Auditory affective content facilitates time-to-contact estimation of visual affective targets

Reacting to a moving object requires an ability to estimate when a moving object reaches its destination, also referred to as the time-to-contact (TTC) estimation. Although the TTC estimation of threatening visually moving objects is known to be underestimated, the effect of the affective content of auditory information on visual TTC estimation remains unclear. We manipulated the velocity and presentation time to investigate the TTC of a threat or non-threat target with the addition of auditory information. In the task, a visual or an audiovisual target moved from right to left and disappeared behind an occluder. Participants' task was to estimate the TTC of the target, they needed to press a button when they thought that the target contacted a destination behind the occluder. Behaviorally, the additional auditory affective content facilitated TTC estimation; velocity was a more critical factor than presentation time in determining the audiovisual threat facilitation effect. Overall, the results indicate that exposure to auditory affective content can influence TTC estimation and that the effect of velocity on TTC estimation will provide more information than presentation time.

The influence of auditory rhythms on the speed of inferred motion

The present research explored the influence of isochronous auditory rhythms on the timing of movement-related prediction in two experiments. In both experiments, participants observed a moving disc that was visible for a predetermined period before disappearing behind a small, medium, or large occluded area for the remainder of its movement. In Experiment 1, the disc was visible for 1 s. During this period, participants were exposed to either a fast or slow auditory rhythm, or they heard nothing. They were instructed to press a key to indicate when they believed the moving disc had reached a specified location on the other side of the occluded area. The procedure measured the (signed) error in participants' estimate of the time it would take for a moving object to contact a stationary one. The principal results of Experiment 1 were main effects of the rate of the auditory rhythm and of the size of the occlusion on participants' judgments. In Experiment 2, the period of visibility was varied with size of the occlusion area to keep the total movement time constant for all three levels of occlusion. The results replicated the main effect of rhythm found in Experiment 1 and showed a small, significant interaction, but indicated no main effect of occlusion size. Overall, the results indicate that exposure to fast isochronous auditory rhythms during an interval of inferred motion can influence the imagined rate of such motion and suggest a possible role of an internal rhythmicity in the maintenance of temporally accurate dynamic mental representations.

Auditory pitch glides influence time-to-contact judgements of visual stimuli

A common experimental task used to study the accuracy of estimating when a moving object arrives at a designated location is the time-to-contact (TTC) task. The previous studies have shown evidence that sound motion cues influence TTC estimates of a visual moving object. However, the extent to which sound can influence TTC of visual targets still remains unclear. Some studies on the crossmodal correspondence between pitch and speed suggest that descending pitch sounds are associated with faster speeds compared to ascending pitch sounds due to an internal model of gravity. Other studies have shown an opposite pitch-speed mapping (i.e., ascending pitch associated with faster speeds) and no influence of gravity heuristics. Here, we explored whether auditory pitch glides, a continuous pure tone sound either ascending or descending in pitch, influence TTC estimates of a vertically moving visual target and if any observed effects are consistent with a gravity-centered or gravity-unrelated pitch-speed mapping. Subjects estimated when a disc moving either upward or downward at a constant speed reached a visual landmark after the disc disappeared behind an occluder under three conditions: with an accompanying ascending pitch glide, with a descending pitch glide, or with no sound. Overall, subjects underestimated TTC with ascending pitch glides and overestimated TTC with descending pitch glides, compared to the no-sound condition. These biases in TTC were consistent in both disc motion directions. These results suggest that subjects adopted a gravity-unrelated pitch-speed mapping where ascending pitch is associated with faster speeds and descending pitch associated with slower speeds.

Effects of Auditory Patterns on Judged Displacements of an Occluded Moving Object

Using displays in which a moving disk disappeared behind an occluder, we examined whether an accompanying auditory rhythm influenced the perceived displacement of the disk during occlusion. We manipulated a baseline rhythm, comprising a relatively fast alternation of equal sound and pause durations. We had two different manipulations to create auditory sequences with a slower rhythm: either the pause durations or the sound durations were increased. In the trial, a disk moved at a constant speed, and at a certain point moved behind an occluder during which an auditory rhythm was played. Participants were instructed to track the occluded disk, and judge the expected position of the disk at the moment that the auditory rhythm ended by touching the judged position on a touch screen. We investigated the influence of the auditory rhythm, i.e., ratio of sound to pause duration, and the influence of auditory density, i.e., the number of sound onsets per time unit, on the judged distance. The results showed that the temporal characteristics affected the spatial judgments. Overall, we found that in the current paradigm relatively slow rhythms led to shorter judged distance as compared to relatively fast rhythms for both pause and sound variations. There was no main effect of auditory density on the judged distance of an expected visual event. That is, whereas the speed of the auditory rhythm appears crucial, the number of sound onsets per time unit as such, i.e., the auditory density, appears a much weaker factor.