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10 results for “affective sounds”
"I'm something of an untrained, unofficial cultural anthropologist myself. Ihave a business interviewing people to capture their personal histories. I'm always interested how people fit into their world and how they affect their world. I'm a graphic designer who works in the same building as the printing presses that I recorded. Iwalk past the presses every day on my way to talk to the folks in the prepress department. I'm on friendly but not drinking terms with the pressmen. I'm a friend with the prepress manager. Three Heidelberg presses are installed side by side in an open warehouse-like room. The presses are about twenty feet long and about five feet high. With their series of four humps or mounds where each printing cylinder is located, the presses remind one of giant, gray, mechanical caterpillars. Each press has a cyan cylinder, a magenta cylinder, a yellow cylinder and a black cylinder – so the humps are brightly colored. The presses are well lit by banks of fluorescent lights hanging from the ceiling over each press. When you walk into the press room you hear the sound of rock music blaring from a boom box radio mixed with the general din of the presses. It is only when you walk up to a press like Idid for the recordings that you really start to hear the individual strains of clicking, clacking and mechanical, syncopated chattering. When I made my recordings I was intrigued by the subtle variations in the sounds produced by these machines that aren't apparent when you first walk through the door. The pressmen were kind enough to allow me to walk right up to the presses and poke my microphone quite close to the rotating press cylinders. Iuse a Danish Pro Audio microphone about the size of a pencil eraser. An extremely sensitive mic with the capacity for capturing loud sounds such as the presses up close. Rotating the mic to one side or the other focused on the unique sounds coming from one cylinder or the other." [Kevin/KMerrell]18 in Collecting Sounds. Online Sharing of Field Recordings as Cultural Practice
"I'm something of an untrained, unofficial cultural anthropologist myself. Ihave a business interviewing people to capture their personal histories. I'm always interested how people fit into their world and how they affect their world. I'm a graphic designer who works in the same building as the printing presses that I recorded. Iwalk past the presses every day on my way to talk to the folks in the prepress department. I'm on friendly but not drinking terms with the pressmen. I'm a friend with the prepress manager. Three Heidelberg presses are installed side by side in an open warehouse-like room. The presses are about twenty feet long and about five feet high. With their series of four humps or mounds where each printing cylinder is located, the presses remind one of giant, gray, mechanical caterpillars. Each press has a cyan cylinder, a magenta cylinder, a yellow cylinder and a black cylinder – so the humps are brightly colored. The presses are well lit by banks of fluorescent lights hanging from the ceiling over each press. When you walk into the press room you hear the sound of rock music blaring from a boom box radio mixed with the general din of the presses. It is only when you walk up to a press like Idid for the recordings that you really start to hear the individual strains of clicking, clacking and mechanical, syncopated chattering. When I made my recordings I was intrigued by the subtle variations in the sounds produced by these machines that aren't apparent when you first walk through the door. The pressmen were kind enough to allow me to walk right up to the presses and poke my microphone quite close to the rotating press cylinders. Iuse a Danish Pro Audio microphone about the size of a pencil eraser. An extremely sensitive mic with the capacity for capturing loud sounds such as the presses up close. Rotating the mic to one side or the other focused on the unique sounds coming from one cylinder or the other." [Kevin/KMerrell]18
Using a standardized sound set to help characterize misophonia: The international affective digitized sounds
<p>Misophonia is a condition characterized by negative affect, intolerance, and functional impairment in response to particular repetitive sounds usually made by others (e.g., chewing, sniffing, pen tapping) and associated stimuli. To date, researchers have largely studied misophonia using self-report measures. As the field is quickly expanding, assessment approaches need to advance to include more objective measures capable of differentiating those with and without misophonia. Although several studies have used sounds as experimental stimuli, few have used standardized stimuli sets with demonstrated reliability or validity. To conduct rigorous research to better understand misophonia, it is important to have an easily accessible, standardized set of acoustic stimuli for use across studies. Accordingly, in the present study, the International Affective Digitized Sounds (IADS-2), developed by Bradley and Lang [1], were used to determine whether participants with misophonia responded to certain standardized sounds differently than a control group. Participants were 377 adults (132 participants with misophonia and 245 controls) recruited from an online platform to complete several questionnaires and respond to four probes (arousal, valence, similarity to personally relevant aversive sounds, and sound avoidance) in response to normed pleasant, unpleasant, and neutral IADS-2 sounds. Findings indicated that compared to controls, participants with high misophonia symptoms rated pleasant and neutral sounds as significantly more (a) arousing and similar to trigger sounds in their everyday life, (b) unpleasant, and (c) likely to be avoided in everyday life. For future scientific and clinical innovation, we include a ranked list of IADS-2 stimuli differentiating responses in those with and without misophonia, which we call the IADS-M.</p>
Data from: Vocal signatures affected by population identity and environmental sound levels
<p>Passive acoustic monitoring has improved our understanding of vocalizing organisms in remote habitats and during all weather conditions. Many vocally active species are highly mobile, and their populations overlap. However, distinct vocalizations allow the tracking and discrimination of individuals or populations. Using signature whistles, the individually distinct calls of bottlenose dolphins, we calculated a minimum abundance of individuals, characterized and compared signature whistles from five locations, and determined reoccurrences of individuals throughout the Mid-Atlantic Bight and Chesapeake Bay, USA. We identified 1,888 signature whistles in which the duration, number of extrema, start, end, and minimum frequencies of signature whistles varied significantly by site. All characteristics of signature whistles were deemed important for determining from which site the whistle originated and due to the distinct signature whistle characteristics and lack of spatial mixing of the dolphins detected at the Offshore site, we suspect that these dolphins are of a different population than those at the Coastal and Bay sites. Signature whistles were also found to be shorter when sound levels were higher. Using only the passively recorded vocalizations of this marine top predator, we obtained information about its population and how it is affected by ambient sound levels, which will increase as offshore wind energy is developed. In this rapidly developing area, these calls offer critical management insights for this protected species.</p>
Realistic 3D avian vocal tract model demonstrates how shape affects sound filtering (Passer domesticus)
<p><span>Despite the complex geometry of songbird's vocal system, it was typically modelled as a tube or with simple mathematical parameters to investigate sound filtering. Here, we developed an adjustable computational acoustic model of a sparrow's upper vocal tract (<em>Passer domesticus</em>), derived from micro-CT scans. We discovered that a 20% tracheal shortening or a 20° beak gape increase caused the vocal tract harmonic resonance to shift towards higher pitch (11.7% or 8.8%, respectively), predominantly in the mid-range frequencies (3-6 kHz). The oropharyngeal-esophageal cavity (OEC), known for its role in sound filtering, was modelled as an adjustable 3D cylinder. For a constant OEC volume, an elongated cylinder induced a higher frequency shift than a wide cylinder (70% versus 37%). We found that the OEC volume adjustments can modify the OEC first harmonic resonance at low frequencies (1.5–3 kHz) and the OEC third harmonic resonance at higher frequencies (6-8 kHz). This work demonstrates the need to consider the realistic geometry of the vocal system to accurately quantify its effect on sound filtering and show that sparrows can tune the entire range of produced sound frequencies to their vocal system resonances, by controlling the vocal tract shape, especially through complex OEC volume adjustments.</span></p>
Data: Acoustic disturbance in blue mussels: sound-induced valve closure varies with pulse train speed but does not affect phytoplankton clearance rate
<p>Data abstract:</p> <p>Data on mussels' valve gape behaviour and phytoplankton clearance during sound exposure trials. We provide the raw data, processed data, scripts to process the raw data, make plots, and run the statistics.</p> <p> </p> <p>Paper abstract:</p> <p>Anthropogenic sound has increasingly become part of the marine soundscape and may negatively affect animals across all taxa. Invertebrates, including bivalves, received limited attention even though they make up a significant part of the marine biomass and are very important for higher trophic levels. Behavioural studies are critical to evaluate individual and potentially population-level impact of noise and can be used to compare the effects of different sounds. In the current study, we examined the effect of impulsive sounds with different pulse rates on the valve gape behaviour and phytoplankton clearance rate of blue mussels (<em>Mytilus</em> spp.<em>)</em>. We monitored the mussels’ valve gape using an electromagnetic valve gape monitor, and their clearance rate using spectrophotometry of phytoplankton densities in the water. We found that the mussels’ valve gape was positively correlated with their clearance rate, but the sound exposure did not significantly affect the clearance rate or reduce the valve gape of the mussels. They did close their valves upon the onset of a pulse train, but the majority of the individuals recovered to pre-exposure valve gape levels during the exposure. Individuals that were exposed to faster pulse trains returned to their baseline valve gape faster. Our results show that different sound exposures can affect animals differently, which should be taken into account for noise pollution impact assessments and mitigation measures.</p> <p> </p> <p>Paper reference:</p> <p>Hubert, J., Moens, R., Witbaard, R., Slabbekoorn, H. (2022). Acoustic disturbance in blue mussels: sound-induced valve closure varies with pulse train speed but does not affect phytoplankton clearance rate. <em>ICES Journal of Marine Science</em>. DOI: 10.1093/icesjms/fsac193.</p>
Data from: Vocal signatures affected by population identity and environmental sound levels
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Using a standardized sound set to help characterize misophonia: The international affective digitized sounds
Open the record for dataset details and reuse information.
Realistic 3D avian vocal tract model demonstrates how shape affects sound filtering (Passer domesticus)
Open the record for dataset details and reuse information.
Data from: Ecological adaptation and birdsong: how body and bill sizes affect passerine sound frequencies
<p>The avian bill is finely adjusted to foraging ecology and, as part of the vocal tract, it may also affect sexual signals such as songs. Acoustic theory predicts that larger bills lower the resonant frequency of vocal tracts, allowing larger-billed species to emphasize lower sound frequencies. Theory also predicts that larger-billed species can change bill gape so as to sing over a wider frequency bandwidth. We tested these associations between bill size and sound frequencies of song across ca. 1000 taxonomically-diverse passerines. Phylogenetically informed analyses indicated that both bill and body sizes are negatively related to the sound frequency of songs, with additive effects of similar strength. Analyses of reduced datasets, to decrease bill-body size associations, indicated that the effect of bill size it is not an artefact of its covariation with body size. Sound frequency bandwidth was only related to body size but not bill size, perhaps because large bills may allow greater modulation of frequency but also hinder fast bill movement. Since the bill has a major role explaining species differences in birdsong sound frequency, it can be a magic trait that promotes reproductive isolation as a consequence of ecological divergence.</p>
Data from: Ecological adaptation and birdsong: how body and bill sizes affect passerine sound frequencies
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Allen Brain Atlas
Allen Brain Atlas is an Allen Institute collection of brain map atlases, datasets, APIs, and analysis tools covering mouse, human, and non-human primate brain resources.
Annotated Behaviour and Observability Dataset (ABODe)
ABODe is a University of Edinburgh DataShare dataset for behavior classification in group-housed mice using home-cage video, identities, bounding boxes, ground-plate positions, and annotator labels.
DANDI Archive for NWB datasets
DANDI is a BRAIN Initiative archive for publishing and sharing neurophysiology data, including electrophysiology, optophysiology, and behavioral data packaged as NWB and related standards.
International Brain Laboratory public data
The International Brain Laboratory public data releases expose standardized mouse decision-making experiments, including Neuropixels recordings, widefield calcium imaging, behavior, and session metadata accessed through the ONE API.
OpenNeuro
OpenNeuro is a free, open platform for sharing neuroimaging datasets, with public search, dataset pages, and download paths for web, S3, DataLad, and the OpenNeuro CLI.