Contributions of audition and vision to temporal rate perception

Welch, Robert B.; DuttonHurt, Lance D.; Warren, David H.

doi:10.3758/bf03204939

Cited by 213 publications

(185 citation statements)

References 16 publications

(21 reference statements)

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“…This finding is at odds with the consensus view that in temporal tasks, auditory influence on vision is strong Shams, Kamitani, & Shimojo, 2002), whereas visual influence on audition is either weak (Welch, DuttonHurt, & Warren, 1986; J. T. Walker & Scott, 1981;Welch & Warren, 1980) or nonexistent (Shipley, 1964). The perception of event duration (which concerns us here) is no exception (J. T. Walker & Scott, 1981;.…”

contrasting

confidence: 66%

Causality and cross-modal integration.

Schutz

Kubovy

2009

Journal of Experimental Psychology: Human Perception and Perfor

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Schutz and Lipscomb (2007) reported an audiovisual illusion in which the length of the gesture used to produce a sound altered the perception of that sound's duration. This contradicts the widely accepted claim that the auditory system generally dominates temporal tasks because of its superior temporal acuity. Here, in the first of 4 experiments, we show that impact gestures influence duration ratings of percussive but not sustained sounds. In the 2nd, we show that the illusion is present even if the percussive sound occurs up to 700 ms after the visible impact, but disappears if the percussive sound precedes the visible impact. In the 3rd experiment, we show that only the motion after the visible impact influences perceived tone duration. The 4th experiment (replacing the impact gestures with the written text long and short) suggests that the phenomenon is not due to response bias. Given that visual influence in this paradigm is dependent on the presence of an ecologically plausible audiovisual relationship, we conclude that cross-modal causality plays a key role in governing the integration of sensory information.

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contrasting

confidence: 66%

Causality and cross-modal integration.

Schutz

Kubovy

2009

Journal of Experimental Psychology: Human Perception and Perfor

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“…A similar phenomenon is evident in the tendencies to both perceive the rate of a rapidly fluttering bimodal rhythmic stimulus to be that of the auditory, rather than the visual, component (Recanzone, 2003;Welch, DuttonHurt & Warren, 1986) and to misperceive the number of taps to the skin in line with the number of accompanying auditory beeps (Bresciani et al, 2005).…”

Section: Introductionmentioning

confidence: 63%

Optimal integration of auditory and vibrotactile information for judgments of temporal order.

Ley

Haggard²,

Yarrow

2009

Journal of Experimental Psychology: Human Perception and Perfor

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This is the unspecified version of the paper.This version of the publication may differ from the final published version. Stimuli were auditory, vibrotactile, or both. The temporal profiles of vibrotactile stimuli were manipulated, producing three levels of TOJ precision. In bimodal conditions, the asynchrony between the two unimodal stimuli comprising a bimodal stimulus was also manipulated to determine the weight given to touch. Unimodal data were used to predict bimodal performance on two measures: judgment uncertainty and tactile weight. A model relying exclusively on audition was rejected based on both measures. A second model selecting the best input on each trial did not predict the reduced judgment uncertainty observed in bimodal trials. Only the optimal maximum-likelihood-estimation model predicted both judgment uncertainties and weights, extending its validity to TOJs. We discuss alternatives for modelling the process of event sequencing based on integrated multisensory inputs. Permanent repository link

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“…In the video-only ratings of tempo variability, the notably larger effect size for Type of Video relative to Type of Time-warp (which represented the timing model to which the animation was time-warped and matched) suggests that participants used the simple amount of movement -rather than the pattern of timing of those movements -as a cue. This finding may be explained by the limited temporal resolution of the visual modality (e.g., Freides, 1974;Welch, DuttonHurt, & Warren, 1986), as well as the strong real-world association between the size of performers' movements and the amount of tempo and loudness variation.…”

Section: Discussionmentioning

confidence: 99%

Interaction of Sight and Sound in the Perception and Experience of Musical Performance

Vuoskoski

Thompson

Spence³

et al. 2016

Music Perception

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Recently, Vuoskoski, Thompson, Clarke, and Spence (2014) demonstrated that visual kinematic performance cues may be more important than auditory performance cues in terms of observers’ ratings of expressivity perceived in audiovisual excerpts of piano playing, and that visual kinematic performance cues had crossmodal effects on the perception of auditory expressivity. The present study was designed to extend these findings, and to provide additional information about the roles of sight and sound in the perception and experience of musical performance. Experiment 1 investigated the relative contributions of auditory and visual kinematic performance features to participants’ subjective emotional reactions evoked by piano performances, while Experiment 2 was designed to explore the effect of visual kinematic cues on the perception of loudness and tempo variability. Experiment 1 revealed that visual performance cues seem to be just as important as auditory performance cues in terms of the subjective emotional reaction of the observer, thus highlighting the importance of non-auditory cues for music-induced emotions. The results of Experiment 2 revealed that visual kinematic cues only affected ratings of loudness variability, but not ratings of tempo variability.

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Contributions of audition and vision to temporal rate perception

Cited by 213 publications

References 16 publications

Causality and cross-modal integration.

Causality and cross-modal integration.

Optimal integration of auditory and vibrotactile information for judgments of temporal order.

Interaction of Sight and Sound in the Perception and Experience of Musical Performance

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