The expanding role of on-line interactive searching

1976 ◽  
Author(s):  
Vivian S. Sessions
Keyword(s):  
2011 ◽  
Vol 23 (9) ◽  
pp. 2447-2467 ◽  
Author(s):  
Sara Bögels ◽  
Herbert Schriefers ◽  
Wietske Vonk ◽  
Dorothee J. Chwilla

The present study addresses the question whether accentuation and prosodic phrasing can have a similar function, namely, to group words in a sentence together. Participants listened to locally ambiguous sentences containing object- and subject-control verbs while ERPs were measured. In Experiment 1, these sentences contained a prosodic break, which can create a certain syntactic grouping of words, or no prosodic break. At the disambiguation, an N400 effect occurred when the disambiguation was in conflict with the syntactic grouping created by the break. We found a similar N400 effect without the break, indicating that the break did not strengthen an already existing preference. This pattern held for both object- and subject-control items. In Experiment 2, the same sentences contained a break and a pitch accent on the noun following the break. We argue that the pitch accent indicates a broad focus covering two words [see Gussenhoven, C. On the limits of focus projection in English. In P. Bosch & R. van der Sandt (Eds.), Focus: Linguistic, cognitive, and computational perspectives. Cambridge: University Press, 1999], thus grouping these words together. For object-control items, this was semantically possible, which led to a “good-enough” interpretation of the sentence. Therefore, both sentences were interpreted equally well and the N400 effect found in Experiment 1 was absent. In contrast, for subject-control items, a corresponding grouping of the words was impossible, both semantically and syntactically, leading to processing difficulty in the form of an N400 effect and a late positivity. In conclusion, accentuation can group words together on the level of information structure, leading to either a semantically “good-enough” interpretation or a processing problem when such a semantic interpretation is not possible.


Animation ◽  
2021 ◽  
Vol 16 (1-2) ◽  
pp. 83-95
Author(s):  
Raz Greenberg

Produced throughout the 1980s using the company’s Adventure Game Interpreter engine, the digital adventure games created by American software publisher Sierra On-Line played an important and largely overlooked role in the development of animation as an integral part of the digital gaming experience. While the little historical and theoretical discussion of the company’s games of the era focuses on their genre, it ignores these games’ contribution to the relationship between the animated avatars and the gamers that control them – a relationship that, as argued in this article, in essence turns gamers into animators. If we consider Chris Pallant’s (2019) argument in ‘Video games and animation’ that animation is essential to the sense of immersion within a digital game, then the great freedom provided to the gamers in animating their avatars within Sierra On-Line’s adventure games paved the way to the same sense of immersion in digital. And, if we refer to Gonzalo Frasca’s (1999) divide of digital games to narrative-led or free-play (ludus versus paidea) in ‘Ludology meets narratology: Similitude and differences between (video) games and narrative’, then the company’s adventure games served as an important early example of balance between the two elements through the gamers’ ability to animate their avatars. Furthermore, Sierra On-Line’s adventure games have tapped into the traditional tension between the animator and the character it animated, as observed by Scott Bukatman in ‘The poetics of Slumberland: Animated spirits and the animated spirit (2012), when he challenged the traditional divide between animators, the characters they animate and the audience. All these contributions, as this articles aims to demonstrate, continue to influence the role of animation in digital games to this very day.


2018 ◽  
Vol 71 (1) ◽  
pp. 28-36 ◽  
Author(s):  
Matthias Hartmann ◽  
Jochen Laubrock ◽  
Martin H Fischer

In the domain of language research, the simultaneous presentation of a visual scene and its auditory description (i.e., the visual world paradigm) has been used to reveal the timing of mental mechanisms. Here we apply this rationale to the domain of numerical cognition in order to explore the differences between fast and slow arithmetic performance, and to further study the role of spatial-numerical associations during mental arithmetic. We presented 30 healthy adults simultaneously with visual displays containing four numbers and with auditory addition and subtraction problems. Analysis of eye movements revealed that participants look spontaneously at the numbers they currently process (operands, solution). Faster performance was characterized by shorter latencies prior to fixating the relevant numbers and fewer revisits to the first operand while computing the solution. These signatures of superior task performance were more pronounced for addition and visual numbers arranged in ascending order, and for subtraction and numbers arranged in descending order (compared to the opposite pairings). Our results show that the “visual number world”-paradigm provides on-line access to the mind during mental arithmetic, is able to capture variability in arithmetic performance, and is sensitive to visual layout manipulations that are otherwise not reflected in response time measurements.


2021 ◽  
Vol 1874 (1) ◽  
pp. 012049
Author(s):  
Wan Hashridz Rizal bin Wan Abu Bakar ◽  
Nur Aulia Fahada binti Misaridin ◽  
Mohammad Zulfakhairi bin Mokhtar

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