Partially autonomous vehicles can help minimize human errors. However, being free from some driving subtasks can result in a low vigilance state, which can affect the driver\'s attention towards the road. The present study first tested whether drivers of partially autonomous vehicles would benefit from the addition of auditory versions of the messages presented in variable message signs (VMS), particularly, when they find themselves in a monotonous driving situation. A second aim was to test whether the addition of auditory messages would also produce an indirect effect on the driver\'s vigilance, improving performance on other driving subtasks not related to the message processing. Forty-three volunteers participated in a driving simulator study. They completed two tasks: (a) a VMS task, where they had to regain manual control of the car if the VMS message was critical, and (b) a car-following task, where they had to pay attention to the preceding car to respond to occasional brake events. Behavioral and EEG data were registered. Overall, results indicated that the addition of audio messages helped drivers process VMS information more effectively and maintain a higher level of vigilance throughout the driving time. These findings would provide useful information for the development of partially automated vehicles, as their design must guarantee that the driver remains attentive enough to assume control when necessary.

\'Jump scares\' are particularly robust when visuals are paired with coherent sound. A new study demonstrates that connectivity between the superior colliculus and parabigeminal nucleus generates multimodal enhancement of visually triggered defensiveness, revealing a novel multisensory threat augmentation mechanism.

Some species have evolved the ability to use the sense of hearing to modify existing vocalizations, or even create new ones, which enlarges their repertoires and results in complex communication systems.1 This ability corresponds to various forms of vocal production learning that are all possessed by humans and independently displayed by distantly related vertebrates.1,2,3,4,5,6,7 Among mammals, a few species, including the Egyptian fruit bat,8,9,10 would possess such vocal production learning abilities.7 Yet the necessity of an intact auditory system for the development of the Egyptian fruit bat typical vocal repertoire has not been tested. Furthermore, a systematic causal examination of learned and innate aspects of the entire repertoire has never been performed in any vocal learner. Here we addressed these gaps by eliminating pups\' sense of hearing at birth and assessing its effects on vocal production in adulthood. The deafening treatment enabled us to both causally test these bats\' vocal learning ability and discern learned from innate aspects of their vocalizations. Leveraging wireless individual audio recordings from freely interacting adults, we show that a subset of the Egyptian fruit bat vocal repertoire necessitates auditory feedback. Intriguingly, these affected vocalizations belong to different acoustic groups in the vocal repertoire of males and females. These findings open the possibilities for targeted studies of the mammalian neural circuits that enable sexually dimorphic forms of vocal learning.

Does congruence between auditory and visual modalities affect aesthetic experience? While cross-modal correspondences between vision and hearing are well-documented, previous studies show conflicting results regarding whether audiovisual correspondence affects subjective aesthetic experience. Here, in collaboration with the Kentler International Drawing Space (NYC, USA), we depart from previous research by using music specifically composed to pair with visual art in the professionally-curated Music as Image and Metaphor exhibition. Our pre-registered online experiment consisted of 4 conditions: Audio, Visual, Audio-Visual-Intended (artist-intended pairing of art/music), and Audio-Visual-Random (random shuffling). Participants (N = 201) were presented with 16 pieces and could click to proceed to the next piece whenever they liked. We used time spent as an implicit index of aesthetic interest. Additionally, after each piece, participants were asked about their subjective experience (e.g., feeling moved). We found that participants spent significantly more time with Audio, followed by Audiovisual, followed by Visual pieces; however, they felt most moved in the Audiovisual (bi-modal) conditions. Ratings of audiovisual correspondence were significantly higher for the Audiovisual-Intended compared to Audiovisual-Random condition; interestingly, though, there were no significant differences between intended and random conditions on any other subjective rating scale, or for time spent. Collectively, these results call into question the relationship between cross-modal correspondence and aesthetic appreciation. Additionally, the results complicate the use of time spent as an implicit measure of aesthetic experience.

Sound recognition is effortless for humans but poses a significant challenge for artificial hearing systems. Deep neural networks (DNNs), especially convolutional neural networks (CNNs), have recently surpassed traditional machine learning in sound classification. However, current DNNs map sounds to labels using binary categorical variables, neglecting the semantic relations between labels. Cognitive neuroscience research suggests that human listeners exploit such semantic information besides acoustic cues. Hence, our hypothesis is that incorporating semantic information improves DNN\'s sound recognition performance, emulating human behaviour. In our approach, sound recognition is framed as a regression problem, with CNNs trained to map spectrograms to continuous semantic representations from NLP models (Word2Vec, BERT, and CLAP text encoder). Two DNN types were trained: semDNN with continuous embeddings and catDNN with categorical labels, both with a dataset extracted from a collection of 388,211 sounds enriched with semantic descriptions. Evaluations across four external datasets, confirmed the superiority of semantic labeling from semDNN compared to catDNN, preserving higher-level relations. Importantly, an analysis of human similarity ratings for natural sounds, showed that semDNN approximated human listener behaviour better than catDNN, other DNNs, and NLP models. Our work contributes to understanding the role of semantics in sound recognition, bridging the gap between artificial systems and human auditory perception.

A social individual needs to effectively manage the amount of complex information in his or her environment relative to his or her own purpose to obtain relevant information. This paper presents a neural architecture aiming to reproduce attention mechanisms (alerting/orienting/selecting) that are efficient in humans during audiovisual tasks in robots. We evaluated the system based on its ability to identify relevant sources of information on faces of subjects emitting vowels. We propose a developmental model of audio-visual attention (MAVA) combining Hebbian learning and a competition between saliency maps based on visual movement and audio energy. MAVA effectively combines bottom-up and top-down information to orient the system toward pertinent areas. The system has several advantages, including online and autonomous learning abilities, low computation time and robustness to environmental noise. MAVA outperforms other artificial models for detecting speech sources under various noise conditions.

Audible very-high frequency sound (VHFS) and ultrasound (US) have been rated more unpleasant than lower frequency sounds when presented to listeners at similar sensation levels (SLs). In this study, 17 participants rated the sensory unpleasantness of 14-, 16-, and 18-kHz tones and a 1-kHz reference tone. Tones were presented at equal subjective loudness levels for each individual, corresponding to levels of 10, 20, and 30 dB SL measured at 1 kHz. Participants were categorized as either \"symptomatic\" or \"asymptomatic\" based on self-reported previous symptoms that they attributed to exposure to VHFS/US. In both groups, subjective loudness increased more rapidly with sound pressure level for VHFS/US than for the 1-kHz reference tone, which is consistent with a reduced dynamic range at the higher frequencies. For loudness-matched tones, participants rated VHFS/US as more unpleasant than that for the 1-kHz reference. These results suggest that increased sensory unpleasantness and reduced dynamic range at high frequencies should be considered when designing or deploying equipment which emits VHFS/US that could be audible to exposed people.

The study of the perceived affective qualities (PAQs) in soundscape assessments have increased in recent years, with methods varying from in-situ to laboratory. Through technological advances, virtual reality (VR) has facilitated evaluations of multiple locations in the same experiment. In this paper, VR reproductions of different urban sites were presented in an online and laboratory environment testing three locations in Greater Manchester (\'Park\', \'Plaza\', and pedestrian \'Street\') in two population densities (empty and busy) using ISO/TS 12913-2 (2018) soundscape PAQs. The studied areas had audio and video recordings prepared for 360 video and binaural audio VR reproductions. The aims were to observe population density effects within locations (Wilcoxon test) and variations between locations (Mann-Whitney U test) within methods. Population density and comparisons among locations demonstrated a significant effect on most PAQs. Results also suggested that big cities can present homogenous sounds, composing a \'blended\' urban soundscape, independently of functionality. These findings can support urban design in a low-cost approach, where urban planners can test different scenarios and interventions.

Listeners are sensitive to interaural time differences carried in the envelope of high-frequency sounds (ITDENV), but the salience of this cue depends on certain properties of the envelope and, in particular, on the presence/depth of amplitude modulation (AM) in the envelope. This study tested the hypothesis that individuals with sensorineural hearing loss, who show enhanced sensitivity to AM under certain conditions, would also show superior ITDENV sensitivity under those conditions. The second hypothesis was that variations in ITDENV sensitivity across individuals can be related to variations in sensitivity to AM. To enable a direct comparison, a standard adaptive AM detection task was used along with a modified version of it designed to measure ITDENV sensitivity. The stimulus was a 4-kHz tone modulated at rates of 32, 64, or 128 Hz and presented at a 30 dB sensation level. Both tasks were attempted by 16 listeners with normal hearing and 16 listeners with hearing loss. Consistent with the hypotheses, AM and ITDENV thresholds were correlated and tended to be better in listeners with hearing loss. A control experiment emphasized that absolute level may be a consideration when interpreting the group effects.

This study examined the influence of stimulus properties on sound externalization when listening with hearing aids. Normally hearing listeners were presented with broadband \"tokens\" (environmental sounds and speech) from loudspeakers, and rated externalization using a continuous scale. In separate blocks, they listened unaided or while wearing behind-the-ear hearing aids with closed domes and low gain (linear or compressive). There was a significant influence of token on ratings, even for unaided listening, and the effect of hearing aids depended on token. An acoustic analysis indicated that hearing aids were more likely to disrupt externalization for peakier sounds with a low-frequency emphasis.