Publications

Abstract

The role of gravity in spatial coordinate assignment and the mental representation of space were studiedin three experiments, varying different perceptual cues systematically: the retinal, the visual background, the vestibular, and proprioceptive information. Verbal descriptions of visually presented arrays were required under different head positions (straight/tilt) and under different gravitational conditions (gravity present/gravity absent). The results of two experiments conducted with 2 subjects who participated in a space flight revealed that subjects are able to adequately assign positions in space in the absence of gravitational information, and that they do this by using their head—retinal coordinates as primary references. This indicates that they cognitively adapted to the perceptually new situation.The findings from a third experiment conducted with a larger group of subjects under a condition in which the gravitational information was present but irrelevant to the task being solved (subjects were in a-horizontal 8upine-position) show that subjects, in general, are flexible in using cues other than gravitational ones as references when the latter cannot serve as a referential system. These findings, together with the observation that consistent spatial assignment is possible evenimmediately after first exposure to the perceptually totally novel situation of weightlessness, seem to suggest that the mental representation of space, onto which given perceptual information is mapped, is independent of a particular percept.

Abstract

According to certain theories of language production, lexical access to a content word consists of two independent and serially ordered stages. In the first, semantically driven stage, so-called lemmas are retrieved, i.e., lexical items that are specified with respect to syntactic and semantic properties, but not with respect to phonological characteristics. In the second stage, the corresponding wordforms, the so-called lexemes, are retrieved. This implies that the access to a content word involves an early stage of exclusively semantic activation and a later stage of exclusively phonological activation. This seriality assumption was tested experimentally, using a picture-word interference paradigm in which the interfering words were presented auditorily. The results show an interference effect of semantically related words on picture naming latencies at an early SOA (− 150 ms), and a facilitatory effect of phonologically related words at later SOAs (0 ms, + 150 ms). On the basis of these results it can be concluded that there is indeed a stage of lexical access to a content word where only its meaning is activated, followed by a stage where only its form is activated. These findings can be seen as empirical support for a two-stage model of lexical access, or, alternatively, as putting constraints on the parameters in a network model of lexical access, such as the model proposed by Dell and Reich.

Abstract

PHD thesis, defended at the University of Leiden

Abstract

Firstly, theories are reviewed on the explanation of tonal consonance as the singular nature of tone intervals with frequency ratios corresponding with small integer numbers. An evaluation of these explanations in the light of some experimental studies supports the hypothesis, as promoted by von Helmholtz, that the difference between consonant and dissonant intervals is related to beats of adjacent partials. This relation was studied more fully by experiments in which subjects had to judge simple-tone intervals as a function of test frequency and interval width. The results may be considered as a modification of von Helmholtz's conception and indicate that, as a function of frequency, the transition range between consonant and dissonant intervals is related to critical bandwidth. Simple-tone intervals are evaluated as consonant for frequency differences exceeding this bandwidth. whereas the most dissonant intervals correspond with frequency differences of about a quarter of this bandwidth. On the base of these results, some properties of consonant intervals consisting of complex tones are explained. To answer the question whether critical bandwidth also plays a rôle in music, the chords of two compositions (parts of a trio sonata of J. S. Bach and of a string quartet of A. Dvorák) were analyzed by computing interval distributions as a function of frequency and number of harmonics taken into account. The results strongly suggest that, indeed, critical bandwidth plays an important rôle in music: for a number of harmonics representative for musical instruments, the "density" of simultaneous partials alters as a function of frequency in the same way as critical bandwidth does.