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The "ventriloquism effect" describes an illusory phenomenon where the perceived location of an auditory stimulus is pulled toward the location of a visual stimulus. Ventriloquists use this phenomenon to create an illusion where an inanimate puppet is perceived to speak. Ventriloquists use the expression and suppression of their own and the puppet's mouth movements as well the direction of their respective eye gaze to maximize the illusion. While the puppet's often exaggerated mouth movements have been demonstrated to enhance the ventriloquism effect, the contribution of direct eye gaze remains unknown. In Experiment 1, participants viewed an image of a person's face while hearing a temporally synchronous recording of a voice originating from different locations on the azimuthal plane. The eyes of the facial stimuli were either looking directly at participants or were closed. Participants were more likely to misperceive the location of a range of voice locations as coming from a central position when the eye gaze of the facial stimuli were directed toward them. Thus, direct gaze enhances the ventriloquist effect by attracting participants' perception of the voice locations toward the location of the face. In an exploratory analysis, we furthermore found no evidence for an other-race effect between White vs Asian listeners. In Experiment 2, we replicated the effect of direct eye gaze on the ventriloquism effect, also showing that faces per se attract perceived sound locations compared with audio-only sound localization. Showing a modulation of the ventriloquism effect by socially-salient eye gaze information thus adds to previous findings reporting top-down influences on this effect. [ABSTRACT FROM AUTHOR]

Previous studies have shown that face-voice matching accuracy is more consistently above chance for dynamic (i.e. speaking) faces than for static faces. This suggests that dynamic information can play an important role in informing matching decisions. We initially asked whether this advantage for dynamic stimuli is due to shared information across modalities that is encoded in articulatory mouth movements. Participants completed a sequential face-voice matching task with (1) static images of faces, (2) dynamic videos of faces, (3) dynamic videos where only the mouth was visible, and (4) dynamic videos where the mouth was occluded, in a well-controlled stimulus set. Surprisingly, after accounting for random variation in the data due to design choices, accuracy for all four conditions was at chance. Crucially, however, exploratory analyses revealed that participants were not responding randomly, with different patterns of response biases being apparent for different conditions. Our findings suggest that face-voice identity matching may not be possible with above-chance accuracy but that analyses of response biases can shed light upon how people attempt face-voice matching. We discuss these findings with reference to the differential functional roles for faces and voices recently proposed for multimodal person perception. [ABSTRACT FROM AUTHOR]

Vocal imitation guides both music and language development. Despite the developmental significance of this behavior, a sizable minority of individuals are inaccurate at vocal pitch imitation. Although previous research suggested that inaccurate pitch imitation results from deficient sensorimotor associations between pitch perception and vocal motor planning, the cognitive processes involved in sensorimotor translation are not clearly defined. In the present research, we investigated the roles of basic cognitive processes in the vocal imitation of pitch, as well as the degree to which these processes rely on pitch-specific resources. In the present study, participants completed a battery of pitch and verbal tasks to measure pitch perception, pitch and verbal auditory imagery, pitch and verbal auditory short-term memory, and pitch imitation ability. Information on participants' music background was collected, as well. Pitch imagery, pitch short-term memory, pitch discrimination ability, and musical experience were unique predictors of pitch imitation ability. Furthermore, pitch imagery was a partial mediator of the relationship between pitch short-term memory and pitch imitation ability. These results indicate that vocal imitation recruits cognitive processes that rely on at least partially separate neural resources for pitch and verbal representations. [ABSTRACT FROM AUTHOR]