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ILLUSTRATIONS
4x4 Array of Objects used in Box Coordinate Experiment
.
.
TABLES
Quality Rating for a Concept
that has been Identified
at
the Site
-
Visual Functional Centrality Rating Scale for Target
Sub-Element
Audiolinguistic Analysis
Results
B-l
Audiolinguistic Category:
Present Time
(PT) ....
B-2
Audiolinguistic Category:
Debriefing
(DB)
B-3
Audiolinguistic Category:
Analysis
(AN)
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I
OBJECTIVE
The objective of
this program was
to determine the feasibility of
developing audio analysis techniques that
canj>
separate correct from incorrect statements recorded during remote viewing
(RV) experiments
.
f=-
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II
INTRODUCTION
A.
Statement of
Problem
During a typical RV session,
the subject produces
a wealth of spoken
material,
but only some of this material relates to the chosen target.
Unfortunately it
is
difficult to identify the target-related material
without a priori knowledge of which times the subject was engaged in
accurate
RV.
The question posed in this study was whether
it
is possible
to use audio analysis techniques
to determine when a subject
is accurately
describing the intended target.
B.
Possible Solution
Careful
listening to tapes of sessions with a single subject suggests
that some target-related material was uttered in a different tone of voice
than other material
(e.g.,
conversation with the monitor).
For this subject,
accurate remote viewing appears associated with certain changes
in speech
behavior,
including speaking more softly,
more slowly,
longer pauses,
and
with a dream- like quality.
In general,
if
a subject were to exhibit
a particular
set of speech
changes whenever target-related material was being produced,
the analyst
could use these speech changes
to separate the related from the unrelated
material without knowledge of the
target
.
We explored the relationship
between changes
in speech behavior and the accuracy of target descriptions
in this study.
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C.
Historical Perspective of Audio Analysis Techniques
Earlier research has shown that changes in speech behavior can reflect
subtle physiological changes such as
those resulting from stress or disease.
Two studies representing this research will be described to provide
a
context for the present study of speech changes observed during RV sessions.
These studies
illustrate different approaches
to speech analysis.
The first study was designed to examine how speech behavior may be
influenced by task-induced stress
An arithmetic task requiring a verbal
response was repeatedly administered to each of ten male subjects.
The
difficulty of the task was varied from trial to trial:
on some occasions
the subject was obviously stressed, and on other occasions he was relatively
relaxed.
Contrasting responses containing
the same test phrase were
com-
pared by means of
critical listening and instrumental analysis.
Listeners were able to discriminate between the responses representing
the stress and control conditions for many subjects.
Level measurements
showed that three subjects spoke more softly and one subject spoke more
loudly under stress.
Measurements of fundamental frequency provided
similar results:
some subjects raised their vocal pitch,
others
lowered
their vocal pitch, and still others exhibited unique pitch contours when
the
task became stressful.
An extensive comparison of spectrograms
demonstrated many other stress-related changes in the speech signal.
Temporal and spectral irregularities were observed in the acoustic pulses
that are generated in the
larynx during speech production.
Stress also
affected the precision with which particular speech sounds were articulated.
The second study was
concerned with speech changes
that are related
to cerebrovascular disorders
. 2
, 3
The purpose of the study was
to develop
a subjective method of speech analysis that could be used to identify
persons who have suffered a minor stroke.
Because stroke affects speech
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production in a complex manner, all speech samples that were analyzed were
first converted into spectrograms
.
Experiments were conducted to determine
whether certain speech attributes observed in the spectrograms
could be
used to discriminate between a population of diagnosed stroke patients
and an age-matched population of normal speakers.
Linear discriminant
scores based on ratings of only six speech attributes correctly classified
89 percent of
the stroke patients and 87 percent
of the normal speakers.
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III
METHOD OF APPROACH
A.
Selection of Data Base
To determine a useful set of audiolinguistic
(A/L)
criteria,
it was
important in this pilot investigation to work with a RV data base that
met two conditions:
(1)
The data base had been independently analyzed
by "blind" judging procedures.
(2)
The RV targets had to be well-defined.
The first requirement defined the minimum assessment standard;
namely,
any A/L technique had to perform at
least as well as blind judging procedures
The second requirement allowed for an unambiguous element-by-element
comparison between target information and RV-generated data.
To meet
these requirements,
an existing data base from earlier SRI experiments
was used.
In an early attempt to assess
the nature of "abstract"
targeting,
Subject
504 was
the only participant in the "Coordinate Box Experiment."
The target material was
a collection of
16 small dissimilar objects,
placed one each in a
x
4 matrix array.
Each cell
of this matrix was
a
cube measuring approximately one
foot on a side.
Subject
504 was targeted
with only a row and column address and asked to describe
the object
at
that
location.
The experiment
consisted of six trials.
A complete
description of this experiment can be found elsewhere.4
The overall result derived from blind judging analysis was significant.
Two important
features
of this experiment were
(1)
the targets were
well defined
(Figure
1) and
(2)
the target-transcript
correspondences
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ranged from excellent
to rather poor.
These two features allowed for a
sensitive test
of the A/L procedure described below.
B.
Audiolinguistic Protocol
Three out of the six trials from the Coordinate Box Experiment were
chosen for study.
They represented the best correspondence
(doll target),
an intermediate
level of correspondence
(book target),
and a poor corre-
spondence
(plant target).
A verbatim transcript was produced from each
trial
(a sample transcript,
the one for the best-correspondence
case,
is
shown in Appendix A).
First,
the utterances were sequentially numbered
for ease of reference.
Then,
on a blind basis,
each utterance was
labeled as belonging to one of four categories,
defined on the basis
of A/L characteristics
as
listed below.
’•=+
The first category,
Present Time
(PT)
,
is defined as
that characterized
by a slow,
dream-like utterance that is usually preceded by a pause.
Sentences tend to
be in the present
tense,
and are typified by
"I feel
...,"
"I see...," or "There
is
...."
The second category, debriefing
(DB)
is defined to be
that charac-
terized by initial excitement and
a higher vocal effort.
There
is
frequently an announcement of debriefing such as,
"I
just got
a flash
....'
Debriefing may be characterized by present
or past tense statements,
like
"I feel
...,"
"I saw
...,” or "There
is
(was)
"
Although this
is similar
to pt,
the voice quality is considerably different.
The third category, analysis
(AN),
is defined
to
be characterized by
statements
that contain analogies and associations with respect to an
object,
e.g.,
"It
looks
like
...,"
or
"It reminds
me of
..."
Utterances
that
contain generalizations with respect
to an object
(e.g.,
"It
must
be
some kind of
a
...") are also considered to be analysis.
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Finally,
the fourth category, conversation
(CO),
consists of
questions asked of the experimenter, answers
in response to non-task
related questions by the experimenter, and general statements directed
to the experimenter.
The voice quality in this category is matter-of-
fact and colloquial.
C.
Scoring the Utterances
The utterances were scored in two separate ways:
(1)
by a target-
dependent scoring procedure and
(2)
by a target-independent method.
Both
techniques share a common preprocessing, which
is described below.
1.
Preprocessing the Utterances
The conversation category was
first eliminated for all the
analysis
done in this
study.
For each of the three remaining A/L categories
PT,
DB,
and AN,
each utterance was reduced
to one or more concepts.
A
concept
is technically defined as
a short
phrase that'&est represents
the
idea incorporated in the utterance.
The concepts are then edited to remove
any redundance with the category.
A zero in the duplication column in
Appendix B indicates
that
a particular concept was ignored because
it was
redundant.
The resulting lists of concepts were then analyzed by a target-
dependent procedure and by a target-independent method.
The following
analyses were conducted for each of the three responses
chosen for
this
study.
2 .
Target -Independent Analysis
In the target-independent analysis,
a simple
count of
the
number of nonredundant
concepts
in each category is
computed.
It was
hypothesized that
the percent
of PT statements would correlate with the
blind judging results and thus could serve as
a predictor of RV quality.
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From these summations
,
the percent PT is calculated from
%PT = No . (PT)
/
[No . (PT)
+ No.(DB)]
(1)
where No.(PT) and No.(DB) are the number of PT and DB concepts,
respectively
It must be noted the %PT can be calculated without any knowledge of the
target
.
3 .
Target-Dependent Analysis
Following an idea first proposed by Targ et al .
,
s
a detailed
target-dependent analysis was devised.
With a response conceptualized in
accordance with the above guidelines
,
the target-dependent analysis
proceeds
in three steps
:
(1)
Binary determination—Each concept
is assigned a one if
some element
in the target appears
to correspond to the
concept
in question.
The concept
is assigned a z£ro
otherwise.
There
is
no implied evaluation at
this point,
but
if there
is
a correspondence,
the identified element
must be explicitly noted.
(2)
Quality evaluation—A quality evaluation is
made for
each concept
that has been assigned
a one from Step
(1)
above.
The evaluation is made on a one-to-f ive-point
scale shown in Table
1.
(3)
Centrality evaluation—Each concept that has
been assigned
a one from Step
(1) above
is also evaluated with respect
to
the centrality of the corresponding target element.
Centrality is expressed as
a number between one and five
(Table 2).
This numeric assignment
is made according
to the element's
importance to the target as
a whole
and is
based on target information only.
The scores
from these three steps
are then multiplied together to
form
a
composite score
(maximum of 25)
for each concept
in each response.
Appendix B is a complete example of this procedure for one of the three
responses,
i.e.,
for which the target was
a small
rag doll
(Figure
1).
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Table
QUALITY RATING FOR A CONCEPT
THAT HAS BEEN IDENTIFIED AT THE SITE
(Specific Target Sub-element)
(1)
Little correspondence,
but possible
(2)
Some correct elements
(3 )
Mixture of correct and incorrect
,
but more of the former
(4)
Good correspondence, with unambiguous
matchable elements
(5)
Excellent
correspondence,
perhaps with correct analysis
of
the sub-element.
Table
VISUAL FUNCTIONAL CENTRALITY RATING SCALE
FOR TARGET SUB-ELEMENT
(1)
Present,
but
a
trivial or hardly noticeable feature
(2)
Minor feature,
could be overlooked,
not
central
(3)
Prominant,
but
not central
(4)
Strong,
central, visual feature,
can not
be missed
(5)
Immediately strikes
the eye as
central.
Only one
element
gets
this rating.
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IV
STATISTICAL RESULTS
Table 3 shows the results of A/L analysis as
it was applied to three
of the six targets for the coordinate box experiment.
The plant,
the book,
and the doll were chosen for this initial study because the quality of
their corresponding transcripts, as described earlier, was poor,
inter-
mediate and excellent,
respectively.
The results
of the blind judging
for the actual experiment are shown in the
last column in Table
3.
The
Greek letter mu
(p)
in Table
is
calculated from the overall concept
scores for each category from
p = E concept
s cores /N
where N is
the total number of concepts
for the specific category.
The
p,
then,
represents
the average score out
of a maximum possible 25 for
each cateogry.
The %PT was
calculated from Eq
.
(1),
and F is
the F ratio
derived from a one-way analysis of variance.
For each target,
a one-way
analysis
of variance was computed under the null hypothesis assumption
that the scores for A/L category do not differ from one another.
The %PT and the F-ratio represent the results
for the target-independent
and target-dependent A/L analysis respectively:
a correlation with blind
judging exists
for both analyses.
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i
Table
AUDIOLINGUISTIC ANALYSIS RESULTS
Target
P PT
uDB
PAN
N PT
NDB
NAN
%PT
F
Blind
Judging
(Relative Units)
Plant
4.88
4.79
2.36
0.22
1.47
1.00
Book
2.50
4.45
1.63
0.33
1.53
2.19
Doll
7.37
8.33
0.00
0.51
4.38
5.09
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V
CONCLUSIONS
This
pilot investigation was
conducted on the basis of
a detailed
analysis
of three trials from a single subject
.
Therefore
,
it
is
premature
to conclude with certainty to what degree the particular A/L analysis
technique used with this subject can be generalized.
It is possible,
however,
to conclude that
the A/L technique is basically productive
in
its approach.
In particular the observed correlation of the target-
independent analysis with previous blind judging results
is highly
encouraging.
As
the A/L analysis technique evolves
further,
a single set
of A/L
criteria
is
not expected to be applicable across subjects;
rather,
for
the operational setting,
in all likelihood
a subject-specific set
of
criteria must be developed.
In summary,
it should be emphasized that,
(1)
at
a minimum,
some
improvement
in the RV product
can be immediately realized by rejecting all
analytical
(AN)
statements;
(2) beyond that,
a full audio- linguistic
(A/L) analysis
of utterances appears to further differentiate correct
from incorrect statements generated in RV sessions.
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REFERENCES
1*
Hecker, M.H.L.
,
Stevens,
K.
N., von Bismarck,
G.
, and Williams,
C.
E.
,
Manifestations
of Task— Induced Stress
in the Acoustic
Speech Signal,"
J. Acoust.
Soc. Amer .
.
Vol.
44,
pp.
993-1001
(1968).
2.
Hecker,
M.H.L.
,
and Kreul
,
E.
,J .
,
"Research on Speech Changes Related
to Disease," Final Report,
Projects 7742 and 8853, Stanford Research
Institute, Menlo Park,
CA
(April
1974).
3.
Bell,
D.
W.
and Poza
,
F.,
"Discrimination between Stroke Patients
and Normal Speakers on the Basis
of Speech Attributes Observed in
Spectrograms," Final Report,
Project 3954,
Stanford Research
Institute, Menlo Park,
CA
(February 1976).
4.
Targ,
R.
,
Puthoff,
H.
E., Humphrey,
B.
S., and Tart,
C.
T.,
"inves-
tigations
of Target Acquisition," Research in Parapsychology,
pp.
122-124
(1979).
~ ——
~~
5.
Targ,
R.
,
May,
E.,
Puthoff,
H.,
and Hecker,
M.
,
Interim Technical
Report
(Covering the period 20 July 1981 through
4 August
1981)
SRI
Project 3279,
SRI
International, Menlo Park,
CA
(August
1981).
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UNCLASSIFIED
Appendix A
VERBATIM TRANSCRIPT FOR COORDINATE D-3
(DOLL)
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Appendix A
VERBATIM TRANSCRIPT FOR COORDINATE D-3
(DOLL)
Utterance
Number
Utterance
A
iv
M
^
M
S3 V
M
A
^
M
A ^
M
^
e y
M
-p
M
C/
M
'P 9
^
^
M
Ai
M
Well,
I saw right away the butterfly again
Butterfly?
In one
of the experiments
I drew what
I thought was a bow-
tie
, what's what
is
looked
like;
butterfly
Uh-huh
It feels
like material, velvety something;
it's,
it's
a
plushy feeling of silk
Uh-huh
If you ask me,
it's of an artificial flower
Uh-huh
Dark
.
.
.
colored
Uh-huh
Dark brown or dark
[mole] or
...
some dark color
O.K.
It
feels
like something layered
Layered?
Yea
Uh-huh
Regularly layered
[are you]
sure that's D-3?
D-3.
Right.
Coordinates are D-3
Something with a slightly cerrated edge
Uh-huh.
Are the cerrations associated with this,
er,
velvety
.
.
. material?
Yea
.
.
.
yea
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M
^2 $
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lease^000/0^/^7
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Utterance
Uh-huh
[The bat]
*/ 14
^
Bat,
butterfly, artificial blossom
«/l 5
!>'
It's
a
[beast]
(laughter)
M
Ha,
ha,
ha
^ 16 V
It's almost
as
if it's
a dome-shaped
...
feeling,
it's
a
rounded
.
.
.
feeling
M
Uh-huh
17 ^
Something that would fit into the palm of my hand
M
Uh-huh
v/18
^
[Like]
a mushroom
M
If you look right
down on top of
it,
into the box, what
do
you see?
^
Yea,
that,
that's where
I see this dome-shaped thing,
that
would be,
you know,
this— (drawing)
like an open umbrella
from the top
M
Uh-huh
But
I feel material sort of strongly,
ah—velvety
...
[it's
a feely]
sort of soft
Maybe not upholstered,
but spongy
...
texture,
soft
M
Uh-huh
4^2 ^
Resilient
^3
Sift
It's
like,
like,
like this blossom,
or
a, ah—this object
has
a,
you know,
like the stem of an umbrella or something
like that, and it's standing in a
...
sort of has
its foot
or feet in a
...
in something
light—it's
like having, ah,
mid-calf booots
on,
the type
M
Uh-huh
^
24 ^
Well,
like a,
like a high cup they are standing in
M
Uh-huh
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Utterance
Number
Utterance
V
M
9^26 ^
M
i^27 ^9
M
M
$ 29 &
30 9
M
9 31
/32
5)
M
^
^
M
^
M
That
cup seems to have striations around it, and it's
light
colored, very very different colored from the
... from the
overall darkness, and velvety soft and matt, mattness of the
object
Uh-huh
It's
a small and shiny and beady and
...
er,
could be,
you
know
, highly polyurethane wood or
...
some kind of highly
polished
.
.
.
container or bead
There are really two aspects;
one
is the
Yea,
that,
that's sort
of the lower appendage of this
...
dome-shaped material
.
.
. object
Uh-huh.
Does this lower appendage have a coloration to it?
Yea,
it's,
it's
sort of very light wood color and very shiny,
very polished
Uh-huh
And it has horizontal black lines sort of ornamenting it
Ah— [i]
can’t get it together, though
[if]
you look up from the bottom of the box, what do you see?
Well,
like the spokes of an umbrella from underneath
It’s,
it's very much like that thing that
I got
...
yesterday
...
[
]
it's very funny
[if] you need more paper,
I've got plenty
[No
, ]
I have
,
I have
Ah—it definately looks
like
looking up into
.
.
.
the spokes
of an umbrella
(drawing) and
I remember drawing this yesterday
So this
is the bottom view
.
.
.
That, that's the bottom view
(drawing)
Or rather
...
from the bottom
... view
Uh-huh.
Right
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Utterance
Number
Utterance
*
And, and this,
this
... stem thing could be the handle of the
umbrella,
you know, which
...
i
i
I mean,
I know that
those boxes aren't big enough to
accommodate
a whole umbrella, O.K.?
M
Uh-huh
$> 40
But,
but
...
it just seems
like
...
this kind of
a thing,
you
know
M
Uh-huh
V 41
And it has
.
.
.
striations
like this
.
.
.
this
is all light-
colored
(drawing)
M
Uh-huh
[
^ 42
*
(drawing)
like polished
... wood
M
Uh-huh
s> 43
And dark stripes
(drawing)
^ 44
*
This umbrella isn't
simple,
I mean,
it
is essentially that
kind of structure from underneath, but from the top it's
many- 1a yered
You've seen those artificial,
eh,
silk flowers?
M
Yes
,
right
^46
That’s the closest
thing that
it would remind me
of
M
Uh-huh
"9
Dark
...
satin,
something
M
Uh-huh
^48
I get purple,
I get
deep,
deep
... purple—almost black
Kind of an off-color;
very, very difficult to describe
M
Uh-huh
^50
Between black and brown and purple,
0„K,.?
M
Uh-huh.
How about
a side view of it?
I was
just thinking of the
side view of it,
it,
you know,
[from] the side view it's this kind of thing
(drawing)
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Utterance
Number
^ 52
^
«/53
^
^54 'p
<9
<>
^ 56 9
1>58
^ 59 ^
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Utterance
You know,
like
...
side of
a flower with
a
...
So
is
that sort of the dome-type structure you're
Yea,
ah—it's,
it's
like a flower
...
ah
Uh-huh
Don't
you know, these being the spokes of the umbrella, or
the,
or the veins of the flower,
or some,
something that goes
like this
(drawing)
Uh-huh
Little
[knob] here
It’s
like the
foot,
you know
What's
like
a foot?
Ah,
this
is the foot of the object
Oh,
I see, right
Ah— It's definitely an umbrella-shaped or mushroom-shaped
...
ah
Six-sided or more than that,
eight-sided, possibly
...
object
with the ribs
Uh-huh
That go up
And
I would say,
it
it's
a very light object
...
in weight,
and ah—that
it’s,
you know,
it fills up in height two-
thirds of the box
Uh-huh
But
it's very light weight
If you handled it, would it
be,
ah, rigid or floppy?
Well,
it has both parts;
it has
a central rigid core
...
ah—but the petals are
.
.
. winged or
... ah—covering
.
.
.
with this satiny stuff
is
soft, pliable, and
... and floppy
Uh-huh
Although it seems to be stretched
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Utterance
/73 ^
•44 ^
*/76 ^
Uh-huh
It,
it's material that stretched
From the side,
it
looks
like
a black morning-glory on the
side, what?
Ah—uh-huh, O.K.
A
[
]
lily,
but
a
...
a color
lily with, with ribs
not,
not bounded, ah
It
does have sort of
a structure in here
(drawing)
She
' s drawing at the base of the
.
.
.
dome-shaped object
I mean,
it's
...
it's
a three-dimensional fan,
if
you know
what
I mean
Uh-huh
[
] what
a three-dimensional fan would look like
(laughter)
It would have fan characteristics without being flat
Uh-huh.
O.K.
Again,
as
sort of a last
flash,
I get
a
... white,
reflective
long triangle, which
I can't
fit in anywhere, but the
reflection just
sort of glastened at
me
...
into
.
.
.
this
shape
Uh-huh
And that
is highly reflective
...
ah—that was
a reflection
I
just suddenly saw
Uh-huh
Like something being turned, picking up light
Uh-huh
And in that
shape
It feels
like
a very highly polished surface that caught
the
light
She
just
drew the acute triangular shape.
Here
is additional
paper,
if
you need to draw anything else
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Utterance
Number
Utterance
C
Yea,
I'm,
I'm trying to see if
I see any other images
... ah—
you can put the paper in there too,
if you want
^78
'P
^
^80
"9
Q
81 V
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X) 83
^
y 85
^ 86 D
Somehow there are some features
that has this
.
.
.
maybe the
outside of the umbrella
is maybe
a smaller version of
this
...
(drawing)
Uh-huh
But
it has
that characteristic on
[maybe] the individual
...
Is
this the cerrated aspect
you
.
.
.
Yea,
that’s the cerrated aspect of
it
Uh-huh
Ah— It's
like
it has
...
I don’t know if it’s beads
at the
end or
...
something
like that
.
.
.
funny
She's
just drawn the cerration with beads at the end
It's kind
of
like knots of material or
...
It
just
a
lot of
layers on top of each other;
this
is
not
a
simple umbrella,
it's
like a
...
fancy parasol of
a
...
of
a Victorian lady,
you know?
Uh-huh
y 84
t/
Ah—that
,
that feeling
Uh-huh
It also
looks
like a
...
like artificial flower from the
top
Uh-huh
Petals
(y
I think that's about all
I'm seeing
...
ah—can't get away
from that image
M
Alright.
Shall
I
call Russ and see?
Yea
,
do
(end of tape)
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Appendix B
SCORE SHEETS FOR THE
"DOLL" TRIAL
IN THE "COORDINATE BOX EXPERIMENT"
Approved For ReleasUWCTJPsSMW
6-00788R001 30031 0003-2
Appendix B
SCORE SHEETS FOR THE "DOLL" TRIAL
IN THE "COORDINATE BOX EXPERIMENT"
Table B-l
AUDIOLINGUISTIC CATEGORY:
PRESENT TIME
(PT)
(Experiment #5 ,
Coordinate D-3
,
Doll)
r
i Total
Utterance
Concept
Duplication
Presence
Element
Quality
Centrality
| Score
Dark colored
Dark colored
Round dome shape
Fits
in palm
Soft material
High cup
Light
colored background
Striated
Small high cup
Shiny high cup
Beady high cup
Little knob
Like a foot
Multisided
With ribs
that go up
Lightweight
2/3 height
Very lightweight
Rigid core
Soft,
pliable covering
Stretched material
Stretched material
Ribbed structure
Beads
at end
Knots
of material at end
Top of
head
White
behind
red
stripes
Red
stripes
Aspect
of
dress
Aspect
of
dress
Object
Object
Core of
doll
cC'
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UNCLASSIFIED
Table
B-2
AUDI(/LINGUISTIC CATEGORY:
DEBRIEFING
(DB)
(Experiment #5
, Coordinate D-3
, Doll)
Total
Utterance
Concept
Duplication
Presence
Element
Quality
Centrality
Score
Soft material
i
Dress
Something layered
Dress
Regularly layered
Slightly serrated edges
Apron and
dress
Utterance 3 and
11 are
i
Apron and
related
dress
Domed shape thing
i
Top of
head
Soft-spongy
i
Object
Resilient
Stem with foot
i
Leg and
foot
Foot
in high boots
(cups)
i
Foot in
boots
Cup is
lower part
of soft
material
i
Boot
Light
(wood)
color
—
—
—
Shiny,
very polished
—
—
—
Horizontal black
ornamental
lines
Spokes
of an umbrella
Aspect of
dress
i
Spokes
of an umbrella
•
Stem thing
Stem thing
Striations
Stripes
on leg
Light
colored
Polished wood
Dark stripes
Many layered
Dark satin
Foot
Dark purple
Dark colored
Soft material
(top)
Feet on bottom
Dress
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Table B-2
(concluded)
|
Utterance
r
Concept
Duplication
Presence
Element
Quality
Centrality
Total
Score
Spoke
type image
Mushroom
(dome) shape
Three-dimensional
fan like
i
Aspect of
dress
Reflective
long triangle
—
—
—
Reflective
long triangle
Reflective long triangle
Reflective long triangle
Reflective long triangle
Serrated edges
Serrated edges
Serrated edges
Multilayered
Multilayered
Multilayered
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UNCLASSIFIED
Table B-3
AUDIOLINGUISTIC CATEGORY:
ANALYSIS
(AN)
(Experiment
#5,
Coordinate D-3
, Doll)
Utterance!
Concept
Total
Duplication
Presence
Element
Quality
Centrality
Score
Butterfly
Artificial flower
Bat
(animal)
Bat
Butterfly
Artificial blossom
Beast
Mushroom
Plant
Artificial flower
Artificial flower
Artificial
flower
Artiflcial flower
Artificial flower
Petals
of artificial flower
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