In this article, I revisit Landau and Jackendoff's () paper, “What and where in spatial language and spatial cognition,” proposing a friendly amendment and reformulation. The original paper emphasized the distinct geometries that are engaged when objects are represented as members of object kinds, versus when they are represented as figure and ground in spatial expressions. We provided empirical and theoretical arguments for the link between these distinct representations in spatial language and their accompanying nonlinguistic neural representations, emphasizing the “what” (...) and “where” systems of the visual system. In the present paper, I propose a second division of labor between two classes of spatial prepositions in English that appear to be quite distinct. One class includes prepositions such as in and on, whose core meanings engage force-dynamic, functional relationships between objects, with geometry only a marginal player. The second class includes prepositions such as above/below and right/left, whose core meanings engage geometry, with force-dynamic relationships a passing or irrelevant variable. The insight that objects’ force-dynamic relationships matter to spatial terms’ uses is not new; but thinking of these terms as a distinct set within spatial language has theoretical and empirical consequences that are new. I propose three such consequences, rooted in the fact that geometric knowledge is highly constrained and early-emerging in life, while force-dynamic knowledge of objects and their interactions is relatively unconstrained and needs to be learned piecemeal over a lengthy timeline. First, the two classes will engage different learning problems, with different developmental trajectories for both first and second language learners; second, the classes will naturally lead to different degrees of cross-linguistic variation; and third, they may be rooted in different neural representations. (shrink)

In his novel Remembrance of Things Past, Marcel Proust argues that conventional descriptions of the phenomenology of consciousness are incomplete because they focus too much on the highly-salient sensory information that dominates each moment of awareness and ignore the network of associations that lies in the background. In this paper, I explicate Proust’s theory of conscious experience and show how it leads him directly to a theory of aesthetic perception. Proust’s division of awareness into two components roughly corresponds to William (...) James’ division of the stream of thought into a “nucleus” and “fringe.” Proust argues that the function of art is to evoke the underlying associative network indirectly in the mind of the observer by using carefully chosen sensory surfaces to control the stream of thought. I propose a possible neural basis for this Proustian/Jamesian phenomenology, and argue that the general principles of Proustian aesthetics can be applied to all forms of art. I conclude that a scientific theory of art should follow in a straightforward manner from a scientific theory of consciousness. (shrink)

Many species rely on the three-dimensional surface layout of an environment to find a desired goal following disorientation. They generally do so to the exclusion of other important spatial cues. Two influential frameworks for explaining that phenomenon are provided by geometric-module theories and view-matching theories of reorientation respectively. The former posit a module that operates only on representations of the global geo- metry of three-dimensional surfaces to guide behavior. The latter place snapshots, stored representations of the subject’s two-dimensional retinal stimulation (...) at specific locations, at the heart of their accounts. In this paper, I take a fresh look at the debate between them. I begin by making a case that the empirical evidence we currently have does not clearly favor one framework over the other, and that the debate has reached something of an impasse. Then, I present a new explanatory problem—the representation selection problem—that offers the pro- spect of breaking the impasse by introducing a new type of explanatory consideration that both frameworks must address. The representation selection problem requires explaining how subjects can reliably select the relevant representation with which they initiate the reorientation process. I argue that the view-matching framework does not have the resources to address this problem, while a certain type of theory within the geometric-module framework can provide a natural response to it. In showing this, I develop a new geometric-module theory. (shrink)

Article Authors Metrics Comments Media Coverage Abstract Author Summary Introduction Results Discussion Supporting information Acknowledgments Author Contributions References Reader Comments (0) Media Coverage (0) Figures Abstract During language processing, humans form complex embedded representations from sequential inputs. Here, we ask whether a “geometrical language” with recursive embedding also underlies the human ability to encode sequences of spatial locations. We introduce a novel paradigm in which subjects are exposed to a sequence of spatial locations on an octagon, and are asked to (...) predict future locations. The sequences vary in complexity according to a well-defined language comprising elementary primitives and recursive rules. A detailed analysis of error patterns indicates that primitives of symmetry and rotation are spontaneously detected and used by adults, preschoolers, and adult members of an indigene group in the Amazon, the Munduruku, who have a restricted numerical and geometrical lexicon and limited access to schooling. Furthermore, subjects readily combine these geometrical primitives into hierarchically organized expressions. By evaluating a large set of such combinations, we obtained a first view of the language needed to account for the representation of visuospatial sequences in humans, and conclude that they encode visuospatial sequences by minimizing the complexity of the structured expressions that capture them. (shrink)