3 resultados para Numismatic chronicle and journal of the Numismatic Society

em Aston University Research Archive


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Mistuning a harmonic produces an exaggerated change in its pitch, a component-pitch shift. The origin of these pitch shifts was explored by manipulations intended to alter the grouping status of a mistuned target component in a periodic complex tone. In experiment 1, which used diotic presentation, reinstating the corresponding harmonic (in-tune counterpart) caused the pitch shifts on the mistuned target largely to disappear for components 3 and 4, although they remained for component 2. A computational model of component-pitch shifts, based on harmonic cancellation, was unable to explain the near-complete loss of pitch shifts when the counterpart was present; only small changes occurred. In experiment 2, the complex tone and mistuned component 4 were presented in the left ear and the in-tune counterpart was presented in the right. The in-tune counterpart again reduced component-pitch shifts, but they were restored when a captor complex into which the counterpart fitted as harmonic 3 was added in the right ear; presumably by providing an alternative grouping possibility for the counterpart. It is proposed that component-pitch shifts occur only if the mistuned component is selected to contribute to the complex-tone percept; these shifts are eliminated if it is displaced by a better candidate.

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The open content creation process has proven itself to be a powerful and influential way of developing text-based content, as demonstrated by the success of Wikipedia and related sites. Distributed individuals independently edit, revise, or refine content, thereby creating knowledge artifacts of considerable breadth and quality. Our study explores the mechanisms that control and guide the content creation process and develops an understanding of open content governance. The repertory grid method is employed to systematically capture the experiences of individuals involved in the open content creation process and to determine the relative importance of the diverse control and guiding mechanisms. Our findings illustrate the important control and guiding mechanisms and highlight the multifaceted nature of open content governance. A range of governance mechanisms is discussed with regard to the varied levels of formality, the different loci of authority, and the diverse interaction environments involved. Limitations and opportunities for future research are provided.

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The role of source properties in across-formant integration was explored using three-formant (F1+F2+F3) analogues of natural sentences (targets). In experiment 1, F1+F3 were harmonic analogues (H1+H3) generated using a monotonous buzz source and second-order resonators; in experiment 2, F1+F3 were tonal analogues (T1+T3). F2 could take either form (H2 or T2). Target formants were always presented monaurally; the receiving ear was assigned randomly on each trial. In some conditions, only the target was present; in others, a competitor for F2 (F2C) was presented contralaterally. Buzz-excited or tonal competitors were created using the time-reversed frequency and amplitude contours of F2. Listeners must reject F2C to optimize keyword recognition. Whether or not a competitor was present, there was no effect of source mismatch between F1+F3 and F2. The impact of adding F2C was modest when it was tonal but large when it was harmonic, irrespective of whether F2C matched F1+F3. This pattern was maintained when harmonic and tonal counterparts were loudness-matched (experiment 3). Source type and competition, rather than acoustic similarity, governed the phonetic contribution of a formant. Contrary to earlier research using dichotic targets, requiring across-ear integration to optimize intelligibility, H2C was an equally effective informational masker for H2 as for T2.