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Abstract: Emotional states and their representations are gaining increasing attention in the historical study of mysticism. Building on the notion that mystical texts can be utilized to form a relation with the divine, in the current article I explore the intersection of emotional expressions, auditory elements, and devotional traditions as central praxes in Ottoman society. While focusing on a late offshoot of the Sabbatean movement, the Ma'aminim of Salonica, a contextualized analysis of previously unexplored sources demonstrates that during the first half of the nineteenth century the Sabbateans reshaped their communal practices according to contemporary cultural conventions in the Ottoman sphere. This study suggests that viewing mystical texts as generators of affect and sensorial ritual draws the focus from the spiritual world of a mystic-author to the experiences of community members, and it proves that neighboring soundscapes and appropriation of popular culture may serve as fundamental components in the historicization of religious phenomena.

The purpose of the article is to clarify the place, meaning, and functioning mechanism of kinesthetic perception in the art of a theatre and film actor. Research methodology. Analytical and logical methods have been used to understand the peculiarities of the actor's kinesthetic perception in the role, a comparative analysis of the actor's play with active kinesthetic perception and an actor with dominant auditory and visual perception has been used. Scientific novelty. For the first time, the phenomenon of kinesthetic perception in the actor's art was investigated. The mechanism and method of involving this perception in the acting technique of reincarnation was revealed. An analysis of the features of the creative state of the actor in the role under the influence of kinesthetic perception was conducted. Conclusions. The method of comparative analysis of the actor's play proves the need to involve the phenomenon of kinesthetic perception in the actor's skill. We have proved why the activation of the actor's kinesthetic perception in the role is a necessary condition for the creation of an artistic act. The mechanism of shifting the actor's attention from external visual and auditory information to the movements of their own body has been revealed. It was determined that as a result of such a shift of attention the actor feels the movements of their own body and their image in the viewer's eyes. The method of setting up and activating kinesthetic perception in acting is motivated and explained.
Key words: kinesthetic perception, audiovisual perception, body movements, facial movements, speech behaviour, kinesthetic actor, action, attention, viewer.

The main purpose of the book is to provide insight into an area that humans often take for granted. There are wonderful and exciting stories of organisms using chemical signals as a basis of a sophisticated communication system. In many instances, chemical signals can provide more detailed and accurate information than any other mode of communication, yet this world is hidden from us because of our focus on visual and auditory signals. Although we have a diversity of senses available to us, humans are primarily auditory and visual animals. These stimuli are sent to the more cognitive areas of our brain where they are immediately processed for information. We use sounds to communicate and music to excite or soothe us. Our vision provides us with communication, entertainment, and information about our world. Even though our world is dominated by other stimulus energies, we have chosen, in an evolutionary sense, either auditory or visual signals to carry our most important information. This is not the case for most other organisms. Chemical signals, mediated through the sense of smell and taste, are typically more important and are used more often than other sensory signals. The world of communication using chemicals is an alien world for us. We are unaware of how important chemical signals are to other organisms and we often overlook the influence of chemical signals in our own life. Part of this naivete about chemical signals is due to our cultural focus on visual and auditory signals, but a larger part of our collective ignorance is the lack of information about chemical communication in both popular and scientific writings. The popular press and popular writings virtually ignore the chemical senses, especially in regard to their role or influence for humans and our human culture

This article focuses on the transpacific circulations of Japanese popular songs alongside touring American military personnel in East Asia between 1945 and 1958: that is, from the end of the Second World War, across the span of the Korean War, and up to the year of the American ground forces' withdrawal from 'mainland' Japan. By first tracing the trans-oceanic travels of musical souvenirs such as phonograph records and music boxes, and then by delving into their 'afterlives' as ex-souvenirs variously lost or preserved, this article reveals the seemingly minor yet no less significant histories and memories of musical objects containing within them the traces of post-war Japanese popular song. Over this period, musical souvenirs entered into postwar American households with returning military personnel, imparting to family and friends an auditory sensation of 'Japan' that carried with it the fantasy of knowing a place and culture that lay far across the Pacific. Although many of the Japanese pop songs contained therein lost their 'souvenir' status in the late 1960s, their recent revival via transnational online media suggests new ways of re-'discovering' and circulating a wealth of music that might have otherwise fallen into obscurity.

The research introduces 'Sound Drawing' as an engaging instructional activity to develop a visual dhol notation system. In contrast to the conventional reliance on spoken language for dhol instruction, this research involves developing a visual notation system that effectively bridges the auditory intricacies of the dhol drum with corresponding visual representations. Through a methodical examination of sound drawings collaboratively generated by participants, this study critically assesses the effectiveness of sound drawing as an active and inclusive pedagogical instrument within the domain of dhol learning. The outcomes demonstrate how participants' visual interpretations of dhol sounds led to creating a notation system. This system reflects a diverse range of auditory perceptions and offers a new avenue for cultural engagement and learning in music education. By introducing sound drawing as an immersive instructional activity, this research aspires to advance dhol pedagogy, rendering it more accessible to diverse cultures and communities, thus transcending linguistic barriers. This study pioneers the incorporation of sound drawing as an innovative pedagogical activity for the collective development of a visual dhol notation system, thereby instigating a transformation in pedagogical paradigms and fostering cross-cultural engagement within the rich musical tradition of the dhol.

This article reports a cross-cultural test for the detection of deception from behavior. Jordanians and Malaysians were videotaped while lying and telling the truth, and Jordanians and Malaysians judged the resulting tapes for deception. The experiment was conducted at Yarmouk University;
the subjects were 40 Jordanian students and 32 Malaysian students. Results show that lies can be detected across cultures from an audiovisual presentation. Ancillary results reveal cross- cultural consensus in judgments of deception from both auditory and visual cues. Discrimination between
lies and the truth was clear – and was more accurate for targets who tried to convey, rather than conceal, it.

The purpose of the article is to examine the influence of modern technologies on the creative process in the art of sound engineering and sound production. The research methodology to achieve this goal, a research methodology was applied that included a systematic literature review, definition of key concepts, technology impact analysis, data collection and analysis, formulation of conclusions and discussion, and provision of suggestions and recommendations. The scientific novelty consists in expanding the understanding of the influence of technologies on the art of sound engineering and sound production, their significant contribution to the transformation of the auditory space, the opening of new creative possibilities, and the modification of consumer perceptions of music. Conclusions confirm that modern technologies have a significant impact on the creative process in sound engineering and sound production. Using the latest tools and software enables artists to express their individuality and create unique musical images.

Shortlisted for the 2021 Prime Minister's Literary Award for Australian History. Representing Australian Aboriginal Music and Dance 1930-1970 offers a rethinking of recent Australian music history. Amanda Harris presents accounts of Aboriginal music and dance by Aboriginal performers on public stages. Harris also historicizes the practices of non-Indigenous art music composers evoking Aboriginal music in their works, placing this in the context of emerging cultural institutions and policy frameworks. Centralizing auditory worlds and audio-visual evidence, Harris shows the direct relationship between the limits on Aboriginal people's mobility and non-Indigenous representations of Aboriginal culture. This book seeks to listen to Aboriginal accounts of disruption and continuation of Aboriginal cultural practices and features contributions from Aboriginal scholars Shannon Foster, Tiriki Onus and Nardi Simpson as personal interpretations of their family and community histories. Contextualizing recent music and dance practices in broader histories of policy, settler colonial structures, and postcolonizing efforts, the book offers a new lens on the development of Australian musical cultures.

Media messages have an important impact on political attitudes and behavior. Hence, the question arises - how is media content received at an individual level? This question is difficult to investigate with the social science research methods currently available. Measuring an individual's real-time reaction to auditory or visual media content using computers, i.e. real-time response (RTR) measurement, can be a fruitful approach to address the question. This article describes various RTR techniques, discusses the reliability and validity of RTR measurements and outlines strategies on how to analyze RTR data.

AbstractInfants are immersed in a world of sounds from the moment their auditory system becomes functional, and experience with the auditory world shapes how their brain processes sounds in their environment. Across cultures, speech and music are two dominant auditory signals in infants' daily lives. Decades of research have repeatedly shown that both quantity and quality of speech input play critical roles in infant language development. Less is known about the music input infants receive in their environment. This study is the first to compare music input to speech input across infancy by analyzing a longitudinal dataset of daylong audio recordings collected in English‐learning infants' home environments, at 6, 10, 14, 18, and 24 months of age. Using a crowdsourcing approach, 643 naïve listeners annotated 12,000 short snippets (10 s) randomly sampled from the recordings using Zooniverse, an online citizen‐science platform. Results show that infants overall receive significantly more speech input than music input and the gap widens as the infants get older. At every age point, infants were exposed to more music from an electronic device than an in‐person source; this pattern was reversed for speech. The percentage of input intended for infants remained the same over time for music while that percentage significantly increased for speech. We propose possible explanations for the limited music input compared to speech input observed in the present (North American) dataset and discuss future directions. We also discuss the opportunities and caveats in using a crowdsourcing approach to analyze large audio datasets. A video abstract of this article can be viewed at https://youtu.be/lFj_sEaBMN4Research Highlights
This study is the first to compare music input to speech input in infants' natural home environment across infancy.
We utilized a crowdsourcing approach to annotate a longitudinal dataset of daylong audio recordings collected in North American home environments.
Our main results show that infants overall receive significantly more speech input than music input. This gap widens as the infants get older.
Our results also showed that the music input was largely from electronic devices and not intended for the infants, a pattern opposite to speech input.

Synchronized behavior (chanting, singing, praying, dancing) is found in all human cultures and is central to religious, military, and political activities, which require people to act collaboratively and cohesively; however, we know little about the neural underpinnings of many kinds of synchronous behavior (e.g., vocal behavior) or its role in establishing and maintaining group cohesion. In the present study, we measured neural activity using fMRI while participants spoke simultaneously with another person. We manipulated whether the couple spoke the same sentence (allowing synchrony) or different sentences (preventing synchrony), and also whether the voice the participant heard was "live" (allowing rich reciprocal interaction) or prerecorded (with no such mutual influence). Synchronous speech was associated with increased activity in posterior and anterior auditory fields. When, and only when, participants spoke with a partner who was both synchronous and "live," we observed a lack of the suppression of auditory cortex, which is commonly seen as a neural correlate of speech production. Instead, auditory cortex responded as though it were processing another talker's speech. Our results suggest that detecting synchrony leads to a change in the perceptual consequences of one's own actions: they are processed as though they were other-, rather than self-produced. This may contribute to our understanding of synchronized behavior as a group-bonding tool. SIGNIFICANCE STATEMENT Synchronized human behavior, such as chanting, dancing, and singing, are cultural universals with functional significance: these activities increase group cohesion and cause participants to like each other and behave more prosocially toward each other. Here we use fMRI brain imaging to investigate the neural basis of one common form of cohesive synchronized behavior: joint speaking (e.g., the synchronous speech seen in chants, prayers, pledges). Results showed that joint speech recruits additional right hemisphere regions outside the classic speech production network. Additionally, we found that a neural marker of self-produced speech, suppression of sensory cortices, did not occur during joint synchronized speech, suggesting that joint synchronized behavior may alter self-other distinctions in sensory processing.

"Modern Western culture is saturated with images, imprinting visual standards of concepts such as beauty and femininity onto our collective consciousness. Blindness Through the Looking Glass examines how gender and femininity are performed and experienced in everyday life by women who do not rely on sight as their dominant mode of perception, identifying the multiple senses involved in the formation of gender identity within social interactions. Challenging visuality as the dominant mode to understand gender, social performance, and visual culture, the book offers an ethnographic investigation of blindness (and sight) as a human condition, putting both blindness and vision 'on display,' discussing people's auditory, tactile, and olfactory experiences, as well as vision and sight, and exploring ways individuals perform blindness and 'sightedness' in their everyday lives. Based on in-depth interviews with 40 blind women in Israel and anthropological fieldwork, the book investigates the social construction and daily experience of blindness in a range of domains. Uniquely, the book brings together blind symbolism with the everyday experiences of blind and sighted individuals, joining in mutual conversation the fields of disability studies, visual culture, anthropology of the senses, and gender studies"--

As a concept and term, "world view" is useful but can at times be misleading. It reflects the marked tendency of technologized man to think of actuality as something essentially picturable and to think of knowledge itself by analogy with visual activity to the exclusion, more or less, of the other senses. Oral or nonwriting cultures tend much more to cast up actuality in comprehensive auditory terms, such as voice and harmony. Their "world" is not so markedly something spread out before the eyes as a "view" but rather something dynamic and relatively unpredictable, an event‐world rather than an object‐world, highly personal, overtly polemic, fostering sound‐oriented, traditionalist personality structures less interiorized and solipsistic than those of technologized man. The concept of world view may not only interfere with the empathy necessary for understanding such cultures but may even be outmoded for our own, since modern technological man has entered into a new electronic compact with sound.

International audience ; According to UNESCO, empowerment through " Media and Information Literacy " (MIL) is a prerequisite for fostering equitable access to information and knowledge and promoting free, independent and pluralistic media and information systems (UNESCO, n.d.). In the context of the social web, while new media are affirming themselves as spaces of interaction that can be an asset for civic engagement and for building a participatory culture, this empowerment takes renewed forms. While access to technology is becoming more democratic, a dual process is at work, marked by the rise, beyond social and cultural dimensions, of participatory and communicative dimensions: with both a top-down process that brings new arrangements of power within the media economy and changing ways of content production, and a bottom-up process in which actors take control over these new tools they can use as tools for integration and/or resistance, participatory culture being no longer limited to experienced users. However, this process of reallocation of power is not obvious. Developing a critical approach to information and media, giving more control over information and the power to engage and access more democracy requires going beyond the "thinking, classifying, categorizing", traditionally associated with information literacy, for implementing a "participating, confronting, sharing" in a networked world, combining various modes of access to information (printed/digital media, convergence between linguistic, iconic, auditory modes). On what conditions information and media education in the digital age can be a lever for social engagement and for building a participatory citizenship? Without seeking to systematically deconstruct the imaginary of participation, the objective is to go beyond an adaptation discourse turned towards consumption-production to take into account the effect of the choices made. That means, in a certain way, (re)politicizing information and media education so as to permit a (re)negotiation of ...

International audience ; According to UNESCO, empowerment through " Media and Information Literacy " (MIL) is a prerequisite for fostering equitable access to information and knowledge and promoting free, independent and pluralistic media and information systems (UNESCO, n.d.). In the context of the social web, while new media are affirming themselves as spaces of interaction that can be an asset for civic engagement and for building a participatory culture, this empowerment takes renewed forms. While access to technology is becoming more democratic, a dual process is at work, marked by the rise, beyond social and cultural dimensions, of participatory and communicative dimensions: with both a top-down process that brings new arrangements of power within the media economy and changing ways of content production, and a bottom-up process in which actors take control over these new tools they can use as tools for integration and/or resistance, participatory culture being no longer limited to experienced users. However, this process of reallocation of power is not obvious. Developing a critical approach to information and media, giving more control over information and the power to engage and access more democracy requires going beyond the "thinking, classifying, categorizing", traditionally associated with information literacy, for implementing a "participating, confronting, sharing" in a networked world, combining various modes of access to information (printed/digital media, convergence between linguistic, iconic, auditory modes). On what conditions information and media education in the digital age can be a lever for social engagement and for building a participatory citizenship? Without seeking to systematically deconstruct the imaginary of participation, the objective is to go beyond an adaptation discourse turned towards consumption-production to take into account the effect of the choices made. That means, in a certain way, (re)politicizing information and media education so as to permit a (re)negotiation of ...