This meta-analysis compares the brain structures and mechanisms involved in facial and vocal emotion recognition. Neuroimaging studies contrasting emotional with neutral (face: N = 76, voice: N = 34) and explicit with implicit emotion processing (face: N = 27, voice: N = 20) were collected to shed light on stimulus and goal-driven mechanisms, respectively. Activation likelihood estimations were conducted on the full data sets for the separate modalities and on reduced, modality-matched data sets for modality comparison. Stimulus-driven emotion processing engaged large networks with significant modality differences in the superior temporal (voice-specific) and the medial temporal (face-specific) cortex. Goal-driven processing was associated with only a small cluster in the dorsomedial prefrontal cortex for voices but not faces. Neither stimulus- nor goal-driven processing showed significant modality overlap. Together, these findings suggest that stimulus-driven processes shape activity in the social brain more powerfully than goal-driven processes in both the visual and the auditory domains. Yet, whereas faces emphasize subcortical emotional and mnemonic mechanisms, voices emphasize cortical mechanisms associated with perception and effortful stimulus evaluation (e.g. via subvocalization). These differences may be due to sensory stimulus properties and highlight the need for a modality-specific perspective when modeling emotion processing in the brain.
The present study investigates effects of conventionally metered and rhymed poetry on eye-movements in silent reading. Readers saw MRRL poems (i.e., metrically regular, rhymed language) in two layouts. In poem layout, verse endings coincided with line breaks. In prose layout verse endings could be mid-line. We also added metrical and rhyme anomalies. We hypothesized that silently reading MRRL results in building up auditive expectations that are based on a rhythmic “audible gestalt” and propose that rhythmicity is generated through subvocalization. Our results revealed that readers were sensitive to rhythmic-gestalt-anomalies but showed differential effects in poem and prose layouts. Metrical anomalies in particular resulted in robust reading disruptions across a variety of eye-movement measures in the poem layout and caused re-reading of the local context. Rhyme anomalies elicited stronger effects in prose layout and resulted in systematic re-reading of pre-rhymes. The presence or absence of rhythmic-gestalt-anomalies, as well as the layout manipulation, also affected reading in general. Effects of syllable number indicated a high degree of subvocalization. The overall pattern of results suggests that eye-movements reflect, and are closely aligned with, the rhythmic subvocalization of MRRL.
This study introduces a two-stage approach to the analysis of long MRRL stimuli and contributes to the discussion of how the processing of rhythm in music and speech may overlap.
Pitch: can we have inner speech without inner auditory and motor sensation? Introduction. When you imagine reading this title, you are perhaps able to hear your own voice and experience auditory sensations (e.g., intensity, intonation, etc.) although your auditory system is not being triggered by any external stimuli. This ability is called auditory verbal imagery. This kind of imagery can sometimes accompany endophasia. Endophasia (also called inner speech) refers to the internal production of language, without articulation or sound. Endophasia may be accompanied by auditory percepts (Langlan
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