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Ecological sounds affect breath duration more than artificial sounds.

Previous research has demonstrated that auditory rhythms affect both movement and physiological functions. We hypothesized that the ecological sounds of human breathing can affect breathing more than artificial sounds of breathing, varying in tones for inspiration and expiration. To address this question, we monitored the breath duration of participants exposed to three conditions: (a) ecological sounds of breathing, (b) artificial sounds of breathing having equal temporal features as the ecological sounds, (c) no sounds (control). We found that participants’ breath duration variability was reduced in the ecological sound condition, more than in the artificial sound condition. We suggest that ecological sounds captured the timing of breathing better than artificial sounds, guiding as a consequence participants’ breathing. We interpreted our results according to the Theory of Event Coding, providing further support to its validity, and suggesting its possible extension in the domain of physiological functions which are both consciously and unconsciously controlled.

The contribution of early auditory and visual information to the discrimination of shot power in ball sports

Objective It is well‐established that early visual information has an important role in human ability to play ball sports, as its correct interpretation promotes accurate predictions concerning the ball motion. Other research highlights that auditory information provides relevant cues in various sport situations. The present study combines these two lines of research with the aim to investigate the contribution of early auditory and visual information to the discrimination of shot power in sport‐specific situations. Design Two experiments were run, one concerning soccer penalty kicks and the other concerning volleyball smashes. In both experiments there were three conditions: Audio, Audiovideo, and Video; a within subjects design was used, with the three conditions carried out in three different days and in a counterbalanced order among participants. Method Participants’ task was to discriminate the power of two penalties/smashes presented in rapid sequence, on the basis of a two‐alternative forced choice paradigm. Results The results revealed that, for both penalties and smashes, response accuracy was above chance level in all the three conditions; moreover, while for the penalties no difference among the conditions was observed, for the smashes participants were more accurate in the Audio and Audiovideo conditions compared to the Video condition. As concerns the response times, for both penalties and smashes participants were faster in the Audio and Audiovideo conditions compared to the Video condition. Conclusions Taken together, the results suggest that the discrimination of shot power was more easily performed on the basis of early auditory information than on the basis of the respective visual information. HighlightsEarly auditory information alone is sufficient to discriminate shot power above chance.Early visual information alone is sufficient to discriminate shot power above chance.For smashes, discrimination is more accurate in presence of early auditory information.Early auditory information promotes faster discriminations of shot power.

Modality and Perceptual-Motor Experience Influence the Detection of Temporal Deviations in Tap Dance Sequences

Accurate temporal information processing is critically important in many motor activities within disciplines such as dance, music, and sport. However, it is still unclear how temporal information related to biological motion is processed by expert and non-expert performers. It is well-known that the auditory modality dominates the visual modality in processing temporal information of simple stimuli, and that experts outperform non-experts in biological motion perception. In the present study, we combined these two areas of research; we investigated how experts and non-experts detected temporal deviations in tap dance sequences, in the auditory modality compared to the visual modality. We found that temporal deviations were better detected in the auditory modality compared to the visual modality, and by experts compared to non-experts. However, post hoc analyses indicated that these effects were mainly due to performances obtained by experts in the auditory modality. The results suggest that the experience advantage is not equally distributed across the modalities, and that tap dance experience enhances the effectiveness of the auditory modality but not the visual modality when processing temporal information. The present results and their potential implications are discussed in both temporal information processing and biological motion perception frameworks.

Separate mechanisms for magnitude and order processing in the spatial-numerical association of response codes (SNARC) effect: The strange case of musical note values.

The spatial-numerical association of response codes (SNARC) effect is considered an evidence of the association between numbers and space, with faster left key-press responses to small numbers and faster right key-press responses to large numbers. We examined whether visually presented note values produce a SNARC-like effect. Differently from numbers, note values are represented as a decreasing left-to-right progression, allowing us to disambiguate the contribution of order and magnitude in determining the direction of the effect. Musicians with formal education performed a note value comparison in Experiment 1 (direct task), a line orientation judgment in Experiment 2 (indirect task), and a detection task in Experiment 3 (indirect task). When note values were task relevant (direct task), participants responded faster to large note values with the left key-press, and vice versa. Conversely, when note values were task irrelevant (indirect tasks), the direction of this association was reversed. This evidence suggests the existence of separate mechanisms underlying the SNARC effect. Namely, an Order-Related Mechanism (ORM) and a Magnitude-Related Mechanism (MRM) that are revealed by different task demands. Indeed, according to a new model we proposed, ordinal and magnitude related information appears to be preferentially involved in direct and indirect tasks, respectively. (PsycINFO Database Record

The Spatial Representation of Angles

We investigated whether angle magnitude, similarly to numerical quantities (i.e., the spatial-numerical association of response codes effect), is associated to the side of response execution. In addition, we investigated whether this association has the properties of a spatially oriented mental line, since angles are taught in a right-to-left progression. We tested two groups of participants: civil engineering students (high familiarity with angles) and psychology students (low familiarity with angles). In Experiment 1, participants were asked to judge the continuity of the angles’ arms (continuous vs. dashed). Magnitude of the angles was task-irrelevant. In Experiment 2, they were asked to judge whether the presented angles were smaller or larger than a right angle (90°). Therefore, the angle magnitude was relevant for performing the task. Overall, engineering students responded faster with their left hand to large angles and with their right hand to small angles. Conversely, psychology students did not show any reliable differences between left- and right-hand responses. In the case of engineering students, the spatial association has a right-to-left (counter clockwise) direction, suggesting the influence of education and practice on the mental representation of angle magnitude.

Perceptual belongingness determines the direction of lightness induction depending on grouping stability and intentionality

Contrast and assimilation are two opposite perceptual phenomena deriving from the relationships among perceptual elements in a visual field. In contrast, perceptual differences are enhanced; while, in assimilation, they are decreased. Indeed, if contrast or assimilation occurs depends on various factors. Interestingly, Gestalt scientists explained both phenomena as the result of perceptual belongingness, giving rise to an intriguing paradox. Benary suggested that belongingness determines contrast; conversely, Fuchs suggested that it determines assimilation. This paradox can be related both to the grouping stability (stable/multi-stable) and to the grouping intentionality (intentional/non-intentional). In the present work we ran four experiments to test whether the contrast/assimilation outcomes depend on the above-mentioned variables. We found that, intentionality and multi-stability elicit assimilation; while, non-intentionality and stability elicit contrast.

Panic disorder patients and healthy people differently identify their own heart frequency through sound

The ability to detect the perceptual cues related to cardiac activity is an important aspect related to the onset and maintenance of some psychopathological disorders, such as panic disorder. We tested two groups – panic disorder (PD) patients and healthy participants – in order to examine the ability to estimate participants’ own heart frequency. We used an auditory identification task, based on the administration of auditory tracks representative of ecological sounds of heartbeat. Results showed that all healthy participants underestimated their own heart frequency, whereas the majority of PD patients overestimated it. This different response tendency could influence the development of psychopathologies such as panic disorder. These outcomes suggest the possible development of training for PD patients based on the use of auditory stimulation.

Perceiving Musical Note Values Causes Spatial Shift of Attention in Musicians

The Spatial-Numerical Association of Response Codes (SNARC) suggests the existence of an association between number magnitude and response position, with faster left-key responses to small numbers and faster right-key responses to large numbers. The attentional SNARC effect (Att-SNARC) suggests that perceiving numbers can also affect the allocation of spatial attention, causing a leftward (vs. rightward) target detection advantage after perceiving small (vs. large) numbers. Considering previous findings that revealed similar spatial association effects for both numbers and musical note values (i.e., the relative duration of notes), the aim of this study is to investigate whether presenting note values instead of numbers causes a spatial shift of attention in musicians. The results show an advantage in detecting a leftward (vs. rightward) target after perceiving small (vs. large) musical note values. The fact that musical note values cause a spatial shift of attention strongly suggests that musicians process numbers and note values in a similar manner.

Do You Hear More Piano or Drum Sounds? An Auditory Version of the Solitaire Illusion.

The solitaire illusion is an illusion of numerosity proposed by Frith and Frith. In the original version, an apparent number of elements was determined by the spatial arrangement of two kinds of elements (black and white marbles). In our study, an auditory version of the solitaire illusion was demonstrated. Participants were asked to judge if they perceived more drum or piano sounds. When half of the piano tones were perceived as lower in pitch than a drum sound and the other half higher, piano tones appeared to be arranged in small units, leading to numerosity underestimation. Conversely, when all piano tones were perceived to be higher in pitch than the drum sounds, they appeared to be arranged in a single large unit, leading to numerosity overestimation. Comparable to the visual version of the solitaire illusion, the clustering seems to be determined by Gestalt principles. In our auditory version, a clear reversal of the illusion (numerosity overestimation or underestimation) was observed when piano tones appeared to be arranged in a single large cluster or in several small clusters, respectively.

Octave Bias in Pitch Perception: The Influence of Pitch Height on Pitch Class Identification

Pitch height and pitch class are different, but strictly related, percepts of music tones. To investigate the influence of pitch height in a pitch class identification task, we systematically analyzed the errors—in terms of direction and amount—committed by a group of musicians. The aim of our study was to verify the existence of constant errors in the identification of pitch classes across consecutive octaves. Stimuli were single piano tones from the C major scale executed in two consecutive octaves. Participants showed different response patterns in the two octaves. The direction of errors revealed a constant tendency to underestimate pitch classes in the lowest octave and to overestimate pitch classes in the highest octave. Thus, pitch height showed to influence pitch class identification. We called this bias “pitch class polarization”, since the same pitch class was judged to be respectively lower and higher, depending on relatively low or high pitch height.