A prerequisite for spoken language learning is segmenting continuous speech into words. Amongst many possible cues to identify word boundaries, listeners can use both transitional probabilities between syllables and various prosodic cues. However, the relative importance of these cues remains unclear, and previous experiments have not directly compared the effects of contrasting multiple prosodic cues. We used artificial language learning experiments, where native German speaking participants extracted meaningless trisyllabic “words” from a continuous speech stream, to evaluate these factors. (...) We compared a baseline condition to five test conditions, in which word-final syllables were either followed by a pause, lengthened, shortened, changed to a lower pitch, or changed to a higher pitch. To evaluate robustness and generality we used three tasks varying in difficulty. Overall, pauses and final lengthening were perceived as converging with the statistical cues and facilitated speech segmentation, with pauses helping most. Final-syllable shortening hindered baseline speech segmentation, indicating that when cues conflict, prosodic cues can override statistical cues. Surprisingly, pitch cues had little effect, suggesting that duration may be more relevant for speech segmentation than pitch in our study context. We discuss our findings with regard to the contribution to speech segmentation of language-universal boundary cues vs. language-specific stress patterns. (shrink)

This paper reviews evidence concerning the nature of grouping in music and language and their interactions with other linguistic and musical systems. I present brief typological surveys of the relationship between constituency and acoustic parameters in language and music, drawing from a wide variety of languages and musical genres. The two domains both involve correspondence between auditory discontinuities and group boundaries, reflecting the Gestalt principles of proximity and similarity, as well as a nested, hierarchical organization of constituents. Typically, computational-level theories (...) of musical grouping take the form of a function from acoustic properties through grouping representations to syntactic or interpretive constituents. Linguistic theories tend to be cast as functions in the opposite direction. This study argues that the difference in orientation is not grounded in principled differences in information flow between the two domains, and that reconceptualizing one or both theories allows for gains in analytical understanding. There are also obvious differences between musical and linguistic grouping. Grappling with those differences requires one to think in detail about modularity, information flow, levels of description, and the functional nature of cognitive domains. (shrink)

The ability to process center‐embedded structures has been claimed to represent a core function of the language faculty. Recently, several studies have investigated the learning of center‐embedded dependencies in artificial grammar settings. Yet some of the results seem to question the learnability of these structures in artificial grammar tasks. Here, we tested under which exposure conditions learning of center‐embedded structures in an artificial grammar is possible. We used naturally spoken syllable sequences and varied the presence of prosodic cues. The (...) results suggest that mere distributional information does not suffice for successful learning. Prosodic cues marking the boundaries of the major relevant units, however, can lead to learning success. Thus, our data are consistent with the hypothesis that center‐embedded syntactic structures can be learned in artificial grammar tasks if language‐like acoustic cues are provided. (shrink)

By manipulating the location of prosodic boundary and the semantic bias of the ambiguous “V+N1+de+N2” phrase, which is composed of one verb (V), one noun (N1), one functional word (de), and another noun (N2), this study investigated how prosodic boundary and the semantic bias affect the processing of temporary ambiguous sentences formed by the ambiguous phrase “V+N1+de+N2” through an eye movement experiment. We found the effect of prosodic boundary in the late processing stage and (...) observed an interaction between prosodic boundary and the semantic bias of ambiguous phrases as well. The participants required more time for fixation and more regressions occurred when the meaning of the ambiguous phrase guided by prosodic boundary was inconsistent with context, especially when the ambiguous phrase was biased to the narrative-object phrase. This result suggests that prosodic boundary affects the processing of temporal ambiguous sentences and is influenced by the semantic bias of the ambiguous phrase. These findings provide further evidence from Chinese that indicate that implicit prosody plays a general role in language comprehension. (shrink)

The contentious question of bilingual processing cost may be recast as a fresh question of code-switching (CS) strategies—quantitative preferences and structural adjustments for switching at particular junctures of two languages. CS strategies are established by considering prosodic and syntactic variables, capitalizing here on bidirectional multi-word CS, spontaneously produced by members of a bilingual community in northern New Mexico who regularly use both languages (Torres Cacoullos and Travis, 2018). CS strategies become apparent by extending the equivalence constraint, which states that (...) bilinguals avoid CS at points of word placement conflict (Poplack, 1980), to examine points of inconsistent equivalence between the languages. Such sites of variable equivalence are junctures where the word strings of the two languages are equivalent only sometimes due to language-internal variable structures. A case in point for the English-Spanish language pair is the boundary between main and complement clauses, where a conjunction occurs always in Spanish but variably in English. The prosodic distancing strategy is to separate the juncture of the two languages. Here the complement clause appears in a different prosodic unit from the main clause, disproportionately as compared both with monolingual benchmarks and with bilinguals' own unilingual English and Spanish. Prosodic distancing serves to mitigate variable equivalence. The syntactic selection strategy is to opt for the variant that is more quantitatively available and more discourse neutral. Here the preference is for the Spanish complementizer que—regardless of main or complement clause language— which is the more frequent option in bilinguals' combined experience in both their languages, whereas English complementizer that is subject to a number of conditioning factors. Syntactic selection serves to restore equivalence at sites of variable equivalence. Discovery of community CS strategies may spur reconsideration of processing cost as a matter of relative difficulty, which will depend on bilinguals' prosodic and syntactic choices at particular CS sites. (shrink)

The ‘question under discussion’ (or ‘QUD’) framework is a pragmatic framework that draws on work in the semantics of questions to provide an appealing account of a range of pragmatic phenomena, including the use of prosodic focus in English and restrictions on acceptable discourse moves (Roberts 1996). More recently, however, a number of proposals have attempted to use the framework to help to settle issues at the semantics/pragmatics boundary, fixing the truth-conditions of what is said by a speaker (...) (which many theorists take to be a semantic matter). In this discussion piece, we suggest that this kind of putative extension of the work to be done by the QUD framework is illegitimate, as the framework ultimately seems to depend on a prior grip on semantic content. To see this, we first outline the QUD framework and then raise our concern. (shrink)

The aim of this article is to discuss and illustrate the grammaticalization process and the polysemic and polyfunctional nature of the Spanish and Catalan markers la verdad and la veritat, from an original objectified referential meaning of the forms to a highly subjectified procedural meaning of the markers. The pragmatic meaning of these markers stems from the loss of semantic features and the different uses that they can adopt in a variety of syntactic and pragmatic contexts, where their subjective, evaluative, (...) and intensifying modal dimensions are fully manifested. In lexical terms, they are noun phrases that can take variable and invariable forms. In morphological terms, the variable form is inflected in number and has a referential value, whereas the invariable form, prosodically extraposed, or followed by a verbal predicate when working as pragmatic marker, is always uninflected and is polyfunctional, with a procedural value. When followed by a verbal predicate, la verdad and la veritat acquire a structural dimension, besides their modal illocutionary one, being used as boundary markers that separate description of facts from first person evaluation, in a monologued stretch of discourse. In an interactional context, the marker frequently prefaces counter expectations. In order to show its grammaticalization process, I will discuss and exemplify their role as evidential marker with a truth-attesting value, epistemic modality markers used to introduce the speaker’s attitude to the content of the proposition or to the addressee in the context of an utterance, intensifiers or boosters used to modify the illocutionary force of a speech act, and discourse boundary markers used to delimit real-world facts from personal opinion. In order to account for their polysemic and polyfunctional dimensions, I will propose salient meanings and prototypical functions. (shrink)

continent. 2.1 (2012): 29–35. Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "Politieke Poëzie: Enige aantekeningen, Poëtica bij N30 (versie 2006)." In Weerstandbeleid: Nieuwe kritiek . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. L’égalité veut d’autres lois . —Eugène Pottier The modern poem does not have form but consistency (that is sensed), no content but a problem (that is developed). Consistency + problem = composition. The problem of modern poetry is capitalism. Capitalism—which has no (...) image: the unrepresentable Idea of “everything.” The problem is that a poem cannot be justified. There is no excuse for it. Political poetry— pure poetry—has to be problematic, though not in a mannerist way. Yes, its problem is first its own problem—poetry’s existence in the same world as the newspaper—but therefore also always everybody’s problem (the problem of any world at all). The cult of the sublime points at a suspect desire for transcendence, nostalgia for paradise lost (the womb?). Melancholia of the post-. But a problem neither sorrows nor mourns, it is alive, and the fact that it is alive is the problem—the problem for death (rigidity, the status quo). Our symbols and ideologies do not hide any god: symbolic = state; imaginary = human; real = money. Problem: the possibility of communal speech (poetry) in the absence of a “we.” Or: what is a “we” that is not a collective subject (or in any case is not a volonté générale )? What is a universal history that is not a History? This work was started in the shade of the anti-globalization protests at the end of November 1999. I considered N30 to be the closure of the nineties, of my adolescence, and of the a seemingly total extinction of social desire. From the beginning I was skeptical about the alterglobalization movement as the avant-garde of a new politics, but something was happening . Maybe this event did not show that, as the slogan would have it, “another world” is possible, but for me it indicated that such possibility was at least still possible. That naked possibility is carrying forward. And if the fundamental tone of this work sounds more desperate than utopian, this is not caused by the catastrophic sequence that since 1999 has plunged us ever deeper into the right-wing nightmare—a nightmare that this work also gives an account for—but because my hope as yet remains empty. Composition . Composition is no design, but the production of an autonomous block of affects (i.e. a POEM), rhythmically subtracted from the language of a community. A poem does something. Is something. New Sentence . Choosing the non sequitur as compositional unit has the advantage that an abstract composition is subjected to the stress of concrete, social references. Where there is a sentence, there is always a world. (This does not hold necessarily for words on their own.) And where sentences collide, something akin to a textual civil war takes place. It is not about “undermining” whatever, or de-scribing the raging global civil war, but about writing social (or even: ontological) antagonism -- including all its catastrophic and utopian possibilities. Minor resistance. Why would poetry be the no protest zone par excellence? It is nothing but protest, not simply qua “content,” but in its most fundamental essence: rhythm. Rhythm is resistance against language, time, and space, and the basis of (what we will continue to call) autonomy. Rhythm starts with the anti-rhythmic caesura as Hölderlin remarked about Sophocles, a disruption of the quotidian drone. The destruction of everything that is dead inside of us. The noise of the avant-garde has never been the representation of the noise of (post)modernity (from the television or shopping mall), but the sober noise of the systematic exchange of an unbearable worldview. The poet does not describe, but looks for a way out: There is a Grain of Sand in Lambeth that Satan cannot find Nor can his Watch Fiends find it, tis translucent & has many Angles But he who finds it will find Oothoons palace, for within Opening into Beulah every angle is a lovely heaven William Blake was not mad. And there has always been only one poetry: the poetry of paradise. The principle is that there is something in art (the essentially creative element) that is disgusted by that which, unlike art, does not aim for the supreme. Wonder is not supreme, tranquility is not supreme, beauty is not supreme. Even amusement is not supreme! The supreme is supremely open, “das Einfache,/ Das Schwer zu machen ist” 1 : paradise. That is abstract. Literally. For me it is not about a concrete imagination, an idyll or utopia. There is no doubt a need for that, but it is not so much the supposed lack of imagination or ideals (human rights are ideals), but a fundamental lack of desire (human rights are no desires) that we suffer from, and from which we do not need to remove Nietzsche’s label of “nihilism.” “We.” George Oppen: “ Of Being Numerous asks the question whether or not we can deal with humanity as something which actually exists.” What is less actual than humanity? Nowadays it appears as a lifeless ideology of cynical power politics. Or as what makes one think. It is a shame to be human. The event is the caesura that defines rhythm. Writing toward the event is not the description of the event, but marking an abstract and intense space in which the event may unfold and keep itself. It is a task. “Remember that thou blesseth the day on which I seized thee, because such is thy obligation.” The event is a contraction (or a series of contractions) with its own rhythm and unique qualities. It is more than an explosion or demonstration. But at the same time less. The endless repetition of images and stories in the media points to a fear for the indeterminate and indeterminable void of the event. In the end there is nothing to see. We do not live in disaster’s shade or miracle’s light, but rather in the rhythm, which is contracted time, having little to do with omnipresent representations. For this book I did not intend a rhythm of evental representations (a narrative rhythm), but a rhythm which would be an event itself , because it draws the border between artwork and history. My desire for a direct engagement with the “extra-textual reality” has nothing to do with the representation of “rumor in the streets.” (What has less street cred than representation?) Naturally, a poem is no historical event and does not change anything. But a poem is a part of history that wants to be repeated forever, constructed in such a way that it is worthy of repetition. It is a part of desire (composition) made consistent (durable). The “historical event” flares up and burns down, and has to burn down to be effective. The leftovers are images and stories (representations), History—no event. The artwork—that is the ambition— remains event (though monumental and inefficient/inoperable). (No wonder that a historical singularity, a revolution, reminds us of a work of art; the resurrection yearns for a judgment, an affirmation; everything depends on it.) Hence the title does not summarize the book, let alone contract its “content” into a quasi-transcendental signifier. The title is juxtaposed to the book, like everything else inside the book, and in that relation it precisely forms a part of it. The ideal work is an open whole, lacking nothing but to which everything may be added. I have been interested in this “everything,” the world, or as I said above: capitalism. “Everything” is not the space for “wonder”—a code word, a shibboleth for petty bourgeois imagination (I recognize myself in the strangest things, a speaking dog, a canal, a pond standing straight—oh my god). No. The world is a social world, not YOUR world, poet. Power is number one. I will call “Dutch,” or “shitty,” whatever denies this power. That hurts, but this pain is an expression of the desire in the world to write another world, or as Blanchot says, “the other of all worlds” 2 : the world. Not as what “is there,” but rather as that which urges for an escape from what “is.” This is a testament of how radical reality has become, for me—or rather, a writing body—in a having-been-written. I am not interested in the problem of “meaning” as misunderstood by literary scholarsi: “order” in “chaos,” “symbolization.” Bullshit. What is there, hop, hope, now: the meaning of the taste in my mouth. Bullshit. I am not interested in the frustration of interpretation; I am writing for readers who do not want to interpret. I do not know how many “professional readers” will hear the music of a paragraph like: Sun. Sushi. Volvo. I hope more than I would think. There is a suggestion (or rather, an actual production) of speed and infinitive owing to the absence of plosives, i.e. articulations such as /k/, /t/, or /p/. Can you hear the slick suaveness? Driving car dark, vocal chiaroscuro of the word “sushi.” The unstressed /i/ stands in the middle of dark vowels and thus acquires its own special out of focus , like a momentary flash or brilliance—an obscure light. It is not about recognizing a story, but about avoiding any story whatsoever: the car disappears in the glow, cars and raw fish have nothing in common except their articulation in a language that brings them together, blurring them. A world appears in its disappearance. For a moment, light is a metaphor for language, though it cannot be reduced to tenor. It is not necessary to be a linguist or philosopher to hear this—a “difficult” poem all too often becomes an allegory of its own impenetrable being-language. The only demand: leave your hermeneutical fetish at home. This was no interpretation. Most shit has been stolen etcetera. That is no longer interesting. You cannot shoot the body with information and let your lawyers reclaim the bullets. So every sentence has been stolen. Also the ones “out” “of” “my” “head.” Why would I be allowed to steal from myself and not from others? Man takes what he needs to move forward. Whatever he encounters, finds in front of him, “occurs” to him. The writer as text editor, or singing pirate. Nothing new here. Important difference with for example Sybren Polet’s 4 montage technique: anti-thematicism. Most of the time ferocious citation from whatever I was reading, listening to, ended up in, and so on. I wrote chapter 12 on my laptop while watching CNN. On the air instead of en plein air . I often employed search engines to generate material. Chapter 20 offers the purest example of this. Often I stop recognizing a particular citation after some time. It is not uncommon for a stolen sentence to conform itself to the paragraph in which it finds itself. Sometimes I nearly arbitrarily replace words. Arbitrariness as a guarantee for absolute democracy. It is a poetics of the non sequitur : a conclusion that does not follow from the premises, the strange element in the discourse. A discourse of strangers. No logical, narrative, thematic unity. There is unity in speed/flight. It has to be read linearly, but not necessarily (not preferably) from beginning to end. The shortest distance between two points is a straight line, but this line precedes every point. The middle, the acceleration, comes first. A point occurs where two lines cross. It has been written from up close, at the level of the tension between sentences. Nothing to be seen from a distance: no form except the exchange of form, no geometrical or mythical meaning. You have to get in, “groping toward a continuous present, a using everything a beginning again and again” (Stein). 5 In Dutch, experimental poetry has been mainly dense: a small rectangular form filled with a maximum amount of poetic possibility. But at the moment the poem starts to relax, the anecdotical content seems to increase. This is what is called “epic”: long, narrative. I believe that an epic is more than that, in fact something completely different. An epic is “a poem including history,” 6 a long poem tied up with the life of community, that as a whole does not need to be narrative. The American poets of the twentieth century (Pound, Williams, Zukofsky, Oppen, Olson, Silliman) have put the epic back on the map by interpreting the poem itself as a map, and writing it as navigation. They have invented the experimental epic, a genre that has generated little original following in “our” poetry. N30 is the middle part—“always start in the middle”—of a trilogy, the contours of which remain as of yet unclear, although each episode investigates one of the three “ecstasies of time”—past, present, future—concerning society X. N30 concerns itself with the PRESENT: not with the description of actual facts but of the rhythm and the intense depth in which facts appear to us. Where are we? We are camping in the desert. Sometimes we are looking at the stars. As opposed to maximum density and minimal tension (a characteristic of most (post-)experimental lyricism), I have sought a minimal density and maximum tension in this book, considered as a long non-narrative prose poem. On the one hand, the minimal density is obtained by the inherent formlessness of prose, on the other hand by the conscious refusal of any active (formal, non-rhythmic) synthesis: the poem tells nothing, shows nothing, has no theme. I did not seek maximum tension either by loading the quotidian with epiphanic radioactivity (“wonder,” confirmation from above), or by means of the intensity of the linguistic structure. I want an abstract tension, but social in its abstraction, in other words, not neutralized by and subjected to Form. Instead of form (transcendent): composition (immanent). The concept is series. Ideal: every unit is necessary for the efficacy of the others and the whole, their relation is purely linear, i.e. non-hierarchic, non-syllogistic, non-discursive, non-narrative. Sentence related to sentence like paragraph to paragraph and chapter to chapter; the whole means nothing and represents nothing. Inside the sentence: syntax (Chomsky’s tree, a type of parallel circuit), outside: parataxis (coordination, an asyntactic line through language and world). I consider duration—the energy of duration (rhythm)—to be the fundament of a poem, the temporal inclination to delimit a “space.” Being as consistency, its consistency. A spatial part of time is not merely a metaphor for an inevitable trajectory, an inescapable time, something like “our time.” Not merely—because rhythm comes from language and is not projected onto it; the poem derives from the world like a scent and a color and a life from a flower. A series, a sequence: nothing potential, but truly infinite—the movement of an infinitude. The infinite series = everything minus totality. That means that there is no container—no Form, no Self, no Image, no Structure, not even a Fragment—just “the prose of the world.” No representation, but also no staging of the impossibility of representation (the postmodern sublime). These are no fragments, no image of a fragmented world or personality, no cautious incantations around the Void. It does not exist. It is a movement. Buying bread, a flock of birds, a bomb falling—they do not depict or represent anything, not literally, not metaphorically. There is an Idea, which is however nothing more than a rhythm, in the same way that capitalism is nothing more than a pure function. Parataxis: the white space between two sentences stresses, which is nevertheless always there, also between words, even between letters: the out of focus of idle talk, the gutter, the irreducible Mallarméan mist which renders even the seemingly most transparent text legible. The white space suggests a neutral medium for free signification, a substance of language. A non sequitur is an element from a foreign discourse, which stresses the white space as space, and problematizes freedom for supra-sentential signification. I start by withdrawing material, leaving the initiative to the sentences. In general a word presupposes less often a discourse than a sentence. What discourse is presupposed by “dog”? We could think of several, but why would we? It is more probable that, when faced with the naked word, we think of its naked (dictionary) meaning, of its denotative signified. By means of two simple interventions we may also write the word as sentence: Dog. In no way this suggests the discourse from which this sentence originates, but in any case we’re presupposing one. This is shown by questions like: “Whose dog? Who’s a dog? What kind of dog?” Etc. (Sentences are question marks.) A sentence implies/is a microcosm—a subject, a verb, an object, and so on. Even an incomplete or ungrammatical sentence does so. My main fascination while writing this book is the worldly and social aspect of language, an aspect that often becomes invisible, or rather, transparent in narrativity—the stretching of sentences into stories. Narrativity organizes a new discourse and a new world, and places a sometimes all too dispersing relation of transparence in between. The conventional novel is the brothel of being. I do not intend to prohibit brothels, and I have certainly not intended to write an anti-novel (THIS IS A POEM), but I do consider narrativity (in general, in poetry, in the news, in daily life) to be ontologically secondary with regard to an immediate being in the world through sentences, also if the latter have been withdrawn from a narrative or otherwise externally structured discourse (which in that case would therefore be chronologically primary ). Naturally, two or more sentences are always in danger of telling stories or arguing, just like the world is always in danger of becoming an objective representation, facing us, strangers. That is why need to wage war—against representation and against the interface, against interaction. AGAINST THE “READER.” To the extent that a sentence is worldly, writing is a condensed global war, and in so far as there is ultimately only one world and one open continuum of languages, it is a global civil war. Nice subject for an epic. The elaboration of a singular problem—prose as the outside of poetry, the form of the novel as purely prosodic composition scheme—“expresses” the universal problem: capitalism as Idea of the world vs. poetry as language of an (im)possible community. The paragraphs are blocks of rhythmically contracted social material. By choosing the sentence as the basic compositional component, an abstract whole may contain social sounds, without telling a story or showing an image. Composition is subrepresentative —a rhythmic, passive synthesis, or rather: a synthesis of syntheses. I never write large blocks of prose in one sitting, because there is no obvious organizational vector —plot, theme, conscience—outside the inherent qualities of the material itself. Usually I write down one sentence, sometimes two, but rarely more than three. Those sentences are usually placed in the text which I am editing at the time. In fact, there is no original composition, new chapters split off from chapters which became too long during the editing process. (Revision mainly consists of adding and inserting, displacing and dividing; only during the last phase, when the text has gained enough consistency, there may be subtraction to tighten the composition; each chapter requires a season of daily revision). This constant revision, accompanied by a continuous influx of collective background noise (to speak with Van Bastelaere), 7 makes every chapter a block condensed (“historical” and “personal”) time. The block itself is a-personal and a-historic; it is ontologically autonomous. If there is such a thing as a spirit of the times, I do not try to offer an image of it, but rather to cancel something of it by erecting a monument of its own excrement within its own boundaries. Tuning and dis-tuning , “in de taal der neerslachtigen een eigen geluid doen klinken,” 8 in other words, desiring in an Elysian way. In this sense I have intended to be able to write a political poetry. The ultimate political poem is the epic, “the tale of the tribe.” I consider N30 to be a prolegomenon to a future epic (of which it in the end will form a part a structural moment, as introduction-in-the-middle), an extended pile on top of an epic as narrative, a question of the tribe and question of its history. I was burdened by too much satire, too much bullshit. But: satire willy-nilly = the only justifiable satire. Against the abstract universalism of the market (“globalism”): concrete disgust, a positive way of saying “No.” Moreover, disgust is a specifically total attitude, which ultimately concerns the world as a whole. I hate this or that, but I am disgusted by EVERYTHING (when I am disgusted), and so it appears that satire is in fact related to the epic, in so far as it concerns society, the cosmos, history. Maybe it is no coincidence that the Dutch literary canon knows no great poet of disgust; what could be more fearful to us than society, the cosmos, and history? The T-tendency (T from Tollens 9 ) clearly points into the direction of the small, friendly, ironic, melancholic, acquiescent, wondrous, and so on. The anti-political, anti-cosmic, anti-historical. (Why am I so philosophical? To scare away the Dutchies.) And most of all: the “poetical” (the pseudo-mysticism from the backyard). Yes, the N in N30 also stands for the Netherlands (just like 30 indicates the number of chapters). I was not in Seattle, I do not live in Iraq. But is not the whole world bleeding to death on Dutch paving stones? Let’s hope that we mowed away something with this total satire, also “in myself.” The arrogant stupidity that definitely thinks to know the essence of freedom (the free development of esthetic needs inside the void), that cannot take anything serious, only believes in the disciplined bestiality of the individual (“norms and values”) and the mere functioning of a social factory which finds no justification whatsoever outside its functioning (“get to work”)… Who knows. A certain aimed destruction leaves grooves and craters, mapping out a next adventure. Pound’s periplum : sailing while mapping the coasts. Immanent orientation. The terrain changes with the map, history changes with the poem. Maps never merely organize the chaos, transcendent schemes imposed on a formless Ding-an-sich . They organize from within, surfing. But they are most of all routes back into the chaos or forward to paradise (final identity of chaos and paradise; Schlegel: “ Nur diejenige Verworrenheit ist ein Chaos aus der eine Welt entspringen kann ”10). A poem is not only a piece of history, it is also a flight from history. Maps give chaos to the form of reality , open escape routes, break through representations, make us shivery and dazed. Paradise is immanent to a fleeting desire. History is the history of labor—this is Adam’s curse—and the poet works too: For to articulate sweet sounds together Is to work harder than all these, and yet Be thought an idler by the noisy set Of bankers, school masters, and clergymen The martyrs call the world 11 But: the poet works in paradise. The paradox of the artwork, the work that is no work, the piece of history that cannot be reduced to History—this is explained by The Space of Literature , a virtual space, an autonomous rhythm, not outside, but in the midst of the noise, a piece of paradise in hell, a postcard from the vale of tears addressed to paradise, to X. Political poetry means: a poetry that dares to think about itself, about its language and about its world and about the problematic relation between both, which is this relation as problem. A poetry that thinks at all, articulates its problem. It has nothing to do with journalism or morality or debate, let alone the law or the state. It has nothing to do with “criticism” if this means the replacement of incorrect representations by other, more correct representations. It has something to do with ethics in the sense of learning to live. It has something to do with the community and the language of the community (whichever that may be) and the role of the poet regarding the community. It concerns justice without judgement or measure. In the end the just word is just a word , to paraphrase Godard: it is from a future that is unimaginable. It Is no rational engagement, but an aversion against everything that obstructs life, and love for everything what is worthy of having been loved. The world is engaged with me, not the other way round. First Exodus, then Sinai. A desire does not start with an agenda. To answer the question whether I am really so naive as to want to change the world: “We only want the world.” Justice is the world appealing to us to liberate it from all possible chains, from each organization and inequality, to be it, smooth, equal, under a clear sky—a desert and a people in a desert. That moment between Egypt and the Law. It is not a revolution, but the sky above the revolution. Poetry = the science of escape. There is no art that we already know. The weakness of modernistic epic poetry seems to me to be the unwillingness to completely abandon narrative as a structural principle, in favor of a composition “around” or from an event. The China Cantos and Adams Cantos are the low point, and the Pisan Cantos the high point of Pound’s poetry. Two types of research: archival representation of the past vs. ontology of the present (which virtually presupposes the entire history). Presupposing an event means that it is impossible for the poet to stage his own absence, but in no way makes the work personal. An event is the unknown, the new invading into the business as usual, so also the personal. The question heading this research is not: “Who am I?” but “What is happening?” The book is as little illegible as Mondrian’s work is invisible. Form is of interest only to the extent that it empowers liberation. Ron Silliman So no formalism, but what it means to live in this world and to have a future in it. I want something that holds together that’s not smooth. Bruce Andrews The past above, the future below and the present pouring down: the roar, the roar of the present, a speech— William Carlos Williams If my confreres wanted to write a work with all history in its maw, I wished, from the beginning to start all over again, attempting to know nothing but a will to create, and matter at hand. Ronald Johnson NOTES 1) “The easy thing/ that is difficult to make.” Bertold Brecht, Lob des Kommunismus . (All footnotes are the translator’s) 2) Maurice Blanchot, The Space of Literature , trans. Ann Smock. Lincoln/London: University of Nebraska Press (1989), 75. 3) Mettes uses the word “Neerlandicus,” which refers to scholars of Dutch language and literature. 4) Dutch poet. 5) Gertrude Stein. “Composition as Explanation.” A Stein Reader . Ed. Ulla E. Dydo. Evanston, IL: Northwestern University Press (1993), 495-503. 6) Ezra Pound. 7) Flemish poet. 8) “Resounding an original sound in the language of the despondent.” A. Roland Holst, De afspraak . 9) Dutch poet. 10) “Only such a confusion is a chaos which can give rise to a world.” 11) W.B. Yeats, “Adam’s Curse.&rdquo. (shrink)

This qualitative study proposes a multimodal framework for modelling subordinate constructions in spontaneous conversation, based on their action on interpretative frames. Subordinate constructions have long been described in linguistics as dependent elements elaborating upon some primary features. However, Cognitive Grammar has challenged this view in showing that syntactic embedding often only reflects the starting point speakers choose to convey their message. Subordinate constructions are practices in interaction that offer an interpretative reconstruction of discourse. The different syntactic types of subordinate constructions (...) refer to different interpretative frames in the speaker’s experience. The selection of these interpretative frames is expressed by the different amount of prosodic and gestural boundary cues produced in co-occurrence with each syntactic type of subordinate construction. (shrink)

This paper argues that professionals who make boundary-related decisions should be guided by relationship-based practice. In our roles as service users and professionals, drawing from our lived experiences of professional relationships, we argue we need to move away from distance-based practice. This includes understanding the boundary stories and narratives that exist for all of us – including the people we support, other professionals, as well as the organisations and systems within which we work. When we are dealing with (...) professional boundary issues, we should centre relationship-building skills that are central to many other aspects of our work. Skills that foster relationships at all levels – between professionals, service users, and services – need to be revalued. Our final recommendation is to create, develop, and foster safer spaces within and outside of organisations, as well as inter-professionally, for the discussion and exploration of boundary-related issues and practice. We are interested in hearing from those with experiences of being marginalised by boundaries so that they can inform a reshaping of our collective ideas around boundary related practices. To foster relationship-based practices in organisations, we have outlined several recommendations here; however, we recognize that these do not go far enough, and that collective action is needed to inform systemic change. (shrink)

In sentences like Every teacher laughed we think of every teacher as a unary (=type (1)) quantifier - it expresses a property of one place predicate denotations. In variable binding terms, unary quantifiers bind one variable. Two applications of unary quantifiers, as in the interpretation of No student likes every teacher, determine a binary (= type (2)) quantifier; they express properties of two place predicate denotations. In variable binding terms they bind two variables. We call a binary quantifier Fregean (or (...) reducible) if it can in principle be expressed by the iterated application of unary quantifiers. In this paper we present two mathematical properties which distinguish non-Fregean quantifiers from Fregean ones. Our results extend those of van Benthem (1989) and Keenan (1987a). We use them to show that English presents a large variety of non-Fregean quantifi ers. Some are new here, others are familiar (though the proofs that they are non-Fregean are not). The main point of our empirical work is to inform us regarding the types of quantification natural language presents - in particular (van Benthem, 1989) that it goes beyond the usual (Fregean) analysis which treats it as mere iterated application of unary quantifiers. Secondarily, our results challenge linguistic approaches to "Logical Form" which constrain variable binding operators to "locally" bind just one occurrence of a variable, e.g., the Bijection Principle (BP) of Koopman and Sportiche (1983). The BP (correctly) blocks analyses like For which x, x's mother kissed x? for Who did his mother kiss? since For which x would locally bind two occurrences of x. But some of our irreducible binary quantifiers are naturally represented by operators which do locally bind two variables. This paper is organized as follows: Section 1 provides an explicit formulation of our questions of concern. Section 2 classifies the English constructions which we show to be non-Fregean. Section 3 presents the mathematical properties which test for non-Fregean quantification and applies these tests to the constructions in Section 2. Proofs of the mathema tical properties are given in the Appendix. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Business Ethics, the Environment & Responsibility, Volume 31, Issue 2, Page 577-588, April 2022.

In this paper I make the case for epistemic relativism: the radical view that all human knowledge/truth is relative. I extend the application of epistemic relativism to include necessary laws such as the laws of logic. I argue that the truth of such laws are relative to human thought, which are ultimately instances derived from our experiences. These experiences act as limitations to which we are conceptually bound. As a result of this, we cannot apprehend God’s omnipotence. This includes God’s (...) maximal power in being able to perform logically impossible actions. Our epistemic inability to conceive of such logically impossible actions is therefore testimony that God transcends the laws of logic. (shrink)

The author of this book has traced the major lines of argument over those years in a most engaging style with clear descriptions of the concepts and ideas.

I mean by the phrase "taking differences seriously" freeing differences from the conceptual and linguistic formations that promote recognitions based on categorical grouping and what we might call domination by images of familiar normalcy and global similarities. 1 I have in mind a discipline of turning out of those ways of speaking and thinking that intend to bring unity and essential harmony to highly diverse events and entities. Those are ways of thinking and speaking that assume that original identities define (...) basic resemblances among classes of things. I understand this claim to mean that many current and established ways of thinking are dangerous for this country's diverse culture and for our .. (shrink)

People prefer linguistic stimuli with an inward (e.g. BODIKA) over those with an outward articulation dynamic (e.g. KODIBA), a phenomenon known as the articulatory in-out effect. Despite its robustness across languages and contexts, the phenomenon is still poorly understood. To learn more about the effect’s boundary conditions, mental representation, and origin, we crossed the in-out effect with evaluative conditioning research. In five experiments (N = 713, three experiments pre-registered), we systematically paired words containing inward versus outward dynamics with pictures (...) of negative versus positive valence. Although this evaluative conditioning procedure reversed the preference for inward over outward words, this was the case only for words with the same consonant sequences as the conditioned words. For words with inward/outward dynamics but different consonant sequences than the conditioned ones, a regular in-out effect emerged. Also, no preference reversal at all emerged for the conditioned consonant sequences when the contingency between single consonants at specific positions and positive/negative valence was zero. Implications of these findings for the in-out effect and evaluative conditioning are discussed. (shrink)

In this paper, I want to contribute to understanding and improving on Keenan'sintriguing equivalence result about reducible type quantifiers (Keenan, 1992).I give an alternative proof of his result which generalizes to type quantifiers, andI show how the reduction of a reducible type quantifier to (the composition of) ntype quantifiers can be effected.

There are two main ways, philosophically, of characterizing the business of ontology. On one account, made popular by Quine, ontology is concerned with the material question of what there is. On the other, which made its way into our times through Brentano and his pupils, ontology is concerned with the task of laying bare the formal structure of all there is, whatever it is. My question, here, is whether one can pursue one sort of theory without also engaging in the (...) other—whether, or to what extent, the tasks of material ontology presuppose the backing of some formal-ontological theory, and whether or to what extent formal ontology can be, in the material sense of the term, ontologically neutral. (shrink)

This article argues that, in public and policy contexts, the ways in which many scientists talk about uncertainty in simulations of future climate change not only facilitates communications and cooperation between scientific and policy communities but also affects the perceived authority of science. Uncertainty tends to challenge the authority of chmate science, especially if it is used for policy making, but the relationship between authority and uncertainty is not simply an inverse one. In policy contexts, many scientists are compelled to (...) talk about uncertainty but do not wish to imply that uncertainty is a serious challenge to the authority of scientific knowledge or to its substantial use in policy making. "Boundary-ordering devices, " the contextual discursive attempts to reconcile uncertainty and authority in science, depend critically for their success on their "dual" interpretation: at a general level across a boundary and differently on either side of it. The authors empirically identify a range of such boundary-ordering devices in the climate field. (shrink)

The diagnosis of a new geological epoch, The 'Anthropocene', has implications far beyond geological science. If human activity has disrupted the planet, then this diagnosis potentially disrupts socio-political conventions. This article assesses the implications the Anthropocene has for democratic politics, by delineating three challenges: challenges of knowledge, time and boundary. In contrast to the claim that democratic institutions are unable to adequately respond to these challenges, I suggest that they might be strengthened through an engagement with them. Following an (...) 'agonistic' understanding of politics, I argue that the contestation instigated by the challenges of the Anthropocene is key to democratic renewal. Just as democracy in the Anthropocene can be enhanced through an agonistic approach, agonistic theory can be enriched through an engagement with the Anthropocene. (shrink)

avant propos This paper is basically Keenan (1992) augmented by some new types of properly polyadic quantification in natural language drawn from Moltmann (1992), Nam (1991) and Srivastav (1990). In addition I would draw the reader's attention to recent mathematical studies of polyadic quantiicationz Ben-Shalom (1992), Spaan (1992) and Westerstahl (1992). The first and third of these extend and generalize (in some cases considerably) the techniques and results in Keenan (1992). Finally I would like to acknowledge the stimulating and constructive (...) discussions ofthe earlier paper with many scholars, notably Dorit Ben-Shalom, Jaap van der Does, Hans Kamp, Uwe Mormich, Arnim von Stechow, Mats Rooth, and Ede Zimmermann. And I repeat here the acknowledgment in the earlier paper to Jim Lambek, Ed Stabler and two anonymous referees for Linguistics and Philosophy (the latter responsible for substantial improvements in the proofs - see footnote 10). (shrink)

While literature is often used as a source of examples and illustrations across disciplines, literary studies tends to be underrepresented in interdisciplinary exchanges. Perhaps the reason lies in a lack of understanding what actually is the expertise of literary studies and how this can be useful in interdisciplinary settings. In this article, I propose to outline the expertise of literary scholars through concepts of 4E cognition and to devise a proposal for how such expertise could successfully shape the epistemic common (...) ground of social cognition of experts in interdisciplinary dialogue. Literature involves metacognition centrally through its language style, the design of the narrative and its links to other texts, and literary scholars have the expertise in formulating exactly how this works – in a non-mimetic way – through the analysis and interpretation of literary texts. This very particular expertise and practice of literary scholars enables literary texts to be proposed as a boundary object in interdisciplinary dialogues through a shared epistemic common ground. For this argument, I build on earlier theoretical work in 4E cognition and predictive processing and my experience running interdisciplinary workshops on that model. (shrink)

This article presents a case that former President of the United States Donald Trump was a tyrant-like leader in the mold of the tyrant in Plato’s Republic. While he does not perfectly embody the tyrant as presented in the Republic, he captures its core feature. Like the tyrant, Trump is driven by unregulated desires that reflect what Plato describes as an extreme freedom that underlies and threatens democratic regimes. Extreme freedom is manifested in Trump’s disregard for social and legal norms, (...) which mirrors the lawlessness of the tyrant. The people, in turn, interpret that posture as a mark of authenticity. Understanding Trump’s appeal in the United States helps alert friends of democracy to the possible rise of tyrant-like figures. In closing, and as a way of remedying the harm done by the tyrannical soul, the article recommends that society help temper tyrant-like passions in the people through a rededication to civic equality. (shrink)

The generation of evidence is integral to the work of public health and health service providers. Traditionally, ethics has been addressed differently in research projects, compared with other forms of evidence generation, such as quality improvement, program evaluation, and surveillance, with review of non-research activities falling outside the purview of the research ethics board. However, the boundaries between research and these other evaluative activities are not distinct. Efforts to delineate a boundary – whether on grounds of primary purpose, temporality, (...) underlying legal authority, departure from usual practice, or direct benefits to participants – have been unsatisfactory. (shrink)

Engineering sketches and drawings are the building blocks of technological design and production. These visual representations act as the means for organizing the design to production process, hence serving as a "social glue" both between individuals and between groups. The author discusses two main capacities such visual representations serve in facilitating distributed cognition in team design work As conscription devices, they enlist and organize group participation. As boundary objects, they facilitate the reading of alternative meanings by various groups involved (...) in the design process. The introduction of computer-aided design into this visual culture of engineering restructures relationships between workers in ways that can hamper the flexibility necessary for these crucial capacities to take place. The data are drawn from a study of the daily practices of engineers engaged in redesigning a turbine engine package. The method is participant observation. (shrink)

Feminist scholars have consistently argued for broadened definitions of work that include the invisible family and emotion work done predominantly by women. This article focuses on women's resistances to placing these various activities into the common category of work. Drawing from interviews with teleworkers, it examines how and why women narrowed the meaning of work and explores some of the costs that may accompany a more expansive definition of work.

Science has always been tightly associated with environmental ethics in a way traditional ethics has not. However, despite this proximity, science has had a merely informational role, where it must inform ethics but not intervene in ethical judgment. Science is seen as an amoral enterprise, requiring an ethics rather than recommending one. In this paper I try to go against this common view. First, I give a critique of the naturalistic fallacy following the lines of Frankena. Then I go on (...) to describe the two possible roles science can have in ethical though, and in environmental ethics in particular. As it turns out, science does not only inform ethics, but can actually have moral import and intervene in moral judgment. Finally, from an ecocentric point of view, I try to illustrate this last point by construing the ecological notion of resilience as a moral boundary—a scientifically determined boundary between right and wrong. (shrink)

Agricultural decision making is characterized by two challenges common to multiple arenas: linking science to decision making and linking science and decision making across multiple levels. The U.S. agricultural research, education, and extension system was designed to address these challenges. By investigating this system, this study deepens the understanding of science and decision making, specifically exploring the notion of boundary organizations in two significant ways. First, it provides a preliminary test of the hypothesis that boundary organizations mediate between (...) the shifting domains of science and policy, finding that they are instrumental in creating and maintaining an integrated system of assessment and decision making for addressing depletion of the High Plains Aquifer. Second, it extends the concept of boundary organization beyond the science-policy dimension to incorporate the dimension of levels of organization—not only bridging science and policy but linking science and policy across different levels. (shrink)

Khalidi identifies cognition with Marrian computation. He further argues that Marrian levels of inquiry should be interpreted ontologically as corresponding to distinct semi‐closed causal domains. But this counterintuitively places the causal domain of representations outside of cognition proper. A closer look at Khalidi's account of concepts shows that these allegedly separate Marrian domains are more tightly integrated than he allows. Theories of concepts converge on algorithmic‐representational models rather than computational ones. This suggests that we should reject the wholesale identification of (...) cognition with computation. (shrink)

In public debate over agricultural biotechnology, at issue hasbeen its self-proclaimed aim of further industrializingagriculture. Using languages of ’risk‘, critics and proponentshave engaged in an implicit ethics debate on the direction oftechnoscientific development. Critics have challenged thebiotechnological R&D agenda for attributing socio-agronomicproblems to genetic deficiencies, while perpetuating the hazardsof intensive monoculture. They diagnosed ominous links betweentechnological dependency and tangible harm from biotechnologyproducts.In response to scientific and public concerns, theEuropean Community enacted precautionary legislation for theintentional release of genetically modified organisms (GMOs). (...) Inits implementation, choices for managing and investigatingbiotechnological risk involve an implicit environmental ethics.Yet the official policy language downplays the inherent valuejudgments, by portraying risk regulation as a matter of’objective‘ science.In parallel with safety regulation, thestate has devised an official bioethics that judges where to’draw the line‘ in applying biotechnological knowledge, as ifthe science itself were value-free. Bioethics may also judge howto ’balance‘ risks and benefits, as if their definition were notan issue. This form of ethics serves to compensate for theunacknowledged value-choices and institutional commitmentsalready embedded in R&D priorities.Thus the state separates’risk‘ and ’ethics‘, while assigning both realms to specialists.The risk/ethics boundary encourages public deference to theexpert assessments of both safety regulators and professionalethicists. Biotechnology embodies a contentious model of controlover nature and society, yet this issue becomes displaced andfragmented into various administrative controls. At stake arethe prospects for democratizing the problem-definitions thatguide R&D priorities. (shrink)

Through its focus on deep and experiential learning, service-learning has become increasingly popular within the business school curriculum. While a reciprocal dimension has been foundational to SL, the reciprocality that is emphasized in business ethics literature is often on the relationship between the service experience and the academic content, rather than reciprocal learning of the service providers and the recipients, let alone other stakeholders. Drawing on the notion of enriched reciprocal learning and on Aristotle’s typology of modes of knowing, we (...) revisit reciprocal learning by illustrating what kinds of learning occur for server and served in four SL projects from a project course in CSR, and emphasize the role of boundary spanners from the project organizations in making this reciprocal learning happen and translating the various types of student learning in ways that are useful for their organizations. We find that when boundary spanners are particularly engaged at making the projects impactful, they contribute to making the learning experiences of students, managers and sometimes other stakeholders useful, multidimensional, and ultimately rewarding. (shrink)

The Gestalt psychologist Kurt Lewin called for a “psychological ecology” that would bring to light the social structures serving as the context for individual action and choice in everyday life. He envisioned social and physical environmental structures affecting the individual at a “boundary” within psychological experience (“the life space”). But how are we to conceptualize the manner in which such environmental structures influence individual experience and action? After all, the “nonpsychological” and the psychological domains are typically framed in quite (...) different conceptual language, and, in some cases, at different levels of analysis. This paper examines this question with respect to two bodies of work. In the case of perception, Fritz Heider’s pioneering analysis of perception, followed decades later by James Gibson’s ecological approach to perception, illuminated the significance of a medium for perceiving that conveys structure specific to environmental entities. As for action among community structures, Roger Barker’s research revealed the significance of the hierarchical structure of the environment of community life, and how some higher-order structures (behavior settings) can influence and constrain individual constituent actions nested within them. Recent treatment of the psychological boundary within the 4E cognition literature is also briefly and critically examined. (shrink)

This paper explores how, at the 1875 Royal Commission on Vivisection, the anaesthetised animal was construed as a boundary object around which “cooperation without consensus” Computer supported cooperative work: cooperation or conflict? Springer, London, 1993) could form, serving the interests of both scientists and animals. Advocates of anaesthesia presented it as benevolently intervening between the scientific agent and animal patient. Such articulations of ‘ethical’ vivisection through anaesthesia were then mandated in the 1876 Cruelty to Animals Act, and thus have (...) had significant downstream effects on the regulation of laboratory animals in Britain and beyond. Constructing this ‘consensus’ around the anaesthetised animal, however, required first excluding abolitionists and inhumane scientists, and secondly limiting the interests of experimental animals to the avoidance of pain through anaesthesia and euthanasia, thereby circumventing the issue of their possible interest in future life. This consensus also served to secure the interests of vivisecting scientists and to limit the influence of public opinion in the laboratory to administrative procedure and scheduled inspection. The focus on anaesthesia was connected with discussions of what supporting infrastructures were required to ensure proper ethical procedure was carried out by scientists. In contrast to the much studied polarisation in British society between pro- and antivivisectionists after 1876, we understand the 1875 Commission as a conflict amongst scientists themselves, while also being an intra-class conflict amongst the ruling class. (shrink)