Processing time between visual events

Grondin, Simon

doi:10.1590/s0004-27492003000600012

Arq. Bras. Oftalmol.

2003

DOI: 10.1590/s0004-27492003000600012

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Processing time between visual events

Simon Grondin¹

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Cited by 4 publications

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References 65 publications

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“…In a previous study (Ono & Kitazawa, 2009), we showed that perception of an empty interval (for a review, see Grondin, 2003) demarcated by two visual markers depended critically on the size of the second marker. On the basis of the results, we proposed that signals elicited by a second marker modify the working memory in which the pulse count is stored.…”

mentioning

confidence: 94%

Shortening of subjective tone intervals followed by repetitive tone stimuli

Ono

Kitazawa

2010

Attention, Perception, & Psychophysics

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mentioning

confidence: 94%

Shortening of subjective tone intervals followed by repetitive tone stimuli

Ono

Kitazawa

2010

Attention, Perception, & Psychophysics

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Visual-auditory differences in duration discrimination depend on modality-specific, sensory-automatic temporal processing: Converging evidence for the validity of the Sensory-Automatic Timing Hypothesis

Rammsayer

Pichelmann

2018

Quarterly Journal of Experimental Psychology

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The Sensory-Automatic Timing Hypothesis assumes visual-auditory differences in duration discrimination to originate from sensory-automatic temporal processing. Although temporal discrimination of extremely brief intervals in the range of tens-of-milliseconds is predicted to depend mainly on modality-specific, sensory-automatic temporal processing, duration discrimination of longer intervals is predicted to require more and more amodal, higher order cognitive resources and decreasing input from the sensory-automatic timing system with increasing interval duration. In two duration discrimination experiments with sensory modality as a within-and a between-subjects variable, respectively, we tested two decisive predictions derived from the Sensory-Automatic Timing Hypothesis: (1) visual-auditory differences in duration discrimination were expected to be larger for brief intervals in the tens-of-milliseconds range than for longer ones, and (2) visual-auditory differences in duration discrimination of longer intervals should disappear when statistically controlled for modality-specific input from the sensory-automatic timing system. In both experiments, visual-auditory differences in duration discrimination were larger for the brief than for the longer intervals. Furthermore, visual-auditory differences observed with longer intervals disappeared when statistically controlled for modality-specific input from the sensory-automatic timing system. Thus, our findings clearly confirmed the validity of the Sensory-Automatic Timing Hypothesis.

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Tempo subjetivo e percepção de movimento em obras de arte

Nather

Bueno

2006

Estud. psicol. (Natal)

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ResumoO estudo de imagens em movimento e de imagens estáticas que representam algum movimento contribui para o esclarecimento do papel do tempo como modulador da experiência humana. Diferentes formas de representar ou induzir movimento em estímulos ou distintas obras das artes visuais devem envolver não somente técnicas específicas, mas diferentes formas de interação que só ocorrem quando se dá o encontro entre obra e expectador. A percepção de movimento, muito provavelmente, não está confinada a uma simples decomposição ou soma das suas grandezas constituintes (tempo, espaço e velocidade), pois na sua cognição estão combinadas sensações e percepções internas e externas, que ocorrem em sistemas e níveis perceptuais distintos. Entretanto, processos correlatos devem responder pela percepção de movimentos reais, induzidos e representados. Sendo oriundo da intersecção espaço-temporal, a utilização do movimento em pesquisas de estética experimental pode contribuir para o esclarecimento dos processos que atuam na percepção subjetiva de tempo.Palavras-chave: tempo subjetivo; movimento; imagens; artes plásticas AbstractSubjective time and perception of movement in art works. The study of images in movement as well as those static images, which represent some movement, contributes to the understanding of the role of time as a modulator of the human experience. Different forms of representing and inducing movement in stimuli or in distinct works of visual art shall involve not only specific techniques, but different forms of interaction which only occur when there is an encounter between the work of art and the spectator. The perception of movement, probably, is not confined to a unique decomposition or sum of its constituent greatnesses (time, space and speed), thus in its cognition the internal and external sensations and perceptions are combined, which occur in distinct systems and perceptual systems. Nevertheless, correlated processes shall respond by the perception of real movements, induced and represented ones. Having come from the intersection of temporal space, the utilization of movement in studies of experimental aesthetics can contribute to the understanding of the processes that act in the subjective perception of time.Key words: subjective time; movement; images; visual arts U ma maneira de explicar o fenômeno estético é por meio da estética psicobiológica, na qual está inserida a estética experimental, originalmente definida por Gustav Fechner em 1876. A visão mais contemporânea da estética, a Nova Estética Experimental (Berlyne, 1974) estabelece como estudar obras de arte ou outros fenômenos estéticos, por meio de experiências que analisam as reações dos sujeitos aos estímulos artísticos. Esta área de pesquisa se caracteriza especialmente pela análise das relações entre variáveis independentes (trechos musicais, pinturas, desenhos, etc.) e variáveis dependentes (relatos verbais, medidas psicofisiológicas e comportamentais, etc.). Tais análises experimentais comportam, também, elementos teóricos importantes...

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Processing time between visual events

Cited by 4 publications

References 65 publications

Shortening of subjective tone intervals followed by repetitive tone stimuli

Shortening of subjective tone intervals followed by repetitive tone stimuli

Visual-auditory differences in duration discrimination depend on modality-specific, sensory-automatic temporal processing: Converging evidence for the validity of the Sensory-Automatic Timing Hypothesis

Tempo subjetivo e percepção de movimento em obras de arte

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