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

Microgenesis, immediate experience and visual processes in reading

The concept of microgenesis refers to the development on a brief present-time scale of a percept, a thought, an object of imagination, or an expression. It defines the occurrence of immediate experience as dynamic unfolding and differentiation in which the ‘germ’ of the final experience is already embodied in the early stages of its development. Immediate experience typically concerns the focal experience of an object that is thematized as a ‘figure’ in the global field of consciousness; this can involve a percept, thought, object of imagination, or expression (verbal and/or gestural). Yet, whatever its modality or content, focal experience is postulated to develop and stabilize through dynamic differentiation and unfolding. Such a microgenetic description of immediate experience substantiates a phenomenological and genetic theory of cognition where any process of perception, thought, expression or imagination is primarily a process of genetic differentiation and development, rather than one of detection (of a stimulus array or information), transformation, and integration (of multiple primitive components) as theories of cognitivist kind have contended. My purpose in this essay is to provide an overview of the main constructs of microgenetic theory, to outline its potential avenues of future development in the field of cognitive science, and to illustrate an application of the theory to research, using visual processes in reading as an example

Spectators’ aesthetic experiences of sound and movement in dance performance

In this paper we present a study of spectators’ aesthetic experiences of sound and movement in live dance performance. A multidisciplinary team comprising a choreographer, neuroscientists and qualitative researchers investigated the effects of different sound scores on dance spectators. What would be the impact of auditory stimulation on kinesthetic experience and/or aesthetic appreciation of the dance? What would be the effect of removing music altogether, so that spectators watched dance while hearing only the performers’ breathing and footfalls? We investigated audience experience through qualitative research, using post-performance focus groups, while a separately conducted functional brain imaging (fMRI) study measured the synchrony in brain activity across spectators when they watched dance with sound or breathing only. When audiences watched dance accompanied by music the fMRI data revealed evidence of greater intersubject synchronisation in a brain region consistent with complex auditory processing. The audience research found that some spectators derived pleasure from finding convergences between two complex stimuli (dance and music). The removal of music and the resulting audibility of the performers’ breathing had a significant impact on spectators’ aesthetic experience. The fMRI analysis showed increased synchronisation among observers, suggesting greater influence of the body when interpreting the dance stimuli. The audience research found evidence of similar corporeally focused experience. The paper discusses possible connections between the findings of our different approaches, and considers the implications of this study for interdisciplinary research collaborations between arts and sciences

Survey of the State of the Art in Natural Language Generation: Core tasks, applications and evaluation

This paper surveys the current state of the art in Natural Language Generation (NLG), defined as the task of generating text or speech from non-linguistic input. A survey of NLG is timely in view of the changes that the field has undergone over the past decade or so, especially in relation to new (usually data-driven) methods, as well as new applications of NLG technology. This survey therefore aims to (a) give an up-to-date synthesis of research on the core tasks in NLG and the architectures adopted in which such tasks are organised; (b) highlight a number of relatively recent research topics that have arisen partly as a result of growing synergies between NLG and other areas of artificial intelligence; (c) draw attention to the challenges in NLG evaluation, relating them to similar challenges faced in other areas of Natural Language Processing, with an emphasis on different evaluation methods and the relationships between them.Comment: Published in Journal of AI Research (JAIR), volume 61, pp 75-170. 118 pages, 8 figures, 1 tabl

Metaphorical patterns in Anthropocene fiction

This article explores metaphorical language in the strand of contemporary fiction that Trexler discusses under the heading of ‘Anthropocene fiction’ – namely, novels that probe the convergence of human experience and geological or climatological processes in times of climate change. Why focus on metaphor? Because, as cognitive linguists working in the wake of Lakoff and Johnson have shown, metaphor plays a key role in closing the gap between everyday, embodied experience and more intangible or abstract realities – including, we suggest, the more-than-human temporal and spatial scales that come to the fore with the Anthropocene. In literary narrative, metaphorical language is typically organized in coherent clusters that amplify the effects of individual metaphors. Based on this assumption, we discuss the results of a systematic coding of metaphorical language in three Anthropocene novels by Margaret Atwood, Jeanette Winterson, and Ian McEwan. We show that the emergent metaphorical patterns enrich and complicate the novels’ staging of the Anthropocene, and that they can destabilize the strict separation between human experience and nonhuman realities

The metaphorical construction of complex domains:the case of speech activity in English.

In this article I provide an account of the way in which the domain of spoken communication is metaphorically constructed in English, on the basis of the analysis of over 450 metaphorical references to speech activity in a corpus of contemporary written British English. I show how spoken communication is mainly structured via a set of source domains that conventionally apply to a wide variety of target domains, such as the source domains of MOTION, PHYSICAL TRANSFER, PHYSICAL CONSTRUCTION, and PHYSICAL SUPPORT. Each of these source domains structures a particular aspect of speech activity, such as the achievement of communicative goals, the expression of meanings and ideas, the performance of speech acts, the negotiation of mutual relationships, and so on. I suggest that the particular conceptual mappings that underlie the main patterns in my data are best seen in terms of Grady's (1997) notion of primary metaphors, that is, as simple, basic mappings that have a firm experiential basis and that apply to a wide range of different areas of experience (e.g., "HELP/ASSISTANCE IS SUPPORT"). However, I also show that the main primary metaphors involved in structuring the domain of speech activity can be combined into a single overall physical scenario in which interactants can move in different directions, place themselves in different positions in relation to each other, come into contact with each other in different ways, physically produce texts/utterances/speech acts, physically pass texts/utterances/speech acts to each other, and make meanings visible to each other in different ways. Finally, I argue that a corpus-based methodology has much to offer to metaphor research, particularly in the extrapolation of conceptual metaphors from linguistic data

The role of empathy between cognition and aesthetic sense-making : the case of tragedy and the myth of Medea

Adopting a phenomenological and cognitive semiotic approach, the dissertation defines and discusses empathy and the empathic process highlighting its role in intersubjective contexts and encounters, as well as a tool for comprehension of the unity between observer and artistic object. This peculiar form of knowledge pertains to the original experience of outer objects’ perception, which is influenced by memory of previous knowledge, reservoir of meaning in the phenomenal unity with the other (Zahavi 2010, 2012), and different cognitive devices (metaphors, narrative and semantic domains) which contribute to the shift from observation to comprehension. The dissertation aims to explain how empathy’s epistemic attitude allows an embodied form of understanding, which occurs in the narratological experience of another subject’s states and the aesthetic contemplation of artistic works. In this context, meaning is profoundly linked with emotional, physical and mental dimensions of sense-making: the dissertation analyses visual, embodied and cognitive reactions evoked by aesthetic stimuli and the way spectators’ patterns of consciousness are able to emotionally respond to the experience of artworks. Furthermore, the theoretical study on empathy is applied to the examination of tragedy, acknowledging its relevance in shaping the evolution of literary and performative representation through time. Addressing the significative particularities of tragedy and its characters, the research will focus on the myth of Medea across history, both in its literary depiction by Euripides (432 BC) and the film adaptation directed by Pier Paolo Pasolini (1969).Adoptando uma abordagem baseada na fenomenologia e na semiótica cognitiva, a dissertação define e discute a empatia e o processo empático destacando o seu papel em contextos e encontros intersubjectivos, bem como enquanto instrumento para a compreensão da ligação entre observador e objecto artístico. Esta forma particular de conhecimento pertence à experiência original da percepção dos objectos exteriores, que é influenciada pela memória de conhecimentos anteriores, reservatório de significado na unidade fenomenal com o outro (Zahavi 2010, 2012), e diferentes dispositivos cognitivos (metáforas, domínios narrativos e semânticos) que contribuem para a passagem da observação à compreensão. A dissertação visa explicar como a atitude epistémica da empatia permite uma forma coporealizada (embodied) de compreensão, que ocorre na experiência narratológica dos estados de outro sujeito e na contemplação estética das obras artísticas. Neste contexto, o significado está profundamente ligado às dimensões emocional, física e mental do processo de fazer sentido: a dissertação analisa as reacções visuais, corporais e cognitivas evocadas pelos estímulos estéticos e a forma como os padrões de consciência dos espectadores são capazes de responder emocionalmente à experiência das obras de arte. Além disso, o estudo teórico sobre empatia é aplicado ao estudo da tragédia, reconhecendo a sua relevância na forma de evolução desta representação literária e performativa ao longo do tempo. Abordando as particularidades significativas da tragédia e das suas personagens, este trabalho centrar-se-á no mito de Medeia ao longo da história, tanto na sua representação literária por Eurípedes (432 a.C.) como na adaptação cinematográfica de Pier Paolo Pasolini (1969)

The Representation of Form, Field and Transformation in Psychotherapy

The material reported in this paper has grown out of an ongoing dialogue between a psychiatrist and a computer scientist. The former is concerned with the development of meaningful communication between an expert practitioner in psychotherapy and trainees especially within the context of supervision, and the latter with the characterisation of complex domains of knowledge in relation to the possible development of computer-based support systems. The challenge of the ongoing study reported here has been to analyse some of the key concepts in the psychiatrist’s domain of expertise with the result of developing a visual metaphor for helping to integrate and clarify these concepts

The Effect of Valence and Arousal on Spatial Attention

Conceptual metaphor theory suggests that to mentally represent abstract concepts we use metaphorical associations to map them onto more concrete constructs (Lakoff & Johnson, 1980; 1999). Using a choice reaction time (CRT) task, Meier and Robinson (2004) found that positively valenced words primed attention to higher areas in vertical space, while negatively valenced words primed attention to lower areas in vertical space, consistent with the good is up/bad is down conceptual metaphor. Meier and Robinson (2004; 2005) suggest this provides evidence that emotional words create an automatic and obligatory metaphor-congruent shift in spatial attention, driven by a Valence x Position interaction. However, other research shows that the arousal level, not just the valence of emotional words can affect reaction time (Robinson, Storbeck, Meier & Kirkeby, 2004). This means concluding that valence alone is driving the shift in attention is premature. Furthermore, Brookshire, Irvy and Casasanto (2010) dispute Meier and Robinson’s claim that the relationship between affect and metaphor is automatic, instead suggesting that affect-metaphor associations are optional and only accessed under certain contextual conditions. The purpose of this thesis was therefore two-fold. First, it aimed to explore whether valence, arousal, or an interaction between the two was responsible for driving the metaphor-consistent shift in spatial attention observed by Meier and Robinson (2004). Second, it aimed to progress the discussion about when affective stimuli, in the form of emotional words, automatically activate the good is up/bad is down conceptual metaphor. Three CRT experiments were conducted in which (a) emotional stimulus words were differentiated by arousal level as well as valence and (b) the evaluation of stimulus words’ affective tone (pleasant/unpleasant) was manipulated. A Valence x Position interaction in relation to the good is up but not bad is down conceptual metaphor was found when the valence of priming words was evaluated, suggesting valence, rather than arousal or a combination of both, is driving the affect-metaphor relationship. No evidence for the automatic activation of affect-metaphor associations was found when the word’s affective tone was not evaluated. These findings suggest that while driven by valence, affect-metaphor associations are not fully automatic and occur only under certain contextual conditions. The implications for our understanding of how emotion impacts spatial attention are discussed, suggesting metaphors enrich, rather than monopolise our mental representation of abstract, affective concepts

Study of Art Plaza Circulation Theory and Shape of Art Plaza

The circulation system is a vital linking infrastructure that connects various activities and uses land on an area and inside a building that considers functional, economic, flexibility and comfort aspects. The explanation of this theory emphasizes the uniqueness of the building itself. So that there are various shapes of buildings in an effort to adjust to environmental conditions, climate, and natural surroundings. As a result, the resulting building has a special shapeation in accordance with the idea of an architect