Matching Visual and Acoustic Mirror Forms
This paper presents a comparative analysis of the ability to recognize three mirror forms in visual and acoustic tasks: inversion (reflection on a horizontal axis), retrograde (reflection on a vertical axis) and retrograde inversion (reflection on both horizontal and vertical axes). Dynamic patterns...
| Main Authors: | , , , |
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| Format: | Article |
| Language: | English |
| Published: |
MDPI AG
2017-03-01
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| Series: | Symmetry |
| Subjects: | |
| Online Access: | http://www.mdpi.com/2073-8994/9/3/39 |
| _version_ | 1798039953009016832 |
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| author | Ivana Bianchi Roberto Burro Roberta Pezzola Ugo Savardi |
| author_facet | Ivana Bianchi Roberto Burro Roberta Pezzola Ugo Savardi |
| author_sort | Ivana Bianchi |
| collection | DOAJ |
| description | This paper presents a comparative analysis of the ability to recognize three mirror forms in visual and acoustic tasks: inversion (reflection on a horizontal axis), retrograde (reflection on a vertical axis) and retrograde inversion (reflection on both horizontal and vertical axes). Dynamic patterns consisting of five tones in succession in the acoustic condition and five square dots in succession in the visual condition were presented to 180 non‐musically expert participants. In a yes/no task, they were asked to ascertain whether a comparison stimulus represented the “target” transformation (i.e., inversion, retrograde or retrograde inversion). Three main results emerged. Firstly, the fact that symmetry pertaining to a vertical axis is the most easily perceived does not only apply to static visual configurations (as found in previous literature) but also applies to dynamic visual configurations and acoustic stimuli where it is in fact even more marked. Secondly, however, differences emerged between the facility with which the three mirror forms were recognized in the acoustic and visual tasks. Thirdly, when the five elements in the stimulus were not of the same duration and therefore a rhythmic structure emerged, performance improved not only in the acoustic but also (even more significantly) in the visual task. |
| first_indexed | 2024-04-11T22:00:48Z |
| format | Article |
| id | doaj.art-d978c209b26f426bb0d6c269675e3d20 |
| institution | Directory Open Access Journal |
| issn | 2073-8994 |
| language | English |
| last_indexed | 2024-04-11T22:00:48Z |
| publishDate | 2017-03-01 |
| publisher | MDPI AG |
| record_format | Article |
| series | Symmetry |
| spelling | doaj.art-d978c209b26f426bb0d6c269675e3d202022-12-22T04:00:56ZengMDPI AGSymmetry2073-89942017-03-01933910.3390/sym9030039sym9030039Matching Visual and Acoustic Mirror FormsIvana Bianchi0Roberto Burro1Roberta Pezzola2Ugo Savardi3Department of Humanities, University of Macerata, Macerata 62100, ItalyDepartment of Human Sciences, University of Verona, Verona 37129, ItalyGuitar Maestro, Fermo 63900, ItalyDepartment of Human Sciences, University of Verona, Verona 37129, ItalyThis paper presents a comparative analysis of the ability to recognize three mirror forms in visual and acoustic tasks: inversion (reflection on a horizontal axis), retrograde (reflection on a vertical axis) and retrograde inversion (reflection on both horizontal and vertical axes). Dynamic patterns consisting of five tones in succession in the acoustic condition and five square dots in succession in the visual condition were presented to 180 non‐musically expert participants. In a yes/no task, they were asked to ascertain whether a comparison stimulus represented the “target” transformation (i.e., inversion, retrograde or retrograde inversion). Three main results emerged. Firstly, the fact that symmetry pertaining to a vertical axis is the most easily perceived does not only apply to static visual configurations (as found in previous literature) but also applies to dynamic visual configurations and acoustic stimuli where it is in fact even more marked. Secondly, however, differences emerged between the facility with which the three mirror forms were recognized in the acoustic and visual tasks. Thirdly, when the five elements in the stimulus were not of the same duration and therefore a rhythmic structure emerged, performance improved not only in the acoustic but also (even more significantly) in the visual task.http://www.mdpi.com/2073-8994/9/3/39visual symmetry acoustic symmetry mirror form detection inversion retrograde retrograde inversion dynamic stimuli |
| spellingShingle | Ivana Bianchi Roberto Burro Roberta Pezzola Ugo Savardi Matching Visual and Acoustic Mirror Forms Symmetry visual symmetry acoustic symmetry mirror form detection inversion retrograde retrograde inversion dynamic stimuli |
| title | Matching Visual and Acoustic Mirror Forms |
| title_full | Matching Visual and Acoustic Mirror Forms |
| title_fullStr | Matching Visual and Acoustic Mirror Forms |
| title_full_unstemmed | Matching Visual and Acoustic Mirror Forms |
| title_short | Matching Visual and Acoustic Mirror Forms |
| title_sort | matching visual and acoustic mirror forms |
| topic | visual symmetry acoustic symmetry mirror form detection inversion retrograde retrograde inversion dynamic stimuli |
| url | http://www.mdpi.com/2073-8994/9/3/39 |
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