This commentary focuses on the nature of combinatorial properties for speech and the locus equation. The presence of some overlap in locus equation space suggests that this higher order property may not be strictly invariant and may require other cues or properties for the perception of place of articulation. Moreover, combinatorial analysis in two-dimensional space and the resultant linearity appear to have a “special” status in the development of this theoretical framework. However, place of articulation is only one of many (...) phonetic dimensions in language. It is suggested that a multidimensional space including patterns derived in the frequency, amplitude, and time domains will be needed to characterize the phonetic categories of speech, and that although the derived properties ultimately may not meet the conditions of linearity, they will reflect a higher order acoustic invariance. (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.

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

Lipkind et al. compare the development of vocal units and sound sequences in sound production in human infants and songbirds. Early in development, infant as well as songbird vocalizations vary along continuous acoustic parameters, with discrete vocal categories and structured vocalizations only emerging later on. This emergence process shows remarkable similarities between infants and zebra finches. Contrary to earlier views, Lipkind et al. suggest that the early development of songbird song (subsong) is more comparable to the phonation stage in (...) infants than to babbling. (shrink)

Summary Acoustic depth is an elusive indicator that touches the world of emergencies, or perceptual focus, in a peculiar way. The realm in which these forms of recognition operate indeed links media theory to perception theory and aesthetic reflection. Expressions such as acoustic scene, sound depth or sharpness, or acoustic image when discussing the receptive forms of various microphone models, are just a few cases where imaginative synthesis translates the sense of phenomena arising from the resistance of (...) sensory properties to the structures of linguistic formalization. The language of media is full of these references, which seem to refer to a common sense that emerges in the differentiation of perceptual channels, but is rarely made explicit in a clear manner. To understand acoustic depht’s nature, we can use the concept of emergence: every time we hear a sound, that acoustic process is always surrounded by a myriad of small sounds that interact with it. The notion of emergence can be applied to anything present in the surrounding environment. It can be applied to any configuration that breaks the homogeneity of a perceptual field. So, we can analyze the complexity of this synthetic formation by tracing it back to increasingly simpler synthetic planes. When talking about composition, synthesis, and association, it has already the results of compositional operations and which provided the ultimate or primary material – either term suffices, depending on the direction we choose to take. These are essential factors in spatial orientation processes, but they are structurally opaque: we’ll work on three examples taken from classical music, ethnomusicology, and hearing aids. (shrink)

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

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

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)

This paper explores a structure ubiquitous in grammar, the embedded tree, and develops a proposal for how such embedded structures played a fundamental role in the evolution of consonants and vowels. Assuming that linguistic capabilities emerged as a cognitive system from a simply reactive system and that such a transition required the construction of an internal mapping of the system body, we propose that this mapping was determined through articulation and acoustics. By creating distinctions between articulators in the vocal (...) tract or by acoustic features of sounds, and then embedding these distinctions, the various possible properties of consonants and vowels emerged. These embedded distinctions represent paradigmatic options for the production of sounds, which provide the basic building blocks for prosodic structure. By anchoring these embedded structures in the anatomy and physiology of the vocal tract, the evolution of phonology itself can be explained by extra-linguistic factors. (shrink)

The ability to process center‐embedded structures has been claimed to represent a core function of the language faculty. Recently, several studies have investigated the learning of center‐embedded dependencies in artificial grammar settings. Yet some of the results seem to question the learnability of these structures in artificial grammar tasks. Here, we tested under which exposure conditions learning of center‐embedded structures in an artificial grammar is possible. We used naturally spoken syllable sequences and varied the presence of prosodic cues. The results (...) suggest that mere distributional information does not suffice for successful learning. Prosodic cues marking the boundaries of the major relevant units, however, can lead to learning success. Thus, our data are consistent with the hypothesis that center‐embedded syntactic structures can be learned in artificial grammar tasks if language‐like acoustic cues are provided. (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)

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)

The biosemiotic complexity of acoustic communities in the primary forests of Ulu Temburong and Yasunì was investigated with continuous 24-h recordings, using the acoustic signature and multiscale approach of ecoacoustic events and their emergent fractal dimensions. The 3D recordings used for the analysis were collected in undisturbed primary equatorial forests under the scope of the project, Fragments of Extinction, which produces 3D sound portraits with the highest definition possible using current technologies – a perfect dataset on which to (...) perform a multiscale qualitative analysis. The ecoacoustic events detected by a combination of the Acoustic Complexity Indices, ACIft, ACIft evenness, and ACItf evenness, and its fractal dimension were developed according to a biosemiotics approach in which the ecofield theory states that EE functions like a species-specific carrier of meaning. EEs, extracted according to 10 levels of temporal resolution, from 1 to 360 s, confirm the hypothesis that these acoustic communities have an internal complexity that responds to a fractal structure. Yasunì was richer in EEs, with a higher coefficient of variation of hourly fractal dimension. This methodology opens up promising new perspectives in the acoustic assessment of habitat quality and monitoring landscape modification. It also confirms the great potential of the biosemiotics approach in converting acoustic frequencies into ecoacoustic events through encoding procedures that mimic potential species-specific interpretations of the sonic environment. (shrink)

Summary The resonator and the tuning fork were major instruments in acoustics in the latter half of the nineteenth-century. In particular, the third Baron Rayleigh made extensive use of these instruments throughout his long career as an experimentalist. These instruments underwent a number of alterations during their use as central experimental tools in acoustics. Functional and structural alterations were introduced in the adaptation of these instruments to several major acousticians’ experimental settings. Rayleigh not only adopted the two instruments as objects (...) of mathematical and experimental investigation but also employed them ingeniously for various purposes. His continuing creation of a variety of uses and forms of these instruments contributed to focusing acoustics on pure tones and musical sounds until the early twentieth century. (shrink)

Single-sided deafness (SSD) or profound unilateral hearing loss obligates the only serviceable ear to capture all acoustic information. This loss of binaural function taxes cognitive resources for accurate listening performance, especially under adverse environments or challenging tasks. We hypothesized that adults with SSD would manifest both functional and structural brain plasticity compared to controls with normal binaural hearing. We evaluated functional alterations using magnetoencephalographic imaging (MEGI) of brain activation during performance of a moderately difficult auditory syllable sequence reproduction task (...) and assessed structural integrity using diffusion tensor magnetic resonance imaging (DTI). MEGI showed the SSD cohort to have increased induced oscillations in the theta band over the left superior temporal cortex and decreased induced gamma band oscillations over the frontal and parietal cortices between 175-475 ms following stimulus onset. DTI showed the SSD cohort to have extensive fractional anisotropy reduction in both auditory and non-auditory tracts and regions. Overlaying functional and structural changes revealed by the two imaging techniques demonstrated close registration of cortical areas and white matter tracts that expressed brain plasticity. Hence, complete loss of input from one ear in adulthood triggers both functional and structural alterations to dorsal temporal and frontal-parietal areas. (shrink)

Previous studies of auditory statistical learning have typically presented learners with sequential structural information that is uniformly distributed across the entire exposure corpus. Here we present learners with nonuniform distributions of structural information by altering the organization of trisyllabic nonsense words at midstream. When this structural change was unmarked by low‐level acoustic cues, or even when cued by a pitch change, only the first of the two structures was learned. However, both structures were learned when there was an explicit (...) cue to the midstream change or when exposure to the second structure was tripled in duration. These results demonstrate that successful extraction of the structure in an auditory statistical learning task reduces the ability to learn subsequent structures, unless the presence of two structures is marked explicitly or the exposure to the second is quite lengthy. The mechanisms by which learners detect and use changes in distributional information to maintain sensitivity to multiple structures are discussed from both behavioral and computational perspectives. (shrink)

Bird songs often display musical acoustic features such as tonal pitch selection, rhythmicity, and melodic contouring. We investigated higher-order musical temporal structure in bird song using an experimental method called “music scrambling” with human subjects. Recorded songs from a phylogenetically diverse group of 20 avian taxa were split into constituent elements and recombined in original and random order. Human subjects were asked to evaluate which version sounded more “musical” on a per-species basis. Species identity and stimulus treatment were (...) concealed from subjects, and stimulus presentation order was randomized within and between taxa. Two recordings of human music were included as a control for attentiveness. Participants varied in their assessments of individual species musicality, but overall they were significantly more likely to rate bird songs with original temporal sequence as more musical than those with randomized temporal sequence. We discuss alternative hypotheses for the origins of avian musicality, including honest signaling, perceptual bias, and arbitrary aesthetic coevolution. (shrink)

It seems obvious that signs in visual art and musical notation are static carriers of visual and acoustic information. Both types of sign, however, represent dynamic processes. In real space-time, there exists no static visible thing or static audible sound. The sources of visible or audible information are dynamic – i.e. complementary substantialenergetic-informational – entities extending in space-time. The same is true of an artificial or organic receiver and processor of visual or audible information. Reality and semiosis – to (...) be, to be perceived, and to be understood or to communicate – are dynamic processes. From a semiotic point of view, thus, pictures, photographic or artistic sign structures can’t be icons – in any case, if icons in a Peirceian manner are understood as signs representing objects for an interpretant by similarity . Similarity between icon and object is not a static precondition but a dynamic result of visual semiosis, i.e. of categorizing. Seeing something or hearing something is, as a consequence, not an “intuitive” or instantaneous Gestalt shift between representamen and object ongoing in an interpretant. And so, according to Fernande SaintMartin 1990: “visual semiotics … has to adopt an epistemology which is more in agreement with the dynamics of observed phenomena. It will recognize that matter is not inertness, but energy.” If the material carrier of semiosis, the representamen, already is to be understood as energy or dynamic process, all the more the whole complementary triadic sign-relation – object-representamen-interpretant – has to be understood as energetic information flow. This is being recognized in the transition from naturalistic, i.e. reproducing or mapping art, to modern, i.e. processing or interpreting/transducing art. Paul Klee 1990 for example says about the semiotic function of visual art: “Art doesn’t reproduce the visible but makes visible” . And he correlates the artistic activity of visualizing with the primordial, cosmogonic process of formation: “Reduced to the primordial process of formation, to creation, the process of cell division emerges” . Visual artistic semiosis is, thus, obviously to be understood as the process of emerging dynamic sign structures. It is the skill of the painter that makes the static results of dynamic semiosis “readable” for the viewer as signs – lines and surfaces - of the dynamic visual meaning of the picture. (shrink)

In modern approaches to phonology a lack of clarity exists on the issue of whether phonetic facts are psychological or physical realities. The results from an experiment suggest that phonetic facts can be considered as psychological realities, but with the restriction that they can take acoustical shape. More specifically, the syntactic material consisted of ambiguous French sentences of the following sort: On a tourné ce film intéressant pour les étudiants. They were spoken in disambiguating contexts, without the readers noticing the (...) ambiguities, and without context, but with the instruction to make a conscious effort to disambiguate. By tape splicing, the contexts were removed from the context-embedded sentences. Twenty-eight native speakers of French listened to the sentences and judged whether one or the other meaning had been intended by the speaker. Subjects performed significantly above chance: 60% correct identifications for context-embedded sentences, 75% for context-free sentences. Pitch-amplitude analyses were made to determine the acoustical differences involved. (shrink)

Shape and locomotion of tissue cells depend on the interaction of elements of the cytoskeleton, adhesion to the substrate and an intracellular hydrostatic pressure. The existence of this pressure becomes obvious from increase in cell volume on cessation of contractile forces and from observations with ultrasound acoustic microscopy. Wherever such an internal pressure is established, it is involved in generation of shape and driving force of cell locomotion. Therefore each hypothesis on cell shape and locomotion must consider this property (...) of a living cell. Apparently different types of locomotion depend on differences in substrate adhesion and/or cytoskeleton organisation. (shrink)

How do we align the distinct neural patterns associated with the articulation and the acoustics of the same utterance in order to guide behaviors that demand sensorimotor interaction, such as vocal learning and the use of feedback during speech production? One hypothesis is that while the representations are distinct, their patterns of change over time (temporal modulation) are systematically related. This hypothesis is pursued in the exploratory study described here, using paired articulatory and acoustic data from the X-ray microbeam (...) corpus. The results show that modulation in both articulatory movement and in the changing acoustics has the form of a pulse-like structure related to syllable structure. The pulses are aligned with each other in time, and the modulation functions are robustly correlated. These results encourage further investigation and testing of the hypothesis. (shrink)

Music and language are universal human abilities with many apparent similarities relating to their acoustics, structure, and frequent use in social situations. We might therefore expect them to be understood and processed similarly, and indeed an emerging body of research suggests that this is the case. But the focus has historically been on the individual, looking at the passive listener or the isolated speaker or performer, even though social interaction is the primary site of use for both domains. Nonetheless, (...) an important goal of emerging research is to compare music and language in terms of acoustics and structure, social interaction, and functional origins to develop parallel accounts across the two domains. Indeed, a central aim of both of evolutionary musicology and language evolution research is to understand the adaptive significance or functional origin of human music and language. An influential proposal to emerge in recent years has been referred to as the social bonding hypothesis. Here, within a comparative approach to animal communication systems, I review empirical studies in support of the social bonding hypothesis in humans, non-human primates, songbirds, and various other mammals. In support of this hypothesis, I review six research fields: (i) the functional origins of music; (ii) the functional origins of language; (iii) mechanisms of social synchrony for human social bonding; (iv) language and social bonding in humans; (v) music and social bonding in humans; and (vi) pitch, tone and emotional expression in human speech and music. I conclude that the comparative study of complex vocalizations and behaviors in various extant species can provide important insights into the adaptive function(s) of these traits in these species, as well as offer evidence-based speculations for the existence of “musilanguage” in our primate ancestors, and thus inform our understanding of the biology and evolution of human music and language. (shrink)

In this study of the functionally referential alarm calls in the meerkats, we tested the hypothesis that the ability to refer to a specific location was an important factor in the evolution of discrete vocalizations. We investigated what information receivers gained about the location of the predator from alarm calls with high stimulus specificity compared to alarm calls with low stimulus specificity. Furthermore, we studied whether visual cues about the localization of the predator may be available from the posture of (...) the caller. We described the general behaviour of the caller, the caller’s posture, and in particular its gaze direction. We then observed receivers responding to the different call types, to determine whether the acoustic structure of the calls was enough for them to respond in the appropriate way, or whether they used additional visual cues from the caller. We tested this with specific manipulation experiments, using three set ups of playback experiments: no caller visible; model guard with specific gaze direction; and live sentinel. Natural observations and experiments confirmed that in high urgency situations the meerkats have enough information from the acoustic structure of the call to respond appropriately. When hearing low urgency calls that are less stimuli specific, meerkats used visual cues as an additional source of information in a few cases. This may indicate that functionally referential calls evolved to denote the location of the predator, rather than the predator type or its velocity of approach. However, when discussing this result in comparison to other functionally referential calls, such as the food associated calls and recruitment calls, this localization hypothesis does not appear to apply to the functionally referential calls in general. (shrink)

When multiple individuals interact in a conversation or as part of a large crowd, emergent structures and dynamics arise that are behavioral properties of the interacting group rather than of any individual member of that group. Recent work using traditional signal processing techniques and machine learning has demonstrated that global acoustic data recorded from a crowd at a basketball game can be used to classify emergent crowd behavior in terms of the crowd's purported emotional state. We propose that the (...) description of crowd behavior from such global acoustic data could benefit from nonlinear analysis methods derived from dynamical systems theory. Such methods have been used in recent research applying nonlinear methods to audio data extracted from music and group musical interactions. In this work, we used nonlinear analyses to extract features that are relevant to the behavioral interactions that underlie acoustic signals produced by a crowd attending a sporting event. We propose that recurrence dynamics measured from these audio signals via recurrence quantification analysis (RQA) reflect information about the behavioral dynamics of the crowd itself. We analyze these dynamics from acoustic signals recorded from crowds attending basketball games, and that were manually labeled according to the crowds' emotional state across six categories: angry noise, applause, cheer, distraction noise, positive chant, and negative chant. We show that RQA measures are useful to differentiate the emergent acoustic behavioral dynamics between these categories, and can provide insight into the recurrence patterns that underlie crowd interactions. (shrink)

When we hear another person laugh or scream, can we tell the kind of situation they are in – for example, whether they are playing or fighting? Nonverbal expressions are theorised to vary systematically across behavioural contexts. Perceivers might be sensitive to these putative systematic mappings and thereby correctly infer contexts from others’ vocalisations. Here, in two pre-registered experiments, we test the prediction that listeners can accurately deduce production contexts (e.g. being tickled, discovering threat) from spontaneous nonverbal vocalisations, like sighs (...) and grunts. In Experiment 1, listeners (total n = 3120) matched 200 nonverbal vocalisations to one of 10 contexts using yes/no response options. Using signal detection analysis, we show that listeners were accurate at matching vocalisations to nine of the contexts. In Experiment 2, listeners (n = 337) categorised the production contexts by selecting from 10 response options in a forced-choice task. By analysing unbiased hit rates, we show that participants categorised all 10 contexts at better-than-chance levels. Together, these results demonstrate that perceivers can infer contexts from nonverbal vocalisations at rates that exceed that of random selection, suggesting that listeners are sensitive to systematic mappings between acoustic structures in vocalisations and behavioural contexts. (shrink)

The article is a discussion of the statement of Michał Heller, who in a few paragraphs of the book titled Filozofia i wszechświat made a comparison between mathematical and musical structures and stated clear parallelism between them. A number of inaccuracies have resulted from a too cursory treatment of that compelling problem. The level of the statement made by Heller, i.e. "mathematical structures in physical models or theories are to the structure of the world like a musical score to (...) a piece of music" is inaccurate; if the score is to correspond with physical models, and it is composed of sound structures itself, the structures in that statement can correspond to structures only and the structure of the music has a mathematical structure already in its basis. In the further course of his argument Heller imprecisely uses the term of "notes", one time as the score, the other time as characters written in it or as sounding elements of a piece of music. Another contentious issue concerns the organization of the material of the mathematical and musical structures. In classical music an orderly collection of sounds of a certain piece of music is always a purely arbitrary and limited selection of sounds, ordered according to the pitch of sounds; it is not driven by any other rules. In comparison to the mathematical structure it presents itself rather as a system which is similar to numbers that are scattered according to rules which are not mathematical at all. The score itself does not constitute any type of musical structure and a specific musical structure appears only in an interpretation. A significant difference occurs also at the level of characters. The content of a numeric character is stable even when it is isolated from the whole mathematical system. It always means one and the same thing, i.e. a specific quantity. A note, by contrast, becomes completely meaningless when detached from the stave. The numerical character of the sound structures is not self-contained. It exists only when it serves music. Meanwhile, mathematical structures, although they support the world according to Heller, are fully self-sufficient in their own field, which is mathematics. They can exist for themselves there. Thus, mathematics would have a double existence: one for itself as art and the other one for the world as a basis. By contrast, music has a single existence only; it exists for the aims of art. With its entire splendor it does not have enough power to exist for itself. While creating sound structures, a composer considers neither the numerical basis of sound nor its acoustic sense, or any other sense connected with music. Finally, mathematical systems probably often relate to the mysteries of existence in a way which shakes all our knowledge and vision of reality. How dissimilar are musical structures here, though? There is only one certain thing there: both mathematical and musical structures can deeply move a human spirit. That is where, perhaps, their greatest similarity lies. (shrink)

Mapping from acoustic signals to lexical representations is a complex process mediated by a number of different levels of representation. This paper reviews properties of the phonetic and phonological levels, and hypotheses about how category structure is represented at each of these levels, and evaluates these hypotheses in light of relevant electrophysiological studies of phonetics and phonology. The paper examines evidence for two alternative views of how infant phonetic representations develop into adult representations, a structure-changing view and (...) a structure-adding view, and suggests that each may be better suited to different kinds of phonetic categories. Electrophysiological results are beginning to provide information about phonological representations, but less is known about how the more abstract representations at this level could be coded in the brain. (shrink)

Employing an aero-acoustic levitator, the Fe 2 O 3 -16.5 mol% La 2 O 3 eutectic alloy was levitated, melted, undercooled and then solidified under a containerless condition when a continuous laser beam heating system was incorporated. By revealing the surface and cross-sectional microstructures, copious nucleation is confirmed to take place in the undercooled melts solidified by either an external seeding or spontaneous crystallization. The nucleation behaviour of eutectic alloys is summarized, indicating that copious nucleation may be an intrinsic (...) attribute of a eutectic system with the exact eutectic composition in unconstrained solidification. Considering the complexity level of crystal structures of eutectic oxide phases in the Fe 2 O 3 -La 2 O 3 alloy, the linear kinetic constants are approximately estimated and the growth kinetics are discussed. The sluggish growth kinetics of the perovskite-type phase, that is LaFeO 3 with a higher complexity level in a unit cell leads to a decoupled growth within a single eutectic colony when the melt is undercooled to exceed the critical undercooling j T = 125 K. It is the decoupled growth that results in the formation of anomalous eutectics. The present concept based on the kinetic constant of different phases can also be applicable to account for the growth behaviour of other oxide eutectics when considering the stable and metastable eutectic reactions in different solidification conditions. The nucleation behaviour and growth modes in some oxide eutectic systems have been predicted in the free solidification from an undercooled state. (shrink)

Temporal regularities in speech, such as interdependencies in the timing of speech events, are thought to scaffold early acquisition of the building blocks in speech. By providing on-line clues to the location and duration of upcoming syllables, temporal structure may aid segmentation and clustering of continuous speech into separable units. This hypothesis tacitly assumes that learners exploit predictability in the temporal structure of speech. Existing measures of speech timing tend to focus on first-order regularities among adjacent units, and (...) are overly sensitive to idiosyncrasies in the data they describe. Here, we compare several statistical methods on a sample of 18 languages, testing whether syllable occurrence is predictable over time. Rather than looking for differences between languages, we aim to find across languages (using clearly defined acoustic, rather than orthographic, measures), temporal predictability in the speech signal which could be exploited by a language learner. First, we analyse distributional regularities using two novel techniques: a Bayesian ideal learner analysis, and a simple distributional measure. Second, we model higher-order temporal structure—regularities arising in an ordered series of syllable timings—testing the hypothesis that non-adjacent temporal structures may explain the gap between subjectively-perceived temporal regularities, and the absence of universally-accepted lower-order objective measures. Together, our analyses provide limited evidence for predictability at different time scales, though higher-order predictability is difficult to reliably infer. We conclude that temporal predictability in speech may well arise from a combination of individually weak perceptual cues at multiple structural levels, but is challenging to pinpoint. (shrink)

Establishing and maintaining mutual understanding in everyday conversations is crucial. To do so, people employ a variety of conversational devices, such as backchannels, repair, and linguistic entrainment. Here, we explore whether the use of conversational devices might be influenced by cross‐linguistic differences in the speakers’ native language, comparing two matched languages—Danish and Norwegian—differing primarily in their sound structure, with Danish being more opaque, that is, less acoustically distinguished. Across systematically manipulated conversational contexts, we find that processes supporting mutual understanding (...) in conversations vary with external constraints: across different contexts and, crucially, across languages. In accord with our predictions, linguistic entrainment was overall higher in Danish than in Norwegian, while backchannels and repairs presented a more nuanced pattern. These findings are compatible with the hypothesis that native speakers of Danish may compensate for its opaque sound structure by adopting a top‐down strategy of building more conversational redundancy through entrainment, which also might reduce the need for repairs. These results suggest that linguistic differences might be met by systematic changes in language processing and use. This paves the way for further cross‐linguistic investigations and critical assessment of the interplay between cultural and linguistic factors on the one hand and conversational dynamics on the other. (shrink)

This is an attempt to describe and explain so-called timbre-based music as a special system of musicking, communication, and psychological and social usage, which along with its corresponding beliefs constitutes a viable alternative to “frequency-based” music. Unfortunately, the current scientific research into music has been skewed almost entirely in favor of the frequency-based music prevalent in the West. Subsequently, whenever samples of timbre-based music attract the attention of Western researchers, these are usually interpreted as “defective” implementations of frequency-based music. The (...) presence of discrete pitch is often regarded as the structural criterion that distinguishes music from non-music. We would like to present evidence to the contrary—in support of the existence of indigenous music systems based on the discretization and patterning of aspects of timbre, rather than pitch. This evidence comes mainly from extensive ethnographic research systematically conducted in eastern European and Asian parts of Russia from the 1890s. It involved the efforts of thousands of specialists and was coordinated by dozens of research institutions, and it has included not just ethnomusicology but linguistics, philology, organology, archaeology, anthropology, geography, and religious and social studies. Much of the data has not been translated into Western languages. Timbre-based tonal organization (TO) differs from that based on frequency in its personal orientation: musicking here occurs primarily for oneself and/or for close relatives/friends. Collective music-making is rare and exceptional. The foundation of timbre-based music seems to have vocal roots and rests on “personal song”—a system of personal identification through individualized patterns of rhythm, timbre, and pitch contour, utilized like a “human voice”—whose sound enables the recognition of a particular individual. The instrumental counterpart of the personalized singing tradition is the jaw harp tradition. The jaw harp is the principal musical instrument for at least 21 ethnicities in Russia, who occupy over half the territory of the country. The evolution of its TO forms the backbone for the development of timbre-based music art. Here, we provide the acoustic, socio-cultural, geographic, and chronological overview of timbre-based music. (shrink)

Decoding the function and meaning of a foreign culture's sounds and gestures is a notoriously difficult problem. It is even more challenging when we think about the sounds and gestures of nonhuman animals. This essay provides a review of what is currently known about the informational content and function of primate vocalizations, emphasizing the problems underlying the construction of a primate “dictionary.” In contrast to the Oxford English Dictionary, this dictionary provides entries to emotional expressions as well as potentially referential (...) expressions. It therefore represents a guide to what animals do with their vocalizations, as well as how they are represented by signalers and perceivers. I begin by a discussion of the unit problem, of how an acoustic space is carved up into functionally significant components leading to a species‐specific repertoire or lexicon of sorts. This section shows how little we know about the units of organization within animal vocal repertoires, and how such lack of information constrains our ability to tackle the problem of syntactic structure. In Section III, I review research on the production and perception of vocal signals that appear to be functionally referential. This work shows that several nonhuman primates produce vocalizations that share some of the key properties of reference, but certainly not all; the components that are missing raises questions about their role as precursors to human words. In Section IV, I explore the social uses of vocalizations, assessing whether the signal contains sufficient information for listeners to judge a caller's credibility; ultimately, caller credibility determines how receivers select an appropriate response. Results show that individuals can use calls to assess whether someone is reliable or unreliable, and that such attributes are associated with individuals and particular contexts. I conclude by synthesizing the issues presented and then raise some directions for future conceptual and methodological progress. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Schizophrenic Delusions, Embodiment, and the BackgroundGiovanni Stanghellini (bio)Keywordsschizophrenia, delusion, embodiment, common sense, phenomenologyIn their article Delusions, Certainty, and the Background, Rhodes and Gipps (2008) argue for a Background theory of delusions. Their central argument may be summed up as follows:• The formation and maintenance of delusions becomes intelligible once they are seen to reflect a basic disturbance. When studying delusions, the focus should be on providing an adequate framework (...) for understanding, rather than providing empirical hypotheses to be tested.• The basic disturbance in delusions, and insanity in general, is not a deficiency in reasoning or a defect in the content of experience, but rather something more fundamental.• Delusions––this is their central claim––are caused by a failure of the Bedrock of beliefs (Wittgenstein) or the Background (Searle) to adequately inform or constrain the process of belief formation.• Our Bedrock certainties are defined––following Wittgenstein––as ultimately constituted by our ability to act in the world and demonstrate our primary engagement with the world. They are born out of our everyday experience of the world, conveying our direct, pre-reflective, and practical grasp of the world, rather than expressing judgments we make about it.• Similarly, the Background is defined as those abilities and dispositions that are neither representations nor rules, that function before we can make sense of our experiences.• Wittgenstein’s Bedrock and Searle’s Background in great part overlap with Blankenburg’s pre-reflective natural self-evidence and Stanghellini’s common sense, namely, our own unreflecting know-how, a set of nonpropositional skills, capacities, and dispositions that attune us with the world.• Without a fully functioning Background, the distinctions between imaginary and real (mind and world), self and non-self, and cause and coincidence fail to be adequately drawn within experience. Also, grasping the meaning of others’ behaviors and a weakening of contextual influences are entailed by an erosion of Background sensibilities.I feel extremely sympathetic to this account and, as Rhodes and Gipps report, there are remarkable points of overlap between their and my own ideas about the formation of schizophrenic delusions. I would like to add some comments on the main theories on the basic disorders entailed in the pathogenesis of delusions and conclude with some suggestions to integrate the Background theory of delusions. [End Page 311]Syntagmatic Versus Paradigmatic Models of DelusionsLet me raise first an epistemological point: paradigmatic models of delusions––defining what a delusion is in itself and what are its borders with similar phenomena––proved to be unsatisfactory in psychopathology. As Schneider and Huber (1975) put it more that 40 years ago, “[w]hat counts in delusions is not the delusion itself... but snagging the course of the lived experience, rather than its product” (p. 2042). What we do need, to understand what delusions really are, are syntagmatic models how––delusions (in this case, delusions in persons with schizophrenia) are connected to other phenomena within a structure or a process. What we should look for, then, are the phenomena that contribute as motivationally (or causally) necessary vulnerability, that is, the basic disturbance for the development of delusions. This logically implies that we need studying delusions in fieri, or the pathways that lead to delusions themselves. I subscribe to the principle that studying delusion by merely concentrating exclusively on its crystallized forms would be like studying stroke victims to know more about hypertension (Parnas and Sass 2001). This methodological move from crystallized delusions to delusions in-the-making is quintessential to define the subtle, basic, phenomenal invariant core that characterizes a given psychopathological phenomenon and that emerges across the manifold facets of the phenomenon itself and shapes them and keeps them meaningfully interconnected.A syntagmatic model should account for (at least) the following features of schizophrenic delusions:• abnormalities in symbolization (loss of commonsense meaning of a given thing or fact),• formal aspects (e.g., revelation character, experience of centrality), and• specificity of content (e.g., metaphysical tinge).It should also be compatible with those phenomena like self-disorders (loss of sense of ownership and of agency) that are entailed in most schizophrenic symptoms (e.g., verbal–acoustic hallucinations and experiences of alien control). Finally, it should keep meaningfully... (shrink)

In his lectures on the philosophy of nature, Maurice Merleau-Ponty interprets Jakob von Uexküll’s notion of Umwelt as akin to a melody. This essay outlines von Uexküll’s perspective on the feasibility of translating non-acoustic elements (optical: colours, shapes, and figures; haptic: tactile textures, flavours, tastes, and scents) into sounds or musical notes to compose a melody. It poses several inquiries: Does the link between melody and nature render natural entities as musical notes? Do the components of an entity constitute (...) anatomical notes in the melody that defines the entity itself? Is it conceivable to distil every moment in life into a “note” symbol on a musical scale, characterised by specific duration, pitch, and volume? Melody, rhythm, and harmony are considered sophisticated “structures” that articulate and convey the essence of nature’s existence. Moreover, every human, every living creature, be it animal or plant, possesses a subjective “biological” interiority. The inner realm of each living subject, along with the objects in the external world, are enveloped within an atmosphere—a musical Umwelt. Humans exist within this musical milieu or atmosphere. (shrink)

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

The perception of speech tempo is influenced by both the acoustic properties of speech and the cognitive state of the listener. However, there is a lack of research on how speech comprehension affects the perception of speech tempo. This study aims to disentangle the impact of speech comprehension on the perception of speech tempo by manipulating linguistic structures and measuring perceptual speech tempo at explicit and implicit levels. Three experiments were conducted to explore these relationships. In Experiment 1, two (...) explicit speech tasks revealed that listeners tend to overestimate the speech tempo of sentences with low comprehensibility, although this effect decreased with repeated exposure to the speech. Experiment 2, utilizing an implicit speech tempo task, replicated the main findings of Experiment 1. Furthermore, the results from the drift‐diffusion model eliminated the possibility that participants’ responses were based on the type of sentence. In Experiment 3, non‐native Chinese speakers with varying levels of language proficiency completed the implicit speech rate task. The results showed that non‐native Chinese speakers exhibited distinct behavioral patterns compared to native Chinese speakers, as they did not perceive differences in speech tempo between high and low comprehensibility conditions. These findings highlight the intricate relationship between the perception of speech tempo and the comprehensibility of processed speech. (shrink)

Numerous studies have examined the acoustic correlates of sentential stress and its underlying linguistic functionality. However, the mechanism that connects stress cues to the listener's attentional processing has remained unclear. Also, the learnability versus innateness of stress perception has not been widely discussed. In this work, we introduce a novel perspective to the study of sentential stress and put forward the hypothesis that perceived sentence stress in speech is related to the unpredictability of prosodic features, thereby capturing the attention (...) of the listener. As predictability is based on the statistical structure of the speech input, the hypothesis also suggests that stress perception is a result of general statistical learning mechanisms. To study this idea, computational simulations are performed where temporal prosodic trajectories are modeled with an n-gram model. Probabilities of the feature trajectories are subsequently evaluated on a set of novel utterances and compared to human perception of stress. The results show that the low-probability regions of F0 and energy trajectories are strongly correlated with stress perception, giving support to the idea that attention and unpredictability of sensory stimulus are mutually connected. (shrink)

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

Rhythm is key to language acquisition. Across languages, rhythmic features highlight fundamental linguistic elements of the sound stream and structural relations among them. A sensitivity to rhythmic features, which begins in utero, is evident at birth. What is less clear is whether rhythm supports infants' earliest links between language and cognition. Prior evidence has documented that for infants as young as 3 and 4 months, listening to their native language supports the core cognitive capacity of object categorization. This precocious link (...) is initially part of a broader template: listening to a non-native language from the same rhythmic class as and to vocalizations of non-human primates provide English-acquiring infants the same cognitive advantage as does listening to their native language. Here, we implement a machine-learning approach to ask whether there are acoustic properties, available on the surface of these vocalizations, that permit infants' to identify which vocalizations are candidate links to cognition. We provided the model with a robust sample of vocalizations that, from the vantage point of English-acquiring 4-month-olds, either support object categorization or fail to do so. We assess whether supervised ML classification models can distinguish those vocalizations that support cognition from those that do not, and which class of acoustic features best support that classification. Our analysis reveals that principal components derived from rhythm-relevant acoustic features were among the most robust in supporting the classification. Classifications performed using temporal envelope components were also robust. These new findings provide in principle evidence that infants' earliest links between vocalizations and cognition may be subserved by their perceptual sensitivity to rhythmic and spectral elements available on the surface of these vocalizations, and that these may guide infants' identification of candidate links to cognition. (shrink)

This paper presents a new line of inquiry into when and how music as a semiotic system was born. Eleven principal expressive aspects of music each contains specific structural patterns whose configuration signifies a certain affective state. This distinguishes the tonal organization of music from the phonetic and prosodic organization of natural languages and animal communication. The question of music’s origin can therefore be answered by establishing the point in human history at which all eleven expressive aspects might have been (...) abstracted from the instinct-driven primate calls and used to express human psycho-emotional states. Etic analysis of acoustic parameters is the prime means of cross-examination of the typical patterns of expression of the basic emotions in human music versus animal vocal communication. A new method of such analysis is proposed here. Formation of such expressive aspects as meter, tempo, melodic intervals, and articulation can be explained by the influence of bipedal locomotion, breathing cycle, and heartbeat, long before Homo sapiens. However, two aspects, rhythm and melodic contour, most crucial for music as we know it, lack proxies in the Paleolithic lifestyle. The available ethnographic and developmental data leads one to believe that rhythmic and directional patterns of melody became involved in conveying emotion-related information in the process of frequent switching from one call-type to another within the limited repertory of calls. Such calls are usually adopted for the ongoing caretaking of human youngsters and domestic animals. The efficacy of rhythm and pitch contour in affective communication must have been spontaneously discovered in new important cultural activities. The most likely scenario for music to have become fully semiotically functional and to have spread wide enough to avoid extinctions is the formation of cross-specific communication between humans and domesticated animals during the Neolithic demographic explosion and the subsequent cultural revolution. Changes in distance during such communication must have promoted the integration between different expressive aspects and generated the basic musical grammar. The model of such communication can be found in the surviving tradition of Scandinavian pastoral music - kulning. This article discusses the most likely ways in which such music evolved. (shrink)

The aim of this paper is to investigate a peculiar acoustic feature of translation – its echoicity. In the first step, I will revisit the story of Echo, the mythological character who repeats the words of the other and distorts its meaning. Moving from this figure, the article will pose the question of how the mechanism of repetition is structured in translation. This will be done through an analysis of the passages from Benjamin’s “The Task of the Translator”, in (...) which translation is explicitly described as an echo, involved in a chain of multiple resonances. It will be showed that Benjamin’s text as well, especially its terminology, acts through the same multiple resonances. In the last part of the paper, the problem of contradiction will be introduced, making reverberate some concepts and points from Hegelian philosophy, in order to argue the contradictory process of echoing the voice of the other in translation. (shrink)

Biosemiotics to date has focused on the exchange of signals between organisms, in line with bioacoustics; consideration of the wider acoustic environment as a semiotic medium is under-developed. The nascent discipline of ecoacoustics, that investigates the role of environmental sound in ecological processes and dynamics, fills this gap. In this paper we introduce key ecoacoustic terminology and concepts in order to highlight the value of ecoacoustics as a discipline in which to conceptualise and study intra- and interspecies semiosis. We (...) stress the inherently subjective nature of all sensory scapes and propose that they should always bear an organismic attribution. Key terms to describe the sources and scales of soundscapes are described. We introduce epithets for soundscapes to point to the degree to which the global environment is implicated in semiosis ; terms for describing key ecological structures and processes and examples of ecoacoustic events are described. The acoustic eco-field is recognized as the semiotic model that enables soniferous species to intercept core resources like food, safety and roosting places. We note that whilst ecoacoustics to date has focused on the critical task of the development of metrics for application in conservation and biodiversity assessment, these can be enriched by advancing conceptual and theoretical foundations. Finally, the mutual value of integrating ecoacoustic and biosemiotics perspectives is considered. (shrink)

The overall goal of speech perception research is to explain how spoken language is recognized and understood. In the current research framework it is assumed that the key to achieving this overall goal is to solve the lack of invariance problem. But nearly half a century of sustained effort in a variety of theoretical perspectives has failed to solve this problem. Indeed, not only has the problem not been solved, virtually no empirical candidates for solving the problem have been produced. (...) One explanation for this lack of progress is simply that no theory has yet hit upon the correct set of invariant properties. Another explanation is that the goal of solving the lack of invariance problem is itself misguided. The most basic claim of this dissertation is that the latter explanation is correct. ;The lack of progress in explaining speech perception exhibited by the current research framework, I argue, is not, in the first instance, due to the failure of individual theories to solve the lack of invariance problem, but rather to the common background assumption that doing so is in fact the key to explaining speech perception. ;My overall argument in support of this basic claim has three main components: criticism of the empirical results of research in the current framework; criticism of the formulation of theories generated in the current research framework; and the availability of an alternative account of phonetic structure. ;The heart of my argument is an analysis of the character of the theoretical weaknesses of three theories of speech perception: the motor theory of speech perception, the ecological theory of speech perception, and the theory of acoustic invariance. I show that, in each case, the particular theoretical problems result from trying to satisfy the common goal of identifying invariant properties of phonetic percepts. ;I analyze the methodological error embodied in the current approach to explaining speech perception as, in general, one of abstracting the wrong kinds of properties from the detail of the speech event, and, in particular, of abstracting away from dynamic and context-dependent properties. (shrink)

Using the exemplary case of 19th-century American state penitentiaries, the authors explore penitentiary control from the perspective of sensing agents who navigate a controlled sensory ecology – the prison, as structured by institutional rules, differential power relations, and architectural plans. Moving beyond Foucault’s Discipline and Punish (1995) and Goffman’s Asylums (1961), they stress a pragmatist approach to understanding human sensing and explain inmates’ creativity under constraints. Employing wardens’ disciplinary journals and other secondary reports, the article emphasizes three theoretical issues that (...) explain why Panoptical prisons’ attempts to control sense experiences can sometimes fail: (1) architectural designs that inadequately negotiate the contradictory demands of visual and acoustic control; (2) inmates’ active mobilization of perceptible objects as means of resistance; and (3) power differences between prison authorities and inmates that prevent actors from sharing a common sensory field. The authors’ overarching goal is to advance, via pragmatism, a sensory analysis of institutional control. (shrink)

The aim of this contribution is to broaden the concept of musical meaning from an abstract and emotionally neutral cognitive representation to an emotion-integrating description that is related to the evolutionary approach to music. Starting from the dispositional machinery for dealing with music as a temporal and sounding phenomenon, musical emotions are considered as adaptive responses to be aroused in human beings as the product of neural structures that are specialized for their processing. A theoretical and empirical background is provided (...) in order to bring together the findings of music and emotion studies and the evolutionary approach to musical meaning. The theoretical grounding elaborates on the transition from referential to affective semantics, the distinction between expression and induction of emotions, and the tension between discrete-digital and analog-continuous processing of the sounds. The empirical background provides evidence from several findings such as infant-directed speech, referential emotive vocalizations and separation calls in lower mammals, the distinction between the acoustic and vehicle mode of sound perception, and the bodily and physiological reactions to the sounds. It is argued, finally, that early affective processing reflects the way emotions make our bodies feel, which in turn reflects on the emotions expressed and decoded. As such, there is a dynamic tension between nature and nurture, which is reflected in the nature-nurture-nature cycle of musical sense-making. (shrink)

This chapter analyses the micro-genesis of anticipation in awareness and shows how the internal determinants of anticipation construe our perception of empirical reality. Rooted in the psychic present, anticipation occurs in very short durations. Anticipation develops in phases allowing temporal and spatial displacements, and it includes an internal model of itself. Examples are given from visual, acoustic and motion perception, showing the anticipatory structure of awareness in subjective space-time. Finally, anticipation in perception throws light on the deep roots (...) of semantics. (shrink)

continent. 2.1 (2012): 56–58 Nechvatal, Joseph, Immersion Into Noise , Open Humanities Press, 2011, 267 pp, $23.99 (pbk), ISBN 1-60785-241-1. As someone who’s knowledge of “art” mostly began with the domestic (Western) and Japanese punk and noise scenes of the late 80’s and early 90’s, practices and theories of noise fall rather close to my heart. It is peeking into the esoteric enclaves of weird music and noise that helped me understand what I think I might like art to be: (...) A way of learning about the world through perturbation—exploration by incitement and speculation of possible conditions. What I have always loved about artistic investigations influenced by noisy aesthetics or sensibilities is that they can be simultaneously transcendent and absurd, amusing and revelatory, singular and pluralistic, mindless and intensely penetrating. The provocative friction that noise brings to bear on aesthetic experience, artistic practice, and “the” Art World acts as a kind of impulse response, proposing new energies while revealing underlying structure; noise signals are a simultaneous synthesis and analysis of spaces, subjects and relations. About two weeks prior to Christmas 2011, Joseph Nechvatal was generous enough to spend some time with me at 39 Quai des Grands Augustins, Paris . We each had one glass of red wine, briefly discussed common acquaintances, shared points of interest, and his published writings. We also, I recall, disagreed lightheartedly about how much contemporary relevance the ideas of telematic-artist Roy Ascott have for today’s art-and-technology practitioner (Joseph > Jamie). After the encounter, I read through a PDF version of Immersion Into Noise Joseph was kind enough to send me ( the HTML version is here ). A number of points of entry into cultures of “noise” are available these days. There are the acoustic-spatial approaches of thinkers like Douglas Kahn, Brandon LaBelle and Salome Voegelin; the techno-cultural musicologies of Jonathan Sterne and David Toop; the political writings of Jacques Attali, former adviser to President François Mitterrand, in his Noise: The Political Economy of Music (spoiler alert: It’s not really about music). Enter the new writings of one Joseph Nechvatal, with his invitation of an Immersion Into Noise . Nechvatal has been active for over 20 years in on- and off-line discussions of art, technology, virtuality, as well as his own set of art-theoretical departures and terminologies. A practicing artist, and instructor at the School of Visual Arts in New York City, Immersion Into Noise , is Nechvatal’s third published volume. His writings, broadly, address a concern with the possibilities of a synthesis between the biological and the virtual, and the contemporary artistic resonances that these possibilities suggest. Nechvatal’s project is to try to name contemporary currents of artistic practice within our technologized culture. He comes at this through art history, post-modern philosophy, anthropology and consciousness studies. Portions of Immersion Into Noise have appeared in his PhD dissertation, as well as online art publications like Zing Magazine . An open-access publication, and part of the impressive and heartening activities of the Open Humanities Press, Nechvatal’s book is a somewhat unexpected addition to the Critical Climate Change series edited by Tom Cohen of SUNY University and Claire Colebrook of Penn State. Other titles in the series have address themes of post-globalism and cultures of threat. Joseph Nachvetal’s title is the first to focus entirely on art history, art practice and aesthetics. It is awkward to too easily fit Nechvatal’s writings in with the aforementioned burgeoning canon of cultural and artistic practice in, and writings on, noise (Russolo, Schaeffer, Cage and Yves Klein through to Kahn, LaBelle, Voegelin, et. al). Immersion Into Noise is not primarily an examination of sound-noise or phenomenologies of sound, and the relativist, non-objectivist possibilities arising therefrom in social, public, and exhibition art practices. Although Nechvatal makes mention of sonic practice and experience (his own encounter in 1968 with the technological complex was set in motion at a Jimi Hendrix concert at the Chicago Coliseum), he does so only by way of introducing a broader concept of “art-noise.” The noise-scape can envelope various kinds of involvement in all kinds of art, by artists, audiences, and distributed amalgams of all of these. Midway through the book, we are offered characteristics of an “immersive noise vision theory.” This theory, leading to an even more syncretic thinking about the art experience, is sketched out through further reference to the author’s personal observation, as well as his art-historical research and notes. Personal examples take on the reflex of a kind of art-noise-travel-writing, as Nechvatal visits Ryoji Ikeda’s Datamatics [ver 2.0] installation at the Centre Pompidou, Paris), hears Cecil Taylor at Alice Tully Hall in New York, spends time with the cave paintings of Lascaux, France, and explores the Wagner-inspired Venus Grotto of Linderhof, Bavaria, to name a few. These site-events, to varying degrees, are renderings of noise-art’s potential to “place us back into a ritual position by dragging art down into the felt 360° noise-perspective of the enthusiastic and participatory.” (p.103) The arc of the ideas proposed here position immersiveness, saturation and “scopic all-over tension” as most productively foundational to noise art, or art-noise. An itinerary from the most ancient of artistic expressions (cave drawings) to the most digital of presentations is charted (Ikeda’s minimal/maximal bitwise works for synchronized audio and visual projection). The harsh sonic onslaught of Masami Akita (a.k.a. Merzbow), is, under this analysis, not so far from colossal denseness of the churches of the High Baroque (Nechvatal visits the Rosario Chapel in Santo Domingo Church, Puebla, Mexico). And there is much more here, eaten up by noise: A rethinking of the work of Duchamp, Jackson Pollock, Nicolas Schöffler (whom Nechvatal names the true “the Father of Cybernetic Art”) and the Happenings of Alan Kaprow, all as art-noise in their own right. Each of these artists and moments demonstrate techniques of destabilization, immersiveness, frame-breaking and “all-over fullness and fervor.” Here is writing on art and art history that is as ambitious as it is promising: “wildly visionary,” Nechvatal states as in conclusion. Self-admittedly far-reaching to the point of verging on totalization, we are asked to consider that the moments, spaces, arts and artists Nechvatal appreciates in the book all derive from an increasingly prevalent “noise consciousness.” Along the way we gain an appreciation of noise as a productive and proactive tension in art, rather than an unwanted signal or unwelcome intrusion. Most promising here for me are Nechvatal’s revealing descriptions of the potential for noise to make manifest the material-perceptual framework of individual and collective art experience. How might we allow what we have been repeatedly taught is our contemporary condition of “information overload” to transform itself into a calm, warm, sympathetic kind of inundation. Treatment of experience in this way, dissolves boundaries between the bodily, informational, material and technical complexes that make up our world, and is the promise of a radical, if momentary, Immersion Into Noise. (shrink)

Context: Neurophenomenology lies at a rich intersection of neuroscience and lived human experience, as described by phenomenology. As a new discipline, it is open to many new questions, methods, and proposals. Problem: The best available scientific ontology for neurophenomenology is based in dynamical systems. However, dynamical systems afford myriad strategies for organizing and representing neurodynamics, just as phenomenology presents an array of aspects of experience to be captured. Here, the focus is on the pervasive experience of subjective time. There is (...) a need for concepts that describe synchronic (parallel) features of experience as well as diachronic (dynamic) structures of temporal objects. Method: The paper includes an illustrative discussion of the role of temporality in the construction of the awareness of objects, in the tradition of Husserl, James, and most of 20th century phenomenology. Temporality illuminates desiderata for the dynamical concepts needed for experiment and explanation in neurophenomenology. Results: The structure of music – rather than language – is proposed as a source for descriptive and explanatory concepts in a neurophenomenology that encompasses the pervasive experience of duration, stability, passing time, and change. Implications: The toolbox of cognitive musicology suddenly becomes available for dynamical systems approaches to the neurophenomenology of subjective time. The paper includes an illustrative empirical study of consonance and dissonance in application to an fMRI study of schizophrenia. Dissonance, in a sense strongly analogous to its acoustic musical meaning, characterizes schizophrenia at all times, while emerging in healthy brains only during distracting and demanding tasks. Constructivist content: Our experience of the present is a continuous and elaborate construction of the retention of the immediate past and anticipation of the immediate future. Musical concepts are almost entirely temporal and constructivist in this temporal sense – almost every element of music is constructed from relations to non-present musical/temporal contexts. Musicology may offer many new constructivist concepts and a way of thinking about the dynamical system that is the human brain. (shrink)