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The Cocktail Party Effect
For psychologists the ‘cocktail party effect’ is our impressive and under-appreciated ability to tune our attention to just one voice from a multitude. At a party when bored with our current conversational partner — and for the compulsive eavesdropper — allowing the aural attention to wander around the room is a handy trick.
Perhaps only the most recidivist eavesdroppers are aware how special this ability is. But even they might be surprised — and worried — by just how much we can miss in the voices we decide to tune out.
Close your eyes and concentrate
Our ability to separate one conversation from another is beautifully demonstrated in a classic study carried out by Colin Cherry, then at Imperial College London (Cherry, 1953). Cherry used the simple method of playing back two different messages at the same time to people, under a variety of conditions. In doing so he discovered just how good we are at filtering what we hear.
In the first set of experiments he played back two different messages voiced by the same person through both ears of a pair of headphones and asked participants to ‘shadow’ one of the two messages they were hearing by speaking it out loud, and later by writing it down.
To accomplish this task, Cherry reports, participants had to close their eyes and concentrate hard. When doing this they could, with effort, and while hearing the clips over and over again, separate one of the messages from the other.
With the two voice presented together, as though the same person were standing in front of you saying two completely different things at the same time, this task appears to be very hard, but still possible. Pushing participants further Cherry found he could confuse listeners, but only by having both messages consist entirely of nonsensical platitudes. Only then were participants unable to pick apart one message from the other.
Receiving you loud and clear
The real surprise, though, came in the second set of experiments. For these Cherry fed one message to the left ear and one to the right ear — and once again both messages were voiced by the same speaker.
Suddenly participants found the task incredibly easy. Indeed many were surprised how easily and accurately they could tune in to either one of the messages, and even shift their attention back and forth between the two. No longer did they have to close their eyes and furrow their brows – this was much easier.
What participants were experiencing here seems much closer to most people’s experience of picking out one conversation from a multitude. At a party people are arrayed all around us and their conversations come from various different directions. We seem to be able to use this information to reject all but the one in which we are interested.
I’m sorry, what were you saying?
Although we are fantastically good at tuning in to one conversation over all the others, we seem to absorb very little information from the conversations we reject. That’s where it can get embarrassing.
Cherry found his participants picked up surprisingly little information presented to the other, ‘rejected ear’, often failing to notice blatant changes to the unattended message. When asked afterwards, participants:
- could not identify a single phrase from the speech presented to the rejected ear.
- weren’t sure the language in the rejected ear was even English.
- failed to notice when it changed to German.
- mostly didn’t notice when the speech to the rejected ear was being played backwards (though some did report that it sounded a bit strange).
Across all the different conditions tried there were only two aspects of the speech to the rejected ear the participants could reliably identify. The first was that it was speech compared to a tone, the second was when the speaker suddenly changed from male to female.
This doesn’t bode at all well for people with a habit of tuning out of conversations when they lose interest (you know who you are!). If you really are listening to someone else it’s likely you won’t hear a word of what’s being said to you directly. One study has found that two-thirds of people don’t even notice when their own name is slipped into the unattended speech, while those who do notice are likely to be of the extremely distractable variety (Conway, Cowan & Bunting, 2001).
You have been warned!
→ Try one of PsyBlog’s ebooks, all written by Dr Jeremy Dean:
The Psychology of Attention
→ This post is part of a series on the psychology of attention:
Anwendung der Korrelationstheorie der Hirnfunktion auf das akustische Figur-Hintergrund-Problem (Cocktail-Party-Effekt)
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BlogBastian - Life
tisdag 13 april 2010
Cocktail - effekten
Eftersom vi har ett fantastiskt filter mellan öronen som kallas för hjärna, slipper vi ta del av allt som händer på partyt, hjärnan sorterar bort det som vi skulle kunna kalla för brus, men så fort någon nämner ditt namn någonstans reagerar du och din uppmärksamhet är nu riktad åt de hållet. Cocktailparty-effekten
(2008 slog försäljningen av bekämpningsmedel alla rekord)
Mindre än 5 % av de kemikalier som finns på den europeiska marknaden har testats för att vi ska veta vilka följder just den kemikalien får på den mänskliga kroppen. För att testa vilka följder en kemikalie ger, måste man ju testa på ett biologiskt liv och resten kan ni räkna ut själva.
Men även om man vet vilka följder en kemikalie ger, vet man inte vilka följderna blir när de blandas i kroppen. Cocktail-effekten.
Cocktail party effekt
The psychoacoustic phenomenon whereby an acoustic signal arriving first at the ears suppresses the ability to hear any other signals, including ECHO es and REVERBERATION , that arrive up to about 40 ms after the initial signal, provided that the delayed signals are not significantly louder than the initial signal. A signal arriving after a delay of 40-50 ms is heard as an echo, provided it is not MASK ed. Also called echo suppression and the Haas effect.
As verified by the importance of time delays in BINAURAL HEARING , a slightly delayed signal is not entirely ignored, but may influence the exact localization of the sound source. However, because of the precedence effect, echoes and reverberation are minimized for a short period after the original sound, as may be verified by playing a tape of the event backwards, whereby the reverberation is heard first. As a result, the use of ECHOLOCATION , as practised by the blind and others, requires a sensitization to this type of spatial information.
Sound Example : Brick struck in a reverberant room.
Sound Example : Same example played backwards in which the decay is heard as a (longer) attack.
The precedence effect also plays a role in PA and other ELECTROACOUSTIC systems. Where direct sound is transmitted both acoustically (with a delay because of the relatively slow SPEED OF SOUND ) and electroacoustically, as from a loudspeaker (with no perceptible delay), confusion in localization of the sound source may result unless a suitable time delay is introduced into the electroacoustic system as well. However, in practice, the visual bias, when the sound source can be seen, easily overrides the acoustic precedence effect, and thus the SCHIZOPHONIC ambiguity of direction is generally ignored by most people.
In the DIFFUSION of electroacoustic music, the performer can use the precedence effect to give the illusion that a STEREOPHONIC source appears to emanate from a particular speaker by raising the signal level in that speaker, even though the sound is also present in other speakers at a lower level. See: PAN .
Ref.: H. Haas, "The influence of a single echo on the audibility of speech," Journal of the Audio Engineering Society, 20, pp. 146-159.
Cocktail party effekt
- Gehobene Atmosphäre mit ein wenig „Schicki-Miki“
- Viel Tratsch, Plausch und Plaudern gepaart mit ein wenig Geschäftsinteressen
- Moderner Afterwork Style
- Gerne auch als Singleparty ausgelegt und gefeiert
- Es gibt keine Sitzplätze, also eher eine typische Stehparty
- Es gibt kein spezielles Motto, der Name ist immer Programm
- Wenn euch diese Eigenschaften nicht schmecken, dann könnt Ihr Sie auch über den Haufen werfen und eine Stehparty mit schicken Bars und reichlich Cocktails machen. Jedem wie es gefällt, ist dann eben nur kein Original.
- Wer eine Cocktailparty plant und vorbereitet, muss sich vorher um eine gute Organisation kümmern, damit das Fest auch wirklich rundum perfekt wird. Was braucht man alles um das Event perfekt auf die Beine zu stellen?
- Dazu gehören nicht nur die passende Dekoration, sondern auch gute Cocktail-Rezepte, lustige Spiele und vieles mehr. Aber dafür seit Ihr ja hier.
Cocktailparty Outfit – Dresscode und Was kann ich anziehen?
Inhaltverzeichnis für schnelle Leser
Dekoideen für Cocktailpartys
Utensilien zu diesem Event
Must-Have Empfehlungen für dieses Thema
Lustige Spiele auf einer Cocktailparty
Getränke, Cocktails und Zubehör
- Indian Flame
- Caipirinha
- Tequila Sunrise
- Cuba Libre
- Long Island Ice Tea
- Sex on the Beach
- Mai Tai
- Mojito
- Pina Colada
- Zombie
- Planters Punch
Die beliebtesten nicht-alkoholischen Cocktails für solche Feiern sind:
- Yellow Runner
- Coconut Kiss
- Pussy Foot
- Ipanema
- Virgin Colada
- Mojito Limo
Versucht bei der Auswahl der Getränke / Cocktails darauf zu achten, dass es bezüglich der Zutaten häufig Überschneidungen gibt. So müsst Ihr insgesamt weniger kaufen, spart Geld und habt es beim Mixen auch leichter. Verzichtet wenn möglich auch auf Cocktail-Exoten, die tendenziell viele und schwer zu findende Zutaten haben.
Tipp: Mit der Zuckerrandhilfe geht dies leicht von der Hand. Gibt es hier.
Was die Ausstattung betrifft, so bist du mit einem Eiscrusher, einem Shaker, einem Messbecher, einem Schneidbrett für Limetten und andere Früchte sowie mit passenden Cocktailgläsern plus Strohhalmen gut beraten. Ansonsten solltet Ihr euch besorgen:
- Cocktailstäbchen
- Flexhalme
- Zuckerrandhilfe
- Spieße
- Cocktailmixer
Kunst des Mixens
Tipps und Infos
Noch mehr Partys
Gartenparty +
Überraschungsparty +
Apres Ski Party +
Junggesellenabschied Party +
Einweihungsparty +
Gut zu wissen
Karaoke Party +
Partymottos +
Party Flirt Tipps +
Legendäre Partys +
Partytypen +
Party Flyer +
Party Plakate +
Partys organisieren
Details und Anregungen für eure Fete. Holt euch kostenlose Tipps zur Planung und Organisation für eine perfekte Party.
Wir wollen euch hilfreiche Informationen, Tipps und Anregungen geben, wie ihr eure Feier unvergesslich werden lassen könnt. Schaut regelmäßig bei uns vorbei, hier gibt es ständig Neues.
Der Cocktailparty-Effekt
Warum wir selektiv wahrnehmen
Unter dem Begriff "Cocktail-Party-Effekt" verstehen Psychologen die Fähigkeit, unsere Aufmerksamkeit selektiv einzusetzen: Wir richten sie auf einen Aspekt und blenden andere Informationen aus. Wir können auf einer lauten Party unserem Gesprächspartner zuhören und andere Geräusche unterdrücken, so dass diese nicht bewusst verarbeitet, aber trotzdem wahrgenommen werden. Denn wenn jemand im Raum plötzlich unseren Namen nennt, schwenkt unsere Aufmerksamkeit sofort zu diesem Gespräch, damit wir mitbekommen, was über uns gesagt wird.
mev, Augsburg/Oswald Jens
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Bill Ectric's Place
a virtual establishment
Tag Archives: The Kafka Effekt
Inside the Head of D. Harlan Wilson
It is harder than you might think to write good Bizarro fiction. Practically anyone can conjure up a weird scene about people with goat heads or a beard crawling off someone’s face, but few can write about it with the crisply entertaining panache of D. Harlan Wilson . Wilson’s novel, Peckinpah (2009, Shroud Publishing), is described by the legendary Alan Moore as “a bludgeoning celluloid rush of language and ideas served from an action-painter’s bucket of fluorescent spatter.”
Read reviews of Wilson’s books and you’ll see phrases like Cyberpunk, surrealism, irrealism, wicked humor, believe the hype, rollicking splatter flange, funhouse mirror, unnerving celebrity, clothes-lining tombstones, crazed precision, brain stem, Franz Kafka, guaranteed to never win the Pulitzer, Philip K. Dick, flashing LED sign hat-band, William S. Burroughs, and sci-kung-fi (hyphens mine). I especially like the Peckinpah review by JoSelle Vanderhooft in The Pedestal Magazine:
Wilson’s blood-bucket descriptions and wild imagination together would be enough to make Peckinpah a delightful Bizarro novel, and a pretty good parody of Peckinpah’s style (at least, as I understand it). But Wilson does not stop there; rather, he mixes camera angles, stage directions, and, most astonishingly, digressions into film criticism to make his novella not only a gleeful send-up/homage to Peckinpah’s work, but a thoughtful study of it. In fact, film school graduates (and first year English literature students) will probably note that Wilson has ingeniously woven a lampoon of the infamous “five paragraph essay” into his book, through five chapterlets about the “Theory of Ultraviolence.” At the beginning, these appear to be little more than aimless scene descriptions or puzzling non-sequiturs. But in the fourth theory, he pulls the theories and the entire book together.
Wilson has a Master’s Degree in English from the University of Massachusetts-Boston, a Masters in Science Fiction Studies from the University of Liverpool, and a Ph.D. in English from Michigan State University. He is a professor of English at Wright State University-Lake Campus.
Cue the interview.
Bill Ectric: I really got a kick out of the video, The Cocktail Party. Can you tell me a little about the making of it, the collaboration between you and Brandon Duncan?
D. Harlan Wilson: The film is based on a story of the same name from my first published collection of short fiction, The Kafka Effekt. I can’t remember how Brandon and I got together. I think my publisher, Raw Dog Screaming Press, hooked us up. Yes. He illustrated the cover for my fiction collection Pseudo-City, a futuristic rendering of Rene Magritte’s Golconde, back in 2004, and thereafter we decided to collaborate on a short film, which he made for his MFA thesis in graphic design. The Cocktail Party had a lot of weird, visually dynamic potential. I wrote the screenplay for it and then Brandon and I did some editorial back and forth. He finally went to work. It took him a year or two, and the end product is a surreal, black-and-white, rotoscoped picture that, in my opinion, far outshines my story. It won a bunch of awards at various film festivals in 2007, among them an official selection at Comic-Con. There are more details at http://www.dharlanwilson.com/films.html. The film is also available on YouTube. Originally Brandon and I planned to collaborate on another film based on a story in Pseudo City, and I wrote a full screenplay, but it never happened. We both got too busy and the project slipped away. Brandon, however, has done a lot of other stuff for me, including illustrated author photos and book cover designs. And right now he’s doing some artwork for the third and final installment in my scikungfi trilogy, The Kyoto Man. A very talented guy. Check him out at www.corporatedemon.com.
BE: As an English professor, do you tell students that before they write bizarro or irrealism, they first need to develop a solid foundation in writing basics? Or does it not work that way?
DHW: I actually don’t teach many creative writing courses. There’s only one right now, in fact, where I currently work, “Introduction to Short Fiction” and it’s purely online. Mainly I teach composition and American literature. In the short fiction course, I expose students to some transgressive stories, but I don’t require them to write in that vein. That’s the last thing beginners need to do. I try to give them a taste of everything and then encourage them to focus on the basics, as you say. They have considerable freedom and can more or less do what they want, but I’m concerned with instilling a command of things like description, character and plot, in that order. If nothing else, I want them to recognize the value of SHOWING over TELLING, i.e., using imagery and descriptive passages to propel their narratives, rather than exposition. Baisez-vous, Exposition!
BE: Something of yours was published in Japan recently. How did that happen? Have you been published in any other languages?
DHW: It was one of my stories, “Digging for Adults,” which originally appeared in my fiction collection Stranger on the Loose, published by Eraserhead Press. It came out in Japan in the August 2010 issue of Hayakawa’s Mystery Magazine. The folks at Eraserhead Press set it up. If I’m not mistaken, some of their other authors had been translated into Japanese and they pointed the editors of HMM in my direction. I’ve had stories translated into a few other languages – mostly Dutch, Spanish and Polish – but it was neat to see a Japanese translation of my work. I haven’t had a full book translated into another language yet. In 2012, a Mexican publisher, Verdehalago, will publish a Spanish translation of The Kafka Effekt.
BE: Some of your stories, “The Arrest” and “Chimpanzee,” for example, seem to point out the transient, arbitrary nature of authority. Is that what you had in mind? Would you consider this a Kafkaesque notion?
DHW: Absolutely. I’ve always been interested in the vicissitudes and whimsical tyranny of the Law, à la Kafka. Virtually everything I write is about the misuses and abuses of power. It’s rampant. It’s always been rampant. Even in the most prosaic contexts, the absurdity of power exerts itself. For instance, the other day I was driving down the road past Walgreens, an American drug store. In the parking lot, tethered between two lampposts, was a giant banner that read: SHINGLES VACCINE AVAILABLE HERE. The fact that there’s a banner like that waving in everybody’s face indicates that there’s some sort of shingles outbreak or epidemic, right? So maybe I have shingles. So maybe I have to get a vaccine. So maybe I should go into that Walgreens and pay to get well . . . The Law. It’s ubiquitous and rears its head in all kinds of ways. It’s not just about G-men showing up at your door to inform you that you’re on some shit list. I guess I’s human nature, and that’s why I’m preoccupied with it. We want to maintain a sense of control and yet we want to be controlled, by words, by images, by bosses, by bureaucratic assholes, by whatever. For me, the human condition is endless abyss of dumb absurdities waiting to me mined.
BE: Do you now, or have you ever, used the Gysin/Burroughs cut-up method in your writing?
DHW: Not formally. That is, I’ve never vomited words onto a page, folded the page over and attempted to connect the dots, etc. I was inspired by Burroughs when I began writing. Naked Lunch, The Soft Machine, etc. I had never read anything like that. The style of his writing appealed to me more than the content. Still, he functioned as a kind of gateway drug for me, introducing me to new possibilities and modalities of narrative invention. Like the cut-ups, my stories and novels employ significant fragmentation and alinearity and often function like cinema, in some cases even adapting the jargon of cinematic movement and spectacle. But as I get older I much prefer Burroughs’ later works (e.g. Cities of the Red Night), which exhibit such a crisp, fluid and rich use of language. When I go back to those formative cut-ups, all I see are artful renderings of sex acts.
BE: Have you ever read an old obscure text and been amazed at how it relates to a subject are interested in? Especially if you’ve only recently turned your attention to the subject?
DHW: Maybe, a long time ago. I used to be so enamored with literature, and I remember being in awe of virtually every book I read, new or old. That doesn’t happen much anymore. With a few exceptions, I’m hardly ever piqued by something I read. It’s all the same shit, the same formulas and/or artifices. I’m talking about fiction. Philosophy and literary theory still holds my attention. But I’m more interested in cinema and far likelier to be rapt by a film than a book. There’s more innovation and dynamism in cinema. Most books are just hundreds of plodding, empty pages punctuated by a few interesting passages. Bile.
BE: Why do you think so many satirists, from Voltaire to Steve Aylett to you, use humor to such a degree, even in the midst of depicting the grievous condition of the human race?
DHW: Humor has less to do with the material than the author’s personal taste and desires. Humor can be tricky, too, because it’s so subjective, and there are so many different kinds, and it can be found anywhere, even in the most dramatic contexts. I think The Lovely Bones is hilarious, for instance. The film, I mean (I didn’t read the book). The premise is so fucking dumb, yet it’s treated so gravely from beginning to end. That’s high comedy, in my eyes. Anything with Marky Mark in it is funny, too. Of course, lots of other people disagree. As for combining humor with, say, dystopia, as in my novel Dr. Identity or Steve’s Novahead (among others), it’s a matter of pushing the limits of narrative and doing new, interesting, entertaining things. Steve and I both have a penchant for slapstick (viz., splatterschtick) comedy as well as a love of language, wordplay and world-building. We have different styles and means of execution, but I think the same key interests lie at the core of our author-flows.
BE: What is your favorite Sam Peckinpah film?
DHW: (answers without hesitation) Bring Me the Head of Alfredo Garcia.
A neural cocktail-party processor
- Ch. von der Malsburg
- W. Schneider
Sensory segmentation is an outstanding unsolved problem of theoretical, practical and technical importance. The basic idea of a solution is described in the form of a model. The response of “neurons” within the sensory field is temporally unstable. Segmentation is expressed by synchronization within segments and desynchronization between segments. Correlations are generated by an autonomous pattern formation process. Neuronal coupling is the result both of peripheral evidence (similarity of local quality) and of central evidence (common membership in a stored pattern). The model is consistent with known anatomy and physiology. However, a new physiological function, synaptic modulation, has to be postulated. The present paper restricts explicit treatment to the peripheral evidence represented by amplitude modulations globally present in all components of a sound spectrum. Generalization to arbitrary sensory qualities will be the subject of a later paper. The model is an application and illustration of the Correlation Theory of brain function.
This work has been supported by Grant I/37-821 of the Stiftung Volkswagenwerk.
References
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Authors and Affiliations
- Ch. von der Malsburg
- 1
- W. Schneider
- 1
- 1. Abteilung Neurobiologie Max-Planck-Institut für Biophysikalische Chemie Göttingen Federal Republic of Germany
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Der Cocktailparty-Effekt
Warum wir selektiv wahrnehmen
Unter dem Begriff "Cocktail-Party-Effekt" verstehen Psychologen die Fähigkeit, unsere Aufmerksamkeit selektiv einzusetzen: Wir richten sie auf einen Aspekt und blenden andere Informationen aus. Wir können auf einer lauten Party unserem Gesprächspartner zuhören und andere Geräusche unterdrücken, so dass diese nicht bewusst verarbeitet, aber trotzdem wahrgenommen werden. Denn wenn jemand im Raum plötzlich unseren Namen nennt, schwenkt unsere Aufmerksamkeit sofort zu diesem Gespräch, damit wir mitbekommen, was über uns gesagt wird.
mev, Augsburg/Oswald Jens
Weitere Artikel aus dem Bereich Natur & Umwelt
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