Contrary to the assumption of arbitrariness in modern linguistics, sound symbolism, which is the non-arbitrary relationship between sounds and meanings, exists. Sound symbolism, including the “Bouba–Kiki” effect, implies the universality of such relationships; individuals from different cultural and linguistic backgrounds can similarly relate sound-symbolic words to referents, although the extent of these similarities remains to be fully understood. Here, we examined if subjects from different countries could similarly infer the surface texture properties from words that sound-symbolically represent hardness (...) in Japanese. We prepared Japanese sound-symbolic words of which novelty was manipulated by a genetic algorithm. Japanese speakers in Japan and English speakers in both Singapore and the United States rated these words based on surface texture properties, as well as familiarity. The results show that hardness-related words were rated as harder and rougher than softness-related words, regardless of novelty and countries. Multivariate analyses of the ratings classified the hardness-related words along the hardness-softness dimension at over 80% accuracy, regardless of country. Multiple regression analyses revealed that the number of speech sounds /g/ and /k/ predicted the ratings of the surface texture properties in non-Japanese countries, suggesting a systematic relationship between phonetic features of a word and perceptual quality represented by the word across culturally and linguistically diverse samples. (shrink)

"The fact is, man is an etymologizing animal."Etymologizing—the practice of connecting one word with one or more other similar-sounding words that are believed to elucidate its meaning1—is a complex and putatively universal phenomenon.2 Thus, to take two representative examples far apart in time and space, etymologizing practices figure prominently in some episodes of the Hebrew Bible,3 but also provide some modern influential thinkers with an important mode of argument.4 Perhaps etymologizing is so pervasive because it offers a (...) pliable and powerful tool for addressing a key question, namely, why is something called what it is?While this question has universal appeal, only a few cultures seem to have addressed it... (shrink)

At 14 months, children appear to struggle to apply their fairly well-developed speech perception abilities to learning similar sounding words (e.g., bih/dih; Stager & Werker, 1997). However, variability in nonphonetic aspects of the training stimuli seems to aid word learning at this age. Extant theories of early word learning cannot account for this benefit of variability. We offer a simple explanation for this range of effects based on associative learning. Simulations suggest that if infants encode both noncontrastive (...) information (e.g., cues to speaker voice) and meaningful linguistic cues (e.g., place of articulation or voicing), then associative learning mechanisms predict these variability effects in early word learning. Crucially, this means that despite the importance of task variables in predicting performance, this body of work shows that phonological categories are still developing at this age, and that the structure of noninformative cues has critical influences on word learning abilities. (shrink)

Although the mapping between form and meaning is often regarded as arbitrary, there are in fact well-known constraints on words which are the result of functional pressures associated with language use and its acquisition. In particular, languages have been shown to encode meaning distinctions in their sound properties, which may be important for language learning. Here, we investigate the relationship between semantic distance and phonological distance in the large-scale structure of the lexicon. We show evidence in 100 languages from (...) a diverse array of language families that more semantically similar word pairs are also more phonologically similar. This suggests that there is an important statistical trend for lexicons to have semantically similar words be phonologically similar as well, possibly for functional reasons associated with language learning. (shrink)

Sound symbolism refers to non‐arbitrary mappings between the sounds of words and their meanings and is often studied by pairing auditory pseudowords such as “maluma” and “takete” with rounded and pointed visual shapes, respectively. However, it is unclear what auditory properties of pseudowords contribute to their perception as rounded or pointed. Here, we compared perceptual ratings of the roundedness/pointedness of large sets of pseudowords and shapes to their acoustic and visual properties using a novel application of representational similarity analysis (...) (RSA). Representational dissimilarity matrices (RDMs) of the auditory and visual ratings of roundedness/pointedness were significantly correlated crossmodally. The auditory perceptual RDM correlated significantly with RDMs of spectral tilt, the temporal fast Fourier transform (FFT), and the speech envelope. Conventional correlational analyses showed that ratings of pseudowords transitioned from rounded to pointed as vocal roughness (as measured by the harmonics‐to‐noise ratio, pulse number, fraction of unvoiced frames, mean autocorrelation, shimmer, and jitter) increased. The visual perceptual RDM correlated significantly with RDMs of global indices of visual shape (the simple matching coefficient, image silhouette, image outlines, and Jaccard distance). Crossmodally, the RDMs of the auditory spectral parameters correlated weakly but significantly with those of the global indices of visual shape. Our work establishes the utility of RSA for analysis of large stimulus sets and offers novel insights into the stimulus parameters underlying sound symbolism, showing that sound‐to‐shape mapping is driven by acoustic properties of pseudowords and suggesting audiovisual cross‐modal correspondence as a basis for language users' sensitivity to this type of sound symbolism. (shrink)

Sonic Persuasion is predominantly a history of sound in twentieth-century American culture that offers examples of how sound functions argumentatively in specific historical contexts. Goodale argues that sound can be read or interpreted in a manner similar to words and images but that the field of communication has largely neglected sound and its relationship to words and images. He shows how dialect, accents, and intonations in presidential speeches; ticking clocks, rumbling locomotives, and machinic hums in literary texts; (...) and the sound of sirens and bombs in cartoons and war propaganda all function persuasively in rhetorical ecologies that contain words, images, and technologies. The book opens with an anecdote .. (shrink)

The sounds that make up spoken words are heard in a series and must be mapped rapidly onto words in memory because their elements, unlike those of visual words, cannot simultaneously exist or persist in time. Although theories agree that the dynamics of spoken word recognition are important, they differ in how they treat the nature of the competitor set—precisely which words are activated as an auditory word form unfolds in real time. This study used eye (...) tracking to measure the impact over time of word frequency and 2 partially overlapping competitor set definitions: onset density and neighborhood density. Time course measures revealed early and continuous effects of frequency (facilitatory) and on set based similarity (inhibitory). Neighborhood density appears to have early facilitatory effects and late inhibitory effects. The late inhibitory effects are due to differences in the temporal distribution of similarity within neighborhoods. The early facilitatory effects are due to subphonemic cues that inform the listener about word length before the entire word is heard. The results support a new conception of lexical competition neighborhoods in which recognition occurs against a background of activated competitors that changes over time based on fine-grained goodness-of-fit and competition dynamics. (shrink)

One of the prevalent inference methods the mutakallimūn uses is qiyās al-ghaib ‘ala al-shahid (analogy from the visible world to the invisible world). Mu‘tazila, who accepts this method as an absolute criterion in the divine attributes, rejects the possibility of difference between shahid and ghaib about the reality of attributes. By rejecting the concept of kalām nafsī adopted by Ahl al-Sunnah, they mention the divine speech in the category of actual attributes and claim that kalāmullāh (God’s speech), like human speech, (...) is an accident consisting of words and sounds. Mu‘tazila, who defines mutakallim as the agent of kalām, claims that God is also the agent of the word. In this regard, Mu‘tazila, who defends the origin of the kalāmullāh and the createdness of the Qur’ān, focuses on the explanation of the nature of the kalām at the beginning of these theological subjects. As an extension of the issue of whether the ḥikāyah and maḥkī are the same or not, which is the subject of discussion in the context of the possibility of creating something similar to the Qur’ān, Mu‘tazila, who disagree on whether kalām (word) is a kind of sound (ṣawt) or not, examine the problem of the nature of the word by expanding it to include sounds. Although they agree that sounds are accidents created by humans through tawlīd, they propound different theories about the physical formation of sound and kalām. These theories are differentiated according to discussions about the essential factors for the formation of sounds. Some scholars claim that i‘timād generates sounds, and the substrate (maḥall) is enough to form the sounds. In contrast, others claim the necessity of a specific structure (binya), movement (ḥaraka), and air added to the substrate. In this regard, this study will deal with the effect of these factors mentioned above to the formation of the sounds and the physical examples which every group mentioned to prove its opinions rightfulness. The most detailed explanations about this topic are seen in the works of Baṣrian Mu‘tazila. Therefore, this study will examine the opinions about the production of sounds, which argued around metaphysical issues in the context of the createdness of the Qur’ān and the attribute of kalām, which are submitted by Abū ‘Alī al-Jubbā'ī (d. 303/916), Abū Hāshim al-Jubbā'ī (d. 321/933), and their followers Qāḍī ‘Abd al-Jabbār (d. 415/1025), Abū Rashīd al-Nīsābūrī (d. first half of the 5./11. century), and Ibn Mattawayh (d. first half of the 5./11. century), the representatives of Baṣrian Mu‘tazila, who adopt atomic universe understanding. The study aimed to form an opinion about the theologians’ way of discussing a particular physical phenomenon to constitute a basis for solving metaphysical problems. To clarify the problem, first, it will deal with the essence of sounds in the Baṣrian Mu‘tazilites tradition, and then it will tackle the discussions about the formation of the sounds. (shrink)

In classical Chinese wu 吾 is commonly employed as the first-person pronoun, similar to wo 我 that retains its use in modern Chinese. Although these two words are usually understood as stylistic variants of “I,” “me,” and “myself,” Chinese scholars of the Zhuangzi 莊子 have long been aware of the possible differences in their semantics, especially in the philosophical context of discussing the relation between the self and the person, as evinced by their occurrences in the much-discussed line (...) “Now I have lost myself” in the chapter “Discussion on Making All Things Equal”. In this essay, I first provide an exegesis of the proffered explanations of the semantical differences between wu and wo as an introduction to two ways of understanding them in the Zhuangzi literature, viz. the single-reference view and the double-reference view. Then I shall argue against these two views in favor of the no-reference view, meaning that both pronouns in “Now I have lost myself” do not function referentially, given the peculiarity of the verb “lose.” I believe the no-reference view has not been explicitly articulated and defended in the literature, although some scholars who want to read the no-self view into the Zhuangzi might have implied it. My argument is supported by a close reading of the targeted passage in the Zhuangzi, premised on the assumption that the part on the “piping of Heaven” immediately following the discussion of losing oneself is an indirect explanation rather than a digression. My explanation is framed within a similar discussion of “I” by the British philosopher Elizabeth Anscombe. This comparative interpretation, I believe, not only provides the grounds for understanding Zhuangzi’s ideal of attaining the state where “the ten thousand things are one with me,” but also demonstrates how metaphysics and the philosophy of language are two interwoven threads in Zhuangzi’s reasoning. (shrink)

Intonational focus can be observed on parts of words that appear to lack intrinsic meaning, and triggers alternatives that are similar in form. In order to provide a unified treatment of focus above and below the word level (they do, after all, behave the same in most respects), I develop a theory of denotations for arbitrary word parts in which focused word parts denote their own sound and the unfocused parts are functions from sounds to word meanings. This (...) allows focus theories to generalize below the word level; any differences with focus above the word level are located in the semantics of word parts. The paper also explores phonological constraints on focus placement, and shows that the focusability of a word part depends solely on its prosodic status, not on any semantic factors. (shrink)

The sounds that make up spoken words are heard in a series and must be mapped rapidly onto words in memory because their elements, unlike those of visual words, cannot simultaneously exist or persist in time. Although theories agree that the dynamics of spoken word recognition are important, they differ in how they treat the nature of the competitor set—precisely which words are activated as an auditory word form unfolds in real time. This study used eye (...) tracking to measure the impact over time of word frequency and 2 partially overlapping competitor set definitions: onset density and neighborhood density. Time course measures revealed early and continuous effects of frequency (facilitatory) and on set based similarity (inhibitory). Neighborhood density appears to have early facilitatory effects and late inhibitory effects. The late inhibitory effects are due to differences in the temporal distribution of similarity within neighborhoods. The early facilitatory effects are due to subphonemic cues that inform the listener about word length before the entire word is heard. The results support a new conception of lexical competition neighborhoods in which recognition occurs against a background of activated competitors that changes over time based on fine-grained goodness-of-fit and competition dynamics. (shrink)

The sounds that make up spoken words are heard in a series and must be mapped rapidly onto words in memory because their elements, unlike those of visual words, cannot simultaneously exist or persist in time. Although theories agree that the dynamics of spoken word recognition are important, they differ in how they treat the nature of the competitor set—precisely which words are activated as an auditory word form unfolds in real time. This study used eye (...) tracking to measure the impact over time of word frequency and 2 partially overlapping competitor set definitions: onset density and neighborhood density. Time course measures revealed early and continuous effects of frequency (facilitatory) and on set based similarity (inhibitory). Neighborhood density appears to have early facilitatory effects and late inhibitory effects. The late inhibitory effects are due to differences in the temporal distribution of similarity within neighborhoods. The early facilitatory effects are due to subphonemic cues that inform the listener about word length before the entire word is heard. The results support a new conception of lexical competition neighborhoods in which recognition occurs against a background of activated competitors that changes over time based on fine‐grained goodness‐of‐fit and competition dynamics. (shrink)

The Qurʾān was taught in the letter method for many years. After the names of the letters in the Arabic alphabet are memorized in this method, the teaching of origins and signs begins. The syllabic method was developed over time as an alternative to this method, and the letters were taught directly with their superior vowel signs without memorizing their names. Unlike these two methods, the sound-based alif ba method has begun to be used in recent years. This method coincides (...) with the primary literacy teaching method based on the sounds thatwere adopted in Turkish teaching since 2005. Basic principles such as teaching the letters one-by-one, following the sound learning stages in teaching each sound, conducting the lessons in class, reading the syllables and words formed with the learned letters from the first day are adopted in both teaching methods. The purpose of the present study was to find out how the Qurʾān can be taught by applying the sound-based alif ba method and to draw attention to the original aspects of this method for learning the Qurʾān with the right sounds. Since the correct teaching of the Qurʾān is closely related to the teacher’s content knowledge and teaching skills, the alif ba that will be used and the method to be applied are important in reaching the target more systematically and faster. The case study design was used in the study in which the qualitative method was employed. The primary data of the study were Sound-Based Alif ba, for which I was the project assistant of, and the book with the title A New Approach in Teaching the Qurʾān: Sound based Alif baand Tajwīd Method, which was an editorial book of which I was one of the authors, and the thirty-episode series We Are Children and We Are Reading the Qurʾān, published on Diyanet TV, for which I was the production coordinator. Also, to see the applicability of the method, interviews were conducted with eight instructors who used Sound-Based Alif ba in their lessons. The study received ethical approval from Ankara Social Sciences University Rectorate Social and Human Sciences Research and Scientific Publication Ethics Committee on 8 July 2021 with the decision no 12450. The main thing in the sound-based alif ba method is the correct vocalization of the Qurʾān. The letters in alif ba are arranged differently from the classical alphabet order and are divided into six groups considering the frequency of occurrence in the Qurʾān and the degree of difficulty of origins. Each letter is taught in a separate lesson with the support of the ḥarakas and the sukūn (such as اَلْ, اِلْ, اُلْ). During the teaching, attention is paid to the sound learning steps, and the student is expected to feel the sound of the letter to be learned, distinguish it from other letter sounds, and then pronounce it from the correct origin as much as possible. In the sound-based alif ba method, the teaching of the shape of the letter is done after the sound of the letter is pronounced. During the teaching of the shapes of the letters, the part of the letter that does not change when written within a word is emphasized, and the writing is used so that the shape of the letter can be placed in the mind of the student. In the sound-based alif ba teaching, reading from the Qurʾān is done in every lesson, starting from the teaching of the first letter. During the teaching of alif ba, educational games, question-answer, and narration methods are used, primarily with the taʿlīm method. In this way, the teaching of Sound-Based Alif ba is spread over a period of 40 lessons. The study findings showed that the sound-based alif ba method has similar characteristics with the sound-based primary literacy teaching method; however, Arabic has its own unique aspects with its language structure. Among these originalities, which is adopted in the teaching of letters, firstly teaching the letter with the sukūn and with the support of movable ا and then showing the shape of the letter is carried out. As a matter of fact, the teachers have the opinion that this vocalization method, which is adopted, facilitates the learning of the correct sounds, and that teaching the letters in line with the sound learning steps increases the efficiency of the lesson. Although most of the instructors pointed out to the positive aspects of teaching tajwīd sounds in alif ba, one of the instructors did not find it necessary. The opinions of the teachers showed that the sound-based alif ba method can be applied efficiently in online lessons, but the teacher-student relation is affected negatively when compared to the classroom setting. All of the instructors said that the materials used in the lessons and demonstration and educational game methods increased the quality of the course, and that the We Are Children We Are Reading the Qurʾān program is an important resource for them. (shrink)

Our world is full of fictional devices that let people feel better about their situation - through deception and self-deception. The legal realist, Felix Cohen, argued that law and legal reasoning is full of similarly dubious labels and bad reasoning, though of a special kind. He argued that judges, lawyers and legal commentators allow linguistic inventions and conventions to distort their thinking. Like the ancient peoples who built idols out of stone and wood and then asked them for assistance and (...) guidance, Cohen argued that within the legal world people tend to create legal concepts and then think that these concepts do or should determine how social disputes must be The philosopher Ludwig Wittgenstein similarly spoke of the way we fool ourselves, when we use a noun for some matter, and then assume that, because nouns usually name objects, here as well there must be some entity that exists out in the world, whose nature can be discovered. Our grammar misleads us. This article explores some of the ways, particularly in contract law and family law, that we have been led astray by our legal language. Because we only rarely have an Oliver Wendell Holmes, Jr., or a Felix Cohen to keep us in line, we need to learn to do the important work ourselves. The great danger is the way that inaccurate language can so easily change our substantive views about what is natural or what is right. If transparency is difficult in legal language, much of the fault may lie with lawyers and judges who want to make their conclusions sound more reasonable, less controversial, and more appealing: so we call it "consent" and "waiver" and "meeting of the minds" and "best interests of the child," when it is in fact something quite different. And at least in the common law systems the process of reasoning and law-making is tied strongly to the past. The new case has to fit into the categories and concepts that we created for a prior case - fitting cases that came up hundreds of years before, in a different society, with different technology, facing a different set of problems. So judges often end up stretching the meaning of concepts, or using legal fictions to bridge the old rule with the new equities. We may never entirely escape the tendency of our own language to mislead us, but clarity in thought and analysis is something towards which we should struggle constantly, and with determination. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Transcendence of WordsAkos Krassoy (bio)Levinas’s central contribution to aesthetics and the philosophy of art is his well-known and provocative attempt to ethicize art. Yet, there is hardly any certainty regarding the nature of this ethicization. As far as the realization of Levinas’s program is concerned, readers usually remember its harmful effects.1 On the other hand, there are equally appreciative tones in his reading of art. It might be (...) more correct to say that the derogatory side is part of a fundamentally ambiguous attitude. It is almost as if Levinas’s radical ethical thinking, the job of which is to tackle totalizing Western thought, should speak in two voices when it comes to the aesthetic and the arts.Most of the commentaries run into, and then set out to resolve this weird situation marked by pejoration and ambiguity in one way or another. This is no easy task to accomplish; there is surely no single way out of this labyrinth. An element of irony is definitely required on the side of the interpreter. Arguably, my text may be no exception in the long line of attempts. In the following, I shall try my hand at these complexities and, similarly to other readers, deal with the contradictory remarks and implied but underdeveloped ideas by putting them into a meaningful framework. Like others before me, I shall do my best to provide a narrative as coherent as possible in which the letter [End Page 1] and the spirit of Levinas are followed and the relevant (phenomenological) aesthetic context is taken into account. In my case, this will mean siding with those interpreters who see a fixed set of problems dominating — that is, a single consistent path winding — in Levinas’s difficult itinerary. In more concrete terms, I shall join the camp of those who show sensitivity to the introduction of the critical act and argue that the shortcomings of the aesthetic are, to some extent, reversed in its recontextualization in human communication.2 Yet, unlike these authors who touch upon the issue of criticism to varying degrees, I shall concentrate fully on placing critical activity in the center of Levinas’s aesthetic thought and thus treating art as an important segment of ethical signification. My focus will be on the reintegration of the disengaged image into reality; I shall try to determine what this development in art implies in Levinas’s ethical phenomenological project. Concerning the particular course of my text, I shall concentrate mostly on the issue of ambiguity and, gradually working my way through it, deal with pejoration at the same time. I shall first analyze what is at stake in this ambiguousness, then attempt to establish its governing logic, only to prepare the ground on which criticism as a way out of the maze can be seen in its entirety.A Real Headache: AmbiguousnessAnyone interested in Levinas’s aesthetic thought arrives at a truly interesting but nebulous field. By nebulousness I primarily mean the overly ambiguous character of Levinas’s position. What Levinas has to say is indeed quite difficult to pin down or, at least, it is highly equivocal: the noise of critique is balanced by the sound of quiet but all the more patent affirmation. In every phase of his thinking there is a suspicion felt toward artistic expression, which may on occasion reach the level of derogation; all this is nevertheless accompanied by clear-cut support. This can be sensed in chance remarks, such as, in “Reality and Its Shadow” — the essay mostly responsible for the bad reputation of [End Page 2] Levinas in aesthetics — where Levinas discusses the plasticity of literary works and mentions a “particularly admirable page” in Proust’s The Captive (RS 10). In spite of the anti-aesthetic logic and philistine-like rhetoric of the essay, the art-loving character of the author — who is beyond a doubt an affectionate reader — is revealed for a second.Remarks like this are quite suggestive with respect to Levinas’s appraisal of the arts—as are many other details of Levinas’s work. Of all these, his apparent knowledge and use of artworks in his... (shrink)

Perception of music and speech is based on similar auditory skills, and it is often suggested that those with enhanced music perception skills may perceive and learn novel words more easily. The current study tested whether music perception abilities are associated with novel word learning in an ambiguous learning scenario. Using a cross-situational word learning (CSWL) task, nonmusician adults were exposed to word-object pairings between eight novel words and visual referents. Novel words were either non-minimal pairs (...) differing in all sounds or minimal pairs differing in their initial consonant or vowel. In order to be successful in this task, learners need to be able to correctly encode the phonological details of the novel words and have sufficient auditory working memory to remember the correct word-object pairings. Using the Mistuning Perception Test (MPT) and the Melodic Discrimination Test (MDT), we measured learners’ pitch perception and auditory working memory. We predicted that those with higher MPT and MDT values would perform better in the CSWL task and in particular for novel words with high phonological overlap (i.e., minimal pairs). We found that higher musical perception skills led to higher accuracy for non-minimal pairs and minimal pairs differing in their initial consonant. Interestingly, this was not the case for vowel minimal pairs. We discuss the results in relation to theories of second language word learning such as the Second Language Perception model (L2LP). (shrink)

This study investigated the possible prosodic transfer influences native regional dialects may have in the perception of English lexical stress by speakers of three Chinese dialects [Beijing (BJ), Changsha (CS), and Guangzhou (GZ)] compared to 20 American English (AE) speakers. F0, duration, intensity, and vowel reduction were manipulated in nonce disyllabic words. Participants performed four-word sequence recall tasks to identify lexical stress location. They performed better with natural sounds than with manipulated words. This study focused on the performance (...) differences in manipulating words. The results showed that all four-group members performed similarly processing F0 condition nonce words. BJ and CS participants were more accurate than GZ participants in duration and vowel reduction cues. Reaction time (RT) suggested that the processing time of acoustic cues differed significantly across language groups. The findings indicate that first language (L1) dialect effect is robust in second language (L2) stress perception tasks. (shrink)

This study investigated the relative role of sub-syllabic components in spoken word recognition of Mandarin Chinese using an eye-tracking experiment with a visual world paradigm. Native Mandarin speakers were presented with four pictures and an auditory stimulus. They were required to click the picture according to the sound stimulus they heard, and their eye movements were tracked during this process. For a target word, nine conditions of competitors were constructed in terms of the amount of their phonological overlap with the (...) target: consonant competitor, rime competitor, tone competitor, consonant plus rime competitor, consonant plus tone competitor, rime plus tone competitor, cohort competitor, cohort plus tone competitor, and baseline competitor. A growth curve analysis was conducted with the fixation to competitors, targets, and distractors, and the results showed that competitors with consonant or rime overlap can be adequately activated, while tone overlap plays a weaker role since additional tonal information can strengthen the competitive effect only when it was added to a candidate that already bears much phonological similarity with the target. Mandarin words are processed in an incremental way in the time course of word recognition since different partially overlapping competitors could be activated immediately; like the pattern found in English, both cohort and rime competitors were activated to compete for lexical activation, but these two competitors were not temporally distinctive and mainly differed in the size of their competitive effects. Generally, the gradation of activation based on the phonological similarity between target and candidates found in this study was in line with the continuous mapping models and may reflect a strategy of native speakers shaped by the informative characteristics of the interaction among different sub-syllabic components. (shrink)

We describe a method for automatic word sense disambiguation using a text corpus and a machine- readable dictionary (MRD). The method is based on word similarity and context similarity measures. Words are considered similar if they appear in similar contexts; contexts are similar if they contain similar words. The circularity of this definition is resolved by an iterative, converging process, in which the system learns from the corpus a set of typical usages for each (...) of the senses of the polysemous word listed in the MRD. A new instance of a polysemous word is assigned the sense associated with the typical usage most similar to its context. Experiments show that this method performs well, and can learn even from very sparse training data. (shrink)

In Chinese orthography, the most common character structure consists of a semantic radical on the left and a phonetic radical on the right ; the minority, opposite arrangement also exists. Recent studies showed that SP character processing is more left hemisphere lateralized than PS character processing. Nevertheless, it remains unclear whether this is due to phonetic radical position or character type frequency. Through computational modeling with artificial lexicons, in which we implement a theory of hemispheric asymmetry in perception but do (...) not assume phonological processing being LH lateralized, we show that the difference in character type frequency alone is sufficient to exhibit the effect that the dominant type has a stronger LH lateralization than the minority type. This effect is due to higher visual similarity among characters in the dominant type than the minority type, demonstrating the modulation of visual similarity of words on hemispheric lateralization. (shrink)

Words sound slightly different each time they are said, both by the same talker and across talkers. Rather than hurting learning, lab studies suggest that talker variability helps infants learn similar sounding words. However, very little is known about how much variability infants hear within a single talker or across talkers in naturalistic input. Here, we quantified these types of talker variability for highly frequent words spoken to 44 infants, from naturalistic recordings sampled longitudinally over (...) a year of life (from 6 to 17 months). We used non‐contrastive acoustic measurements (e.g., mean pitch, duration, harmonics‐to‐noise ratio) and holistic measures of sound similarity (normalized acoustic distance) to quantify acoustic variability. We find three key results. First, pitch‐based variability was generally lower for infants' top talkers than across their other talkers, but overall acoustic distance is higher for tokens from the top talker versus the others. Second, the amount of acoustic variability infants heard could not be predicted from, and thus was not redundant with, other properties of the input such as the number of talkers or tokens, or proportion of speech from particular sources (e.g., women, children, electronics). Finally, we find that patterns of pitch‐based acoustic variability heard in naturalistic input were similar to those found with in‐lab stimuli that facilitated word learning. This large‐scale quantification of talker variability in infants' everyday input sets the stage for linking naturally occurring variability “in the wild” to early word learning. (shrink)

Tankersley has provided an interesting collection of data about various groups of antisocial individuals. Is this a paper about the moral reasoning of psychopaths, or is it an attempt to address a philosophical question—whether moral behavior is primarily driven by emotions (moral sentimentalism) or by reasons (moral rationalism)—empirically? I think it attempts a little of both, although I concentrate on the latter. -/- The trouble with much of the literature on psychopathy is the terminological confusion, and Tankersley has not escaped (...) this. Several disciplines, with their own languages, have an interest in antisocial individuals and use similar sounding words in different ways. It is easy to get confused. Doctors make diagnoses. Antisocial (or dissocial) personality disorder is a medical diagnosis, and has a clear, operationalized definition. By virtue of being a disorder, it must result in some impairment in the functioning of the individual. Psychopathy is a psychological construct, not a diagnosis, and attempts to measure (in a reliable and valid way, using the Psychopathy Checklist) aspects of a person's mind particularly relevant to antisocial behavior. Psychopathy and antisocial personality disorder are different approaches to the same natural phenomenon, but they are not coterminous. There are many individuals with antisocial personality disorder who are not psychopaths. There are some individuals who are psychopaths who do not have any medical diagnosis (e.g., the so-called white collar psychopath). Psychopathy is not a subset of antisocial personality disorder (pace Tankersley 2011, and Herpertz and Habermeyer 2004). (shrink)

Sound symbolism refers to non-arbitrary associations between word forms and meaning, such as those observed for some properties of sounds and size or shape. Recent evidence suggests that these connections extend to emotional concepts. Here we investigated two types of non-arbitrary relationships. Study 1 examined whether iconicity scores (i.e. resemblance-based mapping between aspects of a word’s form and its meaning) for words can be predicted from ratings in the affective dimensions of valence and arousal and/or the discrete emotions of (...) happiness, anger, fear, disgust and sadness. Words denoting negative concepts were more likely to have more iconic word forms. Study 2 explored whether statistical regularities in single phonemes (i.e. systematicity) predicted ratings in affective dimensions and/or discrete emotions. Voiceless (/p/, /t/) and voiced plosives (/b/, /d/, /g/) were related to high arousing words, whereas high arousing negative words tended to include fricatives (/s/, /z/). Hissing consonants were also more likely to occur in words denoting all negative discrete emotions. Additionally, words conveying certain discrete emotions included specific phonemes. Overall, our data suggest that emotional features might explain variations in iconicity and provide new insight about phonemic patterns showing sound symbolic associations with the affective properties of words. (shrink)

This paper addresses a framework in dialog systems that can understand users' speech depending on location during outdoor activities. Depending on the outdoor context, systems should be able to correctly interpret spoken sentences in changing locations. A promising approach is to combine the knowledge of users' goal and plan with information of their position since their speech is normally dependent on their goal and plan, which can be related with their location in an outdoor activity. To test this approach, a (...) user support system called G-Assist has been developed for mobile PCs. G-Assist provides pieces of advice to beginner golf players in response to their questions via voice on the spot. By defining the associations of users' goal and plans and spaces in the knowledge base, the system dynamically activates the corresponding part of a goal and plan with respect to the users' position or a location provided by the GPS during the dialog. To interpret a spoken sentence, the system integrates bottom-up information based on analysis of the sentence with top-down information derived from the users' goal and plan definitions. The framework is useful in analyzing incomplete sentences in which information dependent on the location is omitted. Furthermore, the top-down information is utilized to revise the result of voice recognition so that a recognized word can be replaced with another word of similar sound highly related to activating goal and plans. (shrink)

A provocative book and audio examples explore the relationship of music and the natural world.

Sound-symbolism is the nonarbitrary link between the sound and meaning of a word. Japanese-speaking children performed better in a verb generalization task when they were taught novel sound-symbolic verbs, created based on existing Japanese sound-symbolic words, than novel nonsound-symbolic verbs (Imai, Kita, Nagumo, & Okada, 2008). A question remained as to whether the Japanese children had picked up regularities in the Japanese sound-symbolic lexicon or were sensitive to universal sound-symbolism. The present study aimed to provide support for the latter. (...) In a verb generalization task, English-speaking 3-year-olds were taught novel sound-symbolic verbs, created based on Japanese sound-symbolism, or novel nonsound-symbolic verbs. English-speaking children performed better with the sound-symbolic verbs, just like Japanese-speaking children. We concluded that children are sensitive to universal sound-symbolism and can utilize it in word learning and generalization, regardless of their native language. (shrink)

An analysis of a valenced corpus of English words revealed that words that rhyme with slurs are rated more poorly than their synonyms. What at first might seem like a bizarre coincidence turns out to be a robust feature of slurs, one arising from their phonetic structure. We report novel data on phonaesthetic preferences, showing that a particular class of phonemes are both particularly disliked, and overrepresented in slurs. We argue that phonaesthetic associations have been an overlooked source (...) of some of the more peculiar, arational aspects of slurs. We conclude by drawing broader morals about the evolution of the lexicon. (shrink)

Environmental Sound Artists: In Their Own Words is an incisive and imaginative look at the international environmental sound art movement, which emerged in the late 1960s. The term environmental sound art is generally applied to the work of sound artists who incorporate processes in which the artist actively engages with the environment. While the field of environmental sound art is diverse and includes a variety of approaches, the art form diverges from traditional contemporary music by the conscious and strategic (...) integration of environmental impulses and natural processes. This book presents a current perspective on the environmental sound art movement through a collection of personal writings by important environmental sound artists. Dismayed by the limitations and gradual breakdown of contemporary compositional strategies, environmental sound artists have sought alternate venues, genres, technologies, and delivery methods for their creative expression. Environmental sound art is especially relevant because it addresses political, social, economic, scientific, and aesthetic issues. As a result, it has attracted the participation of artists internationally. Awareness and concern for the environment has connected and unified artists across the globe and has achieved a solidarity and clarity of purpose that is singularly unique and optimistic. The environmental sound art movement is borderless and thriving. (shrink)

This study considers one of the cognitive mechanisms underlying the development of second language vocabulary in children: The differentiation and sharpening of lexical representations. We propose that sharpening is triggered by an implicit comparison of similar representations, a process we call contrasting. We investigate whether integrating contrasting in a learning method in which children contrast orthographically and semantically similar L2 words facilitates learning of those words by sharpening their new lexical representations. In our study, 48 Dutch-speaking (...) children learned unfamiliar orthographically and semantically similar English words in a multiple-choice learning task. One half of the group learned the similar words by contrasting them, while the other half did not contrast them. Their word knowledge was measured immediately after learning as well as 1 week later. Contrasting was found to facilitate learning by leading to more precise lexical representations. However, only highly skilled readers benefitted from contrasting. Our findings offer novel insights into the development of L2 lexical representations from fuzzy to more precise, and have potential implications for education. (shrink)

This paper presents an implemented computational model of word acquisition which learns directly from raw multimodal sensory input. Set in an information theoretic framework, the model acquires a lexicon by finding and statistically modeling consistent cross‐modal structure. The model has been implemented in a system using novel speech processing, computer vision, and machine learning algorithms. In evaluations the model successfully performed speech segmentation, word discovery and visual categorization from spontaneous infant‐directed speech paired with video images of single objects. These results (...) demonstrate the possibility of using state‐of‐the‐art techniques from sensory pattern recognition and machine learning to implement cognitive models which can process raw sensor data without the need for human transcription or labeling. (shrink)

This study considers the role of different cognitive units in sound change: phonemes, contextual variants and words. We examine /u/-fronting and /j/-dropping in data from three generations of Derby English speakers. We analyze dynamic formant data and auditory judgments, using mixed effects regression methods, including generalized additive mixed models (GAMMs). /u/-fronting is reaching its end-point, showing complex conditioning by context and a frequency effect that weakens over time. /j/-dropping is declining, with low-frequency words showing more innovative variants with (...) /j/ than high-frequency words. The two processes interact: words with variable /j/-dropping (new) exhibit more fronting than words that never have /j/ (noodle) even when the /j/ is deleted. These results support models of change that rely on phonetically detailed representations for both word- and sound-level cognitive units. (shrink)

At Easter, hymns and sacred arias can work together with Scripture texts to proclaim in fresh ways that Christ is risen. If we come with attentiveness to focus upon the words, phrases, meter, and melody, we can experience new depths, wonders, and glories.

The focus of much sensory language research has been on vocabulary and codability, not how language is used in communication of sensory perceptions. We make a case for discourse-oriented research about sensory language as an alternative to the prevailing vocabulary orientation. To consider the language of sound in authentic textual data, we presented participants with 20 everyday sounds of unknown sources and asked them to describe the sounds in as much detail as possible, as if describing them to someone who (...) could not hear them. We explored how the participants use language to describe these sounds. Do they describe their listening experiences (stressful), sound properties (intermittent beeping), and/or the events that caused the sounds (eating an apple)? The results show that out of these three soundscape elements, events are the most frequent and most indispensable element. We let the results from the study illustrate the need for more discursive data in studies of sensory language and argue that there is no designated language of sound. Our study highlights that in order to account for sensory language use, we need an analytical framework that accommodates discursive language in a non-trivial way beyond stable couplings between individual words and meanings. (shrink)