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.     

Electrocutaneous stimulation III. The perception of temporal order

Temporal order thresholds were measured for brief electrical stimuli presented to the forehead and to the abdomen. Temporal acuity is better (thresholds smaller) on the forehead, sensitivity increasing somewhat (thresholds decreasing) as the physical separation between the electrodes increases. Even in that subject, of four, who had the lowest thresholds, however, the value rarely fell below 100 msec. Temporal order thresholds also depend on the orientation, being far smaller when the electrodes are separated horizontally than when separated vertically on both body sites.     

THE CONTINGENCY OF PERCEPTUAL PROCESSING: Context Modifies Equal-Loudness Relations

Abstract –The relative loudnesses of tones that differ in sound frequency can depend strongly on the stimulus context, that is, on the set of intensity levels m the stimulus ensemble Using a new paradigm, called matching in scaling, this investigation sought to confirm that context modifies loudness relations per se, and not, for example, only overt responses To this end, two experiments revealed that changes in stimulus context differentially affect direct comparisons of loudness of 500-Hz and 2,500-Hz tones, as well as numerical judgments of individual tones—when loudness matches and scaling judgments alike are obtained in the same experimental sessions These contingent effects vary dynamically over time as a function of the recent stimulus history A third experiment revealed analogous effects in a simple matching paradigm, with no numerical judgments at all These findings support the contention that basic properties of loudness perception—grounded in auditory processes often considered "low level"—nevertheless can be deeply contextual     

The slippery context effect in psychophysics: Intensive,extensive, and qualitative continua

When subjects gave magnitude estimates of 500- and 2500-Hz tones at various SPLs, they judged a 500-Hz tone of 60 dB to be as loud as a 2500-Hz tone of 57 dB in one context (low SPLs at 500 Hz, high SPLs at 2500 Hz), but as loud as a 2500-Hz tone at 40 dB in another context (high SPLs at 500 Hz, low at 2500 Hz) (Marks, 1988). Such shifts in matches derived from judgments of multi-dimensionally varying stimuli are termedslippery context effects. The present set of seven experiments showed that slippery effects were absent from judgments of pitch of tones at different loudnesses, duration of tones at different pitches, and length of lines at different colors, though a small effect emerged in judgments of duration of tones and lights. Slippery context effects were substantial when subjects gave magnitude estimates of loudness of 500- and 2500-Hz tones under conditions in which the pitch at each trial either was cued visually beforehand or could be known through the regular stimulus sequence, and with instructions to make absolute magnitude estimates. The results are consistent with the view that slippery context effects occur automatically and “preattentively.”     

Optional processes in similarity judgments

This research investigates the nature of similarity relations among three pairs of interacting dimensions: (1) the integral dimensions of auditory pitch and loudness, (2) the configurai dimensions of paired parentheses, and (3) the cross-modally corresponding dimensions of visual position and auditory pitch. We evaluated the rules by which information from each dimension combines in similarity judgments. Our claim is that, when judging similarity, processes that are obligatory, or what we call mandatory processes, can commingle with processes of choice, or what we call optional processes. By varying instructions, we found strong evidence of optional processing. Instructions to rate overall similarity encouraged subjects to attend to stimuli as wholes and led to a Euclidean rule in similarity scaling. Instructions to focus on dimensions encouraged subjects to consider each stimulus dimension separately and led to a city-block rule. We argue that optional processes may obscure mandatory ones, and so need to be identifled-beforernandatory processes can be understood.