Mirth Measurement: A New Technique
Mirth Measurement: A New Technique
Michael Mair and John Kirkland
University of London Institute ot Education
The approach to the study of mirth described here is part of an
investigation both of movement and of sound patterns generated by
participants in interaction. Let us first explain about some of the
data collected including a description of how these were taken, and
then go on to explore their significance in a broader context.
METHOD
At present our equipment can deliver four types of measurement.
Briefly these include: basal intonation contour; voice onset and
offset; total speech pressure wave; and, finally, manual
frame-by-frame plotting of face movements.
The first three are acoustic variables. These are delivered by
use of the laryngograph tape-recorder, and ultra-violet pen-corder.
The laryngograph monitors each opening and closure of the vocal
folds by measuring impedance change between disc-electrodes placed
on each side of the thyroid cartilage. This signal is electrically
converted to a graphic plot showing fundamental frequency (Hz).
Paper speed is 10 cm per second. Thus the acoustic equipment
delivers speech pressure wave, the original signal, and the
conversion. These traces are displayed simultaneously (see Fourcin,
1974; Fourcin & Abbertan, 1971).
Figure 1 shows fundamental frequency traces from two mirthful
episodes. The visual record is obtained by monitoring a single
point an the face (medial canthus of an eye or tip of nose) as it
changes its position between successive single frames on a
video-corder. The equipment used is a Sanyo (Model 1100 SL) which
delivers stable single frames. These frames are numbered by
including a digital clock during recording. The time interval
between frames is chosen as 0.1 second, because inertia of the head
makes notable changes of direction impossible within a shorter time
period. Additionally, critical fusion frequency is around this
speed and makes perception of faster changes unlikely. For a single
frame the selected face-point can be established by noting
co-ordinates (x,y) in two-dimensional space. By following this
point across successive frames we include time (t). These data are
represented as x/t; y/t; and x/y.
To eliminate parallax errors when obtaining face-point
co-ordinates a transparent grid is first applied to the front of
the video monitor. The film is then viewed through a pinhole
mounted at a fixed but convenient distance from the monitor (in our
case 1m). This pin-hole is a retina immobiliser. One alternative
would be to incorporate grid and cross-wires into the input video
signal but this is expensive.
Subjects were chosen who already knew one another. Our
discussion is based on data taken from three subjects. Two mirrors
arranged to form a convex-angled V were placed on a table between
seated interactants who could still maintain eye contact. This
device enabled us to film simultaneously two subjects with a single
video-camera. Two laryngograph electrodes, each the size of a
two-pence piece, were attached. An ordinary microphone was used as
well. It enabled later location of critical tape sections. Thus
each subjects acoustic signals were fed into twin-tracks of a
single tape-recorder. Selected portions of audio-tapes were
transcribed by the ultra-violet pen-corder.
Subjects were kept naive about the purposes of the study. Their
sole instructions were that they should 'chat'.
DATA
We are considering mirth from the aspects of fundamental
frequency, rhythmicity, supra-glottal modification, movement, and
synchrony. For completeness, we have also included other
physiologic eruptions, speech, and a miscellaneous category
comprising such events as 'hums', 'moans', etcetera. The categories
are demarcated for convenience although in real communication they
merge. However, if we consider them exhaustively from each aspect
we may see whether they survive in any sense. We shall conclude
'mirth' in this way.
Example 1
The acoustic variables are shown in Figure 1, and the head
movement in Figure 2. These data were obtained from an exchange
between interactants, demarcated from the surrounding conversation
by silence, and separate from it in topic as well. This exchange
consists of a question: Male voice: 'Great fun breaking up
polystyrene glasses isn't it?' and an answer: Female voice: 'Yeah,
make a very great mass can't you?' The male laugh occurred over the
word 'glasses', and the female laugh preceded her utterance and
occurred synchronously with the male laugh. The Figures show:
1. Fundamental frequency (C): the male laugh occurred over the
ward 'glasses'. In all, his utterance consisted of two 'S' shaped
falls, linked by a slow rise. The laugh disturbed, but did not
destroy, the shape of the slow rise, which continued as a
trajectory through it. The female laugh also has pitch, which was
high, as was the commencement of her utterance.
2. Rhythmicity: the male laugh turned the word 'glasses' into a
stutter. The female laugh also consisted of more than one
pulse.
3. Supra-glottal modification: the male laugh disturbed the
articulation of the word 'glasses'. The female laugh was not
accompanied by an attempt at articulation.
4. Non-articular movement: our technique delivers a record of
gross head movement only. In Figure 2 we see that the male went
into a relatively immobile head position from frame 9 to 17. His
escape from immobility occurred at about frame, 18, which was close
to the onset of the laugh, and he returned to relative immobility
at frame 36. The female entered the episode in a condition of
relative immobility. Her movement also coincided with her laugh,
and returned to relative immobility.
5. Synchrany: this refers to the extent to which they moved
together during the laugh. They initiated the laugh movement within
0.4 second of each other. The laugh vocalisation was more closely
synchronised.
Example 2
This is a record of a solo female whose laugh occurred in an
interaction involving three people (not shown). It was sparked off
when the experimenter attempted to join the conversation. It
consisted of a laugh, followed by the comment 'Hm, bring you into
the conversation', followed by an unclassifiable vocalization.
Figures 1 and 2 show:
1. Fundamental frequency (C): the pulses followed a falling
contour which was continued into the beginning of the
utterance.
2. Rhythmicity: the laugh had a three pulse, two pulse, three
pulse sequence.
3. Supra-glottal modification: the laugh was free from
supra-glottal modification.
4. Non-articular movement: there was an abrupt onset of movement
at the vocalized part of the laugh, and the subsequent movement is
represented in Figure 2 by large loops which become a more detailed
shape when she is speaking (frame 28). Rapid movement is resumed
over the final syllable, when she also looks down.
5. Synchrony: not applicable.
DISCUSSION
Our examples are evidently too few to prove any interpretation.
However, we do not intend to deny ourselves this opportunity to put
forward a theory, albeit speculative, which links some features of
these examples, and places them in the wider context of some
observations on speech. Let us list the features of mirth from our
examples.
1. Fundamental frequency: this is related to the contour of the
utterance in which the mirth is embedded.
2. Rhythmicity: mirth's rhythms are simple and pulse-like.
3. Supra~glottal modification: articulation is either disturbed
(the stutter), or absent.
4. Non-articular movement: mirth involves gross body movement
with abrupt onset.
5. Synchrony: the onset of the movement was near synchronous for
the interactional example.
How do these features compare with the same categories
manifesting during speech?
1. Fundamental frequency: the relationship between fundamental
frequency and perceived intonation is complex, but close.
Certainly, the auditory affect of the laryngograph output is very
similar to the perceived intonation of speech. Fundamental
frequency as measured by the laryngograph is a monitoring of motor
activity in the muscles regulating the vocal folds. The question
why mirth should participate in the frequency shape of the
utterance cannot be approached separate of the question why speech
should have a fundamental frequency shape at all. Observation of
the fundamental frequency contour for numerous utterances
demonstrates smooth shapes, which continue across pauses and
silences to be continued where they would have got to if the pauses
had not occurred. We propose the term 'trajectory' to express the
slower wholeness of intonation tune over utterances (there is also
a finer embroidery corresponding to segmentation). It is the shapes
themselves that suggest they be considered as trajectories.
2. Rhythmicity: the complex rhythms of speech have attracted
much study. At this point, it is sufficient to note the contrast
between them and the simple rhythmic vocalization of mirth.
3. Supra-glottal modification: this is the articulatory
component of speech. Again, at this paint it is sufficient to note
that it is very detailed, and its study has an enormous
literature.
4. Non-articular movement: this also is very detailed, and there
are many approaches to its study (e.g., Ekman, 1969). We have noted
that it is going with speech, and this realization follows the work
of Condon and Ogston (1967) with Kendon (1972). It is in contrast
to the gross movement of mirth.
5. Synchrony: the question of synchronous movement between
participants in interaction is also being explored by us; we have
many examples of it. Again, we follow the work of Condon and Ogstan
(1967).
It is the fate of students of human communication to have to
demarcate aspects of it for study, while being aware that in the
process of communicating, all these aspects interlock. Perhaps a
conference on humour can be the place to present a theory which
might arouse mirth in another context?
We suggest that when studying communication - when trying'to
make sense of it - we are in fact studying the process by which
sense is made; that when people are communicating, they are trying
to make sense to each other. Trying to make sense of the process
itself differs from the sorts of sense that people habitually try
and make only in subject, and setting. We propose to call the unit
of sense the 'model'. There are numerous other concepts with which
this can be aligned, for example, the 'word group' (O'Connor &
Arnold, 1974), the 'sentence' (Goldman Eisler, 1972, after Wundt),
the 'tone group' (Kendon, 1972), the 'act' (Thom, 1975). Each seeks
to delineate a unit of speech which is both an information unit,
and a physically demarcatable stretch of speech.
Part of the problem is that for such a model (a realization of a
state of affairs) to be communicated, nothing need actually be
said. A wink can do it, or a chuckle. Even a silence can 'be so
loud so as to drown out the scuffle of feat' (Birdwhistell, 1971).
Such a silence clearly communicated a state of affairs or, as we
prefer to call it, a model. That such as these can 'click' a model
into existence points to two features of models. They are to a
greater or lesser extent implicit, and they are shared - people are
immersed in them, rather than exchanging them like counters. Of
course, in formal situations (like this), the passage seems more
one-way. But even here we share much more than my individual
utterance contributes. We call these models 'interactional', to
stress that in colloquial conversation, the model is a joint
production, and evolves by the collaboration of the
participants.
The study of colloquial conversation performed by this technique
might give verification to this view. Again, we make our list:
1. Intonation contour: this is far from random. O'Connor and
Arnold (1974) suggest that there are but ten common tunes in
colloquial English. The nucleus of the utterance coincides with
accent and pitch change, and is always semantically important. Thom
(1975) has a predatory theory of language, in which it is seen as
virtual action, and grammar as being the same as the syntax of
action. His archetypal morphologies (verb types, such as capture,
emit, almost) look uncommonly like some common intonation contours.
In colloquial chat, we complete each other's utterances, continue
each other's contours. Together we make the model. It is as if the
intonation contour is always just appropriate to where the model
has got to in its elaboration.
2. Rhythmicity: if we consider contour as trajectory in this
way, then we might suggest that it is the shape of the trajectory
which divides up time into rhythm. Rhythm is not perfectly
metrical, yet it is predictable. This view might contribute to the
thoughts on rhythm offered by authors such as Abercrombie (1969)
and Allan (1973).
3. Supra-glottal modification: Candon and Ogston (1967) have
claimed that micro-movements go with speech to a detail as fine as
the phoneme. Liaberman (1972) notes that for phonemes to be
perceived sequentially would be beyond the discriminatory capacity
of the ear. Ivimay (in press) points out the dramatic short cuts
taken in articulation during spontaneous speech, and our studies
confirm this (for example, 'sort of' becomes Istvl, or less).
Micro-movements do certainly occur to a detail equal to the actual
change points in articulation and Kendon (1972) has suggested that
it is as if speech and the movements that immediately accompany it
are under the same controlling mechanism. But intonation change can
occur with this detail as well. So:
4. Non-articular movement, and 5. Synchronous movement cannot be
approached theoretically separate from all the other categories
above. Furthermore the 'controlling mechanism' which effects
synchronous movement might best be considered supra-individual.
The comparison of speech with mirth shows up what mirth lacks.
Complex rhythms are replaced by simple spasmodic rhythm,
articulation (supra-glattal modification) is disturbed or
abandoned. Detailed body movement becomes gross body movement.
Frequency contour is at first maintained but even this is lost in
extreme cases. The interactants are in a state of uncontrol
(Douglas, 1975), on the floor, helpless, pouring secretions from
eyes and mucous membranes (vague nerve), sometimes incontinent.
Only the synchrony of onset is preserved. It is catastrophic, and
the way that the punchline of a joke can do this to the rest of the
model preceding it is reminiscent of the way a Necker cube abruptly
flips from one interpretation to another (as Gestalt theorists
suggest). Our interactants must recover. Why we should seek out
this experience is a weighty question indeed, but it seems that
mirth may survive as a demonstrable pattern of behaviour.
FOOTNOTES
Support by a grant from the Social Science Research Council is
acknowledged.
Now at Education Department, Massey University, Palmerston
North, New Zealand.
The laryngograph was devised in the Phonetics Department,
University College, London. It is available from Laryngograph Ltd.,
24 Highclare Drive, Hemel Hempstead, Herts., HP3 8BY.
REFERENCES
See Bibliography for publications on humour, laughter and
comedy
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Birdwhistall, R.L., Essays on Body-Motion Communication.
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Candon, W.S. & Ogston, W.D., A segmentation of behavior.
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Ekman, P., The repertoire of non-verbal behaviour: categories,
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Fourcin, A.J., Laryngographic examination of vocal-fold
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Fourcin, A.J. & Abberton, E., First applications of a new
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Goldman Eisler, F., Pauses, clauses and sentences. Language and
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Ivimey, G.P., The perception of speech: An information
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Kendon, A., Some relationships between body motion and speech.
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O'Connor, J.D. & Arnold, G.F., Intonation of Colloquial
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Them, R., Structural Stability and Morphogenesis. (Translated
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