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AbstractAlthough linguistic politeness has been studied and theorized about extensively, the role of prosody in the perception of (im)polite attitudes has been somewhat neglected. In the present study, we used experimental methods to investigate the interaction of linguistic form, imposition, and prosody in the perception of (im)polite requests. A written task established a baseline for the level of politeness associated with certain linguistic structures. Then stimuli were recorded in polite and rude prosodic conditions and in a perceptual experiment they were judged for politeness. Results revealed that, although both linguistic structure and prosody had a significant effect on politeness ratings, the effect of prosody was much more robust. In fact, rude prosody led in some cases to the neutralization of (extra)linguistic distinctions. The important contribution of prosody to (im)politeness inferences was also revealed by a comparison of the written and auditory tasks. These findings have important implications for models of (im)politeness and more generally for theories of affective speech. Implications for the generation of Particularized Conversational Implicatures (PCIs) of (im)politeness are also discussed.

Introduction. Sonic Histories of Occupation / Russell P. Skelchy and Jeremy E. Taylor -- Part I. Voice and Occupation. Introduction to Part One. Voice and Occupation ; Jeremy E. Taylor ; The Vocal Apparatus's Colonial Contexts: France's Mission Civilisatrice and (Settler) Colonialism in Algeria and North America / Iris Blake ; The Hush Arbour As Sanctuary : African American Survival Silence During British/American Slavery / Maya Cunningham ; Music and Sound in Weihsien Internment Camp in Japanese-occupied China / Sophia Geng -- Part II. Memory, Sound and Occupation. Introduction to Part Two. Memory, Sound and Occupation / Jeremy E. Taylor ; Occupying New Sound Worlds : Debordering Sonic Imaginaries in StoryMaps / Fiona Magowan and Jim Donaghey, with Annette McNelis ; Loud Town, Quiet Base : Olongapo City, Subic Bay and the US Navy, 1950-1970 / Kevin Sliwoski ; Registering Sonic Histories in a Multiply Occupied Place : Sound and Survivance in Mangota'ay, Taiwan / DJ Hatfield -- Part III. Auditory Responses to Occupation and Colonialism. Introduction to Part Three. Auditory Responses to Occupation and Colonialism / Jeremy E. Taylor ; The Sonic Occupation of Central Asia : Sound Culture and the Railway in Chingiz Aitmatov's The Day Lasts More Than a Hundred Years / Dimitri Smirnov ; Auditory and Spatial Regimes of United States Colonial Rule in Baguio, Philippines / Russell P. Skelchy ; Soundscapes of Diversity in the Port Cities of British Malaya : Cultural Convergences and Contestations in the Early Twentieth Century / Tan Sooi Beng.

Among various forms of contemporary socio-cultural crises, one of the most challenging is the information crisis, which arises as a consequence of the dominance of postmodern information civilization. Often viewed through a pessimistic lens, the information crisis is understood as the excessive production of textual, visual, and auditory information in both public sphere and high culture. This surplus of information leads to its devaluation and has unforeseen and significant consequences. From this catastrophic perspective, there seems to be no escape from this overwhelming abundance of information. However, this article aims to provide a broader and more realistic understanding of the information crisis. To achieve this comprehensive perspective, the article draws upon research findings from various fields within the humanities and social sciences, such as cognitive psychology, psychology of human development, psychology of crisis and crisis intervention, and sociology of culture. By incorporating these interdisciplinary insights, the article culminates in a philosophical and cultural synthesis. Additionally, the article explores remedial strategies proposed by Tomasz Szlendak (a cultural sociologist) to counter the negative effects of information overload, with particular emphasis the value of silence.

'Music and Cosmopolitanism' is a musical portrait of a city - Rio de Janeiro. Cristina Magaldi takes readers on an auditory tour through the city's early post-Imperial years, a period of crucial transition, as she surveys the city's variegated 'soundscape.' With visits to opera theaters and dance halls, and from symphony concerts to the cabaret, music halls, and the street, Magaldi moves through a gamut of musical expressions in Rio de Janeiro during these critical years of change. Her investigations demonstrate that the city's musical practices were articulated within a cosmopolitan context shared by residents in cities in the Americas and Europe, as she examines the musical and cultural interactions that resulted from early processes of urbanization, globalization, and the circulation of technology and information into and out of the Brazilian capital.

Neste artigo, exploramos as experiências urbanas cotidianas do Rio de Janeiro por meio de um sentido que é, muitas vezes, negligenciado: a audição. Adotando uma abordagem etnográfica, o objetivo é explorar as maneiras em que as transformações pelas quais a cidade vem passando no período que antecede as Olimpíadas ecoam nas paisagens sonoras da favela da Maré. Para investigar esses processos, combinamos perspectivas teóricas provenientes dos estudos do som e cultura auditiva, propondo uma interlocução entre cidades e sentidos. Nossa pesquisa indica que os sons urbanos epitomizam a alegria de viver, riqueza cultural e diversidade das cidades. Por esse motivo, é interessante notar que, na Maré, a arbitrariedade das forças de ocupação militar se manifesta precisamente através da supressão de sons. ; In this article, we explore Rio de Janeiro's everyday urban experiences through attending to the sense of hearing. By adopting an ethnographic approach, our aim is to explore the ways in which the transformations that the city has experienced in the period that precedes the Olympic Games echo in the soundscapes of favela da Maré. In order to investigate this, we combine theoretical perspectives from the fields of sound studies and auditory culture, proposing a dialogue between cities and the senses. Our research indicates that urban sounds epitomize the joy of living, cultural richness and diversity of cities. For this reason, we suggest that the military occupation forces' arbitrary actions in Maré manifest precisely through the suppression of sounds. ; En este artículo exploramos las experiencias urbanas cotidianas de Rio de Janeiro a través de un sentido que es frecuentemente ignorado: la audición. Mediante un enfoque etnográfico, el objetivo es explorar es las maneras en que las transformaciones por las cuales viene pasando la ciudad en el período previo a las Olimpíadas repercuten en los paisajes sonoros de la favela da Maré. Para investigar estos procesos, combinamos perspectivas teóricas provenientes de estudios sobre el sonido y cultura auditiva, proponiendo una interlocución entre ciudades y sentidos. Nuestro estudio indica que los sonidos urbanos sintetizan la alegría de vivir, riqueza cultural y diversidad. Por eso, es interesante observar que, en Maré, la arbitrariedad ejercida por las fuerzas de ocupación militar se manifiesta, precisamente, a través de la supresión de sonidos.

AbstractUnderwater spear gun fishing is the most popular fishing method used in indigenous inshore fishing in Palau, West Micronesia. Two major characteristics of this method are: first, the opportunity offered to fishermen to enter and experience another sphere of the seascape, the underwater world; and, second, the extreme physical challenge involved in the fishermen's constant bodily movement in and under the water. Fishermen skin-dive deep into coral reefs in order to shoot fish with hand-made spear-guns, swimming through the water swiftly to approach their targets. In this form of fishing, they experience the fluid nature of the underwater domain at the level of their skin, and move their bodies in accord with the visibility, auditory experience and the physicality of the particular environment. This paper argues that the fishermen's focus on bodily movement contributes to their constructions of masculinity, and culturally embodies the fluidity of underwater seascapes.

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

Development of global skills to pave the way in the Sustainable Development Goals (SGs) requires institutions around the world to put quality education as one of the pillars for a sustainable economy. The present study employed a descriptive survey research design to capture the brain dominance, learning styles, and reading comprehension of Saudi EFL learners. The study involved a randomly sampled 154 students enrolled in language and reading courses at Qassim University, Saudi Arabia. The results of the study showed that Saudi EFL learners are left-brain dominant in that they consider themselves analytical, logical, methodological, and detail-oriented. Similarly, the distribution of respondents' learning styles, whether visual, auditory, or kinesthetic, is almost equal, indicating that the Saudi EFL learners have distinct learning preferences and processes. Finally, the results revealed that a significant number of students excel in reading, while a smaller number still struggle with it. Hence, Qassim University must implement student-centered language teaching interventions and strategies to realize the vision of the Saudi future. The diversity of Saudi EFL learners necessitates different instructional modalities and processes, and their level of reading performance demands effective interventions to address their language capabilities.

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.