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The file attached to this record is the author's final peer reviewed version. The Publisher's final version can be found by following the DOI link The solitaire illusion is an illusion of numerosity proposed by Frith and Frith. In the original version, an apparent number of elements was determined by the spatial arrangement of two kinds of elements (black and white marbles). In our study, an auditory version of the solitaire illusion was demonstrated. Participants were asked to judge if they perceived more drum or piano sounds. When half of the piano tones were perceived as lower in pitch than a drum sound and the other half higher, piano tones appeared to be arranged in small units, leading to numerosity underestimation. Conversely, when all piano tones were perceived to be higher in pitch than the drum sounds, they appeared to be arranged in a single large unit, leading to numerosity overestimation. Comparable to the visual version of the solitaire illusion, the clustering seems to be determined by Gestalt principles. In our auditory version, a clear reversal of the illusion (numerosity overestimation or underestimation) was observed when piano tones appeared to be arranged in a single large cluster or in several small clusters, respectively.

Auditory saltation is an illusion in which a train of clicks, the first half of which is presented at one location and the other half of which is presented from a second location, is perceived as originating not only from the anchor points, but also from locations between them. That is, intermediate members of the series of clicks have their spatial locations systematically misperceived. In the present study, auditory saltation was examined for the first time in the vertical midsagittal plane. Subjects rated the perceived continuity of motion for 8-click trains systematically varied in inter-click interval (ICI), direction of motion (up, down), and trial type (‘saltation’ versus ‘real’ motion). In all listeners, saltation stimuli supported robust saltation, but only for trials with ICIs less than about 120 ms. Real motion was rated as continuous for all ICIs. These data indicate that the auditory-saltation illusion can exploit monaural stimulus cues for source location in the generation of the illusory motion percept.

Our previous research on auditory time perception showed that the duration of empty time intervals shorter than about 250 ms can be underestimated hugely if they are immediately preceded by shorter time intervals. We named this illusion ‘time-shrinking’ (TS). This study comprises four experiments in which the preceding interval, t1, was followed by a standard interval, t2. When t1 ⩽ 200 ms, and t1 ⩽ t2, the underestimation of t2 came into view clearly. The absolute difference between t2 and t1 was the crucial factor for the illusion to appear. The underestimation increased when t2 increased from t1 to t1 + 65 ms, stayed at about 45 ms when t2 was between t1 + 65 ms and t1 + 95 ms, and disappeared suddenly when t2 exceeded t1 + 95 ms. This pattern of results was observed across all values of t1 ⩽ 200 ms. A model was fit to the data to elucidate the underlying process of the illusion. The model states that the perceived duration difference between t1 and t2 is reduced by cutting mental processing time for t2; in other words, that t2 assimilates to t1.

Auditory saltation is a misperception of the spatial location of repetitive, transient stimuli. It arises when clicks at one location are followed in perfect temporal cadence by identical clicks at a second location. This report describes two psychophysical experiments designed to examine the sensitivity of auditory saltation to different stimulus cues for auditory spatial perception. Experiment 1 was a dichotic study in which six different six-click train stimuli were used to generate the saltation effect. Clicks lateralised by using interaural time differences and clicks lateralised by using interaural level differences produced equivalent saltation effects, confirming an earlier finding. Switching the stimulus cue from an interaural time difference to an interaural level difference (or the reverse) in mid train was inconsequential to the saltation illusion. Experiment 2 was a free-field study in which subjects rated the illusory motion generated by clicks emitted from two sound sources symmetrically disposed around the interaural axis, ie on the same cone of confusion in the auditory hemifield opposite one ear. Stimuli in such positions produce spatial location judgments that are based more heavily on monaural spectral information than on binaural computations. The free-field stimuli produced robust saltation. The data from both experiments are consistent with the view that auditory saltation can emerge from spatial processing, irrespective of the stimulus cue information used to determine click laterality or location.

Listening to decreasing intensity leads to illusory increasing loudness afterwards. Evidence suggests that this increasing-loudness aftereffect may have a sensory component concerned with dynamic localisation. This was tested by comparing the spectral dependence of monotic aftereffect (adapting and testing one ear) with the spectral dependence of interotic aftereffect (adapting one ear and testing the other ear). Existence of the proposed component implies that monotic aftereffect should be more spectrally dependent than interotic aftereffect. Three listeners were exposed to a 1 kHz adapting stimulus. From responses of “growing softer” or “growing louder” to test stimuli changing in intensity, nulls were calculated; test carrier frequencies ranged from 0.5 kHz to 2 kHz. Confirming the hypothesis, monotic aftereffect was about three times as strong as interotic aftereffect for the 1 kHz test carrier frequency, while monotic and interotic aftereffects were comparable in magnitude for test carrier frequencies below about 0.8 kHz and above about 1.2 kHz. The latter residual aftereffects are attributed to cognitive processing, perhaps concerning response bias. Sensitivity did not vary systematically across conditions; this is consistent with evidence that changing intensity entails mainly direct processing. The results cannot be attributed to the loudness adaptation elicited by steady stimuli.

In the McGurk effect (McGurk and MacDonald, 1976 Nature264 746–748), illusory auditory perception is produced if the visual information from lip movements is discrepant from the auditory information from the voice. A study is reported of the tolerance of the effect to varying levels of spatial degradation (videotaped images of a speaker's face were quantised by a mosaic transform). The illusory effect systematically decreased with an increase in the coarseness of the spatial quantisation. However, even with the coarsest level (11.2 pixels/face) the illusion did not completely disappear. In addition, those participants who did not experience the illusion nevertheless showed the effects of auditory–visual interaction in their clarity ratings of the auditory stimulus. It is concluded that auditory – visual interaction in visible speech perception is based on relatively coarse-spatial-scale information.

The effects of frequency differences between the lead and lag stimuli on auditory apparent motion (AAM—the perception of continuous changes in the location of a sound image over time) were examined in two experiments. In experiment 1, three standard frequencies (500, 1000, and 5000 Hz) and three SOAs (40, 60, and 100 ms) were tested. Both standard frequency and stimulus onset asynchrony (SOA) were constant throughout a session. Eleven comparison frequencies were tested within each session, with the range dependent on the standard frequency. At standard frequencies of 500 and 1000 Hz, AAM was heard when the frequencies of the lead and lag stimuli were within 100 Hz of each other. At 5000 Hz, the range of frequencies producing AAM increased with SOA. In experiment 2, two standards (500 and 5000 Hz) were tested with a wider range of SOAs (10–210 ms) varied within a session, and a narrower range of comparison frequencies. Here, comparison frequency was constant throughout a session. At 500 Hz, the SOAs producing AAM did not depend on comparison frequency. At 5000 Hz, the SOAs producing AAM increased with comparison frequency, consistent with Korte's third law of visual apparent motion.