Iconicity, the resemblance between the form of a word and its meaning, has effects on behavior in both communicative symbol development and language learning experiments. These results have invited speculation about iconicity being a key feature of the origins of language, yet the presence of iconicity in natural languages seems limited. In a diachronic study of language change, we investigated the extent to which iconicity is a stable property of vocabulary, alongside previously investigated psycholinguistic predictors of change. Analyzing 784 English (...) words with data on their historical forms, we found that stable words are higher in iconicity, longer in length, and earlier acquired during development, but that the role of frequency and grammatical category may be less important than previously suggested. Iconicity is revealed as a feature of ultra-conserved words and potentially also as a property of vocabulary early in the history of language origins. (shrink)

This article suggests an iconic turn in cultural sociology. Icons can be seen, it is argued, as symbolic condensations that root social meanings in material form, allowing the abstractions of cognition and morality to be subsumed, to be made invisible, by aesthetic shape. Meaning is made iconically visible, in other words, by the beautiful, sublime, ugly, or simply by the mundane materiality of everyday life. But it is via the senses that iconic power is made. This new approach to (...) meaning is compared with others — with materialism, semiotics, aestheticism, moralism, realism, and spiritualism. (shrink)

This paper is divided into three sections. In the first section we offer a retooling of some traditional concepts, namely icons and symbols, which allows us to describe an evolutionary continuum of communication systems. The second section consists of an argument from theoretical biology. In it we explore the advantages and disadvantages of phenotypic plasticity. We argue that a range of the conditions that selectively favor phenotypic plasticity also favor a nongenetic transmission system that would allow for the inheritance (...) of acquired characters. The first two sections are independent, the third depends on both of them. In it we offer an argument that human natural languages have just the features required of an ideal transmission mechanism under the conditions described in section 2. (shrink)

In language, recombination of a discrete set of meaningless building blocks forms an unlimited set of possible utterances. How such combinatorial structure emerged in the evolution of human language is increasingly being studied. It has been shown that it can emerge when languages culturally evolve and adapt to human cognitive biases. How the emergence of combinatorial structure interacts with the existence of holistic iconic form-meaning mappings in a language is still unknown. The experiment presented in this paper studies the role (...) of iconicity and human cognitive learning biases in the emergence of combinatorial structure in artificial whistled languages. Participants learned and reproduced whistled words for novel objects with the use of a slide whistle. Their reproductions were used as input for the next participant, to create transmission chains and simulate cultural transmission. Two conditions were studied: one in which the persistence of iconic form-meaning mappings was possible and one in which this was experimentally made impossible. In both conditions, cultural transmission caused the whistled languages to become more learnable and more structured, but this process was slightly delayed in the first condition. Our findings help to gain insight into when and how words may lose their iconic origins when they become part of an organized linguistic system. (shrink)

According to one important proposal, the difference between perception and cognition consists in the representational formats used in the two systems (Carey, 2009; Burge, 2010; Block, 2014). In particular, it is claimed that perceptual representations are iconic, or image-like, while cognitive representations are discursive, or language-like. Taking object perception as a test case, this paper argues on empirical grounds that it requires discursive label-like representations. These representations segment the perceptual field, continuously pick out objects despite changes in their features, and (...) abstractly represent high-level features, none of which appears possible for purely iconic representations. (shrink)

Mathematical notation includes a vast array of signs. Most mathematical signs appear to be symbolic, in the sense that their meaning is arbitrarily related to their visual appearance. We explored the hypothesis that mathematical signs with iconic aspects—those which visually resemble in some way the concepts they represent—offer a cognitive advantage over those which are purely symbolic. An early formulation of this hypothesis was made by Christine Ladd in 1883 who suggested that symmetrical signs should be used to convey commutative (...) relations, because they visually resemble the mathematical concept they represent. Two controlled experiments provide the first empirical test of, and evidence for, Ladd's hypothesis. In Experiment 1 we find that participants are more likely to attribute commutativity to operations denoted by symmetric signs. In Experiment 2 we further show that using symmetric signs as notation for commutative operations can increase mathematical performance. (shrink)

Recent experiments have shown that people iconically modulate their prosody corresponding with the meaning of their utterance. This article reports findings from a story reading task that expands the investigation of iconic prosody to abstract meanings in addition to concrete ones. Participants read stories that contrasted along concrete and abstract semantic dimensions of speed and size. Participants read fast stories at a faster rate than slow stories, and big stories with a lower pitch than small stories. The effect of speed (...) was distributed across the stories, including portions that were identical across stories, whereas the size effect was localized to size-related words. Overall, these findings enrich the documentation of iconicity in spoken language and bear on our understanding of the relationship between gesture and speech. (shrink)

This review covers experimental approaches to sound-symbolism—from infants to adults, and from Sapir’s foundational studies to twenty-first century product naming. It synthesizes recent behavioral, developmental, and neuroimaging work into a systematic overview of the cross-modal correspondences that underpin iconic links between form and meaning. It also identifies open questions and opportunities, showing how the future course of experimental iconicity research can benefit from an integrated interdisciplinary perspective. Combining insights from psychology and neuroscience with evidence from natural languages provides us with (...) opportunities for the experimental investigation of the role of sound-symbolism in language learning, language processing, and communication. The review finishes by describing how hypothesis-testing and model-building will help contribute to a cumulative science of sound-symbolism in human language. (shrink)

Emotions can be insensitive to certain attributes of a situation: Fear of flying is not always reduced by remembering air crash probabilities. A large body of evidence shows that information on probabilities, large numerical counts, and intentions is frequently disregarded in the elicitation and regulation of emotions. To date, no existing theory comprehensively accounts for the features that tend to be overlooked by emotion. In this paper, I call attention to the common denominator of such features: they do not contribute (...) to the iconic representation of events. For instance, the exceedingly low probability of a plane crash does not affect its imagistic representation (i.e., the iconic representation of the event is silent about the event’s probability). This paper introduces the Iconic Prioritization Hypothesis, positing that the prioritization of input in the iconic format by emotions can explain the neglect of information that is representationally silent in this format. Delving into the causes of this format prioritization, I argue that emotion might favour iconicity as it is the format of immediate information about our surroundings (perception) and of stored first-hand evidence (episodic memory). Lastly, the hypothesis's compatibility with philosophical theories of emotion causation and its implications for experimental research are examined. (shrink)

This book consolidates and extends the authors’ work on the connection between iconicity and abductive inference. It emphasizes a pragmatic, experimental and fallibilist view of knowledge without sacrificing formal rigor. Within this context, the book focuses particularly on scientific knowledge and its prevalent use of mathematics. To find an answer to the question “What kind of experimental activity is the scientific employment of mathematics?” the book addresses the problems involved in formalizing abductive cognition. For this, it implements the concept and (...) method of iconicity, modeling this theoretical framework mathematically through category theory and topoi. Peirce's concept of iconic signs is treated in depth, and it is shown how Peirce's diagrammatic logical notation of Existential Graphs makes use of iconicity and how important features of this iconicity are representable within category theory. Alain Badiou’s set-theoretical model of truth procedures and his relational sheaf-based theory of phenomenology are then integrated within the Peircean logical context. Finally, the book opens the path towards a more naturalist interpretation of the abductive models developed in Peirce and Badiou through an analysis of several recent attempts to reformulate quantum mechanics with categorical methods. Overall, the book offers a comprehensive and rigorous overview of past approaches to iconic semiotics and abduction, and it encompasses new extensions of these methods towards an innovative naturalist interpretation of abductive reasoning. (shrink)

Iconicity refers to a resemblance between word form and meaning. Previous work has shown that iconic words are learned earlier and processed faster. Here, we examined whether iconic words are recognized better on a recognition memory task. We also manipulated the level at which items were encoded—with a focus on either their meaning or their form—in order to gain insight into the mechanism by which iconicity would affect memory. In comparison with non‐iconic words, iconic words were associated with a higher (...) false alarm rate, a lower d’ score, and a lower response criterion in Experiment 1. We did not observe any interaction between iconicity and encoding condition. To test the generalizability of these findings, we examined effects of iconicity in a recognition memory megastudy across 3880 items. After controlling for a variety of lexical and semantic variables, iconicity was predictive of more hits and false alarms, and a lower response criterion in this dataset. In Experiment 2, we examined whether these effects were due to increased feelings of familiarity for iconic items by including a familiar versus recollect decision. This experiment replicated the overall results of Experiment 1 and found that participants were more likely to categorize words that they had seen before as familiar (vs. recollected) if they were iconic. Together, these results demonstrate that iconicity has an effect on memory. We discuss implications for theories of iconicity. (shrink)

Short‐term memory in vision is typically thought to divide into at least two memory stores: a short, fragile, high‐capacity store known as iconic memory, and a longer, durable, capacity‐limited store known as visual working memory (VWM). This paper argues that iconic memory stores icons, i.e., image‐like perceptual representations. The iconicity of iconic memory has significant consequences for understanding consciousness, nonconceptual content, and the perception–cognition border. Steven Gross and Jonathan Flombaum have recently challenged the division between iconic memory and VWM (...) by arguing against the idea of capacity limits in favor of a flexible resource‐based model of short‐term memory. I argue that, while VWM capacity is probably governed by flexible resources rather than a sharp limit, the two memory stores should still be distinguished by their representational formats. Iconic memory stores icons, while VWM stores discursive (i.e., language‐like) representations. I conclude by arguing that this format‐based distinction between memory stores entails that prominent views about consciousness and the perception–cognition border will likely have to be revised. (shrink)

Iconicity is a relationship of resemblance between the form and meaning of a sign. Compelling evidence from diverse areas of the cognitive sciences suggests that iconicity plays a pivotal role in the processing, memory, learning, and evolution of both spoken and signed language, indicating that iconicity is a general property of language. However, the language‐specific aspect of iconicity, illustrated by the fact that the meanings of ideophones in an unfamiliar language are hard to guess (e.g., shigeshige ‘staring at something’ in (...) Japanese), remains to be fully investigated. In the present study, native speakers of Japanese and English rated the iconicity and familiarity of Japanese ideophones (e.g., gatagata ‘rattling’, butsubutsu ‘murmuring’) and their English equivalents (e.g., rattle, murmur). Two main findings emerged: (1) individuals generally perceived their native language as more iconic than their non‐native language, replicating the previous findings in signed language, and (2) the familiarity of words in their native language boosted their perceived iconicity. These findings shed a light on the language‐specific, subjective, and acquired nature of iconicity. (shrink)

Palast der Republik, by the photographer Christoph Rokitta, is an independent photobook published in 2013 in Berlin. In the photobook different semiotic resources are coupled in order to iconically model the demolition of the homonymous building in Berlin. In opposition to the trivial notion of icon as sign that stands for its object in a relation of similarity, we analyze the photobook as an icon whose main feature is the possibility of discovering information about its object through its manipulation. This (...) specific feature is called operational criterion for iconicity, and it stresses the inherent quality of icons of revealing information available through their manipulation and observation. Our aim is to describe and analyze the relations between semiotic resources in this photobook by exploring the operational criterion of iconicity, and models as epistemic artifacts. We are interested in how couplings between semiotic resources in the photobook can iconically model a spatio-temporal process. (shrink)

The essay proposes a notion of “icon” understood, according to the paradigm born of the Second Council of Nicaea, as a visible image of the invisible qua invisible. In this light, the distinctive feature of the icon-image is its ability to manifest the paradoxical identity-difference relationship that links visible and invisible, and, consequently, representable and unrepresentable, immanence and transcendence, eternity and time. By offering itself as the privileged place for the presentation of an absence and of a “withdrawal”, the icon (...) is distinguished in the first place by its apophatic and kenotic character. In this sense, the salient trait of the icon is its constitutive disquiet: it is founded on the “relational economy” of the image, which implies the need of an incessant articulation of the relation between visible and invisible. We can thus see in the icon the paradigm itself of “great art”: indeed, like the icon, great art is always primarily characterised by its disquiet, that is its ability to make transcendence appear in immanence, the Other of the visible appear in the visible. (shrink)

This paper concerns the role of the structural properties of representations in determining the nature of their content. I take as a starting point Fodor's (2007) and Heck's (2007) recent arguments making the iconic structure of perceptual representations essential in establishing their content as content of a different (nonconceptual) kind. I argue that the prima facie state–content error this strategy seems to display is nothing but a case of “state–content error error,” i.e., the mistake of considering that the properties that (...) characterize the type of content certain representations have are indeed independent of their structural properties. I also consider another objection to the general strategy, namely that it falls short of showing that the nonconceptual content of perceptual experiences thus established is the kind of content that figures in true explanations of intentional behavior. I concede this point in respect of Fodor's version of the strategy, while denying that it has any bearing on Heck's approach. The success of this objection in Heck's case ultimately depends, I argue, upon an unjustified commitment to a certain empirically suspect model of perception. (shrink)

The Call for Papers invokes a history of thinking about images in terms of Western traditions, culminating in the ‘apocalyptic discourses of today’s cultural climate’ Jacques Rancière describes in The future of the image. Not considered in this scenario are other ways of looking at, being moved by, thinking about, going with and feeling through images, which I will unfold in this paper. Starting with filmmaker Merata Mita from Aotearoa New Zealand, who contrasts living images of her ancestors in documentaries, (...) ‘very much alive’ to her, with outsiders’ selective collecting of those images ; linking with Natalie Robertson’s tracing of takiaho, by which descendants keep connections with their ancestors in film fragments alive; I will also remember Aby Warburg’s notion of Nachleben – the ‘survival’, ‘continuity’ and ‘metamorphosis’ of images and motifs, and finally engage Mitchell’s consideration of a road not taken by Rancière in contemplating The future of the image. The paper explores a range of experiences, actions, reflections and emotions bundled in the terms appropriation and iconicity: from engaged encounters to consumptive misuse in the first case, from fleeting celebrity fame to a particular form of material presence that contributes to identification and community building in the latter. By bringing Māori and Pacific ways of thinking together with minor European thought traditions the paper shows that images, as appearance into visibility and doability, can not only connect the imagination with reality. They can also open up new and old realms of possibilities through affective and effective iconicity. Whether or not this can happen depends on the prevailing kind of belonging. (shrink)

While it has become commonplace to use the term “icon” in philosophy of religion, it is an “icon” modeled after the resources of language. We find this for example in the recent Blackfriars article by Adam Glover, which despite its intention to treat the icon as an image, reduces it once again to a general form of reference which immediately feeds back into the linguistic. But might the icon have resources unique to its character as an image that can help (...) us understand what is meant by the paradoxical task of making visible the invisible God? This article takes up this task in conversation with the work of Jean-Luc Marion. (shrink)

Many sign languages display crosslinguistic consistencies in the use of two iconic aspects of handshape, handshape type and finger group complexity. Handshape type is used systematically in form-meaning pairings (morphology): Handling handshapes (Handling-HSs), representing how objects are handled, tend to be used to express events with an agent (“hand-as-hand” iconicity), and Object handshapes (Object-HSs), representing an object's size/shape, are used more often to express events without an agent (“hand-as-object” iconicity). Second, in the distribution of meaningless properties of form (morphophonology), Object-HSs (...) display higher finger group complexity than Handling-HSs. Some adult homesigners, who have not acquired a signed or spoken language and instead use a self-generated gesture system, exhibit these two properties as well. This study illuminates the development over time of both phenomena for one child homesigner, “Julio,” age 7;4 (years; months) to 12;8. We elicited descriptions of events with and without agents to determine whether morphophonology and morphosyntax can develop without linguistic input during childhood, and whether these structures develop together or independently. Within the time period studied: (1) Julio used handshape type differently in his responses to vignettes with and without an agent; however, he did not exhibit the same pattern that was found previously in signers, adult homesigners, or gesturers: while he was highly likely to use a Handling-HS for events with an agent (82%), he was less likely to use an Object-HS for non-agentive events (49%); i.e., his productions were heavily biased toward Handling-HSs; (2) Julio exhibited higher finger group complexity in Object- than in Handling-HSs, as in the sign language and adult homesigner groups previously studied; and (3) these two dimensions of language developed independently, with phonological structure showing a sign language-like pattern at an earlier age than morphosyntactic structure. We conclude that iconicity alone is not sufficient to explain the development of linguistic structure in homesign systems. Linguistic input is not required for some aspects of phonological structure to emerge in childhood, and while linguistic input is not required for morphology either, it takes time to emerge in homesign. (shrink)

Iconicity, or the resemblance between form and meaning, is often ascribed to a special status and contrasted with default assumptions of arbitrariness in spoken language. But does iconicity in spoken language have a special status when it comes to learnability? A simple way to gauge learnability is to see how well something is retrieved from memory. We can further contrast this with guessability, to see (1) whether the ease of guessing the meanings of ideophones outperforms the rate at which they (...) are remembered; and (2) how willing participants’ are to reassess what they were taught in a prior task—a novel contribution of this study. We replicate prior guessing and memory tasks using ideophones and adjectives from Japanese, Korean, and Igbo. Our results show that although native Cantonese speakers guessed ideophone meanings above chance level, they memorized both ideophones and adjectives with comparable accuracy. However, response time data show that participants took significantly longer to respond correctly to adjective–meaning pairs—indicating a discrepancy in a cognitive effort that favored the recognition of ideophones. In a follow‐up reassessment task, participants who were taught foil translations were more likely to choose the true translations for ideophones rather than adjectives. By comparing the findings from our guessing and memory tasks, we conclude that iconicity is more accessible if a task requires participants to actively seek out sound‐meaning associations. (shrink)

This study aims to find out whether speakers of different language backgrounds (English, French, Spanish, and Macedonian) are sensitive to semantic associations (‘fluid’ and ‘forcible contact’) attached respectively to two purported phonaesthemes (/fl-/ and /tr-/). Participants completed the task in oral and written conditions. They had to match phonaestheme-related definitions with either of two non-words (one phonaestheme-bearing and the other containing a distractor). The results obtained indicate that participants significantly chose non-words beginning with /tr-/ when the definition activated a meaning (...) related to forcible contact, and non-words starting with /fl-/ when the definitions made reference to fluids in the four languages. The results point to the existence of non-arbitrary sound-meaning relations. A corpus-driven study of frequencies of lemmas and word tokens starting with the purported phonaesthemes also sheds light on the possible origin of the phonaesthemic associations, suggesting that both iconicity and systematicity motivate such associations. The results obtained are interpreted in the context of a functional, usage-based model of language, which can accommodate the existence of iconic tendencies, the role of learning and linguistic experience in language, and arbitrariness. (shrink)

Philosophy and Phenomenological Research, EarlyView.

This article studies the cognitive and communicative effects of typographical iconicity in poetry from the perspective of relevance theory. It argues that the visual aspect pertaining to an instance of typographical iconicity conveys a sensory impression, which perceptually resembles elements of the semantic material represented via the typographical iconicity’s lexical aspect. It is suggested that the non-propositional information relating to this impression can trigger the derivation of a wide array of weak implicatures which can combine to form an impressionistic and (...) indeterminate cognitive state described within relevance theory as a poetic effect. Furthermore, since the added effort, which the typographical iconicity requires to be perceived and processed, is offset by the derived implicatures, the use of typographical iconicity may be said to produce an optimally relevant level of processing. (shrink)

Modern microscopes create a capacity to see and act at the scale where unassisted human senses are powerless. Images of nanoscale phenomena represent a world that effectively intervenes in human life while remaining distant and ineffable. This combination of an unbridgeable distance between man and technology with a real power of the latter over the human condition is characteristic, not only of nanotechnology, but also of the theology of sacred icons that mediate in the knowledge of divine reality. We (...) draw an anthropological analogy between nanotechnological images and sacred icons, and we employ it to analyze the functioning of such images in society. The questions that we study include: a) the art of mediation in representing the ineffable and its necessity; b) the effects provoked by such images; c) primitive comprehension of nanoscale images. This work has repercussions for a wide variety of disciplinary accounts and practices, from the anthropologist and the philosopher to the laboratory scientist, the art critic, and the engineer who conceives and designs nanoscale instruments. (shrink)

It is often claimed that pre-attentive vision has an ‘iconic’ format. This is seen to explain pre-attentive vision's characteristically high processing capacity and to make sense of an overlap in the mechanisms of early vision and mental imagery. But what does the iconicity of pre-attentive vision amount to? This paper considers two prominent ways of characterising pre-attentive visual icons and argues that neither is adequate: one approach renders the claim ‘pre-attentive vision is iconic’ empirically false while the other obscures (...) its ability to do the explanatory work, which motivates positing pre-attentive visual icons in the first place. With this noted, I introduce the notion of an ‘Analogue Map’ and argue that it provides a superior characterisation of pre-attentive vision's iconicity. I then argue that this forces a reassessment of debates which have traditionally presupposed the iconicity of pre-attentive vision, emphasising ramifications for the viability of a format-based perception-thought border. (shrink)

When naming certain hand-held, man-made tools, American Sign Language signers exhibit either of two iconic strategies: a handling strategy, where the hands show holding or grasping an imagined object in action, or an instrument strategy, where the hands represent the shape or a dimension of the object in a typical action. The same strategies are also observed in the gestures of hearing nonsigners identifying pictures of the same set of tools. In this paper, we compare spontaneously created gestures from hearing (...) nonsigning participants to commonly used lexical signs in ASL. Signers and gesturers were asked to respond to pictures of tools and to video vignettes of actions involving the same tools. Nonsigning gesturers overwhelmingly prefer the handling strategy for both the Picture and Video conditions. Nevertheless, they use more instrument forms when identifying tools in pictures, and more handling forms when identifying actions with tools. We found that ASL signers generally favor the instrument strategy when naming tools, but when describing tools being used by an actor, they are significantly more likely to use more handling forms. The finding that both gesturers and signers are more likely to alternate strategies when the stimuli are pictures or video suggests a common cognitive basis for differentiating objects from actions. Furthermore, the presence of a systematic handling/instrument iconic pattern in a sign language demonstrates that a conventionalized sign language exploits the distinction for grammatical purpose, to distinguish nouns and verbs related to tool use. (shrink)

When one tries to determine what the iconic dimension of thought consists in for Peirce and what its range is, one might have the impression that his remarks on this matter are inconsistent. For instance, on the one hand he writes the following: Remember it is by icons only that we really reason, and abstract statements are valueless in reasoning except so far as they aid us to construct diagrams. The sectaries of the opinion I am combating seem, on (...) the contrary, to suppose that reasoning is performed with abstract "judgments," and that an icon is of use only as enabling me to frame abstract statements as premisses. In an apparently similar fashion, Peirce argues that the predicate of a... (shrink)

Sometimes form-meaning mappings in language are not arbitrary, but iconic: they depict what they represent. Incorporating iconic elements of language into a compositional semantics faces a number of challenges in formal frameworks as evidenced by the lengthy literature in linguistics and philosophy on quotation/direct speech, which iconically portrays the words of another in the form that they were used. This paper compares the well-studied type of iconicity found with verbs of quotation with another form of iconicity common in sign languages: (...) classifier predicates. I argue that these two types of verbal iconicity can, and should, incorporate their iconic elements in the same way using event modification via the notion of a context dependent demonstration. This unified formal account of quotation and classifier predicates predicts that a language might use the same strategy for conveying both, and I argue that this is the case with role shift in American Sign Language. Role shift is used to report others’ language and thoughts as well as their actions, and recently has been argued to provide evidence in favor of Kaplanian “monstrous” indexical expressions. By reimagining role shift as involving either quotation for language demonstrations or “body classifier” predicates for action demonstrations, the proposed account eliminates one major argument for these monsters coming from sign languages. Throughout this paper, sign languages provide a fruitful perspective for studying quotation and other forms of iconicity in natural language due to their lack of a commonly used writing system which is otherwise often mistaken as primary data instead of speech, the rich existing literature on iconicity within sign language linguistics, and the ability of role shift to overtly mark the scope of a language report. In this view, written language is merely a special case of a more general phenomenon of sign and speech demonstration, which accounts more accurately for natural language data by permitting more strict or loose verbatim interpretations of demonstrations through the context dependent pragmatics. (shrink)

For a sign to be a sign it must bond an object, a signifier, and the idea to which it gives rise. The paper focuses on the iconicity of silence as a hypoiconic signifier, exploring the semiotics of silence in light of the notions and studies of iconicity. Fascinating parallelisms hold between iconicity and silence. These raise many challenges to the study of each separately, let alone dealing with them jointly. Some icons and some silences are qualities in the (...) real world, others are semiotic forms standing for or denoting objects. Simple, intuitive qualities of iconicity and of silence are naturally grasped and shared from antiquity to the present by cultures and peoples. The paper employs Peirce’s initial basic trichotomy of iconic classes as well as his later hierarchies for studying the iconic stance of silence as a hypoiconic signifier. Analyzing and illustrating the possible complexities between forms, contents, their relations and their interpretations, group hypoiconic silences into silence as an image, silence as a diagram, and silence as a metaphor. (shrink)

This essay review explores Steven Mithen’s interdisciplinary approach to the origins and evolution of language in _The Language Puzzle_ ( 2024 ). It focuses mainly on what I call his _iconic vocal origins hypothesis_. Mithen challenges the prevalent gestural origins hypothesis, suggesting instead that early prehistoric languages were predominantly vocal and iconic, with conventionalization – as characteristic of symbol use – emerging later. _The Language Puzzle_ draws on research from archaeology, philosophy, computer science, developmental psychology, and many other fields, thus (...) assembling a wealth of insights from various disciplines. While intriguing, Mithen’s suggestion that prehistoric languages may have relied on iconicity instead of conventionalization faces substantial problems, which are discussed in this review essay. In the final section, I also briefly review the important conclusion chapter of Mithen’s book, which contains an imaginative outline of how language evolved from the last common ancestor up until modern _H. sapiens._ My criticisms of the iconic vocal origins hypothesis notwithstanding, _The Language Puzzle_ is a valuable resource for anyone interested in language evolution, and once again showcases Mithen’s wide-ranging expertise and masterful writing. (shrink)

We argue that some sign language loci (i.e. positions in signing space that realize discourse referents) are both formal variables and simplified representations of what they denote; in other words, they are simultaneously logical symbols and pictorial representations. We develop a 'formal semantics with iconicity' that accounts for their dual life; the key idea ('formal iconicity') is that some geometric properties of signs must be preserved by the interpretation function. We analyze in these terms three kinds of iconic effects in (...) American and French Sign Language (ASL and LSF): (i) structural iconicity, where relations of inclusion and complementation among loci are directly reflected in their denotations; (ii) locus-external iconicity, where the high or low position of a locus in signing space has a direct semantic reflex, akin to the semantic contribution of gender features of pronouns; and (iii) locus-internal iconicity, where different parts of a structured locus are targeted by different directional verbs, as was argued by Liddell and Kegl. The resulting semantics combines insights of two traditions that have been sharply divided by recent debates. In line with the 'formalist camp' (e.g. Lillo-Martin and Klima, Neidle, and Sandler and Lillo-Martin), our theory treats loci as variables, and develops an explicit formal analysis of their behavior. But we also incorporate insights of the 'iconic camp', which emphasized the role of iconic constraints in sign language in general and in pronominals in particular (e.g. Cuxac, Taub, Liddell). However, this synthesis is only possible if formal semantics makes provisions for iconic requirements at the very core of its interpretive procedure. (An Appendix discusses relevant data from Italian Sign Language [LIS].). (shrink)

It is common to distinguish two great families of representation. Symbolic representations include logical and mathematical symbols, words, and complex linguistic expressions. Iconic representations include dials, diagrams, maps, pictures, 3-dimensional models, and depictive gestures. This essay describes and motivates a new way of distinguishing iconic from symbolic representation. It locates the difference not in the signs themselves, nor in the contents they express, but in the semantic rules by which signs are associated with contents. The two kinds of rule have (...) divergent forms, occupying opposite poles on a spectrum of naturalness. Symbolic rules are composed entirely of primitive juxtapositions of sign types with contents, while iconic rules determine contents entirely by uniform natural relations with sign types. This distinction is marked explicitly in the formal semantics of familiar sign systems, both for atomic first-order representations, like words, pixel colors, and dials, and for complex second-order representations, like sentences, diagrams, and pictures. (shrink)

Using a cross-modal semantic priming paradigm, both experiments of the present study investigated the link between the mental representations of iconic gestures and words. Two groups of the participants performed a primed lexical decision task where they had to discriminate between visually presented words and nonwords (e.g., flirp). Word targets (e.g., bird) were preceded by video clips depicting either semantically related (e.g., pair of hands flapping) or semantically unrelated (e.g., drawing a square with both hands) gestures. The duration of gestures (...) was on average 3,500 ms in Experiment 1 but only 1,000 ms in Experiment 2. Significant priming effects were observed in both experiments, with faster response latencies for related gesture–word pairs than unrelated pairs. These results are consistent with the idea of interactions between the gestural and lexical representational systems, such that mere exposure to iconic gestures facilitates the recognition of semantically related words. (shrink)

God revealed to man during the history of his salvation in two ways: through word and through image. In other words, the divine message was addressed to the hearing and seeing of man. In the second case, revelation was achieved in a complete form. Man was part of a theophanic act, he was enveloped by the divine light and with the help of his spiritual eyes he was able to see, as much as it was permitted, God who is light. (...) This light was not completely strange to man, even though he could not see it with his physical eyes. The uncreated light that God made even from the first day of creation did not disappear when the great light were put in the sky. It had the purpose to arrange creation and to be the environment within which man could meet God and talk to Him face to face. Even though the fall took man out of sight, God established that from time to time this bright environment should be revealed to man in order to call him back to the life within light. These presentations of the Lord in the light of His glory continued after His incarnation. The mystical experiences of the Fathers of the Church constitute a testimony to this respect. But seeing this divine light is not reserved exclusively to the mystics, but may be experienced, partly, by the faithful nowadays. The present study endeavours to provide contemporary man with the necessary premises to experience the sight of the deifying light by means of religious imagery. Whether we have in view icons painted on wood or walls or stained glass imagery, they all contain, hidden within, the kind of light which, once experienced, illuminates man and fills him with light. (shrink)

The barest awareness of the ubiquity and influence of the media today provides proof enough that our fate is in the hands of the image. But when and how was this fate sealed? _Image, Icon, Economy_ considers this question and recounts an essential thread in the conceptualization of visual images within the Western tradition. This book argues that the extraordinary force of the image in contemporary life—the contemporary imaginary—can be traced back to the Byzantine iconoclastic controversy of the eighth and (...) ninth centuries. It was during this period that the church was compelled to produce an account of the theological status of the religious image that would nevertheless not be open to even the slightest suspicion of idolatry. The solution arrived at was the dual doctrine of the _image_, _invisible_ and the _icon_, _visible_, and thus perfectly fitted to be placed at the center of a pedagogical and political strategy serving the temporal power of the church. The foundations of this immense philosophical enterprise were laid in no less than the multifarious, interwoven strands of the divine _economy_, God's overall plan for the salvation of humanity. (shrink)

Grammatical asymmetries in possessive constructions are overtly coded in about 18% of the world’s languages according to the World Atlas of Language Structures What primarily motivates these grammatical asymmetries is controversial and has been at the crux of the “iconicity vs. frequency” debate This paper contributes to this debate by focusing on the grammatical asymmetries of Paamese possessive constructions, and looking for the primary motivating factor in their multidimensional experiential context. After a careful account of four experiential dimensions of distance, (...) the degrees of experiential distance are shown to systematically correspond to the degrees of formal distance of the possessive constructions used to refer to these experiences. Relevant anthropological and linguistic data concerning Paamese is used to explore whether this correspondence between language and experience is primarily motivated by iconicity or economy. I argue that diagrammatic iconicity is the primary motivating factor for the grammatical asymmetries in Paamese possessive constructions, and that economy can account for some, but not all cases. I also show that economy and iconicity can collaborate in motivating some cases, and thus do not necessarily need to be opposed. (shrink)

Investigations of iconicity in language, whereby interactants coordinate meaningful bodily actions to create resemblances, are prevalent across the human communication sciences. However, when it comes to analysing and comparing iconicity across different interactions and modes of communication, it is not always clear we are looking at the same thing. For example, tokens of spoken ideophones and manual depicting actions may both be analysed as iconic forms. Yet spoken ideophones may signal depictive and descriptive qualities via speech, while manual actions may (...) signal depictive, descriptive, and indexical qualities via the shape, movement, and placement of the hands in space. Furthermore, each may co-occur with other semiotics articulated with the face, hands, and body within composite utterances. The paradigm of iconicity as a single property is too broad and coarse for comparative semiotics, as important details necessary for understanding the range of human communicative potentialities may be masked. Here, we draw on semiotic approaches to language and communication, including the model of language as signalled via describing, indicating and/or depicting and the notion of non-referential indexicality, to illustrate the multidimensionality of iconicity in co-present interactions. This builds on our earlier proposal for analysing how different methods of semiotic signalling are combined in multimodal language use. We discuss some implications for the language and communication sciences and explain how this approach may inform a theory of biosemiotics. (shrink)

Public discourse on religious matters is a sensitive issue in Romania. It has raised heated debates for at least two reasons: on the one hand, the repressive policy of the Communist regime concerning religion created a strong boomerang-effect, a religious renaissance after 1989; on the other hand, there is a deep cleavage between the “two Romanias:” the urban and the rural, the modernized and the traditionalist, the liberal and the conservative. Religion still serves as a major cultural marker of national (...) identity, and the church is one of the most trusted institutions in Romania. We are exploring the hypothesis that the 2006-2007 religious icon scandal in Romania is a typical example of heated public debate in a transitional society. (shrink)

Maps and realist pictures comprise prominent sub-classes of iconic representations. The most basic, most important sub-class is perception. Other types are drawings, photographs, musical notations, diagrams, bar graphs, abacuses, hieroglyphs, and color chits.

In lieu of an abstract, here is a brief excerpt of the content:IconsEwa HarabaszArtistEwa Harabasz was born in Czestochowa, Poland. She currently lives and paints in New York City, where she is represented by The Luxe Gallery. Her paintings have been recently featured in several solo shows in Poland, most recently at Galeria BWA in Bielsko Biala, Le Guern in Warsaw, Galeria Miejska Arsenal in Poznan, and Galeria Wozownia in Torun. Her work was also featured in a solo exhibition at (...) the Luxe Gallery in New York. Her paintings have been included in a number of group shows including “Poza” at Real Art Ways in Hartford (see the catalog, “Poza: On the Polishness of Polish Contemporary Art”). Ewa Harabasz's new work will be presented in 2008 as part of the group show “Identity and Otherness in the Face of Anxiety” at the Socio-Political Contemporary Art Museum in Jerusalem, Israel.Harabasz has worked in church and religious art conservation in Italy and Poland, and grew up in Czestochowa, the seat of a Polish national religious shrine—a Byzantine icon called “Black Madonna.” She has been a visiting assistant professor at Cornell University since 2005.StatementThe images painted by Ewa Harabasz present themselves as ambiguous “icons”: it is unclear whether they refer to media representations of present-day war and destruction or to religious or spiritual iconography. Harabasz appropriates mass media images from the wars in Bosnia and Iraq, the Beslan tragedy, and London underground transportation terrorism by using photographic transfer methods combined with painting on wood in the style of inspirational religious art. Harabasz insists that the spectacle inherent in her images is a critical reflection on how the destruction and horror of human suffering in war and terrorism is often glamorized and dramatized, and turned into present-day pseudo-icons by the mass media to be consumed by the public as a “redeeming” experience. Writer Dora Apel cautions viewers to reflect “that these works are less analogous to the Byzantine icons of Harabasz's native Poland than the International Gothic paintings of the late Middle Ages, which demanded of religious art that it correlate with people's everyday experience. Paintings of the fourteenth and fifteenth centuries employed an extensive use of gold to create a sumptuous surface but combined it with a radical naturalism. The images ultimately pictured the workings of secular power, combined with religious figures. This came about at a time when religion focused increasingly on human and humane concerns. Similarly Harabasz uses a spiritual lens to focus on worldly experience, achieving, for modern sensibilities, the same elegance, coloristic splendor, narrative detail, and lyricism as those earlier medieval works.”Harabasz says that despite her obvious references to the Madonna images and other religious iconography, she wishes these images to be viewed as “false icons.” While saints and martyrs are immortalized via religious art, the survivors and victims whom media notoriously immortalize had no choice in their suffering. [End Page 81] Click for larger view View full resolution[End Page 82] Click for larger view View full resolution[End Page 83] Click for larger view View full resolution[End Page 84] Click for larger view View full resolution[End Page 85] Click for larger view View full resolution[End Page 86] Click for larger view View full resolution[End Page 87] Click for larger view View full resolution[End Page 88] Click for larger view View full resolution[End Page 89]Copyright © 2008 The Johns Hopkins University Press... (shrink)

Some twenty years after the term <I>iconic turn has been coined, and with a deluge of digital images, videos and animations surrounding, indeed invading, the learning environment, it appears that educational science, and the everyday practice of education, still very much labour under the impact of the past dominance of alphabetic literacy. But while educators clearly need to retain a measure of conservatism, maintain an acute sense for the logic of the written text and preserve the ability to handle extended (...) hardcopy documents, they have to rise to the task, also, of exploiting the potentials of online networked communication, the constant presence of images, both static and moving, and the continuous interplay of words and images. (shrink)

In this article, the role of abductive reasoning within Peirce's diagrammatic reasoning is discussed. Both abduction and diagrammatic reasoning bring in elements of discovery but it is not clear if abduction should be a part of a fully developed diagrammatic system or not for Peirce. This relates to Peirce's way of interpreting abduction in his later writings. Iconicity and perceptual elements as a basis for discoveries are analyzed, both in deductive and abductive reasoning. At the end, the role of modern (...) ideas of distributed cognition applied to the Peircean scheme is shortly delineated. (shrink)

This paper explores the role of iconicity in spoken language and other human communication systems. First, we concentrate on graphical and gestural communication and show how semantically motivated iconic signs play an important role in creating such communication systems from scratch. We then consider how iconic signs tend to become simplified and symbolic as the communication system matures and argue that this process is driven by repeated interactive use of the signs. We then consider evidence for iconicity at the level (...) of the system in graphical communication and finally draw comparisons between iconicity in graphical and gestural communication systems and in spoken language. (shrink)