Semantic Leaps explores how people combine knowledge from different domains in order to understand and express new ideas. Concentrating on dynamic aspects of on-line meaning construction, Coulson identifies two related sets of processes: frame-shifting and conceptual blending. Frame-shifting is semantic reanalysis in which existing elements in the contextual representation are reorganized into a new frame. Conceptual blending is a set of cognitive operations for combining partial cognitive models. By addressing linguistic phenomena often ignored in traditional meaning research, Coulson explains how (...) processes of cross-domain mapping, frame-shifting, and conceptual blending enhance the explanatory adequacy of traditional frame-based systems for natural language processing. The focus is on how the constructive processes speakers use to assemble, link, and adapt simple cognitive models underlie a broad range of productive language behavior. (shrink)

Facial electromyography (EMG) was used to investigate patterns of facial mimicry in response to partial facial expressions in two contexts that differ in how naturalistic and socially significant the faces are. Experiment 1 presented participants with either the upper- or lower-half of facial expressions and used a forced-choice emotion categorisation task. This task emphasises cognition at the expense of ecological and social validity. Experiment 2 presented whole heads and expressions were occluded by clothing. Additionally, the emotion recognition task is more (...) open-ended. This context has greater social validity. We found mimicry in both experiments, however mimicry differed in terms of which emotions were mimicked and the extent to which the mimicry involved muscle sites that were not observed. In the more cognitive context, there was relatively more motor matching (i.e. mimicking only what was seen). In the more socially valid context, participants were less likely to mimic only what they saw – and instead mimicked what they knew. Additionally, participants mimicked anger in the cognitive context but not the social context. These findings suggest that mimicry involves multiple mechanisms and that the more social the context, the more likely it is to reflect a mechanism of social regulation. (shrink)

Two experiments investigated whether motion metaphors for time affected the perception of spatial motion. Participants read sentences either about literal motion through space or metaphorical motion through time written from either the ego‐moving or object‐moving perspective. Each sentence was followed by a cartoon clip. Smiley‐moving clips showed an iconic happy face moving toward a polygon, and shape‐moving clips showed a polygon moving toward a happy face. In Experiment 1, using an explicit judgment task, participants judged smiley‐moving cartoons as related to (...) ego‐moving sentences about space and about time, and shape‐moving cartoons as related to object‐moving sentences. In Experiment 2, participants viewed the same stimuli, but the cartoons were task‐irrelevant. Event‐related brain potentials revealed an early attentional effect of congruity on cartoons following sentences about space, and a later semantic effect on cartoons following sentences about time. Results are most consistent with accounts that posit differences in the processing of novel and conventional metaphors. (shrink)

Time–space synesthetes report that they experience the months of the year as having a spatial layout. In Study 1, we characterize the phenomenology of calendar sequences produced by synesthetes and non-synesthetes, and show a conservative estimate of time–space synesthesia at 2.2% of the population. We demonstrate that synesthetes most commonly experience the months in a circular path, while non-synesthetes default to linear rows or rectangles. Study 2 compared synesthetes’ and non-synesthetes’ ability to memorize a novel spatial calendar, and revealed better (...) performance in synesthetes. The capacity to learn mappings between arbitrary spatial forms and temporal sequences is present in all individuals, and time–space synesthetes’ enhanced visuo-spatial memory abilities may underlie their creation of idiosyncratic spatial calendar forms. (shrink)

The distinction between literal and nonliteral meaning can be traced back to folk models about the relationship between language and the world. According to these models, sentences can be seen as building a representation of the world they describe, and understanding a sentence means knowing how each linguistic element affects the construction of the representation. Papers in this volume connect these folk models to the more scientific notions of the literal/nonliteral distinction proposed by philosophers, linguists, and cognitive scientists. The current (...) volume examines the literal/nonliteral distinction from a number of disciplinary and theoretical perspectives, outlining some of the problematic assumptions in traditional paradigms and pointing to promising directions for the study of meaning. (shrink)

Adorno's Aesthetics of Critique examines Theodor Adorno's mode of critique from the perspective of his aesthetics. This has two purposes. The first purpose is to determine the effect of the primary importance Adorno places on aesthetics in his philosophy as a whole and to determine how this primacy influences the way in which he reads the philosophical tradition. The second purpose is to understand the role of aesthetics in critical thinking generally and to reinvigorate Adorno's understanding of the subjective and (...) objective dimensions of critique. The ultimate aim is to promote new interpretations of Adorno and to reassert his relevance for constructing effective modes of critical thinking. The book proceeds through four main chapters that focus on four different dimensions of Adorno's thought: knowledge, history, culture, and art. The first chapter uses Adorno's aesthetic theory to re-read his interpretation of Kant's subject-object dynamic. This grounds the second chapter, on history, which proceeds through an analysis of Adorno's reading of Hegel. The third chapter uses the philosophical grounding of the first two to explore how knowledge and history interact within society as fundamental dimensions of "culture." The scope and meaning of culture and its relevance for critique form the primary focus of this chapter. The fourth chapter turns to art to highlight the relationship between the critical and artistic dimensions of aesthetics in order to facilitate a dialogue between them. This serves the purpose of asserting and outlining the relevance of aesthetics for critical thought in the humanities and social sciences, which forms the crux of the book. (shrink)