 6.0
     
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  16. Douglas Griffith & William A. Johnston (1973). An Information-Processing Analysis of Visual Imagery. Journal of Experimental Psychology 100 (1):141.score: 6.0
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  17. Gary M. Ingersoll & Francis J. Di Vesta (1972). Effects of Modality Preferences on Performance on a Bisensory Missing-Units Task. Journal of Experimental Psychology 93 (2):386.score: 6.0
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  18. Sylvia F. Kollasch & Donald H. Kausler (1972). Recognition Learning of Homophones. Journal of Experimental Psychology 92 (3):432-434.score: 6.0
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  19. Lisa Coulthard (2012). Haptic Aurality: Resonance, Listening and Michael Haneke. Film-Philosophy 16 (1):16-29.score: 5.0
    Using Jean-Luc Nancy's productive concept of resonant listening, this article interrogates silence in the films of Michael Haneke. Arguing for a kind of open, resonating and sonorous form of philosophic listening, Nancy articulates the distinctions among listening, hearing and understanding. Working from these concepts, this article considers the particular form of resonance in the instance of cinematic silence and in particular the use of silence in the philosophically engaged cinema of Haneke.
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  20. Bernard J. Hibbitts (1995). The Metaphor is the Message: Visuality, Aurality and the Reconfiguration of American Legal Discourse. International Journal for the Semiotics of Law - Revue Internationale de Sémiotique Juridique 8 (1):53-86.score: 5.0
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  21. Veit Erlmann (2010). Reason and Resonance: A History of Modern Aurality. Zone Books.score: 5.0
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  22. Robert N. Kraft & James J. Jenkins (1981). The Lag Effect with Aurally Presented Passages. Bulletin of the Psychonomic Society 17 (3):132-134.score: 5.0
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  23. John R. Gregg, Time Consciousness and the Specious Present.score: 3.0
    Roger Penrose, in _The Emperor's New Mind_ (1989), writes about the way Mozart perceived music. Mozart did not play a piece in his mind in real time, or even speeded up, but could hold it before him all at once. We all do this, although usually for much shorter riffs than entire symphonies. I have argued that the all-at-onceness of our thoughts and perceptions is at least as inexplicable as what it is like to see red; I think the (...)/temporal all-at-onceness makes the point at least as vividly as the visual/spatial all-at-onceness of the curl of smoke in an art nouveau poster. (shrink)
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  24. Jerrold Levinson (1997). Music in the Moment. Cornell University Press.score: 3.0
    Does aural understanding depend upon reflective awareness of musical architecture or large-scale musical structure? Jerrold Levinson thinks not.
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  25. Robert S. Root-Bernstein (2002). Aesthetic Cognition. International Studies in the Philosophy of Science 16 (1):61 – 77.score: 3.0
    The purpose of this article is to integrate two outstanding problems within the philosophy of science. The first concerns what role aesthetics plays in scientific thinking. The second is the problem of how logically testable ideas are generated (the so-called "psychology of research" versus "logic of (dis)proof" problem). I argue that aesthetic sensibility is the basis for what scientists often call intuition, and that intuition in turn embodies (in a literal physiological sense) ways of thinking that have their own meta-logic. (...)
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  26. Richard Kenneth Atkins (2013). Toward an Objective Phenomenological Vocabulary: How Seeing a Scarlet Red is Like Hearing a Trumpet's Blare. Phenomenology and the Cognitive Sciences 12 (4):837-858.score: 3.0
    Nagel’s challenge is to devise an objective phenomenological vocabulary that can describe the objective structural similarities between aural and visual perception. My contention is that Charles Sanders Peirce’s little studied and less understood phenomenological vocabulary makes a significant contribution to meeting this challenge. I employ Peirce’s phenomenology to identify the structural isomorphism between seeing a scarlet red and hearing a trumpet’s blare. I begin by distinguishing between the vividness of an experience and the intensity of a quality. I proceed (...)
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  27. William F. Thompson, Philip W. Graham & Frank A. Russo (2005). Seeing Music Performance: Visual Influences on Perception and Experience. Semiotica 156 (1/4):203-227.score: 3.0
    Drawing from ethnographic, empirical, and historical/cultural perspectives, we examine the extent to which visual aspects of music contribute to the communication that takes place between performers and their listeners. First, we introduce a framework for understanding how media and genres shape aural and visual experiences of music. Second, we present case studies of two performances, and describe the relation between visual and aural aspects of performance. Third, we report empirical evidence that visual aspects of performance reliably influence perceptions (...)
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  28. Andrew Hugill (2008). The Digital Musician. Routledge.score: 3.0
    New technologies, new musicians -- Aural awareness -- Organizing sound -- Creating music -- Performing -- Cultural context -- Critical engagement -- The digital musician -- Projects and performance.
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  29. James Hill (1998). Concepts of Secondary Qualities. Organon F 5 (Supplement):91-98.score: 3.0
    The properties of secondary qualities have recently become an object of interest again in analytic philosophy; it is generally assumed that secondary qualities - in the mind at least - tend to be irreducible to the physical: taste, smell, color perception, the aural, & the tactile all seem to be more subjectively perceived than most other qualities. This is shown to present such topics as realism vs anti-realism, description, & truth-value with a series of problems, which are then discussed. (...)
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  30. Vanessa Agnew (2008). Enlightenment Orpheus: The Power of Music in Other Worlds. OUP USA.score: 3.0
    The Enlightenment saw a critical engagement with the ancient idea that music carries certain powers - it heals and pacifies, civilizes and educates. Yet this interest in musical utility seems to conflict with larger notions of aesthetic autonomy that emerged at the same time. In Enlightenment Orpheus, Vanessa Agnew examines this apparent conflict, and provocatively questions the notion of an aesthetic-philosophical break between the eighteenth and nineteenth centuries. Agnew persuasively connects the English traveler and music scholar Charles Burney with the (...)
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  31. Murray Jardine (2009). Bill Poteat's Post-Critical Logic and the Origins of Modernity. Tradition and Discovery 36 (2):54-58.score: 3.0
    In Polanyian Meditations: In Search of a Post-Critical Logic, Poteat draws upon Polanyi to explicate what he calls an “oral/aural logic,” which he thinks informs Polanyi’s thought and which is different from the conventional “visual logic” of the Western philosophical tradition, and then argues that this oral/aural logic is implied in the Hebraic understanding of reality. This idea is a key to understanding the genesis of the modern worldview, which can be conceptualized as involving certain elements of the (...)
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  32. F. G. Asenjo (2003). Continua Without Sets. Logic and Logical Philosophy 1:95-128.score: 3.0
    Initially, we perceive an indefinite extension imprecisely, a spread C ; this perception can be visual, aural, or tactile.
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  33. Erkki Huovinen (2013). Concatenationism and Anti‐Architectonicism in Musical Understanding. Journal of Aesthetics and Art Criticism 71 (3):247-260.score: 3.0
    This article discusses Jerrold Levinson's theory of concatenationism, which emphasizes the moment-by-moment character of musical listeners’ basic musical understanding, and the related project of anti-architectonicism, which denies the influence of large-scale music-structural information on basic musical understanding. A reconstruction of Levinson's position reveals him to embrace a qualified architectonicism himself and shows that his remaining anti-architectonicism is afflicted with several problems. While the conceptual distinction Levinson draws between a piece of music and its structure as well as his three “intuitions (...)
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  34. Fernando Muniz (forthcoming). Performance e Élenkhos no Íon de Platão. Archai.score: 3.0
    No Íon, a autoridade e a sabedoria de poetas e rapsodos são confrontadas por meios indiretos. O caráter oblíquo dessa estratégia impede o acesso direto ao conteúdo do diálogo e provoca inúmeros equívocos de leitura. Um fato contextual estimula mais ainda leituras equivocadas. A poesia tratada no Íon difere muito da forma como nós, modernos, a entendemos. Na Antiguidade grega, de base aural, a poesia era o modo privilegiado de conservação da tradição herdada, e permaneceu exercendo essa função capital (...)
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  35. Murray Jardine (1998). Speech and Political Practice: Recovering the Place of Human Responsibility. State University of New York Press.score: 3.0
    Argues that rebuilding ethical communities will require a cultural reorientation from visually dominated to oral/aural experience and develops a speech-based conception of moral place that can set limits on the actions of individuals and communities.
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  36. Jacqueline Loeb (2011). Dissonance Rising: Subversive Sound in Zhang Yimou's Raise the Red Lantern. Film-Philosophy 15 (1):204-219.score: 3.0
    This article presents an analysis of visual-acoustic dissonance in Raise The Red Lantern ( Dà Hóng Dēnglóng Gāogāo Guà , Zhang Yimou, 1991). Drawing upon Michel Foucault's discussion of the Panopticon, this study argues that the camera in this film represents a panoptic entity whose subversion can only be achieved by means outside the visual economy. Sound is that means; the aural regime works consistently to unhinge the balance of the optical machinery on both a thematic and cinematographic level. (...)
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  37. A. Staley Groves (2011). The Poetry of Adam Staley Groves. Introduction by Vincent W.J. Van Gerven Oei. Continent 1 (1):52-59.score: 3.0
    continent. 1.1 (2011): 52-59. Introduction Vincent W.J. van Gerven Oei Adam Staley Groves is a poet of thought. I say this with the greatest sincerity. Hence a thorough reading of even this small selection of his work in the length of an introduction is impossible. Such is the diligent reader’s task! Nevertheless, my choice for Staley Groves, like all choices, demands a justification, which I would like to formulate as follows. Staley Groves fits in the heroic tradition of poets that (...)
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  38. Jan Jagodzinski (2010). Visual Art and Education in an Era of Designer Capitalism: Deconstructing the Oral Eye. Palgrave Macmillan.score: 3.0
    The oral eye is a metaphor for the dominance of global designer capitalism. It refers to the consumerism of a designer aesthetic by the ‘I’ of the neoliberalist subject, as well as the aural soundscapes that accompany the hegemony of the capturing attention through screen cultures. An attempt is made to articulate the historical emergence of such a synoptic machinic regime drawing on Badiou, Bellmer, Deleuze, Guattari, Lacan, Rancière, Virilio, Ziarek, and Žižek to explore contemporary art (post-Situationism) and visual (...)
     
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  39. Donald Juel (1997). The Strange Silence of the Bible. Interpretation 51 (1):5-19.score: 3.0
    The oral/aural power of the Bible has been strangely neglected within the worship life of the church as well as in recent biblical scholarship. In order to recover the Bible's power to take captive the imagination of readers and interpreters, we must once again attend to the public reading, or performance, of the Bible.
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  40. Emily Thompson (2004). The Soundscape of Modernity: Architectural Acoustics and the Culture of Listening in America, 1900-1933. The Mit Press.score: 3.0
    A vibrant history of acoustical technology and aural culture in early-twentieth-century America.
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  41. William C. Howell (1973). Storage of Events and Event Frequencies: A Comparison of Two Paradigms in Memory. Journal of Experimental Psychology 98 (2):260.score: 2.0
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  42. Richard L. Taylor & Stephen Reilly (1970). Naming and Other Methods of Decoding Visual Information. Journal of Experimental Psychology 83 (1p1):80.score: 2.0
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  43. Steven Laureys, Supporting Online Material For.score: 1.0
    Patient To examine neural responses to aurally-presented sentences, a sparse imaging technique was used to minimize interference from scanner noise. The patient was played a single sentence (or noise-equivalent) in the 7.4s silent period before a single 1.6s scan with stimulus timing jittered relative to scan onset. There were 118 spoken sentences trials, 59 signal correlated noise trials, and an additional 60 silent trials for the purpose of monitoring data quality. The signal correlated noise stimuli had the same duration, spectral (...)
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  44. Anna Maaria Järvinen, Benjamin Dering, Dirk Neumann, Rowena Ng, Davide Crivelli, Mark Grichanik, Julie R. Korenberg & Ursula Bellugi (2012). Sensitivity of the Autonomic Nervous System to Visual and Auditory Affect Across Social and Non-Social Domains in Williams Syndrome. Frontiers in Psychology 3.score: 1.0
    Although individuals with Williams syndrome (WS) typically demonstrate an increased appetitive social drive, their social profile is characterized by dissociations, including socially fearless behavior coupled with anxiousness, and distinct patterns of “peaks and valleys” of ability. The aim of this study was to compare the processing of social and non-social visually and aurally presented affective stimuli, at the levels of behavior and autonomic nervous system (ANS) responsivity, in individuals with WS contrasted with a typically developing (TD) group, with the view (...)
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  45. Mirko M. Hall (2010). Dialectical Sonority: Walter Benjamin's Acoustics of Profane Illumination. Telos 2010 (152):83-102.score: 1.0
    ExcerptIn a letter to his friend and intellectual collaborator Theodor W. Adorno, on December 25, 1935, Walter Benjamin describes music as a field of inquiry “fairly remote” from his own.1 Several years later, in another letter to Max Horkheimer, he writes that the “state of musical affairs … could not be any more remote” for him.2 Yet despite these claims of unfamiliarity with aurality, there are numerous observations on acoustic phenomena throughout Benjamin's oeuvre. From his early essays on language to (...)
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  46. Patrice Voss (2013). Sensitive and Critical Periods in Visual Sensory Deprivation. Frontiers in Psychology 4.score: 1.0
    While the demonstration of crossmodal plasticity is well established in congenital and early blind individuals, great debate still surrounds whether those who acquire blindness later in life can also benefit from such compensatory changes. Yet no proper consensus has been reached despite the fact that a proper understanding of the developmental time course of these changes, and whether their occurrence is limited to - or within - specific time windows, is crucial to our understanding of the crossmodal phenomena. An extensive (...)
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  47. Edward Jones-Imhotep (2012). Sound and Vision. Spontaneous Generations 6 (1):191-202.score: 1.0
    Over the last two decades, Science Studies has produced a fascinating body of literature on visual representation. A crucial part of that literature has explored the materiality of visual representation, primarily the “rendering practices” that make visual representations possible and embody epistemic virtues attached to the scientific self. This essay explores the practices and capacities that support visual representation, but it looks to a seemingly unlikely place for inspiration—the growing literature on the uses of sound in science. My interest here (...)
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