Hungarian Gyerekestül versus Gyerekkel (‘with [the] kid’)

The paper analyzes the various uses of the Hungarian -stUl (‘together with’, ‘along with’) sociative (associative) suffix (later in the paper referred to simply as “sociative”), as in the example gyerekestül. As opposed to its comitative-instrumental suffix -vAl (‘with’), the - stUl suffix cannot express instrumentality. The paper aims to demonstrate the difference in use between the comitative-instrumental -vAl and the -stUl suffix in contemporary Hungarian, and to illuminate the historical emergence of the suffix as well as its grammatical status. It is argued on the basis of Antal (1960) and Kiefer (2003) that -stUl cannot be analyzed as an inflectional case suffix (such as the -vAl suffix, or -ed, -ing, or the plural in English), but should rather be categorized as a derivational suffix (such as English dis-, re-, in-, -ance, - able, -ish, -like, etc.). The paper also tries to shed light on the hypothetical cognitive psychological distinction between the comitative and the sociative. It is suggested that the sociative is based on the amalgam image schema which is derived from the LINK schema of the comitative. The ironical reading of the sociative is an implicature in the sense of Grice (1989) and Sperber and Wilson (1987). Psycholinguistic experimentation is proposed to follow up on the mental representation of the sociative

Toward a Cognitive Classical Linguistics. The Embodied Basis of Constructions in Greek and Latin

The volume that gathers a series of papers bringing together the study of grammatical and syntactic constructions in Greek and Latin under the perspective of theories of embodied meaning developed in cognitive linguistics

The scene superiority effect: object recognition in the context of natural scenes

Four experiments investigate the effect of background scene semantics on object recognition. Although past research has found that semantically consistent scene backgrounds can facilitate recognition of a target object, these claims have been challenged as the result of post-perceptual response bias rather than the perceptual processes of object recognition itself. The current study takes advantage of a paradigm from linguistic processing known as the Word Superiority Effect. Humans can better discriminate letters (e.g., D vs. K) in the context of a word (WORD vs. WORK) than in a non-word context (e.g., WROD vs. WROK) even when the context is non-predictive of the target identity. We apply this paradigm to objects in natural scenes, having subjects discriminate between objects in the context of scenes. Because the target objects were equally semantically consistent with any given scene and could appear in either semantically consistent or inconsistent contexts with equal probability, response bias could not lead to an apparent improvement in object recognition. The current study found a benefit to object recognition from semantically consistent backgrounds, and the effect appeared to be modulated by awareness of background scene semantics

Disciplining the body? Reflections on the cross disciplinary import of ‘embodied meaning’ into interaction design

The aim of this paper is above all critically to examine and clarify some of the negative implications that the idea of ‘embodied meaning’ has for the emergent field of interaction design research. Originally, the term ‘embodied meaning’ has been brought into HCI research from phenomenology and cognitive semantics in order to better understand how user’s experience of new technological systems relies to an increasing extent on full-body interaction. Embodied approaches to technology design could thus be found in Winograd & Flores (1986), Dourish (2001), Lund (2003), Klemmer, Hartman & Takayama (2006), Hornecker & Buur (2006), Hurtienne & Israel (2007) among others. However, fertile as this cross-disciplinary import may be, design research can generally be criticised for being ‘undisciplined’, because of its tendency merely to take over reductionist ideas of embodied meaning from those neighbouring disciplines without questioning the inherent limitations it thereby subscribe to. In this paper I focus on this reductionism and what it means for interaction design research. I start out by introducing the field of interaction design and two central research questions that it raises. This will serve as a prerequisite for understanding the overall intention of bringing the notion of ‘embodied meaning’ from cognitive semantics into design research. Narrowing my account down to the concepts of ‘image schemas’ and their ‘metaphorical extension’, I then explain in more detail what is reductionistic about the notion of embodied meaning. Having done so, I shed light on the consequences this reductionism might have for design research by examining a recently developed framework for intuitive user interaction along with two case examples. In so doing I sketch an alternative view of embodied meaning for interaction design research. Keywords: Interaction Design, Embodied Meaning, Tangible User Interaction, Design Theory, Cognitive Semiotics</p

Form, science, and narrative in the anthropocene

A significant strand of contemporary fiction engages with scientific models that highlight a constitutive interdependency between humanity and material realities such as the climate or the geological history of our planet. This article looks at the ways in which narrative may capture this human-nonhuman interrelation, which occupies the foreground of debates on the so-called Anthropocene. I argue that the formal dimension of scientific knowledge-as manifested by diagrams or metaphors used by scientists-is central to this narrative remediation. I explore two analogical strategies through which narrative may pursue a formal dialogue with science: clusters of metaphorical language and the global structuring of the plot. Rivka Galchen's novel Atmospheric Disturbances (2008), for instance, builds on a visual representation of meteorological patterns in a storm (lifted from an actual scientific paper) to stage the narrator's mental illness. Two other contemporary works (Orfeo by Richard Powers and A Tale for the Time Being by Ruth Ozeki) integrate scientific models through the overall design of the plot. By offering close readings of these novels, I seek to expand work in the area of New Formalism and show how formal choices are crucial to bringing together the human-scale world and more-than-human phenomena

Linear Spatial Pyramid Matching Using Non-convex and non-negative Sparse Coding for Image Classification

Recently sparse coding have been highly successful in image classification mainly due to its capability of incorporating the sparsity of image representation. In this paper, we propose an improved sparse coding model based on linear spatial pyramid matching(SPM) and Scale Invariant Feature Transform (SIFT ) descriptors. The novelty is the simultaneous non-convex and non-negative characters added to the sparse coding model. Our numerical experiments show that the improved approach using non-convex and non-negative sparse coding is superior than the original ScSPM[1] on several typical databases

Reversive constructions in Latin: the case of re- (and dis-)

This paper proposes a cognitive account on re- and dis- verbs based on the scrutiny of the Plautine corpus and Cato’s De agricultura. Re- and dis- exhibit significant differences as to the manner in which they come to a reversive function, and these differences can be traced back to the basic conceptual import of the two prefixes: while dis- is schematically connected with the idea of separation into two parts, re- basically refers to a rearward/reditive trajectory, connecting a point that has already been reached to the starting point. On the basis of this description, I analyze the semantic network of re- and dis- and the role of their conceptual structure in the spread from spatial to reversive values

Directional adposition use in English, Swedish and Finnish

Directional adpositions such as to the left of describe where a Figure is in relation to a Ground. English and Swedish directional adpositions refer to the location of a Figure in relation to a Ground, whether both are static or in motion. In contrast, the Finnish directional adpositions edellä (in front of) and jäljessä (behind) solely describe the location of a moving Figure in relation to a moving Ground (Nikanne, 2003). When using directional adpositions, a frame of reference must be assumed for interpreting the meaning of directional adpositions. For example, the meaning of to the left of in English can be based on a relative (speaker or listener based) reference frame or an intrinsic (object based) reference frame (Levinson, 1996). When a Figure and a Ground are both in motion, it is possible for a Figure to be described as being behind or in front of the Ground, even if neither have intrinsic features. As shown by Walker (in preparation), there are good reasons to assume that in the latter case a motion based reference frame is involved. This means that if Finnish speakers would use edellä (in front of) and jäljessä (behind) more frequently in situations where both the Figure and Ground are in motion, a difference in reference frame use between Finnish on one hand and English and Swedish on the other could be expected. We asked native English, Swedish and Finnish speakers’ to select adpositions from a language specific list to describe the location of a Figure relative to a Ground when both were shown to be moving on a computer screen. We were interested in any differences between Finnish, English and Swedish speakers. All languages showed a predominant use of directional spatial adpositions referring to the lexical concepts TO THE LEFT OF, TO THE RIGHT OF, ABOVE and BELOW. There were no differences between the languages in directional adpositions use or reference frame use, including reference frame use based on motion. We conclude that despite differences in the grammars of the languages involved, and potential differences in reference frame system use, the three languages investigated encode Figure location in relation to Ground location in a similar way when both are in motion. Levinson, S. C. (1996). Frames of reference and Molyneux’s question: Crosslingiuistic evidence. In P. Bloom, M.A. Peterson, L. Nadel & M.F. Garrett (Eds.) Language and Space (pp.109-170). Massachusetts: MIT Press. Nikanne, U. (2003). How Finnish postpositions see the axis system. In E. van der Zee & J. Slack (Eds.), Representing direction in language and space. Oxford, UK: Oxford University Press. Walker, C. (in preparation). Motion encoding in language, the use of spatial locatives in a motion context. Unpublished doctoral dissertation, University of Lincoln, Lincoln. United Kingdo

Looking away from faces: influence of high-level visual processes on saccade programming

Human faces capture attention more than other visual stimuli. Here we investigated whether such face-specific biases rely on automatic (involuntary) or voluntary orienting responses. To this end, we used an anti-saccade paradigm, which requires the ability to inhibit a reflexive automatic response and to generate a voluntary saccade in the opposite direction of the stimulus. To control for potential low-level confounds in the eye-movement data, we manipulated the high-level visual properties of the stimuli while normalizing their global low-level visual properties. Eye movements were recorded in 21 participants who performed either pro- or anti-saccades to a face, car, or noise pattern, randomly presented to the left or right of a fixation point. For each trial, a symbolic cue instructed the observer to generate either a pro-saccade or an anti-saccade. We report a significant increase in anti-saccade error rates for faces compared to cars and noise patterns, as well as faster pro-saccades to faces and cars in comparison to noise patterns. These results indicate that human faces induce stronger involuntary orienting responses than other visual objects, i.e., responses that are beyond the control of the observer. Importantly, this involuntary processing cannot be accounted for by global low-level visual factors