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David Douglas Daniels, III

, as sound blended the sound of prayer, preaching, testifying, singing, music-making, and silence. Embedded in early Pentecostal sound are primal cries, speech, music, and ambient sound which, for early Pentecostals, func- tioned as a circular continuum that Pentecostal soundways traveled. Encompassing

Katja Fiehler, Immo Schütz, Tina Meller and Lore Thaler

this procedure, we created a control clip for each echolocation clip. Importantly, control clips were matched to echolocation clips both in terms of background and ambient sounds, as well as in regard to the spectro-temporal features of clicks, whilst truncation and channel-doubling essentially removed

Barry E. Stein, Liping Yu, Jinghong Xu and Benjamin A. Rowland

The multisensory integration capabilities of superior colliculus (SC) neurons are normally acquired during early postnatal life and adapted to the environment in which they will be used. Recent evidence shows that they can even be acquired in adulthood, and require neither consciousness nor any of the reinforcement contingencies generally associated with learning. This process is believed to be based on Hebbian mechanisms, whereby the temporal coupling of multiple sensory inputs initiates development of a means of integrating their information. This predicts that co-activation of those input channels is sufficient to induce multisensory integration capabilities regardless of the specific spatiotemporal properties of the initiating stimuli. However, one might expect that the stimuli to be integrated should be consonant with the functional role of the neurons involved. For the SC, this would involve stimuli that can be localized. Experience with a non-localizable cue in one modality (e.g., ambient sound) and a discrete stimulus in another (e.g., a light flash) should not be sufficient for this purpose. Indeed, experiments with cats reared in omnidirectional sound (effectively masking discrete auditory events) reveal that the simple co-activation of two sensory input channels is not sufficient for this purpose. The data suggest that experience with the kinds of cross-modal events that facilitate the role of the SC in detecting, locating, and orienting to localized external events is a guiding factor in this maturational process. Supported by NIH grants NS 036916 and EY016716.


Lucas Klein

with spreading industrialization, also altered views and horizons, transportation, air quality and ambient sound,” the prose poem “established a new rhythm, less regular, less formally structured; it was poetry adapted precisely to the changes in ambient sound.” 40 But amid both this disjunction and

Pia Hauck and Heiko Hecht

found for the opening sound made by the packaging (e.g., Spence and Wang, 2015a; Spence et al ., 2011), for the sound produced by the product itself during consumption (e.g., Demattè et al ., 2014; Vickers, 1982; Zampini and Spence, 2004), in fact for any ambient sound, such as music, present while

Christopher Evans and David Wilson

-dissolve transition. 5. Sound generated by the audience hen was replaced with ambient sound chamber noise. 6. Footage was used only once. After editing, the 20 sequences (4 sequences × 5 males) were duplicated. Within each duplicate, we replaced the alarm calls in the audio track only with ambient sound chamber noise


Simone Schröder

with sung prophecies by the Native American tribe of the Hopi to bind his images together. Chris Marker similarly samples ambient sound paintings as a sonic backdrop to Junkopia . Filmed at a stretch of no man’s land in Emeryville’s Mudflats near San Francisco, Marker’s six-minute film focuses on a

Hudson Diggs Bailey, Aidan B. Mullaney, Kyla D. Gibney and Leslie Dowell Kwakye

. All auditory targets were presented from the front three speakers and, ambient sounds were presented from all speakers. Vizard 4 (WorldViz, Santa Barbara, CA, USA) software was used for stimulus presentation and participant response collection. Participants indicated their responses on a Cedrus RB-530

Bahar Şi̇mşek

postponing a journey to Dogubeyazit, he also refuses both separation from the maternal body and agency in this separation, which is also supposed to lead to the establishment of a new home with Zeynep (Nesrin Cavadzade) and their baby. However, with the acousmatic voice of Seydoyê Silo as the ambient sound

Philip M. Grove, Caitlin Robertson and Laurence R. Harris

participant’s ear. The ambient sound level in the room was 46 dB SPL. We generated motion sequences with three different vertical offsets, zero offset or collinear, 6.4 min arc (4 pixels), and 19.2 min arc (12 pixels) offset. The non-zero offsets were chosen based on pilot experiments and on previous work