In this paper, I discuss the use of after-effects as a criterion for showing that we can perceive high-level properties. According to this criterion, if a high-level property is susceptible to after-effects, this suggests that the property can be perceived, rather than cognized. The defenders of the criterion claim that, since after-effects are also present for low-level, uncontroversially perceptual properties, we can safely infer that high-level after-effects are perceptual as well. The critics of the criterion, on the other hand, assimilate (...) it to superficially similar effects in cognition and argue that the after-effect criterion is a cognitive phenomenon rather than a perceptual one, and that as a result it is not a reliable guide for exploring the contents of perception. I argue against both of these views and show that high-level after-effects cannot be identified either with low-level after-effects or with cognitive biases. I suggest an intermediate position: high-level after-effects are not cognitive, but they are nonetheless not a good criterion for exploring the contents of perception. (shrink)

Research into voice perception benefits from manipulation software to gain experimental control over acoustic expression of social signals such as vocal emotions. Today, parameter-specific voice morphing allows a precise control of the emotional quality expressed by single vocal parameters, such as fundamental frequency (F0) and timbre. However, potential side effects, in particular reduced naturalness, could limit ecological validity of speech stimuli. To address this for the domain of emotion perception, we collected ratings of perceived naturalness and emotionality on voice morphs (...) expressing different emotions either through F0 or Timbre only. In two experiments, we compared two different morphing approaches, using either neutral voices or emotional averages as emotionally non-informative reference stimuli. As expected, parameter-specific voice morphing reduced perceived naturalness. However, perceived naturalness of F0 and Timbre morphs were comparable with averaged emotions as reference, potentially making this approach more suitable for future research. Crucially, there was no relationship between ratings of emotionality and naturalness, suggesting that the perception of emotion was not substantially affected by a reduction of voice naturalness. We hold that while these findings advocate parameter-specific voice morphing as a suitable tool for research on vocal emotion perception, great care should be taken in producing ecologically valid stimuli. (shrink)

The adaptation aftereffect plays a critical role in human development and survival. Existing studies have found that, compared with general individuals, individuals with learning disability, autism and dyslexia show a smaller amount of non-affective-based cognitive adaptation aftereffect. Nevertheless, it is unclear whether individuals with depression or depression tendency show similar phenomenon in the adaptation aftereffect, and whether such depression tendency occurs in the non-affective-based cognitive or emotional adaptation aftereffect. To address this question, the present study conducted two experiments. Experiments 1A (...) and 1B used the emotional facial expression adaptation paradigm to examine whether Chinese participants showed the emotional adaptation aftereffect and whether the emotional adaptation aftereffect was influenced by physical features of faces, respectively. Experiment 2 recruited two groups of participants, with high and low depression, respectively, to examine whether they showed differences in the emotional or cognitive adaptation aftereffect. Results showed that Chinese participants showed the typical emotional adaptation aftereffect, which was not influenced by physical features of faces. More importantly, compared to the low-depression group, the high-depression group showed a smaller emotional adaptation aftereffect, but the two groups showed a similar cognitive adaptation aftereffect. These results suggest that level of depressive symptoms is associated with the emotional adaptation aftereffect. (shrink)

The processing of emotional nonlinguistic information in speech is defined as emotional prosody. This auditory nonlinguistic information is essential in the decoding of social interactions and in our capacity to adapt and react adequately by taking into account contextual information. An integrated model is proposed at the functional and brain levels, encompassing 5 main systems that involve cortical and subcortical neural networks relevant for the processing of emotional prosody in its major dimensions, including perception and sound organization; related action tendencies; (...) and associated values that integrate complex social contexts and ambiguous situations. (shrink)

In this paper I will argue that the gender properties expressed by human voices are part of auditory phenomenology. I will support this claim by investigating auditory adaptational effects on such properties and contrasting auditory experiences, before and after the adaptational effects take place. In light of this investigation, I will conclude that auditory experience is not limited to low-level properties. Perception appears to be much more informative about the auditory landscape than is commonly thought.

Nonlinguistic signals in the voice and musical instruments play a critical role in communicating emotion. Although previous research suggests a common mechanism for emotion processing in music and speech, the precise relationship between the two domains is unclear due to the paucity of direct evidence. By applying the adaptation paradigm developed by Bestelmeyer, Rouger, DeBruine, and Belin [2010. Auditory adaptation in vocal affect perception. Cognition, 117, 217–223. doi:10.1016/j.cognition.2010.08.008], this study shows cross-domain aftereffects from vocal to musical sounds. Participants heard an (...) angry or fearful sound four times, followed by a test sound and judged whether the test sound was angry or fearful. Results show cross-domain aftereffects in one direction – vocal utterances to musical sounds, not vice-versa. This effect occurred primarily for angry vocal sounds. It is argued that there is a unidirectional relationship between vocal and musical sounds where emotion processing of vocal sounds encompasses musical sounds but not vice-versa. (shrink)