Investigation of Tactile Illusion Based on Gestalt Theory

Time-evolving tactile sensations are important in communication between animals as well as humans. In recent years, this research area has been defined as “tactileology,” and various studies have been conducted. This study utilized the tactile Gestalt theory to investigate these sensations. Since humans recognize shapes with their visual sense and melodies with their auditory sense based on the Prägnanz principle in the Gestalt theory, this study assumed that a time-evolving texture sensation is induced by a tactile Gestalt. Therefore, the operation of such a tactile Gestalt was investigated. Two psychophysical experiments were conducted to clarify the operation of a tactile Gestalt using a tactile illusion phenomenon called the velvet hand illusion (VHI). It was confirmed that the VHI is induced in a tactile Gestalt when the laws of closure and common fate are satisfied. Furthermore, it was clarified that the tactile Gestalt could be formulated using the proposed factors, which included the laws of elasticity and translation, and it had the same properties as a visual Gestalt. For example, the strongest Gestalt factor had the highest priority among multiple competing factors.

LISTENING: AN INTERDISCIPLINARY PATH TOWARDS LETTING THINGS BE

The Western philosophical and scientific tradition was and still is based on rationalism, objectivity, truths that are all sought from the ocularcentric paradigm. Many thinkers, however, have been recognising this perspective to be exclusive towards the other senses, and therefore insufficient. Listening, as enabled by the auditory sense, has a potential for revealing a deeper sense of being in the world. In this article listening is presented as a possible way towards inhabiting our life-world and nonetheless “to let things be.” In order to do so, an interdisciplinary approach of research is adopted. First, the author offers some perspectives from the field of the ethics of listening, where the thoughts of Lisbeth Lipari, Luce Irigaray and others expose listening as an intersubjective gesture of encounter with the other in acceptance. Through his philosophy of listening, Jean-Luc Nancy, one of the crucial voices in this study, offers an explication of how listening can be the force of liberating sense and senses. Further on, an account on auditory phenomenology is offered, combining it with and stressing the importance of Husserl’s understanding of intersubjectivity. These perspectives are then enriched with echoes from acoustic ecology and its experiences of listening to the environment. The reverberations of multiple voices presented in this text allow for an understanding of listening as an intersubjective and mutually constitutive activity. As such, it involves a liberation of sense and allows for an openness to being and beings.

Sound Coding Color to Improve Artwork Appreciation by People with Visual Impairments

The recent development of color coding in tactile pictograms helps people with visual impairments (PVI) appreciate the visual arts. The auditory sense, in conjunction with (or possibly as an alternative to) the tactile sense, would allow PVI to perceive colors in a way that would be difficult to achieve with just a tactile stimulus. Sound coding colors (SCCs) can replicate three characteristics of colors, i.e., hue, chroma, and value, by matching them with three characteristics of sound, i.e., timbre, intensity, and pitch. This paper examines relationships between sound (melody) and color mediated by tactile pattern color coding and provides sound coding for hue, chroma, and value to help PVI deepen their relationship with visual art. Our two proposed SCC sets use melody to improve upon most SCC sets currently in use by adding more colors (18 colors in 6 hues). User experience and identification tests were conducted with 12 visually impaired and 8 sighted adults, and the results suggest that the SCC sets were helpful for the participants.

Jesus as God’s Word(s): Aurality, Epistemology and Embodiment in the Gospel of John

The prologue of the Gospel of John famously depicts Jesus as the divine λόγος made flesh. Ancient evidence and insights from sensory analysis support that John also presents Jesus as materializing Israel’s God through the λόγοι he speaks. Because the physical act of speaking creates sound, and sound becomes perceptible to persons through the auditory sense, Jesus’ words render the God of Israel accessible in the somatic realm. John presents the Father as remote and inaccessible, yet suggests that Jesus uniquely shares in his divinity, so Jesus’ speech functions to make the ineffable thoughts of the Father God both heard and thus corporeally known. The materiality of Jesus’ speech underscores an important distinction between the divinity of Jesus and that of his transcendent Father; its corporeal connection to audition also reveals how John presents persons coming to believe in and know God tangibly, and, ultimately, to acquire eternal life.

Preliminary Study of Discrimination of Human Vocal Commands in Walrus (Odobenus rosmarus divergens)

Walruses seem to use various acoustic signals in social context. So, the auditory faculty is seems to be important for walruses. Can walruses understand another animals' vocal information using auditory sense? This study tested whether a male walrus could discriminate human vocal words and perform different actions corresponding to each one under various conditions. The subject, a male walrus (Odobenus rosmarus) named Pou, was set on the ground, and the experimenter spoke one of the ten words to the subject under the following conditions; (1) The experimenter stood close to the subject and spoke each vocal stimulus wearing a black cloak and goggles so that the experimenter's eye and body movements would not influence the subject's behavior, (2) A wooden board was placed between the experimenter and the subject so that the subject could not see the experimenter, (3) A wooden board was placed between the experimenter and the subject so that the subject could not to see the experimenter, and the experimenter uttered each vocal stimulus through an audio speaker. Under each condition, when the subject performed the correct action corresponding to the vocal stimulus, he was rewarded with a piece of fish. As a result, the subject responded correctly to almost all the human vocal stimuli in every condition, including when the speaker was not visible. This means that he was indeed responding to the vocal words and not the experimenter's cues. This study demonstrated that walruses can hear and identify human vocal words using their auditory sense and can form correspondence between vocal words and their meanings.

Mixed Speech and Non-speech Auditory Displays: Impacts of Design, Learning, and Individual Differences in Musical Engagement

Information presented in auditory displays is often spread across multiple streams to make it easier for listeners to distinguish between different sounds and changes in multiple cues. Due to the limited resources of the auditory sense and the fact that they are often untrained compared to the visual senses, studies have tried to determine the limit to which listeners are able to monitor different auditory streams while not compromising performance in using the displays. This study investigates the difference between non-speech auditory displays, speech auditory displays, and mixed displays; and the effects of the different display designs and individual differences on performance and learnability. Results showed that practice with feedback significantly improves performance regardless of the display design and that individual differences such as active engagement in music and motivation can predict how well a listener is able to learn to use these displays. Findings of this study contribute to understanding how musical experience can be linked to usability of auditory displays, as well as the capability of humans to learn to use their auditory senses to overcome visual workload and receive important information.