As Narrativas Biográficas e as metodologias de investigação-acção sobre a memória e o esquecimento

The integration of Biographical Knowledge in research processes is a methodological proposal of critical empiricism that shifts the center of production of knowledge to the referred research objects. We try to show how Biographical Narratives can allow bypassing the locks and the deviations from real observation by the researcher, and focus his work on the actors in process. In the critique of the Eurocentric paradigm and its production of hegemonic scientific papers presentations and speaches, by Bonaventura Sousa Santos (Santos, 2000), proposes the "south epistemologies" as a research process and the inclusion of knowledge of actors as the research field. In the article, we will try to look at the production process of biographical narratives, using the tools of south epistemological proposal. We start with reviewing the methodologies, working on biographical objects, then we will present the preliminary studies and research that has been ongoing in several communities in southern Mozambique, in Djabula Community Centre. These results should be completed with other field works, as we open as a collaborative process discussion on African Studies community. We expect the project to be completed in the coming months, aiming towards the proposal of a "House of memories", in order to develop with the local population through articles, stories, sounds and dances that are selected and will support the chosen narratives by the community. The projects created with local players, from their problems will allow a rapprochement and dialogue between different kinds of knowledge."

A aula de educação musical : pedagogias diferentes conduzem a diferentes resultados na aprendizagem?

Sendo professor de Educação Musical no ensino básico, decidi realizar o presente trabalho com o objetivo de averiguar se, para o universo de alunos indicado, é mais vantajoso trabalhar a partir das propostas pedagógicas de Edwin Gordon, que se baseiam no conceito de audiação como forma de levar o aluno a compreender a música (audiação é a capacidade de ouvirmos e compreendermos sons que podem estar, ou não, fisicamente presentes), ou nos ensinamentos de Jos Wuytack, que defende a utilização de técnicas de imitação nas fases iniciais de ensino da música a jovens. Tendo esta investigação sido realizada ao longo de um semestre letivo, não seria adequado nem possível aplicar extensivamente todas as propostas dos pedagogos referidos. Como tal, os trabalhos aqui apresentados foram limitados aos conceitos que considerei mais adequados para o tempo e para os objetivos definidos para o nível de ensino aqui em estudo. Foram trabalhadas as audiações números um, dois e quatro, por um lado, e, por outro, as técnicas de imitação melódica e rítmica. Foi feita uma avaliação contínua da evolução de cada aluno, como forma de estabelecer um padrão de desenvolvimento que permitisse concluir qual das duas metodologias de ensino da música a jovens se revelou mais adequada na globalidade e qual a que produziu melhores resultados no que diz respeito à melhoria da afinação vocal, do conhecimento das notas musicais, do rigor rítmico e da dedilhação na flauta de bisel. Os resultados obtidos não nos permitiram retirar nenhuma conclusão definitiva.

A technique to train auditory and visual memory for speech patterns in young hearing-impaired children

This paper details a technique for training auditory memory for length of speech sounds in preschool children with a profound hearing loss.

Phoneme analysis of cochlear implant recipients' responses to CNC words using the MPEAK and SPEAK speech coding strategies of the Nucleus cochlear implant system

This paper discusses a study done to determine how cochlear implant users perceive speech sounds using MPEAK or SPEAK speech coding strategy.

Speech perception by the chinchilla: discrimination of /I/ and /A/ in various consonantal contexts

This paper discusses a study done with chinchillas and their ability to organize speech sounds into auditory concepts.

Perceptual correlates of spectral changes in complex tones

This paper reviews a study of tonal precepts such as pitch and timbre as a means of facilitating auditory discrimination tasks.

Temporal processing in listeners with unilateral hearing loss

Temporal processing is examined for sounds delivered to the intact ear of individuals with unilateral hearing, and delivered to one ear of individuals with normal, bilateral hearing. Two temporal processing skills are assessed: 1) the ability to detect sinusoidal amplitude modulation of a wide-band noise, for various modulation frequencies, and 2) the just-noticeable-difference for temporal complexity of random-spectrogram-sounds.

Poesía y silencio en Gonzalo Rojas (Homenaje)

A pesar de que la poesía, en tanto texto literario, es escritura, no deja de conservar vínculos profundos con la palabra oral. Gonzalo Rojas, íntimo conocedor de las leyes de la poesía, maneja con especial destreza esa relación. De hecho su escritura es especialmente sensible a las evocaciones orales que los versos, las palabras, las sílabas y hasta los sonidos suscitan en el lector de poesía. De ahí la importancia del silencio en su escritura, no solo como tema o como procedimiento retórico, ni siquiera como el silencio que significa toda expresión interiorizada, como la poesía, sino, por sobre todo, el silencio como lo otro de la palabra, como aquello que está siempre presente sin decirse y que apunta a los niveles más profundos de lo innombrable.

Evidence Suggesting that Ivory-billed Woodpeckers (Campephilus principalis) Exist in Florida

The Ivory-billed Woodpecker (Campephilus principalis) disappeared from the forests of southeastern North America in the early 20th Century and for more than 50 years has been widely considered extinct. On 21 May 2005, we detected a bird that we identified as an Ivory-billed Woodpecker in the mature swamp forest along the Choctawhatchee River in the panhandle of Florida. During a subsequent year of research, members of our small search team observed birds that we identified as Ivory-billed Woodpeckers on 14 occasions. We heard sounds that matched descriptions of Ivory-billed Woodpecker acoustic signals on 41 occasions. We recorded 99 putative double knocks and 210 putative kent calls. We located cavities in the size range reported for Ivory-billed Woodpeckers and larger than those of Pileated Woodpeckers (Dryocopus pileatus) that have been reported in the literature or that we measured in Alabama. We documented unique foraging signs consistent with the feeding behavior of Ivory-billed Woodpeckers. Our evidence suggests that Ivory-billed Woodpeckers may be present in the forests along the Choctawhatchee River and warrants an expanded search of this bottomland forest habitat.

Overview and response to reviewers of The Singing Neanderthals

Why are humans musical? Why do people in all cultures sing or play instruments? Why do we appear to have specialized neurological apparatus for hearing and interpreting music as distinct from other sounds? And how does our musicality relate to language and to our evolutionary history? Anthropologists and archaeologists have paid little attention to the origin of music and musicality — far less than for either language or ‘art’. While art has been seen as an index of cognitive complexity and language as an essential tool of communication, music has suffered from our perception that it is an epiphenomenal ‘leisure activity’, and archaeologically inaccessible to boot. Nothing could be further from the truth, according to Steven Mithen; music is integral to human social life, he argues, and we can investigate its ancestry with the same rich range of analyses — neurological, physiological, ethnographic, linguistic, ethological and even archaeological — which have been deployed to study language. In The Singing Neanderthals Steven Mithen poses these questions and proposes a bold hypothesis to answer them. Mithen argues that musicality is a fundamental part of being human, that this capacity is of great antiquity, and that a holistic protolanguage of musical emotive expression predates language and was an essential precursor to it. This is an argument with implications which extend far beyond the mere origins of music itself into the very motives of human origins. Any argument of such range is bound to attract discussion and critique; we here present commentaries by archaeologists Clive Gamble and Iain Morley and linguists Alison Wray and Maggie Tallerman, along with Mithen's response to them. Whether right or wrong, Mithen has raised fascinating and important issues. And it adds a great deal of charm to the time-honoured, perhaps shopworn image of the Neanderthals shambling ineffectively through the pages of Pleistocene prehistory to imagine them humming, crooning or belting out a cappella harmonies as they went.

Cross-modal preference acquisition: evaluative conditioning of pictures by affective olfactory and auditory cues

In this research, a cross-model paradigm was chosen to test the hypothesis that affective olfactory and auditory cues paired with neutral visual stimuli bearing no resemblance or logical connection to the affective cues can evoke preference shifts in those stimuli. Neutral visual stimuli of abstract paintings were presented simultaneously with liked and disliked odours and sounds, with neutral-neutral pairings serving as controls. The results confirm previous findings that the affective evaluation of previously neutral visual stimuli shifts in the direction of contingently presented affective auditory stimuli. In addition, this research shows the presence of conditioning with affective odours having no logical connection with the pictures.

Auditory memory and the irrelevant sound effect: further evidence for changing state disruption

Four experiments investigate the hypothesis that irrelevant sound interferes with serial recall of auditory items in the same fashion as with visually presented items. In Experiment 1 an acoustically changing sequence of 30 irrelevant utterances was more disruptive than 30 repetitions of the same utterance (the changing-state effect; Jones, Madden, & Miles, 1992) whether the to-be-remembered items were visually or auditorily presented. Experiment 2 showed that two different utterances spoken once (a heterogeneous compound suffix; LeCompte & Watkins, 1995) produced less disruption to serial recall than 15 repetitions of the same sequence. Disruption thus depends on the number of sounds in the irrelevant sequence. In Experiments 3a and 3b the number of different sounds, the "token-set" size (Tremblay & Jones, 1998), in an irrelevant sequence also influenced the magnitude of disruption in both irrelevant sound and compound suffix conditions. The results support the view that the disruption of memory for auditory items, like memory for visually presented items, is dependent on the number of different irrelevant sounds presented and the size of the set from which these sounds are taken. Theoretical implications are discussed.

The neural processing of masked speech: Evidence for different mechanisms in the left and right temporal lobes

It has been previously demonstrated that extensive activation in the dorsolateral temporal lobes associated with masking a speech target with a speech masker, consistent with the hypothesis that competition for central auditory processes is an important factor in informational masking. Here, masking from speech and two additional maskers derived from the original speech were investigated. One of these is spectrally rotated speech, which is unintelligible and has a similar (inverted) spectrotemporal profile to speech. The authors also controlled for the possibility of “glimpsing” of the target signal during modulated masking sounds by using speech-modulated noise as a masker in a baseline condition. Functional imaging results reveal that masking speech with speech leads to bilateral superior temporal gyrus (STG) activation relative to a speech-in-noise baseline, while masking speech with spectrally rotated speech leads solely to right STG activation relative to the baseline. This result is discussed in terms of hemispheric asymmetries for speech perception, and interpreted as showing that masking effects can arise through two parallel neural systems, in the left and right temporal lobes. This has implications for the competition for resources caused by speech and rotated speech maskers, and may illuminate some of the mechanisms involved in informational masking.

Putting the coke in coke

The story of cocaine: from royalty to popular refresher... Surprising as it sounds, Coca Cola gets its name from one of its original ingredients - cocaine. And although the drug's now illegal, this wasn't always the case. But how did it become popular, what led to its downfall, and how does Coca Cola come in to it?