The bouba/kiki effect is robust across cultures and writing systems.

The bouba/kiki effect-the association of the nonce word bouba with a round shape and kiki with a spiky shape-is a type of correspondence between speech sounds and visual properties with potentially deep implications for the evolution of spoken language. However, there is debate over the robustness of the effect across cultures and the influence of orthography. We report an online experiment that tested the bouba/kiki effect across speakers of 25 languages representing nine language families and 10 writing systems. Overall, we found strong evidence for the effect across languages, with bouba eliciting more congruent responses than kiki. Participants who spoke languages with Roman scripts were only marginally more likely to show the effect, and analysis of the orthographic shape of the words in different scripts showed that the effect was no stronger for scripts that use rounder forms for bouba and spikier forms for kiki. These results confirm that the bouba/kiki phenomenon is rooted in crossmodal correspondence between aspects of the voice and visual shape, largely independent of orthography. They provide the strongest demonstration to date that the bouba/kiki effect is robust across cultures and writing systems. This article is part of the theme issue 'Voice modulation: from origin and mechanism to social impact (Part II)'.

Novel vocalizations are understood across cultures.

Linguistic communication requires speakers to mutually agree on the meanings of words, but how does such a system first get off the ground? One solution is to rely on iconic gestures: visual signs whose form directly resembles or otherwise cues their meaning without any previously established correspondence. However, it is debated whether vocalizations could have played a similar role. We report the first extensive cross-cultural study investigating whether people from diverse linguistic backgrounds can understand novel vocalizations for a range of meanings. In two comprehension experiments, we tested whether vocalizations produced by English speakers could be understood by listeners from 28 languages from 12 language families. Listeners from each language were more accurate than chance at guessing the intended referent of the vocalizations for each of the meanings tested. Our findings challenge the often-cited idea that vocalizations have limited potential for iconic representation, demonstrating that in the absence of words people can use vocalizations to communicate a variety of meanings.

Corrigendum: Differential Difficulties in Perception of Tashlhiyt Berber Consonant Quantity Contrasts by Native Tashlhiyt Listeners vs. Berber-Naïve French Listeners.

[This corrects the article on p. 209 in vol. 7, PMID: 26973551.].

Differential Difficulties in Perception of Tashlhiyt Berber Consonant Quantity Contrasts by Native Tashlhiyt Listeners vs. Berber-Naïve French Listeners.

In a discrimination experiment on several Tashlhiyt Berber singleton-geminate contrasts, we find that French listeners encounter substantial difficulty compared to native speakers. Native listeners of Tashlhiyt perform near ceiling level on all contrasts. French listeners perform better on final contrasts such as fit-fitt than initial contrasts such as bi-bbi or sir-ssir. That is, French listeners are more sensitive to silent closure duration in word-final voiceless stops than to either voiced murmur or frication duration of fully voiced stops or voiceless fricatives in word-initial position. We propose, tentatively, that native speakers of French, a language in which gemination is usually not considered to be phonemic, have not acquired quantity contrasts but yet exhibit a presumably universal sensitivity to rhythm, whereby listeners are able to perceive and compare the relative temporal distance between beats given by successive salient phonetic events such as a sequence of vowel nuclei.