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

Facts, skills and intuition : A typology of personal knowledge

This paper introduces a knowledge model in which the types of knowledge are formed according to the nature of knowledge. First we use Ryle’s distinction of “that” and “how” knowledge, to which we add further three types. The five knowledge types are then synthesized using Polanyi’s distinction of focal and subsidiary awareness. The resulting model distinguishes three types of knowledge, the facts, the skills, and the intuition; all three having focal and subsidiary parts. We believe that this knowledge model is comprehensive in the sense that can classify any knowledge and it also has great explanatory power, as it is demonstrated through illustrative examples. Moreover, the model is elegant and easy to use, which facilitates our understanding of the domain of personal knowledge. Therefore we expect our findings to be useful for both researchers and educators in the field of knowledge and knowledge management

ASP, Amalgamation and the Conceptual Blending Workflow

We present a framework for conceptual blending – a concept invention method that is advocated in cognitive science as a fundamental, and uniquely human engine for creative thinking. Herein, we employ the search capabilities of ASP to find commonalities among input concepts as part of the blending process, and we show how our approach fits within a generalised conceptual blending workflow. Specifically, we orchestrate ASP with imperative Python programming, to query external tools for theorem proving and colimit computation. We exemplify our approach with an example of creativity in mathematics. © Springer International Publishing Switzerland 2015.This work is supported by the 7th Framework Programme for Research of the European Commission funded COINVENT project (FET-Open grant number: 611553). M. Eppe is supported by the German Academic Exchange ServicePeer Reviewe

文学认知研究的精妙科学 = Wen xue ren zhi yan jiu de jing miao ke xue

This paper reviews some key issues in the current study of cognitive poetics． It first explores the range of cognitive poetics，emphasizing the centrality of textuality and texture in cognitive poetics． Then it follows to outline different approaches to cognitive poetics and put forward some important principles of cognitive poetics． Lastly，it concludes the aesthetic and ethic tendency in cognitive literary studies，assuming that the connection of meaning，feeling and moral relationships allows cognitive poetics to encompass an integrated account of literature，which in turn aspires towards a reasonable account of consciousness in literary reading

Understanding Collaborative Sensemaking for System Design — An Investigation of Musicians\u27 Practice

There is surprisingly little written in information science and technology literature about the design of tools used to support the collaboration of creators. Understanding collaborative sensemaking through the use of language has been traditionally applied to non-work domains, but this method is also well-suited for informing hypotheses about the design collaborative systems. The presence of ubiquitous, mobile technology, and development of multi-user virtual spaces invites investigation of design which is based on naturalistic, real world, creative group behaviors, including the collaborative work of musicians. This thesis is considering the co-construction of new (musical) knowledge by small groups. Co-construction of new knowledge is critical to the definition of an information system because it emphasizes coordination and resource sharing among group members (versus individual members independently doing their own tasks and only coming together to collate their contributions as a final product). This work situates the locus of creativity on the process itself, rather than on the output (the musical result) or the individuals (members of the band). This thesis describes a way to apply quantitative observations to inform qualitative assessment of the characteristics of collaborative sensemaking in groups. Conversational data were obtained from nine face-to-face collaborative composing sessions, involving three separate bands producing 18 hours of recorded interactions. Topical characteristics of the discussion, namely objects, plans, properties and performance; as well as emergent patterns of generative, evaluative, revision, and management conversational acts within the group were seen as indicative of knowledge construction. The findings report the use of collaborative pathways: iterative cycles of generation, evaluation and revision of temporary solutions used to move the collaboration forward. In addition, bracketing of temporary solutions served to help collaborators reuse content and offload attentional resources. Ambiguity in language, evaluation criteria, goal formation, and group awareness meant that existing knowledge representations were insufficient in making sense of incoming data and necessitated reformulating those representations. Further, strategic use of affective language was found to be instrumental in bridging knowledge gaps. Based on these findings, features of a collaborative system are proposed to help in facilitating sensemaking routines at various stages of a creative task. This research contributes to the theoretical understanding of collaborative sensemaking during non-work, creative activities in order to inform the design of systems for supporting these activities. By studying an environment which forms a potential microcosm of virtual interaction between groups, it provides a framework for understanding and automating collaborative discussion content in terms of the features of dialogue