| Clark, A. (2013). Expecting the world: Perception, prediction, and the origins of human knowledge. Journal of Philosophy, CX(9), 469–496. |
 
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| Last edited by: Mark Grimshaw-Aagaard 26/07/2018, 10:36 |
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| Clark presents another example of the two competing models of perception this time concerning speech recognition (quoting p.936 of Poeppel & Monahan):
"Representations constructed at earlier stages of processing feed immediately higher levels in a feedforward manner...this process proceeds incrementally until access to a ''lexical conceptual'' representation has been achieved. In speech recognition...this involves a conversion from acoustic features onto phonetic representations, phonetic representations onto phonological representations, and finally access of the lexical item based on its phonological structure.
[...]
(1) the extraction of (necessarily brief and coarse) cues in the input signal to elicit hypotheses, that while coarse, are sufficient to generate plausible guesses about classes of sounds (for example, plosives, fricatives, nasals, and approximants), and that permit subsequent refinement; (2) the actual synthesis of potential sequences consistent with the cues; and (3) a comparison operation between synthesized targets and the input signal delivered from the auditory analysis of the speech."
David Poeppel and Philip J. Monahan “Feedforward and feedback in speech perception: Revisiting analysis by synthesis”, Language and Cognitive Processes 26:7, (2011): 935-95. |
| Doane, M. A. (1980). Ideology and the practice of sound editing and mixing. In T. de Lauretis & S. Heath (Eds), The Cinematic Apparatus (pp. 47–56). London: Macmillan. |
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| Last edited by: Mark Grimshaw-Aagaard 06/06/2023, 14:41 |
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| Of all sounds on film, dialogue is prioritised and assured of intellibility. |
| Spoken words reveal directly the psychological interior revealing the character on screen. While image can do this, sound is more direct. Image is best at defining the exterior (i.e. visible realism) whereas sound best defines the interior (i.e. psychological realism). |
| Kahn, D. (1999). Noise, water, meat: A history of sound in the arts. Cambridge, Massachusetts: MIT Press. |
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| Added by: Mark Grimshaw-Aagaard 13/10/2007, 06:01 |
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| Speaking "is the most widespread private act performed in public" |
| Kracauer, S. (1960). Dialogue and sound. Retrieved February 19, 2020, from https://ifsstech.files. ... siegfried_kracauer1.pdf |
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| Last edited by: Mark Grimshaw-Aagaard 10/09/2021, 10:23 |
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| "The bulk of existing talkies continues to center on dialogue. ... The reliance on verbal statements increases, as a matter of course, the medium's affinity for the theater." |
| Talking of Eisentein and Clair's attitudes to talkies, the film "connoisseurs' preference for noises [as opposed to speech sounds] ... rested upon the belief that, as material phenomena, they evoke a reality less dangerous to the images on the screen than the kind of reality conveyed by the all-out talkie. Sounds whose material properties are featured belong to the same world as the visuals and, hence, will hardly interfere with the spectator's concern for the latter." |
| Merleau-Ponty, M. (2014). Phenomenology of perception. D. A. Landes, Trans. New York: Routledge. (Original work published 1945). |
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| Last edited by: Mark Grimshaw-Aagaard 08/01/2024, 07:05 |
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| "In order for me to understand the other person's words, I must "already know" his vocabulary and his syntax. But that does not mean that the words act by arousing "representations" in me, which could be associated with them and which, when taken together, could eventually reproduce in me the speaker's original "representation." I do not primarily communicate with "representations" or with a thought, but rather with a speaking subject, with a certain style of being, and with the "world" that he aims at." |
| "language now appears as conditioned by thought." |
| "for the speaker, then, speech does not translate a ready-made thought; rather, speech accomplishes thought. |
| Talking about how the sense of speech can be gained in part by its context even if the words themselves are unintelligible: "I begin to understand a philosophy by slipping into this thought's particular manner of existing . . . In short, every language teaches itself and imports its meaning [sens] into the listener's mind. A piece of music or a painting that is not immediately understood ultimately creates its own public — so long as it truly says something — which is to say, by secreting its own signification." |
| Tusing, K. J., & Dillard, J. P. (2000). The sounds of dominance: Vocal precursors of perceived dominance during interpersonal influence. Human Communication Research, 26(1), 148–171. |
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| Added by: Mark Grimshaw-Aagaard 20/04/2005, 10:45 |
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| "...high mean amplitude, great amplitude variation, and a slow rate are dominant". Although no significant variation was found for female voice, "male sources with high mean F0 are dominant." |
| Variations in pitch are "perceived as a pleasant vocal attribute" and "communicate friendliness, or affiliation." |
| Reviewing past research, the authors re-iterate that loud, low-pitched sounds are associated with aggression and intimidation while softer, higher-pitched sounds indicate submissiveness and lack of hostility. |
