this is the time-frequency uncertainty principle. intuitively it can be understood by thinking about wavelength. the more stretched out the waveform is in time, the more of it you need to see in order to have a good representation of its frequency, but the more of it you see, the less precise you can be about where exactly it is.
> but it does do a time-localized frequency-domain transform akin to wavelets
maybe easier to conceive of first as an arbitrarily defined filter bank based on physiological results rather than trying to jump directly to some neatly defined set of orthogonal basis functions. additionally, orthogonal basis functions cannot, by definition, capture things like masking effects.
> A more complicated hypothesis off the top of my head: the location of human speech in frequency/envelope is a tradeoff between (1) occupying an unfilled niche in sound space; (2) optimal information density taking brain processing speed into account; and (3) evolutionary constraints on physiology of sound production and hearing.
(4) size of the animal.
notably: some smaller creatures have supersonic vocalization and sensory capability, sometimes this is hypothesized to complement visual perception for avoiding predators, it also could just have a lot to do with the fact that, well, they have tiny articulators and tiny vocalizations!
Now I'm imagining some alien shrew with vocal-cords (or syrinx, or whatever) that runs the entire length of its body, just so that it can emit lower-frequency noises for some reason.
Though of course, nature has plenty of other tricks, like how Koalas can go down to ~27hz. [2]
[0] https://acousticalengineer.com/fundamental-frequency-calcula...
It's called the short-time Fourier transform (STFT).
The article is pretty much "cows aren't actually spheres guys".
But the title instead makes it sound (pun unintended) that what the ear does is not about frequency decomposition at all.
"We call this tonotopic organization, which is a mapping from frequency to space. This type of organization also exists in the cortex for other senses in addition to audition, such as retinotopy for vision and somatotopy for touch."
So the cochlea does frequency decomposition but not by performing a FT (https://en.wikipedia.org/wiki/Fourier_transform), but rather by a biomechanical process involving numerous sensors that are sensitive to different frequency ranges ... similar to how we have different kinds (only 3, or in birds and rare humans 4) of cones in the retina that are sensitive to different frequency ranges.
The claim that the title makes it sound like what the ear does is not about frequency decomposition at all is simply false ... that's not what it says, at all.
Nobody who knows literally anything about signal processing thought the ear was doing a Fourier transform. Is it doing something like a STFT? Obviously yes and this article doesn't go against that.
What would it mean for a sound to not be localized in time?
Imagine the dissonant sound of hitting a trashcan.
Now imagine the sound of pressing down all 88 keys on a piano simultaneously.
Do they sound similar in your head?
The localization is located at where the phase of all frequency components are aligned coherently construct into a pulse, while further down in time their phases are misaligned and cancel each other out.
Zooming in to cartoonish levels might drive the point home a bit. Suppose you have sound waves
|---------|---------|---------|
Let's zoom out a bit. What's the frequency over a longer period of time, capturing a few peaks?
Well...if you know there is only one frequency then you can do some math to figure it out, but as soon as you might be describing a mix of frequencies you suddenly, again, potentially don't have enough information.
That lack of information manifests in a few ways. The exact math (Shannon's theorems?) suggests some things, but the language involved mismatches with human perception sufficiently that people get burned trying to apply it too directly. E.g., a bass beat with a bit of clock skew is very different from a bass beat as far as a careless decomposition is concerned, but it's likely not observable by a human listener.
Not being localized in time means* you look at longer horizons, considering more and more of those interactions. Instead of the beat of a 4/4 song meaning that the frequency changes at discrete intervals, it means that there's a larger, over-arching pattern capturing "the frequency distribution" of the entire song.
*Truly time-nonlocalized sound is of course impossible, so I'm giving some reasonable interpretation.
Are you talking about a discrete signal or a continuous signal?
Of course, none of these are completely nonlocalized in time. Sooner or later there will be a blackout and the transformer will go silent. But it's a lot less localized than the chirp of a bird.
We can make a short-time fourier transform or a wavelet transform in the same way either by:
- filterbank approach integrating signals in time
- take fourier transform of time slices, integrating in frequency
The same machinery just with different filters.
Well from an evolutionary perspective, this would be unsurprising, considering any other forms of language would have been ill-fitted for purpose and died out. This is really just a flavor of the anthropic principle.
Why do we need a summary in a post that adds nothing new to the conversation?
I'm no expert in these matters just speculating...
I wonder if these could be used to better master movies and television audio such that the dialogue is easier to hear.
Nobody who knows anything about signal processing has ever suggested that the ear performs a Fourier transform across infinite time.
But the ear does perform something very much akin to the FFT (fast Fourier transform), turning discrete samples into intensities at frequencies -- which is, of course, what any reasonable person means when they say the ear does a Fourier transform.
This article suggests it's accomplished by something between wavelet and Gabor. Which, yes, is not exactly a Fourier transform -- but it's producing something that is about 95-99% the same in the end.
And again, nobody would ever suggest the ear was performing the exact math that the FFT does, down to the last decimal point. But these filters still work essentially the same way as the FFT in terms of how they respond to a given frequency, it's really just how they're windowed.
So if anyone just wants a simple explanation, I would say yes the ear does a Fourier transform. A discrete one with windowing.
First, I think when you say FFT, you mean DFT. A Fourier transform is both non-discrete and infinite in time. A DTFT (discrete time fourier transform) is discrete, i.e. using samples, but infinite. A DFT (discrete fourier transform) is both finite (analyzed data has a start and an end) and discrete. An FFT is effectively an implementation of a DFT, and there is nothing indicating to me that hearing is in any way specifically related to how the FFT computes a DFT.
But more importantly, I'm not sure DFT fits at all? This is an analog, real-world physical process, so where is it discrete, i.e. how does the ear capture samples?
I think, purely based upon its "mode", what's happening is more akin to a Fourier series, which is the missing fourth category completing (FT, DTFT, DFT): Continuous (non-discrete), but finite or rather periodic in time.
But secondly, unlike Gabor transforms, wavelet transforms are specifically not just windowed Fourier anythings (whether FT/FS/DFT/DTFT). Those would commonly be called "short-time Fourier transforms" (STFT, existing again in discrete and non-discrete variants), and the article straight up mentions that they don't fit either in its footnotes.
Wavelet transforms use an entirely different shape (e.g. a haar wavelet) that is shifted and stretched for analysis, instead of windowed sinusoids over a windowed signal.
And I think those distinctions are what the article actually wanted to touch upon.
And the basilar membrane seems like a pretty un-discrete (in time, not in frequency) process to me. But I'm not 100% sure.
Sure, if you go small enough, you end up with discrete structures sooner or later (molecules, atoms, quantum if you go far down enough and everything breaks apart anyway), but without knowing anything, the sensitivity of this whole process still seems better modeled as continuous rather than discrete, the scale at which that happens seems just too small to me.
this is believed to come from the shape of the cochlea, which is often modeled as a filterbank that can express this non-linearity in an intuitive way.
Yes, many neurons fire at discrete intervals set by their morphology. In fact, this DFT/FFT/Infinite-FT/whatever-FT is all the hell over neuroscience. Many neurons don't really 'communicate' in just a single action potential. They are mostly firing at each other all the time, and the rate of firing is what communicates information. So neuron A is always popping at neuron B, but that tone/rate of popping is what affects change/information.
Now, this is not nearly true of every single neuron-neuron interaction. Some do use a single action potential (your patella knee reflex), some communicate with hundreds of other neurons (pyramidal cells in your cerebellum), some inhibit the firing of other neurons (gap/dendrite junction/axon interactions), some transmit information in opposite ways. It's a giant mess and the exact sub system is what you have to specify to get a handle on things.
Also, you get whole brain wave activity during different periods of sleep and awake cycles. So all the neurons will sync up their firing rates in certain areas when you're dreaming or taking an SAT of something. And yes, you can influence mass cyclic firing with powerful magnets (TCMS).
For the cochlea here, these hair cells are mostly firing all the time and then when a sound/frequency that they are 'tuned' to is heard, then their firing pattern changes and that information is then transmitted toward the parietal lobes. To be clear too, there are a lot of other brain structures in the way before the info gets to a place where you can be conscious of it. Things like the medial nuclei, the trapezoidal bodies, the caleyx of Held, etc. Most of these areas are for discriminating sounds and the location of sounds in space. So like when your fan is on for a long while and you no longer hear it, that's because of the other structures.
This description applies equally well to the discrete wavelet, discrete Gabor, and maybe even Hadamard transforms, which are definitely not, as you assert, "95–99% the same in the end" (how would you even measure such similarity?) So it is not something any reasonable person has ever meant by "the Fourier transform" or even "the discrete Fourier transform".
Also, you seem to be confused about what "discrete" means in the context of the Fourier transform. The ear functions in continuous time and does not take discrete samples.
The article also describes a theory that human speech evolved to occupy an unoccupied space in frequency vs. envelope duration space. It makes no explicit connection between that fact and the type of transform the ear does—but one would suspect that the specific characteristics of the human cochlea might be tuned to human speech while still being able to process environmental and animal sounds sufficiently well.
A more complicated hypothesis off the top of my head: the location of human speech in frequency/envelope is a tradeoff between (1) occupying an unfilled niche in sound space; (2) optimal information density taking brain processing speed into account; and (3) evolutionary constraints on physiology of sound production and hearing.