Übereinzelsprachliche Tendenzen bei synästhetischen Metaphern

Bei synästhetischen Metaphern werden Wörter aus einer Sinnesdomäne zur Beschreibung eines anderen Wahrnehmungsbereichs verwendet. Entsprechend „kann eine Stimme weich (Tastsinn), warm (Wärmeempfindung), scharf (Geschmack) oder dunkel (Sehen) sein“ (BUSSMANN 2002: 671). Neben der Klassifizierung von synästhetischen Metaphern besteht ein weiteres Ziel dieser Arbeit darin, deren übereinzelsprachliche Tendenzen herauszuarbeiten und zu systematisieren. Hierbei zeigen sich vor allem Parallelen hinsichtlich der Übergänge sprachlicher Synästhesien. Auf Basis der Analyse verschiedener Quellen (einzelsprachliche Arbeiten, Wörterbucheinträge etc.) werden typische Übergänge extrahiert und in einem synthetischen Modell zusammengefasst. Zudem werden mögliche Erklärungsansätze für die parallelen Erscheinungsformen diskutiert. Diese umfassen sowohl biologische als auch sprachwissenschaftliche Argumentationen

When high pitches sound low: Children's acquisition of space-pitch metaphors

Some languages describe musical pitch in terms of spatial height; others in terms of thickness. Differences in pitch metaphors also shape adults’ nonlinguistic space-pitch representations. At the same time, 4-month-old infants have both types of space-pitch mappings available. This tension between prelinguistic space-pitch associations and their subsequent linguistic mediation raises questions about the acquisition of space-pitch metaphors. To address this issue, 5-year-old Dutch children were tested on their linguistic knowledge of pitch metaphors, and nonlinguistic space-pitch associations. Our results suggest 5-year-olds understand height-pitch metaphors in a reversed fashion (high pitch = low). Children displayed good comprehension of a thickness-pitch metaphor, despite its absence in Dutch. In nonlinguistic tasks, however, children did not show consistent space-pitch associations. Overall, pitch representations do not seem to be influenced by linguistic metaphors in 5-year-olds, suggesting that effects of language on musical pitch arise rather late during development

Describing Events: Changes in Eye Movements and Language Production Due to Visual and Conceptual Properties of Scenes

Esaulova Y, Penke M, Dolscheid S. Describing Events: Changes in Eye Movements and Language Production Due to Visual and Conceptual Properties of Scenes. Frontiers in Psychology. 2019;10: 835

Evaluation of the appropriate time period between sampling and analyzing for automated urinalysis

Introduction: Preanalytical specifications for urinalysis must be strictly adhered to avoid false interpretations. Aim of the present study is to examine whether the preanalytical factor ‘time point of analysis’ significantly influences stability of urine samples for urine particle and dipstick analysis. Materials and methods: In 321 pathological spontaneous urine samples, urine dipstick (Urisys™2400, Combur-10-Test™strips, Roche Diagnostics, Mannheim, Germany) and particle analysis (UF-1000 i™, Sysmex, Norderstedt, Germany) were performed within 90 min, 120 min and 240 min after urine collection. Results: For urine particle analysis, a significant increase in conductivity (120 vs. 90 min: P < 0.001, 240 vs. 90 min: P < 0.001) and a significant decrease in WBC (120 vs. 90 min P < 0.001, 240 vs. 90 min P < 0.001), RBC (120 vs. 90 min P < 0.001, 240 vs. 90 min P < 0.001), casts (120 vs. 90 min P < 0.001, 240 vs. 90 min P < 0.001) and epithelial cells (120 vs. 90 min P = 0.610, 240 vs. 90 min P = 0.041) were found. There were no significant changes for bacteria. Regarding urine dipstick analysis, misclassification rates between measurements were significant for pH (120 vs. 90 min P < 0.001, 240 vs. 90 min P < 0.001), leukocytes (120 vs. 90 min P < 0.001, 240 vs. 90 min P < 0.001), nitrite (120 vs. 90 min P < 0.001, 240 vs. 90 min P < 0.001), protein (120 vs. 90 min P < 0.001, 240 vs. 90 min P<0.001), ketone (120 vs. 90 min P < 0.001, 240 vs. 90 min P < 0.001), blood (120 vs. 90 min P < 0.001, 240 vs. 90 min P < 0.001), specific gravity (120 vs. 90 min P < 0.001, 240 vs. 90 min P < 0.001) and urobilinogen (120 vs. 90 min, P = 0.031). Misclassification rates were not significant for glucose and bilirubin. Conclusion: Most parameters critically depend on the time window between sampling and analysis. Our study stresses the importance of adherence to early time points in urinalysis (within 90 min)

Multisensory Motion Perception in 3\u20134 Month-Old Infants

Human infants begin very early in life to take advantage of multisensory information by extracting the invariant amodal information that is conveyed redundantly by multiple senses. Here we addressed the question as to whether infants can bind multisensory moving stimuli, and whether this occurs even if the motion produced by the stimuli is only illusory. Three- to 4-month-old infants were presented with two bimodal pairings: visuo-tactile and audio-visual. Visuo-tactile pairings consisted of apparently vertically moving bars (the Barber Pole illusion) moving in either the same or opposite direction with a concurrent tactile stimulus consisting of strokes given on the infant\u2019s back. Audio-visual pairings consisted of the Barber Pole illusion in its visual and auditory version, the latter giving the impression of a continuous rising or ascending pitch. We found that infants were able to discriminate congruently (same direction) vs. incongruently moving (opposite direction) pairs irrespective of modality (Experiment 1). Importantly, we also found that congruently moving visuo-tactile and audio-visual stimuli were preferred over incongruently moving bimodal stimuli (Experiment 2). Our findings suggest that very young infants are able to extract motion as amodal component and use it to match stimuli that only apparently move in the same direction

Space-pitch associations differ in their susceptibility to language

To what extent are links between musical pitch and space universal, and to what extent are they shaped by language? There is contradictory evidence in support of both universality and linguistic relativity presently, leaving the question open. To address this, speakers of Dutch who talk about pitch in terms of spatial height and speakers of Turkish who use a thickness metaphor were tested in simple nonlinguistic space-pitch association tasks. Both groups showed evidence of a thickness-pitch association, but differed significantly in their height-pitch associations, suggesting the latter may be more susceptible to language. When participants had to match pitches to spatial stimuli where height and thickness were opposed (i.e., a thick line high in space vs. a thin line low in space), Dutch and Turkish differed in their relative preferences. Whereas Turkish participants predominantly opted for a thickness-pitch interpretation-even if this meant a reversal of height-pitch mappings-Dutch participants favored a height-pitch interpretation more often. These findings provide new evidence that speakers of different languages vary in their space-pitch associations, while at the same time showing such associations are not equally susceptible to linguistic influences. Some space-pitch (i.e., height-pitch) associations are more malleable than others (i.e., thickness-pitch)

Sound properties associated with equiluminant colours

There is a widespread tendency to associate certain properties of sound with those of colour (e.g., higher pitches with lighter colours). Yet it is an open question how sound influences chroma or hue when properly controlling for lightness. To examine this, we asked participants to adjust physically equiluminant colours until they 'went best' with certain sounds. For pure tones, complex sine waves and vocal timbres, increases in frequency were associated with increases in chroma. Increasing the loudness of pure tones also increased chroma. Hue associations varied depending on the type of stimuli. In stimuli that involved only limited bands of frequencies (pure tones, vocal timbres), frequency correlated with hue, such that low frequencies gave blue hues and progressed to yellow hues at 800 Hz. Increasing the loudness of a pure tone was also associated with a shift from blue to yellow. However, for complex sounds that share the same bandwidth of frequencies (100–3200 Hz) but that vary in terms of which frequencies have the most power, all stimuli were associated with yellow hues. This suggests that the presence of high frequencies (above 800 Hz) consistently yields yellow hues. Overall we conclude that while pitch–chroma associations appear to flexibly re-apply themselves across a variety of contexts, frequencies above 800 Hz appear to produce yellow hues irrespective of context. These findings reveal new sound–colour correspondences previously obscured through not controlling for lightness. Findings are discussed in relation to understanding the underlying rules of cross-modal correspondences, synaesthesia, and optimising the sensory substitution of visual information through sound

The size-brightness correspondence:evidence for crosstalk among aligned conceptual feature dimensions

The same core set of cross-sensory correspondences connecting stimulus features across different sensory channels are observed regardless of the modality of the stimulus with which the correspondences are probed. This observation suggests that correspondences involve modality-independent representations of aligned conceptual feature dimensions, and predicts a size-brightness correspondence, in which smaller is aligned with brighter. This suggestion accommodates cross-sensory congruity effects where contrasting feature values are specified verbally rather than perceptually (e.g., where the words WHITE and BLACK interact with the classification of high and low pitch sounds). Experiment 1 brings these two issues together in assessing a conceptual basis for correspondences. The names of bright/white and dark/black substances were presented in a speeded brightness classification task in which the two alternative response keys differed in size. A size-brightness congruity effect was confirmed, with substance names classified more quickly when the relative size of the response key needing to be pressed was congruent with the brightness of the named substance (e.g., when yoghurt was classified as a bright substance by pressing the smaller of two keys). Experiment 2 assesses the proposed conceptual basis for this congruity effect by requiring the same named substances to be classified according to their edibility (with all of the bright/dark substances having been selected for their edibility/inedibility, respectively). The predicted absence of a size-brightness congruity effect, along with other aspects of the results, supports the proposed conceptual basis for correspondences and speaks against accounts in which modality-specific perceptuomotor representations are entirely responsible for correspondence-induced congruity effects

Low is large: spatial location and pitch interact in voice-based body size estimation

The binding of incongruent cues poses a challenge for multimodal perception. Indeed, although taller objects emit sounds from higher elevations, low-pitched sounds are perceptually mapped both to large size and to low elevation. In the present study, we examined how these incongruent vertical spatial cues (up is more) and pitch cues (low is large) to size interact, and whether similar biases influence size perception along the horizontal axis. In Experiment 1, we measured listeners’ voice-based judgments of human body size using pitch-manipulated voices projected from a high versus a low, and a right versus a left, spatial location. Listeners associated low spatial locations with largeness for lowered-pitch but not for raised-pitch voices, demonstrating that pitch overrode vertical-elevation cues. Listeners associated rightward spatial locations with largeness, regardless of voice pitch. In Experiment 2, listeners performed the task while sitting or standing, allowing us to examine self-referential cues to elevation in size estimation. Listeners associated vertically low and rightward spatial cues with largeness more for lowered- than for raised-pitch voices. These correspondences were robust to sex (of both the voice and the listener) and head elevation (standing or sitting); however, horizontal correspondences were amplified when participants stood. Moreover, when participants were standing, their judgments of how much larger men’s voices sounded than women’s increased when the voices were projected from the low speaker. Our results provide novel evidence for a multidimensional spatial mapping of pitch that is generalizable to human voices and that affects performance in an indirect, ecologically relevant spatial task (body size estimation). These findings suggest that crossmodal pitch correspondences evoke both low-level and higher-level cognitive processes