SUBVOCALIZATION VERSUS AUDITORY IMAGERY DRIVER

SUBVOCALIZATION VERSUS AUDITORY IMAGERY DRIVER

The car engine rumbled to life, and the tires screeched as the driver sped away. The influence of covert articulation on auditory imagery can be explained by actionperception theories (e.g., Hommel, 2019 Knoblich & Sebanz, 2006 Shin et al., 2010 Witt, 2011). Subvocalization is the imagined pronunciation of every word we read. The sound of the children laughing and shouting echoed through the park. David Smith, Daniel Reisberg, Meg Wilson. The roar of the ocean waves pounded against the shore. Subvocalization and Auditory Imagery: Interactions Between the Inner Ear and Inner Voice. We consider the breadth of the partnership between the inner ear and inner voice, the level that subvocal rehearsal occupies in the cognitive system, and the functional neuroanatomy of the phonological loop system. Five examples of auditory imagery include. In a fifth experiment (making homophone judgements), subjects hardly even needed to subvocally rehearse, a result suggesting that homophone judgements rely on some direct route from print to phonology. As the piece unfolds, readers listen to this. In this case they may have consulted articulatory or kinesthetic cues instead. 'A powerful but woefully under-discussed influence on readers is the sound of your written words, which they hear inside their heads as they subvocalize -going through the mental processes of generating speech, but not actually triggering speech muscles or uttering sounds. In a fourth task (distinguishing voiced and unvoiced consonants in imagery), subjects still subvocally rehearsed, but seemed to need no additional phonological store to respond correctly. Studies on auditory imagery can give insight to involuntary intrusive images called earworms. These findings suggest that subvocalization is common to both auditory imagery and rehearsal. Apparently subjects subvocally rehearsed the imagery material, which placed the material in a phonological store that allowed the imagery judgement. Subvocalization and the phonological store work in partnership in many auditory imagery tasks. In three tasks (reinterpreting ambiguous auditory images, parsing meaningful letter strings, scanning familiar melodies) subjects relied on a partnership between the inner ear and inner voice, one similar to the phonological loop system described in the short-term memory literature. Our finding that the stimulus-triggered subvocalization arose despite participants intentions, and despite the fact that the conscious field was occupied by other contents (e.g., the sustained imagery), is consistent with theorizing about the encapsulated nature of the generation of conscious contents (Fodor, 1983 Krisst et al., in press). We consider the breadth of the partnership between the inner ear and inner voice, the level that subvocal rehearsal occupies in the cognitive system, and the functional neuroanatomy of the phonological loop system.Five experiments explored the utility of subvocal rehearsal, and of an inner-ear/inner-voice partnership, in tasks of auditory imagery. In this case they may have consulted articulatory or kinesthetic cues instead.

Apparently subjects subvocally rehearsed the imagery material, which placed the material in a phonological store that allowed the imagery judgement. In three tasks (reinterpreting ambiguous auditory images, parsing meaningful letter strings, scanning familiar melodies) subjects relied on a partnership between the inner ear and inner voice, one similar to the phonological loop system described in the short-term memory literature. Five experiments explored the utility of subvocal rehearsal, and of an inner-ear/inner-voice partnership, in tasks of auditory imagery.

Subvocalization versus auditory imagery