The combination of these changes in the consecutiveness of tonal impulses dependent on their direction either improved the quality of the modeled motion in comparison to modeling using only one of the parameters for the imitation of motion, or else led to an increase in the amount of contradictory responses.
With simultaneous increase of amplitude and decrease of carrier frequency of the consecutiveness of tonal impulses, the effect of approach of the sound source intensified in comparison to the use of only one type of change in the signal, especially with frequencies of less than 1000 Hz.
With the simultaneous decrease in amplitude and increase in frequency of the consecutiveness of tonal impulses, the withdrawal of the sound source was perceived distinctly and with high probability.
Listening to the signals containing arbitrary combinations of amplitude and frequency changes of the consecutiveness of tonal impulses revealed significant differences in individual perception of radial motion.
In what follows I will concentrate on a specific question about conceptual blending in the travel/narrative link: how does the travel concept organize the notion of narrative in terms of temporality and causality, or more precisely, how does this concept help us think about the relation between narrative consecutiveness and consequence?
In travel writing, consecutiveness and change over time relate directly to a place or a geographic space; time can be, so to say, compressed into space, into synchronous spatial representation, while space is also translated into the temporality of writing and possibly also that of narrative.
Therefore, one reason why the travel story, or travel writing in general, so easily lends itself to be considered both the border and the nascent case of narratives is that it foregrounds tension between consecutiveness and consequence.
One obvious means through which travel writing builds on the relationship between consecutiveness and consequence are maps and itineraries.
Both Mallarme's and Debussy's "Soupir" illustrate how poet and composer undermine expectations of
consecutiveness in their respective languages.
Cheever's adolescent fixations, his "damaged
consecutiveness of growth," appear in various contexts.
The same textual passages can sometimes function as iterative or singulative narration, as free indirect or narratized discourse, as featuring coordination or subordination, as involving
consecutiveness or consequence.
The result is a free-associative
consecutiveness which turns causation into a phantom and realism into a quibble.
