A sound in a real space (e.g. a street or a room) is studied by acousticians as the relationship between an anechoic signal and the reverberant sound field. We define ‘anechoic signal’ a signal representing the pressure variation emitted by the sound source, while the ‘reverberant field’ is a field representing the sum of all the sound reflections of the environment in which the sound exists, delayed in time due to the positions of the sound source and the listener. The (...) auditory ability of detecting a sound and assigning it to a source depends both on the anechoic signal and the reverberant sound field. This relationship has been analysed in acoustic literature using the autocorrelation properties of the anechoic signals and objective metrics of the sound field, the last ones being the ‘room criteria’ described in ISO 3382. In this context, the ‘effective duration’ of the autocorrelation function (τe) has been proposed as key factor to ‘preferred’ values of several room criteria in relation to different kind of music signals. Relying on some similarities between the definition of ‘auditory objects’ and the sound detection in a reverberant space, this paper proposes the use of τe as a potential tool to study and catalogue auditory objects. (shrink)

It is widely accepted that there is a visual field, but the analogous notion of an auditory field is rejected by many philosophers on the grounds that the metaphysics or phenomenology of audition lack the necessary spatial or phenomenological structure. In this paper, I argue that many of the common objections to the existence of an auditory field are misguided and that, contrary to a tradition of philosophical scepticism about the spatiality of auditory experience, it is as (...) richly spatial as visual experience—and in some ways even more so. By carefully considering the spatiality and boundedness of audition, along with how sounds or their sources are experienced as occurring within the surrounding acoustic environment, we can gain a better understanding of (i) our auditory experience of space and (ii) the conditions for the existence of spatial sensory fields in general in a way that does not privilege vision over the other senses. (shrink)

This paper addresses the question whether we can conceive of music cognition in ecosemiotic terms. It claims that music knowledge must be generated as a tool for adaptation to the sonic world and calls forth a shift from a structural description of music as an artifact to a process-like approach to dealing with music. As listeners, we are observers who construct and organize our knowledge and bring with us our observational tools. What matters is not merely the sonic world in (...) its objective qualities, but the world as perceived. In order to make these claims operational we can rely on the ecological concept of coping with the sonic world and the cybernetic concepts of artificial and adaptive devices. Listeners, on this view, are able to change their semantic relations with the sonic world through functional adaptations at the level of sensing, acting and coordinating between action and perception. This allows us to understand music in functional terms of what it affords to us and not merely in terms of its acoustic qualities. There are, however, degrees of freedom and constraints which shape the semiotization of the sonic world. As such we must consider the role of event perception and cognitive economy: listeners do not perceive the acoustical environment in terms of phenomenological descriptions but as ecological events. (shrink)

This paper addresses the question whether we can conceive of music cognition in ecosemiotic terms. It claims that music knowledge must be generated as a tool for adaptation to the sonic world and calls forth a shift from a structural description of music as an artifact to a process-like approach to dealing with music. As listeners, we are observers who construct and organize our knowledge and bring with us our observational tools. What matters is not merely the sonic world in (...) its objective qualities, but the world as perceived. In order to make these claims operational we can rely on the ecological concept of coping with the sonic world and the cybernetic concepts of artificial and adaptive devices. Listeners, on this view, are able to change their semantic relations with the sonic world through functional adaptations at the level of sensing, acting and coordinating between action and perception. This allows us to understand music in functional terms of what it affords to us and not merely in terms of its acoustic qualities. There are, however, degrees of freedom and constraints which shape the semiotization of the sonic world. As such we must consider the role of event perception and cognitive economy: listeners do not perceive the acoustical environment in terms of phenomenological descriptions but as ecological events. (shrink)

The aim of this paper is, firstly, to identify the areas of conceptual confusion about the notion of auditory object that could benefit from a cooperation between philosophy and psychology of perception. Secondly, I try to clarify in what sense there may be individual entities that exist only in time focusing on auditory objects, and to establish what kind of relationship links the existence of such purely temporal entities with the existence of spatiotemporal entities such as bodies (...) or physical objects. Finally, a new definition of auditory object, conceived as a partially mind-dependent object, or Meinongian higher-order object based on inferiora, is discussed. (shrink)

When you hear a person speaking in a familiar language you perceive the speech sounds uttered and the voice that produces them. How are speech sounds and voice related in a typical auditory experience of hearing speech in a particular voice? And how to conceive of the objects of such experiences? I propose a conception of auditory objects of speech perception as temporally structured mereologically complex individuals. A common experience is that speech sounds and the voice that produces (...) them appear united. I argue that the metaphysical underpinnings of the experienced unity of speech sounds and voices can be explained in terms of the mereological view on sounds and their sources. I also propose a psychological explanation of how we form and individuate the auditory objects of experiences of listening to speech in a particular voice. Voice characteristics enable determining the identity of auditory objects of speech sound perception by making some features of the speech signal stable and predictable. (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 aim of this special issue of Rivista di Estetica is to investigate the nature of the auditory object and its specific status as an object of perception. The investigation was carried out using different methodologies: 1) focusing on the auditory object in relation to its metaphysical dimension; 2) working on the comparison between auditory and visual perception; 3) finding similarities and differences between auditory and musical objects; and, finally, 4) focusing exclusively on (...) the speci... (shrink)

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

What do we directly hear? In section I, I define direct perception, and outline the logical atomist way of attacking the question. I argue in section II that atomism fails. Then, in sections III-V, I propose that a better alternative to atomism is to revive and modernize another traditional empiricist doctrine: that we directly sense what the senses deliver to automatic (i.e., sub-personal) processes of learning.

Developmental dyslexia is considered to be most effectively addressed with preventive phonics-based interventions, including grapheme-phoneme coupling and blending exercises. These intervention types require intact speech perception abilities, given their large focus on exercises with auditorily presented phonemes. Yet some children with dyslexia experience problems in this domain due to a poorer sensitivity to rise times, i.e., rhythmic acoustic cues present in the speech envelope. As a result, the often subtle speech perception problems could potentially constrain an optimal response to phonics-based (...) interventions in at-risk children. The current study therefore aimed to extend existing research by examining the presence of potential speech perception deficits in pre-readers at cognitive risk for dyslexia when compared to typically developing peers and to explore the added value of a preventive auditory intervention for at-risk pre-readers, targeting rise time sensitivity, on speech perception and other reading-related skills. To obtain the first research objective, we longitudinally compared speech-in-noise perception between 28 5-year-old pre-readers with and 30 peers without a cognitive risk for dyslexia during the second half of the third year of kindergarten. The second research objective was addressed by exploring growth in speech perception and other reading-related skills in an independent sample of 62 at-risk 5-year-old pre-readers who all combined a 12-week preventive phonics-based intervention with an auditory story listening intervention. In half of the sample, story recordings contained artificially enhanced rise times, while in the other half, stories remained unprocessed. Results revealed a slower speech-in-noise perception growth in the at-risk compared to the non-at-risk group, due to an emerged deficit at the end of kindergarten. Concerning the auditory intervention effects, both intervention groups showed equal growth in speech-in-noise perception and other reading-related skills, suggesting no boost of envelope-enhanced story listening on top of the effect of combining GraphoGame-Flemish with listening to unprocessed stories. These findings thus provide evidence for a link between speech perception problems and dyslexia, yet do not support the potential of the auditory intervention in its current form. (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)

Vision has been the primary focus of naturalistic philosophical research concerning perception and perceptual experience. Guided by visual experience and vision science, many philosophers have focused upon theoretical issues dealing with the perception of objects. Recently, however, hearing researchers have discussed auditory objects. I present the case for object perception in vision, and argue that an analog of object perception occurs in auditory perception. I propose a notion of an auditory object that is stronger (...) than just that of an intentional object of audition, but that does not identify auditory objects with the ordinary material objects we see. (shrink)

Object perception deploys a suite of perceptual capacities that constrains attention, guides reidentification, subserves recognition, and anchors demonstrative thought. Objects for perception—perceptual objects—are the targets of such capacities. Characterizing perceptual objects for multisensory perception faces two puzzles. First is the diversity of objects across sensory modalities. Second is the unity of multisensory perceptual objects. This paper resolves the puzzles. Objects for perception are structured mereologically complex individuals. Perceptual objects are items that bear perceptible features and have perceptible parts arranged (...) to form a unified whole. This circumscribes the targets of object perception where neutral talk concerning intentional objects and objects of perception cannot. Nonetheless, it is more permissive than identifying perceptual objects with material bodies, which excludes too much and leans too heavily on vision. The account thus is tailored to capture the role of objects in perception beyond vision: tactual, auditory, and olfactory objects are individuals with differing structures. Its flexibility also enables the account to accommodate shared objects for multisensory perception: multisensory perceptual objects are mereologically complex individuals with hybrid structure. For instance, one can bimodally perceive a common whole with parts accessible to one but not both modalities. Each sense provides a partial perspective on a complex whole that is perceptible through the coordinated use of multiple senses. Understanding perceptual objects as structured mereologically complex individuals thus provides a theoretically useful notion of an object for multisensory perception that resolves the puzzles of diversity and of unity. (shrink)

Attention is often conceived as a gateway to consciousness . Although endogenous spatial attention may be independent of conscious perception , exogenous spatial orienting seems instead to be an important modulator of CP . Here, we investigate the role of auditory alerting in CP in normal observers. We used a behavioral task in which phasic alerting tones were presented either at unpredictable or at predictable time intervals prior to the occurrence of a near-threshold visual target. We find, for the (...) first time in neurologically intact observers, that phasic alertness increases CP, both objectively and subjectively. This result is consistent with evidence showing that phasic alerting can ameliorate the spatial bias exhibited by visual neglect patients . The alerting network may increase the activity of fronto-parietal networks involved in top-down amplification required to bring a stimulus into consciousness. (shrink)

It is a commonly held view that auditory perception functions to tell us about sounds and their properties. In this paper I argue that this common view is mistaken and that auditory perception functions to tell us about the objects that are the sources of sounds. In doing so, I provide a general theory of auditory perception and use it to give an account of the content of auditory experience and of the nature of sounds.

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)

Whilst arguing for sounds as repeatable objects does not seem suitable to our auditory experience, considering them as events can then help us understand some of their main features. In this sense, sounds are events happening to material objects; they have a beginning and an end; they are ephemeral entities that we cannot grasp as ordinary objects. Nevertheless, supporters of event theory usually focus on the autonomous status that sounds manifest from the things in the world. Conversely, when we (...) hear sounds, we hear what and where they are sounding even in those theories that I will call detached-sound theories; in hearing them we hear how different materials create different sounds. Within the different positions of the event theory to pure-event or acousmatic proposal, the importance and role that the material has in the creation of diverse sounds does not always seem to be recognized. In this paper, I therefore aim to show how the materiality of resonating bodies and objects is given in all forms of auditory experience, not until analyzed the differences between object and event accounts in the philosophy of sound. (shrink)

This dissertation aims to revive wave theory in the philosophy of sound. Wave theory identifies sounds with compression waves. Despite its wide acceptance in the scientific community as the default position, many philosophers have rejected wave theory and opted for different versions of distal theory instead. According to this current majority view, a sound has its stationary location at its source. I argue against this and other alternative philosophical theories of sound and develop wave theory into a more defensible form. (...) Philosophers of sound tend to emphasise how sounds are experienced to be in their arguments. Most often, it is assumed that that which appears to be a distally located bearer of auditory properties in an auditory experience is a sound. Chapter 1 argues that if this distal entity is the sound source instead, many of the existing theories of sound will be severely affected. Chapter 2 discusses auditory perception and criticises the common assumption that we hear non-sound entities in virtue of hearing sounds. I show that this assumption begs the question against certain theories of sound and that the contrary view that sound sources can be directly heard is more plausible. If sound sources can be directly heard, then features commonly attributed to sounds based on auditory experiences might rather be features of sound sources. I examine eight of such features in Chapter 3. Only four of them survive. Chapters 4 and 5 review the existing theories of sound. After a taxonomy of existing theories of sound, each theory is criticised one-by-one. Some of them are problematic precisely because they rely on the implausible assumption that that which appears to be distally located in an auditory experience is a sound rather than a sound source. Lastly, Chapter 6 focuses on wave theory. It begins with two positive arguments for wave theory in general, followed by my replies to two common objections in the literature. I then move on to develop my version of wave theory. There are two core aspects of my view. The first one is a metaphysics of compression waves; the second is an account of what it is to hear compression waves. After comparing my view with a similar theory, I demonstrate the explanatory power of my view in two steps. First, the eight commonly accepted features of sounds examined in Chapter 3 are revisited. It turns out that my view can accommodate all of them. Second, explanations for four special sound-related phenomena are offered at the end of the chapter. I conclude in the last chapter with the suggestion that, as a philosopher, the best way to defend wave theory is to offer a better understanding of auditory perception which explains how compression waves are experienced. (shrink)

It is common to assume that if Locke is to be regarded as a consistent epistemologist he must be read as holding that either ideas are the objects of perception or that (physical) objects are. He must either be a direct realist or a representationalist. But perhaps, paradoxical as it at first sounds, there is no reason to suppose that he could not hold both to be true. We see physical objects and when we do so we have ideas. We (...) see or hear birds and bells but we also have visual and auditory ideas of birds and bells. This suggestion is explored through examination of what Locke says about perception in his Elements of Natural Philosophy and the accounts offered both by Locke in the Essay Concerning Human Understanding and by some of Locke's successors. (shrink)

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

The auditory system is able to recognize auditory objects and is thought to form predictive models of them even though the acoustic information arriving at our ears is often imperfect, intermixed, or distorted. We investigated implicit regularity extraction for acoustically intact versus disrupted six-tone sound patterns via event-related potentials. In an exact-repetition condition, identical patterns were repeated; in two distorted-repetition conditions, one randomly chosen segment in each sound pattern was replaced either by white noise or by a wrong (...) pitch. In a roving-standard paradigm, sound patterns were repeated 1–12 times in a row before a new pattern occurred. The participants were not informed about the roving rule and had to detect rarely occurring loudness changes. Behavioral detectability of pattern changes was assessed in a subsequent behavioral task. Pattern changes elicited mismatch negativity and P3a, and were behaviorally detected above the chance level in all conditions, suggesting that the auditory system extracts regularities despite distortions in the acoustic input. However, MMN and P3a amplitude were decreased by distortions. At the level of MMN, both types of distortions caused similar impairments, suggesting that auditory regularity extraction is largely determined by the stimulus statistics of matching information. At the level of P3a, wrong-pitch distortions caused larger decreases than white-noise distortions. Wrong-pitch distortions likely prevented the engagement of restoration mechanisms and the segregation of disrupted from true pattern segments, causing stronger informational interference with the relevant pattern information. (shrink)

Background. Attending to goal-relevant information can leave us metaphorically ‘blind’ or ‘deaf’ to the next relevant information while searching among distracters. This temporal cost lasting for about a half a second on the human selective attention has been long explored using the attentional blink paradigm. Although there is evidence that certain visual stimuli relating to one’s area of expertise can be less susceptible to attentional blink effects, it remains unexplored whether the dynamics of temporal selective attention vary with expertise and (...) objects types in the auditory modality. Methods. Using the auditory version of the attentional blink paradigm, the present study investigates whether certain auditory objects relating to musical and perceptual expertise could have an impact on the transient costs of selective attention. In this study, expert cellists and novice participants were asked to first identify a target sound, and then to detect instrumental timbres of cello or organ, or human voice as a second target in a rapid auditory stream. Results. The results showed moderate evidence against the attentional blink effect for voices independent of participants’ musical expertise. Experts outperformed novices in their overall accuracy levels of target identification and detection, reflecting a clear benefit of musical expertise. Importanly, the musicianship advantage disappeared when the human voices served as the second target in the stream. Discussion. The results are discussed in terms of stimulus salience, the advantage of voice processing, as well as perceptual and musical expertise in relation to attention and working memory performances. (shrink)

This article concerns sound aesthetic preferences for European foreign languages. We investigated the phonetic-acoustic dimension of the linguistic aesthetic pleasure to describe the “music” found in European languages. The Romance languages, French, Italian, and Spanish, take a lead when people talk about melodious language – the music-like effects in the language (a.k.a., phonetic chill). On the other end of the melodiousness spectrum are German and Arabic that are often considered sounding harsh and un-attractive. Despite the public interest, limited research has (...) been conducted on the topic of phonaesthetics, i.e., the subfield of phonetics that is concerned with the aesthetic properties of speech sounds (Crystal, 2008). Our goal is to fill the existing research gap by identifying the acoustic features that drive the auditory perception of language sound beauty. What is so music-like in the language that makes people say “it is music in my ears”? We had 45 central European participants listening to 16 auditorily presented European languages and rating each language in terms of 22 binary characteristics (e.g., beautiful – ugly and funny – boring) plus indicating their language familiarities, L2 backgrounds, speaker voice liking, demographics, and musicality levels. Findings revealed that all factors in complex interplay explain a certain percentage of variance: familiarity and expertise in foreign languages, speaker voice characteristics, phonetic complexity, musical acoustic properties, and finally musical expertise of the listener. The most important discovery was the trade-off between speech tempo and so-called linguistic melody (pitch variance): the faster the language, the flatter/more atonal it is in terms of the pitch (speech melody), making it highly appealing acoustically (sounding beautiful and sexy), but not so melodious in a “musical” sense. (shrink)

Some philosophers have argued that we do not hear sounds as located in the environment. Others have objected that this straightforwardly contradicts the phenomenology of auditory experience. And from this they draw metaphysical conclusions about the nature of sounds—that they are events or properties of vibrating surfaces rather than waves or sensations. I argue that there is a minimal, but recognizable, notion of audition to which this phenomenal objection does not apply. While this notion doesn’t correspond to our ordinary (...) notion of auditory experience, it does—in conjunction with our lack of an uncontroversial individuation of the senses and recent interest in distinctively multisensory features of perceptual experiences—raise the possibility of more expansive notions of audition, including some that do plausibly count as corresponding to our everyday notion of audition, that lack the spatial phenomenology cited in the objection. Until this possibility is ruled out, the phenomenal objection and metaphysical conclusions drawn from it remain inconclusive. (shrink)

The article aims to concretize the phenomenological account concerning the problem of an auditory image. The author considers auditory imagery as a scientific object and compares different treatments of the problem to fix the potential and advantages of its phenomenological interpretation. In the first stage of the study, the author distinguishes the key characteristics of the image by means the lexical analysis. This is the perceptual (predominantly visual) nature of an image, integrality, and essentiality (image as an (...) idea). In the second stage, the understandings of the mental and auditory imagery in physiology, experimental psychology, music psychology, musicology, and interdisciplinary studies are described. In the third stage, the peculiar phenomenological ways of the comprehension of an auditory image are revealed. The phenomenological interest is to pick out consciousness which perceiving of an image equally from the process of perceiving and from entailing in an image. The specific phenomenological stance is placing an auditory image on the bound of transcendent (the process of perceiving) and immanent (an image that is already perceived). The auditory image is conceived as the unity of Modi of its givenness. Most fecks of this Modi are original, they cannot be transferred into other science scopes: they are the interconnection of all moments of the temporal unfolding, self-organization in the time, self-referentiality, non-semanticity, periodicity/randomness, eventuality, quasi-embodiment (physicality). Solely phenomenological problems are problems of the constitution of an auditory image, its life-horizon, intersubjectivity, and regional matching. The author infers that phenomenology does not conceive auditory image as sustained auditory representation, associated with acoustic memory. Its perceptual nature does not play a key role here. Moreover, the perceptual-semantic duality of the image is not fixed by the phenomenological description. The phenomenological approach is unique because it researches auditory data exhaustively but does not use semantic and referential analysis of them. The main feature of phenomenological description is the focus on the unity of auditory image: All the elements of auditory data are interpreted in their synthesis as the different levels of the unity of hearing image. Thus, the phenomenological approach as a whole is the most promising for comprehending such a dominant quality of the auditory image as integrality. (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)

Speech unfolds over time, and the cues for even a single phoneme are rarely available simultaneously. Consequently, to recognize a single phoneme, listeners must integrate material over several hundred milliseconds. Prior work contrasts two accounts: (a) a memory buffer account in which listeners accumulate auditory information in memory and only access higher level representations (i.e., lexical representations) when sufficient information has arrived; and (b) an immediate integration scheme in which lexical representations can be partially activated on the basis of (...) early cues and then updated when more information arises. These studies have uniformly shown evidence for immediate integration for a variety of phonetic distinctions. We attempted to extend this to fricatives, a class of speech sounds which requires not only temporal integration of asynchronous cues (the frication, followed by the formant transitions 150–350 ms later), but also integration across different frequency bands and compensation for contextual factors like coarticulation. Eye movements in the visual world paradigm showed clear evidence for a memory buffer. Results were replicated in five experiments, ruling out methodological factors and tying the release of the buffer to the onset of the vowel. These findings support a general auditory account for speech by suggesting that the acoustic nature of particular speech sounds may have large effects on how they are processed. It also has major implications for theories of auditory and speech perception by raising the possibility of an encapsulated memory buffer in early auditory processing. (shrink)

Auditory perception is traditionally conceived as the perception of sounds — a friend’s voice, a clap of thunder, a minor chord. However, daily life also seems to present us with experiences characterized by the absence of sound — a moment of silence, a gap between thunderclaps, the hush after a musical performance. In these cases, do we positively hear silence? Or do we just fail to hear, and merely judge or infer that it is silent? This longstanding question remains (...) controversial in both the philosophy and science of perception, with prominent theories holding that sounds are the only objects of auditory experience and thus that our encounter with silence is cognitive, not perceptual. However, this debate has largely remained theoretical, without a key empirical test. Here, we introduce a novel empirical approach, presenting experimental evidence that silence can be genuinely perceived (not just cognitively inferred). We ask whether silences can ‘substitute’ for sounds in event-based auditory illusions — empirical signatures of auditory event representation in which auditory events distort perceived duration. Seven experiments introduce three new ‘silence illusions’ — the one-silence-is-more illusion, silence-based warping, and the oddball-silence illusion — each adapted from a prominent perceptual illusion previously thought to arise only from sounds. Subjects were immersed in ambient noise interrupted by silences structurally identical to the sounds in the original illusions. In all cases, silences elicited temporal distortions perfectly analogous to the illusions produced by sounds. Our results suggest that silence is truly heard, not merely inferred, introducing a general approach for studying absence perception. (shrink)

Speech unfolds over time, and the cues for even a single phoneme are rarely available simultaneously. Consequently, to recognize a single phoneme, listeners must integrate material over several hundred milliseconds. Prior work contrasts two accounts: (a) a memory buffer account in which listeners accumulate auditory information in memory and only access higher level representations (i.e., lexical representations) when sufficient information has arrived; and (b) an immediate integration scheme in which lexical representations can be partially activated on the basis of (...) early cues and then updated when more information arises. These studies have uniformly shown evidence for immediate integration for a variety of phonetic distinctions. We attempted to extend this to fricatives, a class of speech sounds which requires not only temporal integration of asynchronous cues (the frication, followed by the formant transitions 150–350 ms later), but also integration across different frequency bands and compensation for contextual factors like coarticulation. Eye movements in the visual world paradigm showed clear evidence for a memory buffer. Results were replicated in five experiments, ruling out methodological factors and tying the release of the buffer to the onset of the vowel. These findings support a general auditory account for speech by suggesting that the acoustic nature of particular speech sounds may have large effects on how they are processed. It also has major implications for theories of auditory and speech perception by raising the possibility of an encapsulated memory buffer in early auditory processing. (shrink)

Mueller et al. discuss the role of acoustic cues in detecting language structure more generally. Across languages, there are clear links between acoustic cues and syntactic structure. They show that AGL experiments implementing analogous links demonstrate that prosodic cues, as well as various auditory biases, facilitate the learning of structural rules. Some of these biases, e.g. for auditory grouping, are also present in other species.

Much of the philosophical work on perception has focused on vision. Recently, however, philosophers have begun to correct this ‘tunnel vision’ by considering other modalities. Nevertheless, relatively little has been written about the chemical senses—olfaction and gustation. The focus of this paper is olfaction. In light of new physiological and psychophysical research on olfaction, I consider whether olfactory experience is object-based. In particular, I explore the claim that “odor objects” constitute sensory individuals. It isn’t obvious—at least at the outset—whether (...) they meet the widely accepted principles of object individuation and recognition at work in the visual and auditory cases. Among the general issues I consider, then, is whether these traditional principles form necessary, or simply sufficient, conditions on object perception. As we see, at the very least, considering the object-recognition model of olfaction challenges us to look more closely at well-entrenched models of object perception. But the payoff of doing so is high. We not only learn something about a modality that philosophers have historically neglected; by asking new questions and challenging old assumptions, we also further our understanding of perception in general. (shrink)

Perception of music and speech is based on similar auditory skills, and it is often suggested that those with enhanced music perception skills may perceive and learn novel words more easily. The current study tested whether music perception abilities are associated with novel word learning in an ambiguous learning scenario. Using a cross-situational word learning (CSWL) task, nonmusician adults were exposed to word-object pairings between eight novel words and visual referents. Novel words were either non-minimal pairs differing in (...) all sounds or minimal pairs differing in their initial consonant or vowel. In order to be successful in this task, learners need to be able to correctly encode the phonological details of the novel words and have sufficient auditory working memory to remember the correct word-object pairings. Using the Mistuning Perception Test (MPT) and the Melodic Discrimination Test (MDT), we measured learners’ pitch perception and auditory working memory. We predicted that those with higher MPT and MDT values would perform better in the CSWL task and in particular for novel words with high phonological overlap (i.e., minimal pairs). We found that higher musical perception skills led to higher accuracy for non-minimal pairs and minimal pairs differing in their initial consonant. Interestingly, this was not the case for vowel minimal pairs. We discuss the results in relation to theories of second language word learning such as the Second Language Perception model (L2LP). (shrink)

Extended cognition holds that cognitive processes sometimes leak into the world (Dawson, 2013). A recent trend among proponents of extended cognition has been to put pressure on phenomena thought to be safe havens for internalists (Sneddon, 2011; Wilson, 2010; Wilson & Lenart, 2014). This paper attempts to continue this trend by arguing that music perception is an extended phenomenon. It is claimed that because music perception involves the detection of musical invariants within an “acoustic array”, the interaction between the (...) class='Hi'>auditory system and the musical invariants can be characterized as an extended computational cognitive system. In articulating this view, the work of J. J. Gibson (1966, 1986) and Robert Wilson (1994, 1995, 2004) is drawn on. The view is defended from several objections and its implications outlined. The paper concludes with a comparison to Krueger’s (2014) view of the “musically extended emotional mind”. (shrink)

Is speech special? This paper evaluates the evidence that speech perception is distinctive when compared with non-linguistic auditory perception. It addresses the phenomenology, contents, objects, and mechanisms involved in the perception of spoken language. According to the account it proposes, the capacity to perceive speech in a manner that enables understanding is an acquired perceptual skill. It involves learning to hear language-specific types of ethologically significant sounds. According to this account, the contents of perceptual experience when listening to familiar (...) speech are of a variety that is distinctive to hearing spoken utterances. However, perceiving speech involves neither novel perceptual objects nor a unique perceptual modality. Much of what makes speech special stems from our interest in it. (shrink)

Through hearing we learn about source events: events in which objects move or interact so that they vibrate and produce sound waves, such as when they roll, collide, or scrape together. It is often claimed that we do not simply hear sounds and infer what event caused them, but hear source events themselves, through hearing sounds. Here I investigate how the idea that we hear source events should be understood, with a focus on how hearing an event relates to hearing (...) the objects involved in that event. I argue that whereas we see events such as rollings and collisions by seeing objects move through space, this cannot be how we hear them, and go on to examine two other possible models. On the first, we hear events but not their participant objects. On the second, to hear an event is to hear the appearance of an object to change. I argue that neither is satisfactory and endorse a third option: to hear a source event is to hear an object as extending through time. (shrink)

Objects are central in visual, auditory, and tactual perception. But what counts as a perceptual object? I address this question via a structural unity schema, which specifies how a collection of parts must be arranged to compose an object for perception. On the theory I propose, perceptual objects are composed of parts that participate in causally sustained regularities. I argue that this theory falls out of a compelling account of the function of object perception, and illustrate (...) its applications to multisensory perception. I also argue that the account avoids problems faced by standard views of visual and auditory objects. (shrink)

A number of studies have shown that phonetic peculiarities, especially at the coarticulation level, exist in the disfluent as well as in the perceptively fluent speech of people who stutter (PWS). However, results from fluent speech are disparate and not easily interpretable. Are the coarticulatory features a manifestation of the disorder, or rather a compensation for the disorder itself? Our purpose is to investigate the coarticulatory behavior in the fluent speech of PWS in the attempt to answer the question on (...) its symptomatic or adaptive nature. In order to achieve this, we have studied the speech of 21 adult PWS (10 French and 11 Italian) compared to that of 20 fluent adults (10 French and 10 Italian). The participants had to repeat simple CV syllables in short carrier sentences, where C = /b, d, g/ and V = /a, i, u/. Crucially, this repetition task was performed under a condition with normal auditory feedback (NAF) for both the groups, and under a fluency-enhancing condition (only for PWS) due to an altered auditory feedback (AAF). The degree of coarticulation was measured by means of the Locus Equations (LE). Under NAF conditions, the coarticulation degree observed in fluent PWS speech is lower than that of the PWNS, and, more importantly, in AAF condition, PWS coarticulation appears even weaker than in the NAF condition. The latter result allows to interpret the low degree of coarticulation found in fluent speech of PWS under NAF condition as a compensation for the disorder, based on the fact that coarticulation is weaker in fluency-enhancing conditions. Since a lower degree of coarticulation is associated to a greater separation between the places of articulation of the consonant and the vowel, these results are compatible with the hypothesis that larger articulatory movements could be responsible for the stabilization of the PWS speech motor system, increasing the kinesthetic feedback from the effector system. This interpretation shares with a number of relatively recent proposal the idea that stuttering derives from an impaired feedforward (open-loop) control system, which makes PWS rely more heavily on a feedback-based (closed loop) motor control strategy. (shrink)

Perceptual grouping is fundamental to many auditory processes. The Iambic–Trochaic Law (ITL) is a default grouping strategy, where rhythmic alternations of duration are perceived iambically (weak‐strong), while alternations of intensity are perceived trochaically (strong‐weak). Some argue that the ITL is experience dependent. For instance, French speakers follow the ITL, but not as consistently as German speakers. We hypothesized that learning about prosodic patterns, like word stress, modulates this rhythmic grouping. We tested this idea by training French adults on a (...) German‐like stress contrast. Individuals who showed better phonological learning had more ITL‐like grouping, particularly over duration cues. In a non‐phonological condition, French adults were trained using identical stimuli, but they learned to attend to acoustic variation that was not linguistic. Here, no learning effects were observed. Results thus suggest that phonological learning can modulate low‐level auditory grouping phenomena, but it is constrained by the ability of individuals to learn from short‐term training. (shrink)

The contemporary design practice known as data sonification allows us to experience information in data by listening. In doing so, we understand the source of the data in ways that support, and in some cases surpass, our ability to do so visually. -/- In order to assist us in negotiating our environments, our senses have evolved differently. Our hearing affords us unparalleled temporal and locational precision. Biological survival has determined that the ears lead the eyes. For all moving creatures, in (...) situations where sight is obscured, spatial auditory clarity plays a vital survival role in determining both from where the predator is approaching or to where the prey has escaped. So, when designing methods that enable listeners to extract information from data, both with and without visual support, different approaches are necessary. -/- A scholarly yet approachable work by one of the recognized leaders in the field of auditory design, this book will -/- - Lead you through some salient historical examples of how non-speech sounds have been used to inform and control people since ancient times. -/- - Comprehensively summarize the contemporary practice of Data Sonification. -/- - Provide a detailed overview of what information is and how our auditory perceptions can be used to enhance our knowledge of the source of data. -/- - Show the importance of the dynamic relationships between hearing, cognitive load, comprehension, embodied knowledge and perceptual truth. -/- - Discuss the role of aesthetics in the dynamic interplay between listenability and clarity. -/- - Provide a mature software framework that supports the practice of data sonification design, together with a detailed discussion of some of the design principles used in various examples. -/- David Worrall is an internationally recognized composer, sound artist and interdisciplinary researcher in the field of auditory design. He is Professor of Audio Arts and Acoustics at Columbia College Chicago and a former elected president of the International Community for Auditory Display (ICAD), the leading organization in the field since its inception over 25 years ago. -/- Code and audio examples for this book are available at -/- https:// github. com/david-worrall/springer/. (shrink)

The term ‘Ohm's law’ traditionally denotes the formula of Georg Simon Ohm relating voltage, current, and resistance in metallic conductors. But to students of sensory physiology and its history, ‘Ohm's law’ also denotes another relationship: the fundamental principle of auditory perception that Ohm announced in 1843. This aspect of Ohm's science has attracted very little attention, partly because his galvanic researches so thoroughly eclipsed it in success and importance, and partly because Ohm's work in physiological acoustics had so little (...) immediate impact on the science of his time. On announcing his hypothesis in 1843, Ohm found himself drawn into a bitter dispute with the physicist August Seebeck, who successfully discredited the hypothesis and forced Ohm to withdraw from the field. (shrink)

Sound symbolism refers to non‐arbitrary mappings between the sounds of words and their meanings and is often studied by pairing auditory pseudowords such as “maluma” and “takete” with rounded and pointed visual shapes, respectively. However, it is unclear what auditory properties of pseudowords contribute to their perception as rounded or pointed. Here, we compared perceptual ratings of the roundedness/pointedness of large sets of pseudowords and shapes to their acoustic and visual properties using a novel application of representational similarity (...) analysis (RSA). Representational dissimilarity matrices (RDMs) of the auditory and visual ratings of roundedness/pointedness were significantly correlated crossmodally. The auditory perceptual RDM correlated significantly with RDMs of spectral tilt, the temporal fast Fourier transform (FFT), and the speech envelope. Conventional correlational analyses showed that ratings of pseudowords transitioned from rounded to pointed as vocal roughness (as measured by the harmonics‐to‐noise ratio, pulse number, fraction of unvoiced frames, mean autocorrelation, shimmer, and jitter) increased. The visual perceptual RDM correlated significantly with RDMs of global indices of visual shape (the simple matching coefficient, image silhouette, image outlines, and Jaccard distance). Crossmodally, the RDMs of the auditory spectral parameters correlated weakly but significantly with those of the global indices of visual shape. Our work establishes the utility of RSA for analysis of large stimulus sets and offers novel insights into the stimulus parameters underlying sound symbolism, showing that sound‐to‐shape mapping is driven by acoustic properties of pseudowords and suggesting audiovisual cross‐modal correspondence as a basis for language users' sensitivity to this type of sound symbolism. (shrink)

The main object of this project is how it can become possible to sense an invisible element such as the air. An installation will be created that will aim to provide a sensorial way of dealing with the air and the wind – that is air in motion – with the help of a computer-assisted environment. The objective is to engage the spectator in the navigation of semantic and sensual space that has its own quasi-mythical structure. The attention is (...) focused on the cognition dimension of the human body and senses and the enlargement of perception through the application of new technologies. The wind is a highly abstract phenomenon, with many physical and metaphysical aspects and is one of the basic elements of the physical universe. At the same time, the wind has an enormous impact on our lives, which we perceive, visually and acoustically only through its effects. That is why it has provided material for mythology and art throughout the centuries. In this project, the intention is to create a place where the visitor will be immersed into the landscapes of the winds of the world in order to increase his awareness and knowledge about them by merging technology, myth and body. The research is going to deal with both physical and metaphysical/mythological dimensions of the phenomenon. This starts with an investigation of references to winds and wind phenomena in mythologies world-wide, and extends over the scientific or causal explanations of the wind, as well as the investigation of its auditory and visual manifestations. Data from the Internet will be converted to audio and visual forms in a physical space, in real time. The online data that will be fed into the system are the intensity and direction of the winds at specific default locations on the planet. The visitor’s movements and his/her path in this given area will affect these audio-visual forms. The deliverables of the project (still in its definition phase) are:A study including the research methodology and the outcomes from the researchAn audio-visual interactive installation based on web data. (shrink)

In Altered Sensations: Rudolph Koenig’s Acoustical Workshop in Nineteenth-Century Paris, David Pantalony achieves the difficult goal of balancing technical detail and historical narrative in his account of Rudolph Koenig and the nineteenth-century Parisian scientific instrument trade. The Parisian instrument making trade, particularly that of acoustical instruments, was at a high point in the mid-nineteenth century. Chief among scientific instrument makers was Rudolph Koenig (1832-1901), whose atelier at 30 Hautefeuille was at once an artisanal studio, a laboratory, a workshop and a (...) showroom. The negotiations necessary for one building, and one person, to channel such different activities is one of the main themes of Pantalony’s book. Pantalony shows that Koenig’s atelier was central to disputes surrounding the creation of the “modern soundscape” (p. 170). Debates regarding analytic versus holistic conceptions of sound, “objective” visual versus “subjective” by-ear modes of perception and measurement, and experimental versus theoretical results are all prominent in the text, and all framed by the different, but not disparate, functions of Koenig’s atelier; the building acts as a multi-faceted lens through which Pantalony considers Koenig and his instruments in their artistic, intellectual, commercial and social contexts. (shrink)