Linguistic Laws and Compression in a Comparative Perspective: A Conceptual Review and Phylogenetic Test in Mammals

Over the last several decades, the application of “Linguistic Laws” - statistical regularities underlying the structure of language- to studying human languages has exploded. These ideas, adopted from Information Theory, and quantitative linguistics, have been useful in helping to understand the evolution of the underlying structures of communicative systems. Moreover, since the publication of a seminal article in 2010, the field has taken a comparative approach to assess the degree of similarities and differences underlying the organisation of communication systems across the natural world. In this thesis, I begin by surveying the state of the field as it pertains to the study of linguistic laws and compression in nonhuman animal communication systems. I subsequently identify a number of theoretical and methodological gaps in the current literature and suggest ways in which these might be rectified to strengthen conclusions in future and enable the pursuit of novel theoretical questions. In the second chapter, I undertake a phylogenetically controlled analysis, which aims to demonstrate the extent of conformity to Zipf’s Law of Abbreviation in mammalian vocal repertoires. I test each individual repertoire, and then examine the entire collection of repertoires together. I find mixed evidence of conformity to the Law of Abbreviation, and conclude with some implications of this work, and future directions in which it might be extended

The Phylogeny and Function of Vocal Complexity in Geladas

The complexity of vocal communication varies widely across taxa – from humans who can create an infinite repertoire of sound combinations to some non-human species that produce only a few discrete sounds. A growing body of research is aimed at understanding the origins of ‘vocal complexity’. And yet, we still understand little about the evolutionary processes that led to, and the selective advantages of engaging in, complex vocal behaviors. I contribute to this body of research by examining the phylogeny and function of vocal complexity in wild geladas (Theropithecus gelada), a primate known for its capacity to combine a suite of discrete sound types into varied sequences. First, I investigate the phylogeny of vocal complexity by comparing gelada vocal communication with that of their close baboon relatives and with humans. Comparisons of vocal repertoires reveal that geladas – specifically the males – produce a suite of unique or ‘derived’ call types that results in a more diversified vocal repertoire than baboons. Also, comparisons of acoustic properties reveal that geladas produce vocalizations with greater spectro-temporal modulation, a feature shared with human speech, than baboons. Additionally, I show that the same organizational principle – Menzerath’s law – underpins the structure of gelada vocal sequences (i.e., combinations of derived and homologous call types) and human sentences. Second, I investigate the function of vocal complexity by examining the perception of male complex vocal sequences (i.e., those with more derived call types), the contexts in which they are produced, and how their production differs across individuals. A playback experiment shows that female geladas perceive ‘complex’ and ‘simple’ vocal sequences as being different. Then, two observational studies show that male production of complex vocal sequences mediates their affiliative interactions with females, both during neutral periods and periods of uncertainty (e.g., following conflicts). Finally, I find evidence that vocal complexity can act as a signal of male ‘quality’, in that more dominant males exhibit higher levels of vocal complexity than their subordinate counterparts. Collectively, the work presented in this dissertation presents an integrative investigation of the ultimate origins of complex communication systems, and in the process, it highlights the critical importance of approaching the study of complexity from several scientific perspectives.PHDPsychologyUniversity of Michigan, Horace H. Rackham School of Graduate Studieshttps://deepblue.lib.umich.edu/bitstream/2027.42/138479/1/gustison_1.pd

Artist-Programmers and Programming Languages for the Arts

We consider the artist-programmer, who creates work through its description as source code. The artist-programmer grandstands computer language, giving unique vantage over human-computer interaction in a creative context. We focus on the human in this relationship, noting that humans use an amalgam of language and gesture to express themselves. Accordingly we expose the deep relationship between computer languages and continuous expression, examining how these realms may support one another, and how the artist-programmer may fully engage with both. Our argument takes us up through layers of representation, starting with symbols, then words, language and notation, to consider the role that these representations may play in human creativity. We form a cross-disciplinary perspective from psychology, computer science, linguistics, human-computer interaction, computational creativity, music technology and the arts. We develop and demonstrate the potential of this view to inform arts practice, through the practical introduction of software prototypes, artworks, programming languages and improvised performances. In particular, we introduce works which demonstrate the role of perception in symbolic semantics, embed the representation of time in programming language, include visuospatial arrangement in syntax, and embed the activity of programming in the improvisation and experience of art

A Poetics of Time and Timing in the Moving Image

Time is an aesthetic feature of film and the moving image that we cannot see, hear, touch, taste, or smell. Beyond music, it is difficult to imagine an artform that places more importance on time as an aesthetic feature, yet questions surrounding how time affects the emotions in film and other moving images such as television and video have largely been overlooked. Taking an analytic-cognitive approach, my original contribution to knowledge aims to fill this gap by uncovering the ways in which time and the temporal relations between and among images, sounds, actions, and events (or what I will generalise as the 'audio-visual makeup' of film) affect our emotions during film engagement. The general claim of this dissertation is that emotional engagement with a film is not solely the domain of sound and picture, but of time as well. Filmmakers can manipulate the temporal relations within and throughout the audio-visual makeup of a film through cinematic means involving the mise-en-scène, cinematography, and sound. Through a close analysis of examples from predominantly contemporary narrative film with some relevant references to television and video, this dissertation seeks to demonstrate that time and the temporal relations within and throughout the audio-visual makeup of film influence emotional engagement with narrative films. By focusing mainly on three emotion-driven genres, including horror, suspense-thriller, and comedy, my analyses will seek to demonstrate that manipulating the temporal relations within and throughout the audio-visual makeup helps generate emotions. Refining and expanding Susan Feagin's (1999) conceptualisation of timing in film, which she defines as the duration and durational relations between and among images, I develop a theory of affective timing, which aims to explore the ways in which cinematic timing affects viewers emotionally by generating or enhancing affects such as suspense, surprise, and humour. This dissertation argues that just as it matters what happens on screen or in the soundtrack, so too it matters when something happens on screen. In my view, timing is affective when the duration and durational relations within and throughout the audio-visual makeup of a film help generate emotional responses in viewers, which makes affective timing the art of when. By adopting and adapting certain terms from the study of music such as pacing, beats, and rhythm, this dissertation also seeks to advance a productive lexicon for the further discussion of the relationship between the temporal nature of film and emotion or what I call affective temporality

Using MapReduce Streaming for Distributed Life Simulation on the Cloud

Distributed software simulations are indispensable in the study of large-scale life models but often require the use of technically complex lower-level distributed computing frameworks, such as MPI. We propose to overcome the complexity challenge by applying the emerging MapReduce (MR) model to distributed life simulations and by running such simulations on the cloud. Technically, we design optimized MR streaming algorithms for discrete and continuous versions of Conway’s life according to a general MR streaming pattern. We chose life because it is simple enough as a testbed for MR’s applicability to a-life simulations and general enough to make our results applicable to various lattice-based a-life models. We implement and empirically evaluate our algorithms’ performance on Amazon’s Elastic MR cloud. Our experiments demonstrate that a single MR optimization technique called strip partitioning can reduce the execution time of continuous life simulations by 64%. To the best of our knowledge, we are the first to propose and evaluate MR streaming algorithms for lattice-based simulations. Our algorithms can serve as prototypes in the development of novel MR simulation algorithms for large-scale lattice-based a-life models.https://digitalcommons.chapman.edu/scs_books/1014/thumbnail.jp