Brightness and loudness as functions of stimulus duration

The brightness of white light and the loudness of white noise were measured by magnitude estimation for sets of stimuli that varied in intensity and duration. Brightness and loudness both grow as power functions of duration up to a critical duration, beyond which apparent magnitude is essentially independent of duration. For brightness, the critical duration decreases with increasing intensity, but for loudness the critical duration is nearly constant at about 150 msec. Loudness and brightness also grow as power functions of intensity. The loudness exponent is the same for all durations, but the brightness exponent is about half again as large for short durations as for long. The psychophysical power functions were used to generate equal-loudness and equal-brightness functions, which specify the combinations of intensity E and duration T that produce the same apparent magnitude. Below the critical duration ET equals k for equal brightness, and ET^a equa Is k for equal loudness. The value a is about 0.7 for threshold and about 1.25 for supraliminal loudness.     

Individual brightness functions

A total of 34 individual brightness functions were measured for 18 observers by two different methods. In one method the observer set various luminance levels of a white target and assigned numbers proportional to the apparent brightness of the levels set. In the other method the observer adjusted the loudness of a white noise and the luminance of a white target in order to achieve a series of cross-modality matches between loudness and brightness. Both methods gave good approximations to power functions, showing that the psychophysical power law holds for the individual perceiver.     

Brightness and loudness as functions of stimulus duration

The brightness of white light and the loudness of white noise were measured by magnitude estimation for sets of stimuli that varied in intensity and duration. Brightness and loudness both grow as power functions of duration up to a critical duration, beyond which apparent magnitude is essentially independent of duration. For brightness, the critical duration decreases with increasing intensity, but for loudness the critical duration is nearly constant at about 150 msec. Loudness and brightness also grow as power functions of intensity. The loudness exponent is the same for all durations, but the brightness exponent is about half again as large for short durations as for long. The psychophysical power functions were used to generate equal-loudness and equal-brightness functions, which specify the combinations of intensity E and duration T that produce the same apparent magnitude. Below the critical duration ET equals k for equal brightness, and ET^a equals k for equal loudness. The value a is about 0.7 for threshold and about 1.25 for supraliminal loudness.     

Synesthetic perception and poetic metaphor

To explore the role of cross-modal perception in the apprehension of synesthetic metaphors, subjects read 15 short lines from poetry, each of which contained a metaphor relating visual and auditory qualities; the subjects' task was to set the loudness of a 1000-Hz tone and the brightness of a white light to match the levels implied by each metaphor. The sound settings and light settings suggest that a cross-modal equivalence between loudness and brightness largely underlay the responses to the metaphors. This general cross-modal equivalence was characterized by some notable intersubject differences and was modified, in part, by certain metaphors that resisted complete equivalence. Even so, the metaphorically induced settings of loudness and brightness are mainly governed by a cross-modality matching function that is qualitatively like the relation found in people with visual-auditory synesthesia, and that is quantitatively like the function obtained in more traditional psychophysical studies.     

Cross-modal enhancement of perceived brightness: sensory interaction versus response bias

Stein, London, Wilkinson, and Price (1996) reported the presence of cross-modal enhancement of perceived visual intensity: Participants tended to rate weak lights as brighter when accompanied by a concurrent pulse of white noise than when presented alone. In the present study, two methods were used to determine whether the enhancement reflects an early-stage sensory process or a later-stage decisional process, such as a response bias. First, enhancement was eliminated when the noise accompanied the light on only 25% versus 50% of the trials. Second, enhancement was absent when tested with a paired-comparison method. These findings are consistent with the hypothesis that the sound-induced enhancement in judgments of brightness reflects a response bias, rather than an early sensory process--that is, enhancement is the result of a relatively late decisional process.     

Continuous judgment of level-fluctuating sounds and the relationship between overall loudness and instantaneous loudness

Summary The present investigation was designed to examine the most appropriate duration of instantaneous loudness and to find out the relationship between overall loudness and instantaneous loudness using 20-min road traffic noise. Instantaneous loudness was judged using the method of continuous judgment by category. The results suggest that instantaneous loudness is determined by the sound energy averaged during the 2.5-s period preceding each judgment, the duration of which seems to reflect the psychological present. It was also found that overall loudess is not an average of the instantaneous loudness of every moment, but that it is based on the instantaneous loudness above a certain level.     

Dynamic frequency change influences loudness perception: a central, analytic process.

Three experiments showed that dynamic frequency change influenced loudness. Listeners heard tones that had concurrent frequency and intensity change and tracked loudness while ignoring pitch. Dynamic frequency change significantly influenced loudness. A control experiment showed that the effect depended on dynamic change and was opposite that predicted by static equal loudness contours. In a 3rd experiment, listeners heard white noise intensity change in one ear and harmonic frequency change in the other and tracked the loudness of the noise while ignoring the harmonic tone. Findings suggest that the dynamic interaction of pitch and loudness occurs centrally in the auditory system; is an analytic process; has evolved to take advantage of naturally occurring covariation of frequency and intensity; and reflects a shortcoming of traditional static models of loudness perception in a dynamic natural setting.     

Vibrotactile loudness addition

Os adjusted the intensity of vibration at a single locus on the right hand to a value equal in vibratory loudness to various patterns of vibration on the left hand. The patterns were created by 1 to 5 equated vibration generators, varied with respect to sensation level and distances among the vibrators. The results were: (a) increasing from 1 to 5 vibrators produced a doubling in vibratory loudness, (b) neither loudness level of the components nor distance among vibrators had any effect on the slope of the overall loudness growth function. as also adjusted the intensity of a white noise to equal in magnitude the patterns of vibration presented (a) to the left hand as before and (b) to loci distributed over the surface of the body. The results were the same as those obtained using a single vibrator as standard. The specific loci stimulated did not appear to have any effect on vibrotactile loudness addition.     

Vibrotactile loudness addition

Os adjusted the intensity of vibration at a single locus on the right hand to a value equal in vibratory loudness to various patterns of vibration on the left hand. The patterns were created by 1 to 5 equated vibration generators, varied with respect to sensation level and distances among the vibrators. The results were: (a) increasing from 1 to 5 vibrators produced a doubling in vibratory loudness, (b) neither loudness level of the components nor distance among vibrators had any effect on the slope of the overall loudness growth function. Os also adjusted the intensity of a white noise to equal in magnitude the patterns of vibration presented (a) to the left hand as before and(b) to loci distributed over the surface of the body. The results were the same as those obtained using a single vibrator as standard. The specific loci stimulated did not appear to have any effect on vibrotactile loudness addition.     

Cross-modality matching of brightness to loudness by 5-year-olds

The purpose was to determine whether 5-year-old children could match the brightness of a light to the loudness of a sound, and whether the resulting cross-modality function resembled the power function produced by adults. Each of five children adjusted the voltage on a 15D-W lamp to make the apparent brightness appear equal to the loudness of a 500-Hz tone, which the E set to eight different levels. The results resembled those of five adults who performed the same task.     

Seeing with sound? exploring different characteristics of a visual-to-auditory sensory substitution device

Sensory substitution devices convert live visual images into auditory signals, for example with a web camera (to record the images), a computer (to perform the conversion) and headphones (to listen to the sounds). In a series of three experiments, the performance of one such device ('The vOICe') was assessed under various conditions on blindfolded sighted participants. The main task that we used involved identifying and locating objects placed on a table by holding a webcam (like a flashlight) or wearing it on the head (like a miner's light). Identifying objects on a table was easier with a hand-held device, but locating the objects was easier with a head-mounted device. Brightness converted into loudness was less effective than the reverse contrast (dark being loud), suggesting that performance under these conditions (natural indoor lighting, novice users) is related more to the properties of the auditory signal (ie the amount of noise in it) than the cross-modal association between loudness and brightness. Individual differences in musical memory (detecting pitch changes in two sequences of notes) was related to the time taken to identify or recognise objects, but individual differences in self-reported vividness of visual imagery did not reliably predict performance across the experiments. In general, the results suggest that the auditory characteristics of the device may be more important for initial learning than visual associations.     

Bright sneezes and dark coughs, loud sunlight and soft moonlight

Synesthetic metaphors (such as "the dawn comes up like thunder") are expressions in which words or phrases describing experiences proper to one sense modality transfer their meanings to another modality. In a series of four experiments, subjects used scales of loudness, pitch, and brightness to evaluate the meanings of a variety of synesthetic (auditory-visual) metaphors. Loudness and pitch expressed themselves metaphorically as greater brightness; in turn, brightness expressed itself as greater loudness and as higher pitch. Although loudness thus shared with brightness a metaphorical connection, pitch and brightness showed a connection that was closer and that applied more generally to different kinds of visual brightness. The ways that people evaluate synesthetic metaphors emulate the characteristics of synesthetic perception, thereby suggesting that synesthesia in perception and synesthesia in language both may emenate from the same source-from a phenomenological similarity in the makeup of sensory experiences of different modalities.     

Brightness and retinal locus: Effects of target size and spectral composition

Ss gave numerical estimates of brightness for stimuli presented to the foveal and peripheral retina. Experiment 1 showed that the periphery’s superior sensitivity to white light is relatively independent of target size. Experiment 2 showed that the periphery is more sensitive than the fovea to violet light, but is less sensitive than the fovea to red light. These results are explicable in terms of differences between rod and cone mediation of brightness.     

The Rawdon-Smith illusion

A loudness illusion is described which was originally reported by Rawdon-Smith and Grindley (1935). It is analogous to the Craik-O’Brien-Cornsweet brightness illusion. Procedures are described for generating and measuring the size of the effect, and data are presented showing factors that influence its magnitude. Other examples are discussed that suggest that this effect is a very general phenomenon.     

On loudness enhancement of a tone burst by a preceding tone burst

The loudness level of a second tone burst in a monotic burst pair is investigated as a function of the intensity and frequency of the first burst relative to the corresponding variables of the second burst and as a function of the interburst time interval. The loudness level is measured with the help of a third, comparison burst whose frequency is the same as that of the second burst. The results, in connection with preceding results, show beyond any reasonable doubt that loudness effects in pairs of sound bursts are controlled by two perceptual processes: loudness enhancement and loudness summation. The first refers to the loudness of the second burst, the second, to the overall loudness of the burst pair. The time and frequency functions of the two processes are fundamentally different.     

Binaural summation of loudness: Noise and two-tone complexes

A series of six experiments used the method of magnitude estimation to assess how the two ears sum the loudness of stimuli with various spectra. The results showed that the binaural system sums loudnesses by at least two distinct sets of rules, one applicable to narrow-band stimuli (complete loudness summation), another to wide-band noises (partial summation, dependent on level). The main findings were: (1) Narrow-band noise (Vi-octave bands at 1,000 Hz) showed complete binaural loudness summation, like that previously reported for pure tones (Marks, 1978a). At all but low SPL, a monaural stimulus must be 10 dB greater than a binaural stimulus to be equally loud; a stimulus ratio of 10 dB corresponds to a loudness ratio of 2:1 on Stevens’ sone scale. (2) Wide-band noise (300-4,800 Hz) showed only partial summation, the subadditivity being confined largely to levels below about 60 dB SPL. This result obtained both with bands of white noise (flat spectrum) and pink noise (—3 dB/ octave). (3) Binaural summation of two-tone complexes depended slightly on frequency spacing. Narrow spacing (860 and 1,160 Hz) gave summation equal to about 10 dB, like that of narrowband noises and single tones, whereas wider spacing (675 and 1,475 Hz) gave less summation, equal to about 9 dB, and more like wide-band noise; however, a very wide spacing (300 and 4,800 Hz) gave summation like that of narrow-band noises and single pure tones.     

Loudness effects in pairs of tone bursts

The loudness of dichotic and monotic pairs of short tone bursts was investigated as a function of the interburst time interval. For short intervals, the loudness was increased relative ty the loudness of a single burst. However, the loudness of a burst pair was equal to the loudness of the second burst in the pair and, therefore, no loudness summation but only a loudness enhancement took place. In dichotic bursts, the loudness enhancement decayed monotonically as the time interval increased, and the rate of decay increased with sound intensity. In monotic bursts, the loudness enhancement decayed to a minimum at about 40 msec, independent of sound intensity. It had a tendency to rebound at longer time intervals and go through a relative maximum in the vicinity of 200 msec. The results are interpreted in terms of an interaction of peripheral and central poststimulatory inhibition with temporal summation.     

A constant error in the perception of brief temporal intervals

Ss were presented two stimuli of equal duration separated in time. The parrs of stimuli were vibrotactile, auditory, or visual. The Ss adjusted the time between the two stimuli to be equal to the duration of the first stimulus. The results show that for stimulus durations ranging from 100 to 1,200 msec, Ss set the tune between the two stimuli too long and by a constant amount. For vibrotactfle stimuli, the constant was 596 msec; for auditory stimuli, 657 msec; and for visual stimuli, 436 msec. Changing the intensity of the vibrotactile stimuli did not change the size of the constant error. When Ss were presented two tones with a burst of white noise between the tones and adjusted the duration of the white noise to be equal to the duration of the first tone, the white noise was not adjusted too long by a constant amount. The results suggest that there is a constant error in the perception of unfilled relative to filled temporal intervals.     

Cross-modal additive conjoint structures and psychophysical scale convergence

I investigated a variety of issues related to the measurement of the magnitude of psychological experience, especially the magnitude of sensations. Different groups of subjects made pair comparisons, magnitude estimations, and category judgments of the "total sensory magnitude" of light and sound stimuli presented conjointly. Another group judged the dissimilarity of pairs of conjoint stimuli. Various axioms, especially double cancellation, were tested on the resulting rank orders of conjoint stimuli. Judgements of the total magnitude of conjoint combinations of sound and light stimuli formed an additive conjoint structure. Dissimilarity judgments gave rise to a closely related lattice structure. Moreover, various scales of the individual attributes (loudness and brightness) calculated from the two types of judgments of the conjoint stimuli displayed substantial convergence, each scale for a given modality being linear with all other scales for that modality.