Real motion fx6/11/2023 ![]() ![]() Moreover, listeners can certainly understand some of these musical devices as intended: Eitan and Granot ( 2006) asked participants to imagine movement as they heard several short music motifs, and they found consistent mappings between the manipulation of certain musical parameters (e.g., pitch, acceleration) and bodily movement. Since understanding musical change as movement is an important way in which music has been thought to convey information, auditory metaphors in descriptions of music are used extensively to convey vast amounts of information about dynamic processes, such as movement (Gjerdingen, 1994 Johnson & Larson, 2003 Todd, 1992). Thus, scales and melodies that increase and decrease in frequency are classified as rising and falling, respectively, yet musical pitch changes are correlates neither of movement in the vertical axis nor necessarily of physical consequences of the movement. While the origin of these musical metaphors remains unclear, likely incorporating cultural norms and knowledge (e.g., Eitan & Tubul, 2010) as well as embodied experience (Turner, 1987), the fact remains that these conceptual metaphors are pervasive in the understanding of musical meaning. Motion is not literally perceived in the static adaptors, yet the consequences for judgments of visual motion are consistent with the perception of motion. After prolonged exposure to a sequence of similarly static pictures, each depicting motion in the same direction, participants showed systematically biased forced choice responses to random-dot kinematogram (RDK) motion in the opposite direction, which is similar to the well-known motion aftereffect (MAE Anstis, Verstraten, & Mather, 1998 Purkinje, 1820, 1825 Wohlgemuth, 1911). In a study by Winawer, Huk, and Boroditsky ( 2008), participants viewed static images that each individually implied motion in a specific direction (e.g., from left to right), such as a runner pictured frozen in motion. These listed cases all featured variation in contrast across static images, but even that is not necessary. The sense of motion experienced from these static stimulus displays is similar to that evoked by visual motion, and some evidence has indicated shared neural pathways in real and implied motion perception (Kourtzi & Kanwisher, 2000 Lorteije et al., 2006 Peuskens, Vanrie, Verfaillie, & Orban, 2005 Senior et al., 2000). For example, observers infer motion even if they are only presented with two subsequent static images (Freyd, 1983). However, we can infer visual motion even when none is present in the stimulus. The finding that music can induce an MAE suggests that the subjective interpretation of monotonic pitch change as motion may have a perceptual foundation. Metaphoric motion in the musical stimuli did affect the visual direction judgments, in that repeated exposure to rising or falling musical scales shifted participants’ sensitivity to visual motion in the opposite direction. ![]() After listening to ascending or descending musical scales, participants made decisions about the direction of visual motion in random-dot kinematogram stimuli. Given that the monotonic change of musical pitch is widely recognized in music as a metaphor for vertical motion, we investigated whether prolonged exposure to ascending or descending musical scales can also produce a visual motion aftereffect. Recently, it has been reported that the implied motion of static images in combination with linguistic descriptions of motion is sufficient to elicit an MAE, although neither factor alone is thought to directly activate visual motion areas in the brain. In the Mask 1 controls, uncheck the Edit Mode box.Motion aftereffects (MAEs) are thought to result from the adaptation of both subcortical and cortical systems involved in the processing of visual motion. ✓ Once you’ve created your mask, set the Blend slider back to 0. Use the handles on every point to adjust your curves to match rounded corners precisely. The cursor becomes a pen tool and you can add points to create the shape you want. ✓ Move your mouse cursor to the Video Preview window. 500 or nearby, so that you can see the entire video at least partially as you create your mask. ✓ Click the arrow next to General Options. You may not necessarily need the Curve tool in your video, but if you have non-square corners you want to cut out, as we do in this example, you’ll want the Curve to get the most exact mask. In the Type drop-down list, choose Curve. ✓ Next to Mask 1, click the arrow to open the Mask 1 controls. We don’t necessarily have to cut the screen out to achieve the effect, but in this example, it will help the overall result look more realistic. Now we’ll use the controls to cut the screen out of the device in the video. ![]()
0 Comments
Leave a Reply. |