Mismatch negativity is the electroencephalographic waveform obtained by subtracting event-related potential responses evoked by unexpected deviant stimuli from responses evoked by expected standard stimuli. While the MMN is thought to reflect an unexpected change in an ongoing, predictable stimulus, it is unknown whether MMN responses evoked by changes in different stimulus features have different magnitudes, latencies, and topographies. The present study aimed to investigate whether MMN responses differ depending on whether sudden stimulus change occur in pitch, duration, location or vowel (...) identity, respectively. To calculate ERPs to standard and deviant stimuli, EEG signals were recorded in normal-hearing participants who listened to roving oddball sequences of artificial syllables. In the roving paradigm, any given stimulus is repeated several times to form a standard, and then suddenly replaced with a deviant stimulus which differs from the standard. Here, deviants differed from preceding standards along one of four features. The feature levels were individually chosen to match behavioral discrimination performance. We identified neural activity evoked by unexpected violations along all four acoustic dimensions. Evoked responses to deviant stimuli increased in amplitude relative to the responses to standard stimuli. A univariate analysis yielded no significant differences between MMN responses following violations of different features. However, in a multivariate analysis, acoustic features could be decoded from the topography of mismatch responses, although at later latencies than those typical for MMN. These results support the notion that deviant feature detection may be subserved by a different process than general mismatch detection. (shrink)

Speech perception under adverse conditions is a multistage process involving a dynamic interplay among acoustic, cognitive, and linguistic factors. Nevertheless, prior research has primarily focused on factors within this complex system in isolation. The primary goal of the present study was to examine the interaction between processing depth and the acoustic challenge of noise and its effect on processing effort during speech perception in noise. Two tasks were used to represent different depths of processing. The speech recognition task (...) involved repeating back a sentence after auditory presentation, while the tiredness judgment task entailed a subjective judgment of whether the speaker sounded tired. The secondary goal of the study was to investigate whether pupil response to alteration of dynamic pitch cues stems from difficult linguistic processing of speech content in noise or a perceptual novelty effect due to the unnatural pitch contours. Task-evoked peak pupil response from two groups of younger adult participants with typical hearing was measured in two experiments. Both tasks were implemented in both experiments, and stimuli were presented with background noise in Experiment 1 and without noise in Experiment 2. Increased peak pupil dilation was associated with deeper processing, particularly in the presence of background noise. Importantly, there is a non-additive interaction between noise and task, as demonstrated by the heightened peak pupil dilation to noise in the speech recognition task as compared to in the tiredness judgment task. Additionally, peak pupil dilation data suggest dynamic pitch alteration induced an increased perceptual novelty effect rather than reflecting effortful linguistic processing of the speech content in noise. These findings extend current theories of speech perception under adverse conditions by demonstrating that the level of processing effort expended by a listener is influenced by the interaction between acoustic challenges and depth of linguistic processing. The study also provides a foundation for future work to investigate the effects of this complex interaction in clinical populations who experience both hearing and cognitive challenges. (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)

© 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)

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)

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)

Human beings respond to their immediate environments in a variety of ways, with emotion playing a cardinal role. In evolutionary theories, emotions are thought to prepare an organism for action. The interplay of acoustic environments, emotions, and evolutionary needs are currently subject to discussion in soundscape research. Universal definitions of emotion and its nature are currently missing, but there seems to be a fundamental consensus that emotions are internal, evanescent, mostly conscious, relational, manifest in different forms, and serve a (...) purpose. Research in this area is expanding, particularly in regards to the context-related, affective, and emotional processing of environmental stimuli. A number of studies present ways to determine the nature of emotions elicited by a soundscape and to measure these reliably. Yet the crucial question—which basic and complex emotions are triggered and how they relate to affective appraisal—has still not been conclusively answered. To help frame research on this topic, an overview of the theoretical background is presented that applies emotion theory to soundscape. Two latent fundamental dimensions are often found at the center of theoretical concepts of emotion: valence and arousal. These established universal dimensions can also be applied in the context of emotions that are elicited by soundscapes. Another, and perhaps more familiar, parallel is found between emotion and music. However, acoustic environments are more subtle than musical arrangements, rarely applying the compositional and artistic considerations frequently used in music. That said, the measurement of emotion in the context of soundscape studies is only of additional value if some fundamental inquiries are sufficiently answered: To what extent does the reporting act itself alter emotional responses? Are all important affective qualities consciously accessible and directly measurable by self-reports? How can emotion related to the environment be separated from affective predisposition? By means of a conceptual analysis of relevant soundscape publications, the consensus and conflicts on these fundamental questions in the light of soundscape theory are highlighted and needed research actions are framed. The overview closes with a proposed modification to an existing, standardized framework to include the meaning of emotion in the design of soundscapes. (shrink)

This article explores and examines research in the field of human vocalization, proposing an evolutionary sequence for human acoustic perception and productive response. This involves updating and extending Charles Darwin’s 1871 proposal that musical communi­cation predated language, while providing the anatomical and behavioral foundations for the articulacy on which it depends. In presenting evidence on which a new consensus regarding the emergence of human vocal ability may be based, we present and review contributions from a wide range of (...) disciplines, illustrating that the phenomenon of human musicality may have had more of a core function in shaping our anatomy and culture than has hitherto been recognized. Essential to the adaptive sequence on which this depends is human perceptual and productive response to the properties of the Harmonic Series. Both music and language have emerged from the auditory and performative consequences of this relationship. (shrink)

Introduction. A radical tendency in modern approaches to understanding the mechanisms of the brain is the tendency of some scientists to believe that the brain is a receptor capable of capturing thoughts; the nature of the occurrence of the thoughts themselves, however, is not to be clarified. However, speech expressing thoughts is undoubtedly the result of the work of the brain, so studies of the frequency structure of speech can be the basis for considering the material structure of the brain (...) as a kind of “antenna”. In this approach, the problem of noise protection against the background of the undeniable frequency similarity of speech and music appears to us from somewhat different positions. This study raises the question of how essential the overall height of the musical system is to the perception of music (are there musical systems that are harmful or useful, in terms of their effects on the psyche). This question is also relevant to speech perception.Methodology and sources. The main sources in which the work of the brain and the essence of consciousness are considered from the positions indicated above were for us the work of American and British neurophysiologists and psychiatrists (Sam Parnia, Peter Fenwick). These scientists are studying the phenomena that accompany clinical death, and argue that at these moments the brain functions to the greatest extent as a receiving “antenna”. Assuming that any antenna is to be tuned, we are trying to identify possible ways to “tune” the brain. To do this, we propose to study the frequency characteristics of speech (in the simplest case, when singing vowels in a calm state) for their belonging to a particular musical system, as well as the peculiarities of music perception depending on the musical system (on the height of the note “la”). Varying the frequency characteristics of speech in a particular musical system can be considered, in our opinion, the main way to “tune” the brain. The methodology of the method is based on the use of frequency analysis of sound and the basic provisions of the elementary theory of music.Results and discussion. The main conclusion made by Western psychiatrists is the brain is not an organ of thought, consciousness exists independently from outside, the work of consciousness cannot be explained by the functioning of the brain – it requires a hardware check. If the neural network is an “antenna” that captures thoughts, and its “adjustment” at the physical level can be carried out (and is carried out) through sensory systems (including the hearing organ), the study of the frequency structure of speech will answer a number of important questions, including including related and higher brain functions (insight, creativity). Our experiments (Saint Petersburg Electrotechnical University, FIBS, department of EUT) showed that the influence of the “increased” or “lowered” musical-speech system on brain activity is insignificant. The study revealed the equiprobability of the frequency structure of speech. Since our brain lacks some characteristic set of frequencies – elements of a uniformly temperamental system, it is not necessary to talk about the harmful (or any other noise) effect of the “raised” and “lowered” systems due to deviation from the “internal standard”.Conclusion. In response to the assumptions made by Western experts, we proposed a frequency interpretation of the processes occurring in the brain, which, perhaps, will explain in more detail such phenomena as inspiration, discovery, etc., which occur with minimal activity of consciousness. Despite the limited methods of hardware study of factors that influence the activity of the brain and largely determine its higher functions (for example, creativity), the results of the brain's work in relation to music (both in terms of its creation and in terms of our reaction to it) are quite analyzable, which was shown in this study. The “musicality” of speech is extremely vividly represented in its frequency structure and allows one to reveal, to one degree or another, the features of the brain. (shrink)

PurposeThe ability to hear ourselves speak has been shown to play an important role in the development and maintenance of fluent and coherent speech. Despite this, little is known about the developing speech motor control system throughout childhood, in particular if and how vocal and articulatory control may differ throughout development. A scoping review was undertaken to identify and describe the full range of studies investigating responses to frequency altered auditory feedback in pediatric populations and their contributions to our understanding (...) of the development of auditory feedback control and sensorimotor learning in childhood and adolescence.MethodRelevant studies were identified through a comprehensive search strategy of six academic databases for studies that included real-time perturbation of frequency in auditory input, an analysis of immediate effects on speech, and participants aged 18 years or younger.ResultsTwenty-three articles met inclusion criteria. Across studies, there was a wide variety of designs, outcomes and measures used. Manipulations included fundamental frequency, formant frequency, frequency centroid of fricatives, and both fundamental and formant frequencies. Study designs included contrasts across childhood, between children and adults, and between typical, pediatric clinical and adult populations. Measures primarily explored acoustic properties of speech responses. Some studies additionally examined the association of these acoustic responses with clinical measures, and neural measures using electrophysiology and magnetic resonance imaging.ConclusionFindings indicated that children above 4 years generally compensated in the opposite direction of the manipulation, however, in several cases not as effectively as adults. Overall, results varied greatly due to the broad range of manipulations and designs used, making generalization challenging. Differences found between age groups in the features of the compensatory vocal responses, latency of responses, vocal variability and perceptual abilities, suggest that maturational changes may be occurring in the speech motor control system, affecting the extent to which auditory feedback is used to modify internal sensorimotor representations. Varied findings suggest vocal control develops prior to articulatory control. Future studies with multiple outcome measures, manipulations, and more expansive age ranges are needed to elucidate findings. (shrink)

Recent research on body and head positions has shown that postural changes may induce varying degrees of changes on acoustic speech signals and articulatory gestures. While the preservation of formant profiles across different postures is suitably accounted for by the two-tube model and perturbation theory, it remains unclear whether it is resulted from the accommodation of tongue postures. Specifically, whether the tongue accommodates the changes in head angle to maintain the target acoustics is yet to be determined. The present (...) study examines vowel acoustics and their correspondence with the articulatory maneuvers of the tongue, including both tongue postures and movements of the tongue center, across different head angles. The results show that vowel acoustics, including pitch and formants, are largely unaffected by upward or downward tilting of the head. These preserved acoustics may be attributed to the lingual gestures that compensate for the effects of gravity. Our results also reveal that the tongue postures in response to head movements appear to be vowel-dependent, and the tongue center may serve as an underlying drive that covariates with the head angle changes. These results imply a close relationship between vowel acoustics and tongue postures as well as a target-oriented strategy for different head angles. (shrink)

Generations of researchers observed a mismatch between headphone and loudspeaker presentation: the sound pressure level at the eardrum generated by a headphone has to be about 6 dB higher compared to the level created by a loudspeaker that elicits the same loudness. While it has been shown that this effect vanishes if the same waveforms are generated at the eardrum in a blind comparison, the origin of the mismatch is still unclear. We present new data on the issue that systematically (...) characterize this mismatch under variation of the stimulus frequency, presentation room, and binaural parameters of the headphone presentation. Subjects adjusted the playback level of a headphone presentation to equal loudness as loudspeaker presentation, and the levels at the eardrum were determined through appropriate transfer function measurements. Identical experiments were conducted at Oldenburg and Aachen with 40 normal-hearing subjects including 14 that passed through both sites. Our data verify a mismatch between loudspeaker and binaural headphone presentation, especially at low frequencies. This mismatch depends on the room acoustics, and on the interaural coherence in both presentation modes. It vanishes for high frequencies and broadband signals if individual differences in the sound transfer to the eardrums are accounted for. Moreover, small acoustic and non-acoustic differences in an anechoic reference environment exert a large effect on the recorded loudness mismatch, whereas not such a large effect of the respective room is observed across moderately reverberant rooms at both sites. Hence, the non-conclusive findings from the literature appear to be related to the experienced disparity between headphone and loudspeaker presentation, where even small differences in room acoustics significantly change the response behavior of the subjects. Moreover, individual factors like loudness summation appear to be only loosely connected to the observed mismatch, i.e., no direct prediction is possible from individual binaural loudness summation to the observed mismatch. These findings – even though not completely explainable by the yet limited amount of parameter variations performed in this study – have consequences for the comparability of experiments using loudspeakers with conditions employing headphones or other ear-level hearing devices. (shrink)

The greatest challenge for Cultural Selection Theory 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 et al. have argued that Cultural Selection Theory requires simple, conclusive, unambiguous case studies in order to meet this challenge. To that end, this paper examines the songs of the Rufous-collared Sparrow, which seem to (...) exhibit cultural adaptations minimizing signal degradation relative to local environments. 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. This paper explores the mechanisms responsible for these putative acoustic adaptations through a series of computer simulations. 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 in-principle objections that have been raised against Cultural Selection Theory. This research lends much-needed empirical support to Cultural Selection Theory by clarifying the nature of the interaction between culture and environment. It also contributes to evolutionary theory by clarifying the scope and limits of adaptation by natural selection. (shrink)

Among human and non-human animals, the ability to respond rapidly to biologically significant events in the environment is essential for survival and development. Research has confirmed that human adult listeners respond emotionally to environmental sounds by relying on the same acoustic cues that signal emotionality in speech prosody and music. However, it is unknown whether young children also respond emotionally to environmental sounds. Here, we report that changes in pitch, rate (i.e. playback speed), and intensity (i.e. amplitude) of environmental (...) sounds trigger emotional responses in 3- to 6-year-old American and Chinese children, including four sound types: sounds of human actions, animal calls, machinery, and natural phenomena such as wind and waves. Children’s responses did not differ across the four types of sounds used but developed with age – a finding observed in both American and Chinese children. Thus, the ability to respond emotionally to non-linguistic, non-music environmental sounds is evident at three years of age – an age when the ability to decode emotional prosody in language and music emerges. We argue that general mechanisms that support emotional prosody decoding are engaged by all sounds, as reflected in emotional responses to non-linguistic acoustic input such as music and environmental sounds. (shrink)

An explicit feature of the World Health Organisation’s response to the COVID-19 pandemic has been to ensure that naming conventions, both for the disease itself and for the variants of its underlying virus, should not have a stigmatising effect on any one population or region. An implicit feature of this undertaking is the recognition that the relation between ‘what is said’ and ‘what is heard’ involves an ongoing and even generative tension that cannot be mapped following a defined set (...) of coordinates. The reason for this, the following paper claims, employing the work of Barbara Cassin, is that there is a uniquely performative (epideictic) aspect to language – one that takes place in a uniquely non-globalised space whose extension remains unscripted or extemporised, a space that is often distended and sometimes localisable but ultimately indivisible. Such a space, this paper shows, is one oriented by an understanding of rhetoric whereby utterances obtain according to the actual use [chreia] or decisive moment [kairos] – as opposed to any definitive place [topos] – of what is said. (shrink)

An overview of the computational prediction of emotional responses to music is presented. Communication of emotions by music has received a great deal of attention during the last years and a large number of empirical studies have described the role of individual features (tempo, mode, articulation, timbre) in predicting the emotions suggested or invoked by the music. However, unlike the present work, relatively few studies have attempted to model continua of expressed emotions using a variety of musical features from audio-based (...) representations in a correlation design. The construction of the computational model is divided into four separate phases, with a different focus for evaluation. These phases include the theoretical selection of relevant features, empirical assessment of feature validity, actual feature selection, and overall evaluation of the model. Existing research on music and emotions and extraction of musical features is reviewed in terms of these criteria. Examples drawn from recent studies of emotions within the context of film soundtracks are used to demonstrate each phase in the construction of the model. These models are able to explain the dominant part of the listeners’ self-reports of the emotions expressed by music and the models show potential to generalize over different genres within Western music. Possible applications of the computational models of emotions are discussed. (shrink)

BackgroundReflexive pitch perturbation experiments are commonly used to investigate the neural mechanisms underlying vocal motor control. In these experiments, the fundamental frequency–the acoustic correlate of pitch–of a speech signal is shifted unexpectedly and played back to the speaker via headphones in near real-time. In response to the shift, speakers increase or decrease their fundamental frequency in the direction opposing the shift so that their perceived pitch is closer to what they intended. The goal of the current work is (...) to develop a quantitative model of responses to reflexive perturbations that can be interpreted in terms of the physiological mechanisms underlying the response and that captures both group-mean data and individual subject responses.MethodsA model framework was established that allowed the specification of several models based on Proportional-Integral-Derivative and State-Space/Directions Into Velocities of Articulators (DIVA) model classes. The performance of 19 models was compared in fitting experimental data from two published studies. The models were evaluated in terms of their ability to capture both population-level responses and individual differences in sensorimotor control processes.ResultsA three-parameter DIVA model performed best when fitting group-mean data from both studies; this model is equivalent to a single-rate state-space model and a first-order low pass filter model. The same model also provided stable estimates of parameters across samples from individual subject data and performed among the best models to differentiate between subjects. The three parameters correspond to gains in the auditory feedback controller’s response to a perceived error, the delay of this response, and the gain of the somatosensory feedback controller’s “resistance” to this correction. Excellent fits were also obtained from a four-parameter model with an additional auditory velocity error term; this model was better able to capture multi-component reflexive responses seen in some individual subjects.ConclusionOur results demonstrate the stereotyped nature of an individual’s responses to pitch perturbations. Further, we identified a model that captures population responses to pitch perturbations and characterizes individual differences in a stable manner with parameters that relate to underlying motor control capabilities. Future work will evaluate the model in characterizing responses from individuals with communication disorders. (shrink)

Acerca de la imagen de tapa: Ritmos Primarios, la Subversión del Alma, de Hugo Aveta, 2013.

Acerca de la imagen de tapa: El Negro Matapacos, por Caiozzama. Noviembre 2019, Santiago de Chile.

In his comments, Daniel Nicholls succeeds in saying more than a few things that I had scarcely realized about the ways in which I write and, therefore, of what I tend to take for granted. He sees in what I write a capacity ‘to utilize the “obvious” whilst at the same time saying something about it.’ Not every philosopher would take that as a compliment. Many philosophers and philosophies have quite other pretensions – to transcend the illusions of common thought (...) and perception towards a higher plane of metaphysical philosophy – or of physics and mathematics. I find that Nicholls’s remark both compliments and complements my work, however. The use of everyday language and example to disturb that everyday world to ‘bring it into high relief’ as Nicholls puts it – is a significant part of philosophical method. To juxtapose the esoteric language of metaphysics (being-in-itself, being-for-itself, being-for-others) with the everyday (what there is, living for oneself, living for others) is to haunt the everyday with a metaphysical imagination even as it reveals what metaphysics had erased from the coinage of common words. (I am thinking, of course, of Derrida’s remarks about Anatole France’s satirical view of philosophical language as coinage from which all marking has been erased). (shrink)

In this article I argue that Part II of the Family LawAct 1996 gives expression to a new form ofresponsibility. I begin by suggesting thatresponsible behaviour has shifted from prohibiting orrequiring particular actions: we now exhibitresponsibility by our attitude towards our actions. I then examine where this new conception ofresponsibility has come from. Through an examinationof the work of post-liberal theorists, principallyMichael Sandel, I argue that a changing view ofpersonhood within post-liberal theory has led to aquestioning of the possibility of (...) choice, and that theabsence of choice necessitates a shift in thedefinition of responsible behaviour. If we are createdby our decisions then we cannot be held to account forour decisions, but only for the care we have takenover them. Responsibility is therefore measured notby our level of self-control but by our level ofself-awareness. Finally I examine the consequences ofthis shift in the meaning of responsibility. Withinthis framework autonomy is illusory thereforedecisions do not need to be respected. This explainswhy the implementation of Part II of the Family LawAct 1996 has been called into question. Within thisframework responsibility is relative therefore itextends indefinitely. This enables the Family Law Actto be uniquely intrusive and judgmental: everydivorcing couple, on being held up to scrutiny, isfound lacking. (shrink)

The present study aimed to investigate the effects of type of noise, age and gender on children’s speech intelligibility and sentence comprehension. The experiment was conducted with 171 children between 11 and 13 years old in ecologically-valid conditions (collective presentation in real, reverberating classrooms). Two standardized tests were used to assess speech intelligibility (SI) and sentence comprehension (SC). The two tasks were presented in three listening conditions: quiet; traffic noise; and classroom noise (non-intelligible noise with the same spectrum and temporal (...) envelope of speech, plus typical classroom sound events). Both task performance accuracy and listening effort were considered in the analyses, the latter tracked by recording the response time using a single-task paradigm. Classroom noise was found to have the worst effect on both tasks (worsening task performance accuracy and slowing response times), due to its spectro-temporal characteristics. A developmental effect was seen in the range of ages (11-13 years), which depended on the task and listening condition. Gender effects were also seen in both tasks, girls being more accurate and quicker to respond in most listening conditions. A significant interaction emerged between type of noise, age and task, indicating that classroom noise had a greater impact on response times for SI than for SC. Overall, these results indicate that, for 11- to 13-year-old children, performance in SI and SC tasks is influenced by aspects relating to both the sound environment and the listener (age, gender). The presence of significant interactions between these factors and the type of task suggests that the acoustic conditions that guarantee optimal SI might not be equally adequate for SC. Our findings have implications for the development of standard requirements for the acoustic design of classrooms. (shrink)

Multiple acoustic dimensions signal speech categories. However, dimensions vary in their informativeness; some are more diagnostic of category membership than others. Speech categorization reflects these dimensional regularities such that diagnostic dimensions carry more “perceptual weight” and more effectively signal category membership to native listeners. Yet perceptual weights are malleable. When short-term experience deviates from long-term language norms, such as in a foreign accent, the perceptual weight of acoustic dimensions in signaling speech category membership rapidly adjusts. The present study (...) investigated whether rapid adjustments in listeners’ perceptual weights in response to speech that deviates from the norms also affects listeners’ own speech productions. In a word recognition task, the correlation between two acoustic dimensions signaling consonant categories, fundamental frequency and voice onset time, matched the correlation typical of English, and then shifted to an “artificial accent” that reversed the relationship, and then shifted back. Brief, incidental exposure to the artificial accent caused participants to down-weight perceptual reliance on F0, consistent with previous research. Throughout the task, participants were intermittently prompted with pictures to produce these same words. In the block in which listeners heard the artificial accent with a reversed F0 × VOT correlation, F0 was a less robust cue to voicing in listeners’ own speech productions. The statistical regularities of short-term speech input affect both speech perception and production, as evidenced via shifts in how acoustic dimensions are weighted. (shrink)