Spirituality and Abstract Art

Through a close analysis of abstract art and metaphysics (ontological and psychical), the paper examines how metaphysics might be related to abstract art, as well as the early emergence of abstract art in diverse cultures around the world, and its development from the 19th to the 20th century in the modern art world. The paper conducts an examination of some modern abstract art pioneers, as perceived by general public, such as Wassily Kandinsky and Agnes Pilton, who experimented with the art form in the 19th and 20th centuries, and their intentions based on metaphysics: spirituality and mythology are included in these aspirations. In addition, the paper reviews a number of exhibitions which have arisen around the theme of metaphysical abstraction in recent decades

The relationships between context and conceptual access.

147 p.An important question in the cognitive neuroscience of language regards the nature of the conceptual representations that make up semantic memory. Amodal accounts argue that conceptual representations of objects and their processing is functionally distinct from sensory or motor brain systems whereas sensorimotor theories maintain that they involve the same perceptual and action brain areas active in experience. In a break from current orthodoxy, this thesis seeks to explore if concepts and semantic processing are best considered as functionally grounded in sensorimotor systems and contextually sensitive. We report four studies using behavioural-psycholinguistic and neuroimaging techniques in healthy and clinical populations. In part 1 we show that online perceptual processing in the visual and olfactory modalities can interact with language comprehension, that lifetime sensory experience shapes the representational structure of object concepts, and that the outcome of semantic processing differs depending on an interaction of personal experience and people¿s immediate perceptual context. In part 2, we examine whether motor system degradation due to Parkinson's disease leads to impairments in processing manipulable objects compared to healthy controls. Counter to our predictions we do not observe behavioural differences in the way Parkinson's disease patients access the representations of manipulable objects, however, we report neuroimaging evidence suggesting that changes in people's motor capacities lead to measurable alterations in the way that they process action semantics, at the neural level. Taken together this thesis provides evidence that the content and format of the conceptual representations of objects is multimodal and grounded in sensory and motor brain systems and people's lifetime sensory and motor experience with objects shapes their representations in deeply personal ways. Therefore, contrary to amodal accounts, there is functional overlap between sensorimotor and semantic processing, such that sensory, motor and semantic processes mutually interact with context (at many levels). This suggests that exploring the relationship between concepts and context is both necessary and vital in order to properly understand the semantic representations underlying noun words.Basque Center on Cognition, Brain and Languag

Concrete Thinking for Sculpture

This article proposes to explore the variegated plays of concrete as a travelling concept through four specific examples, viewed from the locality of the Yorkshire Sculpture Triangle in 2015. It will be argued that ‘concrete’ makes possible a triangulated reading practice in, of and for sculpture. The first example looks to the use of concrete, as a material, in some of the ‘technical’ experiments of Henry Moore, from the 1920s-1930s. The second example is the only public concrete sculpture by Barbara Hepworth on record, entitled Turning Forms. This is a kinetic work which was commissioned for the Festival of Britain in 1951. The psychic registrations of form-in-concrete will be explored through the aesthetic reception and understanding of these works. The third example examines the interplay between abstraction and concretion in a work of structural engineering: the Arqiva transmission tower on Emley Moor. This structure is a working utilitarian model of the telecommunications industry which took hold in the 1960s and 1970s. It is also a sculptural monument in a landscape of other design ‘types’. The fourth example considers the recent display of Lygia Clark’s Bichos at the Henry Moore Institute, Leeds, in 2014-2015. Bicho Pássaro do Espaço (‘Creature Passing through Space’) (1960) reveals a particular translation between concrete thinking and concrete experience. These examples call upon the semantics of the concrete as a thought process and will track a journey into a region marked by three interconnected points: the concrete specificity in the material works selected, the broader field of concrete forms within which the sculptural may sit and the philosophical/aesthetic language of concrete for sculpture

Concepts in Action

This open access book is a timely contribution in presenting recent issues, approaches, and results that are not only central to the highly interdisciplinary field of concept research but also particularly important to newly emergent paradigms and challenges. The contributors present a unique, holistic picture for the understanding and use of concepts from a wide range of fields including cognitive science, linguistics, philosophy, psychology, artificial intelligence, and computer science. The chapters focus on three distinct points of view that lie at the core of concept research: representation, learning, and application. The contributions present a combination of theoretical, experimental, computational, and applied methods that appeal to students and researchers working in these fields

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

Феномен синкретизма в украинской лингвистике

У сучасній лінгвістиці вивчення складних системних зв’язків та динамізму мови навряд чи буде завершеним без урахування синкретизму. Традиційно явища транзитивності трактуються як поєднання різних типів утворень як результат процесів трансформації або відображення проміжних, синкретичних фактів, що характеризують мовну систему в синхронному аспекті.In modern linguistics, the study of complex systemic relations and language dynamism is unlikely to be complete without considering the transitivity. Traditionally, transitivity phenomena are treated as a combination of different types of entities, formed as a result of the transformation processes or the reflection of the intermediate, syncretic facts that characterize the language system in the synchronous aspect.В современной лингвистике изучение сложных системных отношений и языкового динамизма вряд ли будет полным без учета синкретизма. Традиционно явления транзитивности трактуются как совокупность различных типов сущностей, сформированных в результате процессов преобразования или отражения промежуточных синкретических фактов, которые характеризуют языковую систему в синхронном аспекте

VIL: A Visual Inter Lingua

As the world becomes smaller through advances in telecommunications, the need for communication between speakers of different languages becomes greater. Concerns about cultural and economic hegemony argue against the use of any natural language, and machine translation is not yet perfected and available to speakers of all languages. With the technological developments of the last decade, such as powerful computers, graphical interfaces, and the World Wide Web, an excellent opportunity has been created for a computer-mediated visual interlingua to meet this need. An iconic language could be designed to take advantage of the technology. People would be able to communicate with an iconic language without the need to draw pictures themselves, since they could choose these pictures from the screen. This dissertation describes VIL, an iconic visual interlingua based on the notion of simplified speech. Similar to pidgins, languages arising from the prolonged contact between people speaking two or more languages, VIL utilizes features that are in the \u27greatest common denominator\u27 of features in different languages. This allows its complexity to be significantly reduced; for example, it has no inflection, no number, gender, or tense markers, and no articles. VIL has no linear order. This is possible because it was designed as a visual language, in contrast to written languages which are the result of a transfer to visual modality of spoken language, which evolved in the context of auditory modality where sequencing and ordering is critical. After reviewing previous research on universal languages that are artificial, non-artificial, and visual, VIL is described in detail, including its parts of speech, its grammar, and its organization for verbs, nouns, and adjectives. Throughout the discussion a set of principles is proposed, some of which are relevant to any universal language, others specific to visual or iconic languages. The development of a set of icons is also presented. Finally, the evaluations of the icons, language, and the system itself are described

Concepts in Action

This open access book is a timely contribution in presenting recent issues, approaches, and results that are not only central to the highly interdisciplinary field of concept research but also particularly important to newly emergent paradigms and challenges. The contributors present a unique, holistic picture for the understanding and use of concepts from a wide range of fields including cognitive science, linguistics, philosophy, psychology, artificial intelligence, and computer science. The chapters focus on three distinct points of view that lie at the core of concept research: representation, learning, and application. The contributions present a combination of theoretical, experimental, computational, and applied methods that appeal to students and researchers working in these fields

Neurocognitive Informatics Manifesto.

Informatics studies all aspects of the structure of natural and artificial information systems. Theoretical and abstract approaches to information have made great advances, but human information processing is still unmatched in many areas, including information management, representation and understanding. Neurocognitive informatics is a new, emerging field that should help to improve the matching of artificial and natural systems, and inspire better computational algorithms to solve problems that are still beyond the reach of machines. In this position paper examples of neurocognitive inspirations and promising directions in this area are given