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Subjective contours provide an opportunity to explore the limits of correspondence matching in motion. A new class of subjective contour which is a by-product of motion processing is examined within the context of the dual process models of retinal motion processing proposed by Braddick (1980) and Anstis (1980), as well as the more recent first-order/second-order formulation proposed by Cavanagh and Mather (1989). These kinetically induced figures are created by displacing a surface defined by dots which change randomly from frame to frame over a static random dot background. Despite the fact that local form information is uncorrelated throughout the motion sequence, the resulting phenomenal percept is that of a "sparkling" surface which translates across the background. The results of five experiments were not, however, fully consistent with predictions based on either model. An extension of the criteria necessary for the long-range system to be operative would accommodate the data within the context of the short-range/long-range model, whereas a more detailed definition of the properties and relationships between second-order attributes would accommodate the data within the framework of the first-order/second-order model.

The purpose of this study was to examine the effect of visual/aural conditions on the emotional response to music of musicians and nonmusicians. Subjects, musicians (n = 90) and nonmusicians (n = 90), were randomly assigned to three experimental groups: visual only, aural only, and visual/aural. The stimulus used for the experimental conditions was a taped excerpt (the final 8 minutes, 22 seconds) of a commercially recorded "live" concert of Gustav Mahler's Symphony No. 2, "The Resurrection." Subjects were asked to indicate degrees of their felt emotional response by manipulating a Continuous Response Digital Interface (CRDI) dial during experimental conditions. Subject demographic data were collected by means of an exit questionnaire. / Results indicated no significant difference between musicians and nonmusicians for the aural only and visual/aural conditions. A significant difference was found among musicians and nonmusicians for the visual only condition. / A qualitative analysis of individual and collective response graphs revealed that all subjects differentiated across the music stimulus excerpt. Additionally, there were subtle differences among musicians and nonmusicians in response to listening to music and to listening/watching the video recording. / Source: Dissertation Abstracts International, Volume: 55-08, Section: A, page: 2312. / Major Professor: Clifford K. Madsen. / Thesis (Ph.D.)--The Florida State University, 1994.