earwitness

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Kerstholt et al., Earwitnesses: Effects of Speech Duration, Retention Interval and Acoustic Environment, 18 APPLIED COGNITIVE PSYCHOL.
There is, in addition, little evidence that police, translators and interpreters, and even linguists perform much better than average or are particularly accurate at comparisons across the many different conditions confronting earwitnesses and listeners.
Leaving aside the testimony of lay earwitnesses, the admissibility of opinion evidence based on a 'body of knowledge or experience', 'specialised knowledge' or 'ad hoc expertise' should be considered independently of any other evidence.
Allowing earwitnesses and investigators to express opinions in circumstances that do not take account of scientifically notorious frailties subverts the accuracy of legal processes and substantially increases the risk of convicting an innocent person.
Botelho's Renaissance Earwitnesses effectively challenges literary and cultural assumptions about the gendering of the tongue and ear and deserves a sound hearing within its larger context of sensory culture.
In particular, the accounts of contemporary earwitnesses such as Roger North, Thomas Betterton, and Katherine Booth suggest that the "skilful ear" invoked by Purcell could in fact listen selectively, and therefore differently, according to individual tastes.
Botelho, Renaissance Earwitnesses: Rumor and Early Modern Masculinity (New York: Palgrave Macmillan, 2009).
Furthermore, I suggest RHM scholars can act as earwitnesses who attend to aurality and sonicity in healthcare and clinical settings.
By becoming earwitnesses, or those "who can testify to what he or she has heard" (Schafer, 1977/1993, p.
These intense sounds and noises--the alarms--shape care and caretaking practices by directing attention in the NICU, acting as rhetorical ventriloquists and piquing the interest of earwitnesses in an acute care hospital context like this one.
However, Botelho argues in this chapter that Shakespeare complicates these popular stereotypes by offering the ear as a site of female transgression, power, and resistance--that is, women become earwitnesses by refusing to listen to men and by creating alternative aural spaces.
Botelho concludes his study by examining the fate of "failed earwitnesses" in the 1613 Elizabeth Cary play The Tragedy of Mariam.