Social resonance and embodied coordination in face-to-face conversation with artificial interlocutors

Kopp S. Social resonance and embodied coordination in face-to-face conversation with artificial interlocutors. Speech Communication. 2010;52(6):587-597.Human natural face-to-face communication is characterized by inter-personal coordination. In this paper, phenomena are analyzed that yield coordination of behaviors, beliefs, and attitudes between interaction partners, which can be tied to a concept of establishing social resonance. It is discussed whether these mechanisms can and should be transferred to conversation with artificial interlocutors like ECAs or humanoid robots. It is argued that one major step in this direction is embodied coordination, mutual adaptations that are mediated by flexible modules for the top-down production and bottom-up perception of expressive conversational behavior that ground in and, crucially, coalesce in the same sensorimotor structures. Work on modeling this for ECAs with a focus on coverbal gestures is presented. (C) 2010 Elsevier B.V. All rights reserved

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

Critical Thinking in a Digital Age: Argumentation and the projects of new media literacy

Critical thinking unites the modern university in an effort to train students across the curricular to exercise independent, informed judgment. Critical thinking is a useful tool in developing literacy in a time of dominance by the mass media. The development of new communication technologies challenge assumptions guiding critical thinking by giving rise to novel contexts for the production and evaluation of arguments. This paper examines the challenges to revise critical thinking and develop strategies for new media literacy for participatory, digital culture

Composing with theories of emotion in music: a critical commentary

This thesis is given in the form of an exploratory commentary centred on my readings of theories of emotion in music which have directly informed compositional procedures. Rather than presenting a set of compositional techniques as supposed embodiments of certain theories of emotion in a compositional setting, this commentary charts developments in my own compositional thinking and practice which have arisen as a result of a personal engagement with these theories. My role as a musical listener is a key factor in this engagement: it allows me to provide evidence which may validate the theories as viable compositional informants and also allows me to reflect on the musical products of my engagements with the theories to inform further compositional action. The thesis begins by exploring my compositional motivations for, and usage of, linear processes in Chapter 2, before an exposition of a compositional scenario where these processes are nested to allow them to shape different structural levels in Chapter 3. The fourth chapter is concerned with a compositional application of Leonard Meyer’s work on emotion in music which is centred on the concept of a musical expectation, before Chapter 5 explores alternatives to this model. Chapter 6 then considers my work composed in the wake of these theoretical engagements, and viewed in relation to them

Acting like a hedgehog in times of pandemic:Metaphorical creativity in the #reframecovid collection

The need to provide novel but meaningful ways to reason and talk about an unprecedented crisis such as the Covid-19 pandemic has resulted in a surge of creative metaphoric expressions in a variety of communicative settings. In order to investigate novel ways of conceptualizing the pandemic, we consider the metaphors included in the #ReframeCovid collection, a crowdsourced dataset of metaphors for the pandemic that rely on non-war frames. Its heterogeneous makeup of multilingual and multimodal examples (to date, over 550 examples – monomodal and multimodal in 30 languages) offers a unique opportunity to explore the ways in which metaphors have been used creatively to describe different aspects of the coronavirus pandemic. The patterns of metaphor creativity discussed in this paper include: creative realizations (verbal and visual) of wide-scope mappings, the use of one-off source domains, shifts in the valence of the source domain evoked, and the exploitation of source domains that are specific to particular discourse communities. The analysis of multimodal examples contributes to our understanding of the role of metaphor in sense-making and communication at a time of an extraordinary global crisis and will also provide new insights into metaphor creativity as a multidimensional phenomenon that integrates conceptual, discursive and cultural factors

(Dis)Appearing Subjects: Managing Violence Through the Discourse of Bullying

In the early 2000’s, “bullying” became the new center of LGBTQ justice organizing. As part of this development a bullied subject emerged. This bullied person on whose behalf liberation was being sought took various forms from the bullied school shooter, to the cyberbullying victim, to the bullied suicidal queer. As the subtitle of my dissertation suggests, I focus on “managing violence through the discourse of bullying.” This marks a two part process: how the discourse of bullying manages to do violence and how it manages populations biopolitically. This study tackles one of the core paradoxes that inform the formation of these bullied subjects—that is, the terms by which experiences of harassment, assault, and oppression are objected to are often routed through structures of racialized gendered and sexual violence. The grammars that govern the intelligibility of the bullied subject’s victimization, I argue rest on normative logics of differential valuation where racialized gender and sexuality work to afford some bullied subjects recognition of their victimization through rendering queer of color existence disposable, girls worse bullies than those that sexually assault them, justice conditioned on state-sanctioned racial and heteronormative violence, and the very possibility of queer futurity requiring our collective complicity in queer disposability and elimination in the present. By offering three case studies—the bullied school shooter, the cyberbullying victim, and the bullied suicidal queer—this study reveals what happens when forms of violence are offered recognition as “bullying” and toward what end

Robert Wilson and an Aesthetic of Human Behaviour in the Performing Body

This practice-based research investigates movement and gesture in relation to the theatre work of Robert Wilson. A group of performers was established to explore Wilson’s construction of a code of movement during a series of over fifty workshops and films including: a feature film Oedipus; a live performance Two Sides to an Envelope; and a theatre production The Mansion’s Third Unbridled View. The creation of an embodied experience for the spectator, perceived through the senses, is central to Wilson’s theatre. Integral to this are the relationships between drama and image, and time and space. Wilson’s images, in which the body is presented in attitudes of stillness and repetition, are created through these transitional structures. Taking these structures as a starting point for my own performative work, the research led to an abstracted form of natural behaviour, where the movements and arrangements of bodies defined specific movement forms. Subsequently, the relationship between movement and images in Wilson’s theatre was reconsidered through Deleuze’s analysis of the cinematic image. Deleuze identifies subjectivity with the ‘semi-subjective image’, in which traces of the camera’s movements are imprinted in the film. In films made to register these movements, images of moving bodies evincing a sense of time passing were also created. This led to my discovery of film as a direct embodiment of performance, rather than as a form of documentation. Critical to these films, the theatre production, performances, and workshops was the relationship between images and continuous motion predicated upon Wilson’s idea of space, the horizontal: and time, the vertical. This idea enabled me to consider Wilson’s theatre and video works in relation to Bergson’s philosophy concerning duration. The research discovered new ways of interpreting Wilson’s aesthetic through Bergson’s idea that motion is an indivisible process which can also be perceived in relation to the position of bodies in space. Through this understanding, an original performance language was created based on the relationship between stasis and motion, and the interplay between the immersive, semiotic and instrumental modes of gestural communication

Sonic diaspora, vibrations and rhythm: thinking through the sounding of the Jamaican dancehall session

The propagation of vibrations may provide a better way of understanding diasporic spread than the conventional focus on the circulation of products (Hall 1980, Appadurai 1986, 1996, Gilroy 1993a, Brah 1996). Jamaican sound systems operate as a broadcast medium and a source of CDs, DVDs and other commercial products (Henriques 2007a). But the dancehall sound system session also propagates a broad spectrum of frequencies diffused through a range of media and activities - described as “sounding” (following Small’s 1998 concept of “musicking”). These include the material vibrations of the signature low-pitched auditory frequencies of Reggae as a bass culture (Johnson 1980), at the loudness of “sonic dominance” (Henriques 2003). Secondly a session propagates the corporeal vibrations of rituals, dance routines and bass-line “riddims” (Veal 2007). Thirdly it propagates the ethereal vibrations (Henriques 2007b), “vibes” or atmosphere of the sexually charged popular subculture by which the crowd (audience) appreciate each dancehall session as part of the Dancehall scene (Cooper 2004). The paper concludes that thinking though vibrating frequencies makes it easier to appreciate how audiences with no direct or inherited connection with a particular music genre can be energetically infected and affected - to form a sonic diaspora

Orientalism Restated in the Era of COVID-19

This essay bridges a gap between an analysis of anti-Asian targeting and an analysis of Orientalism. Because histories of Orientalism and anti-Asian targeting pre-date the current moment, I demonstrate the centrality of Orientalism to the evolution of xenophobic language and sentiment in U.S.-foreign historical relations. I recount instances of anti-Asian, xenophobic, and “Yellow-Peril” rhetoric in the wake of the global COVID-19 pandemic. In doing so, I examine the racialization of COVID-19 as a trope of orientalism. This racialization, I argue, places the Asian-presenting body in a state of heightened visibility, precarity, and susceptibility to plunder. The newfound precarity of the Asian body has been redefined in terms of the epidemiology of COVID-19 and illustrates how today’s Orientalism has been reactivated within the phenomenological space of the human body