Sound is an inherent component of the environment that provides conditions and information necessary for many animal activities. Soniferous species require specific acoustic and physical conditions suitable for their signals to be transmitted, received, and effectively interpreted to successfully identify and utilize resources in their environment and interact with conspecifics and other heterospecific organisms. We propose the Acoustic Habitat Hypothesis to explain how the acoustic environment influences habitat selection of sound-dependent species. We postulate that sound-dependent species select (...) and occupy habitats with unique acoustic characteristics that are essential to their functional needs and conducive to the threshold of sound frequency they produce and detect. These acoustic habitats are based on the composition of biophony, geophony, and technophony in the soundscape and on the biosemiotics mechanisms described in the eco-field hypothesis. The Acoustic Habitat Hypothesis initiates questions of habitat selection that go beyond the physical attributes of the environment by applying ecoacoustics theory. We outline the theoretical basis of the Acoustic Habitat Hypothesis and provide examples from the literature to support its assumptions. The concept of acoustic habitats has been documented in the literature for many years but here, we accurately and extensively define acoustic habitat and we put this concept into a unified theory. We also include perspectives on how the Acoustic Habitat Hypothesis can stimulate a paradigm shift in conservation strategies for threatened and endangered species. (shrink)

© 2016 Elsevier LtdJumping spiders are famous for their visually driven behaviors [1]. Here, however, we present behavioral and neurophysiological evidence that these animals also perceive and respond to airborne acoustic stimuli, even when the distance between the animal and the sound source is relatively large and with stimulus amplitudes at the position of the spider of ∼65 dB sound pressure level. Behavioral experiments with the jumping spider Phidippus audax reveal that these animals respond to low-frequency sounds by freezing—a (...) common anti-predatory behavior characteristic of an acoustic startle response. Neurophysiological recordings from auditory-sensitive neural units in the brains of these jumping spiders showed responses to low-frequency tones —recordings that also represent the first record of acoustically responsive neural units in the jumping spider brain. Responses persisted even when the distances between spider and stimulus source exceeded 3 m and under anechoic conditions. Thus, these spiders appear able to detect airborne sound at distances in the acoustic far-field region, beyond the near-field range often thought to bound acoustic perception in arthropods that lack tympanic ears [2]. Furthermore, direct mechanical stimulation of hairs on the patella of the foreleg was sufficient to generate responses in neural units that also responded to airborne acoustic stimuli—evidence that these hairs likely play a role in the detection of acoustic cues. We suggest that these auditory responses enable the detection of predators and facilitate an acoustic startle response. Video. (shrink)

We recently demonstrated, by means of short latency afferent inhibition (SAI), that before an imagined movement, during the reaction time (RT), SAI decreases only in the movement-related muscle (sensorimotor modulation) and that a correlation exists between sensorimotor modulation and motor imagery (MI) ability. Excitatory anodal transcranial direct current stimulation (a-tDCS) on M1 could enhance the MI outcome; however, mechanisms of action are not completely known. Here, we assessed if a-tDCS on M1 prior to an MI task could affect sensorimotor (...) modulation. Participants imagined abducting the index or little finger in response to an acoustic signal. SAI was evaluated from the first dorsal interosseus after the “go” signal, before the expected electromyographic (EMG) activity. Participants received 20-min 1.5 mA a-tDCS or sham-tDCS on M1 on two different days, in random order. Results showed that a-tDCS on M1 increases the sensorimotor modulation consisting of a weakening of SAI after the Go signal with respect to sham-tDCS, in the movement-related muscle right before the beginning of MI. These results suggest that a-tDCS on M1 further potentiate those circuits responsible for sensorimotor modulation in the RT phase of MI. Increased sensorimotor modulation during MI may be one of the mechanisms involved in MI improvement after a-tDCS over M1. (shrink)

Four-month-old infants can perceive bimodally speciiied events. They respond to relationships between the optic and acoustic stimulation that carries information about an object. Infants can do this by detecting the temporal synchrony of an object’s sounds and its optically specified impacts. They are sensitive both to the common tempo and to the simultaneity of such sounds and visible impacts. These findings support the view that intermodal perception depends at least in part on the detection of invariant relationships in (...) patterns of light and sound. (shrink)

The influence of background music on cognitive functions is still a matter of debate. In this study, we investigated the influence of background music on executive functions (particularly on inhibitory functions). Participants completed a standardized cued Go/NoGo task during three different conditions while an EEG was recorded (1: with no background music, 2: with relaxing or 3: with exciting background music). In addition, we collected reaction times, omissions, and commissions in response to the Go and NoGo stimuli. From the EEG (...) data, event-related potentials (ERPs) were calculated for the Go and NoGo trials. From these ERPs, the N2 and P3 components were specifically analyzed since previous studies have shown that these components (and particularly the Go-NoGo difference waves) are strongly associated with inhibitory functions. The N2 and P3 components of the difference waves (N2d and P3d) were used for statistical analyses. The statistical analyses revealed no differences between the three conditions in terms of amplitudes and latencies of the N2d and P3d components. In addition, reaction times, omissions, and commissions were comparable across all conditions. Our results suggest that in the context of this paradigm, music as background acoustic stimulation has no detrimental effects on the performance of a Go/NoGo task and neural underpinnings. (shrink)

The sense of agency is the experience of being the origin of a sensory consequence. This study investigates whether contextual beliefs modulate low-level sensorimotor processes which contribute to the emergence of the sense of agency. We looked at the influence of causal beliefs on ‘intentional binding’, a phenomenon which accompanies self-agency. Participants judged the onset-time of either an action or a sound which followed the action. They were induced to believe that the tone was either triggered by themselves or by (...) somebody else, although, in reality, the sound was always triggered by the participants. We found that intentional binding was stronger when participants believed that they triggered the tone, compared to when they believed that another person triggered the tone. These results suggest that high-level contextual information influences sensorimotor processes responsible for generating intentional binding. (shrink)

Anatomical studies propose that the primate auditory cortex contains more fields than have actually been functionally confirmed or described. Spatially resolved functional magnetic resonance imaging (fMRI) with carefully designed acoustical stimulation could be ideally suited to extend our understanding of the processing within these fields. However, after numerous experiments in humans, many auditory fields remain poorly characterized. Imaging the macaque monkey is of particular interest as these species have a richer set of anatomical and neurophysiological data to clarify the (...) source of the imaged activity. We functionally mapped the auditory cortex of behaving and of anesthetized macaque monkeys with high resolution fMRI. By optimizing our imaging and stimulation procedures, we obtained robust activity throughout auditory cortex using tonal and band-passed noise sounds. Then, by varying the frequency content of the sounds, spatially specific activity patterns were observed over this region. As a result, the activity patterns could be assigned to many auditory cortical fields, including those whose functional properties were previously undescribed. The results provide an extensive functional tessellation of the macaque auditory cortex and suggest that 11 fields contain neurons tuned for the frequency of sounds. This study provides functional support for a model where three fields in primary auditory cortex are surrounded by eight neighboring ‘‘belt’’ fields in non-primary auditory cortex. The findings can now guide neurophysiological recordings in the monkey to expand our understanding of the processing within these fields. Additionally, this work will improve fMRI investigations of the human auditory cortex. (shrink)

Recent work has demonstrated that the sense of agency is not only determined by efference-copy-based internal predictions and internal comparator mechanisms, but by a large variety of different internal and external cues. The study by Moore and colleagues [Moore, J. W., Wegner, D. M., & Haggard, P. . Modulating the sense of agency with external cues. Conscious and Cognition] aimed to provide further evidence for this view by demonstrating that external agency cues might outweigh or even substitute efferent signals to (...) install a basic registration of self-agency. Although the study contains some critical points that, so we argue, are central to a proper interpretation of the data, it hints at a new perspective on agency: optimal cue integration seems to be the key to a robust sense of agency. We here argue that this framework could allow integrating the findings of Moore and colleagues and other recent agency studies into a comprehensive picture of the sense of agency and its pathological disruptions. (shrink)

ABSTRACT The paper examines the little-known experiments in audition performed by the prominent experimental physiologist Jan Purkyně in Prague in the 1850s. Purkyně’s original research on spatial hearing and auditory attention is studied against the backdrop of the nineteenth century research on binaural audition and the nascent field of psychophysics. The article revolves around an acoustic research instrument of Purkyně’s own making, the opistophone, in which hearing became both an object of investigation and an instrument of scientific inquiry. It (...) argues that Purkyně’s understanding of auditory attention, which combined acoustic stimulation, physiological conditions, and sensory training, preceded a similar approach to hearing in psychophysical debates in the second half of the nineteenth century. Purkyně was the first scholar to experimentally investigate intracranial sounds, which he studied in his experiments with the inmates of the Prague Institute of Deaf-Mutes. This research on intracranial hearing was part of Purkyně’s study of so-called organic subjectivity, in which subjective hearing experience was interpreted as the result of the interaction between individual perception and objective acoustic phenomena. (shrink)

Cochlear implants electrically stimulate surviving auditory neurons in the cochlea to provide severely or profoundly deaf people with access to hearing. Signal processing strategies derive frequency-specific information from the acoustic signal and code amplitude changes in frequency bands onto amplitude changes of current pulses emitted by the tonotopically arranged intracochlear electrodes. This article first describes how parameters of the electrical stimulation influence the loudness evoked and then summarizes two different phenomenological models developed by McKay and colleagues that have (...) been used to explain psychophysical effects of stimulus parameters on loudness, detection, and modulation detection. The Temporal Model is applied to single-electrode stimuli and integrates cochlear neural excitation using a central temporal integration window analogous to that used in models of normal hearing. Perceptual decisions are made using decision criteria applied to the output of the integrator. By fitting the model parameters to a variety of psychophysical data, inferences can be made about how electrical stimulus parameters influence neural excitation in the cochlea. The Detailed Model is applied to multi-electrode stimuli, and includes effects of electrode interaction at a cochlear level and a transform between integrated excitation and specific loudness. The Practical Method of loudness estimation is a simplification of the Detailed Model and can be used to estimate the relative loudness of any multi-electrode pulsatile stimuli without the need to model excitation at the cochlear level. Clinical applications of these models to novel sound processing strategies are described. (shrink)

The concept of vocal charisma has changed in the past decades from something that people have to something that people do, thereby stimulating research on how vocal charisma can be created and improved. Broadening the perspective on vocal charisma beyond the speaker’s performance itself to the context of the speech, we conducted acoustic-prosodic analyses of public speeches of two prominent Israelian politicians – Benjamin Netanyahu and Benny Gantz. The speech material consisted of 311–516 prosodic phrases per politician from the (...) election campaigns 2019–2020 and, crucially, was balanced so as to include an equal number of pre- and post-election speeches. Results show a superiority of Netanyahu over Gantz in almost all facets of vocal charisma, although Gantz caught up over time. Moreover, unlike Gantz, Netanyahu showed a strong adaptation of his vocal charisma patterns to before- and after-election contexts. Scrutinizing this versatility difference, an additional perception experiment with 42 listeners and excerpts from the two politicians’ speeches was carried out. Results show that Netanyahu’s speech excerpts were, unlike those of Gantz, mainly rated as more charismatic in those contexts in which they were performed. Gantz’ post-election speech excerpts, by contrast, were primarily rated as not fitting into that context, i.e., as unfolding their charisma better in a pre-election context. Moreover, listeners also rated Netanyahu as overall more charismatic than Gantz. The combined production and perception evidence suggests the relevance of context in the evaluation and interpretation of vocal charisma signals. (shrink)

Inter- and transdisciplinary (ITD) approaches represent promising ways to address complex global challenges, such as climate change. Importantly, arts–sciences collaborations as a form of inter and transdisciplinarity have been widely recognized as potential catalysts for scientific development and social change towards sustainability. However, little attention has been paid to the process of reasoning among the participants in such collaborations. How do participants in arts–science collaboration reason together to overcome disciplinary boundaries and to co-create interventions? This article investigates how inter- and (...) transdisciplinary reasoning (or ITD reasoning) unfolded in a collaboration involving experts from the natural sciences, humanities, and the arts. We studied how collaborators reasoned through different understandings and experiences of climate change as well as through multiple ways of fostering motivation to take action via two co-designed artworks, HOMONEXUS (a participatory textile and acoustic installation) and GLACIER NEX US (a performance staging a dialogue between a melting glacier and a glaciologist). Our conclusions are threefold: (i) ITD reasoning can increase participants’ capacity to navigate often-unpredictable situations by cross-fertilizing ideas and overcoming blind-spots; (ii) humanities in arts–science collaborations can foster a more nuanced understanding of the differences and similarities of different knowledge systems as well as a deeper ecological understanding of sustainability problems; and (iii) the aesthetic experiences stimulated by arts–science interventions may help to raise awareness about the climate emergency and sustainable actions by providing pleasant and positive or dazzling and negative aesthetic experiences. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Extra Ear:Ear on the Arm BlenderStelarc Click for larger view View full resolutionFigure 1.Blender. Teknikunst—Meat Market, Melbourne 2005. Photograph: Stelarc. Collaborator Nina Sellars stands with the Blender during an installation photograph. Text credit: K. Conden and A. Douglas. Click for larger view View full resolutionFigure 2.Blender (3D Model). Teknikunst—Meat Market, Melbourne 2005. Image: Adam Fiannaca. The installation itself stands at just over 1.6 meters high and is anthropomorphic in (...) scale and structure. Text credit: K. Conden and A. Douglas. Click for larger view View full resolutionFigure 3.Blender. Teknikunst—Meat Market, Melbourne 2005. Photograph: Stelarc. Every few minutes the Blender automatically circulates or "blends" its contents via a system of compressed air pumps and a pneumatic actuator. Text credit: K. Conden and A. Douglas.[End Page 117] Click for larger view View full resolutionFigure 4.Ear Scaffold. Los Angeles, Melbourne 2006. Photographer: Nina Sellars. The preoperative scaffolding that was surgically placed below the skin's surface of performance artist Stelarc. Text credit: R. Ferro. Click for larger view View full resolutionFigure 5.Blender (Biomaterial). Teknikunst—Meat Market, Melbourne 2005. Photograph: Cameron Jones. Both artists, Stelarc and Nina Sellars, undertook liposuction operations specifically for the purpose of this new work and have succeeded in securing the sanitized isolation and, most importantly, the legal ownership of the remnants of the procedures. Text credit: K. Conden and A. Douglas. Click for larger view View full resolutionFigure 6.Hole Hooks Forceps. As a guest at Cornell University's conference "Digital Bodies" in 2001, Stelarc spoke of his desire to implant an ear that could pick up sound. His plans become a reality in the photograph taken during surgery. Text credit: R. Ferro. Click for larger view View full resolutionFigure 7.Extra Ear: Ear on the Arm. Los Angeles, Melbourne 2006. Photographer: Nina Sellars. Stelarc's future plans are to implant Bluetooth technology into the Ear on the Arm in a subsequent surgery so that the ear will pick up sound which will be transmitted via the Internet. Text credit: R. Ferro. Click for larger view View full resolutionFigure 8.Blender (Sterile Hood). Teknikunst—Meat Market, Melbourne 2005. Photograph: Stelarc. The biomaterials are now housed within the Blender's industrial casing, on exhibition at the Meat Market Gallery B in North Melbourne until August 18. Text credit: K. Conden and A. Douglas.[End Page 118]Stelarc- Biographical NotesStelarc is an Australian artist who has performed extensively in Japan, Europe, and the USA—including new music, dance festivals, and experimental theater. He has used medical instruments, prosthetics, robotics, Virtual Reality systems, and the Internet to explore alternate, intimate, and involuntary interfaces with the body. He has performed with a THIRD HAND, a VIRTUAL ARM, a VIRTUAL BODY and a STOMACH SCULPTURE. He has acoustically and visually probed the body—having amplified brainwaves, blood-flow and muscle signals and filmed the inside of his lungs, stomach, and colon, approximately two meters of internal space. He has done twenty-five body SUSPENSIONS with insertions into the skin, in different positions and varying situations in private gallery spaces and in remote locations.For FRACTAL FLESH, as part of Telepolis in 1995, he developed a touch-screen interfaced Muscle Stimulation System, enabling remote access, actuation, and choreography of the body. Performances such as PING BODY and PARASITE (1996, 1997) probe notions of telematic scaling and the engineering of external, extended, and virtual nervous systems for the body using the Internet. In 1998 for Kampnagel, he completed EXOSKELETON—a pneumatically powered six-legged walking machine actuated by arm gestures. During 2000, he completed an EXTENDED ARM—a manipulator with eleven degrees-of-freedom that extends his arm to primate proportions and a MOTION PROSTHESIS—an intelligent, compliant servo-mechanism that enables the performance of precise, repetitive, and accelerated prompting or programming of the arms in real time. In 2002, with the collaboration of the Evolutionary and Adaptive Systems Group, COGs, University of Sussex, and TNTU, the HEXAPOD robot prototype was developed. The six-legged MUSCLE MACHINE was constructed with the assistance of The Nottingham Trent University Engineering team, using fluidic rubber muscle actuators. The PROSTHETIC... (shrink)

Here, I outline the idea of a unified hypothesis of sensory perception, developed from the theoretical vibrational mechanism of olfaction, which can be applied across all sensory modalities. I propose that all sensory perception is based upon the detection of mechanical forces at a cellular level, and the subsequent mechanotransduction of the signal via the nervous system. Thus, I argue that the sensory modalities found in the animal kingdom may all be viewed as being mechanoreceptory, rather than being discrete neurophysiological (...) systems which evolved independently of each other. I go on to argue that this idea could potentially explain language evolution, with birdsong being an example of a more simple form of non-Saussurean language that employs ‘frequency-mimicking’ to produce a vocal signal which describes acoustic, chemical and electromagnetic vibrational frequencies detected within in the environment. I also give examples of how this hypothesis could potentially explain phenomena such as vocal mimicry in animals, as well as the human perception of musicality and the occurrence of synaesthesia; a condition found in humans, where the stimulation of one sensory modality results in the stimulation of another. For example, auditory stimuli are detected and are heard as an acoustic signal, as well as being perceived as colour by the visual system. (shrink)

This article and associated short film, entitled Threshold, explores the phenomenon of house as a Cartesian construct of rational cultural detachment, set in binary opposition to the indigenous understanding of nature as connected and sacred. Threshold focuses on the liminal in-between zones of a house – its doors and windows – which both separate and join the inside/outside domains – without belonging to either of them. The film explores the liminal act of crossing this ontological threshold – representing it cinematically (...) as a vibrational, ocular/aural wavering between two ‘worlds’. The intention is to destabilize this duality on an emotional level – in order to interrogate its validity. This strategy references anthropological theory, which asserts that the liminal act stimulates the limbic system containing ancestral, instinctual deposits. The function of the limbic system (part of the triune brain model) accords with Jung’s theory of the collective unconscious – which views the house as an archetypal symbol, central to the meaning of dreams – in representing the psyche of the dreamer. Threshold attempts to invoke this and other archaic symbols as the camera journeys through its interior spaces, discovering its material culture artefacts, which reflect the psychic state of its inhabitants. The paper explores the indigenous belief that there is a mystical (unitive, transformative) relationship existing between space and acoustics that can only be fully appreciated through an emotional experience with it. The adoption of an arts interventionist approach, can, the article will argue, provide an important contribution towards our expanded understanding of Space and Place as an embodied, emotional-cognitive act. (shrink)

Schooling fish, swarms of starlings, plodding wildebeest, and musicians all display impressive synchronization. To what extent do they use acoustic cues to achieve these feats? Could the acoustic cues used in movement synchronization be relevant to the treatment of movement disorders such as Parkinson's disease in humans? In this article, we build on the emerging view in evolutionary biology that the ability to synchronize movement evolved long before language, in part due to acoustic advantages. We use this (...) insight to explore potential mechanisms that explain why music therapy has beneficial effects for PD patients. We hypothesize that rhythmic auditory cues, particularly music, can stimulate neuronal and behavioral processes that ease the symptoms and potentially the causes of PD because the neural circuits used in auditory entrainment at individual and group levels are associated with dopamine production. We summarize current treatment of PD and outline how new insights from an evolutionary perspective could improve understanding and eventual treatment of movement disorders in humans. (shrink)

Starting from the late Renaissance, efforts to make vocal music more expressive heightened the power of words, which, in turn, gave birth to the modern semantics of musical expression. As the skepticism of seventeenth-century science divorced the acoustic properties from the metaphysical qualities of music, the door was opened to dicern the rich links between musical perception and varied mental faculties. In Tuning the Mind, Ruth Katz and Ruth HaCohen trace how eighteenth century theoreticians of music examined anew the (...) role of the arts within a general theory of knowledge. As the authors note, the differences between the physical and emotional dimensions of music stimulated novel conceptions and empirical inquiries into the old aesthetic queries. Tracing this development, their opening chapter deals with seventeenth-century epistemological issues concerning the artistic qualities of music. Katz and HaCohen show that painting and literature displayed a comparable tendency toward "musicalization," whereby the dynamic of forms-the modalities specific to each artistic medium-rather than subject matter was believed to determine expression. Katz and HaCohen explore the ambiguities inherent in idealization of an art form whose mimetic function has always been problematic. They discuss the major outlines of this development, from Descartes to Vico through Condillac. Particular emphasis is placed on eighteenth-century British thinkers, from Shaftesbury to Adam Smith, who perceived these problems in their full complexity. They also explore how the French and the Germans dealt differently with questions that preoccupied the British, each nation in accordance with their own past tradition and tendencies. The concluding chapter summarizes the parallel development of abstract art and basic hypotheses concerning the mind and explores basic theoretical questions pertaining to the relationship between perception and cognition. In addressing some of the most complex problems in musical aesthetics, Katz and HaCohen provide a unique historical perspective on the ways their art creates and develops coherent worlds, and, in so doing, contribute to our understanding of the workings of the mind. Ruth Katz is Emanuel Alexandre Professor of Musicology at the Hebrew University in Jerusalem. She is co-editor with Carl Dahlhaus of Contemplating Music, a four-volume study of the philosophy of music. Ruth HaCohen is Clarica and Fred Davidson Senior Lecturer of Musicology at the Hebrew University. (shrink)

The concept of vocal charisma has changed in the past decades from something that people have to something that people do, thereby stimulating research on how vocal charisma can be created and improved. Broadening the perspective on vocal charisma beyond the speaker’s performance itself to the context of the speech, we conducted acoustic-prosodic analyses of public speeches of two prominent Israelian politicians – Benjamin Netanyahu and Benny Gantz. The speech material consisted of 311–516 prosodic phrases per politician from the (...) election campaigns 2019–2020 and, crucially, was balanced so as to include an equal number of pre- and post-election speeches. Results show a superiority of Netanyahu over Gantz in almost all facets of vocal charisma, although Gantz caught up over time. Moreover, unlike Gantz, Netanyahu showed a strong adaptation of his vocal charisma patterns to before- and after-election contexts. Scrutinizing this versatility difference, an additional perception experiment with 42 listeners and excerpts from the two politicians’ speeches was carried out. Results show that Netanyahu’s speech excerpts were, unlike those of Gantz, mainly rated as more charismatic in those contexts in which they were performed. Gantz’ post-election speech excerpts, by contrast, were primarily rated as not fitting into that context, i.e., as unfolding their charisma better in a pre-election context. Moreover, listeners also rated Netanyahu as overall more charismatic than Gantz. The combined production and perception evidence suggests the relevance of context in the evaluation and interpretation of vocal charisma signals. (shrink)

This paper is part of a series in which we had worked in the last 6 months, and, specifically, intend to investigate the notion of timbre through the ecological perspective proposed by James Gibson in his Theory of Direct Perception. First of all, we discussed the traditional approach to timbre, mainly as developed in acoustics and psychoacoustics. Later, we proposed a new conception of timbre that was born in concepts of ecological approach. The ecological approach to perception proposed by Gibson (...) (1966, 1979) presupposes a level of analysis of perceptual stimulated that includes, but is quite broader than the usual physical aspect. Gibson suggests as focus the relationship between the perceiver and his environment. At the core of this approach, is the notion of affordances, invariant combinations of properties at the ecological level, taken with reference to the anatomy and action systems of species or individual, and also with reference to its biological and social needs. Objects and events are understood as relates to a perceiving organism by the meaning of structured information, thus affording possibilities of action by the organism. Event perception aims at identifying properties of events to specify changes of the environment that are relevant to the organism. The perception of form is understood as a special instance of event perception, which is the identity of an object depends on the nature of the events in which is involved and what remains invariant over time. From this perspective, perception is not in any sense created by the brain, but is a part of the world where information can be found. Consequently, an ecological approach represents a form of direct realism that opposes the indirect realist based on predominant approaches to perception borrowed from psychoacoustics and computational approach. (shrink)

While cochlear implantation has benefitted many patients with single-sided deafness (SSD), there is great variability in cochlear implant (CI) outcomes and binaural performance remains poorer than that of normal-hearing (NH) listeners. Differences in sound quality across ears – temporal fine structure (TFS) information with acoustic hearing versus coarse spectro-temporal envelope information with electric hearing – may limit integration of acoustic and electric patterns. Binaural performance may also be limited by inter-aural mismatch between the acoustic input frequency and (...) the place of stimulation in the cochlea. SSD CI patients must learn to accommodate these differences between acoustic and electric stimulation to maximize binaural performance. It is possible that training may increase and/or accelerate accommodation and further improve binaural performance. In this study, we evaluated lateralization training in NH subjects listening to broad simulations of SSD CI signal processing. A 16-channel vocoder was used to simulate the coarse spectro-temporal cues available with electric hearing; the degree of inter-aural mismatch was varied by adjusting the simulated insertion depth (SID) to be 25 mm (SID25), 22 mm (SID22), and 19 mm (SID19) from the base of the cochlea. Lateralization was measured using headphones and head-related transfer functions (HRTFs). Baseline lateralization was measured for unprocessed speech (UN) delivered to the left ear to simulate SSD and for binaural performance with the acoustic ear combined with the 16-channel vocoders (UN+SID25, UN+SID22, and UN+SID19). After completing baseline measurements, subjects completed 6 lateralization training exercises with the UN+SID22 condition, after which performance was re-measured for all baseline conditions. Post-training performance was significantly better than baseline for all conditions (p<0.05 in all cases), with no significant difference in training benefits among conditions. Given that there was no significant difference between the SSD and the SSD CI conditions before or after training, the results suggest that NH listeners were unable to integrate TFS and coarse spectro-temporal cues across ears for lateralization, and that inter-aural mismatch played a secondary role at best. While lateralization training may benefit SSD CI patients, the training may largely improve spectral analysis with the acoustic ear alone, rather than improve integration of acoustic and electric hearing. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Role of Glass in Interior Architecture:Aesthetics, Community, and PrivacyMatthew Ziff (bio)Design education seeks to infuse students with knowledge, skills, and attitudes, regarding the design of the built environment. In the areas of knowledge and attitude, sophistication and competence are developed through both practice (largely carried out in the design studio environment), and engagement with critical analysis (largely carried out in seminar classes and traditional lecture format class environments). (...) For design students the world of design is both to be known and understood, and to be created, at their own studio desk. In order to both know and create design, students often behave like nocturnal predators, seeking what is necessary in a mode that is often unobserved, and then returning to digest their catch, to produce responsive and synthetic work. One arena in which design students find rich fields of information is that of material characteristics. Materials used in the design and construction of the built environment form a significant portion of the skeleton of a designer's body of knowledge, skills, and attitudes toward design. A current hotbed of material character and application is that of the world of glass. This essay is an exploration of some of the issues that the architectural uses of glass raise from the point of view of design student exploration.Materials evoke physical and psychological responses. Human beings are complex creatures and an individual's response to specific material applications can be unpredictable. Even so, it is reasonable to expect that there are shared attitudes that form the basis for responses to the physical character of the built environment. From delight, to confusion, materials used in the architecture of things large and small, from buildings to fountain pens, contain literal meaning, or expression of method, as well as possible symbolic and cultural meaning. The contemporary use of glass, particularly in interior architecture, presents a vivid arena for emotional and intellectual stimulation and response. [End Page 10]Glass planes that are sheer, opaque, translucent, colorful, brittle, imposing in mass, irregular in surface texture, flawlessly smooth, deformed through casting or by application of pressure and heat, are being used to create spaces that convey ambiguous relationships between private experience and public display. What is an ambiguous relationship? It is one to which a reasonable response is a high degree of uncertainty regarding the course of action one might take, or in the degree of understanding of the context one can develop. To know that the stair in the train station leads to track 4 is a condition that can be created by the use of unambiguous design; a visual connection from where one has to make a choice of paths to follow to the destination, track 4, creates a clear understanding of where track 4 is to be found. If track 4 can be seen from the position at which a choice is required, then certainty, clarity, is possible, if not probable. Visual connection is exactly what clear glass allows, and provides, yet ambiguity results because of the physical, hard barrier, transparency aside. "I can see track 4, but I cannot get there". The clarity provided by being able to see through glass, or even by being able to see light coming through translucent glass, is not sufficient to offset the uncertainty, or the mixed message, of not being able to get there, to touch what we can see.Glass in interiors offers a tactile and sensory titillation; the excitement of knowing that with a single swing of a hammer, or an umbrella handle, the beautiful sheet of curved frosted lemon ice colored tempered glass can be shattered into fragments.Windows have long been the predominant interior and exterior architectural element in which glass has played a major role. The glass used in Windows on the World, the famous restaurant atop the World Trade Center, destroyed during its collapse, and the glass used in a simple double hung window in a one story ranch house each share architectural duties of providing view from inside to outside, light transmission from outside to inside, heat gain, and acoustical isolation. Human eyes are sometimes described as "windows to the soul," which suggests the ability to... (shrink)

Action perception and recognition are core abilities fundamental for human social interaction. A parieto-frontal network (the mirror neuron system) matches visually presented biological motion information onto observers' motor representations. This process of matching the actions of others onto our own sensorimotor repertoire is thought to be important for action recognition, providing a non-mediated “motor perception” based on a bidirectional flow of information along the mirror parieto-frontal circuits. State-of-the-art machine learning strategies for hand action identification have shown better performances when sensorimotor (...) data, as opposed to visual information only, are available during learning. As speech is a particular type of action (with acoustic targets), it is expected to activate a mirror neuron mechanism. Indeed, in speech perception, motor centers have been shown to be causally involved in the discrimination of speech sounds. In this paper, we review recent neurophysiological and machine learning-based studies showing (a) the specific contribution of the motor system to speech perception and (b) that automatic phone recognition is significantly improved when motor data are used during training of classifiers (as opposed to learning from purely auditory data). (shrink)

Although laughter plays an essential part in emotional vocal communication, little is known about the acoustical correlates that encode different emotional dimensions. In this study we examined the acoustical structure of laughter sounds differing along four emotional dimensions: arousal, dominance, sender's valence, and receiver-directed valence. Correlation of 43 acoustic parameters with individual emotional dimensions revealed that each emotional dimension was associated with a number of vocal cues. Common patterns of cues were found with emotional expression in speech, supporting the (...) hypothesis of a common underlying mechanism for the vocal expression of emotions. (shrink)

It has been known for long time that the cosmic sound wave was there since the early epoch of the Universe. Signatures of its existence are abound. However, such an acoustic model of cosmology is rarely developed fully into a complete framework from the notion of space, cancer therapy up to the sky. This paper may be the first attempt towards such a complete description of the Universe based on classical wave equation of sound. It is argued that one (...) can arrive at a consistent description of space, elementary particles, Sachs-Wolfe acoustic theorem, up to a novel approach for cancer therapy, starting from this simple classical wave equation of sound. We also discuss a plausible extension of Acoustic Sachs-Wolfe theorem based on its analogue with Klein-Gordon equation to become Acoustic Sachs-Wolfe-Christianto-Smarandache-Umniyati (ASWoCSU) equation. It is our hope that the new proposed equation can be verified with observation data. But we admit that our model is still in its infancy, more researches are needed to fill all the missing details. (shrink)

Can we describe certain sonic experiences as “homely,” even when they take place outside of a traditional home-space? While phenomenological accounts of home abound, with writers detailing a rich spectrum of the felt characteristics of the homely including safety, familiarity, and affective “warmth,” there is a scarcity of research into sonic experience that engages with such literatures. With specific interest in the experience of embodied space, I account here for what might be termed feelings of “sonic homeliness” as they emerge (...) during headphone listening. After forming a conceptual model of homeliness that draws from phenomenological philosophy, I investigate its applicability to experiences of headphone listening. Through analysis of primary interview data, I consider how headphones may be said to territorialize space for listeners, analyzing how sonic “boundaries” are experienced in relation to the body, as well as how some listeners describe their experiences as interiorized, comforting, and “wombic.”. (shrink)

Acoustic codes assure the intra and interspecific communication of vocal animals. They are composed by a sequence of nominal entities and by magnitude modulation confirming in such a way contemporarily a behavioural and ecological nature. The acoustic codes find evidence in the acoustic niche hypothesis by which species in order to reduce interspecific competition occupy a restricted portion of the available frequencies modulating very precise acoustic cues . Their evolution, like other aspect of biology, is under (...) control of the environmental conditions assuming the more favourable configurations. These nominal entities respond also to the amount of energy by which are emitted allowing to the eavesdropping individuals to range the distance at which a potential competitor is broadcasting a signal. Environmental alterations, especially if of anthropogenic origin, can produce severe consequence of the acoustic codes that in turn may affect the prey–predator balance and the complexity of communities. In fact acoustic codes under an environmental constraint like human noise intrusion can be modified in order to reduce a masking effect, demonstrating their phenological plasticity. The new ecological discipline of soundscape ecology offers the possibility to investigate the nature and the evolution of the acoustic codes in different environmental conditions. (shrink)

Authored by leading sound studies scholar Brandon LaBelle, this book focuses on questions of acoustics as the basis for challenging normative structures.

Acoustic Technics, aware that digital and computer embedded technologies produce data that today can be transformed into acoustic images, notes the transformations these phenomena imply for a diverse set of practices, such as music, communication, medical diagnosis, and scientific knowledge.

With Walter Benjamin's notion of the optical unconscious as its starting point, this monograph develops a theory of the acoustical unconscious that refers both to the broadening of acoustic apperception via radio and film, and to a particular mode.

Drawing on the analogy between musical meaning-making and human subjectivity, this book develops the concept of the acoustic self, exploring the ways in which musical characterization and structure are related to issues of subject-representation in the modernist English novel. The volume is framed around three musical topics-the fugue, absolute music, and Gesamtkunstwerk-arguing that these three modes of musicalization address modernist dilemmas around selfhood and identity. Varga reflects on the manifestations of the acoustic self in examples from the works (...) of E.M. Forster, Aldous Huxley, and Virginia Woolf and such musicians as Bach, Beethoven, Handel, and Wagner. An additional chapter on jazz and electronic music supplements these inquiries, pursuing the acoustic self beyond modernism and thereby inciting further discussion and theorization of musical intermediality, as well as recent sonic practices. Probing the analogies in the complex interrelationship between music, representation, and language in fictional texts and the nature of human subjectivity, this book will appeal to scholars interested in the interface of language and music, in such areas as intermediality, multimodality, literary studies, critical theory, and modernist studies. (shrink)

This is the first comprehensive translation of the expanded French version of E.F.F. Chladni's Traité d'Acoustique, using Chladni's 1802 Die Akustik for reference and clarification. Chladni's experiments and observations with sound and vibrations profoundly influenced the development of the field of Acoustics. The famous Chladni diagrams along with other observations are contained in Die Akustik, published in German in 1802 and Traité d'Acoustique, a greatly expanded version, published in French in 1809. The present translation was undertaken by Robert T. Beyer, (...) PhD (1920-2008), noted acoustician, Professor of Physics at Brown University, and Gold Medal recipient of the Acoustical Society of America. Along with many other projects completed over the course of his career, Dr. Beyer translated Von Neumann's seminal work, Mathematical Foundations of Quantum Mechanics from the original German, spent 30 years translating Russian physics treatises and journals, served as editor of the English translation of the Soviet Journal of Experimental and Theoretical Physics, and also authored Sounds of our Times: Two Hundred Years of Acoustics. Represents the first comprehensive English translation of a seminal work in acoustics Translated by a prominent acoustician, and former Gold Medal recipient of the Acoustical Society of America In addition to the classic experiments with glass plates and violin bows, covers topics in music, architecture, and anatomy of human and animal hearing Appeals to a wide audience in physics, acoustics, and history of science. (shrink)

English second language learners often experience difficulties in producing native-like English lexical stress. It is unknown which acoustic correlates, such as fundamental frequency (F0), duration, and intensity, are the most problematic for Chinese dialect speakers. The present study investigated the prosodic transfer effects of first language (L1) regional dialects on the production of English stress contrasts. Native English speakers (N = 20) and Chinese learners (N = 60) with different dialect backgrounds (Beijing, Changsha, and Guangzhou dialects) produced the same (...) stimulus including both trochaic and iambic patterns. Results showed that (a) all participants produced the stressed syllable with greater values of F0, duration, and intensity; (b) Native speakers of English employed an exquisite combination of F0, duration, and intensity, while the dialect groups transfer their native prosody into their production of English lexical stress, resulting in the deviation or abnormality of acoustic cues. Results suggest that L1 native dialect background is considered as a potentially influential factor which may transfer in L2 speech encoding and decoding process. (shrink)

The origin of McLuhan’s notion of acoustic space is described. It is shown that his definition of acoustic space as having its center everywhere and its margin nowhere can be traced back to the Christian mystics of the Middle Ages and the early Renaissance dating as far back as the 12th Century.

Objective: This study aims to compare the acoustic vocal analysis results of a group of transgender women relative to those of cisgender women.Methods: Thirty transgender women between the ages of 19 and 52 years old participated in the study. The control group was composed of 31 cisgender women between the ages of 20 and 48 years old. A standardized questionnaire was administered to collect general patient data to better characterize the participants. The vowel /a/ sounds of all participants were (...) collected and analyzed by the Multi-Dimensional Voice Program advanced system.Results: Statistically significant differences between cisgender and transgender women were found on 14 measures: fundamental frequency, maximum fundamental frequency, minimum fundamental frequency, standard deviation of fundamental frequency, absolute jitter, percentage or relative jitter, fundamental frequency relative average perturbation, fundamental frequency perturbation quotient, smoothed fundamental frequency perturbation quotient, fundamental frequency variation, absolute shimmer, relative shimmer, voice turbulence index, and soft phonation index. The mean fundamental frequency value was 159.046 Hz for the cases and 192.435 Hz for the controls.Conclusion: Through glottal adaptations, the group of transgender women managed to feminize their voices, presenting voices that were less aperiodic and softer than those of cisgender women. (shrink)

The real impetus for the research in underwater acoustics was the German U-boat menace of World War I. Traditional naval methods were of little use against the submarine, and thus British scientists concentrated on underwater detection. This led to the development of the hydrophone , which was extensively used during the war. As this instrument had many drawbacks, a small British team started to investigate an ‘active’ detection device in 1917. This was instigated by the work of the French physicist (...) Paul Langevin, supported by his government, and was based on the reflection of underwater acoustic waves off a submarine's hull. The Royal Navy called this highly secret device ‘asdic’ . It did not become operational during World War I, and the embryo naval scientific service founded during the last year of the war, continued its development during the interwar years. The Admiralty's optimism concerning the potential effectiveness of asdics influenced British naval policy during these years.In this paper, the scientific, political and organisational factors that influenced the development of naval underwater acoustics will be discussed. World War I was the first war in which civilian scientists played an important part. Their involvement in the war had a great impact on the attitude of the Royal Navy towards scientific research, and their work on underwater acoustics was partly responsible in establishing a proper naval scientific service. Scientific development was now organised in the Navy, with the consequence of accelerating the introduction of new devices into the fleet. (shrink)

Summary Between the 1860s and the 1910s, British acoustics was transformed from an area of empirical research into a mathematically organized field. Musical motives—improving musical scales and temperaments, making better musical instruments, and understanding the nature of musical tones—were among the major driving forces of acoustical researchers in nineteenth-century Britain. The German acoustician, Helmholtz, had a major impact on British acousticians who also had extensive interactions with American and French acousticians. Rayleigh's acoustics, reflecting all these features, bore remarkable fruit in (...) his treatise The Theory of Sound, which successfully subjected empirical acoustics to analytical mathematics. His accomplishments made British acoustics a subfield of physics, thus distinguishing it from the ‘new acoustics’ in early twentieth-century America. (shrink)

The greatest challenge for Cultural Selection Theory, which holds that Darwinian natural selection contributes to cultural evolution, lies is the paucity of evidence for structural mechanisms in cultural systems that are sufficient for adaptation by natural selection. In part, clarification is required with respect to the interaction between cultural systems and their purported selective environments. Edmonds, Hull, and others have argued that Cultural Selection Theory requires simple, conclusive, unambiguous case studies in order to meet this challenge. To this end, I (...) am employing the songs of the Rufous-collared Sparrow, which seem to exhibit cultural adaptations that minimize signal degradation relative to local environments (Handford, et al.). Specifically, the more forested the habitat, the more the tail end of the song resembles a whistle rather than a trill; yet, variation in song is uncorrelated with genetic variation. I explore the mechanisms responsible for these putative acoustic adaptations through a series of computer simulations. I modify the framework of Alexander and Skyrms’ ‘Bargaining with Neighbours’: this dynamic evolutionary game theoretic framework is well-suited for my investigation because the local interactions between agents provide a basis for modeling song transmission from adults to fledglings. In the simplest version of the model, each bird adopts one of two song types – trill or whistle – and sings that song type for the duration of its life. These song strategies are communicated to other birds in neighboring territories, which are arranged as a grid composed of two acoustic habitats (forest and field). Birds have a set probability of dying in each year, and deceased birds are succeeded by fledglings. The likelihood that a fledgling adopts a particular song type depends on (i) the popularity of a particular song-type among neighboring birds and (ii) the relative ‘audibility’ of each signal, which is a joint function of the habitat and song type of the signaling bird. The main point of this research is not to test this model, but to demonstrate that models of this type have the resources to meet the outstanding challenges in Cultural Selection Theory. The benefits of this research are threefold. First, it will lend much needed empirical support to Cultural Selection Theory by clarifying the nature of the interaction between culture and environment. Second, it will support Alexander and Skyrms’ work by providing a set of empirically testable consequences for their model. Finally, it will contribute to evolutionary theory by clarifying the scope and limits of adaptation by natural selection. (shrink)

Listeners are able to quite accurately distinguish between different dialects of their native language, but little is known about the process of dialect identification and the phonetic cues listeners use to identify someone's regional origin. This study examines how different segments, acoustic between-dialect distance, and the listeners' knowledge about a dialect contribute to this process. Native speakers of Grison and Zurich German were asked to categorize isolated words spoken by eight speakers of Grison and eight speakers of Zurich German. (...) Stimuli contained either none, one, or two segmental cues to regional origin. The presence of one dialect-specific segment was enough to allow for an identification rate well above chance. Sensitivity measures and analysis of reaction time showed that the two dialect groups largely relied on the same segmental cues. Acoustic distance to the other dialect, quantified as Euclidean distance in the F1×F2 vowel space, generally facilitated dialect identification, but interacted with native speakers' general knowledge about the dialects: In segments which listeners explicitly associate with one of the two dialects, acoustic distance facilitated dialect recognition to a larger extent than in segments listeners are not aware of dialectal variation. The results suggest that, depending on the prior knowledge about a dialect, acoustic variation is weighted differently. Further analysis showed that Zurich listeners were more sensitive to the dialect differences, responded faster, and presented a more-marked own-dialect response bias than Grison listeners. These findings are in line with the status of Grison German as a marked and Zurich German as a neutral dialect and suggest that, depending on their own dialect's status, listeners used different decision strategies. (shrink)