Generations of researchers observed a mismatch between headphone and loudspeaker presentation: the sound pressure level at the eardrum generated by a headphone has to be about 6 dB higher compared to the level created by a loudspeaker that elicits the same loudness. While it has been shown that this effect vanishes if the same waveforms are generated at the eardrum in a blind comparison, the origin of the mismatch is still unclear. We present new data on the issue that (...) systematically characterize this mismatch under variation of the stimulus frequency, presentation room, and binaural parameters of the headphone presentation. Subjects adjusted the playback level of a headphone presentation to equal loudness as loudspeaker presentation, and the levels at the eardrum were determined through appropriate transfer function measurements. Identical experiments were conducted at Oldenburg and Aachen with 40 normal-hearing subjects including 14 that passed through both sites. Our data verify a mismatch between loudspeaker and binaural headphone presentation, especially at low frequencies. This mismatch depends on the room acoustics, and on the interaural coherence in both presentation modes. It vanishes for high frequencies and broadband signals if individual differences in the sound transfer to the eardrums are accounted for. Moreover, small acoustic and non-acoustic differences in an anechoic reference environment exert a large effect on the recorded loudness mismatch, whereas not such a large effect of the respective room is observed across moderately reverberant rooms at both sites. Hence, the non-conclusive findings from the literature appear to be related to the experienced disparity between headphone and loudspeaker presentation, where even small differences in room acoustics significantly change the response behavior of the subjects. Moreover, individual factors like loudness summation appear to be only loosely connected to the observed mismatch, i.e., no direct prediction is possible from individual binaural loudness summation to the observed mismatch. These findings – even though not completely explainable by the yet limited amount of parameter variations performed in this study – have consequences for the comparability of experiments using loudspeakers with conditions employing headphones or other ear-level hearing devices. (shrink)

(1988). The origins of courtliness—civilizing trends and the formation of courtly ideals 939–1210. History of European Ideas: Vol. 9, No. 3, pp. 344-346.

In a new integration, we show that the visual-spatial structuring of time converges with auditory-spatial left–right judgments for time-related words. In Experiment 1, participants placed past and future-related words respectively to the left and right of the midpoint on a horizontal line, reproducing earlier findings. In Experiment 2, neutral and time-related words were presented over headphones. Participants were asked to indicate whether words were louder on the left or right channel. On critical experimental trials, words were presented equally loud binaurally. (...) As predicted, participants judged future words to be louder on the right channel more often than past-related words. Furthermore, there was a significant cross-modal overlap between the visual-spatial ordering and the auditory judgments , which were continuously related. These findings provide support for the assumption that space and time have certain invariant properties that share a common structure across modalities. (shrink)

Loudness is the magnitude of the auditory sensation that a listener experiences when exposed to a sound. Several sound attributes are reported to affect loudness, such as the sound pressure level at the listener's ears and the spectral content. In addition to these physical attributes of the stimulus, some subjective attributes also appear to affect loudness. When presented with a sound, a listener interacts with an auditory object and can focus on several aspects of the latter. (...) class='Hi'>Loudness appears to differ depending on how listeners apprehend this object, notably whether they focus on the sound that reaches their ears or that is produced by the source. The way listeners focus on the auditory object may depend on the stimulus itself. For instance, they might be more likely to focus on the sound emitted by the source if the latter is visible. The instructions given by the experimenters can also explicitly direct the listener's focus on the sound reaching the ears or emitted by the source. The present review aims at understanding how listeners focus on the auditory object depending on the stimuli and instructions they are provided with, and to describe how loudness depends on this focus. (shrink)

In this paper I challenge the widely held assumption that loudness is the perceptual correlate of sound intensity. Drawing on psychological and neuroscientific evidence, I argue that loudness is best understood not as a representation of any feature of a sound wave, but rather as a reflection of the salience of a sound wave representation; loudness is determined by how much attention a sound receives. Loudness is what I call a quantitative character, a species of phenomenal (...) character that is determined by the amount of attention that an underlying perceptual representation commands. I distinguish quantitative from qualitative character; even qualitative characters that represent degrees of sensible magnitudes are phenomenally and functionally distinct from quantitative characters. A bifurcated account of phenomenal character emerges; the phenomenal is not exhausted by the qualitative. (shrink)

Obstetric violence has been analyzed from various perspectives. Its psychological effects have been evaluated, and there have been several recent sociological and anthropological studies on the subject. But what I offer in this paper is a philosophical analysis of obstetric violence, particularly focused on how this violence is lived and experienced by women and why it is frequently described not only in terms of violence in general but specifically in terms of gender violence: as violence directed at women because they (...) are women. For this purpose, I find feminist phenomenology most useful as a way to explain and account for the feelings that many victims of this violence experience and report, including feelings of embodied oppression, of the diminishment of self, of physical and emotional infantilization. I believe that the insights to be found in feminist phenomenology are crucial for explaining how and why this phenomenon is different in kind from other types of medical violence, objectification, and reification. Iris Marion Young’s description of feminine existence under patriarchy, as conformed by a perpetual oppressive “I cannot,” is at the center of my analysis. I argue that laboring bodies are at least potentially perceived as antithetical to the myth of femininity, undermining the feminine mode of bodily comportment under patriarchy and thereby seriously threatening the hegemonic powers. Violence, then, appears to be necessary in order to domesticate these bodies, to make them “feminine” again. (shrink)

Previous work showed that the beginning of a sound is more important for the perception of loudness than later parts. When a short silent gap of sufficient duration is inserted into a sound, this primacy effect reoccurs in the second sound part after the gap. The present study investigates whether this temporal weighting occurs independently for different frequency bands. Sounds consisting of two bandpass noises were presented in four different conditions: a simultaneous gap in both bands, a gap in (...) only the lower frequency band, a gap in only the higher frequency band, or no gap. In all conditions, the temporal loudness weights showed a primacy effect at sound onset. For the frequency bands without a gap, the temporal weights decreased gradually across time, regardless of whether the other frequency band did or did not contain a gap. When a frequency band contained a gap, the weight at the onset of this band after the gap was increased. This reoccurrence of the primacy effect following the gap was again largely independent of whether or not the other band contained a gap. Thus, the results indicate that the temporal loudness weights are frequency specific. (shrink)

Audre Lorde wrote in her essay The Transformation of Silence into Language to Action, “I have come to believe over and over again that what is most important to me must be spoken, made verbal and s...

Modern feminist movements run the risk of being appropriated by capitalist agenda and commodified for mass appeal, thus stripping them of their revolutionary potential. I would propose that in order for feminism to challenge this, movements may want to consider the subversion of subjectivity. Deleuze and Guattari's notions of becoming-animal and becoming-woman emphasise a subjectivity not confined by rigid identity, such as man/woman. However, feminists have challenged this theory, suggesting it is difficult to both fight for and dispel the very (...) same notion, that is, woman. I argue that in first considering the feminine subject via the Lacanian understanding of ‘Woman’, it can be argued that feminine subjects can engage with becoming-animal to destabilise the notion of ‘Woman’. Riot Grrls, FEMEN and Pussy Riot all demonstrate tactics which could be said to utilise becoming-animal and have had varying success in avoiding commodification. (shrink)

Because imagination constitutes an indispensable tool of phenomenology, e.g., in understanding another author’s description, in eidetic reduction, etc., the practicability of phenomenological method and its claim to objectivity ought to be reconsidered with regard to its dependence on imagination. Auditory imagery serves to illustrate problems involved in grasping and analyzing imaginative contents – loudness in this case. Similar to phonetic segmentation and classification, phenomenologists segment and classify mental acts and contents. Just as phoneticians rely on experts’ evaluations of notations (...) to reach valid results, phenomenologists may try to develop similar agreement procedures to escape the ‘subjectivism’ of their solitary first-person approach. (shrink)

Music and noise can be considered as a collection of vibrational events which may impinge upon the body and the mind. As such they can induce beneficial or harmful bodily and psychological reactions. Much contemporary music production and consumption, however, produces sensory saturation and/or overload with sounds being manipulated in terms of spectrum and dynamic range. Such manipulation is not harmful by definition, but the manipulations may increase the potential for harm. Much research has been devoted to the risk of (...) auditory overstimulation, but the topic is still relevant as listening to music is a significant form of leisure noise exposure. Listening habits and attitudes toward loud music may even promote behaviors that could cause harm to listeners, both in a direct and indirect way. Listening to loud music, in fact, may be damaging to the cochlea (and possibly also the auditory nuclei and the auditory pathway), and may cause both temporary or permanent hearing loss. On the other hand, loud music may have benefits for us, particularly in terms of social integration and an enhanced sense of wellbeing and fun. Several questions can therefore be raised. What are the physical effects of sound as transferable and vibrational energy? Are there constraints and biases that shape and modify our reactions to the sounds? What are the perceptual and associated behavioral aspects? What are the psychological mechanisms for liking loud music? What are the social factors that contribute to increased preferences for loud music? And how can we assess the beneficial and harmful effects of sounds that are outside of the optimal range of stimulation? (shrink)

Continuous magnitude estimation and continuous cross-modality matching with line length can efficiently track the momentary loudness of time-varying sounds in behavioural experiments. These methods are known to be prone to systematic biases but may be checked for consistency using their counterpart, magnitude production. Thus, in Experiment 1, we performed such an evaluation for time-varying sounds. Twenty participants produced continuous cross-modality matches to assess the momentary loudness of fourteen songs by continuously adjusting the length of a line. In Experiment (...) 2, the resulting temporal line length profile for each excerpt was played back like a video together with the given song and participants were asked to continuously adjust the volume to match the momentary line length. The recorded temporal line length profile, however, was manipulated for segments with durations between 7 to 12 s by eight factors between 0.5 and 2, corresponding to expected differences in adjusted level of −10, −6, −3, −1, 1, 3, 6, and 10 dB according to Stevens’s power law for loudness. The average adjustments 5 s after the onset of the change were −3.3, −2.4, −1.0, −0.2, 0.2, 1.4, 2.4, and 4.4 dB. Smaller adjustments than predicted by the power law are in line with magnitude-production results by Stevens and co-workers due to “regression effects.” Continuous cross-modality matches of line length turned out to be consistent with current loudness models, and by passing the consistency check with cross-modal productions, demonstrate that the method is suited to track the momentary loudness of time-varying sounds. (shrink)

An Essay on the Relation Between Thought and Language Christopher Gauker. things possible? How, having once perceived the herds by the lake, does the agent remember this for later use? My answer is that one way he may do it is ...

In recent years, apparently the Big Bang as described by the Lambda CDM-Standard Model Cosmology has become widely accepted by majority of physics and cosmology communities. Even some people have concluded that it has no serious alternative in horizon. Is that true? First, as we argued elsewhere, Big Bang story relies on singularity. In other words, when we are able to describe the observed data without invoking singularity, then Big Bang model is no longer required. Therefore, here we explore a (...) few alternative stories other than Big Bang story, which most cosmologists believe it is the nearest to Biblical account of creation. We would argue that re-reading of Genesis 1:2 will lead us to another viable story, albeit the alternative has not been developed rigorously as LCDM theories. We also briefly discuss a fluid Maxwell equations of Prof. Tsutomu Kambe based on vortex sound theory. (shrink)

Cochlear implants electrically stimulate surviving auditory neurons in the cochlea to provide severely or profoundly deaf people with access to hearing. Signal processing strategies derive frequency-specific information from the acoustic signal and code amplitude changes in frequency bands onto amplitude changes of current pulses emitted by the tonotopically arranged intracochlear electrodes. This article first describes how parameters of the electrical stimulation influence the loudness evoked and then summarizes two different phenomenological models developed by McKay and colleagues that have been (...) used to explain psychophysical effects of stimulus parameters on loudness, detection, and modulation detection. The Temporal Model is applied to single-electrode stimuli and integrates cochlear neural excitation using a central temporal integration window analogous to that used in models of normal hearing. Perceptual decisions are made using decision criteria applied to the output of the integrator. By fitting the model parameters to a variety of psychophysical data, inferences can be made about how electrical stimulus parameters influence neural excitation in the cochlea. The Detailed Model is applied to multi-electrode stimuli, and includes effects of electrode interaction at a cochlear level and a transform between integrated excitation and specific loudness. The Practical Method of loudness estimation is a simplification of the Detailed Model and can be used to estimate the relative loudness of any multi-electrode pulsatile stimuli without the need to model excitation at the cochlear level. Clinical applications of these models to novel sound processing strategies are described. (shrink)

This study exploratively conducted two investigations of timbre influenced by harmonic loudness. Investigation 1 examined piano timbre preference between non-processed melodies and two kinds of adjustments created via an equalizer–a basic tool used for sound engineering and for producing audio materials. Using the paired comparison method, 98 respondents were surveyed. The results show that in the bass range of the piano sound, the preferred audio material was that produced via an equalizer by reducing the loudness of the 7th (...) and 9th harmonics by 15 dB, while enhancing the loudness of the 8th harmonic by 15 dB. Investigation 2 examined three degrees of the processed melodies—adjusting the harmonics by 15, 10, and 5 dB. The results show that the 15 dB change was the best, while the 10 dB change was the worst. These results provide a new approach to improving the sound timbre for sound engineering and artificial intelligence music production. (shrink)

Stein Tibetan 724 was earlier identified as a list of virtues of the Buddha Amitābha. A new reading of the document and identification of its Chinese source allow its re-identification instead as a list of the virtues of invoking the Buddha Amitābha in a loud voice. The article offers a corrected transcription of the manuscript, presents and examines possible sources, and suggests the most plausible proximate original for the Tibetan translation, briefly exploring the practice of loud invocation as a Buddhist (...) practice in medieval Dunhuang. (shrink)