Publications

Abstract

Brain oscillations have been shown to track the slow amplitude fluctuations in speech during comprehension. Moreover, there is evidence that these stimulus-induced cortical rhythms may persist even after the driving stimulus has ceased. However, how exactly this neural entrainment shapes speech perception remains debated. This behavioral study investigated whether and how the frequency and phase of an entrained rhythm would influence the temporal sampling of subsequent speech. In two behavioral experiments, participants were presented with slow and fast isochronous tone sequences, followed by Dutch target words ambiguous between as /ɑs/ “ash” (with a short vowel) and aas /a:s/ “bait” (with a long vowel). Target words were presented at various phases of the entrained rhythm. Both experiments revealed effects of the frequency of the tone sequence on target word perception: fast sequences biased listeners to more long /a:s/ responses. However, no evidence for phase effects could be discerned. These findings show that an entrained rhythm’s frequency, but not phase, influences the temporal sampling of subsequent speech. These outcomes are compatible with theories suggesting that sensory timing is evaluated relative to entrained frequency. Furthermore, they suggest that phase tracking of (syllabic) rhythms by theta oscillations plays a limited role in speech parsing.

Abstract

One of the most daunting tasks of a listener is to map a
continuous auditory stream onto known speech sound
categories and lexical items. A major issue with this mapping
problem is the variability in the acoustic realizations of sound
categories, both within and across speakers. Past research has
suggested listeners may use visual information (e.g., lipreading)
to calibrate these speech categories to the current
speaker. Previous studies have focused on audiovisual
recalibration of consonant categories. The present study
explores whether vowel categorization, which is known to show
less sharply defined category boundaries, also benefit from
visual cues.
Participants were exposed to videos of a speaker
pronouncing one out of two vowels, paired with audio that was
ambiguous between the two vowels. After exposure, it was
found that participants had recalibrated their vowel categories.
In addition, individual variability in audiovisual recalibration is
discussed. It is suggested that listeners’ category sharpness may
be related to the weight they assign to visual information in
audiovisual speech perception. Specifically, listeners with less
sharp categories assign more weight to visual information
during audiovisual speech recognition.

Abstract

Spontaneous gestures play an important role in spatial problem solving. We investigated the functional role and underlying mechanism of spontaneous gestures in spatial problem solving. In Experiment 1, 132 participants were required to solve a mental rotation task (see Figure 1) without speaking. Participants gestured more frequently in difficult trials than in easy trials. In Experiment 2, 66 new participants were given two identical sets of mental rotation tasks problems, as the one used in experiment 1. Participants who were encouraged to gesture in the first set of mental rotation task problemssolved more problems correctly than those who were allowed to gesture or those who were prohibited from gesturing both in the first set and in the second set in which all participants were prohibited from gesturing. The gestures produced by the gestureencouraged group and the gesture-allowed group were not qualitatively different. In Experiment 3, 32 new participants were first given a set of mental rotation problems and then a second set of nongesturing paper folding problems. The gesture-encouraged group solved more problems correctly in the first set of mental rotation problems and the second set of non-gesturing paper folding problems. We concluded that gesture improves spatial problem solving. Furthermore, gesture has a lasting beneficial effect even when gesture is not available and the beneficial effect is problem-general.We suggested that gesture enhances spatial problem solving by provide a rich sensori-motor representation of the physical world and pick up information that is less readily available to visuo-spatial processes.

Abstract

The nature of the connection between musical and spatial processing is controversial. While pitch may be described in spatial terms such as “high” or “low”, it is unclear whether pitch and space are associated but separate dimensions or whether they share representational and processing resources. In the present study, we asked participants to judge whether a target vocal note was the same as (or different from) a preceding cue note. Importantly, target trials were presented as video clips where a singer sometimes gestured upward or downward while singing that target note, thus providing an alternative, concurrent source of spatial information. Our results show that pitch discrimination was significantly biased by the spatial movement in gesture. These effects were eliminated by spatial memory load but preserved under verbal memory load conditions. Together, our findings suggest that pitch and space have a shared representation such that the mental representation of pitch is audiospatial in nature.

Abstract

publication expected April 2012

Abstract

People often talk about musical pitch in terms of spatial metaphors. In English, for instance, pitches can be high or low, whereas in other languages pitches are described as thick or thin. According to psychophysical studies, metaphors in language can also shape people’s nonlinguistic space-pitch representations. But does language establish mappings between space and pitch in the first place or does it modify preexisting associations? Here we tested 4-month-old Dutch infants’ sensitivity to height-pitch and thickness-pitch mappings in two preferential looking tasks. Dutch infants looked significantly longer at cross-modally congruent stimuli in both experiments, indicating that infants are sensitive to space-pitch associations prior to language. This early presence of space-pitch mappings suggests that these associations do not originate from language. Rather, language may build upon pre-existing mappings and change them gradually via some form of competitive associative learning.

Abstract

In many languages the future is in front and the past behind, but in some cultures (like Aymara) the past is in front. Is it possible to find this mapping as an alternative conceptualization of time in other cultures? If so, what are the factors that affect its choice out of the set of available alternatives? In a paper and pencil task, participants placed future or past events either in front or behind a character (a schematic head viewed from above). A sample of 24 Islamic participants (whose language also places the future in front and the past behind) tended to locate the past event in the front box more often than Spanish participants. This result might be due to the greater cultural value assigned to tradition in Islamic culture. The same pattern was found in a sample of Spanish elders (N = 58), what may support that conclusion. Alternatively, the crucial factor may be the amount of attention paid to the past. In a final study, young Spanish adults (N = 200) who had just answered a set of questions about their past showed the past-in-front pattern, whereas questions about their future exacerbated the future-in-front pattern. Thus, the attentional explanation was supported: attended events are mapped to front space in agreement with the experiential connection between attending and seeing. When attention is paid to the past, it tends to occupy the front location in spite of available alternative mappings in the language-culture.

Abstract

Co-speech gestures are an integral part of human face-to-face communication, but little is known about how pragmatic factors influence our comprehension of those gestures. The present study investigates how different types of recipients process iconic gestures in a triadic communicative situation. Participants (N = 32) took on the role of one of two recipients in a triad and were presented with 160 video clips of an actor speaking, or speaking and gesturing. Crucially, the actor’s eye gaze was manipulated in that she alternated her gaze between the two recipients. Participants thus perceived some messages in the role of addressed recipient and some in the role of unaddressed recipient. In these roles, participants were asked to make judgements concerning the speaker’s messages. Their reaction times showed that unaddressed recipients did comprehend speaker’s gestures differently to addressees. The findings are discussed with respect to automatic and controlled processes involved in gesture comprehension.