Aiming for Cognitive Equivalence – Mental Models as a Tertium Comparationis for Translation and Empirical Semantics

This paper introduces my concept of cognitive equivalence (cf. Mandelblit, 1997), an attempt to reconcile elements of Nida’s dynamic equivalence with recent innovations in cognitive linguistics and cognitive psychology, and building on the current focus on translators’ mental processes in translation studies (see e.g. Göpferich et al., 2009, Lewandowska-Tomaszczyk, 2010; Halverson, 2014). My approach shares its general impetus with Lewandowska-Tomaszczyk’s concept of re-conceptualization, but is independently derived from findings in cognitive linguistics and simulation theory (see e.g. Langacker, 2008; Feldman, 2006; Barsalou, 1999; Zwaan, 2004). Against this background, I propose a model of translation processing focused on the internal simulation of reader reception and the calibration of these simulations to achieve similarity between ST and TT impact. The concept of cognitive equivalence is exemplarily tested by exploring a conceptual / lexical field (MALE BALDNESS) through the way that English, German and Japanese lexical items in this field are linked to matching visual-conceptual representations by native speaker informants. The visual data gathered via this empirical method can be used to effectively triangulate the linguistic items involved, enabling an extra-linguistic comparison across languages. Results show that there is a reassuring level of interinformant agreement within languages, but that the conceptual domain for BALDNESS is linguistically structured in systematically different ways across languages. The findings are interpreted as strengthening the call for a cognition-focused, embodied approach to translation

A Discussion on Empirical Micro-Bases of Hayek’s Methodological Individualism

There are essential differences in ‘methodological individualism(MI)’ between neoclassic economics and Hayek’s theory. On basis of The Sensory Order, this paper shows relations between Hayek’s MI and it, the micro-bases of Hayek’s MI from contemporarily empirical disciplines, and some viewpoints verified by succeeding ones; then points out some questions that need to be answered henceforth between Hayek’s theory and interdisciplinary studies in modern economics. It is concluded that Hayek’s MI has its empirical micro-bases, and that his interdisciplinary exploration in the youth can help advance modern economics.methodological individualism; Hayek; the sensory order; empirical micro-bases; interdisciplinary research in economics

Brain Learning, Attention, and Consciousness

The processes whereby our brains continue to learn about a changing world in a stable fashion throughout life are proposed to lead to conscious experiences. These processes include the learning of top-down expectations, the matching of these expectations against bottom-up data, the focusing of attention upon the expected clusters of information, and the development of resonant states between bottom-up and top-down processes as they reach an attentive consensus between what is expected and what is there in the outside world. It is suggested that all conscious states in the brain are resonant states, and that these resonant states trigger learning of sensory and cognitive representations. The model which summarize these concepts are therefore called Adaptive Resonance Theory, or ART, models. Psychophysical and neurobiological data in support of ART are presented from early vision, visual object recognition, auditory streaming, variable-rate speech perception, somatosensory perception, and cognitive-emotional interactions, among others. It is noted that ART mechanisms seem to be operative at all levels of the visual system, and it is proposed how these mechanisms are realized by known laminar circuits of visual cortex. It is predicted that the same circuit realization of ART mechanisms will be found in the laminar circuits of all sensory and cognitive neocortex. Concepts and data are summarized concerning how some visual percepts may be visibly, or modally, perceived, whereas amoral percepts may be consciously recognized even though they are perceptually invisible. It is also suggested that sensory and cognitive processing in the What processing stream of the brain obey top-down matching and learning laws that arc often complementary to those used for spatial and motor processing in the brain's Where processing stream. This enables our sensory and cognitive representations to maintain their stability a.s we learn more about the world, while allowing spatial and motor representations to forget learned maps and gains that are no longer appropriate as our bodies develop and grow from infanthood to adulthood. Procedural memories are proposed to be unconscious because the inhibitory matching process that supports these spatial and motor processes cannot lead to resonance.Defense Advance Research Projects Agency; Office of Naval Research (N00014-95-1-0409, N00014-95-1-0657); National Science Foundation (IRI-97-20333

Media masters and grassroot art 2.0 on Youtube

Communication in the Web 2.0 context mainly works through images. The online video platform YouTube uses this form of visual communication and makes art forms of Western societies visible through their online videos. YouTube, as cultural reservoir and visual archive of moving images, accommodates the whole range of visualising creative processes – from artistic finger exercises to fine arts. A general characteristic of YouTube is the publishing of small everyday gestures of the ‘big ones’ (politicians, stars), like small incidents and their clumsiness in everyday actions, e.g. Beyonce´s fall from the stage or Tom Cruise’s demonic pro-scientology interview. Through their viral distribution on different platforms, these incidents will never be covered up or disappear from the public view. At the same time big gestures and star images are replicated and sometimes reinterpreted by the ‘small people’ who present themselves in the poses and attitudes of the stars. Generally, a coexistence of different perspectives is possible. YouTube allows polysemic and polyvalent views on the everyday and media phenomena. This article relies on YouTube research 2 that started in 2006 at the New Media Department of the Goethe University of Frankfurt. The results of the research have already presented representative forms and basic patterns, that is to say, categories for the clips appearing here. These kinds of clips, recurring in the observation period, have an impact on the basic representation of art or artistic expression within moving images on this platform. Methodologically the focus leads to the investigation (which has to be adequate to the specifics of the medium, or ‘media adequate’) of new visual structures and forms which can create – consciously or unconsciously – an art form. After focusing on the media structures, it will be discussed whether any and, if so, which ‘authentic’ new forms were developed solely on YouTube and whether these forms are innovative and can be characterised as avant-garde. This article first takes a small step in evaluating how to get from a general communication through means of visuality in web 2.0, an often endless chatty cheesy visual noise 3 – to the special quality of a consciously created aesthetic. From where do innovative aesthetic forms emerge, related to their media structures? 4 Are they the products of ‘media amateurs’ 5 or do we have to find new specifications and descriptions for the producers? The definition of a ‘media amateur’ describes technically interested private individuals who acquire and develop technology before commercial use of the technology is even recognisable. Just as artists are developing their own techniques, according to Dieter Daniels, media amateurs are autodidacts who invent techniques, rather than just acquire knowledge about them (see for example the demo scene, the machinima, brickfilm producers as well as many areas of computer gaming in general 6). The media amateur directly intervenes in the production processes of the medium and does not just simply use the medium. What is fascinating is the media amateur’s process of self education – not the result – and the direct impact on the internal structure and the control of the medium. 7 Media amateurs open a previously culturally unformed space of experience. This only partially applies to most of the YouTube clips in the realms of the visual arts; it is here most important to look at the visual content. This article discusses all these concepts and introduces new descriptions for the different forms of production: the technically oriented media master, the do-it-yourselfer, the tinkerer, the amateur handicraftsman and the inventor. It outlines a basic research project on ‘visual media culture’ (a triangulation of research on media structure and iconography) of the presented online video platform. It is a product of the analysis of clips focusing on the media structure, analyzing the creative handling of images and the deviations and differences of pre-set media formats and stereotypes

Normal and Amnesic Learning, Recognition, and Memory by a Neural Model of Cortico-Hippocampal Interactions

The processes by which humans and other primates learn to recognize objects have been the subject of many models. Processes such as learning, categorization, attention, memory search, expectation, and novelty detection work together at different stages to realize object recognition. In this article, Gail Carpenter and Stephen Grossberg describe one such model class (Adaptive Resonance Theory, ART) and discuss how its structure and function might relate to known neurological learning and memory processes, such as how inferotemporal cortex can recognize both specialized and abstract information, and how medial temporal amnesia may be caused by lesions in the hippocampal formation. The model also suggests how hippocampal and inferotemporal processing may be linked during recognition learning.Air Force Office of Scientific Research (90-0175); British Petroleum (89A-1204); Defense Advanced Research Projects Agency (90-0083); National Science Foundation (IRI-90-00530); Office of Naval Research (N00014-91-J-4100

Neural Dynamics of Autistic Behaviors: Cognitive, Emotional, and Timing Substrates

What brain mechanisms underlie autism and how do they give rise to autistic behavioral symptoms? This article describes a neural model, called the iSTART model, which proposes how cognitive, emotional, timing, and motor processes may interact together to create and perpetuate autistic symptoms. These model processes were originally developed to explain data concerning how the brain controls normal behaviors. The iSTART model shows how autistic behavioral symptoms may arise from prescribed breakdowns in these brain processes.Air Force Office of Scientific Research (F49620-01-1-0397); Office of Naval Research (N00014-01-1-0624