Este artículo pretende constituir una breve reflexión crítica sobre los usos políticos de la violencia masculina sobre las mujeres, y de cómo, por tanto, una cuestión indudablemente fundamental, enfatizada por los movimientos de las mujeres y tratada por mucha literatura de inclinación feminista, puede ser utilizada dentro de un marco de referencia que se presta a legitimar políticas de seguridad, más que a facilitar el hallazgo de una respuesta adecuada al problema. Me ayudaré de ejemplos extraídos de lo que ocurre (...) en Italia, aunque es sabido que esta instrumentalización es común en muchos otros contextos culturales y políticos, y que es coherente con una modalidad de gobierno hoy hegemónica, el neoliberalismo. Mi tesis def iende que este uso ha sido facilitado por el colapso, tanto lingüístico como cultural, de toda la temática que tiene que ver con la relación asimétrica entre los sexos en el ámbito de la “violencia”. Este colapso, a su vez, puede interpretarse, desde mi punto de vista, como uno de los productos del avance de la hegemonía de la racionalidad política neoliberal durante los últimos treinta años. (shrink)

This author reviews some of the issues on which legal feminism has worked as well as the current status of the discussion, especially in Italian feminism. This is the case of family relationships, procreation and abortion, violence against women and security policies, prostitution, work in the labour market, the limits to citizenship and the confluence of feminism and the claims of cultural identities. With the assumption that legal feminism does not mean only “studies on women” but involves a crucial perspective (...) to discuss any subject, the author also reviews the relationship between feminism, law and gender. (shrink)

This paper examines the representationalist view of experiences in the light of the phenomena of perfect and relative pitch. Two main kinds of representationalism are identified - environment-based and cognitive role-based. It is argued that to explain the relationship between the two theories a distinction should be drawn between various types of implicit and explicit content. When investigated, this distinction sheds some light on the difference between the phenomenology of perfect and relative pitch experiences and may be usefully applied to (...) describe the nature of experiences in the other sense modalities. (shrink)

In Cavell (1994), the ability to follow and produce Austinian examples of ordinary language use is compared with the faculty of perfect pitch. Exploring this comparison, I clarify a number of central and interrelated aspects of Cavell's philosophy: (1) his way of understanding Wittgenstein's vision of language, and in particular his claim that this vision is "terrifying," (2) the import of Wittgenstein's vision for Cavell's conception of the method of ordinary language philosophy, (3) Cavell's dissatisfaction with Austin, and in particular (...) his claim that Austin is not clear about the nature and possible achievements of his own philosophical procedures, and (4) Cavell's notion that the temptation of skepticism is perennial and incurable. Cavell's reading of Wittgenstein is related to that of John McDowell. Like McDowell, Cavell takes Wittgenstein to be saying that the traditional attempt to justify our practices from an external standpoint is misguided, since such detachment involves losing sight of those conceptual and perceptual capacities in terms of which a practice is understood by its engaged participants. Unlike McDowell, however, Cavell consistently rejects the idea that philosophical clearsightedness can or should free us from that fear of groundlessness which motivates the traditional search for external justification. (shrink)

Although the presence or absence of a pitch accent clearly can play an important role in signaling the discourse and information structure of an utterance, whether the form of an accent determines the type of information it conveys is more controversial. We used an eye‐tracking paradigm to investigate whether H*, which has been argued to signal new information, evokes different eye fixations than L+H*, which has been argued to signal the presence of contrast. Our results demonstrate that although listeners interpret (...) these accents differently, their interpretive domains overlap. L+H* creates a strong bias toward contrast referents whereas H* is compatible with both new and contrast referents. (shrink)

Absolute pitch, besides the psychological and neurological interests it has, raises some conceptual difficulties that can teach us about the richness of our notion of musical tone and various aspects of its identification. It is argued that when AP is conceived under a slim notion of identifying the pitch of a crude sound, it is hardly meaningful and has no significance in music comprehension. The rich notion, which is the meaningful and important one, involves knowing the position of a tone (...) in a tone-space and its relations. This is presented as experiential: hearing and identifying tones under concepts and relations that are experienced rather than figured out or derived on the basis of crude identification of bare tones. Since many of these concepts and relations are musically meaningful, this rich notion of identification is thus connected to musical understanding and aesthetic appreciation of a musical work. It may also be claimed to be vital in passing between different sense modalities, and can explain various aspects of AP and puzzles connected with it. (shrink)

Height-pitch associations are claimed to be universal and independent of language, but this claim remains controversial. The present study sheds new light on this debate with a multimodal analysis of individual sound and melody descriptions obtained in an interactive communication paradigm with speakers of Dutch and Farsi. The findings reveal that, in contrast to Dutch speakers, Farsi speakers do not use a height-pitch metaphor consistently in speech. Both Dutch and Farsi speakers’ co-speech gestures did reveal a mapping of higher pitches (...) to higher space and lower pitches to lower space, and this gesture space-pitch mapping tended to co-occur with corresponding spatial words (high-low). However, this mapping was much weaker in Farsi speakers than Dutch speakers. This suggests that cross-linguistic differences shape the conceptualization of pitch and further calls into question the universality of height-pitch associations. (shrink)

Pitch labeling in absolute pitch (AP), the ability to recognize the pitch class of a sound without an external reference, is effortless, fast, and presumably automatic. Previous studies have shown that pitch labeling in AP can interfere with task demands. In the current study, we used a cued auditory Go/Nogo task requiring same/different decisions to investigate both behavioral and electrophysiological correlates of increased inhibitory demands related to automatic pitch labeling. The task comprised two Nogo conditions: a Nogo condition with pitch (...) differences larger than one semitone, and a second Nogo condition with pitch differences of only a quarter semitone. The first Nogo condition tested if auditory-related inhibition processes are generally altered in AP musicians. The second Nogo condition tested the suppressibility of the pitch labeling using a Stroop-like effect: the two tones belonged to the same pitch class but were not identical in terms of tone frequency. If pitch labeling cannot be suppressed, the conflicting information would be expected to increase the inhibitory load in AP musicians. Our data provided no evidence for an increased difficulty to inhibit a prepotent response or to suppress conflicting pitch-labeling information in AP: AP musicians showed similar commission error rates as non-AP musicians in both Nogo conditions. N2d and P3d amplitudes of AP musicians were also comparable to those of non-AP musicians. The event-related potentials (ERPs) were, however, modulated by the Nogo condition, probably indicating an effect of stimulus similarity. It is possible that, depending on the context, pitch labeling in AP musicians is not entirely automatic and can be suppressed. (shrink)

Some sounds have pitch, some do not. A tuba’s notes are lower pitched than a flute’s, but the fuzz from an untuned radio has no discernible pitch. Pitch is an attribute in virtue of which sounds that possess it can be ordered from “low” to “high”. Given how audition works, physics has taught us that frequency determines what pitch a sound auditorily appears to have.

Research shows that high- and low-pitch sounds can be associated with various meanings. For example, high-pitch sounds are associated with small concepts, whereas low-pitch sounds are associated with large concepts. This study presents three experiments revealing that high-pitch sounds are also associated with open concepts and opening hand actions, while low-pitch sounds are associated with closed concepts and closing hand actions. In Experiment 1, this sound-meaning correspondence effect was shown using the two-alternative forced-choice task, while Experiments 2 and 3 used (...) reaction time tasks to show this interaction. In Experiment 2, high-pitch vocalizations were found to facilitate opening hand gestures, and low-pitch vocalizations were found to facilitate closing hand gestures, when performed simultaneously. In Experiment 3, high-pitched vocalizations were produced particularly rapidly when the visual target stimulus presented an open object, and low-pitched vocalizations were produced particularly rapidly when the target presented a closed object. These findings are discussed concerning the meaning of intonational cues. They are suggested to be based on cross-modally representing conceptual spatial knowledge in sensory, motor, and affective systems. Additionally, this pitch-opening effect might share cognitive processes with other pitch-meaning effects. (shrink)

In this study, Limburgian and Dutch 2.5- to 4-year-olds and adults took part in a word learning experiment. Following the procedure employed by Quam and Swingley (2010) and Singh et al. (2014), participants learned two novel word-object mappings. After training, word recognition was tested in correct pronunciation (CP) trials and mispronunciation (MP) trials featuring a pitch change. Since Limburgian is considered a restricted tone language, we expected that the pitch change would hinder word recognition in Limburgian, but not in non-tonal (...) Dutch listeners. Contrary to our expectations, both Limburgian and Dutch children appeared to be sensitive to pitch changes in newly learned words, indicated by a significant decrease in target fixation in MP trials compared to CP trials. Limburgian and Dutch adults showed very strong naming effects in both trial types. The results are discussed against the background of the influence of the native prosodic system. (shrink)

The ongoing generation of expectations is fundamental to listeners’ experience of music, but research into types of statistical information that listeners extract from musical melodies has tended to emphasize transition probabilities and n‐grams, with limited consideration given to other types of statistical learning that may be relevant. Temporal associations between scale degrees represent a different type of information present in musical melodies that can be learned from musical corpora using expectation networks, a computationally simple method based on activation and decay. (...) Expectation networks infer the expectation of encountering one scale degree followed in the near (but not necessarily immediate) future by another given scale degree, with previous work suggesting that scale degree associations learned by expectation networks better predict listener ratings of pitch similarity than transition probabilities. The current work outlines how these learned scale degree associations can be combined to predict melodic continuations and tests the resulting predictions on a dataset of listener responses to a musical cloze task previously used to compare two other models of melodic expectation, a variable‐order Markov model (IDyOM) and Temperley's music‐theoretically motivated model. Under multinomial logistic regression, all three models explain significant unique variance in human melodic expectations, with coefficient estimates highest for expectation networks. These results suggest that generalized scale degree associations informed by both adjacent and nonadjacent relationships between melodic notes influence listeners’ melodic predictions above and beyond n‐gram context, highlighting the need to consider a broader range of statistical learning processes that may underlie listeners’ expectations for upcoming musical events. (shrink)

Previous work demonstrated that dynamic pitch (i.e., pitch variation in speech) aids speech recognition in various types of noises. While this finding suggests dynamic pitch enhancement in target speech can benefit speech recognition in noise, it is of importance to know what noise characteristics affect dynamic pitch benefit and who will benefit from enhanced dynamic pitch cues. Following our recent finding that temporal modulation in noise influences dynamic pitch benefit, we examined the effect of speech masker characteristics on dynamic pitch (...) benefit. Specifically, the first goal of the study was to test the hypothesis that dynamic pitch benefit varies depending on the availability of pitch cues in the masker and the intelligibility of masker. The second goal of this study was to investigate whether older listeners as a group can benefit from dynamic pitch for speech recognition in speech maskers. In addition, individual factors of hearing loss and working memory capacity were examined for their impact on older listeners’ dynamic pitch benefit. Twenty-three younger listeners with normal hearing and 37 older listeners with varying levels of hearing sensitivity participated the study, in which speech reception thresholds were measured with sentences in speech maskers. While we did not find an effect of masker characteristics on dynamic pitch benefit, the results showed older listeners can benefit from dynamic pitch for recognizing speech in speech maskers. The data also suggest that among those older listeners with hearing loss, dynamic pitch benefit is stronger for individuals with higher working memory capacity. This can be attributed to their ability to exploit facilitated lexical access in processing of degraded speech signal. (shrink)

Three experiments explored online recognition in a nonspeech domain, using a novel experimental paradigm. Adults learned to associate abstract shapes with particular melodies, and at test they identified a played melody’s associated shape. To implicitly measure recognition, visual fixations to the associated shape versus a distractor shape were measured as the melody played. Degree of similarity between associated melodies was varied to assess what types of pitch information adults use in recognition. Fixation and error data suggest that adults naturally recognize (...) music, like language, incrementally, computing matches to representations before melody offset, despite the fact that music, unlike language, provides no pressure to execute recognition rapidly. Further, adults use both absolute and relative pitch information in recognition. The implicit nature of the dependent measure should permit use with a range of populations to evaluate postulated developmental and evolutionary changes in pitch encoding. (shrink)

Pitch is an audible quality of sound which can be explained not only in terms of strong correlation with sound waves’ properties, but also by a neat correlation to the properties of the sounding object. This seems to be in favour of the theory of sound labelled “distal view”, according to which sound is the vibration of the sounding object.

This paper argues that intonation contributes to the humorous meaning of a certain class of jokes. Examples of both canned and spontaneous jokes show that two intonation patterns, the intonation of contrast, or “L+H* pitch accent“, and the intonation of given information, or “deaccent“, can contribute to a humorous effect. Both of these patterns act as cohesive devises in discourse: they trigger a mental search in the mind of a hearer for a cohesive tie that may not be obvious from (...) the lexicogrammatical structure alone. A punch line effect is created if this search yields an unexpected incongruity between the hearer's initial mental model of the joke discourse and a humorous alternative. The hearer must shift his “script“ of the discourse in an unexpected way. To the extent that intonation facilitates processing by directing attention to particular elements in the information structure of the discourse, the processing of jokes depends in part on their intonation. The implications of this premise for the processing of humorous texts will be discussed for the two intonation patterns in question. It is argued that intonation analysis can lead to a broader understanding of cognitive processes and structures. (shrink)

Terms for the pitch of tones, such as 'high-low' do not describe pitch and can interfere with our apprehending such data for what they are in their sensuous uniqueness. Very different alternatives such as 'narrow-broad' or French aigu-grave serve equally well. In listening to music the first requisite is the apprehension of 'uncategorized' tones, the words for them serving only as a way of marking the fact of their differences. This must lead us to reaffirm what was said by Gorgias (...) about what language can and cannot do in respect of such data. (shrink)

Wittgenstein was apparently looking for someone else. It was because he had not been successful that he had knocked at the Leavises’ door, to bide his time there before he looked again. On entering the house, he immediately peered through the window into the street. Yet after a moment he turned and said abruptly: “You’ve got a gramophone, I see—I don’t suppose you’ve anything worth playing.” And “Then,” so Leavis continues the description,with a marked change of tone, he exclaimed “Ah!”: (...) from the repository just at hand he pulled out the album of Schubert’s Great C Major Symphony and put the first record on the machine. A moment after the music began to sound he lifted the tone-arm, altered the speed, and lowered... (shrink)

We assessed the automaticity of spatial-numerical and spatial-musical associations by testing their intentionality and load sensitivity in a dual-task paradigm. In separate sessions, 16 healthy adults performed magnitude and pitch comparisons on sung numbers with variable pitch. Stimuli and response alternatives were identical, but the relevant stimulus attribute (pitch or number) differed between tasks. Concomitant tasks required retention of either color or location information. Results show that spatial associations of both magnitude and pitch are load sensitive and that the spatial (...) association for pitch is more powerful than that for magnitude. These findings argue against the automaticity of spatial mappings in either stimulus dimension. (shrink)

Parallels between the mathematics of tiling, which describes geometries of visual space, and neo-Riemannian theory, which describes geometries of musical space, make it possible to show that certain paradoxes featured in the visual artworks of M. C. Escher also appear in the pitch space modelled by the neo-Riemannian Tonnetz . This article makes these paradoxes visually apparent by constructing an embodied model of triadic pitch space in accordance with principles drawn from the mathematics of tiling, on the one hand, and (...) from cognitive science, on the other – specifically, the notion that our experience of pitch relationships is governed in part by the metaphorical projection of patterns abstracted from embodied experience known as image schemas. These paradoxes are illustrated with reference to passages drawn from four compositions to whose expressive character such paradoxes contribute: the fifteenth-century motet 'Absalon fili mi'; the finale of Haydn's String Quartet in G major, Op. 76 No. 1; Brahms's Intermezzo in B minor, Op. 119 No. 1; and Wagner's Parsifal. (shrink)