Unlike sonographic examinations, sonic fetal heartbeat monitoring has received relatively little attention from scholars in the social sciences. Using the case of fetal heartbeat monitoring as part of midwifery prenatal care in Germany, this contribution introduces music as an analytical tool for exploring the aesthetic dimensions of obstetrical surveillance practices. Based on ethnographic stories, three orchestrations are compared in which three different instruments help audiences to listen to what becomes fetal heartbeat music and to qualify fetal and pregnant lives in (...) relation to each other. In the Doppler-based orchestration, audible heartbeat music is taken as a sign of a child in need of parental love and care cultivated to listen. The Pinard horn makes esoteric fetal music that can be appreciated by the midwife as a skilled instrumentalist alone and helps to enact a child hidden in the belly. The cardiotocograph brings about soothing music and a reassuring relationship with a child but also durable scripts of juridical beauty. This material-semiotic analysis amplifies how well-being is shaped in midwifery prenatal care practices. (shrink)

To avoid difficulties that arise when we appeal to speaker intentions or multiple rules to determine the meaning of indexicals, Cohen (2013) recently defends a conventionalist account of these terms that focuses on their context of tokening. Apart from some tricky cases already discussed in the literature, however, such an account faces a serious difficulty: in many speech acts, multiple apparent tokens are produced – for example when a speaker speaks on a telephone, and her utterance is heard both where (...) she speaks, and at the location of the receiver of the call. The ‘token-contextual’ account seems to imply that in such cases a speaker will simultaneously produce multiple contradictory utterances. Here I argue that to resolve such problems we cannot help but to invoke speaker intentions. However, by appealing to intentions at the level of the metaphysics of semantic tokens, rather than to decide their meaning, the token-contextualist can make this appeal without reintroducing the difficulties associated with intentionalist accounts that she hopes to avoid. The resulting metaphysics of semantic tokens is, interestingly, more complex than we might have expected. -/- . (shrink)

People across the world seek out beautiful sounds in nature, such as a babbling brook or a nightingale song, for positive human experiences. However, it is unclear whether this positive aesthetic response is driven by a preference for the perceptual features typical of nature sounds versus a higher‐order association of nature with beauty. To test these hypotheses, participants provided aesthetic judgments for nature and urban soundscapes that varied on ease of recognition. Results demonstrated that the aesthetic preference for nature soundscapes (...) was eliminated for the sounds hardest to recognize, and moreover the relationship between aesthetic ratings and several measured acoustic features significantly changed as a function of recognition. In a follow‐up experiment, requiring participants to classify these difficult‐to‐identify sounds into nature or urban categories resulted in a robust preference for nature sounds and a relationship between aesthetic ratings and our measured acoustic features that was more typical of easy‐to‐identify sounds. This pattern of results was replicated with computer‐generated artificial noises, which acoustically shared properties with the nature and urban soundscapes but by definition did not come from these environments. Taken together, these results support the conclusion that the recognition of a sound as either natural or urban dynamically organizes the relationship between aesthetic preference and perceptual features and that these preferences are not inherent to the acoustic features. Implications for nature's role in cognitive and affective restoration are discussed. (shrink)

Language experience clearly affects the perception of speech, but little is known about whether these differences in perception extend to non-speech sounds. In this study, we investigated rhythmic perception of non-linguistic sounds in speakers of French and German using a grouping task, in which complexity was manipulated. In this task, participants grouped sequences of auditory chimeras formed from musical instruments. These chimeras mimic the complexity of speech without being speech. We found that, while showing the same overall grouping preferences, the (...) German speakers showed stronger biases than the French speakers in grouping complex sequences. Sound variability reduced all participants’ biases, resulting in the French group showing no grouping preference for the most variable sequences, though this reduction was attenuated by musical experience. In sum, this study demonstrates that linguistic experience, musical experience, and complexity affect rhythmic grouping of non-linguistic sounds and suggests that experience with acoustic cues in a meaningful context is necessary for developing a robust grouping preference that survives acoustic variability. (shrink)

During much of the past century, it was widely believed that phonemes--the human speech sounds that constitute words--have no inherent semantic meaning, and that the relationship between a combination of phonemes (a word) and its referent is simply arbitrary. Although recent work has challenged this picture by revealing psychological associations between certain phonemes and particular semantic contents, the precise mechanisms underlying these associations have not been fully elucidated. Here we provide novel evidence that certain phonemes have an inherent, non-arbitrary emotional (...) quality. Moreover, we show that the perceived emotional valence of certain phoneme combinations depends on a specific acoustic feature--namely, the dynamic shift within the phonemes' first two frequency components. These data suggest a phoneme-relevant acoustic property influencing the communication of emotion in humans, and provide further evidence against previously held assumptions regarding the structure of human language. This finding has potential applications for a variety of social, educational, clinical, and marketing contexts. (shrink)

To avoid difficulties facing intention-based accounts of indexicals, Cohen () recently defends a conventionalist account that focuses on the context of tokening. On this view, a token of ‘here’ or ‘now’ refers to the place or time at which it tokens. However, although promising, such an account faces a serious problem: in many speech acts, multiple apparent tokens are produced. If I call Alaska from Paris and say ‘I'm here now’, an apparent token of my utterance will be produced in (...) both Paris and Alaska. The token-contextual account seems to imply that in such cases I will refer to both places and contradict myself. Here I argue that to resolve this and similar puzzles we must realize that not all apparent semantic tokens really are semantic tokens, and that to decide which ones count we must appeal to speaker intentions. However, because this appeal is made at the level of the metaphysics of semantic tokens rather than to determine their meaning, it does not raise the problems associated with intentionalism that the conventionalist hopes to avoid. The metaphysics of semantic tokens uncovered is surprisingly complex, showing that shapes and sounds can transition in and out of being utterances. (shrink)

The evolution of the record producer from organizer to auteur, from Phil Spector and George Martin to the rise of hip-hop and remixing.

This paper presents an implemented computational model of word acquisition which learns directly from raw multimodal sensory input. Set in an information theoretic framework, the model acquires a lexicon by finding and statistically modeling consistent cross‐modal structure. The model has been implemented in a system using novel speech processing, computer vision, and machine learning algorithms. In evaluations the model successfully performed speech segmentation, word discovery and visual categorization from spontaneous infant‐directed speech paired with video images of single objects. These results (...) demonstrate the possibility of using state‐of‐the‐art techniques from sensory pattern recognition and machine learning to implement cognitive models which can process raw sensor data without the need for human transcription or labeling. (shrink)

Emotional expressions provide strong signals in social interactions and can function as emotion inducers in a perceiver. Although speech provides one of the most important channels for human communication, its physiological correlates, such as activations of the autonomous nervous system (ANS) while listening to spoken utterances, have received far less attention than in other domains of emotion processing. Our study aimed at filling this gap by investigating autonomic activation in response to spoken utterances that were embedded into larger semantic contexts. (...) Emotional salience was manipulated by providing information on alleged speaker similarity. We compared these autonomic responses to activations triggered by affective sounds, such as exploding bombs, and applause. These sounds had been rated and validated as being either positive, negative, or neutral. As physiological markers of ANS activity, we recorded skin conductance responses (SCRs) and changes of pupil size while participants classified both prosodic and sound stimuli according to their hedonic valence. As expected, affective sounds elicited increased arousal in the receiver, as reflected in increased SCR and pupil size. In contrast, SCRs to angry and joyful prosodic expressions did not differ from responses to neutral ones. Pupil size, however, was modulated by affective prosodic utterances, with increased dilations for angry and joyful compared to neutral prosody, although the similarity manipulation had no effect. These results indicate that cues provided by emotional prosody in spoken semantically neutral utterances might be too subtle to trigger SCR, although variation in pupil size indicated the salience of stimulus variation. Our findings further demonstrate a functional dissociation between pupil dilation and skin conductance that presumably origins from their differential innervation. (shrink)

Blanchot took Mallarmé’s “Book” as the paradigm for an artwork that aspired to such excess it could not exist. And yet it partly did, in the form of the poem Un coup de dés jamais n’abolira le hasard. For Blanchot, this ultimate literary work acted as a model for a relentless deconstructing not just of what existed but also of that which did not. His emptying theoretical perspective is ideally suited to analyse the phenomenon that is harsh noise wall music. (...) This type of music aims to be both total and static, an extreme stilling of the music impulse, and even of noise itself. This stilling will of course fail, in the shape of recordings, concerts, recognizable “pieces,” but this failing puts it into the same realm as the Book, as glossed and mobilized by Blanchot, in that it exists but it should not. It cannot happen and yet it unfolds. Rather than failure, then, I argue that this type of noise music is one realization of Blanchot’s thinning, dissipating and disappearing of Mallarmé’s project. This completion, present in these writers and in harsh noise wall, notably in the work of Romain Perrot is not just resemblance but is something that enables a reading, a return completion of Blanchot. This article looks to stage this double reading, a reading that produces nothing. Actually, not even nothing. (shrink)

A provocative book explores the relationship of music and the natural world.

Spatial memory relies on encoding, storing, and retrieval of knowledge about objects’ positions in their surrounding environment. Blind people have to rely on sensory modalities other than vision to memorize items that are spatially displaced, however, to date, very little is known about the influence of early visual deprivation on a person’s ability to remember and process sound locations. To fill this gap, we tested sighted and congenitally blind adults and adolescents in an audio-spatial memory task inspired by the classical (...) card game “Memory.” In this research, subjects had to find pairs among sounds displaced on an audio-tactile device composed of loudspeakers covered by tactile sensors. To accomplish this task, participants had to remember the spatialized sounds’ position and develop a proper mental spatial representation of their locations. The test was divided into two experimental conditions of increasing difficulty dependent on the number of sounds to be remembered. Results showed that sighted participants outperformed blind participants in both conditions. Findings were discussed considering the crucial role of visual experience in properly manipulating auditory spatial representations, particularly in relation to the ability to explore complex acoustic configurations. (shrink)