Visual perception of location and distance. Current directions in psychological science, 5. 72-76. Describes experiments differentiating the perception of egocentric and nonegocentric spatial properties.
A comprehensive count of bigram frequencies and versatilities by position was tabulated for two-through nine-letter words recorded by Kucera and Francis (1967). A total of 577 bigrams were found variously distributed throughout words. Such counts should prove useful to workers who wish to determine the orthographic regularity of specific words.With the development of high-eapacity computers, it is now possible to analyze characteristics of the language that were previously inaccessible. A valuable corpus of words and their frequencies was collected by Kucera and Francis (1967). This sample of over one million words drawn from American literature has served as the basis for further analysis of English orthography. The first of these analyses was done by Solso and King (1976). In their analysis, single-letter frequencies (how many times a letter appeared per one million words) and versatilities (how many different words a letter appeared in per one million words) were counted. In addition, a count of positional frequencies and versatilities (the number of times a letter appeared in a specific position per one million words and the number of different words a letter appeared in per one million words) for four-and five-letter words was reported. These counts were followed by single-letter frequency and versatility counts for six-, seven-, and eight-letter words (Solso, 1979). Recently, Solso, Barbuto, and Juel (1979) reported total bigram and trigram frequencies in the English language. In the present paper, we extend our investigation of the orthographic characteristics of the English language by presenting bigram frequencies and versatilities by position for two-through nine-letter words.Such counts have been useful to researchers interested in letter identification (e.g., Massaro, Venezky, & Taylor, 1979), reading skills (Mason, 1975(Mason, , 1980 The authors express their appreciation to Karen K. Falke for her assistance in writing the computer program.Juel & Solso, Note 1), anagram solving (Solso, Topper, & Macey, 1973), game playing (Weissman, in press), and related areas (Estes, 1975).One use of these data is in the assessment of the orthographic regularity of any word or nonword that may serve as an independent variable in perceptual reading tasks. Positional bigram counts provide a more accurate estimate of word orthography than do single-letter positional counts, as they reflect multiple letter-connecting regularities; single-letter counts are independent of such constraints. Thus, the true frequencies and versatilities of the following bigrams by position are preserved (e.g., QU, TH, ER, AJ, IC, RS, etc.). From these norms, a researcher may calculate the regularity of letter sequences by fmding the sum of bigram frequencies or versatilities. We refer to the sum of bigram frequencies as SOBIF and to the sum of bigram versatilities as SOBN. It is thereby possible to compose "good" (i.e., orthographically common) words by adding positional bigram frequencies. The following is an example of the SOBIF for t...
A series of Identikit faces were composed in which the features of hair, eyes, no% plus chin, and mouth were varied systematically. These faces were shown to subjects who later were asked to evaluate some of the original faces, some new faces, and a prototype face which was a new face embodying the features most frequently contained in the original series. Subjects misidentified the prototype face with high confidence as a formerly seen face. These findings were repeated in a second experiment in which the evaluation was delayed six weeks. The results were discussed in terms of prototype and schema theory.
How did the human brain evolve so that consciousness of art could develop? In The Psychology of Art and the Evolution of the Conscious Brain, Robert Solso describes how a consciousness that evolved for other purposes perceives and creates art. Drawing on his earlier book Cognition and the Visual Arts and ten years of new findings in cognitive research (as well as new ideas in anthropology and art history), Solso shows that consciousness developed gradually, with distinct components that evolved over time. One of these components is an adaptive consciousness that includes the ability to imagine objects that are not present—an ability that allows us to create (and perceive) visual art. Solso describes the neurological, perceptual, and cognitive sequence that occurs when we view art, and the often inexpressible effect that a work of art has on us. He shows that there are two aspects to viewing art: nativistic perception—the synchronicity of eye and brain that transforms electromagnetic energy into neuro-chemical codes—which is "hard-wired" into the sensory-cognitive system; and directed perception, which incorporates personal history and knowledge—the entire set of our expectations and past experiences. Both forms of perception are part of the appreciation of art, and both are products of the evolution of the conscious brain over hundreds of thousands of years. Solso also investigates the related issues of neurological and artistic perception of the human face, the effects of visual illusions, and the use of perspective. The many works of art used as examples are drawn from a wide range of artistic traditions, from ancient Egypt to Africa and India and the European Renaissance. Bradford Books imprint
Functional Magnetic Reso-nance Imaging (fMRI) scans of a skilled portrait artist and of a non-artist were made as each drew a series of faces. There was a dis-cernible increase in blood flow in the right-posterior parietal region of the brain for both the artist and non-artist during the task, a site normally associated with facial per-ception and processing. However, the level of activation appeared lower in the expert than in the nov-ice, suggesting that a skilled artist may process facial information more efficiently. In addition, the skilled artist showed greater acti-vation in the right frontal area of the brain than did the novice, which the author posits indicates that such an artist uses “higher-or-der” cognitive functions, such as the formation of associations and planning motor movements, when viewing and drawing a face.
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