Read My Lips: Onscreen Visual Acoustics in Alfred Hitchcock’s Early Movies

This essay will cover some of Alfred Hitchcock’s early silent movies up to and including Blackmail (1929), of which he filmed both a silent and a sound version simultaneously. Hitchcock’s success with sound was directly linked to his training in silent technique. Silent movies actually allowed him to explore how they were capable of sound. This essay will consider how silent movies were able to induce an acoustic experience without the aid of extra-diegetic practices that added live – and sometimes gramophonic – soundtrack to films. What I am interested in is the aural effect of the visual experience of the screen alone. In the early days of cinema, the frame was silently read for all kind of sounds heard in the head of the spectator.

Sonic Environments as Systems of Places: A Critical Reading of Husserl’s Thing and Space

This article offers a thorough and critical reading of Husserl’s Thing and Space. This reading is principally motivated by the effort to methodologically design a phenomenological–topological approach to the research of lived sonic environments. In this book, Husserl lays foundations of phenomenological topology by understanding perceptions as places and defining, consequently, the space as a system of places. The critical reading starts with pointing out the ambiguity of location in Thing and Space, which consists mainly in the insufficient implementation of the distinction between the location and the localization. Further investigations then reveal the roots of this ambiguity in both the preference of visual perception and the omission of subjective aspects of kinesthesia. The article critically examines Husserl’s notion of the appended localization that expresses the marginalization of (among others) acoustic experience. In conclusion, the article utilizes the critical findings to formulate the project of a place-based (phenomenological–topological), medium-centered, and multi-sensory approach to sonic environments.

Immediate ambiguity resolution in speech perception based on prior acoustic experience

Speech perception relies on the rapid resolution of uncertainty. Here we explore whether auditory experiences contribute to this process of ambiguity resolution. ~8000 participants were surveyed online for their (i) subjective percept of a speech stimulus with ambiguous formant allocation; (ii) demographic profile and auditory experiences. Both linguistic and non-linguistic auditory experiences significantly predict speech perception. Listeners were more likely to perceive the ambiguous stimulus in accordance with their own name, and were biased towards lower formant allocation as a function of being exposed to lower auditory frequencies in their environment. Overall, our results show that the subjective interpretation of an ambiguous stimulus in the auditory domain is determined by prior acoustic exposure, suggesting the operation of an exposure-dependent mechanism impacting sensitivity that resolves ambiguity in speech perception.

Anacoustic Modes of Sound Construction and the Semiotics of Virtuality

This article discusses technical and aesthetic aspects of sound synthesis in the context of anacoustic modes of sound construction – a neologism that underscores the unique ontology of information in the digital domain. Anacoustic modes address the computer at its most fundamental level: the syntactic level of information. This changes the nature of signification as sound is considered first as an informational construct rather than a material circumstance, rupturing the front-loaded meaning that arises from our acoustic experience. Following certain concepts encompassed by N. Katherine Hayles’s posthumanism, anacoustic modes can be viewed as an expression of the materiality of information.

The role of early acoustic experience in song discrimination

Oscine songbirds are an ideal system for investigating how early experience affects behavior. Young songbirds face a challenging task: how to recognize and selectively learn only their own species’ song, often during a time-limited window. Because birds are capable of hearing birdsong very early in life, early exposure to song could plausibly affect recognition of appropriate models; however, this idea conflicts with the traditional view that song learning occurs only after a bird leaves the nest. Thus, it remains unknown whether natural variation in acoustic exposure prior to song learning affects the template for recognition. In a population where sister species, golden-crowned and white-crowned sparrows, breed syntopically, we found that nestlings discriminate between heterospecific and conspecific song playbacks prior to the onset of song memorization. We then asked whether natural exposure to more frequent or louder heterospecific song explained any variation in golden-crowned nestling response to heterospecific song playbacks. We characterized the amount of each species’ song audible in golden-crowned sparrow nests and showed that even in a relatively small area, the ratio of heterospecific to conspecific song exposure varies widely. However, although many songbirds hear and respond to acoustic signals before fledging, golden-crowned sparrow nestlings that heard different amounts of heterospecific song did not behave differently in response to heterospecific playbacks. This study provides the first evidence that song discrimination at the onset of song learning is robust to the presence of closely related heterospecifics in nature, which may be an important adaptation in sympatry between potentially interbreeding taxa.