The results obtained are perhaps not so surprising. After all, our “emotional” reaction to the sound of a nail scraping a stone may differ from the “emotional” reaction to the sound of a smooth-running stream: these are non-linguistic sounds with different “emotional” ‘affects and effects’, so we might not be so surprised that the units of linguistic sounds [phonemes] may have different “emotional” affects and effects [independent of their semantics and the tone of their speaker]. This leaves the question of what kind of explanation is needed for these different ‘affects and effects’. This post indicates how an approach in terms of World 3, World 2 and World 1 content might help frame the questions, but also how the answers may vary depending on the combination of W3, W2 and W1 elements involved. There is also a problem in how we might devise tests as to which elements play which role in the explanation: for example, even if it were virtually universal that a scraping nail was an irritating sound compared to a smooth-running stream, it would be left open whether (and to what extent) the explanation lay in the W1 physics of the relevant sounds, the W2 of their mental ‘reception’, or the W3 of their ‘cultural’ “meaning”? It might not be easy or straightforward to disentangle the W1-W2-W3 aspects so as to produce a testable theory as to their respective roles (or even a well-developed untestable theory). There also may not be any detailed explanation in a specific case [e.g. scraping nail] that holds so that it is equally valid across the whole field of “sound”. A while ago I posted on Popper’s views of artistic and mathematical World 3 content:- suggesting that in the case of certain artistic content, in contrast to mathematical content, that W3 content may be co-variant or interdependent with its World 1 expression in a way that the relation between W3 and W1 content is not merely ‘arbitrary’ or ‘conventional’. This is connected perhaps with the issue raised by the authors – that certain kinds of “emotional meaning” may be ‘intrinsic’ to certain W1 “formants”. Likewise we might say certain kinds of “emotional meaning” or artistic affect are ‘intrinsic’ to certain W1 “formants” in music; likewise with the “formants” of scraping nails and running streams. For certain purposes there are meanings of “meaning” where we might say that W3 “meaning” is (partially) determined by the W1 vehicle by which that W3 content is conveyed – where by “(partially) determined” we mean that the W1 vehicle is not merely arbitrarily related to the W3 content it conveys. But a comparable issue arises in relation to W1 sound where that sound is considered without reference to any W3 content – for example, the sound of a scraping nail or the sound of a phoneme when considered merely as W1 entities. Even such merely W1 entities may have ‘effects and affects’ at a W2 and a W3 level. It is doubtful that because they are merely W1 entities therefore these ‘effects and affects’ may be understood in purely W1 terms. These meanings of “meaning” may be connected with “emotional meaning” rather than mere ‘propositional content’. They are perhaps connected with the kinds of meaning that typically concern the artist rather than the scientist. The artist’s work may not be about merely ‘propositional content’ devoid of “emotional meaning” (and considered merely for its truth or falsity) but about conveying ‘content’ that is allied with appropriate ‘form’ for its expression. (Thus achievement in terms of “appropriate form” helps explain why we may regard an artistic work as a towering achievement even if we take its ‘propositional content’ as largely false, and may regard an artistic work as poor even if we take its ‘propositional content’ as largely true [e.g. it seems to ‘propose’ that requited love makes people happy].) There are large, involved issues here; any analysis should be careful not to run away with itself. As indicated, it is not even easy to always keep clear the distinction between W3 and W1 content, never mind clearly address their possible inter-dependence and the role of the intermediate W2. A question raised in my previous posts surfaces again here: even where W3 content is inter-dependent on its W1 vehicle (so their relation is not merely ‘arbitrary’, such that another W1 vehicle would do just as well) are we to explain this interdependence in terms of it being an affect of W1, an affect of W2 ‘reception’, or as nevertheless a W3 affect – or all these (perhaps interdependently)? Here this post gives me an opportunity to correct something important, where my previous post was not sufficiently qualified. Previously I wrote:- “We might also emphasize that when we speak we make physical sound – but the physics of sound does not constitute the meaningful content of what we say: and no World 1 level of explanation is adequate to explain the meaningful content of what we say.” Now this is arguably false (the argument hinges on how we understand “adequate”). It certainly needs to be qualified. Corrected by qualification, it should read:- “…no World 1 level of explanation is fully adequate to explain…” For there are W1 levels of explanation that are adequate up to a point to help explain meaningful content and to differentiate it from meaningless content: for example, we can explain differences between musical and non-musical sounds in purely W1 terms and this explanation may be ‘adequate’ up to a point for distinguishing music from non-musical sounds (though highly incomplete from the POV of the W3 understanding of music). Similarly there may be W1 levels of explanation that are adequate up to a point to help explain differences between linguistic sounds and non-linguistic sounds: the ‘phoneme’, considered as a purely W1 entity or unit, may itself be part of such a W1 explanation. In the case of music, the gist of the W1 explanation (i.e. the explanation a physicist might give) that distinguishes musical and non-musical sounds is that musical sounds are organised patterns in terms of their physical frequencies in a way that non-musical sounds are not. But when we try to understand further the character of their organization and their musical affects and effects, we eventually move beyond issues that are merely W1 issues. Principles of physics may explain why the sounds of the opening of Beethoven’s Fifth are different – in their “formants” – to the sounds of tables being overturned and glasses smashing, and may give a principled explanation to differentiate musical from non-musical sounds: but there are not principles of physics fully adequate to explain how and why the Fifth’s opening differs in its artistic content from the opening of Beethoven’s Ninth. Using this opportunity, there is more in my previous posts that requires more careful formulation. That post continued:- “The physics of sound may be essential to speech but it is epiphenomenal to its World 3 content: and this is obvious because we may, by convention [such as changing the natural language we speak], alter the World 1 encodement of the language without altering its World 3 content – so that “The snow is white” and “Die Schnee ist weiss” may differ in World 1 terms but not in terms of their World 3 content.” This should be corrected to:- “The physics of sound may be essential to speech but it may be epiphenomenal to its World 3 content…” – for there may be examples where the physics of sound may be more than epiphenomenal to its W3 content. (The researchers may be concerned with some such examples). In the overall context of my posts, these lapses may not have been very misleading – for clearly the posts sought to distinguish cases [like “mathematical content”] where W1 may be merely “epiphenomenal” to W3 content, from cases [like “artistic content”] where it may not. Nevertheless, it is easy enough to write in a way that clouds the issues by not being careful enough; and my posts’ failings illustrate this. Despite these lapses, the final words of the relevant paragraph may still hold:- “World 1 provides instruments or vehicles for embodying and conveying World 3 content but that World 3 content is distinct from any merely World 1 level of the instrument or vehicle that conveys it – and, at least in cases like mathematics and in the case of propositions, the World 3 content may be invariant throughout differing World 1 forms of its expression.” What needs to be emphasised is the “may be”, for this “may be” only for certain cases. What the researchers may be touching on are cases where certain aspects of “content” may not be invariant throughout differing W1 forms of its expression [as per “artistic content” and as per “emotional meaning”]. But we should beware thinking that the explanation for this W1-W3 ‘co-variance’ is straightforward – for example, it is not clear how we would test or otherwise show whether the ‘co-variance’ is an ‘affect’ of W1, or W2, or W3 – or an inter-linked W1-W2-W3 ‘affect’ [q: were we a different kind of being (say in terms of our World 3, W2 ‘reception’, or our W1 brains) would we experience certain W1 sounds differently in terms of their “emotional meaning”; might such a different being generally find the stream makes an irritating sound and the scraping nail makes a relaxing sound]? It is not even clear that such ‘co-variance’ is always of some uniform type or that it is not always a varying product of a complex interplay of factors. There is also a general question left open: does the research severely undermine the view that the physical form of linguistic expression is largely only ‘arbitrarily’ or ‘conventionally’ related to its “meaning” or ‘content’? Even if the research is pointing up something interesting in terms of “emotional meaning”, it may leave largely untouched other kinds of meaning – in particular, the “meaning” or content we might term ‘propositional content’. For ‘propositional content’ may be very largely unaffected by the W1 linguistic means used to convey it – so that such ‘propositional content’ may be very largely unaffected, for many research purposes, by the W1 form of its expression. Even the most diligent and scrupulous scientist considering the authors’ paper may conclude that they will not lose much of importance if they focus on developing the ‘propositional content’ of their theories as best they can, without worrying much about the phonemes they use. These difficulties are aside from the fact that our reaction to specific phonemes in terms of their “emotional quality”, in cases where those phonemes lack a semantics or tone, may be coloured by our acquaintance with other phonemes in cases where the “emotional quality” of those other phonemes is affected by their semantics and tone [i.e. the study may suffer from fatal flaws of possible ‘cross-contamination’ of its linguistic samples in this way]. But the more fatal flaw is that the study is oblivious to fundamental distinctions of a W1-W2-W3 type. Donal Popperland On Tuesday, 29 October 2013, 3:33, Torgeir Fjeld <torgeir_fjeld@xxxxxxxx> wrote: "A bit of numerological mysticism can do wonders for the academic branch known as Linguistic Patricide, innit?" phatic muttered. It was a dark and gloomy night at the No Holds Barred cafe in uptown Florida. "You've been reading the Digest again, 'aven't ya," responded Beanieman despondently. phatic nodded, hesitantly. "Why it's apt - psycho-acoustically speaking - that Darth Vader wasn't called Barth Vaber" ---------------------------------------- The relationship between the meaning of a word and the letter strings of which it is comprised is usually thought to be arbitrary. That is, the meaning of a word is dictated by convention and the emotional tone of the speaker. Strip these away and the sounds of the letter groupings themselves - known as phonemes - are generally considered meaningless. At least that's been a popular view for some time. But now a study has been published that challenges this account. Blake Myers-Schulz and his colleagues show that the shift in sound from some phonemes to others carries emotional meaning of its own, quite independent from word meanings or tone of voice. Human speech creates sound at different frequencies. Myers-Schulz and his team focused on the changes in certain frequency peaks in speech - known as formants - as nonsense words were spoken. Specifically, they divided nonsense words into those in which the first two formants went from low to high (e.g. bupaba, pafabi, mipaba) and those in which this sound shift was reversed, going high to low (e.g. dugada, tatoku, gadigu). They were matched on many other sound features, such as plosives, nasality, intonation and volume. Thirty-two adult participants were shown pairs of these nonsense words on a computer screen, one of which always went low to high, the other high to low (in terms of formant shifts). Together with the words, two pictures were shown, one positive, one negative (e.g. a cute puppy and a snarling dog). The participants' job was to allocate the two nonsense words to the two pictures in the way that seemed most appropriate. The key finding was that 80 per cent of the time, they matched the word that had the low-high sound shift with the positive picture and the high-to-low word with the negative picture. It was a similar story when 20 more adult participants performed the same task but with the words spoken by a computer programme rather than shown visually. In this case, they matched the low-to-high nonsense words with the positive pictures on 65 per cent of occasions - still far more often than you'd expect based on chance alone. The findings suggest that strings of phonemes (the sounds that comprise words) have an emotional quality of their own, quite separate from any word meaning or the tone or volume of an utterance. This emotional meaning is conveyed purely by the acoustic properties of the word as the sound frequencies change from one phoneme to the next. There could be intriguing real-life applications for this research in terms of marketing and PR because the implication is that some words convey positive emotion simply by virtue of their acoustic properties, above and beyond any literal word meaning. "Even in artistic contexts, such as film and literature, these acoustic principles could be applied to evoke a particular emotional subtext," the researchers said. "Indeed our data suggest that 'Darth Vader' is an acoustically more appropriate name for an intergalactic miscreant than 'Barth Vaber'." _________________________________ Myers-Schulz B, Pujara M, Wolf RC and Koenigs M (2013). Inherent emotional quality of human speech sounds. Cognition and emotion, 27 (6), 1105-13 PMID: http://www.ncbi.nlm.nih.gov/pubmed/23286242 Mvh / Yours, Torgeir Fjeld Gdansk, Poland Blogs: http://phatic.blogspot.com // http://norsketegn.blogspot.com Web: http://independent.academia.edu/TorgeirFjeld