Meanings of the Sabbath for Worship in the Seventh-Day Adventist Church

This study investigates the meanings and significance of the seventh-day Sabbath for worship in the Seventh-day Adventist Church. In recent years, both the day and concept of Sabbath have attracted ecumenical attention, but the focus of scholarship has been placed on Sunday as the Lord's Day or Sabbath with little consideration given to the seventh-day Sabbath. In contrast, this project examines the seventh-day Sabbath and worship on that day from theological, liturgical, biblical and historical perspectives. Although not intended as an apology for Seventh-day Adventist practices, the work does strive to promote a critical and creative conversation with other theological and liturgical traditions in order to promote mutual, ecumenical understanding. Historical research into the origins and nature of the principal day for weekly Christian worship provides a starting point for discussion on Sabbath. Reconsideration of the relationship between Judaism and early Christianity in recent studies suggests that the influence of Judaism lasted longer than previously supposed, thereby prolonging the developmental process of Sabbath (seventh day) to Sunday. A possible coexistence of Sabbath and Sunday in early Christianity offers an alternative to perspectives that dichotomize Sabbath and Sunday from Christian antiquity onward, and thus for the Seventh-day Adventist Church, suggests biblical and historical validity for their Sabbath worship practice. Recent theological perspectives on Sabbath and Sunday are examined, particularly those of Karl Barth, Jürgen Moltmann and Pope John Paul II. While all three of these theologians stress the continuity of Sabbath and Sunday and speak mainly to a theology of Sunday, they do highlight the significance of Sabbath—which is relevant to an interpretation of seventh-day Sabbath worship. The study concludes that the seventh-day Sabbath is significant for worship in the Seventh-day Adventist Church because it symbolizes the relationship between God and human beings, reminds humanity of the creating and redeeming God who acts in history, and invites persons to rest and fellowship with God on a day sanctified by God.

Effects of Highlights on Gloss Perception

The perception of a glossy surface in a static monochromatic image can occur when a bright highlight is embedded in a compatible context of shading and a bounding contour. Some images naturally give rise to the impression that a surface has a uniform reflectance, characteristic of a shiny object, even though the highlight may only cover a small portion of the surface. Nonetheless, an observer may adopt an attitude of scrutiny in viewing a glossy surface, whereby the impression of gloss is partial and nonuniform at image regions outside of a higlight. Using a rating scale and small probe points to indicate image locations, differential perception of gloss within a single object is investigate in the present study. Observers' gloss ratings are not uniform across the surface, but decrease as a function of distance from highlight. When, by design, the distance from a highlight is uncoupled from the luminance value at corresponding probe points, the decrease in rated gloss correlates more with the distance than with the luminance change. Experiments also indicate that gloss ratings change as a function of estimated surface distance, rather than as a function of image distance. Surface continuity affects gloss ratings, suggesting that apprehension of 3D surface structure is crucial for gloss perception.

AIRSTREAM: A Neural Network Model of Auditory Scene Analysis and Source Segregation

Multiple sound sources often contain harmonics that overlap and may be degraded by environmental noise. The auditory system is capable of teasing apart these sources into distinct mental objects, or streams. Such an "auditory scene analysis" enables the brain to solve the cocktail party problem. A neural network model of auditory scene analysis, called the AIRSTREAM model, is presented to propose how the brain accomplishes this feat. The model clarifies how the frequency components that correspond to a give acoustic source may be coherently grouped together into distinct streams based on pitch and spatial cues. The model also clarifies how multiple streams may be distinguishes and seperated by the brain. Streams are formed as spectral-pitch resonances that emerge through feedback interactions between frequency-specific spectral representaion of a sound source and its pitch. First, the model transforms a sound into a spatial pattern of frequency-specific activation across a spectral stream layer. The sound has multiple parallel representations at this layer. A sound's spectral representation activates a bottom-up filter that is sensitive to harmonics of the sound's pitch. The filter activates a pitch category which, in turn, activate a top-down expectation that allows one voice or instrument to be tracked through a noisy multiple source environment. Spectral components are suppressed if they do not match harmonics of the top-down expectation that is read-out by the selected pitch, thereby allowing another stream to capture these components, as in the "old-plus-new-heuristic" of Bregman. Multiple simultaneously occuring spectral-pitch resonances can hereby emerge. These resonance and matching mechanisms are specialized versions of Adaptive Resonance Theory, or ART, which clarifies how pitch representations can self-organize durin learning of harmonic bottom-up filters and top-down expectations. The model also clarifies how spatial location cues can help to disambiguate two sources with similar spectral cures. Data are simulated from psychophysical grouping experiments, such as how a tone sweeping upwards in frequency creates a bounce percept by grouping with a downward sweeping tone due to proximity in frequency, even if noise replaces the tones at their interection point. Illusory auditory percepts are also simulated, such as the auditory continuity illusion of a tone continuing through a noise burst even if the tone is not present during the noise, and the scale illusion of Deutsch whereby downward and upward scales presented alternately to the two ears are regrouped based on frequency proximity, leading to a bounce percept. Since related sorts of resonances have been used to quantitatively simulate psychophysical data about speech perception, the model strengthens the hypothesis the ART-like mechanisms are used at multiple levels of the auditory system. Proposals for developing the model to explain more complex streaming data are also provided.