Semantic networks were developed in cognitive science and artificial intelligence studies as graphical knowledge representation and inference tools emulating human thought processes. Formal analysis of the representation and inference capabilities of the networks modeled them as subsets of standard first-order logic (FOL), restricted in the operations allowed in order to ensure the tractability that seemed to characterize human reasoning capabilities. The graphical network representations were modeled as providing a visual language for the logic. Sub-sets of FOL targeted on knowledge (...) representation came to be called description logics, and research on these logics has focused on issues of tractability of subsets with differing representation capabilities, and on the implementation of practical inference systems achieving the best possible performance. Semantic network research has kept pace with these developments, providing visual languages for knowledge entry, editing, and presenting the results of inference, that translate unambiguously to the underlying description logics. This paper discusses the design issues for such semantic network formalisms, and illustrates them through detailed examples of significant generic knowledge structures analyzed in the literature, including determinables, contrast sets, genus/differentiae, taxonomies, faceted taxonomies, cluster concepts, family resemblances, graded concepts, frames, definitions, rules, rules with exceptions, essence and state assertions, opposites and contraries, relevance, and so on. Such examples provide important test material for any visual language formalism for logic. (shrink)

This dissertation addresses the roots of fundamental changes in twentieth-century art in China by addressing how the cultural exchange between Europe and China transformed critical conceptions and artistic practices in the field of art. The translation of German aesthetic theories and the French academic training of Chinese artists engendered the conceptual and technical transformation of Chinese art in the early twentieth century. While the notions of pure nudity, artistic salvation, and archaeology of art were introduced from German philosophy into Chinese (...) art, the traditional ideas of art versus craft and artist as moral exemplars were converted. Chinese intellectuals analogized crisis-ridden China in the early 20th century to Germany being occupied by the Napoleon army in 1806. They believed that the superior academic culture, instead of its political and military strengths, was the foundation of the unification of Germany in 1871. The doctrines of German scholars were therefore introduced to China through German-trained Chinese intellectuals, aiming at achieving the modern transition of Chinese society. The implementation of aesthetic education based on German philosophical theories endowed modern artists and their works with the social mission to shape the citizens’ personalities and improve their tastes to establish a liberal and civilized modern Chinese society. Moreover, due to the establishment of the Institut Franco-Chinois in Lyon, more Chinese art students acquired the opportunity to study in Paris, the most important center for new artistic ideas and practices during the early twentieth century. Thus, the conceptual shift in the field of aesthetics was expressed through artists with a French academic training background. This study focuses on examining how the translation of German aesthetic doctrines and the introduction of French (sometimes Italian) artistic techniques contributed to the modern transition of Chinese art. How were German aesthetics translated and disseminated to young Chinese artists in the early twentieth century? How were the German scholars’ theories appropriated to establish new standards for evaluating artists and their works? What were the mechanisms, obstacles and cultural clashes encountered by European-trained Chinese artists in their training and creation processes? How did European-trained Chinese artists respond to these new modern aesthetic doctrines? Each of the five chapters of my dissertation centers on the introduction or transformation of an artistic concept: art versus craft, pure nudity, artistic salvation, and archaeology of art, discussing how these concepts were theoretically and practically formulated in Chinese art. (shrink)

"Lenaia vases" is the traditional title given to a group of some seventy fifth-century Attic vases, black- and red-figure. These vases have in common that they show a cult-image of Dionysos, consisting of a mask or masks on a column, in combination with the conventional Attic imagery of the revelling ecstatic female worshippers usually called "maenads." The vases are important and their meaning much debated because they seem to hold out the promise of providing otherwise unavailable information about historical bacchic (...) religion. There is no consensus on the character of the historical information of these scenes. In an older view the imagery records the appearance of enacted ritual; in a newer view, the imagery "discusses," in a fashion analogous to language, concepts about Dionysiac religion. This paper proposes a reinterpretation of a coherent subset of the "Lenaia vases," based on a linguistic reading of the imagery. This subset consists of twenty-eight red-figure stamnoi, a group that has traditionally been the focus of studies of the "Lenaia vases." I analyze the vases as describing, in conventional visual terms of reference, a rite of theoxenia celebrated by ecstatic female worshippers. The imagery says that these worshippers perform a thysia, offer Dionysos a banquet of meat and wine, and celebrate a symposion and komos. It also comments on the practice of such rituals by women, saying that they derive honor from these actions. These rituals find parallels in historical evidence for Dionysiac theoxenia and banquets; the scenes thus may provide additional evidence that Dionysiac celebrations took this form. The scenes, however, are not about the historical enactment of such rituals, and still less a visual record of such enactments. Rather, their message, conveyed by the interweaving of mythical and social references, is that for the worshipper of Dionysos the worlds of myth and of the polis are one. (shrink)

Morin argues that ideographies are limited because graphic codes lack a capacity for proliferating standardization. However, natural graphic systems display rich standardization and can be placed in sequences using complex combinatorial structures. In contrast, ideographies are not natural, and their limitations lie in their attempts to artificially force a graphic system to behave like a writing system.

Scholars have thoroughly discussed the visual aspects of Foucault’s archaeological and genealogical methods, as well as his own emphasis on how sight functions and what contexts and conditions shape how we see and what we can see. Yet while some of the images and visual devices he uses are frequently discussed, like Las Meninas and the panopticon, his diagrams in The Order of Things have received little attention. Why does Foucault diagram historical ways of thinking? What are we (...) supposed to see and understand through these diagrams? To examine the role of the diagram in Foucault’s archaeological method, this paper provides a close reading of how the classical quadrilateral visualizes the structure, function, content, principles, and underlying assumptions of language and thought. In analyzing the diagram as a way for visualizing history, this paper demonstrates how Foucault enacts a new visual language that emphasizes the contingency of thought. (shrink)

Lotus is one of the traditional Chinese patterns that runs deep in the history of China. During the rule of Wei and Jin dynasties, as well as Northern and Southern dynasties, Buddhism teaching has become widespread in China. Buddhism affected the traditional Chinese lotus patterns in terms of the used artistic means and methods of expression. Analysis is conducted on manifestation and evolution of the artistic form of the lotus pattern in Chinese culture, as well as the changes in its (...) artistic means of expression and graphics based on the information described in the scientific literature dedicated to artefacts. The conclusion is made that the development and evolution of decorative patterns is often a result of interaction of different cultures and forms of art, rather than continuation of one or another single line. The author summarizes the common artistic form of lotus patterns of this period, as well as the basis of the visual language of lotus patterns and its development. The artistic style of this period under review remains in a relatively stable transitional stage from the perspective of formal expression. (shrink)

The SOC framework does not take into account the fact that the oral modality consists of purely transient data, which is not the case for the other modalities. This, however, has important consequences on the nature of oral and written language, on language consciousness, on child language development, and on the history of linguistics.

Giorgio Agamben, a philosopher both celebrated and reviled, is among the prominent voices in contemporary Italian thought today. His work, which touches upon fields as diverse as aesthetics and biopolitics, is often understood within a framework of Aristotelian potentiality. With this incisive critique, Doussan identifies a different tendency in the philosopher's work, an engagement with the problem of time that is inextricably bound up with language and visuality. Founded in his early writings on metaphysics and continuing to his present occupation (...) with inoperativity, Time, Language and Visuality in Agamben's Philosophy forges an original path through Agamben's extensive commentary on the linguistic and the visual to illuminate the recurrent temporal theme of capture and evasion the cat-and-mouse game that bears the foundational violence of not just representation but concept-formation itself. In the process, Doussan both reveals its limit and establishes a ground for future engagements. (shrink)

This is a brief review of the significance of Martin Rudwick’s article, ‘The Emergence of a Visual Language for Geological Science 1760–1840’, published in this journal 40 years ago.

One of the main limitations of natural language‐based approaches to meaning is that they do not incorporate multimodal representations the way humans do. In this study, we evaluate how well different kinds of models account for people's representations of both concrete and abstract concepts. The models we compare include unimodal distributional linguistic models as well as multimodal models which combine linguistic with perceptual or affective information. There are two types of linguistic models: those based on text corpora and those derived (...) from word association data. We present two new studies and a reanalysis of a series of previous studies. The studies demonstrate that both visual and affective multimodal models better capture behavior that reflects human representations than unimodal linguistic models. The size of the multimodal advantage depends on the nature of semantic representations involved, and it is especially pronounced for basic‐level concepts that belong to the same superordinate category. Additional visual and affective features improve the accuracy of linguistic models based on text corpora more than those based on word associations; this suggests systematic qualitative differences between what information is encoded in natural language versus what information is reflected in word associations. Altogether, our work presents new evidence that multimodal information is important for capturing both abstract and concrete words and that fully representing word meaning requires more than purely linguistic information. Implications for both embodied and distributional views of semantic representation are discussed. (shrink)

Journal Name: Semiotica Issue: Ahead of print.

Language is more than a source of information for accessing higher-order conceptual knowledge. Indeed, language may determine how people perceive and interpret visual stimuli. Visual processing in linguistic contexts, for instance, mirrors language processing and happens incrementally, rather than through variously-oriented fixations over a particular scene. The consequences of this atypical visual processing are yet to be determined. Here, we investigated the integration of visual and linguistic input during a reasoning task. Participants listened to sentences containing (...) conjunctions or disjunctions and looked at visual scenes containing two pictures that either matched or mismatched the nouns. Degree of match between nouns and pictures and between their expected and actual spatial positions affected fixations as well as judgments. We conclude that language induces incremental processing of visual scenes, which in turn becomes susceptible to reasoning errors during the language-meaning verification process. (shrink)

Child visual discourse: The use of language, gestures, and vocalizations by deaf preschoolers1 This exploratory study examined the linguistic activity and conversational skills of deaf preschoolers by observing child-child dyads in free-play situations. Deaf child of deaf parents - deaf child of deaf parents pairs were compared with deaf child of hearing parents - deaf child of hearing parents pairs. Children from the two groups were videotaped during dyadic peer interactions in a naturalistic play situation. The findings indicated that (...) deaf children were able to engage in successful communicative interaction. However, statistically significant differences were found between the two groups of deaf preschoolers with regard to some categories of communicative behaviors from the point of view of sign and spoken languages. For example, DCHP were found to be less actively than DCDP through using speech. The results of this study suggest that intervention efforts should be focused on improving the language learning environment by facilitating signing by the parents and increasing their skills in visual-gestural strategies. (shrink)

We investigated the effects of everyday language exposure on the prediction of orthographic and phonological forms of a highly predictable word during listening comprehension. Native Japanese speakers in Tokyo (Experiment 1) and Berlin (Experiment 2) listened to sentences that contained a predictable word and viewed four objects. The critical object represented the target word (e.g., /sakana/;fish), an orthographic competitor (e.g., /tuno/;horn), a phonological competitor (e.g., /sakura/;cherry blossom), or an unrelated word (e.g., /hon/;book). The three other objects were distractors. The Tokyo (...) group fixated the target and the orthographic competitor over the unrelated objects before the target word was mentioned, suggesting that they pre-activated the orthographic form of the target word. The Berlin group showed a weaker bias toward the target than the Tokyo group, and they showed a tendency to fixate the orthographic competitor only when the orthographic similarity was very high. Thus, prediction effects were weaker in the Berlin group than in the Tokyo group. We found no evidence for the prediction of phonological information. The obtained group differences support probabilistic models of prediction, which regard the built-up language experience as a basis of prediction. (shrink)

For humans, the ability to communicate and use language is instantiated not only in the vocal modality but also in the visual modality. The main examples of this are sign languages and gestures. Sign languages, the natural languages of Deaf communities, use systematic and conventionalized movements of the hands, face, and body for linguistic expression. Co-speech gestures, though non-linguistic, are produced in tight semantic and temporal integration with speech and constitute an integral part of language together (...) with speech. The articles in this issue explore and document how gestures and sign languages are similar or different and how communicative expression in the visual modality can change from being gestural to grammatical in nature through processes of conventionalization. As such, this issue contributes to our understanding of how the visual modality shapes language and the emergence of linguistic structure in newly developing systems. Studying the relationship between signs and gestures provides a new window onto the human ability to recruit multiple levels of representation in the service of using or creating conventionalized communicative systems. (shrink)

Visual information conveyed by iconic hand gestures and visible speech can enhance speech comprehension under adverse listening conditions for both native and non‐native listeners. However, how a listener allocates visual attention to these articulators during speech comprehension is unknown. We used eye‐tracking to investigate whether and how native and highly proficient non‐native listeners of Dutch allocated overt eye gaze to visible speech and gestures during clear and degraded speech comprehension. Participants watched video clips of an actress uttering a (...) clear or degraded (6‐band noise‐vocoded) action verb while performing a gesture or not, and were asked to indicate the word they heard in a cued‐recall task. Gestural enhancement was the largest (i.e., a relative reduction in reaction time cost) when speech was degraded for all listeners, but it was stronger for native listeners. Both native and non‐native listeners mostly gazed at the face during comprehension, but non‐native listeners gazed more often at gestures than native listeners. However, only native but not non‐native listeners' gaze allocation to gestures predicted gestural benefit during degraded speech comprehension. We conclude that non‐native listeners might gaze at gesture more as it might be more challenging for non‐native listeners to resolve the degraded auditory cues and couple those cues to phonological information that is conveyed by visible speech. This diminished phonological knowledge might hinder the use of semantic information that is conveyed by gestures for non‐native compared to native listeners. Our results demonstrate that the degree of language experience impacts overt visual attention to visual articulators, resulting in different visual benefits for native versus non‐native listeners. (shrink)

Because visual narratives demand complex inference abilities, they can potentially be used as a tool for developing inferential skills in other domains, like reading. The Inferential Language Comprehension (iLC) Framework proposes an approach to using visual narratives in educational settings to sponsor inference skills by building on cognitive, developmental, and language research.

The theoretical notion of ‘construal’ captures the idea that the way in which we describe a scene reflects our conceptualization of it. Relying on the concept of ception – which conjoins conception and perception – we operationalized construal and employed a Visual World Paradigm to establish which aspects of linguistic scene description modulate visual scene perception, thereby affecting event conception. By analysing viewing behaviour after alternating ways of describing location (prepositions), agentivity (active/passive voice) and transfer (NP/pp datives), we (...) found that the linguistic construal of a scene affects its spontaneous visual perception in two ways: either by determining the order in which the components of a scene are accessed or by modulating the distribution of attention over the components, making them more or less salient than they naturally are. We also found evidence for the existence of a cline in the construal effect with stronger expressive differences, such as the prepositional manipulation, inducing more prominent changes in visual perception than the dative manipulation. We discuss the claims language can lay to affecting visual information uptake and hence conceptualization of a static scene in the light of these results. (shrink)

The Necker cube and the productive class of related stimuli involving multiple depth interpretations driven by corner-like line junctions are often taken to be ambiguous. This idea is normally taken to be as little in need of defense as the claim that the Necker cube gives rise to multiple distinct percepts. In the philosophy of language, it is taken to be a substantive question whether a stimulus that affords multiple interpretations is a case of ambiguity. If we take into account (...) what have been identified as hallmark features of ambiguity and look at the empirical record, it appears that the Necker cube and related stimuli are not ambiguous. I argue that this raises problems for extant models of multistable perception in cognitive neuroscience insofar as they are purported to apply to these stimuli. Helpfully, similar considerations also yield reasons to suggest that the relevant models are well motivated for other instances of multistable perception. However, a different breed of model seems to be required for the Necker cube and related stimuli. I end with a sketch how one may go about designing such a model relying on oscillatory patters in neural firing. I suggest that distinctions normally confined to the philosophy of language are important for the study of perception, a perspective with a growing number of adherents. (shrink)

With the continuous development of society, the role of the visual guidance system in animation design has also evolved and evolved in its long history, leading to the changes in the values of modern beauty. In the field of modern social and cultural design, the visual guidance system in animation design has unique regional nature and cultural influence. The visual language should correspond to the visual environment and easy to understand and be known by people. It (...) combines animation conception and design technology to capture the cultural charm and beauty, values, and behavioral norms of people in different fields. This article studies and analyzes the visual orientation of graphic language in the design of animation visual guidance system, and injects the graphic language with orientation into its animation design, so that the animation design is more in line with the characteristics of the times. It can be more adapted to the emerging media and better convey the information transfer between the enterprise and the audience. To further understand the audience’s tendency toward elements of graphic expression, this article analyzes the subjective perceptions of the respondents on the importance of color selection, calligraphy fonts, graphic expression, and modeling meaning. The results of the study showed that the respondents aged 21–35 paid more attention to the choice of graphic colors, and the highest number was 69. (shrink)

Reading numbers aloud involves visual processes that analyze the digit string and verbal processes that produce the number words. Cognitive models of number reading assume that information flows from the visual input to the verbal production processes—a feed‐forward processing mode in which the verbal production depends on the visual input but not vice versa. Here, I show that information flows also in the opposite direction, from verbal production to the visual input processes. Participants read aloud briefly (...) presented multi‐digit strings in Hebrew, in which the order of words is congruent with the order of digits (21 = twenty‐and‐one), and in Arabic, in which the ones word precedes the tens word (one‐and‐twenty). The error‐by‐digit‐position curve was affected by language: relative to Hebrew, in Arabic the error rate was slightly lower for the unit digit and slightly higher for the decade digit, indicating that in Arabic the unit digit was processed earlier and the decade digit later, in accord with the Arabic word order. This language‐dependent processing order originated in the visual level and was not a verbal confound, because it persisted even when I controlled for the serial position of the decade/unit word in the verbal number by using numbers with 0 (two hundred three/two hundred thirty). I conclude that the visual analyzer's digit scanning order, decade‐first or unit‐first, is not fixed but affected by the language in which the number is produced—a top‐down, verbal‐to‐visual information flow. (shrink)