scholarly journals Attention to hierarchical level influences attentional selection of spatial scale.

2011 ◽  
Vol 37 (1) ◽  
pp. 12-22 ◽  
Author(s):  
Anastasia V. Flevaris ◽  
Shlomo Bentin ◽  
Lynn C. Robertson
2010 ◽  
Vol 9 (8) ◽  
pp. 224-224
Author(s):  
A. Flevaris ◽  
S. Bentin ◽  
L. Robertson

NeuroImage ◽  
2017 ◽  
Vol 163 ◽  
pp. 231-243 ◽  
Author(s):  
Xilin Zhang ◽  
Nicole Mlynaryk ◽  
Shruti Japee ◽  
Leslie G. Ungerleider

1998 ◽  
Vol 11 (4) ◽  
pp. 329-347 ◽  
Author(s):  
M.W. Von Grünau ◽  
P. Pakneshan ◽  
A. Bertone

2020 ◽  
Vol 32 (6) ◽  
pp. 1170-1183 ◽  
Author(s):  
Dirk Kerzel ◽  
Nicolas Burra

Top–down control of attention allows us to resist attentional capture by salient stimuli that are irrelevant to our current goals. Recently, it was proposed that attentional suppression of salient distractors contributes to top–down control by biasing attention away from the distractor. With small search displays, attentional suppression of salient distractors may even result in reduced RTs on distractor-present trials. In support of attentional suppression, electrophysiological measures revealed a positivity between 200 and 300 msec contralateral to the distractor, which has been referred to as distractor positivity (PD). We reexamined distractor benefits with small search displays and found that the positivity to the distractor was followed by a negativity to the distractor. The negativity, referred to as N2pc, is considered an index of attentional selection of the contralateral element. Thus, attentional suppression of the distractor (PD) preceded attentional capture (N2pc) by the distractor, which is at odds with the idea that attentional suppression avoids attentional capture by the distractor. Instead, we suggest that the initial “PD” is not a positivity to the distractor but rather a negativity (N2pc) to the contralateral context element, suggesting that, initially, the context captured attention. Subsequently, the distractor was selected because, paradoxically, participants searched all lateral target positions (even when irrelevant) before they examined the vertical positions. Consistent with this idea, search times were shorter for lateral than vertical targets. In summary, the early voltage difference in small search displays is unrelated to distractor suppression but may reflect capture by the context.


Author(s):  
Philip Brophy

This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. The sound of nightclubs and club music has transformed spatial scale, frequency range, and volume levels in film soundtracks for the past twenty-five years. Across this period, spatialization is intensified, the soundtrack gets noiser, and characterization favors unbalanced psychological states. Consequently, an aural “Other” becomes progressively encoded and registered. The texture of recorded sound on film becomes affected by non-cinematic aurality, responding to approaches to microphone placement in pop music, and the role that psycho-acoustics play in shaping psychological drama. Discussion ensues to audit the noise inside the addled heads of characters in a selection of films which exemplify this transformative audiovision in cinema:Scorpio Rising, Vinyl, Scarface, Blue Velvet, La Vie Nouvelle, andIrréversible.


2011 ◽  
Vol 23 (10) ◽  
pp. 3095-3104 ◽  
Author(s):  
Frédéric Marmel ◽  
Fabien Perrin ◽  
Barbara Tillmann

The present study investigated the ERP correlates of the influence of tonal expectations on pitch processing. Participants performed a pitch discrimination task between penultimate and final tones of melodies. These last two tones were a repetition of the same musical note, but penultimate tones were always in tune whereas final tones were slightly out of tune in half of the trials. The pitch discrimination task allowed us to investigate the influence of tonal expectations in attentive listening and, for penultimate tones, without being confounded by decisional processes (occurring on final tones). Tonal expectations were manipulated by a tone change in the first half of the melodies that changed their tonality, hence changing the tonal expectedness of penultimate and final tones without modifying them acoustically. Manipulating tonal expectations with minimal acoustic changes allowed us to focus on the cognitive expectations based on listeners' knowledge of tonal structures. For penultimate tones, tonal expectations modulated processing within the first 100 msec after onset resulting in an Nb/P1 complex that differed in amplitude between tonally related and less related conditions. For final tones, out-of-tune tones elicited an N2/P3 complex and, on in-tune tones only, tonal manipulation elicited an ERAN/RATN-like negativity overlapping with the N2. Our results suggest that cognitive tonal expectations can influence pitch perception at several steps of processing, starting with early attentional selection of pitch.


2011 ◽  
Vol 11 (11) ◽  
pp. 228-228 ◽  
Author(s):  
A. Flevaris ◽  
S. Bentin ◽  
L. Robertson

Sign in / Sign up

Export Citation Format

Share Document