Image Schemas and Conceptual Dependency Primitives: A Comparison

A major challenge in natural language understanding research in artificial intelligence (AI) has been and still is the grounding of symbols in a representation that allows for rich semantic interpretation, inference, and deduction. Across cognitive linguistics and other disciplines, a number of principled methods for meaning representation of natural language have been proposed that aim to emulate capacities of human cognition. However, little cross-fertilization among those methods has taken place. A joint effort of human-level meaning representation from AI research and from cognitive linguistics holds the potential of contributing new insights to this profound challenge. To this end, this paper presents a first comparison of image schemas to an AI meaning representation system called Conceptual Dependency (CD). Restricting our study to the domain of physical and spatial conceptual primitives, we find connections and mappings from a set of action primitives in CD to a remarkably similar set of image schemas. We also discuss important implications of this connection, from formalizing image schemas to improving meaning representation systems in AI

Blending under deconstruction

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The Yoneda Path to the Buddhist Monk Blend

Mazzola et al. propose a metaphor to describe the process by means of which an open question is solved in a creative way, likening it to the manner by which, due to the Yoneda Lemma of category theory, the internal structure of any object is completely characterised by a diagram of certain selected objects and morphisms. Building upon this metaphor, we explore how the creativity underlying conceptual blending could be characterised by diagrams of image schemas. We further illustrate this by providing a formalisation of the Buddhist Monk riddle and of the blend that solves it, together with a computational realisation that views conceptual blending as an amalgam-based process of generalisation and colimit computatio

Posthuman Creative Styling can a creative writer’s style of writing be described as procedural?

This thesis is about creative styling — the styling a creative writer might use to make their writing unique. It addresses the question as to whether such styling can be described as procedural. Creative styling is part of the technique a creative writer uses when writing. It is how they make the text more ‘lively’ by use of tips and tricks they have either learned or discovered. In essence these are rules, ones the writer accrues over time by their practice. The thesis argues that the use and invention of these rules can be set as procedures. and so describe creative styling as procedural. The thesis follows from questioning why it is that machines or algorithms have, so far, been incapable of producing creative writing which has value. Machine-written novels do not abound on the bookshelves and writing styled by computers is, on the whole, dull in comparison to human-crafted literature. It came about by thinking how it would be possible to reach a point where writing by people and procedural writing are considered to have equal value. For this reason the thesis is set in a posthuman context, where the differences between machines and people are erased. The thesis uses practice to inform an original conceptual space model, based on quality dimensions and dynamic-inter operation of spaces. This model gives an example of the procedures which a posthuman creative writer uses when engaged in creative styling. It suggests an original formulation for the conceptual blending of conceptual spaces, based on the casting of qualities from one space to another. In support of and informing its arguments are ninety-nine examples of creative writing practice which show the procedures by which style has been applied, created and assessed. It provides a route forward for further joint research into both computational and human-coded creative writing