TOT states may be viewed as a temporary and reversible microamnesia. We investigated the effects of lorazepam on TOT states in response to general knowledge questions. The lorazepam participants produced more commission errors and more TOTs following commission errors than the placebo participants . The resolution of the TOTs was unimpaired by the drug. Neither feeling-of-knowing accuracy nor recognition were affected by lorazepam. The higher level of incorrect recalls produced by lorazepam participants may be due to the fact that (...) they were more frequently temporarily unable to access a known item. For some of these items, the awareness of the retrieval failure resulted in a commission TOT . The resolution of the TOT conflict is discussed in the light of the anxiolytic and anticonflict effects of lorazepam. The data are discussed in terms of contemporary theories of TOTs and the effects that benzodiazepines have on semantic memory. (shrink)

Signed and written languages are intimately related in proficient signing readers. Here, we tested whether deaf native signing beginning readers are able to make rapid use of ongoing sign language to facilitate recognition of written words. Deaf native signing children received prime target pairs with sign word onsets as primes and written words as targets. In a control group of hearing children, spoken word onsets were instead used as primes. Targets either were completions of the German signs (...) or of the spoken word onsets. Task of the participants was to decide whether the target word was a possible German word. Sign onsets facilitated processing of written targets in deaf children similarly to spoken word onsets facilitating processing of written targets in hearing children. In both groups, priming elicited similar effects in the simultaneously recorded event related potentials, starting as early as 200 ms after the onset of the written target. These results suggest that beginning readers can use ongoing lexical processing in their native language – be it signed or spoken – to facilitate written word recognition. We conclude that intimate interactions between sign and written language might in turn facilitate reading acquisition in deaf beginning readers. (shrink)

The picture-word interference paradigm has been used to investigate the time course of processes involved in word retrieval, but is challenging to implement online due to dependence on measurements of vocal reaction time. We performed a series of four experiments to examine picture-word interference and facilitation effects in a form of covert picture naming, with and without gamification. A target picture was accompanied by an audio word distractor that was either unrelated, phonologically-related, associatively-related, or (...) categorically-related to the picture. Participants were instructed to judge whether the name of the target picture ended in the phoneme assigned to the block by pressing corresponding keys as quickly and accurately as possible. Experiments 1 and 2 successfully replicated categorical interference and phonological facilitation effects at different optimal stimulus-onset-asynchronies between words and pictures. Experiment 3 demonstrated that a key gamification feature motivated faster speed at the expense of accuracy in the gamified vs. experimental format of the task. Experiment 4 adopted the optimal SOAs and verified that the gamification reveals expected interference and facilitation effects despite the speed-accuracy tradeoff. These studies confirmed that categorical interference occurs earlier than phonological facilitation, while both processes are independent from articulation and inherent to word retrieval itself. The covert PWI paradigm and its gamification have methodological value for neuroimaging studies in which articulatory artifacts obscure word retrieval processes, and may be developed into potential online word-finding assessments that can reveal word retrieval difficulties with greater sensitivity. (shrink)

People typically remember emotionally negative words better than neutral words. Two experiments are reported that investigate whether emotionally enhanced memory for negatively arousing words is based on a storage or retrieval advantage. Participants studied non-word–word pairs that either involved negatively arousing or neutral target words. Memory for these target words was tested by means of a recognition test and a cued-recall test. Data were analysed with a multinomial model that allows the disentanglement of storage and (...) class='Hi'>retrieval processes in the present recognition-then-cued-recall paradigm. In both experiments the multinomial analyses revealed no storage differences between negatively arousing and neutral words but a clear retrieval advantage for negatively arousing words in the cued-recall test. These findings suggest that EEM for negatively arousing words is driven by associative processes. (shrink)

Some researchers have concluded that nonverbal recognition is generally superior to verbal recognition memory performance. The present study involved two experiments designed to assess claims of superior nonverbal memory. Experiment 1 compared performance for letter (common words) and nonletter (meaningful line drawings) items with matched high-imagery values. Experiment 2 compared performance for matched low-imagery items consisting of letters (pseudowords) and nonletter items (geometric matrices). Performance did not differ significantly between verbal and nonverbal items in either experiment, although (...) the expected effects of presentation rate and type of retrieval task were significant. It was concluded that recognition memory performance is not necessarily dependent upon the “verbalness ” or “non-verbalness ” of stimulus items. (shrink)

Three experiments introduced a recognition memory paradigm designed to investigate reported subjective awareness during retrieval. At study, in Experiments 1A and 2, words were either generated or read , while modality of presentation was manipulated in Experiment 1B. Word pairs were presented during test trials, and participants indicated if they contained an old word by responding “remember”, “know” or “new” in Experiments 1A and 1B, and by responding “strong no”, “weak no”, “weak yes”, or “strong yes” (...) in Experiment 2. Participants were then required to decide which of the 2 words was old. We demonstrated that the proportion measures used in the Remember Know paradigm substantially underestimated the influence of generation on familiarity resulting in an artificial dissociation between indices of knowing and remembering . We also found a qualitatively different pattern of forced-choice recognition performance as a function of claimed awareness. (shrink)

Recent evidence suggests that consciousness of encoding is not necessary for the rapid formation of new semantic associations. We investigated whether unconsciously formed associations are as semantically precise as would be expected for associations formed with consciousness of encoding during episodic memory formation. Pairs of faces and written occupations were presented subliminally for unconscious associative encoding. Five minutes later, the same faces were presented suprathreshold for the cued unconscious retrieval of face-occupation associations. Retrieval instructions required participants to classify (...) the presented individuals according to their putative regularity of income, length of education, and creativity value of occupational activity. The three instructions yielded more classifications consistent with a person’s occupation if the person had been subliminally presented with his written occupation versus a meaningless word . This suggests that consciousness is not necessary to encode, long-term store, and retrieve semantically precise associations between primarily unrelated items. (shrink)

The role of encoding/retrieval conditions compatibility was investigated in a reality-monitoring task. An experiment was conducted which showed a positive effect of reinstating distinctive encoding operations at test. That is, generation of a low-frequency word from the same word fragment at study and test significantly enhanced item recognition memory. However, reinstating of relatively more automatic operations of reading or generating a highfrequency word did not influence recognition performance. Moreover, LF words were better (...) recognized than HF words, but memory for source did not depend on the encoding/retrieval match or on the word-frequency. In comparison with reading, generating an item at study significantly enhanced source memory but generating it at test had no effect. The data were analysed using a multinomial modelling approach which allowed ruling out the influence of a response bias on the measurement of memory ability. (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)

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)

The vast expressive power of language is made possible by two principles: the arbitrary soundmeaning pairing underlying words, and the discrete combinatorial system underlying grammar. These principles implicate distinct cognitive mechanisms: associative memory and symbolmanipulating rules. The distinction may be seen in the difference between regular inflection (e.g., walk-walked), which is productive and open-ended and hence implicates a rule, and irregular inflection (e.g., come-came, which is idiosyncratic and closed and hence implicates individually memorized words. Nonetheless, two very different theories (...) have attempted to collapse the distinction; generative phonology invokes minor rules to generate irregular as well as regular forms, and connectionism invokes a pattern associator memory to store and retrieve regular as well as irregular forms. I present evidence from three disciplines that supports the traditional word/rule distinction, though with an enriched conception of lexical memory with some of the properties of a pattern-associator. Rules, nonetheless, are distinct from patternassociation, because a rule concatenates a suffix to a symbol for verbs, so it does not require access to memorized verbs or their sound patterns, but applies as the "default," whenever memory access fails. I present a dozen such circumstances, including novel, unusual-sounding, and rootless and headless derived words, in which people inflect the words regularly (explaining quirks like flied out, low-lifes, and Walkmans). A comparison of English to other languages shows that contrary to the connectionist account, default suffixation is not due to numerous regular words reinforcing a pattern in associative memory, but to a memory-independent, symbol-concatenating mental operation. (shrink)

Behavioral studies have demonstrated differences in the effect of constrained retrieval of semantic vs. non-semantic information on the encoding of foils. However, the impact of recognition on foils between semantic and non-semantic trials remains unclear. This study thus examines the roles of recognition—familiarity and recollection—in constrained retrieval for foils. We applied the event-related brain potentials data of new/old effects to elucidate the neural mechanisms underlying the “foil effect.” Participants encoded semantic and non-semantic tasks, were tested (...) in a blocked memory task with new words presented as foils, and performed a surprise recognition task involving foils and completely new words. Behavioral results showed better recognition performance regarding reaction times and accuracy by hit and correct reject for semantic vs. non-semantic trials in Phase 2. Conversely, inferior recognition performance in reaction times and accuracy by hit and correct reject was noted for semantic vs. non-semantic foils in Phase 3. ERP results showed more positive Frontal N400 for hit in non-semantic trials, more positive late positive component for correct rejects in semantic trials in Phase 2, and more positive LPC for hits in both semantic and non-semantic trials only in Phase 3. Through dual-processing theory, we prove that different task types in constrained retrieval depend on different retrieval processes. Particularly, familiarity may be applied more often in non-semantic trials, and recollection in semantic trials. The difference in processes between semantic and non-semantic trials during constrained retrieval affects incidental encoding of foils. (shrink)

Our ability to rapidly distinguish new from already stored information is important for behavior and decision making, but the underlying processes remain unclear. Here, we tested the hypothesis that contextual cues lead to a preselection of information and, therefore, faster recognition. Specifically, on the basis of previous modeling work, we hypothesized that recognition time depends on the amount of relevant content stored in long-term memory, i.e., set size, and we explored possible age-related changes of this relationship in older (...) humans. In our paradigm, subjects learned by heart four different word lists written in different colors. On the day of testing, a color cue indicated with a probability of 50% that a subsequent word might be from the corresponding list or from a list of new words. The old/new status of the word had to be distinguished via button press. As a main finding, we can show in a sample of n = 49 subjects, including 26 younger and 23 older humans, that response times increased linearly and logarithmically as a function of set size in both age groups. Conversely, corrected hit rates decreased as a function of set size with no statistically significant differences between both age groups. As such, our findings provide empirical evidence that contextual information can lead to a preselection of relevant information stored in long-term memory to promote efficient recognition, possibly by cyclical top-down and bottom-up processing. (shrink)

Linguistic dependencies between non‐adjacent words have been shown to cause comprehension difficulty, compared with local dependencies. According to one class of sentence comprehension accounts, non‐local dependencies are difficult because they require the retrieval of the first dependent from memory when the second dependent is encountered. According to these memory‐based accounts, making the first dependent accessible at the time when the second dependent is encountered should help alleviate the difficulty associated with the processing of non‐local dependencies. In a dual‐task (...) paradigm, participants read sentences that did or did not contain a non‐local dependency (i.e., object‐ and subject‐extracted cleft constructions) while simultaneously remembering a word. The memory task was aimed at making the word held in memory accessible throughout the sentence. In an object‐extracted cleft (e.g., It was Ellen whom John consulted…), the object (Ellen) must be retrieved from memory when consulted is encountered. In the critical manipulation, the memory word was identical to the verb's object (ELLEN). In these conditions, the extraction effect was reduced in the comprehension accuracy data and eliminated in the reading time data. These results add to the body of evidence supporting memory‐based accounts of syntactic complexity. (shrink)

Considerable work during the past two decades has focused on modeling the structure of semantic memory, although the performance of these models in complex and unconstrained semantic tasks remains relatively understudied. We introduce a two‐player cooperative word game, Connector (based on the boardgame Codenames), and investigate whether similarity metrics derived from two large databases of human free association norms, the University of South Florida norms and the Small World of Words norms, and two distributional semantic models based on large (...) language corpora (word2vec and GloVe) predict performance in this game. Participant dyads were presented with 20‐item word boards with word pairs of varying relatedness. The speaker received a word pair from the board (e.g., exam‐algebra) and generated a one‐word semantic clue (e.g., math), which was used by the guesser to identify the word pair on the board across three attempts. Response times to generate the clue, as well as accuracy and latencies for the guessed word pair, were strongly predicted by the cosine similarity between word pairs and clues in random walk‐based associative models, and to a lesser degree by the distributional models, suggesting that conceptual representations activated during free association were better able to capture search and retrieval processes in the game. Further, the speaker adjusted subsequent clues based on the first attempt by the guesser, who in turn benefited from the adjustment in clues, suggesting a cooperative influence in the game that was effectively captured by both associative and distributional models. These results indicate that both associative and distributional models can capture relatively unconstrained search processes in a cooperative game setting, and Connector is particularly suited to examine communication and semantic search processes. (shrink)

Although memories are more retrievable if observers’ emotional states are consistent between encoding and retrieval, it is unclear whether the consistency of emotional states increases the likelihood of successful memory retrieval, the precision of retrieved memories, or both. The present study tested visual long-term memory for everyday objects while consistent or inconsistent emotional contexts between encoding and retrieval were induced using background grey-scale images from the International Affective Picture System. In the study phase, participants remembered (...) colours of sequentially presented objects in a negative or positive context. In the test phase, participants estimated the colours of previously studied objects in either negative versus neutral or positive versus neutral contexts. Note, IAPS images in the test phase were always visually different from those initially paired with the studied objects. We found that reinstating negative context and positive context at retrieval resulted in better mnemonic precision and a higher probability of successful retrieval, respectively. Critically, these effects could not be attributed to a negative or positive context at retrieval alone. Together, these findings demonstrated dissociable effects of emotion on the quantitative and qualitative aspects of visual long-term memory retrieval. (shrink)

Most words in English are ambiguous between different interpretations; words can mean different things in different contexts. We investigate the implications of different types of semantic ambiguity for connectionist models of word recognition. We present a model in which there is competition to activate distributed semantic representations. The model performs well on the task of retrieving the different meanings of ambiguous words, and is able to simulate data reported by Rodd, Gaskell, and Marslen‐Wilson [J. Mem. Lang. 46 (...) (2002) 245] on how semantic ambiguity affects lexical decision performance. In particular, the network shows a disadvantage forwords with multiple unrelated meanings (e.g., bark) that coexists with a benefit for words with multiple related word senses (e.g., twist). The ambiguity disadvantage arises because of interference between the different meanings, while the sense benefit arises because of differences in the structure of the attractor basins formed during learning. Words with few senses develop deep, narrow attractor basins, while words with many senses develop shallow, broad basins. We conclude that the mental representations of word meanings can be modelled as stable states within a high‐dimensional semantic space, and that variations in the meanings of words shape the landscape of this space. (shrink)

“Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means of (...) subversive resistance against society’s prevailing notions of form and power. What aids this impact and distinguishes two of its basic stylistic features is the grotesque’s dissolution of form and its hyperbole. Such grotesqueries, however, soon solidify into new forms, new structures of meaning, hierarchy and practice, and in this sense the history of the grotesque is, on one hand, a continual opposition and transgression of the prevailing notions of art as well as of God and humanity, while on the other hand it offers continual resistance to its own solidifying process. As such the grotesque will not and cannot be contained in form without it losing the very thing that makes it grotesque. Even though it is somewhat easy to point out certain stylistic features of the grotesque, the sum of those features tell us very little about what is at play within it. Definitions concerned with the grotesque’s content rather than its form faces similar difficulties. Throughout history, expressions relating to the grotesque have been used in defense of a whole host of different social and cultural discourse including, for instance, Catholicism (See Erhard Schön’s Der Teufel mit der Sackpfeife , 1536), Protestantism (See Lucas Cranach’s Der Papstesel , 1523), a material folk culture (see Mikhail Bakhtin’s Rabelais and his World , 1984) and an idealistic romantic structure of meaning (see Wolfgang Kayser’s The Grotesque in Art and Literature , 1957). Thus though the grotesque cannot be reduced to the expression of certain forms or meanings, in order to examine what the grotesque is about one has to try to see how it’s relationship to flow and process and how, by maintaining this relationship, it attempts to avoid solidifying into form and meaning. The process of the grotesque alluded to here revolves around a play between periphery and center, the marginalized and the dominant. Most often this is expressed as a direct negation of the center of power. In the medieval grotesque tradition of the carnival, for example, it is expressed by its emphasis on the nether regions of the body as the center of creation of meaning. Spirit does not come from above, but from the belly, buttocks and genitals, and there is, expressed in this manner, a mockery of the predominant Christian notion of truth and meaning. Such inversions of the sites of meaning most often explicitly express an increased interest in materiality instead of ideal content which comes to the fore through the play between periphery and center. Even in early grotesque Renaissance art (for example in the works of Raphael) the depiction of the mythological or ideal reveals an exploration of the possibilities of the material. The works of art thus explore their own boundaries rather than act as vessels of the divine and in this way the grotesque explores the limits of form and materiality. This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries. Materiality and metaphysics are joined together, because it is through the awareness of itself as a structuring (dis)order that it places itself in opposition to the prevailing notions of form and power. This way the grotesque expresses an awareness of the division of sign and reality and a search for this reality. It implicitly expresses the awareness that meaning is not something God-given and static, but fluctuating and man-made. In modern explorations of the history of the grotesque it is commonly seen as a form of realism that manifests a shift from the ideal towards the material, freeing art from representing some hidden higher order and instead making the work of art the very site of creation and meaning. Going even further, the grotesque actively opposes the notions of the ideal by marking a shift from an ahistorical view of the world towards the historical. However, this also makes clear why the grotesque has a tendency to solidify into new static forms of meaning, for by establishing itself as a subversive counterforce there is an idea of transgression and emancipation. That is why the grotesque often historicizes and relativizes only to repeat the mistakes of that which it negates: putting itself in the king’s chair. The exploration of the material seems to create new forms and notions of the ideal. The representation of an otherness outside the prevailing notions of meaning and truth becomes a positive manifestation of this otherness as truth itself. Thus the historical “truths” of the grotesque are superseded by history itself. When the expressions of the grotesque solidify into static form and meaning, they become mere objects like anything else in the world. Instead of being this elusive thing of process and flow, it becomes tangible to the existing hierarchy of power as well as history itself. In this way the grotesque can be expunged, included or simply revealed as yet another false notion of truth, which is precisely what has happened with the grotesque throughout the course of history. If from the beginning the expression of the grotesque has not already been in the service of some structure of meaning and truth, it has quickly been included or has quickly included itself in such a structure. But by doing so it rejects its own basis: the tension between periphery and center is replaced by the attempt to create a new center, a new structure of meaning and truth. The doubleness, ambiguity and flow of the grotesque are then rejected by the grotesque itself. THE NON-FORM OF FORM In the critical thinking of Theodor W. Adorno (1903-69) the problem of art, caught between a reductive and prevalent notion of truth and meaning and a peripheral and alienated otherness, is reexamined and reformulated. For Adorno, the instrumental rationality of Enlightenment itself reverts into a new form of mythology which is every bit as static and exclusive as the hierarchies of religion it supersedes. All is excluded that is non-identical to the instrumental mastery of the objects of the world, "For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry." 1 As such the non-identical has been banished from the realm of thought and action, and banished specifically to the realm of art. But the realm of art is not able to provide a decent home for it because even modern art is not something entirely autonomous. While it is excluded from the notions of truth and meaning provided by instrumental rationality, it still originates from society. Just like instrumental rationality art is about mastery, structuring and exclusion. Therefore, the problem for art is that it cannot directly provide a space for the non-identical because its mode of operation is similar to that of instrumental rationality. Even worse, art has very few possibilities to free itself from this. If it becomes l’art pour l’art it is at the same time reduced to the very thing instrumental rationality claims it to be: a subjective judgment of taste.expressionism also stands as an example of this. Conversely, art cannot work within the framework of the identity-thinking of society, because any notion of freedom or emancipation would reproduce the exclusive practices of instrumental rationality. For example: Explicit socialist literature may establish itself in opposition to instrumental rationality while at the same time reproducing it. Its language may seem different, but in reality it merely provides a different set of reductive schematics for human life and experience. The problem for the art of the grotesque was, as I mentioned earlier, that far too often it was merely a symbolic manifestation of a notion of otherness—not otherness itself. Because of this the subversive character of the grotesque ends up shaping and containing otherness instead of providing a space for it. According to Adorno the only way to avoid this is to radicalize the grotesque. In order to avoid solidifying into form the work of art has to be an object which cannot be contained in thought or form—a non-form of form. The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear. Adorno’s pessimistic theory of art and history stages art as a negative dialectical process where the work of art closes itself off and rejects everything outside, while the individual elements in the work of art destroys its very own logic of form from within: Artworks synthetize ununifiable, nonidentical elements that grind away at each other; they truly seek the identity of the identical and nonidentical processually because even their unity is only an element and not the magical formula of the whole […]. The resistance to them of otherness, on which they are nevertheless dependent compels them to articulate their own formal language, to leave not the smallest unformed particle as remnant. This reciprocity constitutes art’s dynamic; it is an irresolvable antithesis that is never brought to rest in the state of being. 2 Relative to a traditional understanding of the grotesque, Adorno radicalizes the tension between center and periphery, autonomy and heteronomy. In the traditional understanding of the grotesque, as we find it for example in the writings of Mikhail Bakhtin, the grotesque establishes the display of otherness as a new center of meaning and truth. However Adorno rejects such notions and argues instead for a modernism of the grotesque in which both center and periphery are included in a negative dialectical process and continually synthesizing and destabilizing each other’s positions. A modernism of the grotesque works on the inside of the sign or the artwork, continually outlining and questioning the boundaries between materiality and form. This moves the focus away from the relation between the sign or work of art as a conceptual manifestation on one side and the object it refers to on the other side. Instead it implicitly points to the amorphous mass from which the signs and thereby meaning have been carved, the remnants that have been left behind. Modernism of the grotesque does not imply that it is emancipatory or that it reconciles man with nature, and does not represent a new position or a new ideology. It merely remembers and insists on the double nature of man and art: to write or paint yourself or an artwork whole by inscribing meaning in life or by applying form on a canvas is at the same time both creation and destruction. The very signs we use to center meaning in our lives carry its own alienation in them. Meaning surfaces only when process and flow comes to a halt—solidifying, but at the same time excluding parts that do not fit into that particular structure of meaning. NOTHING DONE AND NOTHING UNDONE It has always been difficult for art historians to find a suitable category for the works of the Danish artist Leif Lage (b. 1933). In his paintings the sensitive figuration seems so fragile that it is on the verge of turning into abstraction. Or conversely: the figurative emerges cautiously and hesitantly out of abstraction. As an art critic once wrote, he can almost paint things away. 3 Working in some undefinable space between abstraction and figuration, the Lage’s works shy away from the realm of words, and as a result few critics have been able to write anything meaningful about his works. In fact even fewer have been able to write more than one or two pages. The Danish author and art critic Leif Hjernøe is one of those few, but even he starts off by saying how impossible it is to write about Lage, confessing that his works exist both as process and in a field of in-between which words cannot reach. He writes: Always you find yourself in a place where nothing is done and nothing left undone, and where the elements of the work of art rest in a continuous motion. Always there is the open wound, where infection rather than surgical intervention is considered as an opportunity. And the conflict between matter and antimatter makes all diagnoses uncertain and allows conditions of uncertainty to spread in a place of raw presence. 4 The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness. An approach to an understanding of the work of Lage could be to follow his connection to Samuel Beckett (1906-89). One can note, therefore, that Lage has illustrated several of the Danish translations of Beckett’s works. Though one is an author and the other a painter both seek a place where figuration, where the word, erodes. For both this entails an attempt to question and examine and so move in behind the façade of the surface in an exploration of that something or nothing that may be behind representation. At the same time even in the vanishing point of figuration or words, the meaningless words or the disjointed lines still stand as signs of human activity—signs of movement in emptiness. With very few exceptions Lage’s artworks revolve around one motif: Man—most often “en face.” But unlike traditional portraitures Lage’s people are found within. The artworks do not sense the reality of appearances, but rather the existential dimensions within man. As a seismograph they are sensitive to the utmost subjectivity in order to display an objective, sensuous depiction of the very problem of subjectivity. Instead of a static façade of a man, Lage’s “en face” shows the process-character of man. The people in Lage’s paintings are always in process—in the midst of becoming or dissolving. I will take a closer look in the following at the ways in which Lage establishes this sense of being in constant process, of being in-between modes or categories. THE DOUBLENESS OF THE STROKE Lage’s etchings attract attention in particular for the tension conveyed there between the material and the form. The material physically opposes the violence of the needle. But instead of embracing the violence of the needle and the victory over matter—instead of making the artistic creation and figuration express a heroic mastery of the background it is made out of—Lage uses the stroke to express the very tension between stroke and material, figuration and background. In the drypoint etching Untitled from 1983, which illustrated the Danish translation of Beckett’s Ill Seen, Ill Said , the needle tears up the material in long rough lines: Together, the primarily horizontal and vertical lines form a face. Thus the force needed to etch a line in the metal-plate draws attention to itself: It is there in the absence of curves and nuances. Man emerges on the metal-plate after great exertion and in a very simplistic form. This way Lage enhances the nature of the material, as the material’s resistance is not something to overcome. On the contrary the figuration is smitten by its very resistance and as such expresses the violence of its own becoming. Even more pronounced is the fact that the lines do not just show the violence of creation—it actively erases figuration in the same process that creates it. For example the mouth consists of 8-10 horizontal strokes, of which some seem to be connected to each other as if the mouth has been quickly scratched out. The mouth speaks of the inability to speak. In the same way, the eyes are black holes due to a large amount of criss-cross cuts, which together form a dark middle. Those lines, at the same time, form the eyes of the figuration and scratch out the eyes of the figuration. The extroverted aspects of the face—connected to speech and sight—are portrayed as introverted as well. Just as the etchings down into the metal-plate makes something appear. Leif Lage, Untitled , 1983 (etching) The figuration of the etching is connected to creation. It expresses that something is wrought into existence out of nothing by sheer artistic force. However, this force is at the same time presented as a violence of creation, which makes it impossible for form to truly emerge. Herein lies one of the basic principles of Lage’s art, namely that art cannot be that nothing or something behind the realm of words or signs. Without form, art would lose its ability to express anything at all. Form is a necessity if art is to avoid becoming as devoid of expression as the reality is that we cannot reach behind the appearance of things. On the other hand, art cannot raise itself above its own material in joyous celebration of the beauty of form. This would use the material in the manner of an instrument and thus would suppress the otherness it attempts to rescue. When art becomes mere form, any traces of otherness will have dissolved. Then art would be a question of technique, in no way different from the instrumental rationality of society. Therefore art works in a particular space between form and non-form. As Hjernøe says of the works of Lage, it is in the center of the event, in the in-between where things neither are nor are not, "And everything takes place just before it changes character. As the blood just before it coagulates, as the milk just before it separates, as fried egg just before it turns white […]." 5 The precise emphasis on the in-between of Lage’s art points in particular to the work of art as both outside of and in time. The work of art is a singular point in time, but at the same time it is continually in process. In the borderland between form and non-form, between creation and destruction, it shimmers like a fata morgana . The work is done but at the same time undone. It is only there as a cry in response to the inability to come into being. Akin to the etching is the drawing, but while both, of course, use the stroke or line as their main instrument, the paper does not resist the line in the same sense as the metal-plate of the etching. As a result in Lage’s drawings the stroke frolics in a space with almost no tension at all. There is nothing there to keep the pencil stroke at bay, but at the same time this means that there is nothing there to keep it together. One of the more expressive examples of this is found in an untitled drawing from Tegninger og Text ( Drawings and Text ) from 1999. The drawing consists of one unbroken pencil stroke. It is as if the stroke is confused—it darts around on the paper making doodles on the way or gathers itself in more straight lines in the center of the paper. It is in this manner that the semblance of a body is established. A couple of small circles serve as eyes and are the reason that the rest can be read as both face and body instead of pure abstraction. In fact the unbroken stroke serves as both abstraction and figuration as on the one hand it is the stroke that seemingly outlines the shape of a figure, while on the other hand the unbroken stroke dissolves any truly recognizable figuration by continuously, without end or aim, overflowing the boundaries of the figure. Seen again here is a doubleness to the stroke and the act of creation. In the etching it was all about the tension between the resistance of the material which created the doubleness. Here it is the opposite. It is the lack of tension. The stroke is free to do anything, but has no aim: without some kind of resistance, there is nothing to hold figuration together. It threatens to dissolve into nothingness. Conversely, the drawing can also be seen as a process of becoming. Like a form of automatic writing, the pencil darts around until it finds a point of densification. But even in such an interpretation of the drawing, the figuration appears artificial—it points to itself as the result of the artistic act of creation. The stroke is primarily stroke and only secondarily figuration. With its wild movement it calls attention to itself as stroke. Thus the figuration never becomes something in its own right. It points to the basic principle of creation: Someone has drawn me, I am the result of artistic endeavors, and therefore I am not for myself but always overflowing the boundaries that contain me. It is the stroke that in the very same movement creates figuration and dissolves it. Leif Lage, Untitled , 1999 (drawing) THE LIGHTNESS OF COLOR, THE DENSITY OF PAPER Often the watercolor is used as a precursor for larger paintings, because it has an immediacy in which one can quickly paint the main lines of a composition. However, Lage’s watercolors are not temporary points in a process leading to another final painting. They are not sketches, later to be filled with details in another material. For him watercolor is an end in itself. This also implies that he doesn’t try to work against the paper’s absorption of the water color and its tendency to absorb detail. On the contrary, he examines the possibilities inherent in this blurring of the line and absorption of color. As in the previous examples, there are of course recognizable shapes in Lage’s water colors. But these shapes are rarely separable from color, line or even paper. In other words: the figurative and the abstract more or less become one. One of the reasons for this is that Lage often works on wetted paper which means that the paper hungrily absorbs color into its fabric instead of it being on top of the paper. The paper becomes line because it is the absorption of the color which, together with the brush stroke itself, separates the colors from each other. The line is also color and the color is also line, because there is no separation between the different colors other than the colors themselves. At times this results in almost complete abstraction. In such cases Lage add lines with a pencil as if he wants to hold some sort of figuration together. At other times it is the other way around: the strokes of the pencil are a being dissolved by the water color blurring out the figuration. Untitled 1 from 1999 displays various tones of green. The contour of the colors appears unusually rough. Most of all it is reminiscent of a shoreline which has found its form through the work of thousands of years between water and land. Pockets of resistance surface as islands not yet drowned in color—as paper or color not yet consumed by the dominant color. The shape of the colors does not seem created by the hand of the artist, but rather by the inner workings of the watercolor: color against color over time has resulted in this very image, as if it is all a part of a natural process of change and decay. Despite the fact that there are no strong differences in color there seems to be a struggle taking place in the watercolor. For example, inexplicable holes in the dark color, which cover most of the right side of the watercolor, appear as if the underlying color is eating away the dark color, or that the dark color is in the process of covering up the underlying color. The small pockets of resistance demonstrate a process and development that, almost as a happy accident, evokes a couple of small eyes and a large mouth. Behind the colors a few slanted lines can be discerned, but the hand of the artist has long ago disappeared behind the life of the colors. Thus the watercolor seems to be held at precisely the point in time where figuration randomly appears. The small eyes and wide mouth seemingly express the realization of the figuration’s temporality. It is just a moment in time, soon to be consumed again in the life of the colors. The nature, the background it stems from and is part of, moves on undeterred, continuing its everlasting process of creation and decay. In this sense, the watercolor provides an experience of how neither artist nor man is able to transcend the materiality they consist of. The colors of man, the materials man consists of are “becoming” and “progress” but also “decay” and “disappearance”. The artist’s pencil strokes have been eaten up long ago, and the figuration is living on borrowed time. Human or artistic activity is about creating form, transcending mere matter by shaping and applying meaning to it. But Untitled 1 shows the doubleness of such creation: the transience and fragility of human life. Should the figuration come into being, should it rise and transcend the material, which binds it to its temporal existence, it would become nothing because its very existence is conditioned by the life and work of the colors. In the same sense man cannot escape his own temporality. He too, for better or worse, must accept a life in the volatility of sensation. Leif Lage, Untitled 1 , 1999 (watercolor) In most of Lage’s watercolors there seem to be a stronger artistic control than in Untitled 1 . Most often both the arrangement of colors and the technique in which they are painted express the hand of the artist. An example of this is Untitled 2 from 1999. While figuration in Untitled 1 seemed to appear as a happy accident, the figuration is much more “created” in Untitled 2 . Here the most important parts of the figuration, the eyes, the mouth and part of the skull, are colored black and painted on top of the background’s play of colors. The background primarily consists of blue and yellow tones. Only parts of the paper are covered in color, however, which yet again stresses the act of painting: There is a surface which is being filled by color by an artist. The blue tones are concentrated in the figuration, while the yellow tones surround it. All this means that the figuration stands out more clearly in this watercolor. This is also underlined by the fact that the blue and dark tones cover part of the yellow tones as spots here and there. Thus it is not a background which is in the process of consuming figuration, but rather the emerging figuration which blots out the background. Such an understanding is even suggested by how the mouth and eyes are placed in the larger blue color field. The eyes and mouth are in the center of the watercolor, while the blue color field is placed from center out towards the left side. This gives the impression of a face turned slightly to the right and slightly upwards, which again makes the mouth appear to emerge from the paper. It also helps that the mouth cuts the center axis of the watercolor. In other words, the arrangement of the blue and black colors create some depth and perspective which gives the illusion of a figuration, seen partially in profile, emerging from the background. Seen in profile, the eyes and mouth seem extroverted—they almost seem as if they are put on top of the face. But at the same time they are painted as black holes, sucking in the gaze of the onlooker. The watercolor is even more challenging if one follows what may be the faint outline of the skull, which, on the right side of the watercolor, no longer works together with the blue color, but rather alone postulates the outline of the skull. If not the blue color field, but this line, is the outline of the skull, then all of a sudden the face is not in profile but “en face”—staring directly towards the onlooker. Outline and color seemingly work against each other and establish two different expressions. Without the slightly upward tilted expression of the profile, the eyes and mouth do not seem to emerge from the paper. On the contrary, seen “en face,” the eyes and mouth are really gaping pits of darkness. In this sense Untitled 2 is at the same time surface and depth of perspective. The line gives form but at the same time it dissolves the form created by the colors, and vice versa. Leif Lage, Untitled 2 , 1999 (watercolor) As the last example of Lage’s artistic method, I have chosen another untitled work (as indeed nearly all of Lage’s artworks are)—this time from 2000. This is perhaps one of the most figurative watercolors Lage has created, though that doesn’t tell us too much. The painting depicts a human face in blue and green tones on a yellow toned background. The colors create a clear demarcation between the figure and the background, which compensate for the watercolor’s lack of outline. Beneath the face darker tones imply the beginning of the torso, and nuances of color even hint at something which could be a collar. The hair is in even darker tones and its structure is emphasized using pencil strokes on top of the water color. One eye is marked by a brown spot with a darker spot in the middle, while the other eye is added by pencil. The mouth is a round, red dot. In Untitled from 2000 the work between abstraction and figuration is much less pronounced than in the previous examples cited here. Nonetheless the watercolor has a delicacy to it which almost makes the figuration disappear, even as it appears. This has something to do with the fact that all the individual brush strokes have dissolved. The only outlines are those created by the clash of colors. Even the red mouth seems to be more paint than mouth—unable to be formed truly as anything other than a speck of color with some small semblance to a mouth. In contrast to the other watercolors, there is no movement, no progress or decay, just a vibrating standstill. The figure is not emerging or disappearing but embedded in and as surface, and as such it makes the figure seem stuck in its condition rather than freed by the act of giving form: mouth open as a wound. Pencil strokes add detail and life to the hair as an attempt to help the figure emerge. But all this does is create two levels in the watercolor: The pencil strokes are put on top of the figuration rather than being part of it. Thus they end up highlighting the endless distance between the movement and form-giving of the pencil strokes and the static and stuck figure behind these strokes. Leif Lage, Untitled , 2000 (watercolor) MAN AND THE VIEW OF THE ONLOOKER Lage’s works seem at the same time to be an examination of tensions between form and material in art and a display of an image of man full of the same tensions. This is because the people who are emerging in Lage’s images are not just in his works, They are his works. This means that man is not something emerging from a background but is part of this background and vice versa. The art of Lage inscribes man in its surroundings and background. Man is not the ruler of nature. Man does not rise above matter; there is no truly transcendent position for man to occupy in the art of Lage. Instead man is a part of the very matter, it, at the same time, tries to distance itself from in order to distinguish itself from its surroundings. Man emerges in an attempt not to be line, stroke, color. In an attempt to free itself of matter. Should it succeed in this, however, it would turn into nothing. On the other hand, if man fully accepted itself as mere matter it would disappear in it—in instincts, urges and lack of reflection. The appearance of man is thus subject to a state of being in-between. Only in the tension between material and its negation can the outlines of man be traced. However this also means that in the art of Lage man is never something in itself but always in process—on the way to its freedom and its loss. However, Lage’s art is not just about showing the tensions inherent in man but also about showing such tension on the verge of breaking point. In the moment before everything is done, or when nothing yet has been done, the delicate tension between form and material has been stretched to its utmost in such a way that man’s character of process emerges and is contained on the paper or canvas. Therefore, Lage’s art contain traces of human life. Not only is it an autonomous unity of tensions where man is stretched out between its singularity and the surroundings it is a part of. It is also this pulsation between figuration and material which brings about the traces of human endeavor and activity. Even when man almost seems to have disappeared into the material, strokes and lines are still there as a reminder of human activity and potential creative power—as a reminder that hope is still possible and that man is still there. The view of the onlooker seeks out forms and meaning. It seeks outlines and edges. But first and foremost it is the eyes in Lage’s works of art that allow the onlooker to decode the figuration at play. This creates a distinctive relationship between the onlooker and the artwork. The onlooker tries to wrest the enigma from the artwork, tries to reduce it to solid, meaningful form. But the very same moment that hints at such a possibility sees the view of the onlooker confronted with a gaze of its own. The eyes of the figure in the work of art are most often dark pits, as if they were an illustration of the violence committed against the eyes of the onlookers and their search for meaning. Or as if they were a dark reflection of the onlooker’s failed attempts to delineate the traces of life in the artwork to a solid meaningful form. Therefore, the gaze of the figuration speaks not only of its own powerlessness but also of the powerlessness of the onlooker. When the view or sight has trouble finding solid meaningful forms, it has something to do with the fact that the precondition for sight, light, no longer stems from something transcendent. In Lage’s art there is nothing outside the works of art, nothing outside of human life, and as such nothing to shed light on the works of art or human life and reveal solid meaningful forms. All light comes from within. In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself. 6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated. Lage’s art tears down such a dividing line between subject and matter, but it does so without reestablishing a divine position from where the light emanates. Therefore, the light in Lage’s art may not illuminate very well. It may not have the certainty presented by modern science or the religions of yesterday. But it does show what such light tries to hide, namely, the subject as it is in its material reality—inscribed in time and death, which are the basic conditions of materiality, but at the same time also full of life in its joy and will to create. For the onlooker the meeting of the gaze in Lage’s works of art is thus also a destruction of the view of the onlooker. The ability to see is challenged in a radical way. Those outlines will not solidify into static form, as if the light was too dim to see. Just as in Lage’s figurations, the view of the onlooker turns to black: turns towards the onlooker in recognition and becoming—or disappearance. NOTES Max Horkheimer and Theodor W. Adorno. Dialectic of Enlightenment . (Palo Alto: Stanford University Press, 2002): 4-5. Theodor W. Adorno. Aesthetic Theory . (London & New York, 2002): 176. Carsten Bach-Nielsen. “Mere glæde end gru.” Kristeligt Dagblad . September 24, 2002. Leif Hjernøe. “Den yderliggående inderlighed.” LEIF LAGE—Retrospektiv udstilling 1983 . (Copenhagen: Brøndum, 1983): 18. Ibid. Maurice Blanchot. The Infinite Conversation . (Minneapolis: University of Minnesota Press, 1993): 162-163. (shrink)

Among theories of human language comprehension, cue‐based memory retrieval has proven to be a useful framework for understanding when and how processing difficulty arises in the resolution of long‐distance dependencies. Most previous work in this area has assumed that very general retrieval cues like [+subject] or [+singular] do the work of identifying (and sometimes misidentifying) a retrieval target in order to establish a dependency between words. However, recent work suggests that general, handpicked retrieval cues like (...) these may not be enough to explain illusions of plausibility (Cunnings & Sturt, 2018), which can arise in sentences like The letter next to the porcelain plate shattered. Capturing such retrieval interference effects requires lexically specific features and retrieval cues, but handpicking the features is hard to do in a principled way and greatly increases modeler degrees of freedom. To remedy this, we use well‐established word embedding methods for creating distributed lexical feature representations that encode information relevant for retrieval using distributed retrieval cue vectors. We show that the similarity between the feature and cue vectors (a measure of plausibility) predicts total reading times in Cunnings and Sturt’s eye‐tracking data. The features can easily be plugged into existing parsing models (including cue‐based retrieval and self‐organized parsing), putting very different models on more equal footing and facilitating future quantitative comparisons. (shrink)

An important challenge when creating automatically processable laws concerns open-textured terms. The ability to measure open-texture can assist in determining the feasibility of encoding regulation and where additional legal information is required to properly assess a legal issue or dispute. In this article, we propose a novel conceptualisation of open-texture with the aim of determining the extent of open-textured terms in legal documents. We conceptualise open-texture as a lever whose state is impacted by three types of forces: internal forces (the (...) words within the text themselves), external forces (the resources brought to challenge the definition of words), and lateral forces (the merit of such challenges). We tested part of this conceptualisation with 26 participants by investigating agreement in paired annotators. Five key findings emerged. First, agreement on which words are open-texture within a legal text is possible and statistically significant. Second, agreement is even high at an average inter-rater reliability of 0.7 (Cohen’s kappa). Third, when there is agreement on the words, agreement on the Open-Texture Value is high. Fourth, there is a dependence between the Open-Texture Value and reasons invoked behind open-texture. Fifth, involving only four annotators can yield similar results compared to involving twenty more when it comes to only flagging clauses containing open-texture. We conclude the article by discussing limitations of our experiment and which remaining questions in real life cases are still outstanding. (shrink)

The roles of linguistic, cognitive, and social-pragmatic processes in word learning are well established. If statistical mechanisms also contribute to word learning, they must interact with these processes; however, there exists little evidence for such mechanistic synergy. Adults use co-occurrence statistics to encode speech–object pairings with detailed sensitivity in stochastic learning environments (Vouloumanos, 2008). Here, we replicate this statistical work with nonspeech sounds and compare the results with the previous speech studies to examine whether exclusion constraints contribute equally (...) to the statistical learning of speech–object and nonspeech–object associations. In environments in which performance could benefit from exclusion, we find a learning advantage for speech over nonspeech, revealing an interaction between statistical and exclusion processes in associative word learning. (shrink)

This paper combines domestic and international research results to analyze and study the difference between the attribute features of English phrase speech and noise to enhance the short-time energy, which is used to improve the threshold judgment sensitivity; noise addition to the discrepancy data set is used to enhance the recognition robustness. The backpropagation algorithm is improved to constrain the range of weight variation, avoid oscillation phenomenon, and shorten the training time. In the real English phrase sound (...) class='Hi'>recognition system, there are problems such as massive training data and low training efficiency caused by the super large-scale model parameters of the convolutional neural network. To address these problems, the NWBP algorithm is based on the oscillation phenomenon that tends to occur when searching for the minimum error value in the late training period of the network parameters, using the K-MEANS algorithm to obtain the seed nodes that approach the minimal error value, and using the boundary value rule to reduce the range of weight change to reduce the oscillation phenomenon so that the network error converges as soon as possible and improve the training efficiency. Through simulation experiments, the NWBP algorithm improves the degree of fitting and convergence speed in the training of complex convolutional neural networks compared with other algorithms, reduces the redundant computation, and shortens the training time to a certain extent, and the algorithm has the advantage of accelerating the convergence of the network compared with simple networks. The word tree constraint and its efficient storage structure are introduced, which improves the storage efficiency of the word tree constraint and the retrieval efficiency in the English phrase recognition search. (shrink)

By hypothesis, awareness is involved in the modulation of feedback from semantics to the lexical level in the visual word recognition system. When subjects are aware of the fact that there are many related prime–target pairs in a semantic priming experiment, this knowledge is used to configure the system to feed activation back from semantics to the lexical level so as to facilitate processing. When subjects are unaware of this fact, the default set is maintained in which activation (...) is not fed back from semantics to the lexical level so as to conserve limited resources. Qualitative differences in the pattern of data from two lexical decision experiments that employ masked priming are consistent with this hypothesis. Semantic context and stimulus quality interact when the prime is processed with awareness whereas these same two factors produce additive effects on RT when the prime is unlikely to have been processed with awareness. These experiments thus illustrate one way in which awareness affects the dynamics of visual word recognition. (shrink)

Aging is accompanied by a decline in associative memory, whereas item memory remains relatively stable compared to young adults. This age-related associative deficit is well replicated, but its mechanisms and influencing factors during learning are still largely unclear. In the present study, we examined mediators of the age-related associative deficit, including encoding intentionality, strategy instructions, the timing of the memory test and the material being learned in a within-subject design. Older and younger adults performed seven encoding tasks on word (...) pairs and picture pairs on two consecutive days, followed by item and associative recognition tests. The associative deficit was evident after all encoding tasks. We found no evidence for a difference in the magnitude of the associative deficit between incidental vs. intentional learning conditions. However, there was some evidence for a larger associative memory deficit with pictures versus words when the encoding task was held equal. Sentence generation and interactive imagery instructions in which participants generated their own mediators reduced the magnitude of the associative deficit. However, increased encoding guidance through the provision of mediators did not lead to an alleviation of the deficit, potentially because the specified mediators were implausible or difficult for the older adults to reconcile with prior knowledge. Finally, we found some evidence for a reduced age-related associative deficit with a test delay of 24 h. These results contribute to a better understanding of the factors affecting the relative difficulty of older adults with encoding and retrieving novel associations. (shrink)

Existing behavioral, neuropsychological and functional neuroimaging data suggest that at least two major cognitive strategies are used for new word learning: fast mapping via context-dependent inference and explicit encoding via direct instruction. However, these distinctions remain debated at both behavioral and neurophysiological levels, not least due to confounds related to diverging experimental settings. Furthermore, the neural dynamics underpinning these two putative processes remain poorly understood. To tackle this, we designed a paradigm presenting 20 new spoken words in association with (...) pictures in either FM or EE settings, closely matched for auditory and visual features and overall task demands. We tested word acquisition using a range of behavioral measures as well as passive event-related potential responses, an established measure of word memory trace activation, and compared brain activity elicited by novel FM and EE words before and after the learning session. Behavioral data obtained in free recall, recognition and semantic word-picture matching tasks indicated successful acquisition of new words after just 10 exposures. Crucially, we found no behavioral evidence of different acquisition outcomes between FM and EE learning. ERP data, which exhibited the main response peaks at ~170, 250, and 520 ms, also indicated successful learning, with statistically different responses between novel and familiar words present only before, but not after the training, suggesting rapid formation of new neural memory circuits matching in activation those for previously known words. Furthermore, already at the earliest peak, we found different topographic distributions for the two learning types, with left-lateralized FM dynamics, suggestive of core language system involvement, and more diffuse activity for EE items, possibly suggesting the role of attention/executive control network. A similar effect also manifested later, at ~520 ms. Our data suggest that while both EE and FM learning can be successful for rapid word acquisition at the behavioral level, the diverging electrophysiological patterns suggest a dissociation between the neural systems underpinning these learning strategies. (shrink)

Long-term memory manages its contents to facilitate adaptive behaviour, amplifying representations of information relevant to current goals and expediting forgetting of information that competes with relevant memory traces. Both mnemonic selection and inhibition maintain congruence between the contents of long-term memory and an organism’s priorities. However, the capacity of these processes to modulate affective mnemonic representations remains ambiguous. Three empirical experiments investigated the consequences of mnemonic selection and inhibition on affectively charged and neutral mnemonic representations using an adapted (...) class='Hi'>retrieval practice paradigm. Participants encoded neutral cue words and affectively negative or neutral associates and then selectively retrieved a subset of these associates multiple times. The consequences of selection and inhibitory processes engaged during selective retrieval were evaluated on a final memory test in which recall for all studied associates was probed. Analyses of memory recall indicated that both affectively neutral and negative mnemonic representations experienced similar levels of enhancement and impairment following selective retrieval, demonstrating the susceptibility of affectively salient memories to these mnemonic processes. These findings indicate that although affective memories may be more strongly encoded in memory, they remain amenable to inhibition and flexibly adaptable to the evolving needs of the organism. (shrink)

Comparisons across languages have long been a means to investigate universal properties of the cognitive system. Although differences between languages may be salient, it is the underlying similarities that have advanced our understanding of language processing. Frost is not unique in emphasizing that the interaction among linguistic codes reinforces the inadequacy of constructing a model of word recognition where orthographic processes operate in isolation.

The study’s objective is to analyze the structure of knowledge organization studies conducted worldwide. This applied research has been conducted with a scientometrics approach using the co-word analysis. The research records consisted of all articles published in the journals of Knowledge Organization and Cataloging & Classification Quarterly and keywords related to the field of knowledge organization indexed in Web of Science from 1900 to 2019, in which 17,950 records were analyzed entirely with plain text format. The total number of (...) keywords was 25,480, which was reduced to 12,478 keywords after modifications and removal of duplicates. Then, 115 keywords with a frequency of at least 18 were included in the final analysis, and finally, the co-word network was drawn. BibExcel, UCINET, VOSviewer, and SPSS software were used to draw matrices, analyze co-word networks, and draw dendrograms. Furthermore, strategic diagrams were drawn using Excel software. The keywords “information retrieval,” “classification,” and “ontology” are among the most frequently used keywords in knowledge organization articles. Findings revealed that “Ontology*Semantic Web”, “Digital Library*Information Retrieval” and “Indexing*Information Retrieval” are highly frequent co-word pairs, respectively. The results of hierarchical clustering indicated that the global research on knowledge organization consists of eight main thematic clusters; the largest is specified for the topic of “classification, indexing, and information retrieval.” The smallest clusters deal with the topics of “data processing” and “theoretical concepts of information and knowledge organization” respectively. Cluster 1 (cataloging standards and knowledge organization) has the highest density, while Cluster 5 (classification, indexing, and information retrieval) has the highest centrality. According to the findings of this research, the keyword “information retrieval” has played a significant role in knowledge organization studies, both as a keyword and co-word pair. In the co-word section, there is a type of related or general topic relationship between co-word pairs. Results indicated that information retrieval is one of the main topics in knowledge organization, while the theoretical concepts of knowledge organization have been neglected. In general, the co-word structure of knowledge organization research indicates the multiplicity of global concepts and topics studied in this field globally. (shrink)

To explore the number of latent variables underlying recognition of own- and other-race faces for Chinese observers, we conducted a study-recognition task where orientation, stimuli type, and duration were manipulated in the study phase and applied state trace analysis as a statistic method. Results showed that each state trace plot on each pair of stimuli types matched a single monotonic curve when stimuli type was set to state factor, but separate curves between face and non-face showed (...) up when the state factor was orientation. The results implied that at least two latent variables affected recognition performance in the inversion paradigm. Besides, the unidimensional structure between own- and other-race faces regardless of the state factor suggested that Chinese participants used the same recognition mechanism for unfamiliar own- and other-race faces in the inversion paradigm. (shrink)

Of course, words aren’t magic. Neither are sextants, compasses, maps, slide rules and all the other paraphenelia which have accreted around the basic biological brains of homo sapiens. In the case of these other tools and props, however, it is transparently clear that they function so as to either carry out or to facilitate computational operations important to various human projects. The slide rule transforms complex mathematical problems (ones that would baffle or tax the unaided subject) into simple tasks (...) of perceptual recognition. The map provides geographical information in a format well-suited to aid complex planning and strategic military operations. The compass gathers and displays a kind of information that (most) unaided human subjects do not seem to command. These various tools and props thus act to generate information, or to store it, or to transform it, or some combination of the three. In so doing, they impact our individual and collective problem- solving capacities in much the same dramatic ways as various software packages impact the performance of a simple pc. (shrink)

Spelling errors are ubiquitous in all writing systems. Most studies exploring spelling errors focused on the phonological plausibility of errors. However, unlike typical pseudohomophones, spelling errors occur in naturally produced written language. We investigated the time course of recognition of the most frequent orthographic errors in Russian and the effect of word frequency on this process. During event-related potentials recording, 26 native Russian speakers silently read high-frequency correctly spelled words, low-frequency correctly spelled words, high-frequency words with errors, and (...) low-frequency words with errors. The amplitude of P200 was more positive for correctly spelled words than for misspelled words and did not depend on the frequency of the words. In addition, in the 350–500-ms time window, we found a more negative response for misspelled words than for correctly spelled words in parietal–temporal-occipital regions regardless of word frequency. Considering our results in the context of a dual-route model, we concluded that recognizing misspelled high-frequency and low-frequency words involves common orthographic and phonological processes associated with P200 and N400 components such as whole word orthography processing and activation of phonological representations correspondingly. However, at the 500–700 ms stage, error recognition depends on the word frequency. One possible explanation for these differences could be that at the 500–700 ms stage recognition of high-frequency misspelled and correctly spelled words shifts from phonological to orthographic processes, while low-frequency misspelled words are accompanied by more prolonged phonological activation. We believe these processes may be associated with different ERP components P300 and N400, reflecting a temporal overlap between categorization processes based on orthographic properties for high-frequency words and phonological processes for low-frequency words. Therefore, our results complement existing reading models and demonstrate that the neuronal underpinnings of spelling error recognition during reading may depend on word frequency. (shrink)

Spelling is a fundamental literacy skill facilitating word recognition and thus higher-level reading abilities via its support for efficient text processing (Adams, 1990; Joshi et al., 2008; Perfetti and Stafura, 2014). However, relatively little work examines second language (L2) spelling in adults, and even less work examines learners from different first language (L1) writing systems. This is despite the fact that the influence of L1 writing system on L2 literacy skills is well documented (Hudson, 2007; Koda and Zehler, (...) 2008; Grabe, 2009). To address this shortcoming, this study collected data on real word spelling, pseudoword spelling, and phonological awareness (elision) abilities from 70 participants (23 native speakers; 47 ELLs with alphabetic, abjad, and morphosyllabic L1s). Analyses compared performance on real word and pseudoword spelling between L1 English speakers and ELLs, and additionally among the non-native-speaker L1 groups (categorized into alphabet, abjad, and morphosyllabary groups). Similar comparisons were made across groups for performance on phonological awareness. Further, correlations were calculated between phonological awareness and real word spelling and between phonological awareness and pseudoword spelling, separately for L1 English speakers and the various ESL groups. Spelling accuracy on real words and pseudowords as well as phonological awareness skill differed between native speakers and ESL speakers, and also varied by the ESL speakers’ L1 writing system. Theoretically interesting patterns emerged in the spelling data. For example, the morphosyllabic L1 speakers had strong real word spelling (better than the other ESL groups) but greatly decreased pseudoword accuracy (a drop of 59% in accuracy). Although alphabetic L1 speakers had low spelling accuracy in terms of strict scoring, they had lower rates of errors per item, highlighting the importance of scoring approach for shaping the conclusions that are drawn. Error rates also revealed vowels to be more problematic than consonants, particularly in abjad L1 speakers. The results demonstrate that L2 spelling abilities, phonological awareness, and the relationships among them vary by L1 writing system, and that differing approaches to scoring and analysis may lead to varying conclusions. (shrink)

There is an underlying idea of symmetry involved in most notions of rationality. From a dialogical philosophical standpoint, however, the symmetry implied by social contract theories and so-called Golden Rule thinking is anchored to a Cartesian subject–object world and is therefore not equipped to address recognition – at least not if recognition is to be understood as something happening between subjects. For this purpose, the dialogical symmetry implied by Habermas' communicative action does a much better job. Still, (...) it is insufficient to embrace those kinds of recognition that are dependent on asymmetry and concrete difference. This article explores how communicative action could meet the demand of recognition by investigating a complementary source of validity in communicative rationality, apart from Habermas' validity claims, in which ‘inter’ is better characterized as mutuality than as symmetry. By recognizing both sources of validity, communicative action can open the door more fully to all aspects of recognition without giving up its universal pragmatic core. Key Words: communicative action • communicative rationality • discourse ethics • Jürgen Habermas • Axel Honneth • recognition • universal pragmatics. (shrink)

Questions with a quantificational subject have readings that seemingly involve quantification into questions (called ‘QiQ’ for short). In particular, in single-wh questions with a universal quantifier, QiQ-readings call for pair-list answers, similar to pair-list readings of multiple-wh questions. This paper unifies the derivation of QiQ-readings and distinguishes QiQ-readings from pair-list readings of multiple-wh questions. I propose that pair-list multiple-wh questions and QiQ-questions both involve a wh-dependency, namely, that the wh-/quantificational subject stands in a functional dependency with (...) the trace of the wh-object. In particular, in a pair-list multiple-wh question, the wh-subject binds into the trace of the wh-object across an identity operator; in a QiQ-question, the quantificational subject binds into the trace of the wh-object across a predication operator. These operations give rise to distinct definedness requirements, which vary with the quantificational force of the wh-/quantificational subject. The proposed analysis explains a contrast in domain exhaustivity between the pair-list readings of multiple-wh questions and questions with a universal quantifier, while also doing justice to the intuitive similarities between these two types of questions. I further propose that the observed QiQ-effect in a QiQ-question is derived by extracting one of the minimal proposition sets that satisfy the aforementioned quantificational predication condition. The values of these sets determine whether the QiQ-reading is available and whether a QiQ-question admits pair-list answers and/or has a choice flavor. (shrink)

When word pairs having a familiar order are sequentially flashed on a computer in their non-familiar order, , observers have a strong phenomenology of seeing them in familiar order . Reversal errors remained frequent even when participants obtained perceptual experience of reverse-display items by beginning with a block of longer-duration trials. A forced-choice order-detection procedure reduced but did not eliminate reversal errors, showing that “fast pairs” is a robust perceptual illusion. Even adjective + noun pairs showed reversal errors, and (...) reversal errors increased with the log frequency of the word pair, consistent with a strong role for statistical processing at the level of multi-word units. (shrink)

Recognition memory performance reflects two distinct memory processes: a conscious process of recollection, which allows remembering specific details of a previous event, and familiarity, which emerges in the absence of any conscious information about the context in which the event occurred. Slow wave sleep and rapid eye movement sleep are differentially involved in the consolidation of different types of memory. The study assessed the effects of SWS and REM sleep on recollection, by means of the “remember”/”know” paradigm. Subjects studied (...) three blocks of 12 words before a 3-h retention interval filled with SWS, REM sleep or wakefulness, placed between 3 a.m. and 6 a.m. Afterwards, recognition and recollection were tested. Recollection was higher after a retention interval rich in SWS than after a retention interval rich in REM sleep or filled with wakefulness. The results suggest that SWS facilitates the process of recollection in recognition memory. (shrink)

A neurally plausible model of how the process of visually perceiving a letter in the context of a word is learned, and how such processing occurs in adults is proposed. The model consists of a collection of abstract letter feature detector neurons and their interconnections. The model also includes a learning rule that specifies how these interconnections evolve with experience. The interconnections between neurons can be interpreted as representing the spatially redundant, sequentially redundant, and transgraphemic information in letter (...) string displays. Anderson, Silverstein, Ritz, and Jones's (1977) “Brain‐State‐in‐a‐Box” (BSB) neural mechanism is then used to implement the proposed model. The resulting system makes explicit qualitative predictions using both letter recognition accuracy and reaction time as dependent measures. In particular, the model offers an integrated explanation of some experiments involving manipulations of orthographic regularity, masking, case alternations, and experience with words. The similarities and differences between the model and models proposed by Adams (1979) and McClelland and Rumelhart (1981) are also discussed. (shrink)

Visual word recognition is facilitated by the presence of orthographic neighbors that mismatch the target word by a single letter substitution. However, researchers typically do not consider where neighbors mismatch the target. In light of evidence that some letter positions are more informative than others, we investigate whether the influence of orthographic neighbors differs across letter positions. To do so, we quantify the number of enemies at each letter position (how many neighbors mismatch the target word (...) at that position). Analyses of reaction time data from a visual word naming task indicate that the influence of enemies differs across letter positions, with the negative impacts of enemies being most pronounced at letter positions where readers have low prior uncertainty about which letters they will encounter (i.e., positions with low entropy). To understand the computational mechanisms that give rise to such positional entropy effects, we introduce a new computational model, VOISeR (Visual Orthographic Input Serial Reader), which receives orthographic inputs in parallel and produces an over‐time sequence of phonemes as output. VOISeR produces a similar pattern of results as in the human data, suggesting that positional entropy effects may emerge even when letters are not sampled serially. Finally, we demonstrate that these effects also emerge in human subjects' data from a lexical decision task, illustrating the generalizability of positional entropy effects across visual word recognition paradigms. Taken together, such work suggests that research into orthographic neighbor effects in visual word recognition should also consider differences between letter positions. (shrink)

Context: Ernst von Glasersfeld collaborated with the Italian Operational School from the early 1960s when the project on the mechanization of higher human activities began. Problem: To analyze the cognitive processes in terms of a mnemonic-attentional dynamic and to study every thought content in light of the interdependence between observer and observed. Method: The project comprised two research areas: the linguistic translation, in which von Glasersfeld participated; and the semantic analysis of words, in which I participated. The common basis (...) was the analysis of attentional dynamisms. This allowed the syntactic complexity of a sentence to be transferred to the correlational structure of the thought. The semantic analysis, especially of the observational words, was based on the attentional dynamisms used for the categorization, perception, and representation processes. Results: The analysis of visual processes led to the “constitutive structures.” These structures allowed me to establish an operative didactic based on the awareness of mental operations. Implications: The comparison between von Glasersfeld’s and my experiences revealed the equivalence of some analyses, which was due to the common presumption that the experiential units depend on the operation performed by the perceiver. (shrink)

The aim of this article was to provide experimental evidence that classical dissociation between levels of consciousness associated with memory retrieval can be explained in terms of task dependency and distinctiveness of traces. In our study phase, we manipulated the level of isolation of the memory trace by means of an isolation paradigm . We then tested these two types of isolation in a series of tasks of increasing complexity: a lexical decision task, a recognition task, and (...) a free recall task. The main result of this study was that distinctiveness effects were observed as a function of the type of isolation and the nature of the task. We concluded that trace distinctiveness improves subsequent access to the trace, while the level of trace distinctiveness also appears to determine the possibility of conscious or explicit retrieval. (shrink)

The proliferation of work by autistic writers continues apace, defying a long and multidisciplinary tradition of constructing autistic people as lacking the capacity for narration. To study neurodivergent literature, then, is to witness the refusal of these exclusionary narrative conventions, and to register the ideological presuppositions that underpin pathologization. In this article, I engage with recent insights from Neurodiversity Studies (especially the work of Justine Egner, Erin Manning, Julia Miele Rodas, Nick Walker, and Remi Yergeau) to explore the connections (...) class='Hi'>between narrative neuronormativity and other discourses of oppression, especially those that have generated racialized, gendered, and colonial narratives of desubjectification. Focusing on the neuroqueer movement – an emergent practice of disidentification that refuses the interpellations of neuronormativity, ableism, heteronormativity, and cisnormativity – I discuss the concept of allism, arguing that this satirical critique of pathologization harbors a deconstructive force that denaturalizes the dialectic of recognition. Neuroqueer work on allism reveals this dialectic to be the hegemonic form of relationality that marks neurodivergence as asocial and intersubjectively non-reciprocal in order to secure a non- autistic identity. The dialectic of recognition thus instrumentalizes neurodivergence to confer normalcy and neutrality upon subjects that meet its criteria. Pursuing the discursive context and theoretical implications of this critique, I provide a short genealogy of narrative neuronormativity, connecting the operation of the dialectic in the early novel to the clinical texts of child psychology. To demonstrate the neuroqueer subversion of this tradition, I then read An Unkindness of Ghosts, by Rivers Solomon, a text that stages a disidentification with storytelling. Aster, the novel’s protagonist, is neurodivergent as well as Black, enslaved, and gender non-conforming. As she struggles against an authoritarian regime, Aster also declines to comply with the rules that would allow her to narrate her own story. Aster’s neuroqueer refusal reveals a similarity between the construction of Blackness as an ontological foil for whiteness, and the construction of autism as a standard of disordered sociality that neuronorms can be measured against. In both cases, the colonizing term articulates its supremacy via a comparison with that which it denigrates, while disavowing this dependence at all costs, dependency being inimical to free subjectivity in the liberal humanism that has shaped these procedures. My reading of Unkindness suggests that the extant techniques of literary narratorship are political instruments that, unless repurposed, will continue to disseminate these dispossessive dialectics. (shrink)

To construct their first lexicon, infants must determine the relationship between native phonological variation and the meanings of words. This process is arguably more complex for bilingual learners who are often confronted with phonological conflict: phonological variation that is lexically relevant in one language may be lexically irrelevant in the other. In a series of four experiments, the present study investigated English-Mandarin bilingual infants’ abilities to negotiate phonological conflict introduced by learning both a tone and a non-tone language. In (...) a novel word learning task, bilingual children were tested on their sensitivity to tone variation in English and Mandarin contexts. Their abilities to interpret tone variation in a language-dependent manner were compared to those of monolingual Mandarin learning infants. Results demonstrated that at 12 to 13 months, bilingual infants demonstrated the ability to bind tone to word meanings in Mandarin, but to disregard tone variation when learning new words in English. In contrast, monolingual learners of Mandarin did not show evidence of integrating tones into word meanings in Mandarin at the same age even though they were learning a tone language. However, a tone discrimination paradigm confirmed that monolingual Mandarin learning infants were able to tell these tones apart at 12 to 13 months under a different set of conditions. Later, at 17 to 18 months, monolingual Mandarin learners were able to bind tone variation to word meanings when learning new words. Our findings are discussed in terms of cognitive adaptations associated with bilingualism that may ease the negotiation of phonological conflict and facilitate precocious uptake of certain properties of each language. (shrink)

Object files (OFs) are hypothesized mid-level representations which mediate our conscious perception of persisting objects—e.g. telling us ‘which went where’. Despite the appeal of the OF framework, not previous research has directly explored whether OFs do indeed correspond to conscious percepts. Here we present at least one case wherein conscious percepts of ‘which went where’ in dynamic ambiguous displays diverge from the analogous correspondence computed by the OF system. Observers viewed a ‘bouncing/streaming’ display in which two identical objects moved such (...) that they could have either bounced off or streamed past each other. We measured two dependent variables: (1) an explicit report of perceived bouncing or streaming; and (2) an implicit ‘object-specific preview benefit’ (OSPB), wherein a ‘preview’ of information on a specific object speeds the recognition of that information at a later point when it appears again on the same object (compared to when it reappears on a different object), beyond display-wide priming. When the displays were manipulated such that observers had a strong bias to perceive streaming (on over 95% of the trials), there was nevertheless a strong OSPB in the opposite direction—such that the object files appeared to have ‘bounced’ even though the percept ‘streamed’. Given that OSPBs have been taken as a hallmark of the operation of object files, the five experiments reported here suggest that in at least some specialized (and perhaps ecologically invalid) cases, conscious percepts of ‘which went where’ in dynamic ambiguous displays can diverge from the mapping computed by the object-file system. (shrink)

This article examines the interaction between grammar and multimodal resources by analyzing reported speech in Korean multiparty face-to-face interaction. The operation of two relevancy rules — minimization and recognition in interaction — is examined together with how the absence or presence of grammar is complemented by multimodal resources of various sorts. For the analysis, three categories are posited depending on who the quoted character is in the talk. In quoting oneself or co-participants in the talk, syntactic resources, prosody, (...) sequential organization and embodied participant frameworks collaborate in the interactional management of the quote without overt realization of grammatical resources traditionally proposed for building quotations in Korean. The multimodal character of quoted speech is most weakly realized when quoting a non-present character, not only because of the limitation in body and spatial resources available in the local context to recover various referential terms, but more importantly, because the interactional project that the parties are engaged in makes a distancing device such as the quotative particle -ko relevant. This study provides evidence for the intricate interaction between multimodal resources and grammar through investigation of an important realm of human interaction, that of reported speech. (shrink)

In order to be competitive in an era of ethical consumerism, brands are facing an ever-increasing pressure to integrate ethical values into their identities and to display their ethical commitment at a corporate level. Nevertheless, studies that relate business ethics to corporate brands are either theoretical or have predominantly been developed empirically in goods contexts. This is surprising, because corporate brands are more relevant in services settings, given the nature of services, and the fact that services settings comprise a greater (...) number of customer–brand interactions and touch points than goods contexts. Accordingly, the purpose of this article is to empirically examine the effects of customer perceived ethicality of corporate brands that operate in the services sector. Based on data collected for eight service categories using a panel of 2179 customers, the hypothesized structural model is tested using path analysis. The generalizability theory is applied to test for measurement equivalence between these categories. The results of the hypothesized model show that, in addition to a direct impact, customer perceived ethicality has a positive and indirect impact on brand equity, through the mediators of recognition benefits and brand image. Moreover, brand heritage negatively influences the impact of customer perceived ethicality on brand image. The main implication is that managers need to be aware of the need to reinforce brand image and recognition benefits, as this can facilitate the translation of customer perceived ethicality into brand equity. (shrink)