Introduction/Aim: Studies suggest that cultural models of parenting (CMP) influence parental behaviors. Predominant cultural values are believed to inform the parenting styles caregivers adopt. Cultural values were expected to affect parental behaviors indirectly through parenting styles. We believed this would be moderated by ecosocial context. The present study aimed to examine cultural influenc

What makes human beings, and their way of thinking, unique in the biosphere of the earth is not just the biological-genetic evolution of human cognitive capacities, but also the interaction in historical time with the environment, the socio-cultural Lifeworld, and particularly human semiotic skills; that is, the ability to learn from other thinking beings, and to transfer experiences, knowledge, m

In this paper we summarize observations bridging the declared aspirations of pictorial semiotics and its real achievements. Pictorial semiotics is here understood as the general study of pictures as signs and it constituted a fundamental step beyond the art historical captivation with individual images. In the first part of our contribution we present a review of the most important methods that ha

Complex and multiphonic voice signals of vocal improvisors are analyzed within the framework of nonlinear dynamics. Evidence is given that nonlinear phenomena are extensively used by performers associated with contemporary music. Narrow-band spectrograms of complex vocalizations are used to visualize the appearance of nonlinear phenomena (spectral bifurcation diagrams). Possible production mechani

Unlike what is usually taken for granted in semiotics, communication, in the sense of semiosis, does not essentially depend on transport and/or recoding. Instead, it consists in the creation of an artefact, with the additional setting of a task of interpretation. This task may be set by the addressee, just as likely as by the addresser. In making this suggestion, we are inspired by Husserlean phenUnlike what is usually taken for granted in semiotics, communication, in the sense of semiosis, does not essentially depend on transport and/or recoding. Instead, it consists in the creation of an artefact, with the additional setting of a task of interpretation. This task may be set by the addressee, just as likely as by the addresser. In making this suggestion, we are inspired by Husserlean phen

Nonlinear phenomena have been reported in many diverse disciplines, including physics, health sciences, engineering, literature, neurology, geology and music. As this paper will show, nonlinear phenomena have robust potential for both performance and composition. It has been shown that nonlinear phenomena occur in the sound production of extra-normal extended techniques for both voices and musical

Thanks to Bruno Galantucci, “experimental semiotics” is usually nowadays taken to mean the study of “novel forms of communication which people develop when they cannot use pre-established communication systems”. In spite of Galantucci’s claim to have picked the label because it was free, it has actually been used in different ways at least twice before: by Colin Ware, who takes it to be involved w

Starting out from classical metaphor theory, I consider two models, the Overlap model and the Tension model-the difference between which may not have been spelled out in that tradition. Although the latter has an Aristotelian pedigree, it may be less generally valid than the Overlap model, at least if the requirement for tension is placed very high. The metaphors distinguished by Lakoff and Johnso

This 1 sonata uses simple generative principles, to develop networks of relatively high complexity in which intuition actively participates to produce an output with a certain degree of activity and acoustic nonlinearity.Albert-László Barabási, from the introduction to his book titled Linked: the new science of networks, “Just as diverse humans share skeletons that are almost indistinguishable,

This paper will discuss multiple sound sources of the vocal tract, focusing specifically on one type of multiple sound source, that of (imitated Tibetan) chant. First I will present a physiological outline of multiple sound sources, in order to better understand chant as just one of the many types of multiple sound sources that composers and performers might utilize. The main body of the paper wil