How to listen like a fish | Dr. Heather Spence | TEDxGeorgeMasonU

Key Concepts:

• Soundscape awareness
• Auditory perception vs. visual perception
• The Lombard effect
• Entrainment
• Alarm fatigue
• Sound as information and emotion
• Soundscape tourism
• Sonic curation

1. The Silent World of the Ocean and Soundscape Awareness

• Jacques Cousteau referred to the ocean as the "silent world," despite marine ecosystems relying heavily on sound.
• Scuba diving, while bringing humans closer to the ocean, introduces noisy bubbles that mask the natural sounds of the ocean. The sound of scuba diving is often used in movies to evoke a sense of being in the ocean, but this is not the sound of the ocean.
• The ocean is full of sounds like fish grunting, shrimp crackling, lobsters scratching, and water moving.
• The speaker, a marine biologist and musician, studies the ocean by placing microphones on the seafloor to record sounds for months, eavesdropping on fish.

2. Human Perception: Auditory vs. Visual

• Humans primarily live in air, where our sensory organs function optimally, making us attuned to sounds traveling through the air.
• Humans limit themselves by not paying attention to the world of sound.
• The human visual field is limited to what's in front, while the auditory field encompasses the entire surrounding space.
• Fish don't have necks because they live in a world of sound, allowing them to perceive their surroundings without needing to turn.
• Humans can use their ears and bodies to detect sounds from all around, even in the dark or when objects obstruct the view.
• Our ability to receive sounds remains active even when we sleep.

3. Sound as Information and Emotion

• Sounds convey information about danger, time of day, cues to action, and food sources.
• Recognizing and interpreting sounds can be practiced and improved.
• Sounds evoke emotions, influencing mood and behavior.
• Sonic memories and associations create individual responses to sounds.

4. The Lombard Effect and Other Auditory Phenomena

• The Lombard effect: In noisy environments, people unconsciously raise their voices, even when unaware of doing so. This can be problematic in choirs, where singers progressively sing louder.
• Entrainment: Body movements synchronize with the rhythm of a sound.
• Alarm fatigue: Hospital workers become desensitized to the constant alarms, leading to delayed responses.
• By paying attention, individuals can recognize these effects and anticipate their reactions, using them to understand and influence their behavior.

5. Tools for Exploring Soundscapes

• The speaker presents tools for exploring sounds, drawing from neuroscience, ecology, and music.
• Exercise: Close your eyes, find a sound of interest (other than the speaker's voice), and consider its properties (pitch, constancy, loudness).
• Point in the direction of the sound.
• Describe the sound to someone who couldn't hear it, avoiding naming the source. Use words like "screech," "hum," "whistle," "click," "wobble," or "scratch."
• Expand focus to all sounds, considering it as a piece of music and how it makes you feel.
• Identify a subtle sound that was previously unnoticed.

6. The Power of Tuning In

• Tuning in broadens perspective to the entire sound space, providing key information and control.
• Practice tuning in during daily routines: in elevators, during walks/runs (without headphones), and before getting out of bed.
• Engage with annoying noises by humming, clapping, or tapping to merge with their rhythm.
• Soundscape tourism: Record sounds in new places to create sound memories.

7. Sound as Participation and Creation

• Humans are not just observers but also creators and harmonizers of sound.
• Individuals can choose which sounds to focus on, emphasize, and respond to.
• Become familiar with your personal sound space to curate it thoughtfully, emphasizing what promotes health and happiness while masking or harmonizing what does not.
• Be mindful of the sound spaces of others and the impact of sonic actions.

8. Conclusion

• The world of sound surrounds us, and by tuning in, we have the power to shape it.
• The sounds are there; the choice is whether to tune in.