Publications

Abstract

During face-to-face communication, recipients need to rapidly integrate a plethora of auditory and visual signals. This integration of signals from many different bodily articulators, all offset in time, with the information in the speech stream may either tax the cognitive system, thus slowing down language processing, or may result in multimodal facilitation. Using the classical shadowing paradigm, participants shadowed speech from face-to-face, naturalistic dyadic conversations in an audiovisual context, an audiovisual context without visual speech (e.g., lips), and an audio-only context. Our results provide evidence of a multimodal facilitation effect in human communication: participants were faster in shadowing words when seeing multimodal messages compared with when hearing only audio. Also, the more visual context was present, the fewer shadowing errors were made, and the earlier in time participants shadowed predicted lexical items. We propose that the multimodal facilitation effect may contribute to the ease of fast face-to-face conversational interaction.

Abstract

How do neural oscillations support human audiovisual language and communication? Considering the rhythmic nature of audiovisual language, in which stimuli from different sensory modalities unfold over time, neural oscillations represent an ideal candidate to investigate how audiovisual language is processed in the brain. Modulations of oscillatory phase and power are thought to support audiovisual language and communication in multiple ways. Neural oscillations synchronize by tracking external rhythmic stimuli or by re-setting their phase to presentation of relevant stimuli, resulting in perceptual benefits. In particular, synchronized neural oscillations have been shown to subserve the processing and the integration of auditory speech, visual speech, and hand gestures. Furthermore, synchronized oscillatory modulations have been studied and reported between brains during social interaction, suggesting that their contribution to audiovisual communication goes beyond the processing of single stimuli and applies to natural, face-to-face communication.

There are still some outstanding questions that need to be answered to reach a better understanding of the neural processes supporting audiovisual language and communication. In particular, it is not entirely clear yet how the multitude of signals encountered during audiovisual communication are combined into a coherent percept and how this is affected during real-world dyadic interactions. In order to address these outstanding questions, it is fundamental to consider language as a multimodal phenomenon, involving the processing of multiple stimuli unfolding at different rhythms over time, and to study language in its natural context: social interaction. Other outstanding questions could be addressed by implementing novel techniques (such as rapid invisible frequency tagging, dual-electroencephalography, or multi-brain stimulation) and analysis methods (e.g., using temporal response functions) to better understand the relationship between oscillatory dynamics and efficient audiovisual communication.

Abstract

We present a protocol to study naturalistic human communication using dual-EEG and audio-visual recordings. We describe preparatory steps for data collection including setup preparation, experiment design, and piloting. We then describe the data collection process in detail which consists of participant recruitment, experiment room preparation, and data collection. We also outline the kinds of research questions that can be addressed with the current protocol, including several analysis possibilities, from conversational to advanced time-frequency analyses.
For complete details on the use and execution of this protocol, please refer to Drijvers and Holler (2022).

Abstract

Frequency tagging has been successfully used to investigate selective stimulus processing in electroencephalography (EEG) or magnetoencephalography (MEG) studies. Recently, new projectors have been developed that allow for frequency tagging at higher frequencies (>60 Hz). This technique, rapid invisible frequency tagging (RIFT), provides two crucial advantages over low-frequency tagging as (i) it leaves low-frequency oscillations unperturbed, and thus open for investigation, and ii) it can render the tagging invisible, resulting in more naturalistic paradigms and a lack of participant awareness. The development of this technique has far-reaching implications as oscillations involved in cognitive processes can be investigated, and potentially manipulated, in a more naturalistic manner.

Abstract

We here demonstrate that face-to-face spatial orientation induces a special ‘social mode’ for neurocognitive processing during conversation, even in the absence of visibility. Participants conversed face-to-face, face-to-face but visually occluded, and back-to-back to tease apart effects caused by seeing visual communicative signals and by spatial orientation. Using dual-EEG, we found that 1) listeners’ brains engaged more strongly while conversing in face-to-face than back-to-back, irrespective of the visibility of communicative signals, 2) listeners attended to speech more strongly in a back-to-back compared to a face-to-face spatial orientation without visibility; visual signals further reduced the attention needed; 3) the brains of interlocutors were more in sync in a face-to-face compared to a back-to-back spatial orientation, even when they could not see each other; visual signals further enhanced this pattern. Communicating in face-to-face spatial orientation is thus sufficient to induce a special ‘social mode’ which fine-tunes the brain for neurocognitive processing in conversation.

Abstract

Height-pitch associations are claimed to be universal and independent of language, but this claim remains controversial. The present study sheds new light on this debate with a multimodal analysis of individual sound and melody descriptions obtained in an interactive communication paradigm with speakers of Dutch and Farsi. The findings reveal that, in contrast to Dutch speakers, Farsi speakers do not use a height-pitch metaphor consistently in speech. Both Dutch and Farsi speakers’ co-speech gestures did reveal a mapping of higher pitches to higher space and lower pitches to lower space, and this gesture space-pitch mapping tended to co-occur with corresponding spatial words (high-low). However, this mapping was much weaker in Farsi speakers than Dutch speakers. This suggests that cross-linguistic differences shape the conceptualization of pitch and further calls into question the universality of height-pitch associations.

Abstract

Purpose:This study investigated to what extent iconic co-speech gestures helpword intelligibility in sentence context in two different linguistic maskers (nativevs. foreign). It was hypothesized that sentence recognition improves with thepresence of iconic co-speech gestures and with foreign compared to nativebabble.Method:Thirty-two native Dutch participants performed a Dutch word recogni-tion task in context in which they were presented with videos in which anactress uttered short Dutch sentences (e.g.,Ze begint te openen,“She starts toopen”). Participants were presented with a total of six audiovisual conditions: nobackground noise (i.e., clear condition) without gesture, no background noise withgesture, French babble without gesture, French babble with gesture, Dutch bab-ble without gesture, and Dutch babble with gesture; and they were asked to typedown what was said by the Dutch actress. The accurate identification of theaction verbs at the end of the target sentences was measured.Results:The results demonstrated that performance on the task was better inthe gesture compared to the nongesture conditions (i.e., gesture enhancementeffect). In addition, performance was better in French babble than in Dutchbabble.Conclusions:Listeners benefit from iconic co-speech gestures during commu-nication and from foreign background speech compared to native. Theseinsights into multimodal communication may be valuable to everyone whoengages in multimodal communication and especially to a public who oftenworks in public places where competing speech is present in the background.