Intentional binding describes the phenomenon that actions and their effects are perceived to be temporally approximated. We introduced a new method of duration estimation to the research field, the method of constant stimuli. Participants freely chose to press one of two keys or experienced passive key presses. After an interval of 250 ms or 600 ms a visual effect occurred. In Experiment 1, each key produced an effect after a specific interval. In Experiment 2, both keys produced an effect (...) after the same interval that varied between sessions. Participants compared the duration of the action–effect interval with a tone of varying duration. To assess intentional binding, we compared the perceived duration of the action–effect interval between the active and passive condition. We showed intentional binding for 600 ms, but not for 250 ms action–effect intervals in both experiments. Thus, the method of constant stimuli is suitable to assess intentional binding. (shrink)

The purpose of this study is to take preliminary steps to unify psychoacoustic techniques with reaction-time methodologies to address the perceptual mechanisms responsible for the detection of one vs. multiple sounds. We measured auditory redundancy gains for auditory detection of pure tones widely spaced in frequency using the tools of Systems Factorial Technology to evince the system architecture and workload capacity in two different scenarios. We adopted an experimental design in which the presence or absence of a target at each (...) of two frequencies was combined factorially with two stimulus levels. Replicating previous work, results did not allow an assessment of system architecture due to a failure to observe factor influence at the level of distribution ordering for dual-target stimuli for both SOFT and LOUD scenarios. All subjects demonstrated very modest redundancy gains for the dual-target compared to the single-target stimuli, and results were similar for both LOUD and SOFT. We propose that these results can be predicted by a mental architecture that falls into the class of integrated subadditive parallel systems, using a well-supported assumption that reaction time is driven by loudness. We demonstrate that modeled loudness of the experimental sounds is highly correlated with mean reaction time, and we provide a proof-of-concept model based on Steven’s Power law that predicts both a failure of distributional ordering for dual-target stimuli and very modest redundancy gains. (shrink)

Two priming experiments demonstrated exogenous attentional persistence to the fundamental auditory dimensions of frequency (Experiment 1) and time (Experiment 2). In a divided-attention task, participants responded to an independent dimension, the identification of three-tone sequence patterns, for both prime and probe stimuli. The stimuli were specifically designed to parallel the local–global hierarchical letter stimuli of [Navon D. (1977). Forest before trees: The precedence of global features in visual perception. Cognitive Psychology, 9, 353–383] and the task was (...) designed to parallel subsequent work in visual attention using Navon stimuli [Robertson, L. C. (1996). Attentional persistence for features of hierarchical patterns. Journal of Experimental Psychology: General, 125, 227–249; Ward, L. M. (1982). Determinants of attention to local and global features of visual forms. Journal of Experimental Psychology: Human Perception and Performance, 8, 562–581]. The results are discussed in terms of previous work in auditory attention and previous approaches to auditory local–global processing. (shrink)

Spoken word recognition involves a perceptual tradeoff between the reliance on the incoming acoustic signal and knowledge about likely sound categories and their co-occurrences as words. This study examined how adult second language (L2) learners navigate between acoustic-based and knowledge-based spoken word recognition when listening to highly variable, multi-talker truncated speech, and whether this perceptual tradeoff changes as L2 listeners gradually become more proficient in their L2 after multiple months of structured classroom learning. First language (L1) Mandarin Chinese listeners and (...) L1 English-L2 Mandarin adult listeners took part in a gating experiment. The L2 listeners were tested twice—once at the start of their intermediate/advanced L2 language class and again two months later. L1 listeners were only tested once. Participants were asked to identify syllable-tone words that varied in syllable token frequency (high/low according to a spoken word corpus) and syllable-conditioned tonal probability (most probable/least probable in speech given the syllable). The stimuli were recorded by 16 different talkers and presented at eight gates ranging from onset-only (gate 1) through onset+40 ms increments (gates 2 through 7) to the full word (gate 8). Mixed-effects regression modeling was used to compare performance to our previous study which used single-talker stimuli (Wiener, Lee, & Tao, 2019). The results indicated that multi-talker speech caused both L1 and L2 listeners to rely greater on knowledge-based processing of tone. L1 listeners were able to draw on distributional knowledge of syllable-tone probabilities in early gates and switch to predominantly acoustic-based processing when more of the signal was available. In contrast, L2 listeners, with their limited experience with talker range normalization, were less able to effectively transition from probability-based to acoustic-based processing. Moreover, for the L2 listeners, the reliance on such distributional information for spoken word recognition appeared to be conditioned by the nature of the acoustic signal. Single-talker speech did not result in the same pattern of probability-based tone processing, suggesting that knowledge-based processing of L2 speech may only occur under certain acoustic conditions, such as multi-talker speech. (shrink)

Research investigating listeners’ neural sensitivity to speech sounds has largely focused on segmental features. We examined Australian English listeners’ perception and learning of a supra-segmental feature, pitch direction in a non-native tonal contrast, using a passive oddball paradigm and electroencephalography. The stimuli were two contours generated from naturally produced high-level and high-falling tones in Mandarin Chinese, differing only in pitch direction ( Liu and Kager, 2014 ). While both contours had similar pitch onsets, the pitch offset of the falling (...) contour was lower than that of the level one. The contrast was presented in two orientations (standard and deviant reversed) and tested in two blocks with the order of block presentation counterbalanced. Mismatch negativity (MMN) responses showed that listeners discriminated the non-native tonal contrast only in the second block, reflecting indications of learning through exposure during the first block. In addition, listeners showed a later MMN peak for their second block of test relative to listeners who did the same block first, suggesting linguistic (as opposed to acoustic) processing or a misapplication of perceptual strategies from the first to the second block. The results also showed a perceptual asymmetry for change in pitch direction: listeners who encountered a falling tone deviant in the first block had larger frontal MMN amplitudes than listeners who encountered a level tone deviant in the first block. The implications of our findings for second language speech and the developmental trajectory for tone perception are discussed. (shrink)

Visual stimuli that are made invisible by a following mask can nonetheless affect motor responses. To localize the origin of these target priming effects we used the psychological refractory period paradigm. Participants classified tones as high or low, and responded to the position of a visual target that was preceded by a prime. The stimulus onset asynchrony between both tasks varied. In Experiment 1 the tone task was followed by the position task and SOA dependent target priming effects (...) were observed. When the visual position task preceded the tone task in Experiment 2, with short SOA the priming effect propagated entirely to the tone task yielding faster responses to tones on visually congruent trials and delayed responses to tones on visually incongruent trials. Together, results suggest that target priming effects arise from processing before and at the level of the central bottleneck such as sensory analysis and response selection. (shrink)

Previous studies have shown that Chinese speakers and non-Chinese speakers exhibit different patterns of cross-modal congruence for the lexical tones of Mandarin Chinese, depending on which features of the pitch they attend to. But is this pattern of language-specific listening a conscious cultural strategy or an automatic processing effect? If automatic, does it also apply when the same pitch contours no longer sound like speech? Implicit Association Tests (IATs) provide an indirect measure of cross-modal association. In a series of IAT (...) studies, conducted with participants with three kinds of language backgrounds (Chinese-dominant bilinguals, Chinese balanced bilinguals, and English speakers with no Chinese experience) we find language-specific congruence effects for Mandarin lexical tones but not for matched sine-wave stimuli. That is, for linguistic stimuli, non-Chinese speakers show advantages for pitch-height congruence (high-pointy, low-curvy); no congruence effects were found for Chinese speakers. For non-linguistic stimuli, all participant groups showed advantages for pitch-height congruence. The present findings suggest that non-lexical tone congruence (high-pointy, low-curvy) is a basic congruence pattern, and the acquisition of a language with lexical tone can alter this perception. (shrink)

Previous studies of auditory expectation have focused on the expectedness perceived by listeners retrospectively in response to events. In contrast, this research examines predictive uncertainty —a property of listeners' prospective state of expectation prior to the onset of an event. We examine the information-theoretic concept of Shannon entropy as a model of predictive uncertainty in music cognition. This is motivated by the Statistical Learning Hypothesis, which proposes that schematic expectations reflect probabilistic relationships between sensory events learned implicitly through exposure. Using (...) probability estimates from an unsupervised, variable-order Markov model, 12 melodic contexts high in entropy and 12 melodic contexts low in entropy were selected from two musical repertoires differing in structural complexity (simple and complex). Musicians and non-musicians listened to the stimuli and provided explicit judgments of perceived uncertainty (explicit uncertainty). We also examined an indirect measure of uncertainty computed as the entropy of expectedness distributions obtained using a classical probe-tone paradigm where listeners rated the perceived expectedness of the final note in a melodic sequence (inferred uncertainty). Finally, we simulate listeners' perception of expectedness and uncertainty using computational models of auditory expectation. A detailed model comparison indicates which model parameters maximize fit to the data and how they compare to existing models in the literature. The results show that listeners experience greater uncertainty in high-entropy musical contexts than low-entropy contexts. This effect is particularly apparent for inferred uncertainty and is stronger in musicians than non-musicians. Consistent with the Statistical Learning Hypothesis, the results suggest that increased domain-relevant training is associated with an increasingly accurate cognitive model of probabilistic structure in music. (shrink)

It is the traditional view of psychology that the attributes of sensation show a one-to-one correspondence to the dimensions of the stimulus. Some such view is also implicit in the naïve epistemology of the physicist. He often thinks of pitch as if it were the perception of the frequency of a tone, but that view soon runs into difficulties. Within psychology it was Wundt who originally equipped sensation with two attributes, quality and intensity, thus making sensations mirror the more (...) obvious aspects of stimuli which differ as to kind and in degree. Later it became clear to Külpe that extension must be an attribute of visual and tactual sensations because the retina and the skin are areal organs and because extent enters into perception quite as ‘immediately’ as does intensity. A loud sound is not a congeries of faint sounds, nor is a perceived line a row of sensations. In a similar reaction against Wundtian atomism Külpe also added duration to the list, for a tone that lasts 0.8 sec. yields a different perception from one that lasts 0.6 sec. and yet there is no sense to saying that the first represents a greater number of seried sensations than the second. Thus the four classical attributes of sensation are quality, intensity, extensity and protensity. The conventional view has been that they are respectively correlated with four aspects of the stimulus, and this paper is written with the intention of refuting this view. (shrink)

Lateral temporal measures of the auditory evoked potential including the T-complex, as well as an earlier negative peak index maturation of auditory/speech processing. Previous studies have shown that these measures distinguish neural processing in children with typical language development from those with disorders and monolingual from bilingual children. In this study, bilingual children with Turkish as L1 and German as L2 were compared with monolingual German-speaking children with developmental language disorder and monolingual German-speaking children with TD in order to disentangle (...) effects of limited language input vs. reduced perceptual abilities in the processing of speech and non-speech stimuli. Sensory processing reflected by the T-complex was compared in response to a German vowel and a sine-wave tone in the three groups of children, ages 5 through 6 years. Stimuli were presented while children watched a muted video. Auditory evoked potentials were time-locked to the vowels and tones. AEPs to the frequent stimuli within an oddball paradigm were analyzed at the left and right temporal electrode sites.The results revealed language status, stimulus, and language test measures all influenced the T-complex amplitudes. Particularly, the peak amplitude of Ta was modulated by language status and stimulus type. Bilingual children had significantly more negative Ta responses than the monolingual children with TD for both vowels and tones while DLD children differed from TD children only for the vowel stimulus. The amplitude of the T-complex was overall more negative at the left than at the right site. The Na peak latency was longer for the bilingual group than that observed for the two monolingual groups. The Tb latency was shorter for DLD and bilingual groups than that for TD children in the vowel condition, but no such latency difference between DLD and bilingual children was found. We suggest that the attenuated T-complex for bilingual children indicates continued plasticity of the auditory cortex to allow for learning of novel, second-language speech sounds. (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)

A basic function of cognition is to detect regularities in sensory input to facilitate the prediction and recognition of future events. It has been proposed that these implicit expectations arise from an internal predictive coding model, based on knowledge acquired through processes such as statistical learning, but it is unclear how different types of statistical information affect listeners’ memory for auditory stimuli. We used a combination of behavioral and computational methods to investigate memory for non-linguistic auditory sequences. Participants repeatedly (...) heard tone sequences varying systematically in their information-theoretic properties. Expectedness ratings of tones were collected during three listening sessions, and a recognition memory test was given after each session. Information-theoretic measures of sequential predictability significantly influenced listeners’ expectedness ratings, and variations in these properties had a significant impact on memory performance. Predictable sequences yielded increasingly better memory performance with increasing exposure. Computational simulations using a probabilistic model of auditory expectation suggest that listeners dynamically formed a new, and increasingly accurate, implicit cognitive model of the information-theoretic structure of the sequences throughout the experimental session. (shrink)

Online experimental methods are used in psychological studies investigating the perceptions and impressions of facial photographs, even without substantial evidence supporting their reliability and validity. Although, the quality of visual stimuli is more difficult to control remotely, the methods might allow us to obtain a large amount of data. Then the statistical analysis of a larger volume of data may reduce errors and suggest significant difference in the stimuli. Therefore, we analyzed the reliability and validity of online surveys (...) in investigating the perceptions and impressions of facial photographs created from averaged faces with skin tones modified using computer graphics. In this study, we conducted online and laboratory experiments with well-controlled conditions. For each experiment, 50 participants completed the same questionnaire regarding their impressions of the same 28 CG facial photographs. The results showed significant correlations between the two experiments for all 19 items in the questionnaire. SD in the Online1 compared to the Control from the stimuli and individual differences were 56–84 and 88–104% in each questionnaire items, respectively. Moreover, the rates of mismatching perceptual evaluations to the corresponding physical features demonstrated in the photographs were 4.9–9.7% on average in an additional online survey of another 2,000 participants. These results suggest that online surveys can be applied to experiments to investigate impressions from CG facial photographs instead of general laboratory experiment by obtaining an appropriate number of participants to offset larger statistical errors that may result from the increased noise in the data from conducting the experiment online. (shrink)

This study investigated whether age and/or differences in hearing sensitivity influence the perception of the emotion dimensions arousal (calm vs. aroused) and valence (positive vs. negative attitude) in conversational speech. To that end, this study specifically focused on the relationship between participants’ ratings of short affective utterances and the utterances’ acoustic parameters (pitch, intensity, and articulation rate) known to be associated with the emotion dimensions arousal and valence. Stimuli consisted of short utterances taken from a corpus of conversational speech. (...) In two rating tasks, younger and older adults either rated arousal or valence using a 5-point scale. Mean intensity was found to be the main cue participants used in the arousal task (i.e., higher mean intensity cueing higher levels of arousal) while mean F 0 was the main cue in the valence task (i.e., higher mean F 0 being interpreted as more negative). Even though there were no overall age group differences in arousal or valence ratings, compared to younger adults, older adults responded less strongly to mean intensity differences cueing arousal and responded more strongly to differences in mean F 0 cueing valence. Individual hearing sensitivity among the older adults did not modify the use of mean intensity as an arousal cue. However, individual hearing sensitivity generally affected valence ratings and modified the use of mean F 0. We conclude that age differences in the interpretation of mean F 0 as a cue for valence are likely due to age-related hearing loss, whereas age differences in rating arousal do not seem to be driven by hearing sensitivity differences between age groups (as measured by pure-tone audiometry). (shrink)

To examine whether anticipatory attention or expectancy is a cognitive process that is automatic or requires conscious control, we employed a paired-stimulus event-related potential paradigm during the transition to sleep. The slow negative ERP wave observed between two successive stimuli, the Contingent Negative Variation , reflects attention and expectancy to the second stimulus. Thirteen good sleepers were instructed to respond to the second stimulus in a pair during waking sessions. In a non-response paradigm modified for sleep, participants then fell (...) asleep while tones played. As expected, N1 decreased and P2 increased in amplitude systematically with the loss of consciousness at sleep onset; the CNV was increasingly more positive. Sleep onset latency was correlated with the amplitude of the CNV. The systematic attenuation of the CNV waveform at sleep onset and its absence in sleep indicates that anticipatory attention requires endogenous conscious control. (shrink)

The goal of this study is to investigate whether different types of structures and lexical tones of Chinese characters cause different processing fluency. In Experiment 1, participants’ explicit affective assessments of Chinese characters with different structures, frequencies, and lexical tones were analyzed. Results indicated that participants showed explicit preferences and dispreferences to different structures and lexical tones. In Experiment 2, participants’ implicit responses to different structures and lexical tones were investigated using a metaphor experimental paradigm. Results were consistent with the (...) major findings of Experiment 1. In Experiments 3 and 4, participants’ recognition of words of different structures and lexical tones were analyzed. Results revealed that participants had a better memory for Surround structure characters when stimuli were visually presented and for Tone 3 when stimuli were auditorily presented. Finally, the significance and implications of this study are discussed. (shrink)

Vocal music and spoken language both have important roles in human communication, but it is unclear why these two different modes of vocal communication exist. Although similar, speech and song differ in certain design features. One interesting difference is in the pitch intonation contour, which consists of discrete tones in song, vs. gliding intonation contours in speech. Here, we investigated whether vocal phrases consisting of discrete pitches (song-like) or gliding pitches (speech-like) are remembered better, conducting three studies implementing auditory same-different (...) tasks at three levels of difficulty. We tested two hypotheses: that discrete pitch contours aid auditory memory, independent of musical experience (“song memory advantage hypothesis”), or that the higher everyday experience perceiving and producing speech make speech intonation easier to remember (“experience advantage hypothesis”). We used closely matched stimuli, controlling for rhythm and timbre, and we included a stimulus intermediate between song-like and speech-like pitch contours (with partially gliding and partially discrete pitches). We also assessed participants' musicality to evaluate experience-dependent effects. We found that song-like vocal phrases are remembered better than speech-like vocal phrases, and that intermediate vocal phrases evoked a similar advantage to song-like vocal phrases. Participants with more musical experience were better in remembering all three types of vocal phrases. The precise roles of absolute and relative pitch perception and the influence of top-down vs. bottom-up processing should be clarified in future studies. However, our results suggest that one potential reason for the emergence of discrete pitch–a feature that characterises music across cultures–might be that it enhances auditory memory. (shrink)

Genetic moderation of experience of reward in response to environmental stimuli is relevant for the study of many psychiatric disorders. Experience of reward, however, is difficult to capture, as it involves small fluctuations in affect in response to small events in the flow of daily life. This study examined a momentary assessment reward phenotype in relation to the catechol-O-methyl transferase (COMT) Val158Met polymorphism. A total of 351 participants from a twin study participated in an Experience Sampling Method procedure to (...) collect daily life experiences concerning events, event appraisals, and affect. Reward experience was operationalized, as the effect of event appraisal on positive affect (PA). Associations between COMT Val 158Met genotype and event appraisal on the one hand and PA on the other were examined using multilevel random regression analysis. Ability to experience reward increased with the number of ‘Met’ alleles of the subject, and this differential effect of genotype was greater for events that were experienced as more pleasant. The effect size of genotypic moderation was quite large: subjects with the Val/Val genotype generated almost similar amounts of PA from a ‘very pleasant event’ as Met/Met subjects did from a ‘bit pleasant event’. Genetic variation with functional impact on cortical dopamine tone has a strong influence on reward experience in the flow of daily life. Genetic moderation of ecological measures of reward experience is hypothesized to be of major relevance to the development of various behavioral disorders, including depression and addiction. Neuropsychopharmacology (2008) 33, 3030–3036; doi:10.1038/sj.npp.1301520; published online 8 August 2007.. (shrink)

Linking arbitrary shapes to personal labels or reward values results in immediate processing benefits for those stimuli that happen to be associated with the self or high rewards in perceptual matching tasks. Here we further explored how social and reward associations interact with multisensory stimuli by pairing labels and objects with tones. We also investigated whether self and reward biases persist for multisensory stimuli with the label removed after an association had been made. Both high reward (...) class='Hi'>stimuli and those associated with the self, resulted in faster responses and improved discriminability, which persisted for multisensory stimuli even when the labels were removed. However, these self- and reward-biases partly depended on the specific alignment between the physical tones and the conceptual order. Performance for reward associations improved when the endpoints of low or high rewards were paired with low or high tones; meanwhile, for personal associations, there was a benefit when the self was paired with either low or high tones, but there was no effect when the stranger was associated with either endpoint. These results indicate that, unlike reward, social personal associations are not represented along a continuum with two marked endpoints but rather with a single reference point. (shrink)

Media exposure influences mental health symptomology in response to salient aversive events, like terrorist attacks, but little has been done to explore the impact of news coverage that varies more subtly in affective content. Here, we utilized an existing data set in which participants self-reported physical symptoms, depressive symptoms, and anxiety symptoms, and completed a potentiated startle task assessing their physiological reactivity to aversive stimuli at three time points (waves) over a 9-month period. Using a computational linguistics approach, we (...) then calculated an average ratio of words with positive vs. negative affective connotations for only articles from news sources to which each participant self-reported being exposed over the prior 2 weeks at each wave of data collection. As hypothesized, individuals exposed to news coverage with more negative affective tone over the prior 2 weeks reported significantly greater physical and depressive symptoms, and had significantly greater physiological reactivity to aversive stimuli. (shrink)

Hermann von Helmholtz (1821-1894) established results both controversial and enduring: analysis of mixed colors and of combination tones, arguments against nativism, and the analysis of sensation and perception using the techniques of natural science. The paper focuses on Helmholtz’s account of sensation, perception, and representation via “physiological psychology”. Helmholtz emphasized that external stimuli of sensations are causes, and sensations are their effects, and he had a practical and naturalist orientation toward the analysis of phenomenal experience. However, he argued as (...) well that sensation must be interpreted to yield representation, and that representation is geared toward objective representation (the central thesis of contemporary intentionalism). The interpretation of sensation is based on “facts” revealed in experiment, but extends to the analysis of the quantitative, causal relationships between stimuli and responses. A key question for Helmholtz’s theory is the extent to which mental operations are to be ascribed a role in interpreting sensation. (shrink)

Hearing loss in old age, which often goes untreated, has far-reaching consequences. Furthermore, reduction of cognitive abilities and dementia can also occur, which also affects quality of life. The aim of this study was to investigate the hearing performance of seniors without hearing complaints with respect to speech perception in noise and the ability to localize sounds. Results were tested for correlations with age and cognitive performance. The study included 40 subjects aged between 60 and 90 years with not self-reported (...) hearing problems. The subjects were screened for dementia. Audiological tests included pure-tone audiometry and speech perception in two types of background noise which was either co-located or spatially separated from the target speech. Sound localization ability was assessed and hearing performance was self-evaluated by a questionnaire. Speech in noise and sound localization was compared with young normal hearing adults. Although considering themselves as hearing normal, 17 subjects had at least a mild hearing loss. There was a significant negative correlation between hearing loss and dementia screening score. Speech perception in noise decreased significantly with age. There were significant negative correlations between speech perception in noise and DemTect score for both spatial configurations. Mean SRTs obtained in the co-located noise condition with amplitude-modulated noise were on average 3.1 dB better than with continuous noise. This gap-listening effect was severely diminished compared to a younger normal hearing subject group. In continuous noise, spatial separation of speech and noise led to better SRTs compared to the co-located masker condition. SRTs in MSNF deteriorated in modulated noise compared to continuous noise by 2.6 dB. Highest impact of age was found for speech perception scores using noise stimuli with temporal modulation in binaural test conditions. Mean localization error was in the range of young adults. Mean amount of front/back confusions was 11.5% higher than for young adults. Speech perception tests in the presence of temporally modulated noise can serve as a screening method for early detection of hearing disorders in older adults. This allows for early prescription of hearing aids. (shrink)

This study investigates the phonetics of German nuclear rise-fall contours in relation to contexts that trigger either a contrastive or a non-contrastive interpretation in the answer. A rise-fall contour can be conceived of a tonal sequence of L-H-L. A production study elicited target sentences in contrastive and non-contrastive contexts. The majority of cases realized showed a nuclear rise-fall contour. The acoustic analysis of these contours revealed a significant effect of contrastiveness on the height/alignment of the accent peak as a function (...) of focus context. On the other hand, the height/alignment of the low turning point at the beginning of the rise did not show an effect of contrastiveness. In a series of semantic congruency perception tests participants judged the congruency of congruent and incongruent context-stimulus pairs based on three different sets of stimuli: (i) original data, (ii) manipulation of accent peak, and (iii) manipulation of the leading low. Listeners distinguished nuclear rise-fall contours as a function of focus context (Experiment 1 and 2), however not based on manipulations of the leading low (Experiment 3). The results suggest that the alignment and scaling of the accentual peak are sufficient to license a contrastive interpretation of a nuclear rise-fall contour, leaving the rising part as a phonetic onglide, or as a low tone that does not interact with the contrastivity of the context. (shrink)

This study tested to what extent young listeners metaphorically conceptualize basic musical relations. Ninety children aged 11 (30 attending a music school and 30 Serbian and 30 Romani children with no musical education) were played 5 stimuli with mutually opposed musical elements and asked to respond what the first and what the second one was like. Their answers were classified into metaphors according to the tenets of the conceptual metaphor theory. The results suggest an overwhelming dominance of metaphorical replies, (...) in which most mappings were based on image schemas within a predominantly visual–spatial modality. There were some differences in conceptualizations, however, with “high and low” tones also perceived as “big and small,” or “upward” musical motion seen as “forward.” This article analyzes the possibility of finding a common denominator for seemingly disparate replies, where the study of musical conceptualization might be instrumental in the cognitive semantic quest for metaphorical universals. (shrink)

Objective: Automatic detection of auditory stimuli, represented by the mismatch negativity, facilitates rapid processing of salient stimuli in the environment. The amplitude of MMN declines with ageing. However, whether automatic detection of auditory stimuli is affected by visually perceived negative emotions with normal ageing remains unclear. We aimed to evaluate how fearful facial expressions affect the MMN amplitude under ageing.Methods: We used a modified oddball paradigm to analyze the amplitude of N100 and MMN in 22 young adults (...) and 21 middle-aged adults.Results: We found that the amplitude of N1 elicited by standard tones was smaller under fearful facial expressions than neutral facial expressions and was more negative for young adults than middle-aged adults. The MMN amplitude under fearful facial expressions was greater than neutral facial expressions, but the amplitude in middle-aged adults was smaller than in young adults.Conclusion: Visually perceived negative emotion promotes the extraction of auditory features. Additionally, it enhances the effect of auditory change detection in middle-aged adults but fails to compensate for this decline with normal ageing.Significance: The study may help to understand how visually perceived emotion affects the early stage of auditory information processing from an event process perspective. (shrink)

The concept of intrasemiotics designates the semiosis of the interpenetration between the biological and psychological autopoietic systems as Luhmann defines them in his theory. Combining a Peircian concept of semiosis with Luhmann’s theory in the framework of biosemiotics makes it possible for us to view the interplay of mind and body as a sign play. The recently suggested term ‘sign play’ pertains to ecosemiotics processes between animals of the same species stretching Wittgenstein’s language concept into the animal world of signs. (...) With intrasemiotics there is an inner interplay. Lorenz in ethology has used the concept of motivation, and Uexküll the concept of tone, mostly describing the outgoing effect on perception and the reactions on perception. One could view intrasemiotics as the interplay between Lorenz’ biologically defined motivations and Freud’s Id, understood as the psychological aspect of many of the natural drives. In the last years of development of his theory Lorenz studied how emotional feedback can introduce just a little learning through pleasurable feelings also into the instinctivesystems because, as he reasoned, there must be some kind of reward going through instinctive movements, thus making the appetitive searching behaviourfor sign stimuli possible. But he never found an acceptable way of modelling motivation in biological science. A cybersemiotic model may combine these approaches, defining various concepts of thoughtsemiotics, phenosemiotic and intrasemiotics, combining them with the already known concepts of exosemiotics, ecosemiotics, endosemiotics to an approach which studies the self-organising semiotic processes in living systems. (shrink)

Prevailing theories of the neural basis of at least a subset of individuals with autism spectrum disorder include an imbalance of excitatory and inhibitory neurotransmission. These circuitry imbalances are commonly probed in adults using auditory steady-state responses to elicit coherent electrophysiological responses from intact circuitry. Challenges to the ASSR methodology occur during development, where the optimal ASSR driving frequency may be unknown. An alternative approach is the amplitude-modulated sweep in which the amplitude of a tone is modulated as a (...) sweep from 10 to 100 Hz over the course of ∼15 s. Phase synchrony of evoked responses, measured via intra-trial coherence, is recorded as a function of frequency. We applied such AM sweep stimuli bilaterally to 40 typically developing and 80 children with ASD, aged 6–18 years. Diagnoses were confirmed by DSM-5 criteria as well as autism diagnostic observation schedule observational assessment. Stimuli were presented binaurally during MEG recording and consisted of 20 AM swept stimuli with a duration of ∼30 s each. Peak intra-trial coherence values and peak response frequencies of source modeled responses were examined. First, the phase synchrony or inter-trial coherence of the ASSR is diminished in ASD; second, hemispheric bias in the ASSR, observed in typical development, is maintained in ASD, and third, that the frequency at which the peak response is obtained varies on an individual basis, in part dependent on age, and with altered developmental trajectories in ASD vs. TD. Finally, there appears an association between auditory steady-state phase synchrony and clinical assessment of language ability/impairment. We concluded that the AM sweep stimulus provides a mechanism for probing ASSR in an unbiased fashion, during developmental maturation of peak response frequency, peak frequencies vary, in part due to developmental age, and importantly, ITC at this peak frequency is diminished in ASD, with the degree of ITC disturbance related to clinically assessed language impairment. (shrink)

The article discusses a methodological position that allows interpreting modes and, fist of all, musical modes as cosmographic and ethical objects without losing the approach to them as musical phenomena proper. The study is based on musical theoretical data relating to the period of Classical antiquity and the Middle Ages, as well as on the author's concept of modal ontology and the interpretation of modus as artistic content, developed by E.V. Nazaikinsky. In order to reveal the ontological prerequisites for the (...) unity of the musical modus with a cosmographic or ethical phenomenon, the author analyzes the ancient Chinese system of tones lü, Indian ragas, ancient tetrachords, the voices of the Russian Orthodox znamenny chant. The features of the correspondence of these musical phenomena to the periods of the year or day, elements, archetypal states of the human spirit, social laws are revealed. In the course of the analysis, the question is formulated about the nature of the connection between musical modes and non-musical reality: was it exclusively conventional, established by virtue of tradition, or did it have other, essential reasons? The search for unconventional foundations of the unity of musical modes with natural and socio-ethical phenomena leads to its ontological interpretation. The relevance of this research method is argued in the process of critical analysis of the semiotic approach to musical modes as references or conventional signs of objects. It also demonstrates the unproductiveness of the psychoemotional interpretation of musical modes as stimuli that cause certain emotional states. The result of the research is the development of a specific musical-ontological approach based on the methodology of modal analysis. This analysis aims at a syncretic understanding of unity. In the light of this approach, it was concluded that the concept of musical modus not only clarifies the rhythmic and harmonic laws of the musical language, but also embodies the interconnection of the phenomena of music, human spirit, nature, and space. (shrink)

Temporal stability and change in neutral contexts can transform continuous experiences into distinct and memorable events. However, less is known about how shifting emotional states influence these memory processes, despite ample evidence that emotion impacts non-temporal aspects of memory. Here, we examined if emotional stimuli influence temporal memory for recent event sequences. Participants encoded lists of neutral images while listening to auditory tones. At regular intervals within each list, participants heard emotional positive, negative, or neutral sounds, which served as (...) “emotional event boundaries” that divided each sequence into discrete events. Temporal order memory was tested for neutral item pairs that either spanned an emotional sound or were encountered within the same auditory event. Encountering a highly arousing event boundary led to faster response times for items encoded within the next event. Critically, we found that highly arousing sounds had different effects on binding ongoing versus ensuing sequential representations in memory. Specifically, highly arousing sounds were significantly more likely to enhance temporal order memory for ensuing information compared to information that spanned those boundaries, especially for boundaries with negative valence. These findings suggest that within aversive emotional contexts, fluctuations in arousal help shape the temporal organisation of events in memory. (shrink)

Tracking emotional responses as they unfold has been one of the hallmarks of applied neuroscience and related disciplines, but recent studies suggest that automatic tracking of facial expressions have low validation. In this study, we focused on the direct measurement of facial muscles involved in expressions such as smiling. We used single-channel surface electromyography to evaluate the muscular activity from the Zygomaticus Major face muscle while participants watched music videos. Participants were then tasked with rating each video with regard to (...) their thoughts and responses to each of them, including their judgment of emotional tone, personal preference and rating of whether the video displayed strength and impression. Using a minimal recording setup, we employed three ways to characterize muscular activity associated with spontaneous smiles. The total time spent smiling, the average duration of smiles, and instances of high valence. Our results demonstrate that Valence was the emotional dimension that was most related to the Zygomaticus activity. Here, the ZygoNum had higher discriminatory power than ZygoLen for Valence quantification. An additional investigation using fractal properties of sEMG time series confirmed previous studies of the Facial Action Coding System documenting a smoother contraction of facial muscles for enjoyment smiles. Further analysis using ZygoTrace responses over time to the video events discerned “high valence” stimuli with a 76% accuracy. Additional validation of this approach came against previous findings on valence detection using features derived from a single channel EEG setup. We discuss these results in light of both the recent replication problems of facial expression measures, and in relation to the need for methods to reliably assess emotional responses in more challenging conditions, such as Virtual Reality, in which facial expressions are often covered by the equipment used. (shrink)

Although acoustic frequency is not a spatial property of physical objects, in common language, pitch, i.e., the psychological correlated of frequency, is often labeled spatially (i.e., “high in pitch” or “low in pitch”). Pitch-height is known to modulate (and interact with) the response of participants when they are asked to judge spatial properties of non-auditory stimuli (e.g., visual) in a variety of behavioral tasks. In the current study we investigated whether the modulatory action of pitch-height extended to the haptic (...) estimation of height of a virtual step. We implemented a HW/SW setup which is able to render virtual 3D objects (stair-steps) haptically through a PHANTOM device, and to provide real-time continuous auditory feedback depending on the user interaction with the object. The haptic exploration was associated with a sinusoidal tone whose pitch varied as a function of the interaction point’s height within (i) a narrower and (ii) a wider pitch range, or (iii) a random pitch variation acting as a control audio condition. Explorations were also performed with no sound (haptic only). Participants were instructed to explore the virtual step freely, and to communicate height estimation by opening their thumb and index finger to mimic the step riser height, or verbally by reporting the height in centimeters of the step riser. We analyzed the role of musical expertise by dividing participants into non musicians and musicians. Results showed no effects of musical pitch on high-realistic haptic feedback. Overall there is no difference between the two groups in the proposed multimodal conditions. Additionally, we observed a different haptic response distribution between musicians and non musicians when estimations of the auditory conditions are matched with estimations in the no sound condition. (shrink)

Individuals typically produce auditory sequences, such as speech or music, at a consistent spontaneous rate or tempo. We addressed whether spontaneous rates would show patterns of convergence across the domains of music and language production when the same participants spoke sentences and performed melodic phrases on a piano. Although timing plays a critical role in both domains, different communicative and motor constraints apply in each case and so it is not clear whether music and speech would display similar timing mechanisms. (...) We report the results of two experiments in which adult participants produced sequences from memory at a comfortable spontaneous (uncued) rate. In Experiment 1, monolingual pianists in Buffalo, New York engaged in three production tasks: speaking sentences from memory, performing short melodies from memory, and tapping isochronously. In Experiment 2, English-French bilingual pianists in Montréal, Canada produced melodies on a piano as in Experiment 1, and spoke short rhythmically-structured phrases repeatedly. Both experiments led to the same pattern of results. Participants exhibited consistent spontaneous rates within each task. People who produced one spoken phrase rapidly were likely to produce another spoken phrase rapidly. This consistency across stimuli was also found for performance of different musical melodies. In general, spontaneous rates across speech and music tasks were not correlated, whereas rates of tapping and music were correlated. Speech rates (for syllables) were faster than music rates (for tones) and speech showed a smaller range of spontaneous rates across individuals than did music or tapping rates. Taken together, these results suggest that spontaneous rate reflects cumulative influences of endogenous rhythms (in consistent self-generated rates within domain), peripheral motor constraints (in finger movements across tapping and music), and communicative goals based on the cultural transmission of auditory information (slower rates for to-be-synchronized music than for speech). (shrink)

Psychophysical scaling models of the form R = f, with R the response and I some intensity of an attribute, all assume that people judge the amounts of an attribute. With simple biases excepted, most also assume that judgments are independent of space, time, and features of the situation other than the one being judged. Many data support these ideas: Magnitude estimations of brightness increase with luminance. Nevertheless, I argue that the general model is wrong. The stabilized retinal image literature (...) shows that nothing is seen if light does not change over time. The classification literature shows that dimensions often combine to produce emergent properties that cannot be described by the elements in the stimulus. These and other effects cannot be adjusted for by simply adding variables to the general model because some factors do not combine linearly. The proposed alternative is that people initially judge the entire stimulus – the object in terms of its environment. This agrees with the constancy literature that shows that objects and their attributes are identified through their relations to other aspects of the scene. That the environment determines judgments is masked in scaling studies where the standard procedure is to hold context constant. In a typical brightness study the essential stimulus might be the intensity of the light or a difference between the light and the background. The two are perfectly confounded. This issue is examined in the case of audition. Judgments of the loudness of a tone depend on how much that tone differs from the previous tone in both pitch and loudness. To judge loudness people first seem to process the stimulus object in terms of differences between it and other aspects in the situation; only then do they assess the feature of interest. Psychophysical judgments will therefore be better interpreted by theories of attention that are based in biology or psychology than those that are based in classical physics. (shrink)

In _The Subject of Aesthetics_ Tone Roald develops a psychology of art based on people’s descriptions of their own engagement with visual art.

Emotions are essential for human existence, both lighting the way toward the brightest of achievements and setting the course into the darkness of suffering. Not surprisingly, then, emotion research is currently one of the hottest topics in the field of psychology. Yet to divine the nature of emotion is a complex and extensive task. In this book emotions are approached thought an exploration of the nature of cognition in emotion; the nature of thoughts in feelings. Different approaches to emotions are (...) explored, from brain research to research at the level of experience, and it is argued that all approaches must seriously take into account the experiential dimension. A qualitative study of experiences with art is therefore presented, as emotions and cognition are often expressed in experiences with art. It is the first study of its kind. Descriptions of various affective phenomena are then given which have significant implications for contemporary debates about emotions, resolving several contemporary controversies. ContentsAcknowledgementsIntroductionChapter 1: Describing EmotionChapter 2: Describing CognitionChapter 3: Theories about the Emotion-Cognition RelationshipChapter 4: Experiences with ArtChapter 5: A Phenomenological Study of Art AppreciationChapter 6: DiscussionBibliographyIndex. (shrink)

This article investigates the construction of laboratory animal science as a version of “good science.” In the 1950s, a transnational community of scientists initiated large-scale standardization of animals for biomedicine, which included the standardization of care of laboratory animals as well as the development of guidelines and regulations on laboratory animal use. The article traces these developments and investigates how the standardization work took part in enacting laboratory animals as compound objects of care—and laboratory animal science as being an intrinsically (...) ethical practice—as good science. Importantly, the analysis shows how technological development is inextricably accompanied by ethics, as it is the result of complex social organization involving multiple ethical commitments. By investigating the development of laboratory animal science historically, it is possible to tease out how values, norms, and standards have been made integral to specific practices in the first place and how they have developed and been sustained over time. The article contributes to current concerns in science and technology studies about how life is made, valued, and ordered at the intersection of science and society and in biomedicine, including how certain values and positions of valuation come to count as authoritative and others not. (shrink)

What is the core of pedagogical practice? Which qualities are primary to the student–teacher relationship? What is a suitable language for pedagogical practice? What might be the significance of an everyday presentational pedagogical act like for example the glance of a teacher? The pedagogical relation as lived relationality experientially sensed, as well as phenomenologically described and interpreted, precedes educational methods and theories and profoundly challenges educational practice and reflection. The paper highlights the aporetic character of pedagogical practice, reflection and research (...) by suggesting that the pedagogical relation opens up for a practice that is ethically and existentially normative rather than developmentally and socially normative, and thus fundamentally shifts the meaning of education. (shrink)

In educational discourse dialogue tends to be viewed as being (morally) superior to monologue. When we look at them as basic forms of communication, we find that dialogue is a two-way, one-to-one form and monologue is a one-way, one-to-many form. In this paper I revisit the alleged (moral) superiority of dialogue. First, I problematize certain normative features of dialogue, most notably reciprocity. Here I use Socrates as my example (the Phaedrus). Second, I discuss monologue, using Jesus as my example (St. (...) Luke's gospel). I argue that there are values in the monological form that tend to be overlooked and unrecognized, for example the freedom of the audience not to respond. (shrink)

ABSTRACT The problem of persistence and emergence endowed with the limits of “actuality” is examined in the context of Nietzsche's appropriation of both Heraclitus and Boscovich to forge a natural philosophy of becoming. The physics of Boscovich allowed a systematic refurbishment of Heraclitean notions of becoming over being while Heraclitus's tensive dynamic of generation surpassed and overcame the limits of Anaximander's indeterminate. Nietzsche's early investigations bear overt signs of a formative philosophical outlook that seeks to marry the infinite and the (...) sensible in a fashion consistent with his mature concept of becoming. (shrink)

ABSTRACT: It is not uncommon, in argumentation and in various professions, to diagnose a gap between theory and practice; and in the next step argue that they should be brought into line with each other. But what does this mean? I shall argue that some version of a gap is sound, as it leaves theory with a critical, independent role in relation to practice – something that an equilibrium view does not.

Starting from the practice of hermeneutic phenomenological writing as it has been advanced by van Manen, this paper addresses the understanding of an ‘experiential givenness’ of the world as basis for our ‘lived writing’; an understanding that is essential to the new phenomenological writer if s/he is to be part of the phenomenological writing process. As the ultimate givenness of the world is the basis of knowledge, we constantly strive to “reach out on life beyond itself” (Gadamer, 1960/1985, p. 62), (...) and thus need the right language to let the phenomenological text speak. The phenomenological writer’s understandings of the chiasm of world and self, the depth of phenomenological awareness, and the interlacement of ethic-aesthetical poetic writing, are qualities discussed as essential for the phenomenological writer to understand in a felt–sensed way in order to write a phenomenological text. A deconstructive approach to (pre)reflective phenomenological writing is put forth by provocatively asking what it means to be involved in, and profoundly enclosed with the “wordliness of the world” (Saevi, 2011a, p. 3). The radical hermeneutic phenomenological openness to what it means to be human and how to encounter the human givenness of phenomenological seeing and writing renders it possible for the writer’s personal voice to evolve. (shrink)

By the mid-1960s, nonhuman primates had become key experimental organisms for vaccine development and testing, and was seen by many scientists as important for the future success of this field as well as other biomedical undertakings. A major hindrance to expanding the use of nonhuman primates was the dependency on wild-captured animals. In addition to unreliable access and poor animal health, procurement of wild primates involved the circulation of infectious diseases and thus also public health hazards. This paper traces how (...) the World Health Organization (WHO) became involved in the issue of primate supply, and shows how by the late 1960s concerns for vaccine development and the conservation of wildlife began to converge. How did the WHO navigate public health and animal health? What characterized the response and with what implications for humans and animals? The paper explores how technical standards of care were central to managing the conflicting concerns of animal and human health, biological standardization, and conservation. While the WHO’s main aim was to prevent public health risks, I argue that imposing new standards of care implied establishing new hierarchies of humans and animals, and cultures of care. (shrink)

This important book explores the question of what an educational theory is and how educational theories can work. It offers a classification scheme of distinct types of educational theory and considers ways the nature of theories can inform the work of educational theorists and practitioners. Kvernbekk observes throughout how metatheoretical knowledge of the structure of theory types will improve understanding and representation of educational phenomena and enhance the ability to change these phenomena for the better. The author explores how the (...) philosophy of science can answer what a theory is and applies two influential but different theory conceptions to the field of education. It is argued that educational theories are representational devices that allow us to understand, describe and explain phenomena, and, when desired, to change them. The analysis offers a classification scheme that allows us to discriminate distinct types of educational theory: goal-directed, equivalence and interlevel theories. Examples of all three types are discussed, covering their structure, what they say about the phenomena and how they say it. The book also offers a critical overview of different conceptions of practice and different understandings of the theory-practice relationship. Encouraging a strong understanding of what theories say about the phenomena they represent, this book will be of interest to educational researchers and postgraduate students in the fields of philosophy of education, education theory and education policy. (shrink)

This article analyzes the concept of narrative.How do we recognize a narrative when we seeone? Which criteria do we or should we apply?The article itself serves as a (possible)example of a narrative, and is thus adiscussion of itself as a narrative product. Ialso discuss the possible narrative structureof the process leading up to the completedarticle. I first discuss two approaches tocategorization and the most commonly referredto criteria for identifying narratives. Next Idiscuss various roles found in narratives andthe roles found in (...) the current article. FinallyI discuss the problems principally involved inpunctuation of sequences and thus in decidingwhich narrative we are dealing with. Itis concluded that the categorization criteriaare too vague to perform the job they areintended to do. (shrink)