Auditory hemispheric asymmetry for actions and objects.

What is the function of auditory hemispheric asymmetry? We propose that the identification of sound sources relies on the asymmetric processing of two complementary and perceptually relevant acoustic invariants: actions and objects. In a large dataset of environmental sounds, we observed that temporal and spectral modulations display only weak covariation. We then synthesized auditory stimuli by simulating various actions (frictions) occurring on different objects (solid surfaces).

A population of neurons selective for human voice in the monkey brain.

Many animals can extract useful information from the vocalizations of other species. Neuroimaging studies have evidenced areas sensitive to conspecific vocalizations in the cerebral cortex of primates, but how these areas process heterospecific vocalizations remains unclear. Using fMRI-guided electrophysiology, we recorded the spiking activity of individual neurons in the anterior temporal voice patches of two macaques while they listened to complex sounds including vocalizations from several species.

The High/Low Frequency Balance Drives Tactile Perception of Noisy Vibrations.

Noisy vibrotactile signals transmitted during tactile explorations of an object provide precious information on the nature of its surface. Understanding the link between signal properties and how they are interpreted by the tactile sensory system remains challenging. In this paper, we investigated human perception of broadband, stationary vibrations recorded during exploration of textures and reproduced using a vibrotactile actuator.

Sleep deprivation detected by voice analysis.

Sleep deprivation has an ever-increasing impact on individuals and societies. Yet, to date, there is no quick and objective test for sleep deprivation. Here, we used automated acoustic analyses of the voice to detect sleep deprivation.

Hearing as adaptive cascaded envelope interpolation.

The human auditory system is designed to capture and encode sounds from our surroundings and conspecifics. However, the precise mechanisms by which it adaptively extracts the most important spectro-temporal information from sounds are still not fully understood. Previous auditory models have explained sound encoding at the cochlear level using static filter banks, but this vision is incompatible with the nonlinear and adaptive properties of the auditory system.

Hearing elliptic movements reveals the imprint of action on prototypical geometries.

Within certain categories of geometric shapes, prototypical exemplars that best characterize the category have been evidenced. These geometric prototypes are classically identified through the visual and haptic perception or motor production and are usually characterized by their spatial dimension. However, whether prototypes can be recalled through the auditory channel has not been formally investigated.

Timbral cues for learning to generalize musical instrument identity across pitch register.

Timbre provides an important cue to identify musical instruments. Many timbral attributes covary with other parameters like pitch. This study explores listeners' ability to construct categories of instrumental sound sources from sounds that vary in pitch.

The Temporal Voice Areas are not "just" Speech Areas.

The Temporal Voice Areas (TVAs) respond more strongly to speech sounds than to non-speech vocal sounds, but does this make them Temporal "Speech" Areas? We provide a perspective on this issue by combining univariate, multivariate, and representational similarity analyses of fMRI activations to a balanced set of speech and non-speech vocal sounds. We find that while speech sounds activate the TVAs more than non-speech vocal sounds, which is likely related to their larger temporal modulations in syllabic rate, they do not appear to activate additional areas nor are they segregated from the non-speech vocal sounds when their higher activation is controlled. It seems safe, then, to continue calling these regions the Temporal Voice Areas.

Tactile perception of auditory roughness.

Auditory roughness resulting from fast temporal beatings is often studied by summing two pure tones with close frequencies. Interestingly, the tactile counterpart of auditory roughness can be provided through touch with vibrotactile actuators. However, whether auditory roughness could also be perceived through touch and whether it exhibits similar characteristics are unclear.

Probing machine-learning classifiers using noise, bubbles, and reverse correlation.

Background: Many scientific fields now use machine-learning tools to assist with complex classification tasks. In neuroscience, automatic classifiers may be useful to diagnose medical images, monitor electrophysiological signals, or decode perceptual and cognitive states from neural signals. However, such tools often remain black-boxes: they lack interpretability.

Learning metrics on spectrotemporal modulations reveals the perception of musical instrument timbre.

Humans excel at using sounds to make judgements about their immediate environment. In particular, timbre is an auditory attribute that conveys crucial information about the identity of a sound source, especially for music. While timbre has been primarily considered to occupy a multidimensional space, unravelling the acoustic correlates of timbre remains a challenge.

Characterizing amplitude and frequency modulation cues in natural soundscapes: A pilot study on four habitats of a biosphere reserve.

Natural soundscapes correspond to the acoustical patterns produced by biological and geophysical sound sources at different spatial and temporal scales for a given habitat. This pilot study aims to characterize the temporal-modulation information available to humans when perceiving variations in soundscapes within and across natural habitats. This is addressed by processing soundscapes from a previous study [Krause, Gage, and Joo.

Perceptually Salient Regions of the Modulation Power Spectrum for Musical Instrument Identification.

The ability of a listener to recognize sound sources, and in particular musical instruments from the sounds they produce, raises the question of determining the acoustical information used to achieve such a task. It is now well known that the shapes of the temporal and spectral envelopes are crucial to the recognition of a musical instrument. More recently, Modulation Power Spectra (MPS) have been shown to be a representation that potentially explains the perception of musical instrument sounds.

Perceptually salient spectrotemporal modulations for recognition of sustained musical instruments.

Modulation Power Spectra include dimensions of spectral and temporal modulation that contribute significantly to the perception of musical instrument timbres. Nevertheless, it remains unknown whether each instrument's identity is characterized by specific regions in this representation. A recognition task was applied to tuba, trombone, cello, saxophone, and clarinet sounds resynthesized with filtered spectrotemporal modulations.

Seeing Circles and Drawing Ellipses: When Sound Biases Reproduction of Visual Motion.

The perception and production of biological movements is characterized by the 1/3 power law, a relation linking the curvature and the velocity of an intended action. In particular, motions are perceived and reproduced distorted when their kinematics deviate from this biological law. Whereas most studies dealing with this perceptual-motor relation focused on visual or kinaesthetic modalities in a unimodal context, in this paper we show that auditory dynamics strikingly biases visuomotor processes.

The effect of real-time auditory feedback on learning new characters.

The present study investigated the effect of handwriting sonification on graphomotor learning. Thirty-two adults, distributed in two groups, learned four new characters with their non-dominant hand. The experimental design included a pre-test, a training session, and two post-tests, one just after the training sessions and another 24h later.

From sound to shape: auditory perception of drawing movements.

This study investigates the human ability to perceive biological movements through friction sounds produced by drawings and, furthermore, the ability to recover drawn shapes from the friction sounds generated. In a first experiment, friction sounds, real-time synthesized and modulated by the velocity profile of the drawing gesture, revealed that subjects associated a biological movement to those sounds whose timbre variations were generated by velocity profiles following the 1/3 power law. This finding demonstrates that sounds can adequately inform about human movements if their acoustic characteristics are in accordance with the kinematic rule governing actual movements.