Explore the vast range of titles available.

Inner speech is one of the most common, but least investigated, mental activities humans perform. It is an internal copy of one's external voice and so is similar to a well-established component of motor control: corollary discharge. Corollary discharge is a prediction of the sound of one's voice generated by the motor system. This prediction is normally used to filter self-caused sounds from perception, which segregates them from externally caused sounds and prevents the sensory confusion that would otherwise result. The similarity between inner speech and corollary discharge motivates the theory, tested here, that corollary discharge provides the sensory content of inner speech. The results reported here show that inner speech attenuates the impact of external sounds. This attenuation was measured using a context effect (an influence of contextual speech sounds on the perception of subsequent speech sounds), which weakens in the presence of speech imagery that matches the context sound. Results from a control experiment demonstrated this weakening in external speech as well. Such sensory attenuation is a hallmark of corollary discharge.

Sound has come to have a particular resonance in many disciplines over the past decade. Social theorists, historians, literary researchers, folklorists, and scholars in science and technology studies and visual, performative, and cultural studies provide a range of substantively rich accounts and epistemologically provocative models for how researchers can take sound seriously. This conversation explores general outlines of an anthropology of sound. Its main focus, however, is on the issues involved in using sound as a primary medium for ethnographic research.

Using illustrative audio clips, this article offers insights into the historical symbiosis between oral history and radio and the relationship between orality, aurality, and affect that makes radio such a powerful medium for the spoken word. It does so through a discussion of the concept of affect as it applies to oral history on radio and through a description and analysis of crafting oral history for the radio documentary form. This article features audio excerpts from radio documentaries produced by the author. Listening to the audio portions of this article requires a means of accessing the audio excerpts through hyperlinks. See \"Instructions for Multimedia Reading of the OHR,\" which follows the Editor's Introduction at the front of the journal, for further explanation on how to access this article online.

In this paper, the timing of vortex formation on the glottal jet is studied using previously published velocity measurements of flow through a scaled-up model of the human vocal folds. The relative timing of the pulsatile glottal jet and the instability vortices are acoustically important since they determine the harmonic and broadband content of the voice signal. Glottis exit jet velocity time series were extracted from time-resolved planar DPIV measurements. These measurements were acquired at four glottal flow speeds (uSS = 16.1–38 cm/s) and four glottis open times (To = 5.67–23.7 s), providing a Reynolds number range Re = 4100–9700 and reduced vibration frequency f* = 0.01−0.06. Exit velocity waveforms showed temporal behavior on two time scales, one that correlates to the period of vibration and another characterized by short, sharp velocity peaks (which correlate to the passage of instability vortices through the glottis exit plane). The vortex formation time, estimated by computing the time difference between subsequent peaks, was shown to be not well-correlated from one vibration cycle to the next. The principal finding is that vortex formation time depends not only on cycle phase, but varies strongly with reduced frequency of vibration. In all cases, a strong high-frequency burst of vortex motion occurs near the end of the cycle, consistent with perceptual studies using synthesized speech.

Since 1993 to the present, a group of Mapuche activists has aired the bilingual radio show Wixage anai! in Santiago, Chile; on the other side of the Andes, another Mapuche collective, the Equipo de Comunicación Mapurbe, produced and broadcast a series of brief radio programs between 2003 and 2005 in Bariloche, southern Argentina. In this article, I argue that these radio programs constitute an exercise of Mapuche agency that challenges what I call the acoustic colonialism of corporate and criollo mass media in both countries. This article illustrates how Mapuche activists creatively use radio as a connective medium among Mapuche communities and a space for the public audibility of their own voices, sounds, and modes of speech. I analyze the history, cultural politics, and performative features of these two initiatives, engaging theoretical and critical views on sound media, state cultural policies, and politics of indigenous agency. Desde el año 1993 hasta hoy, un grupo de activistas mapuche han puesto en el aire el programa radial bilingüe Wixage anai! en Santiago, Chile; al otro lado de los Andes, otro colectivo mapuche, el Equipo de Comunicación Mapurbe, produjo y emitió una serie de breves programas radiales entre el 2003 y el 2005, en Bariloche, sur de Argentina. En este artículo, planteo que estos programas radiales constituyen un ejercicio de agencia Mapuche que desafía lo que denomino el \"colonialismo acústico\" de los medios masivos corporativos y criollos en ambos países. Este artículo ilustra cómo activistas mapuches creativamente usan la radio como un medio conectivo entre comunidades mapuches y un espacio para la audibilidad pública de sus propias voces, sonidos y modos de habla. Analizo la historia, la política cultural y los rasgos performativos de estas dos iniciativas, incorporando enfoques críticos y teóricos sobre medios sonoros, políticas culturales y políticas de agenciamiento indígena.

We tested whether listeners are differentially responsive to the presence or absence of voicing, a salient, distinguishing acoustic feature, in laughter. Each of 128 participants rated 50 voiced and 20 unvoiced laughs twice according to one of five different rating strategies. Results were highly consistent regardless of whether participants rated their own emotional responses, likely responses of other people, or one of three perceived attributes concerning the laughers, thus indicating that participants were experiencing similarly differentiated affective responses in all these cases. Specifically, voiced, songlike laughs were significantly more likely to elicit positive responses than were variants such as unvoiced grunts, pants, and snortlike sounds. Participants were also highly consistent in their relative dislike of these other sounds, especially those produced by females. Based on these results, we argue that laughers use the acoustic features of their vocalizations to shape listener affect.

We investigaged 1-year-old infants' ability to infer an adult's focus of attention solely on the basis of her voice direction. In Studies 1 and 2, 12- and 16-month-olds watched an adult go behind a barrier and then heard her verbally express excitement about a toy hidden in one of two boxes at either end of the barrier. Even though they could not see the adult, infants of both ages followed her voice direction to the box containing the toy. Study 2 showed that infants could do this even when the adult was positioned closer to the incorrect box while she vocalized toward the correct one (and thus ruled out the possibility that infants were merely approaching the source of the sound). In Study 3, using the same methods as in Study 2, we found that chimpanzees performed the task at chance level. Our results show that infants can determine the focus of another person's attention through auditory information alone—a useful skill for establishing joint attention.

Voice is often regarded as a stylistic ornament of philosophical writing. I argue to the contrary, exploring how voice operates in philosophical texts and what greater attention to voice promises. I also explore how voice might instruct across cultural identities.

While ideas of voice have played a significant role in documentary studies, reciprocal acts of listening have played almost none. Construed literally or metaphorically, \"voice\" embodies a gamut of meanings. It may signify an utterance of speech, empowered subjectivity, cinematic authorship, or political agency. It has been analyzed and assessed historically, technologically, and ideologically. Not only are there divergent meanings and typologies of voice, but there are also differing opinions about the effectiveness of the roles it is said to play. Nevertheless, in spite of all this attention to voice, the question of listening in documentary film remains theoretically underexplored. In fact, the acts of listening to a film's voices are usually ignored, taken for granted and left solely up to the audience that exists outside the diegesis of the work. Here I argue that at the same time as documentary media fashion and orchestrate both their subjects' speech and their spoken, sonorous voices, they simultaneously constitute us as specific kinds of listening subjects. How we are constituted as listeners, then, has an ethical impact on how we relate to others through film and other media.