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■The 102th ATR Science & Technology Seminar
--- The 2nd Computational Neuroscience Series ---
Date : Monday, November 1, 2004
Time : 13:30 - 15:00
Place : ATR BF BIG Conference Room
Speaker : Professor Christof Koch Division of Biology and Division of Engineering
and Applied Science
California Institute of Technology
Language: English
Registration fee: Free
Title : "Towards the Neuronal Basis of Consciousness"
Abstract:
Much excitement has been generated in the scientific community
by electrophysiological recordings from individual nerve
cells in experimental animals. Combined with functional brain imaging
in humans, this enables us to study the neuronal basis of subjective,
conscious experience. In particular, Francis Crick and I have advocated
focusing on discovering the neuronal correlates of consciousness. I
will outline the two-pronged research program we are following: we
study visual consciousness in humans using psychophysics, functional
brain imaging and multi-electrode recordings and contingency awareness
in mice using aversive Pavlovian conditioning.
Biography: Born in the American Midwest, Dr. Christof Koch graduated from
the Lycee Descartes in 1974. He studied physics and philosophy at the University
of Tubingen in Germany and was awarded his Ph.D. in biophysics in 1982.
He is now
the Lois and Victor Troendle Professor of Cognitive and Behavioral Biology
at the California
Institute of Technology. He studies the biophysics of computation, and
the neuronal basis of
visual perception, attention, and consciousness. Francis Crick is his long-time
collaborator
and a pioneer of the scientific study of consciousness .
■The 103rd ATR Science & Technology Seminar
--- The 2nd Adaptive Communications Research Labs. Series ---
Date : Thursday, October 14, 2004
Time : 14:00 - 15:30
Place : ATR BF BIG Conference Room
Speaker : Professor C. K. Toh
chair in communication networks, University of London
Language: English
No registration and fee necessary
Title :
"A Glimpse of Future Application Scenarios of Emerging Technologies combining
Wireless, Robotics, Geolocation,Diverse Media, and Communication Networks"
Abstract:
While Moore's Law states that CPU power is doubling every 18 months,
other areas of technologies have not progress at that pace. Moreover, doubling
the MIPS every year does not imply doubling the types of available user
services.
Increasingly, we have witnessed the complexities associated with commercial
services.
Technologies from different disciplines are often fused together to yield
the desired
effect and funcionality. Research is now becoming more multi-interdisciplinary.
This "fusion of technologies" is becoming so severe that some colleges are
offering degrees in "total" technology.
In this talk, I shall discuss my views of various possible application
scenarios
which will involve the use of different CS/EE technologies, such as ad
hoc mobile
networking, mobility, robotics, media, positioning, relativity, etc., and
their possible
implications on research, realization, and society.
Biography: C.K. Toh is currently a chair professor in communication networks
with the University of London. Concurrently, he is a honorary professor
with
the University of Hong Kong. Previously, he was the Director of Research,
Communication Systems, of TRW Tactical Systems USA (now known as
Northrop Grumman Mission Systems Corporation) and was primarily responsible
for technology strategic planning, technical leadership, defense and government
R&D program management.
■The 101th ATR Science & Technology Seminar
--- The 3rd Network Informatics Series ---
Gestural coordination and direct perception as a foundation of communication
Department of Ecological Communications (ECS), ATR NIS will host a colloquium
on ecological perspectives on communication on Friday, August 27th. The
first
speaker, Dr. Mira Peter, will give a talk on gestures and communication.
The
second speaker, Dr. Paul Treffner, will give a talk on dynamical modelling
of
speech hand interaction. Please do not miss this opportunity to learn about
the
cutting edge of ecological psychology.
Date & Time : Friday, August 27, 14:00-17:00
Place: GF 01 Conference Room
Speakers:
-Talk 1 Dr. Mira Peter
Senior Research Fellow, Complex Active Visualisation laboratory,
School of Information Technology, Griffith University, Gold Coast,
Australia
-Talk 2 Dr. Paul Treffner
Associate Professor, School of Information Technology
Director, Complex Active Visualisation (CAV) Lab
Griffith University, Gold Coast, Australia
Titles:
-Talk 1 Gestures and communication
-Talk 2 Dynamical modelling of speech hand interaction
Abstracts:
-Talk 1 Recent research suggests that the hand gestures constrain perceived
meaning of an utterance (Corballis, 2003). Importantly the dynamics of
coordinated speech-hand movements may play a significant role in
conveying the essence of an utterance as well as clarifying the
intentions of a speaker (Treffner & Peter, 2002). From an ecological
perspective issues of meaning must be "bound to" and "grounded" within
the organism-environment context (Shaw, 2003).
To investigate the role of timing between speech and hand gestures
in perceiving meaning we created an animated character who uttered a
sentence without any prosody. An accompanying "beat" gesture occurred
at different locations within the utterance. In addition, in half of
the trials a table was present in the background (upon which a book
could potentially be placed) and in the two corresponding control
conditions no gesture was present. Participants watched each animation
and selected the word corresponding to the participant's perception of
what was being emphasised in the utterance (perceived categorisation).
To address the clarity in the perceived intentions of the speaker,
participants evaluated on a scale from 1 (strongly agree) to 5 (strongly
disagree ) the question: "Do you think the focus of the sentence was
emphasised clearly?".
The proportion of choices of a particular word as a function of
gesture position yielded a set of overlapping inverted U-shaped profiles
each with its apex at approximately the middle of the word's speech signal.
The onset of categorisation to a particular word was typically well before
the speech signal and the offset shortly after it. In the presence of a
hand gesture, there was no difference between the table-present and the
table-absent condition. However, in the no-gesture condition, effects of
the presence of the table were observed. Clarity ratings were similar to
the inverted U-shaped categorisation profiles indicating that gestural
timing and synchrony influences clarity. In sum, the context influenced
the clarity of the perceived focus of the sentence (i.e., the meaning).
These results suggest that embodiment (e.g., communicative gestures)
and context (e.g., affordances of the ecology) are both essential for
grounding language in a dynamic meaningful environment. Meaning is not
simply "in the head" but involves the whole ecological context.
-Talk 2 The dynamics of speech-hand coordination, manual laterality, and
attention were explored during a rhythmic dual task involving the 1:1
phase-locked coordination of articulatory and manual gestures.
Participants synchronised either repetitive speech (/ba/…/ba/…/ba/…)
or finger taps with a metronome that increaserd in frequency while
rhythmically moving the other articulator in either an in-phase or
anti-phase manner. The increase in rate of coordination produced phase
transitions from anti-phase to in-phase. More interestingly, in terms
of serial order, as frequency increased for in-phase coordination the
finger tap increasingly led (i.e., phase advanced) the jaw opening,
while for anti-phase the jaw increasingly led the finger. Importantly,
a reliable effect of frequency on the amount of phase shift was found
for only the right hand (i.e., left hemisphere)-in both left- and
right-handers. Directed attention influenced unstable left hand tapping
in anti-phase only. The results are modeled using the asymmetric HKB
model (Treffner & Turvey, 1995, 196) which incorporates additional terms
(c and d parameters) that capture "attentional asymmetry". As rate of
coordination increased, a progressive decrease in phase variability was
observed. This is consistent with an underlying dynamics that involves
an increase in attention in order to maintain stability under
destabilizing constraints. Issues of perceived temporal synchrony and
the location of articulatory P-centres ("perceptual centres") are also
addressed by the data. Our dynamical model suggests that an invariant
phase offset of approximately 50 degrees exists for the intentional
(perceived) synchronisation of speech and hand gestures. Our results
indicate that although gestural coordination depends on cognitive factors
such as "attention" (Corballis, 2002), the resultant behaviour is better
understood as the coherent modes of a nonlinear dynamical system, rather
than as due to "cognitive interference" or limitations of an "information
processing" system (Treffner & Peter, 2002).
Language: English
Registration fee : Free
Schedule:
14:00〜15:10 Dr. Mira Peter's talk
15:10〜15:20 Question & Answer
15:20〜15:30 -- Break --
15:30〜16:40 Dr. Paul Treffner's talk
16:40〜16:50 Question & Answer
16:50〜17:00 General discussion & Closing
■The 100th ATR Science & Technology Seminar
--- The 2nd Network Informatics Series ---
Date : Monday, June 14, 2004
Time : 14:00 - 15:30
Place : GF Main Conference Room or 01 Conference Room
Speaker : Prof. Su-Shing Chen, University of Florida, USA
Language: English
Fee : Free
Title : Some Perspectives of a Modern Communication Theory
Abstract:
Since Claude Shannon's "A mathematical theory of communication" was first published in two parts in the July and October 1948 editions of the
Bell System Technical Journal, we have seen significant impacts on our
life and society today: wireless and wired broadband Internet, multimedia,
E-commerce, and digital society. While the telecommunication industry has
become commodity-based, more exciting innovations are in the realm of information
content, peer-to-peer collaboration, human-computer interaction, and scientific
applications. This talk will present only two perspectives of the modern
communication theory:
Digital Libraries and Computational Biology. In the first hour, we will
discuss how digital libraries organize and manage the vast amount of information
content on the Internet? A goal to overcome the information overload issue
is ontology or semantics-based search in large digital libraries that will
assist people in information seeking and other cognitive activities. In
the second hour, we will present an application of traditional communication
theory to computational biology: an entropy-like complexity measure that
will be defined to find important patterns in biological sequences.
CV of Prof. Chen :
Dr. Su-Shing Chen received his Ph.D. from the University of Maryland, College
Park in 1970. He has taken various university, industry, and government
positions.
In 1983-1985, he was the Program Director at the National Science Foundation
in Geometric Analysis and Intelligent Systems. In 1991-1995, he was the
Program Director of Knowledge Models and Cognitive Systems, Information
Technology and Organizations, and Digital Libraries. Now he is Director
of LITE (Lab for IT Enterprises) and Professor of Computer and Information
Science and Engineering at the University of Florida in USA, Advisory Professor
at the Shanghai Jiao Tong University, and Xian Jiao Tong University.
■The 99th ATR Science & Technology Seminar
--- Lecture Series on Interfaces for Creative Expressions (1) ---
Date : June 8 (Tue) -9 (Wed), 2004
Place : GF Main Conference Room
Language: English
Fee : Free
- Tuesday, June 8, 204
13:30 - 14:30 "COMMUNICATION BETWEEN A MUSICIAN AND HER INSTRUMENT"
Dr. Robert Moog
Abstract:
Musical instruments are some of the most interactive tools that we use.
In terms of bandwidth of data flow between a musician and instrument, few
tools in common use are as interactive. What is the nature of this communication?
Some of it can be described in terms of purely physical stimuli and responses.
However, there is a component of instrument-musician communication that
cannot be explained in terms of conventional physical forces. I will speculate
on the nature of these interactions, and how they may apply to electronic
musical instruments.
Biography:
Robert Moog started building theremins as a teenager and started the R.A.
Moog Company in 1954. A decade later he invented the first line of electronic
synthesizers. Moog has a PhD in Engineering Physics from Cornell University
and honorary doctorates from Polytechnic University and Lycoming College.
His many awards include the Silver Medal of The Audio Engineering Society,
the Trustee’s Award of the National Academy of Recording Arts and Sciences,
the Billboard Magazine Trendsetter’s Award, and Seamus award from the Society
of Electroacoustic Music in the United States. He has written and spoken
extensively on a variety of topics in music technology and has contributed
major articles to Encyclopedia Britannica and the Encyclopedia of Applied
Physics.
15:00 - 16:00 ""Violin and Interactive Computer Music: Performance and Composition""
Mari Kimura and Eric Singer
Abstract:
Kimura will give a presentation on composing and performing interactive
computer music with violin, and explain performance practice issues, composing,
programming and performing.
Biography:
Mari Kimura, violinist/composer
Hailed by The New York Times as "a virtuoso playing at the edge," violinist/composer MARI KIMURA is widely admired for developing the revolutionary
bowing technique “Subharmonics”, and playing her own works for interactive
computer systems in more than 18 countries around the world. Her numerous
international appearances include Spring in Budapest, Other Minds Festival
in San Francisco, International Bartok Festival, International Symposium
of Electronic Arts, ISCM World Music Days 2002 in Hong Kong, and International
Computer Music Conference (ICMC). As an interpreter, many composers have
written works for her including Toshi Ichiyanagi, Jean-Claude Risset and
Tania Le坦n. In her native Japan, Ms. Kimura won the prestigious Kenzo Nakajima
Music Prize in recognition of her creative activities. She has performed
contemporary concertos of Ligeti, Adams and Hillborg with major Japanese
orchestras such as Tokyo Philharmonic, Tokyo Symphony and Orchestra Ensemble
Kanazawa.
Highly praised as an improviser, Ms. Kimura has toured and recorded with
Henry Kaiser, John Oswald, Jim O'Rouke and Elliott Sharp. She has performed
in some of the major improvisaiton festivals such as Musique Action festival
in Nancy, LMC festival in London, and the Festival International Musique
Actuelle in Victoriaville, Quebec.
As a composer, her recent commissions include Violin Concerto for violin
and interactive computer with orchestra (Mexico, 1999), Kivika for dance
(Joyce SOHO, 2000), Arboleda for viola and electronics (Merkin Hall, 2001),
and Descarga Interactive (ICMC 2000 Commission Award).#メ@ Her latest work,
GuitarBotana is for violin and "GuitarBot", a mechanical guitar, commissioned by Harvestworks. Ms. Kimura's works have
been supported by grants including Meet the Composer, Jerome Foundation,
and the New York State Council on the Arts.
Ms. Kimura holds a doctorate in violin performance from Juilliard. She
also studied composition with Mario Davidovsky and computer music at Stanford
University. Since 1998, Ms. Kimura has been teaching a graduate class in
Computer Music Performance at The Juilliard School.
16:30 - 17:30 "What is happening to the film form as the medium becomes computational ?"
Michael Lwe (Media Lab Europe)
Abstract:
As media-reading devices are all starting to have computational power,
the vision machine and the Turing machine are converging. Recorded media
comes along with code or behaviour that defines how to read it. The editor
becomes an interaction designer. The problem with film was that the time
flow was imposed. But now that footage has freed itself from the one-dimensional
linearity of the celluloid or tape substrate, film has exploded as a constellation
of shots on a multi-dimensional narrative space that can be explored at
one?s own pace, generating a new experience of the same film each time.
We will discuss the implications of these ideas on interactive film for
one or two users, video on stage in theatre and live improvised cinema
in performance.
Biography :
Michael Lew [LEV] (Switzerland/Uruguay) is a media artist and engineer,
with backgrounds in electrical engineering, artificial intelligence, performance
and filmmaking.
From 2001-2004, he was a Research Fellow at the Media Lab Europe in Dublin,
Ireland where he developed real-time editing engines for interactive film,
expressive interfaces for live cinema improvisation and multi-track video
samplers for schizophrenic theatrical performance.
He has been publishing and lecturing in universities, conferences, workshops
and EU programs about computational film and is currently a technological
new media consultant for visual and performance artists. His interactive
film installation and live experimental video have been shown in electronic
art festivals across Europe and the US. He was granted the New Media Award
from the Montreal Festival of New Cinema and New Media in 2003 for breaking
new grounds in non-linear filmmaking.
Michael obtained his M.Sc. in Electrical Engineering from the Swiss Federal
Institute of Technology (EPFL), a master?s thesis on software agents from
the AI Lab, Motorola Labs in Paris, France, for which he was awarded the
Logitech 2000 prize. In 97-98, he was developing architectures for MPEG-2
video streaming at the Technion Institute of Technology, Haifa, Israel.
Before directing his first 16mm short films in film school in New York,
Michael founded in Lausanne the hilarious "Avracavabrac" performance company, specialized in hoaxes for corporate events. He also started
the Dublin Cafe philosophique, which brings together people from different
backgrounds to discuss philosophical topics.
- Wednesday, June 9, 2004
15:00 - 16:00 "Virtual Musical Instruments - Concept and Application"
Suguru Goto
Abstract:
I have been working numerous compositions and performances with Virtual
Musical Instruments. These refer to a system that a gesture of performer
is translated into electric signals. One may control sound or video image
of computer with movement of body in real time.
One of Virtual Musical Instrument that I created is Virtual Violin "Le SuperPolm". There is neither string nor hair of bow. A gesture of performance with a violin
is merely modeled. One of others is played with lights that are held by
hands of performer. As he moves these lights in a space, he can modifies
sound and video images. The third one is "BodySuit" (DataSuite), in which there 12 sensors on each joint of body. The performer
doesn't hold anything on his hands, however, he can play as if he dances.
Virtual instruments, or controllers, cannot produce sounds by themselves.
They merely send signals that produce sounds by means of a computer or
a sound module. They may be regarded as an interface between the performer
and the computer insofar as they translate the energy derived from body
movements into electrical signals. At the same time however, they allow
the performer to express complex musical ideas. With the help of a controller,
a tiny gesture can trigger any number of complex musical passages at one
and the same time in a real time context, whereas a traditional instrument
can produce only a limited range of sounds
I have chosen to focus on the use of virtual musical instruments in a performance
context. One of the instruments I have designed is the "BodySuit", a suit fitted with bending sensors that are attached to each joint of the body.
This suit is an ideal performance tool : it enables me to make wide, sweeping
movements that can easily be observed by the audience.
A performer wears a data suit, on which 12 sensors are attached on each
joint of the body. This data suit functions as an interface of gesture.
Depending on a movement, sound and video images are changed in real time.
This differs from a traditional instrument and a controller. A player performs
with larger movements, such as stretching and bending joints, twisting
arms and so on. This gesture does not function like dance or theater. It
contains, however, an element of "performance" within the live musical context. The gesture is not previously decided in a
strict sense. An audience may observe an obvious difference of intensity
of movement between a static section and a kinetic section in the composition.
The Superpolm MIDI Violin was built in 1996 . It was originally intended
for use in a piece I composed for IRCAM in 1995 - 1996, entitled "VirtualAERI". The first performance of this piece was given in 1997 at IRCAM's Espace de
Projection, in Paris, France. It consisted of four sections, each of which
dealt with a different kind of space, large, medium and small. The SuperPolm
was designed as an interface for small-scale gestures, and one particular
section of the composition focused specifically on the possibilities opened
up by the controller.
The Superpolm is played in a similar manner to the violin, except that
the fingers touch sensors on a finger board instead of pressing strings.
Sounds may also be modified by movements of the bow, which records variations
in resistance. An eight-button keyboard situated on the body of the instrument
can change both the programme and the sounds as well as triggering different
pitches, like a normal keyboard.
The SuperPolm was built in such a way as to respond to body movements.
However it can be assigned new functions by programming, so as to take
into account the compositional needs of each piece : for instance a sensor
can be used to trigger sounds in one composition, whereas in another it
can be used to change the pitch.
Lately I have been working the robots which play musical instruments, as
the extension of concept with Virtual Musical Instruments. These function
in real time and can play a composition according to the programming which
is prepared beforehand.
Biography:
He was born in 1966 in Japan. After he studied composition and piano in
Japan, he moved to the United States to continue his studies at New England
Conservatory in Boston. He preceded his post-graduate studies at Technical
University Berlin and HDK in Berlin, Germany. He studied composition with
Lukas Foss and Earl Brown in U.S.A, and with Robert Cogan at New England
Conservatory and Dieter Schnebel in Berlin, Tristan Murail at IRCAM, Paris.
He has been internationally active and has received numerous prizes and
fellowships. He has been internationally active and has received numerous
prizes and fellowships. He has received Boston Symphony Orchestra Fellowship,
Koussevitzky Prize from the Tanglewood Music Center, the first prize at
the Marzena International Composition Competition in Seattle, U.S.A, was
awarded the "Berliner Kompositionauftrage 1993" by the senate administration for cultural affair, and a prize by the IMC International
Rostrum of Composers in UNESCO, Paris.
His compositions have been performed in major festivals, such as Tanglewood
Music Festival, Aspen Music Festival, Pacific Music Festival, Akiyoshidai,
Klangwelkstadt, Sonar, CICV-Les Nuits Savoueuses, ICC, Electrofolie , International
Theater Festival Berezillia, SWR-Faszination Musik, Les Rencontres Internationales
Paris Berlin, Haus der Kultures der Welt - Haimat Kunst, and Inventionen
'94 etc.
In 1995, his first opera "NADA (Media Opera)" was performed in Shauspielhaus, Berlin. At the same year, he moved to Paris
in order to realize a project at IRCAM, Paris. In 1996, his "VirtualAERI" was given the first performance at Espace de projection, IRCAM. In 1997, his "o.m.2-g.i.-p.p." was given the first performance at Akiyoshidai International Contemporary Music
Festival in Japan. In 1998, he was invited as a composer in residence by
ACREQ and Montreal Conservatory in Canada. In 1999, he gave solo recital
concert at ICC in Tokyo, at Atheneum in Dijon, and in Belfort, France.
In 2000, his orchestral composition "Resonance II" was given the first performance at Orchard Hall in Tokyo by Tokyo Symphony Orchestra.
In 2001, he was invited to SWR-Faszination Musik "Modem" in Stuttgart. Since 1999, he has been organizing a festival "DSPSS" at IAMAS in Gifu, Japan.
He has been producing his computer music compositions at Electronic Music
Studio in NHK Broadcasting Company in Tokyo, Electro-acoustic Studio in
Technical University Berlin, and at STEIM foundation in Amsterdam. He has
been producing computer music and researching at the group "Gestural Controller" in IRCAM, Paris since 1995.
Goto's compositions have been played in Canada, England, Germany, France,
Italy, Spain, Ukraine, Japan, and U.S.A. His compositions are published
by "Edition Wandelweiser GmbH". His "Giseion to Gousei" is recorded on CD which is available from Akademie der Kunste label.
■The 98th ATR Science & Technology Seminar
--- The 1st Network Informatics Series ---
Date & Time : 2004 May 25 (Tue.) 14:00-17:00
Place : GF 01 Conference Room
Speakers : Talk 1 Prof. Michael. T. Turvey
Center for the Ecological Study of Perception and
Action, University of Connecticut, Storrs, CT. USA
and Haskins Laboratories, New Haven, CT. USA
Talk 2 Prof. Claudia Carello
Center for the Ecological Study of Perception and
Action, University of Connecticut, Storrs, CT. USA
and Haskins
Laboratories, New Haven, CT. USA
Titles : Talk 1 Action and Perception at the Level of Synergies
Talk 2 Interpersonal Synchrony
Language : English
Registration fee : Free
Schedule : 14:00〜14:05 Open remarks by Dr. Katsunori Shimohara, Director
14:05〜15:10 Talk 1 by Prof. Michael. T. Turvey
15:10〜15:20 Question & Answer
15:20〜15:35 -- Break --
15:35〜16:40 Talk 2 by Prof. Claudia Carello
16:40〜16:50 Question & Answer
16:50〜17:00 General discussion & Closing
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
Ecological Perspectives on Action, Perception, and Communication.
Department of Ecological Communications (ECS), ATR NIS will host a colloquium
on ecological perspectives on action, perception, and communication on
Tuesday,
May 25th. The first speaker, Prof. Michael T. Turvey, will give a talk
on the
law-based, dynamical explanation of perception and action. The second speaker,
Prof. Carello, will talk about the dynamical perspective on social interactions.
They both are leading researchers from Center for the Ecological Study
of
Perception and Action (CESPA) at University of Connecticut and Haskins
Laboratories. Please do not miss this opportunity to learn about the cutting
edge of ecological psychology.
Talk 1: Action and Perception at the Level of Synergies
Prof. Michael. T. Turvey
Center for the Ecological Study of Perception and Action, University of
Connecticut, Storrs, CT. USA and Haskins Laboratories, New Haven, CT. USA
Abstract
In biological movement systems, the level of muscular-articular links or
synergies is responsible for assembling highly reliable, stable, and
reproducible coordination patterns involving very many joints and muscles.
Research suggests that the hallmark ability of this level to produce
repetitive inter-segmental coordination can be addressed through a dynamics
of coordination in which equations express the time-evolution of collective
neuromuscular states. Other research shows that the important perceptual
capabilities of this level (e.g., perceiving properties of handheld objects)
arise from the bulk sensitivity of muscles and tendons, so-called dynamic
touch, to the parameters of the rigid body laws.
In overview, research into the capabilities of the level of synergies
highlights the importance of applying modern (nonlinear) and classical
dynamics to understanding the assembly and perceptual control of biological
movements.
Talk 2: Interpersonal Synchrony
Prof. Claudia Carello
Center for the Ecological Study of Perception and Action, University of
Connecticut, Storrs, CT. USA and Haskins Laboratories, New Haven, CT. USA
Abstract
Social interactions entail continuous, synchronized movements. Most are
task-specific, for example, when two people work to move large objects.
But other movements are subtler, occurring during interactions such as
conversations that do not require overt activity.
It has long been recognized that a speaker and a listener seem to be
synchronized with one another at a behavioral as well as a linguistic level.
But how is that synchrony to be evaluated and what role does it play?
Dynamical principles that characterize movement coordination within a single
individual have been applied to the coordination of movements between people.
These techniques are now being applied successfully to the subtle movement
coordination between two people engaged in conversation.
A reasonable speculation is that the degree of movement coordination may
provide a metric of the degree of linguistic parity established within
he
pair.
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■The 20th IEEE Kansai Section Lecture Meeting
Title： "Adaptive Echo Cancellation for Voice Signals"
Lecturer： Dr. Man Mohan Sondhi (Avayalabs Research consultant ,ATR SLT
Invited Researcher)
Language：English
Fee：Free
Contact for registration：Yoko Shibata (ATR SLT Labs)
Tel: (0774) 95 1347 Fax: (0774) 95 1308
E-mail: yoko.shibata@atr.co.jp
Please register in advance. E-mail or fax IEEE member ID, your name and
affiliation.
For further information：IEEE Kansai Section Technical Program Committee
Secretary
Seiichi.Yamamoto（ATR SLT Labs）
seiichi.yamamoto@atr.co.jp
Time&Date：Friday, April 18, 2003 11:00am - 12:00pm
Place：Advanced Telecommunications Research Institute International
(ATR), GF Big Conference Room
2-2-2 Hikaridai, Keihanna Science City, Kyoto
<access> http://www.atr.co.jp/html/access/access.html
When you come to ATR by railways
From Shinhosono at Kintetsu Railway:Kyoto Line
Nara Kotsu Bus(10 minutes)
From Takanohara at Kintetsu Railway:Kyoto Line
Taxi(10 minutes)
The information on this lecture is at:
http://www.kecl.ntt.co.jp/ieee-kansai/
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