In the contemporary scene, psychological researchers seeking alternative research strategies are turning increasingly toward interpretation theory. However, other strategies are also available, and one of these is descriptive science. Descriptive practices as the basis for the clarification of meanings have received less emphasis because of several epistemological assumptions about meaning that have appeared in the literature of interpretive science. Based upon the work of contemporary transcendental philosophers, especially J. N. Mohanty, this article argues that a descriptive scientific perspective can (...) respond to some of the hermeneutic arguments about meaning and that solid findings can be established descriptively. It is argued that both description and interpretation are legitimate but that they are tied to different conditions and interests. (shrink)

Most everyday tasks involve multiple modalities, which raises the question of how the processing of these modalities is coordinated by the cognitive system. In this paper, we focus on the coordination of visual attention and linguistic processing during speaking. Previous research has shown that objects in a visual scene are fixated before they are mentioned, leading us to hypothesize that the scan pattern of a participant can be used to predict what he or she will say. We test this (...) hypothesis using a data set of cued scene descriptions of photo-realistic scenes. We demonstrate that similar scan patterns are correlated with similar sentences, within and between visual scenes; and that this correlation holds for three phases of the language production process (target identification, sentence planning, and speaking). We also present a simple algorithm that uses scan patterns to accurately predict associated sentences by utilizing similarity-based retrieval. (shrink)

The research presents and describes the scenes of men on the seal impressions of Tell Abu Sha'af from the Iraqi Museum, which came from the excavations of the Iraqi mission at the Tell Abu Sha'af site in 1978, which lasted for five months, and revealed 800 clay blocks (Bulla) of different shapes, sizes and colors, and the number of impressions found in a building known as the fortified palace. Some of the impressions are damaged, some are broken, and others are (...) clear, bearing different scenes, based on which they were divided into several groups. The results of the excavations were published in the Sumer magazine in a special issue on the excavations of the Hamrin Dam Basin, and the impressions remained preserved in the stores of the Iraqi Museum, and since then they have not received a study that would reveal their nature and importance. Among the 800 clay blocks discovered at the site of Tell Abu Sha'af, (81) pieces of seal impressions (unpublished) were selected and studied in detail. They were dated by comparison to the period of the Sassanid occupation in Mesopotamia. In this study, we relied on the practical, descriptive and analytical method. Accordingly, these impressions were divided into four main groups (the group of scenes of men, the group of decorations and inscriptions, the group of animal scenes, and the group of mythical creatures). Our research is limited to the first group, which includes scenes of men only, and we chose only twelve models from it. In this study, we relied on the practical, descriptive and analytical method as well as comparison. (shrink)

When looking at a scene, observers feel that they see its entire structure in great detail and can immediately notice any changes in it. However, when brief blank fields are placed between alternating displays of an original and a modified scene, a striking failure of perception is induced: identification of changes becomes extremely difficult, even when changes are large and made repeatedly. Identification is much faster when a verbal cue is provided, showing that poor visibility is not the (...) cause of this difficulty. Identification is also faster for objects mentioned in brief verbal descriptions of the scene. These results support the idea that observers never form a complete, detailed representation of their surroundings. In addition, results also indicate that attention is required to perceive change, and that in the absence of localized motion signals it is guided on the basis of high-level interest. (shrink)

This study investigates to what extent the amount of variation in a visual scene causes speakers to mention the attribute color in their definite target descriptions, focusing on scenes in which this attribute is not needed for identification of the target. The results of our three experiments show that speakers are more likely to redundantly include a color attribute when the scene variation is high as compared with when this variation is low (even if this leads to overspecified (...) descriptions). We argue that these findings are problematic for existing algorithms that aim to automatically generate psychologically realistic target descriptions, such as the Incremental Algorithm, as these algorithms make use of a fixed preference order per domain and do not take visual scene variation into account. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Pictorial Description as a Supplement for Narrative:The Labour of Augeas' Stables in Heracles LeontophonosGraham ZankerIn this article I propose to explore the pictorialism of the twenty– fifth poem of the Theocritean corpus, uncertainly ascribed to Theocritus and entitled Heracles Leontophonos by Callierges.1 In the course of my discussion I wish to address a contention by A. S. F. Gow2 that "The three parts of the poem... can be (...) fitted into the story [of the cleaning of the stables of Augeas] told by Apollodorus [2.5.5], and the reader can, if he chooses, reconstruct a context for them. Except in the most general way, however, he is neither obliged nor invited to do so: the poet's themes are the landscape and the conversation, and insofar as he is concerned with the Labours at all his subject is the Nemean lion, whose death is narrated in Part iii, rather than the stables of Augeas." I shall suggest that the landscape and other detail is in fact so insistent that it plays no such superficial and passive role, but does indeed invite the reader to reconstruct the myth. In particular I shall attempt to demonstrate how the author uses pictorial detail, in a manner strikingly analogous to procedures observable in contemporary Hellenistic fine art or at least discernible in later copies, to enable the reader to construct the narrative of the formal setting of the poem, i.e., Heracles' cleaning of the stables of Augeas, even though the episode is not related directly in the poem.In Realism in Alexandrian Poetry3 I briefly examined the remarkable pictorialism of Idyll 25. I concentrated on the author's care to impose pictorial coherence on Heracles' narrative of his defeat of the Nemean lion, with Heracles in the final assault standing and astride the back of the beast, his thighs squeezing its flanks, his heels holding its back paws down, and throttling it from behind with his arms around its neck (266–71).4 I also tried to bring out the author's deployment of pictorialism [End Page 411] to motivate the poem's tripartite narrative: the lion–skin arousing the Farmhand's curiosity concerning its wearer's identity (62–67); the skin provoking the bull, Phaethon, the protector of the herd (142–44); and the skin confirming to Phyleus that he is correct in guessing that his companion is the slayer of the Nemean lion (174–76). My discussion of the piece appeared in a chapter on the pictorial realism of the poets who were more or less demonstrably following the lead of Callimachus on the aesthetic principles appropriate to contemporary poetry, and whom I thus chose to consider as a movement. I argued that the historically appropriate term for pictorial realism, or visually precise and vivid description, is enargeia; the ecphrasis of the Greek rhetors from the Imperial and subsequent periods, of which enargeia is an aim, is attested later than enargeia.5 I hope here to be able to fill out the picture I sketched of the deployment of pictorialism in Heracles Leontophonos.In art criticism it has been recognised for some time that a prominent [End Page 412] feature of Hellenistic art is the appeal to the imagination of the viewer, when, for example, we have the representation of a moment prior to the climax of an act, so that the viewer can construct the denouement from the perspective of anticipation, or when the viewer is invited to supplement in his or her imagination details of a scene which have not been actually represented. P. H. von Blanckenhagen ("Betrachter") applied the term "der ergänzende Betrachter" to the viewer enticed to go through this process. So, to use some of his examples, it is the viewer who surprises the Crouching Aphrodite ascribed to Doidalsas, causing her to attempt to hide her sexual beauty. In the case of the Ludovisi Gaul and his Wife, it is the viewer who is to supply the object of the Gaul's stare, his victorious advancing enemy. The upward gaze of the Terme Boxer is directed at the viewer himself, in expression of the athlete's exhaustion. I would... (shrink)

This study provides evidence that eye movements reflect the positions of objects while participants listen to a spoken description, retell a previously heard spoken description, and describe a previously seen picture. This effect is equally strong in retelling from memory, irrespective of whether the original elicitation was spoken or visual. In addition, this effect occurs both while watching a blank white board and while sitting in complete darkness. This study includes 4 experiments. The first 2 experiments measured eye (...) movements of participants looking at a blank white board. Experiment 1 monitors eye movements of participants on 2 occasions: first, when participants listened to a prerecorded spoken scene description; second, when participants were later retelling it from memory. Experiment 2 first monitored eye movements of participants as they studied a complex picture visually, and then later as they described it from memory. The second pair of experiments (Experiments 3 and 4) replicated Experiments 1 and 2 with the only difference being that they were executed in complete darkness. This method of analysis differentiated between eye movements that are categorically correct relative to the positions of the whole eye gaze pattern (global correspondence) and eye movements that are only locally correct (local correspondence). The discussion relates the findings to the current debate on mental imagery. (shrink)

According to the "confrontation model," integrated history and philosophy of science operates like an empirical science. It tests philosophical accounts of science against historical case studies much like other sciences test theory against data. However, the confrontation model's critics object that historical facts can neither support generalizations nor genuinely test philosophical theories. Here I argue that most of the model's defects trace to its usual framing in terms of two problematic accounts of empirical inference: the hypothetico-deductive method and enumerative induction. (...) This framing can be taken to suggest an unprofitable one-off confrontation between particular historical facts and general philosophical theories. I outline more recent accounts of empirical inquiry, which describe an iterative back-and-forth movement between concrete empirical exemplars to their abstract descriptions. Reframed along similar lines, the confrontation model continues to offer both conceptual insight and practical guidance for a naturalized philosophy of science. (shrink)

This paper shows how the method of cohesion analysis in film provides a strong foundation for constructing coherent filmic narrative across different spatial and temporal settings. Until now the unit of a fine-grained systematic analysis of film viewers' narrative comprehension has been anchored in the shot. This paper provides a semiotic descriptive tool of filmic cohesion for analyzing elements within and across shots, i.e., how viewers comprehend the presenting and tracking of dominant narrative elements such as characters, objects, and settings (...) as a film unfolds. In addition, this paper also reviews the Neo-Formalist exploration of cinematic cohesion and then demonstrates how the semiotics-oriented method suggested here can support more systematically and even strengthen the Neo-Formalist account. Most importantly, this article will explicitly show the potential of this tool for providing empirical accounts of filmic narrative construction by analyzing scene transitions in Wong Kar Wai's film 2046 (2004). (shrink)

The lines come from the messenger's speech describing the attack of the Delphians on Neoptolemus, a passage which I have discussed elsewhere in connexion with the tradition of Neoptolemus as inventor of the armed Pyrrhic dance. LSJ seem to be in several minds about the meaning and connexion of some of the words describing the missiles used by the Delphians. S.v. ‘σφαγεύς’, they give ‘sacrificial knife, spit’ uniquely of a word elsewhere meaning ‘slayer, murderer’, etc.. S.v. ‘βουπόρος’, they cite ἀμφωβόλοι (...) σφαγῆς … βουπόροι ‘spitst fit to pierce an ox's throat’—i.e. taking σφαγῆς as gen. sing., rather oddly dependent on βουπόροι. S.v. ‘ἔκλυτος’, they quote this passage, again uniquely, in the sense ‘easy to let go, light, buoyant, of missiles’. This last seems even less likely than Wecklein's ohne Riemen or the Budé's doubles dards sans poignée, which presumably invoke a rather frigid contrast of the true javelins fitted with thongs and the spits, sharp at both ends, which were pressed into service of a similar sort, but of course had to be thrown without this attachment: but these implements could hardly be described as ἔκλυτοι of thongs which they never had at all in the first place!With Murray's punctuation, since a combination of a, b, c τε, d is scarcely credible, σφαγῆς βουπόροι is presumably not to be taken as the description of a separate type of weapon, but as an explanatory appositional phrase with ἀμφώβολοι. This interpretation is found in the schol, ὀβελίσκοι σφάττειν δυνάμενοι and followed by Hermann and Paley. (shrink)

I propose to demonstrate the clinical plausibility of the ‘psychotherapy scene’ of the Bacchae, which is subjected here to a purely psychiatric analysis: all my interpretations and conjectures are based on clinical data and psychiatric theory only. Euripides' objective and rational treatment of the irrational, the accuracy of his descriptions of abnormal behaviour, which are compatible, down to the last detail, with descriptions found in modern psychiatric texts, and his capacity to present not simply a partial list of symptoms, (...) but a coherent clinical picture are taken for granted and will not be discussed further in the present context. The focus of my enquiry is exclusively the psychiatric plausibility of Euripides' description of the psychotherapeutic process.It goes without saying that, since ‘instant cures’ are impossible, Euripides condensed a normally fairly long procedure into a single scene, selectively high-lighting only what would be the crucial moments of a real psychotherapy. His summary of the psychotherapy is as satisfactory as that of a modern psychiatrist. In fact, Euripides' masterly selectivity actually facilitates the understanding of the psychodynamics of Agave's recovery. This enables me to comment on the Euripidean text in exactly the same way as I commented on the verbatim transcript of the psychotherapy of one of my Plains Indian patients. (shrink)

When producing a description of a target referent in a visual context, speakers need to choose a set of properties that distinguish it from its distractors. Computational models of language production/generation usually model this as a search process and predict that the time taken will increase both with the number of distractors in a scene and with the number of properties required to distinguish the target. These predictions are reminiscent of classic findings in visual search; however, unlike models (...) of reference production, visual search models also predict that search can become very efficient under certain conditions, something that reference production models do not consider. This paper investigates the predictions of these models empirically. In two experiments, we show that the time taken to plan a referring expression—as reflected by speech onset latencies—is influenced by distractor set size and by the number of properties required, but this crucially depends on the discriminability of the properties under consideration. We discuss the implications for current models of reference production and recent work on the role of salience in visual search. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ethics and Politics in Tagore, Coetzee, and Certain Scenes of TeachingGayatri Chakravorty Spivak (bio)It is practically persuasive that the eruption of the ethical interrupts and postpones the epistemological—the undertaking to construct the other as object of knowledge, an undertaking never to be given up. Lévinas is the generic name associated with such a position. A beautiful passage from Otherwise than Being lays it out, although neither interruption nor postponement (...) is mentioned. That connection is made by Derrida [Adieu 51-59].Here, then, is Lévinas, for whom Kant's critical perspectivization of the subject and the rigorous limits of pure theoretical reason seem to have been displaced by the structuralist hermeneutics of suspicion. For Lévinas, structuralism did not attend to what in Kant was the mechanism that interrupted the constrained and rigorous workings of pure reason: "The interests that Kant discovered in theoretical reason itself, he subordinated to practical reason, become mere reason. It is just these interests that are contested by structuralism, which is perhaps to be defined by the primacy of theoretical reason" [Otherwise than Being 58; trans. modified].The relationship between the postponement of the epistemological in Lévinas and the subordination of pure reason in Kant is a rich theme, beyond the scope of this essay. Let us return to what Lévinas will perceive as a general contemporary hermeneutics of suspicion, related to the primacy of theoretical reason: "The suspicions engendered by psychoanalysis, sociology and politics weigh on human identity such that we never know to whom we are speaking and what we are dealing with when we build our ideas on the basis of the human fact."1 The political calculus thematizes this suspicion into an entire code of strategy defined as varieties of game theory and rational choice. This can be verified across cultural difference, backwards through history, and in today's global academic discourse. Over against this Lévinas posits the ethical with astonishing humility: "but we do not need this knowledge in the relationship in which the other is the one next to me [le prochain]" [Otherwise 59].Kant thought that the ethical commonality of being (gemeines Wesen—repeatedly mistranslated as "the ethical state") cannot form the basis of a state. Surprisingly, there is a clear line from the face-to-face of the ethical to the state in Lévinas.2 It has long [End Page 17] been my habit to scavenge and tinker in the field of practical philosophy. I will conserve from Kant the discontinuity between the ethical and the political, from Lévinas the discontinuity between the ethical and the epistemological. I will suggest that the discontinuities between the ethical and the epistemological and political fields are tamed in the nestling of logic and rhetoric in fiction.3Enabled by such a suggestion, I can move to another bit of prose on that page in Lévinas: "for reasons not at all transcendental but purely logical, the object-man must figure at the beginning of all knowing."The figure of the "I" as object: this representation of the holy man in Lévinas does not match our colloquial and literal expectations. My general suggestion, that the protocol of fiction gives us a practical simulacrum of the graver discontinuities inhabiting (and operating?) the ethico-epistemic and the ethico-political, can, however, take such a figure on board. I will continue to want to say that fiction offers us an experience of the discontinuities that remain in place "in real life." That would be a description of fiction as an event—an indeterminate "sharing" between writer and reader, where the effort of reading is to taste the impossible status of being figured as object in the web of the other. Reading, in this special sense, is sacred.In this essay I consider not only fiction as event but also fiction as task. I locate in Rabindranath Tagore (1861-1941) and J. M. Coetzee (1940-) representations of what may be read as versions of the "I" figured as object and weave the representations together as a warning text for postcolonial political ambitions.4 I am obviously using "text" as "web," coming from Latin texere—"to... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviews 85 RUSSELL’S CONTRIBUTION TO PHILOSOPHY OF LANGUAGE James Connelly Philosophy, Trent U. Peterborough, on k9l 1z6, Canada [email protected] Graham Stevens. The Theory of Descriptions: Russell and the Philosophy of Language. Basingstoke, uk: Palgrave Macmillan, 2011. Pp. xiii, 197. isbn: 978-0230 -20116-3. £50; us$85. ver the past decade, Graham Stevens has built his reputation as a lucid, durable, and oftentimes ground-breaking historian of analytic philosophy. His latest book, entitled (...) TheTheory of Descriptions: Russell and the Philosophy of Language, will only add to that burgeoning scholarly legacy. If it has not been established already, this book will doubtless cement Stevens’ place amongst the leading Russell scholars in the world today. It may very well herald Stevens ’ arrival on the scene as a noteworthy contributor to contemporary philosophy of language as well. The central goal of the book is “to bring the historical and purely philosophical analyses of [Russell’s] work into closer alignment” (p. 3). Stevens hopes to overcome a “striking disparity” (p. 2) in the ways that Russell’s contributions to the philosophy of language have been conceived by expositors of his philosophy, on the one hand, versus philosophers of language, on the other. In particular, though contemporary philosophers of language would tend to view Russell’s enormous contribution to that subject as being “undeniable” (p. 1), and to be “bewildered” (p. 94) by any suggestion to the contrary, expositors of Russell’s philosophy have nevertheless been at pains to emphasize that Russell “was not engaged in the philosophical study of language” (p. 2). As Stevens notes, this situation is especially puzzling since “these two groups [of scholars] overlap to a considerable extent” (p. 2). Stevens’ strategy for overcoming this disparity is two-pronged. First he aims to tackle, head on, the fallacious arguments of Monk,1 Dummett,2 and others, to the effect that Russell was not engaged in the philosophy of language. According to Stevens, such arguments have principally appealed to either (1) ______ 1 Ray Monk, “What Is Analytical Philosophy?”. 2 Michael Dummett, Frege: Philosophy of Language. l= 86 Reviews Russell’s dismissal of ordinary language philosophy, (2) his early, non-linguistic, conception of the nature of propositions, or (3) his view that natural language was inherently defective for philosophical purposes, and so called for replacement by a “logically perfect language”. In regards to (1), Stevens argues in a word that “[o]rdinary language philosophy has had its day” (p. 176). Over the past several decades, in other words, leading philosophers of language have come to agree with Russell in viewing ordinary language philosophy as “an outdated, and rather eccentric, relic of mid-twentieth century British philosophy” (ibid.).The classic Russell– Strawson debate over the question whether ordinary language lacks an exact logic3 has been settled decisively in Russell’s favour, as philosophers of language have transformed “the attempt to systematically specify the semantics of large regions of natural language” (ibid.) into a “central project” (ibid.). In regards to (2), moreover, Stevens notes that by this line of reasoning, absurdly, David Kaplan would not qualify as a philosopher of language since he “explicitly invokes the Russellian non-linguistic conception of a proposition as the conception appropriate for providing the content of properly context-situated indexical sentences” (p. 170). And, of course, Kaplan is not at all unique amongst contemporary philosophers of language in appealing to a Russellian conception of propositional content, as the examples of Nathan Salmon,4 Scott Soames,5 and many others show. In regards to (3), finally, Stevens argues that Russell’s dim view of natural language was grounded in his conception of logical form as non-linguistic, and that that conception, in turn, derives simply from the poverty of syntactic theory available to Russell, prior to the Chomskyian revolution in linguistics during the second half of the twentieth century. In light of the conceptual and analytic resources made available by this revolution, however, there exists “no insurmountable obstacle to assimilating Russell ’s notion of logical form to something akin to the modern notion of lf” (p. 172), where lf is conceived as one of four levels of syntactic representation within Chomsky’s Government and Binding Theory... (shrink)

The study deals with ekphraseis on works of art and poses the question as to how far these texts can be a reliable source for the study or even the reconstruction of the artefacts they describe. Based on reception theory and readerresponse criticism, in the paper is proposed that as every text, byzantine ekphraseis on artworks presuppose an audience or readership, i. e. the one the author had in mind and on the basis of which he encoded his message. In (...) order to decode this message and by extension to extract any information about the described works of art we must aim to discover their “intended reader”, and identify his or her “horizon of expectations. This proposal is tested in the study of a well known piece of this kind, Manasses’s description of a mosaic floor with a depiction of Earth. The author’s dialogue with the earlier tradition of ekphraseis, his readership’s “horizon of expectations” combined with historical facts, allow us to suppose that Manasses is describing a composition with Xenia scenes and an asarotos motif created in the early byzantine period and preserved in the Great Palace of Constantinople up to the twelfth century. (shrink)

The article raises the question of the theoretical and cognitive foundations of sociological observation in the system-communication theory of Niklas Luhmann. Observation of society in its entirety is possible only from within itself, and therefore its observer (sociologist, artist, writer, moralist, politician or participant in a social movement) is necessarily included in the observed object itself. This circumstance gives rise to the paradox of self-applicability or self-reference in their social specification, since generalizing statements about society, if they claim to be (...) universal in description, are always applicable to the statements themselves. It is substantiated that the paradoxes of self- applicability and self-reference, without receiving their resolution, are never- theless performatively realized both in social reality itself and in its theoretical representation, and ensure the function of the social system — reflection of the system and the possibility of comparing one’s own observation resources with the methods of observation of adjacent communication systems. Following logic of self-observation, social theory is supplemented by a self-referential theoretical complex (sub-discipline), called “Self-Descriptions” (the fifth book of N. Luhmann’s fundamental work “Societies of Society”). This additional theory specializes in reconstructing the semantics of the concept of society, how society — in its communications, religion, mass media, art, politics, but today primarily in the optics of science — looked and looks at itself. Such inclu- sion of “Self-Description” (“shorthand”, “scene description”) in the corpus of social theory, as its integral and equal part with the function of describing the formation, semantics and theoretical resources of the theory of society itself, has become an important theoretical innovation in the field of social theory. (shrink)

L’article montre tout d’abord, à travers l’étude de deux corpus de contes et de la gestion de faits récents de transsexualisme, en quoi la musique est constitutive de l’identité féminine dans l’ethnie maure de Mauritanie. La problématique est élargie au champ du religieux de l’aire arabo-musulmane, qui voit dans ce lien une menace pour l’ordre social et symbolique qu’il défend, avant d’être explicitée par le recours à des concepts issus de la psychanalyse. Puis il est question, à travers la (...) class='Hi'>description d’un orchestre de musique confrérique uniquement composé de femmes, de l’ébranlement de ce schéma dans le Maroc contemporain, sous l’effet des idées féministes et de la généralisation de pratiques d’égalité entre les sexes. (shrink)

Describing our visual environments is challenging because although an enormous amount of information is simultaneously available to the visual system, the language channel must impose a linear order on that information. Moreover, the production system is at least moderately incremental, meaning that it interleaves planning and speaking processes. Here, we address how the operations of these two cognitive systems are coordinated given their different characteristics. We propose the concept of a perceptual clause, defined as an interface representation that allows the (...) visual and linguistic systems to exchange information. The perceptual clause serves as the input to the language formulator, which translates the representation into a linguistic sequence. Perceptual clauses capture speakers’ ability to describe visual scenes coherently while at the same time taking advantage of the incremental abilities of the language production system. (shrink)

Neural correlates exist for a basic component of logical formulae, PREDICATE(x). Vision and audition research in primates and humans shows two independent neural pathways; one locates objects in body-centered space, the other attributes properties, such as colour, to objects. In vision these are the dorsal and ventral pathways. In audition, similarly separable “where” and “what” pathways exist. PREDICATE(x) is a schematic representation of the brain's integration of the two processes of delivery by the senses of the location of an arbitrary (...) referent object, mapped in parietal cortex, and analysis of the properties of the referent by perceptual subsystems. The brain computes actions using a few “deictic” variables pointing to objects. Parallels exist between such nonlinguistic variables and linguistic deictic devices. Indexicality and reference have linguistic and nonlinguistic (e.g., visual) versions, sharing the concept of attention. The individual variables of logical formulae are interpreted as corresponding to these mental variables. In computing action, the deictic variables are linked with “semantic” information about the objects, corresponding to logical predicates. Mental scene descriptions are necessary for practical tasks of primates, and preexist language phylogenetically. The type of scene descriptions used by nonhuman primates would be reused for more complex cognitive, ultimately linguistic, purposes. The provision by the brain's sensory/perceptual systems of about four variables for temporary assignment to objects, and the separate processes of perceptual categorization of the objects so identified, constitute a pre-adaptive platform on which an early system for the linguistic description of scenes developed. Key Words: argument; attention; deictic; dorsal; logic; neural; object; predicate; reference; ventral. (shrink)

The theoretical notion of ‘construal’ captures the idea that the way in which we describe a scene reflects our conceptualization of it. Relying on the concept of ception – which conjoins conception and perception – we operationalized construal and employed a Visual World Paradigm to establish which aspects of linguistic scene description modulate visual scene perception, thereby affecting event conception. By analysing viewing behaviour after alternating ways of describing location (prepositions), agentivity (active/passive voice) and transfer (NP/pp (...) datives), we found that the linguistic construal of a scene affects its spontaneous visual perception in two ways: either by determining the order in which the components of a scene are accessed or by modulating the distribution of attention over the components, making them more or less salient than they naturally are. We also found evidence for the existence of a cline in the construal effect with stronger expressive differences, such as the prepositional manipulation, inducing more prominent changes in visual perception than the dative manipulation. We discuss the claims language can lay to affecting visual information uptake and hence conceptualization of a static scene in the light of these results. (shrink)

An incoherent visualization is when aspects of different senses of a word are present in the same visualization. We describe and implement a new model of creating contextual coherence in the visual imagination called Coherencer, based on the SOILIE model of imagination. We show that Coherencer is able to generate scene descriptions that are more coherent than SOILIE's original approach as well as a parallel connectionist algorithm that is considered competitive in the literature on general coherence. We also show (...) that co-occurrence probabilities are a better association representation than holographic vectors and that better models of coherence improve the resulting output independent of the association type that is used. Theoretically, we show that Coherencer is consistent with other models of cognitive generation. In particular, Coherencer is a similar, but more cognitively plausible model than the C3 model of concept combination created by Costello and Keane. We show that Coherencer is also consistent with both the modal schematic indices of perceptual symbol systems theory and the amodal contextual constraints of Thagard's theory of coherence. Finally, we describe how Coherencer is consistent with contemporary research on the hippocampus, and we show evidence that the process of making a visualization coherent is serial. (shrink)

Evidence from studies of the processing of topographic and classifier constructions in sign language sentences provides a model of how a mental scene description can be represented linguistically, but it also raises questions about how this can be related to spatial linguistic descriptions in spoken languages and their processing. This in turn provides insights into models of the evolution of language.

continent. 1.4 (2011): 230—233. A word about the quotation marks. People ask about them, in the beginning; in the process of giving themselves up to reading the poem, they become comfortable with them, without necessarily thinking precisely about why they’re there. But they’re there, mostly to measure the poem. The phrases they enclose are poetic feet. If I had simply left white spaces between the phrases, the phrases would be read too fast for my musical intention. The quotation marks make (...) the reader slow down and silently articulate—not slur over mentally—the phrases at the pace, and with the stresses, I intend. They also distance the narrative form myself. I am not Alette. Finally they may remind the reader that each phrase is a thing said by a voice: this is not a thought, or a record of thought process, this is a story, told.(1) We read (reread) the poems that keep the discourse with ourselves going. —Wallace Stevens We have to break open words or sentences, too, and find what’s uttered in them. —Gilles Deleuze “The Descent of Alette” “is an allegorical poem” “in four books” “first published” “in 1992” “by Alice Notley.” “In the Descent of Alette,” “the double quotation mark” “is wrapped around” “words, phrases, sometimes whole sentences, and utilized as bones for structure and tonality.” “The winged” “dbl quotation” “like angels or devils” “descending from elsewhere” “function as” “poetic feet.” “Distance” “in the text through the use of dbl quotes,” “according to Notley,” “was a way to distance” “her self” “from the narrative.” I know someone who tattooed double quotes on her shoulder blades. In other words, the body is quotable. To be able to say that one is quotable. A body filled with other’s sayings. I never asked her what for, what is the double quote tattoo for and why on the shoulder blades? I prefer my own interpretation that keeps shifting every time I see her. First words of every poem in every book: Book One One ... On ... A ... There ... I ... We ... An ... A ... A ... I ... At ... A ... When ... When ... There ... I ... In ... At ... I ... Once ... A ... A ... In ... A ... A ... Two ... I ... I ... Eyeball ... In ... I... A ... I ... I ... On ... I ... There ... What ... As ... As Book Two I ... When ... I ... I ... As ... I ... I ... There ... I ... There ... I ... A ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I Book Three The ... Presently ... I ... I’m ... I ... We ... What ... My ... I ... Who ... But ... Lay ... My ... I ... The ... Your ... The ... I ... It’s ... As ... The ... Talon’s ... When ... We ... I ... Slowly ... I ... I ... The ... How ... The Book Four I ... I ... You ... The ... Now ... She ... The ... There ... As ... Then ... The ... All ... Let’s I ... You ... The ... Thus ... The ... I ... The ... I ... There ... Have ... The ... As ... The Defamiliar Object “Poetry is a defamiliarized language, whose formations, so far from being simply formations of meaning, are aesthetic structures...”(2) “The same can be” “irresponsibly associated” “with the use of punctuation.” “The dbl quotation as a measure” “of poetic feet” “is treated as such” “because the author” “injects artfulness into it.” “The dbl quote is an object—” “a joystick” “to control breadth” “(of breath.)” “To de-familiarize” “said sign” “is also to” “impart the sensation of [it] as [it is] perceived and not as they are known.”(3) “The dbl quote” “nests previous words, phrasings and sayings.” “How many have come and gone” “through the doorway of this punctuation sign.” “There are also air quotes and virtual quotes.” “There is emphasis and there’s irony.” “It would be aggravating” “or interesting” “to watch a reading of” “The Descent of Alette” “with someone” “raising and curling” “fingers” “bent out of shape” “in what could be used as” “peace signs.” “I am trying to avoid” “scare quotes.” “I looked up” “what they are” “and supposedly they arose” “in the early 20th century.” “The scare quote” “is a mark around a word or phrase to indicate that it doesn’t signify conventional or literal meaning.” “This isn’t how Notley” “intended to use them” “in The Descent of Alette.” “The characters, places, and things” “signify nothing” “beyond” “their literal meaning” “ within the allegory .” “I’d like to stress” “within the allegory;” “that’s why its” “italicized.” “It is told through” “the main character/voice of” “Alette.” “The author reminds us she is not Alette.” “The author marvelously found a way” “to distance” “her self” “from the narrative.” “This was attempted” “by tonal and intimate” “affect of the dbl quote” “used as poetic feet.” “Its as though” “punctuation in this regard” “becomes a magical toy.” “Arguably, punctuation” “(as perceived)” “undergoes a kind of” “ defamiliar ” “make-over.” “The text” gently forces the reader” “to slow down,” “read slowly.” “At some point” “one begins to sense” “lines of text” “moving on its own.” “Broken words, phrases, and sentences” “shuttling left to right” “like a subway” “that stops” “from station to station;” “open quote to end quote.” Double Quote Occupied “There are two worlds; one above ground” “and one underground.” “The world above ground is where,” “the tyrant” “with a capital t” “lives.” “(The “T” gets tangled in the claws of the dbl quote.)” “Alette becomes an owl and kills him.” “In the last book the tyrant dies.” “ “...the tyrant” “a man in charge of” “the fact” “that we were” “below the ground” “endlessly riding” “our trains, never surfacing” “A man who” “would make you pay” “so much” “to leave the subway” “that you don’t” “ever ask” “how much it is” “It is, in effect,” “all of you & more” “Most of which you already” “pay to live below” “But he would literally” “take your soul” “Which is what you are” “below the ground” “Your soul” “your soul rides” “this subway” “I saw” “on the subway a” “world of souls” ”(4) “New York;” “the city of cities” “and its subways—” “worlds underground,” “above ground,” “& above the above ground.” “Skyscrapers,” “Wall Street,” “old money,” “new money,” “and falling further down a cleavage;” “the middle class” “slipping away.” “Contemporary artist ” “Ligorano Reece” “recently made” “a sculpture of ice ” “a block of ice” “carved to read” “middle class” “(in all upper case letters)” “and let it melt” “naturally” “for however long—” “hours,” “days.” “It didn’t take very long to melt.” A global uprise of mass demonstrations; a cacophony of bodies on the street, in parks and universities, on City Hall lawns, coastal ports, neighborhoods, etc., and for what? The reasons are endless and finite. Not a single body is unaffected by the movement even when not “occupying.” “Occupiers” “stormed into a Sotheby’s auction” “protesting” “via human microphone” “that the CEO takes home” “about” “six thousand dollars” “a day.” “(The a/Art market” “is not a reflection” “of a desire” “for a/Art” “but a reflection” “of a desire” “for money” “confused with a/Art.)” What could it mean to occupy that which has been written or said? Someone with double quotes tattooed on both shoulders attempts to reclaim the sign; re-invent it privately-publicly since the body is always split between both spheres. A genre of hide-and-seek; the speaking and silent body which can never mean what it says even while it so desires to mean something. To nest (and hold hostage) someone in double quotes is an act of violence; a gesture of displacement where one is arrested, dislocated, and scrutinized under a distant gaze. “The air quote” “also known as” “finger quote or ersatz quote” “supposedly” “harks back to” “1927.” “The brevity of this gesture” “ as something invisible” “like virtual money or credit” “doesn’t really exist” “though it take up space;” “its the ghostliest of all punctuation signs” “and one that requires the presence and appearance of a body.” “ “she made a form” “in her mind” “an imaginary” “form” “to settle” “in her arms where” “the baby” “had been” “We saw her fiery arms” “cradle air” “She cradled air...” ”(5) “The air” “gets occupied” “by one or two hands” “with thumb, forefinger, and middle finger” “which alternately could be used” “to shoot rubber bullets,” “pepper spray,” “tear gas.” “How three fingers” “could be responsible for so much:” “satire, sarcasm, irony” “and ultimately” “bruises, blood, death.” (“The violence of the dbl quote is to eagerly to place oneself inside a tornado.)” “The violence of this” “embodied punctuation mark” “stems from a discordance with others.” “Is the name, word, or phrase” “placed in dbl quotes” “heroic” “ or brave?” “An act of displacement;” “must there always be” “bright or negative lights—” “a leaderless act” “to inhabit, to occupy” “space removed” “from normative use.” “Of course” “I’m also wondering” “what it means to re-occupy” “public/private space—the street, neighborhood or page” “policed” “by laws, limits, and” “to some extent” “punctuation.” Echo, Mirror “There are first, second, and third voices interwoven.” “ “Braid of voices,”(6) ” “Some lines read as internal thoughts,” “dialogues,” “and scene descriptions,” “all of which make up the allegory.” “It seems appropriate” “for the word” “allegory” “to nest in dbl quotes” “for perhaps it might be” “a gesture to echo on and on” “eternally referencing” “whatever came before.” I notice the first tooth of the double quote, when paying too close attention, gets caught in the hook of the “f”. I space bar to untangle them; the f does not resist the closed bite of “deaf” and I resist to know what it could mean, because it could doubly mean nothing. “ “He looked” “so familiar” “to me...”(7) ” “The second-person” “echoes in one of two directions:” “further into” “or farther from” “me.” “Its as though” “the second-person amplifies” “or else the opposite” “in which he,” “who looks so familiar,” “retreats further” “like stars in a telescope.” “The dbl quote” “has this kind of affect” “concerning distance and dimension” “as also illusory” “as something twice removed” “and unreal” “in a similar way” “movie stars are unreal and far away.” “ “I entered” “a car” “in which I seemed” “to see double” “Each person I” “looked at seemed” “spread out” “as if doubled” “Gradually” “I perceived that” “each person” “was surrounded by a ghostly” “second image” “was encased in it” “& each” / “of those images,” “those encasings,” “was exactly the same” “each was in fact” “the tyrant...” ”(8) A daydream of a mirror-less world while staring through window blinds; a palm tree behind. It was dark with nothing there. A world with no mirrors “in my mind,” though my mind could only reflect what it knew: a palm tree. Naturally then, palm trees multiplied; a world of palm trees reflected the daydream with no mirror in sight. “The mirror” “(prior to obsidian manufacturing ca. 6000 B.C)” “was wherever water” “could be found.” “Its interesting” “mirrors have been around” “before humans—its funny” “animals and humans” “get born into” “a world of mirrors,” “therefore, simulation” “is always already” “a given—” “a sparkly consequence to be born with a dbl.” NOTES 1. Notley, Alice. “Author’s Note” in The Descent of Alette (New York, 1996) 2. Bruns, Gerald L. “ From Intransitive Speech to the Universe of Discourse” in Modern Poetry And The Idea of Language (New Haven & London, 1974), p.75 3. Ibid. p.77 4. Notley, Alice. The Descent of Alette (New York, 1996). p.3 5. Ibid. p.10 6. Ibid i. p.9 7. Ibid ii. p.16 8. Ibid iii. p.12. (shrink)

Description: This monograph intends to highlight Professor P.T. Raju's contribution to Indian philosophy in general and Advaita in particular. Raju is regarded as one of the architects and disseminators of Indian philosophy in the contemporary philosophical scene. This work covers a wide range of philosophical issues discussed by Raju in his writings concerning the nature of Indian philosophy, Comparative philosophy, and Advaita. His corpus of writings exhibits the richness of Indian philosophy, culture and heritage. His approach to Indian (...) philosophy is an eye opener to those who look down upon it as a form of religious occultism and mysticism. Raju vindicates that there is as much metaphysics, epistemology and logic in Indian philosophy as it is found in its Western counterpart. His commitment to Advaita is not a blind one. He is fully convinced that the arguments advanced by the Advaitins in support of their position are not dogmatic but logical in their nature. Raju critically examines other systems of philosophy, both Eastern and Western, from the standpoint of Advaita. (shrink)

It has often been observed that color is a highly preferred attribute for use in distinguishing descriptions, that is, referring expressions produced with the purpose of identifying an object within a visual scene. However, most of these observations were based on visual displays containing only colors that were maximally different in hue and for which the language of experimentation possessed basic color terms. The experiments described in this paper investigate whether speakers’ preference for color is reduced if the color (...) of the target referent is similar to that of the distractors. Because colors that look similar are often also harder to distinguish linguistically, we also examine the impact of the codability of color values. As a third factor, we investigate the salience of available alternative attributes and its impact on the use of color. The results of our experiments show that, while speakers are indeed less likely to use color when the colors in a display are similar, this effect is mostly due to the difficulty in naming similar colors. Color use for color with a basic color term is affected only when the colors of target and distractors are very similar. The salience of our alternative attribute size, manipulated by varying the difference in size between target and distractors, had no impact on the use of color. (shrink)

It has often been observed that color is a highly preferred attribute for use in distinguishing descriptions, that is, referring expressions produced with the purpose of identifying an object within a visual scene. However, most of these observations were based on visual displays containing only colors that were maximally different in hue and for which the language of experimentation possessed basic color terms. The experiments described in this paper investigate whether speakers’ preference for color is reduced if the color (...) of the target referent is similar to that of the distractors. Because colors that look similar are often also harder to distinguish linguistically, we also examine the impact of the codability of color values. As a third factor, we investigate the salience of available alternative attributes and its impact on the use of color. The results of our experiments show that, while speakers are indeed less likely to use color when the colors in a display are similar, this effect is mostly due to the difficulty in naming similar colors. Color use for color with a basic color term is affected only when the colors of target and distractors are very similar (yet still distinguishable). The salience of our alternative attribute size, manipulated by varying the difference in size between target and distractors, had no impact on the use of color. (shrink)

Audio description remains the cornerstone of accessibility for visually impaired audiences to all sorts of audiovisual content, including porn. Existing work points to the efficacy of audio description to guarantee immersion and emotional engagement, but evidence on its role in sexual arousal and engagement in porn is still scant. The present study takes on this challenge by comparing sighted and visually impaired participants’ experiences with porn in terms of their physiological response [i.e., cortisol and heart rate ] and (...) self-report measures of affect [Positive and Negative Affect Schedule ; Watson et al., 1988], anxiety [State-Trait Anxiety Inventory ; Spielberger et al., 1970], sexual reactivity and arousal [Sexual Inhibition/Sexual Excitation Scale ; Moyano and Sierra ; and the Ratings of Sexual Arousal ; Mosher ], and narrative engagement or transportation [The Transport Narrative Questionnaire, Green and Brock ]. 69 Spanish participants were allocated into three different groups: 25 sighted participants who watched and heard the porn scenes in their audio-visual version ; 22 sighted participants who listened to the audio described version without images ; and 22 visually impaired participants who also listened to the audio described version without images. Overall, results on physiological and self-report measures revealed no significant differences between groups or different versions of the clips. The analysis of cortisol reactivity to porn as the maximum increase or decrease in cortisol with respect to baseline values revealed no significant differences between the groups, but pointed to a higher percentage of non-responders than responders in the three groups, the highest being found in the ONCE group. As for participants’ cardiac response to the clips, no significant differences were found across the groups, with the highest HR levels being registered in the baseline phase. Self-report measures revealed significant between-group differences in negative affect. The ONCE group displayed the highest pre-task levels of negative affect and was the only group that showed a decrease in negative affect after exposure to the clips. Sighted and visually impaired participants reported to be moderately aroused and immersed in the films, regardless of exposure to AV or AD porn. In addition, correlations found between participants’ levels of self-report sexual arousal and transportation and post-task affect pointed to a positive relationship between exposure to porn and perceived levels of sexual arousal and affect. Results from the study reflected the efficacy of audio description in providing sighted and visually impaired audiences with a similar experience to that offered by original AV porn scenes. This study is exploratory but provides valid, initial groundwork for further research on the impact of audio description on porn reception. (shrink)

Pictures are principally descriptive. Advertising images highlight features of potential purchases; cartoons open portals to scenes in fictional worlds; snapshots in the family photo album remind us of our past selves and landmark events in our personal histories; works of pictorial art express thoughts or feelings about depicted scenes. In addition, pictures serve a directive or action-guiding function that, though not taken into account by theorists, deserves no less attention than their descriptive one. Theories of depiction and the appreciation of (...) pictures stand to benefit by taking "directive pictures" into account, as do theories of representation in general and mental representation in particular. (shrink)

This study explored spatial navigation alongside several other cognitive abilities that are thought to share common underlying neurocognitive mechanisms (e.g., the capacity for self-projection, scene construction, or mental simulation), and which we hypothesised may be impaired in autism spectrum disorder (ASD). Twenty intellectually high-functioning children with ASD (with a mean age of ~8 years) were compared to 20 sex, age, IQ, and language ability matched typically developing children on a series of tasks to assess spatial navigation, episodic memory, episodic (...) future thinking (also known as episodic foresight or prospection), theory of mind, relational memory, and central coherence. This is the first study to explore these abilities concurrently within the same sample. Spatial navigation was assessed using the “memory island” task, which involves finding objects within a realistic, computer simulated, three-dimensional environment. Episodic memory and episodic future thinking were assessed using a past and future event description task. Theory of mind was assessed using the “animations” task, in which children were asked to describe the interactions between two animated triangles. Relational memory was assessed using a recognition task involving memory for items (line drawings), patterned backgrounds, or combinations of items and backgrounds. Central coherence was assessed by exploring differences in performance across segmented and unsegmented versions of block design. Children with ASD were found to show impairments in spatial navigation, episodic memory, episodic future thinking, and central coherence, but not theory of mind or relational memory. Among children with ASD, spatial navigation was found to be significantly negatively related to number of repetitive behaviours. In other words, children who showed more repetitive behaviours showed poorer spatial navigation. The theoretical and practical implications of the results are discussed. (shrink)

Recent developments in vision science have resulted in several major changes in our understanding of human visual perception. For example, attention no longer appears necessary for "visual intelligence"--a large amount of sophisticated processing can be done without it. Scene perception no longer appears to involve static, general-purpose descriptions, but instead may involve dynamic representations whose content depends on the individual and the task. And vision itself no longer appears to be limited to the production of a conscious "picture"--it may (...) also guide processes outside the conscious awareness of the observer. (shrink)

The mise en scène of resistance against a global society. An analysis of (a)symmetrical distinctions The concept of oikophobia is often used as an answer and rebuttal to the accusation of xenophobia that is often raised against nationalist groups. Oikophobia denounces the image of nationalists as people who first and foremost hate what is foreign or the foreigner. They describe themselves, on the contrary, as having a strong attachment to their own culture and their opponents as having a fear of (...) or aversion to their origin or (cultural) home. This game of asymmetrical descriptions is the subject of this contribution, which focuses on the logic of distinctions that lies behind this resistance to (hostile) images. What then also lights up is that the global polarization we see between nationalist and cosmopolitan movements also concerns the status of asymmetrical distinctions themselves. The nationalist resistance to world society can be interpreted as a resistance to the becoming symmetrical of existential distinctions, i.e. distinctions that create identity and belonging. (shrink)

In his description of the boat race in the fifth book of the "Aeneid", Vergil's comparison of the ships to chariots can be read not only as an allusion to the Homeric model on which the scene is based but also as part of a larger attempt to recast the episode as a contemporary circus spectacle. Like the Augustan circus, Vergil's boat race offers an image of cosmic and political order. However, beyond its symbolic function the Roman circus (...) also played an active role in realizing the hierarchies it depicted by incorporating its spectators into a unified vision of state and universe. So the boat race too, far from constituting a hiatus in the action of the poem, becomes an instrument for the socialization of those who watch it. The spectacle gives its audience a glimpse of the gods in action and of the leadership of Aeneas himself, whose past accomplishments are reflected in the conduct of the captains. Moreover, the careful organization of internal audiences within the narrative allows every spectator to identify with another figure closer to the center of events and, by extension, invites Vergil's own readers to see themselves as participants in the scene. Thus Vergil uses the model of circus spectacle to bridge the gap separating his audience from the epic past by restaging that past in a form that both was a part of the immediate experience of the contemporary Roman and also provided a crucial context for the constitution of Roman civic life. (shrink)

From the scene of the singing cicadas in the _Phaedrus_, we will show the affinities between the mention of the dangerous sleep at noon (_Phdr_. 258e6-259d8) and a mythical episode in the life of Epimenides. Next, we will look at the possible affinities between the description of Dionysian madness (_Phdr_. 244d5-245a1) and the type of divination practiced by Epimenides of Crete (DK 3 B 1-25). From these approaches, we intend to describe and elucidate the common imaginary with which (...) Plato elaborates his reception and assimilation of the archaic poetic tradition in his philosophy. (shrink)

Merleau-Ponty's views are the fruit of the method of "phenomenological description," in part taken over from Husserl. This consists of describing our "original" experience of the world without assuming the truth or validity of any statements we may know about it. Unlike the Cartesian method it does not mean that we should suppose false those statements we know are true, but rather that we should "put these in brackets," or "suspend" their rel- evance, consider them as void of ontological (...) implications. For only if we succeed in doing so, the theory runs, will our description be "pure" or "presuppositionless," free of prejudice with respect to the nature of that which we are trying to describe. In doing the phenomenology of perception, then, we must deliberately discount all that we may chance to know about the "how" or the "why" of perception. In describing our "original" experience of the world, we must not let ourselves be influenced by any empirical or philosophical theory of perception, any hypotheses concerning its nature, causes, or physiological or other underlying processes involved. To cite a concrete example, in describing our perception of some visible scene we must discount anything we may chance to know about light rays impinging upon the retina, etc. Failure to do so might lead to a description not of that which we do see, but that which, given the retinal image, we ought to see, i.e., that portion of the visual scene, light rays from which, impinge upon our retina, and not the visual scene itself. Here, then, is one of the reasons for which we must go through a process of "phenomenological reduction" with respect to our knowledge of the world. But it is not the only reason. In fact the interdict goes further. We are not even entitled to use the usual categories of everyday or scientific descriptive discourse. Nor should we use the language of sense data, or that of the introspectionists. For both of these "presuppose" the validity of some at any rate of its categories. Both rest in the last resort on some theory regarding the nature of the "objective" world, or of our experience of it. (shrink)

This study reviewed how oil affected Iraq's internal and foreign policies throughout contemporary history, as it sought in its goal to identify the role of oil in Iraqi politics from independence until the beginning of the twenty-first century, and to achieve the goal of the study, the descriptive analytical approach was relied on, and the historical method, in order to identify the scene of Iraqi politics and the impact of oil and its role in the political practices of the (...) Iraqi state since independence until the beginning of the twenty-first century, and the importance of the study is due to the importance of oil The first is the importance of oil in Iraq, and it has two requirements, the first is a brief summary of the history of the importance of oil in Iraq The second demand focused on the status of oil in the period following the independence of the Iraqi state..and the second section was entitled Oil crises and their repercussions on Iraqi policy, and it has two requirements, the first dealt with the crisis The first oil and its repercussions on Iraqi politics, and the second requirement dealt with the second oil crisis and its repercussions on Iraqi politics, then came the third section entitled the role of oil in the political scene of the State of Iraq, and it has two requirements, the first talked about the political situation of the State of Iraq at the beginning of the 21st century and the role of Iraqi oil in the international scene, The second and final requirement of the study focused on Iraq's political and economic landscape in the aftermath of 2003; The study also explored the role of oil in the reconstruction of the Iraqi state. It uncovered several key findings, among which the most significant are: the management of oil in Iraq is synonymous with the management of all industrialized nations. The post-2003 period brought about transformative changes, as Iraq's oil market endured severe crises. Politically, the lack of democracy and the challenges of establishing a more democratic system in Iraq can only be fully understood by considering the economic dimensions, particularly the role of oil. The study highlighted that Iraq faced significant market risks and oil price fluctuations. Additionally, the invasion of Iraq in 2003 and the subsequent period up to 2011 confirmed that historical narratives about Iraq remain deeply influential. Although there are multiple political reasons for the invasion of Iraq, all reconstruction policies and projects after the invasion also relied on the oil sector, and the study justifies that the Iraqi state cannot withdraw from the economic scene, but will be forced to adopt economic policies, However, oil remains a political and strategic commodity over which no country can cede control to non-state actors. (shrink)

This paper presents a detailed contrastive frame semantic analysis of arriving events in English and Spanish, attested through a corpus study. The framework and methodology of our research follows the FrameNet II Research Project housed at ICSI. First, we present a formal description of the Arriving frame as a subframe of the Motion frame: arriving encodes a basic subpart of our conceptualization of motion, namely the transition from moving to arriving at a goal. Second, we carry out a cross-linguistic (...) analysis of this frame, based on a corpus study of English and Spanish arriving predicates. A first assumption would suggest that these two languages share a basic abstract frame description for arriving events. While acknowledging this, we yet show that at a lexical level the particular lexicalization patterns of each language influence the way speakers bring onto stage the different participants of the scene. We discuss this issue through a study of implicit frame elements, conflation and incorporation patterns, profiling, and deixis. Third, we briefly introduce the question of polysemy for those predicates that participate in the arriving frame. Arguably, the spatial meaning of arriving is the core sense from which a set of sense extensions derives, pointing to a wide range of independent frames (e.g. Cognition frame, Achievement frame, etc.) This fact can be attested in both languages in a parallel way. The different senses can be described synchronically in terms of frame semantics, while motivation for them is to be found in the cognitive processes of Metaphor (across frames), and Fictive Motion (within frame). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Homeric Allusions at the Close of Thucydides' Sicilian NarrativeJune W. Allison.(Marcellinus Vita Thucydidis 37)When Thucydides composed his history, the inclusion of elements from epic was natural. Both the subjects and compositional techniques of epic were at home in this evolving genre.1 Herodotus' mighty prose epic, with its own debts to Homer, was the culmination of the process, successfully combining the mythic and epic with historical narrative.2 Thucydides' method, however, (...) was going to be different: the mythic was to be done away with and the epic made to serve the account of the most destructive war in historical memory.Thucydides in some places mentions Homer directly and in others makes artful allusions to Homeric epic.3 In his Archaeology he repeatedly [End Page 499] holds up the Trojan War as the first great naval expedition and records its failings. In his programmatic passages, moreover, Thucydides draws comparisons between Homer's methods and his own.4 Marcellinus, his biographer, reflects a tradition that attributed even individual features of Thucydides' style and language to Homer. Epic conventions abound: there are angry speeches between antagonists; there are catalogues of warriors, in particular, the fine example before the final battle at Syracuse (7.57–59); and there are splendid battle scenes, where individuals, such as Brasidas, are singled out.5 When Thucydides turns to compose the events of the Sicilian Expedition, he allows the reader to dwell on parallels between it and its ancestral expedition to Troy.6 The parallels with the Homeric poems on a thematic level are large and obvious: a monumental Greek naval expeditionary force travels far in order to besiege a city. The insistence in book 6 on heavy preparations for Sicily recalls Thucydides' criticism in book 1.9 of Agamemnon's effort. Unlike their poetic ancestors, who prolonged the siege because they had to spend valuable time gathering supplies by means of raids on nearby cities, the Athenians would take their necessities with them. Like the Iliad, the History has war as its pervading theme, but also like the Iliad, it is not simply about war; rather it is about the human motivations and reactions which that most dehumanizing phenomenon elicits. In depicting what is poignant Thucydides competes with Homer. He [End Page 500] does not fail to draw on the values of the Iliad to highlight his own narrative and to imbue his account with the powerful sensitivity to suffering found in both Homeric poems.My focus in these pages is Thucydides' use of Homeric words in his description of the final battle in the great harbor and the retreat of the Athenians from Sicily. In 1900 Smith collected some of these terms but made no claims for completeness: "A few terms and idioms borrowed from poetry and traceable directly or indirectly to Homer may give some idea of what might be found if one knew classical Greek usage thoroughly well and were perfectly familiar with Homer" (70).7 So it is not easy to pinpoint specific verbal allusions to Homer in the History. The historian may have used other works in the epic cycle or tragedies now lost that made use of epic.8 Moreover, the atmosphere of high poetry we encounter may result from the effect of a few words or even one word or a setting which will recall Homer without, however, alluding to a specific passage in the poems.9 The poetic influence upon prose was long and profound. Indeed, prose of the fifth century had not yet totally divorced itself from poetry. What I suggest here is that Thucydides created an atmosphere in the final chapters on the Sicilian disaster which derives its Homeric aura from a number of attributes, among these, words of epic coloring.In two places Thucydides seems to make conspicuous use of Homer: in the Funeral Oration, and at the end of book 7. The Funeral Oration deserves analysis, but because it is a formal, epideictic, state address over fallen warriors and is traditional (as Pericles says repeatedly), [End Page 501] it attracts epic forms, as it were, by nature. I shall concentrate on book 7, where Thucydides has employed Homeric echoes to enhance in... (shrink)

continent. 1.4 (2011): 286—310. This mad play of writing —Stéphane Mallarmé Somewhere in between mathematics and theory, light and dark, physicality and projection, oscillates the poetry of Alessandro De Francesco. The texts hold no periods or commas, not even a capital letter for reference. Each piece stands as an individual construction, and yet the poetry flows in and out of the frame. Images resurface from one poem to the next, haunting the reader with reincarnations of an object lost in the (...) grass or a representation of a pear in a Dutch still life, embedded in cycles of cinematic close ups and multiple dimensions. As a whole, De Francesco’s oeuvre suggests, to use the title of one of his works, a redefinition —linguistic, epistemological, personal. The poem The End (un’agenda) (The End (an agenda)) opens with a quote by literary theorist Maurice Blanchot, which may be translated as follows: Speaking is not seeing. Speaking frees thought from this optical imperative that in the Western tradition, for thousands of years, has subjugated out approach to things, and induced us to think under the guaranty of light or under the threat of its absence.[1] In writing, De Francesco seeks to redefine our approach to things. His poems, like Blanchot’s writings, speak to both illuminate and to obscure. The reader hangs in an absence of reality within language that necessitates an attempt at interpretation, yet renders such a search ultimately futile. De Francesco draws the anonymous images that appear in this poem from the city of Paris, his current home. The fragmented narrative depicts an inner doubt of realness, calling for a confirmation of a physical existence beyond verbalization and cogitation. Cyclical references to film throw into question the reliability of the reality he creates. The light, sometimes red and safe, other times absent and murky, cannot necessarily be trusted as a guaranteed means of illumination. Blanchot’s distinction between language and visualization, and the relationship of each to reality, though linked specifically to The End (un’agenda) , can be a lens through which to read any of the three works that follow. assente obliqua (absent oblique) is composed of descriptions of six still life paintings, ranging from Dutch masterpieces of the seventeenth century to 1960s minimalism. The actual images of the paintings are absent, and the text is the sole source and object of a virtual reality created around the artwork. “Absent oblique” refers to the light source placed outside of the frame, which both informs and distracts viewing of the scene. Although mere description can be unreliable and unsatisfying in its necessary limitation, the representational act of description is shown as more than just a human want. It is a need, a means by which to grapple with an unsure reality. As the illustrations progress, they descend into abstraction and chaos. The precariously placed plate triggers the movement: the bottle bursts and the objects collapse into the movement of a tracking film camera. corpo estraneo in moto ascensionale (foreign body in ascending motion) is prose poetry in action. Its objective tone of description is skewed by the subjectivity of the narrative as horrific images are relayed in fragmented but matter-of-fact manner. A “foreign body” is both a mass of cancerous cells, and a corporeal description, and the poem takes the reader on a journey back and forth between the two, destination unclear. Beyond a questioning of the real, corpo estraneo in moto ascensionale is an examination of the possible. De Francesco’s poetry becomes a camera obscura through which to observe the constant flux of light and dark that blurs our reality. His work is colored by the idea of apo koinou , a Greek term meaning “from the common” that involves a construction of two clauses with a shared word or phrase. Through such melting of meaning, De Francesco creates a fluid ambiguity that is nonetheless grounded in bodily concepts. In assente obliqua , the reader is confronted with a description of a still life that rapidly transforms into a more chilling scene: the membrane of the mushroom in the basket emerges behind the white cloth a body could hide itself that asks for help In the realm of pure description, there is a mushroom that peeks out from behind a white cloth in a basket. Behind the white cloth, too, there could be a body, hiding, asking for help. Such an elision elicits disorienting mistrust in temporality, but also expands the planar possibilities of syntactical meaning. A white cloth is not merely a construct in still life painting, but veil that both shields and reveals potential mysteries. It is a proposed alternative to a traditional Western binary of subjectivity and objectivity. The apo koinou construction is rare in modern English, having slipped out of use after its resurgence in Old English poetry. De Francesco reintroduces this blur of object and subject relations into a modern light. He draws inspiration from a device used by Gruppo 63 founder and avant-garde poet Antonio Porta tended toward repetition of phrases in third person perspective. In Italian, it is perfectly grammatically correct to omit the subject, including only a verb conjugation. Gender, even humanity unknown, the subject dissolves into the action, thus giving to the poetry the power to change the reader’s perception of who or what is actually acting. To further push the relative boundaries of experience, De Francesco expands his written poetry into what he calls “reading environments.” In these sound experiments, De Francesco’s voice reading his poetry is manipulated by real time digital voice processing. The written is transformed to the spoken, and then injected with currents of electric sound. “At each activation of word in the darkness,” (from The End (un’agenda) ) language is permutated into a nonphysical yet all-encompassing being. In these projects, realized all over Europe, De Francesco continues his examination of the word’s potency beyond the page and into an “n-dimensional space,” where the lines between nature and affect are intertwined. To publish excerpts of De Francesco’s oeuvre is to show screen shots of full-length film, to read pull quotes from a philosophy treatise. In these poems, there are questions, not to be answered, but to be questioned again. The words will oscillate in and out of the square construction found in his poems, out of the borders of the page, out of the rectangle of the laptop screen. NOTES (1) Blanchot, Maurice. The Infinite Conversation . Trans. Susan Hanson. Minneapolis: University of Minnesota Press, 1993. 27. EDITORS' NOTE The .pdf above contains about twenty pages of translation and the original Italian poetry. Below we provide only a brief account. The End (an agenda) Parler, ce n’est pas voir. Parler libère la pensée de cette exigence optique qui, dans la tradition occidentale, soumet depuis des millénaires notre approche des choses et nous invite à penser sous la garantie de la lumière ou sous la menace de l’absence de lumière. —Maurice Blanchot in this n-dimensional space i could spy on myself from the cracks while going back and forth from the summer to the wardrobe from the night to the parking lot but something filters in through the half-closed shutters becomes an event enunciation we stay without explanation like parallel curves on the back of a solid growing older she enters the garden always repeats certain phrases the elevator to be redone the neighbor’s music the steps the pavement furls like the leaves of a fern when touched she is framed from behind while she moves rocking she covers distances slowly a bag overflows from the wardrobe something stirs inside but then the suitcase comes open not even by my hand it’s the objects that are starting to filter out the little red haired monster watches idling the appointments written on one of your agendas two years old still seem urgent each letter holds itself upright on the page with flourishes and arabesques each angle has its own geography i’m trying to describe the path the fingers trace on the carpet the zipper takes the opposite route we are suspended on the stairs above the water in the center is the summer seen from above the darkness of the city passes from one headlight to the next the surfaces of our arms cohere and are shiny underneath the blinking of a sign each pore is an open expanse the body dreams the hair gives form to the possible some daring swimmers were throwing themselves into the seine they swam upstream up to the first quay look there could exist behind the screen a room where even when the lamp is out and the curtains drawn even when the suitcase wasn’t closed everything seemed red everything calm construction of a four-dimensional tetrahedron by R. Courant – H. Robbins, What is Mathematics? Oxford University Press, 1941  . (shrink)

More than one third of the human brain is devoted to the processes of seeing - vision is after all the main way in which we gather information about the world. But human vision is a dynamic process during which the eyes continually sample the environment. Where most books on vision consider it as a passive activity, this book is unique in focusing on vision as an 'active' process. It goes beyond most accounts of vision where the focus is on (...) seeing, to provide an integrated account of seeing AND looking. The book starts by pointing out the weaknesses in our traditional approaches to vision and the reason we need this new approach. It then gives a thorough description of basic details of the visual and oculomotor systems necessary to understand active vision. The book goes on to show how this approach can give a new perspective on visual attention, and how the approach has progressed in the areas of visual orienting, reading, visual search, scene perception and neuropsychology. Finally, the book summarises progress by showing how this approach sheds new light on the old problem of how we maintain perception of a stable visual world. Written by two leading vision scientists, this book will be valuable for vision researchers and psychology students, from undergraduate level upwards. (shrink)

La notion d'enchantement se prête à une grande diversité d'usages qui ne se réduisent pas à des antonymes du "désenchantement du monde" au sens de Max Weber. Qu'en est-il de ces approches contemporaines et quelles en seraient les vertus heuristiques? S'agit-il de poser un constat sur le monde contemporain, tour à tour enchanté et désenchanté? D'évoquer des expériences spécifiques, au caractère quelque peu magique? De s'intéresser à des lieux, scènes, processus, "modes d'être" ou régimes d'interactivité particuliers? La labilité du terme (...) ouvre à de multiples terrains d'investigation, tant théoriques que pratiques. De telles questions ont traversé un colloque organisé à Cerisy (2021) où cette notion d'enchantement a été explorée dans ses liens avec le vivant ; ses proximités avec les notions voisines d'ambiance, de présence et/ou de résonance ; la rencontre avec des fictions, des formes d'arts ou de vies alternatives ; des descriptions de fantasmagories urbaines ; ou encore au travers de quelques manifestations des puissances de l'imaginaire. (shrink)

Effort is then well-nigh indescribable. Not wholly so, else it would be meaningless. Description is a matter of degree: who can fully describe red or wet? To be sure, description comes down in the end to the pointing to certain given qualities or relations or events which are just there. All connotation rests on denotation, though it may be something more. But the unique positive thing about effort is its originality; to which indeed we can point, since every (...) one experiences it in himself. Yet common to all men though it is, it is so intangible! more spirit than body, more force than substance. We should perhaps best call it not a datum but a factum, or better still, a fiat, a doing rather than a deed, yet not merely a becoming, for we see things coming to be, we hear a melody progressing and touch a moving object. Effort, dynamic as it is, is not just the process, rather it is--we must re-iterate--the start, the initiative of the process. Nor is the experience of it properly called mystical. Even if mystical experience were indescribable, as has been wrongly alleged, these would be two quite different indescribables, the one receptive, the other originative. All we can say perhaps is that effort is analogous to the push that starts the ball rolling, not the motion of the ball, not the acceleration, but the enforcement of these. Its witness does not lie in its value as explanation of the motion; the witness is direct, the immediate experience which every man has. It seems to be no object of scientific investigation in the technical sense. It cannot be measured by itself, as acceleration and motion are measured. That is why physics has abandoned the old notion of force, the physical analogue of effort, replacing it by mass-acceleration. That is why the rationalists in modern philosophy look askance at this direct experience of man, so intangible that we can draw from it no logical implications. For it has no structure. Its characteristic is not clearness nor distinctness. We might be tempted to say it is like a point in space, too small to be envisaged, yet not a zero; but it is more like a dot or spark, so small as to be just seen, so small as to have no visible spread, no content that we can analyze to draw out rational consequences connecting it with other things. Here too we see why the contemplative thinker seldom believes in free choice, which the natural man naturally accepts. Free choice is the kind of thing that might well belong to this experience; free choice is origination. Not necessarily that all effort is freely made. The baby exercises no free choice when he sucks hard at the nipple, nor the adult when he wrestles for his life with an enemy. But they want, need, desire; that is the point. Desire--that is the essence of effort. Desire has the originative quality; it comes as it were out of one's self and from no other source, it is what we want, our self insisting on its own. But the business is so deep within that it is easily overlooked, or deliberately excluded from the gaze, and without a qualm. We might say it is too near to be noticed, or too deep down to obtrude itself, as the water in the well is easy to see, but not the spring at the bottom of the well. Effort disappears from the scene when the thinker is calmly gazing; but when he acts it is felt, and strongly felt. It is in fact the very essence of the self, the well-spring of its worth and its growth. A man is what he does. His worth lies in what he makes. All that he is responsible for, all that he earns, is credited with, or guilty of, comes from this innermost source. So thinks the practical man, so we all believe when we are conducting our lives in intercourse with one another and with nature. But for the contemplative attitude there is here too little of clear articulation, of object-matter for analysis; no use can be made of it in a deductive system. So the system-builders discard it. (shrink)

In two experiments, we investigate to what extent various visual saliency cues in realistic visual scenes cause speakers to overspecify their definite object descriptions with a redundant color attribute. The results of the first experiment demonstrate that speakers are more likely to redundantly mention color when visual clutter is present in a scene as compared to when this is not the case. In the second experiment, we found that distractor type and distractor color affect redundant color use: Speakers are (...) most likely to overspecify if there is at least one distractor object present that has the same type, but a different color than the target referent. Reliable effects of distractor distance were not found. Taken together, our results suggest that certain visual saliency cues guide speakers in determining which objects in a visual scene are relevant distractors, and which not. We argue that this is problematic for algorithms that aim to generate human-like descriptions of objects, since these generally select properties that help to distinguish a target from all objects that are present in a scene. (shrink)

Speakers’ perception of a visual scene influences the language they use to describe it—which objects they choose to mention and how they characterize the relationships between them. We show that visual complexity can either delay or facilitate description generation, depending on how much disambiguating information is required and how useful the scene's complexity can be in providing, for example, helpful landmarks. To do so, we measure speech onset times, eye gaze, and utterance content in a reference production (...) experiment in which the target object is either unique or non-unique in a visual scene of varying size and complexity. Speakers delay speech onset if the target object is non-unique and requires disambiguation, and we argue that this reflects the cost of deciding on a high-level strategy for describing it. The eye-tracking data demonstrate that these delays increase when speakers are able to conduct an extensive early visual search, implying that when speakers scan too little of the scene early on, they may decide to begin speaking before becoming aware that their description is underspecified. Speakers’ content choices reflect the visual makeup of the scene—the number of distractors present and the availability of useful landmarks. Our results highlight the complex role of visual perception in reference production, showing that speakers can make good use of complexity in ways that reflect their visual processing of the scene. (shrink)

Theological ethics is vulnerable to the charge made by some philosophical ethicists that it frequently commits the "naturalistic fallacy," i.e., that it fallaciously derives duties and obligations from purely descriptive theological premises. Some theological ethicists, acceding to the charge, have contented themselves with an examination of how theological ethics might "influence" or "enrich" ethical propositions based on non-theological foundations. This essay analyzes the current scene in theological ethics and argues that the "naturalistic fallacy" is not the real danger. The (...) real danger is the failure of theological ethics to work out both its theological and ethical propositions in close relationship to human experience and to each other. (shrink)

Pratiquer la phénoménologie, c'est reconduire les choses et les concepts aux horizons ou aux situations selon lesquels nous y accédons. Qu'advient-il si cet accès n'est plus seulement le fait du regard objectivant de la conscience ou de la préoccupation de l'existant mais également l'œuvre du corps? A la description des phénomènes se substitue alors l'enchaînement des scènes où ils apparaissent et dont ils sont la concrétisation : une dramatique des phénomènes. Qu'il s'agisse, par exemple, des relations entre le temps (...) et la chair chez Husserl, l'être et le vivant selon Heidegger, la différence ontologique et le corps pour Levinas, les études ici réunies s'attachent à cette dramatique des phénomènes qui atteste que les relations éidétiques ne sont pas des liens désincarnés. (shrink)