Auditory Representations in Phonology

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Half rhymes in Japanese rap lyrics and knowledge of similarity (2007, background): “Contrast dispersion: Contrastive sounds are required to be maximally or sufficiently dissimilar (Diehl and Kluender 1989; Flemming 1995; Liljencrants and Lindblom 1972; Lindblom 1986; Padgett 2003; see also Gordon 2002).”
Glides, vowels, and features (2008, background): “Dispersion Theory (within OT Flemming 1995 [2002] , Lindblom 1986, 1990) explains limitations on contrast in just such terms.”
Phonological contrast and its phonetic enhancement: dispersedness without dispersion* (2011, methodology): “This is the approach taken by Dispersion Theory, both in the dynamic model of Liljencrants & Lindblom (1972) and in more recent constraint-based versions (e.g. Flemming 2002, Padgett 2003b, Sanders 2003).”
Lexical irregularity and the typology of contrast (2006, background): “of neutralization, relating these to universal properties of articulation and perception (Steriade 1995a, Flemming 1995 ).”
Contrast and Perceptual Distinctiveness (2003, unknown): “Contrast and Perceptual Distinctiveness* Edward Flemming Stanford University”
Non-contrastive features and categorical patterning in Chinese diminutive suffixation: Max[F] or Ident[F]? (2000, background): “Since the meagre vowel nasalisation induced by \n\ in the stem is completely lost in the suffixed form, should this be interpreted as a dispersion effect (Flemming 1995) ?”