I’ve got one of those beautiful and wildly complicated experimental psych studies that has the kind of control usually reserved for testing a new nuclear device and all to test how the brain processes sight and sound. Kim, Peters, and Sham demonstrate yet again why old fashioned psychology is a science with a series of small, simple, but smartly designed experiments.
Imagine you are looking at a computer screen with a bunch of dots each moving in a different direction up, left, down, diagonal. On either side of the screen rests a speaker with white noise coming out of each.
Each trial started with a fixation point, on which observers were instructed to fixate throughout the trial. Subjects performed a two-interval, forced-choice visual-coherent-motion-detection task, in which they were shown two displays in separate intervals: One interval (either the first or second) contained coherent visual motion, and the other contained only random motion (see Fig. 1). At the end of each trial, observers were prompted to press one of two keys to indicate in which interval they perceived coherent motion.
Stated another way, on each test, you’d see two screen with dots moving. On one screen the dots were moving randomly and on the other they were moving “coherently” (in roughly the same direction). You’d see one, then the other. Then you’d press a key to indicate which screen showed the coherent movement. During these trials that white noise could be playing from the speakers on either side of the screen.
The fun part arises with the white noise pattern. Sometimes the white noise “moved” with the dots. That is, sometimes the white noise would come predominantly out of the left speaker and at the same time, you’d see a screen where the dots move coherently to the left. Other times the white noise moved, but had no connection to the dots. Now, you are told to focus on the visual field and the movement of the dots and you must correctly identify the visual movement, not the movement of the white noise from speaker to speaker, but you are also told to attend to the white noise. Here’s a visual depiction of the experiments; it might be a bit confusing.

Kim et al. vary the relationship between sight and sound with the top sequence of this graphic showing the most interesting combination: When sight and sound show the same “coherence.” What happens to correct responding under the various conditions. Consider this graphic

Look at the upper left line chart. That 20% Correct difference at the Difficult level translates into a very Large Windowpane, nearly 10/90. When the movement of sight and sound are congruent, people are wildly better at picking up on it. As the authors put it:
In contrast, the results of the current study can most easily be explained by auditory-visual sensory interactions (Fig. 3b), and for the sake of parsimony, that is the explanation we favor. In such a model, the sensory representations are not conditionally independent of each other, and interaction between the two modalities occurs at both the perceptual and sensory levels of processing.
Now, finally, we can think about persuasion implications of this. When sight and sound move in the same way the Other Guys will generate greater and more accurate cognitive attention and processing. At the Reception and Processing stages in the Cascade, this is valuable.
The basic Box requires both sight and sound available to the Other Guy with a special emphasis upon the sound part where you have “speakers” around the “screen.” This experiment only tested stereo on two sides. Now imagine you’ve got surround sound. When you’ve got the Other Guy within the reach of your Coherent Sight and Sound Box, you fire off both an auditory and visual stimulus that moves in the same direction and makes the Other Guy see what you want. You can point them to . . .
A billboard, a cue, an argument, an image, a trademark or brand, a face, a claim, a quote, and on and on with the list of Plays that trigger persuasion. This coherence effect operates at a basic brain level, a hard wired human function. Employ the fundamental to shape the conditional. People do not have to receive, process, or respond to any persuasion play – it’s conditional. You use the Fundamental coherence function and connect it with your persuasion play.
Here’s a horribly effective possibility. Imagine a large billboard in a shopping area whether outdoors at Times Square or indoors at the Mall of America. Around the billboard are speakers. The screen goes blank then fills with blinking, jiggling dots and all the speakers strike the same musical chord. Then some of the dots move “coherently” in same direction as the sound of that musical chord also moves “coherently” in that same direction, say pointing to the bottom right corner of the billboard. Sight and sound arrives in that corner then up pops a pretty face with a bottle of Chanel no. 5 nearby. The screen goes blank, the speakers fall silence. Repeat.
Here’s a great large lecture teaching application. Got the same “billboard” set up with a big screen and speakers around it. Use the Coherence Play to notify important events. Run that visual and auditory razzle-dazzle I just described, but instead pop up, “Test Tuesday October 22!” Repeat.
Run this with training software. Use headphones. Anytime you want to make a Big Point, play the Coherence Razzle-Dazzle. Repeat.
Hey, fighter pilots. Could you designate targets with both a visual and auditory cue? Thus, as you maneuver in space, you receive a moving auditory cue for the physical location of the target even as you reverse direction and roll upside down? Why not with ground gun commanders as in tanks?
Let’s get out of here . . . this Coherence Play operates at a fundamental level of human information processing. All faces, places, times, and rhymes. Combine it with the conditional information processing you want with persuasion. Let coherence drag the Other Guy’s cognitive resources where you want it.
Kim R, Peters MA, Shams L. 0 + 1 > 1: How Adding Noninformative Sound Improves Performance on a Visual Task. Psychol Sci. 2011 Nov 29. [Epub ahead of print]
doi: 10.1177/0956797611420662