Gender Differences in the Representation of Violence on Spanish Television: Should Women be More Violent?

Gender differences in the representation of aggressors and victims are an important issue in the study of television violence in order to ascertain whether television contributes (and how) to reproduce or transform the traditional gender regime. Eighty-four hours of Spanish main TV broadcasting stations were randomly recorded during years 2000 and 2005. Variables related to the presentation of aggressors and victims and to the normative context of aggression were selected through content analysis. The results show the minimal presence of women in violent scenes. But women are also the victims of more serious violence. Paradoxically, women’s aggressions appear to have more positive consequences and to be less legitimized. The implications of these findings are discussed from a gender studies perspective.     

Development and experimentation with synthetic visible speech

We have implemented software for development of synthetic visual speech and perceptual experimentation on a UNIX workstation. We describe recent improvements in the speech synthesis and the capabilities of the development system. We also show how a typical experiment is programmed and describe our solutions for real-time experimental control under the UNIX operating system.     

Effects of bonuses for punctuality on the tardiness of industrial workers

This study evaluated the effectiveness of an incentive procedure designed to increase the punctuality of six workers who were chronically late to work in a manufacturing company. The six workers in the experiment received a 2.00 pesos ($0.16 U.S.) bonus for every day that they arrived on time. A reversal design was used. The contingent bonuses increased the workers' rates of punctuality compared to their baseline rates. A control group of six workers observed during the same 77-week period showed a trend toward decreasing punctuality. These results suggest that the use of small daily bonuses is a practical procedure for modifying chronic tardiness among industrial workers.     

Stimulus information vs processing time in auditory pattern recognition

Previous studies have shown that pitch perception improves with increases in tone duration. An increase in tone duration increases the information available in the stimulus presentation. Other recent experiments have shown that sufficient perceptual processing time is also necessary for accurate pitch perception. The present study determines the relative contribution of stimulus information and processing time in an absolute pitch indentification task. The results indicate that processing time is more critical than stimulus information. The results are described accurately by a model that describes the perceptual process in terms of the information in the stimulus and the time the information is available for perceptual processing.     

Temporal course of perceived auditory duration

A series of experiments explored the temporal course of the perceived duration of an auditory stimulus. A backward recognition masking paradigm was utilized, in which the subject was to determine which of two target durations was presented on a given trial. The target tone was followed, after a variable silent intertone interval, by a masking tone which could assume one of three possible durations. Identification of the long target was found to improve consistently with increases in the intertone interval. In contrast, identification of the short target was as accurate at the short as at the long intertone intervals. Blocking the intertone interval across experimental sessions eliminated these differences between the two target tones. Performance on both the long and the short target tones improved monotonically with increases in the intertone interval. When masking tone duration was randomized within an experimental session, identification of the long (short) target was most accurate with the longer (shorter) masking tone. Blocking the duration of the masking tone across experimental sessions eliminated the effect of the duration of the mask, but did not alter any of the other results. A model, proposed to account for the results, assumes that the percept of target duration grows over time, and can be terminated by the onset of the masking tone. The masking tone also acts to lengthen the perceived duration of the target tone, and this lengthening is a direct function of the duration of the masking tone.     

Rate of perceptual processing

Summary The primary goal of Schulze and Schuster's (1977) experiment was to test Massaro's (1972) hypothesis that the rate of processing of the auditory image after the tone is turned off is equal to the rate of processing the stimulus code while the stimulus is present. The experiment was unsuccessful, however, since the authors did not take into account corresponding changes in the asymptote parameter of the model with changes in stimulus duration. This review discusses the problem in detail along with a general discussion of model testing and appropriate experimental procedure.This research was supported by Public Health Service Grant MH-19399. Wendy L. Idson provided valuable comments. Requests for offprints should be sent to Dominic W. Massaro, Department of Psychology, University of Wisconsin, Johnson at Charter Streets, Madison, Wisconsin 53706, USA     

Ambiguity in perception and experimentation

Bruno and Cutting (1988) varied four monocular cues to perceived depth in a factorial design. Subjects judged the distance between test objects. Given main effects in the analysis of variance, the authors concluded that the perceivers integrated the four different sources of information, as opposed to simply selecting a single source. Given no interactions in the analysis of variance, the authors concluded that the integration process was additive rather than multiplicative. The ambiguity inherent in Bruno and Cutting's experiments and analyses is discussed. As presented, their results did not provide evidence for integration of depth cues or evidence for additivity, independence, and parallel processing of the cues. An additional analysis of the distribution of the rating judgments given by their subjects, however, provides some evidence for integration of the cues. The fuzzy logical model of perception (FLMP) is extended to describe perceptual recognition of depth. The model assumes independence of the cues during feature evaluation and a nonadditive integration process in which the least ambiguous cues have the greatest impact on the judgment. The FLMP is contrasted with a model assuming additivity of the cues. Because both models describe the results equally well, it remains for future researchers to provide definitive tests between the models.     

Similarity effects in backward recognition masking

Auditory backward recognition masking refers to the ability of a masking sound to terminate further perceptual resolution of a test sound presented slightly earlier in time. The present experiments were conducted to determine whether mask/test tone similarity effects in backward recognition masking could be reliably demonstrated. Although similarity effects were found in Experiments 1 and 2, only about 60% of the subjects demonstrated these effects. Experiment 3 was designed to isolate which stage of information processing is responsible for similarity effects. It was hypothesized that similarity effects are due to mask interference with the synthesized auditory memory of the test tone rather than to selective overwriting of a preperceptual auditory store: previous research has shown that interference in synthesized auditory memory depends on the similarity of the interfering stimulus to the items held in memory. By independently varying the backward masking interval and the interfering effect of the mask on the test tone memory, it was possible to demonstrate that similarity effects are indeed caused by mask interference in synthesized memory. The implications of these results are considered in the framework of auditory and visual masking.     

A bidimensional model of pitch in the recognition of melodies

Pitch can be conceptualized as a bidimensional quantity, reflecting both the overall pitch level of a tone (tone height) and its position in the octave (tone chroma). Though such a conceptualization has been well supported for perception of a single tone, it has been argued that the dimension of tone chroma is irrelevant in melodic perception. In the current study, melodies were subjected to structural transformations designed to evaluate the effects of interval magnitude, contour, tone height, and tone chroma. In two transformations, the component tones of a melody were displaced by octave intervals, either preserving or violating the pattern of changes in pitch direction (melodic contour). Replicating previous work, when contour was violated perception of the melody was severely disrupted. In contrast, when contour was preserved the melodies were identified as accurately as the untransformed melodies. In other transformations, a variety of forms of contour information were preserved, while eliminating information for absolute pitch and interval magnitude. The level of performance on all such transformations fell between the levels observed in the other two conditions. These results suggest that the bidimensional model of pitch is applicable to recognition of melodies as well as single tones. Moreover, the results argue that contour, as well as interval magnitude, is providing essential information for melodic perception.