It has been suggested that iconic graphical signs evolve into symbolic graphical signs through repeated usage. This article reports a series of interactive graphical communication experiments using a ‘pictionary’ task to establish the conditions under which the evolution might occur. Experiment 1 rules out a simple repetition based account in favor of an account that requires feedback and interaction between communicators. Experiment 2 shows how the degree of interaction affects the evolution of signs according to a process of grounding. Experiment (...) 3 confirms the prediction that those not involved directly in the interaction have trouble interpreting the graphical signs produced in Experiment 1. On the basis of these results, this article argues that icons evolve into symbols as a consequence of the systematic shift in the locus of information from the sign to the users' memory of the sign's usage supported by an interactive grounding process. (shrink)

This paper contrasts two influential theoretical accounts of language change and evolution – Iterated Learning and Social Coordination. The contrast is based on an experiment that compares drawings produced with Garrod et al’s ‘pictionary’ task with those produced in an Iterated Learning version of the same task. The main finding is that Iterated Learning does not lead to the systematic simplification and increased symbolicity of graphical signs produced in the standard interactive version of the task. A second finding is that (...) Iterated Learning leads to less conceptual and structural alignment between participants than observed for those in the interactive condition. The paper concludes with a comparison of the two accounts in relation to how each promotes signs that are effi cient, systematic and learnable. (shrink)

We present a theoretical framework bearing on the evolution of written communication. We analyze writing as a special kind of graphic code. Like languages, graphic codes consist of stable, conventional mappings between symbols and meanings, but (unlike spoken or signed languages) their symbols consist of enduring images. This gives them the unique capacity to transmit information in one go across time and space. Yet this capacity usually remains quite unexploited, because most graphic codes are insufficiently (...) informative. They may only be used for mnemonic purposes or as props for oral communication in real-time encounters. Writing systems, unlike other graphic codes, work by encoding a natural language. This allows them to support asynchronous communication in a more powerful and versatile way than any other graphic code. Yet, writing systems will not automatically unlock the capacity to communicate asynchronously. We argue that this capacity is a rarity in non-literate societies, and not so frequent even in literate ones. Asynchronous communication is intrinsically inefficient because asynchrony constrains the amount of information that the interlocutors share and limits possibilities for repair. This would explain why synchronous, face-to-face communication always fosters the development of sophisticated codes (natural languages), but similar codes for asynchronous communication evolve with more difficulties. It also implies that writing cannot have evolved, at first, for supporting asynchronous communication. (shrink)

A graphic means of representing deductive proofs in a sentential system of symbolic logic is presented. Proof construction is characterized as a domain of the cognitive theory of problem solving, and three different interface designs for supporting the working backwards method of proof construction are demonstrated. Following a description of the rule set and the working backwards method, an analysis is given of student performance data that has guided interface development during the past two years. One interface design is (...) shown to be superior to the others in respect to working backwards. Finally, some general conclusions are drawn concerning the relevance of instructional programs for empirically documenting student difficulties and for improving interface designs. (shrink)

In the process of studying the transformation and inversion of symbols, it becomes clear that the analytic context of socio-cultural axiology, which permits the identification of mechanisms for the formation of values ​​with the help of symbols, is of particular importance for the understanding of the symbol. Since the symbol is the sphere of the functioning of the unconscious, suggestive-emotional influence on a person, he is able to embody those values ​​and achievements that have not yet become the (...) subject of logical and rational knowledge. From the standpoint of history, the swastika is the most ancient and widespread of all graphic symbols. Traditionally, the swastika has a "light" semantic load. The use of this symbol by the Nazis made it the most recognizable element of the twentieth century. with a reputation directly opposite to its ancient meaning. "The Big Soviet Encyclopedia" directly says about the inversion of the symbol: "Hitler and the German fascists made a swastikas with their emblem. Since then, it has become a symbol. (shrink)

The emergence of shared symbol systems is considered to be a pivotal moment in human evolution and human development. These changes are normally explained by reference to changes in people's internal cognitive processes. We present 2 experiments which provide evidence that changes in the external, collaborative processes that people use to communicate can also affect the structure and organization of symbol systems independently of cognitive change. We propose that mutual‐modifiability—opportunities for people to edit or manipulate each other's contributions—is a key (...) constraint on the emergence of complex symbol systems. We discuss the implications for models of language development and the origins of compositionality. (shrink)

Humans are often extraordinary at performing practical reasoning. There are cases where the human computer, slow as it is, is faster than any artificial intelligence system. Are we faster because of the way we perceive knowledge as opposed to the way we represent it? -/- The authors address this question by presenting neural network models that integrate the two most fundamental phenomena of cognition: our ability to learn from experience, and our ability to reason from what has been learned. This (...) book is the first to offer a self-contained presentation of neural network models for a number of computer science logics, including modal, temporal, and epistemic logics. By using a graphical presentation, it explains neural networks through a sound neural-symbolic integration methodology, and it focuses on the benefits of integrating effective robust learning with expressive reasoning capabilities. -/- The book will be invaluable reading for academic researchers, graduate students, and senior undergraduates in computer science, artificial intelligence, machine learning, cognitive science and engineering. It will also be of interest to computational logicians, and professional specialists on applications of cognitive, hybrid and artificial intelligence systems. (shrink)

Liquor consumption involves drinking, socializing, and networking. This article compares two alcoholic beverages, namely, Wuliangye from China and Absolut Vodka from Sweden, with the aim of identifying the means by which the Chinese brand can better succeed in its internationalizing efforts. The article first reviews theories of high- versus low-context cultures as well as cultural branding. Through analysis of the graphic and packaging designs of the two liquor brands, it then examines the impact of their cultural branding strategies on (...) the creation of their iconic identities. The Chinese brand expresses the idea of competition with Europe or the United States in the production of quality liquor through the creation of a strong brand identity in the global marketplace, which is realized in its new slogan – “Wuliangye for China, for the World.” Against this backdrop, the article explores the extent to which the production and branding of quality Chinese liquor can be perceived as a symbolic effort toward bringing China forward culturally. It concludes with a discussion of the findings' implications for branding specialists and communication designers. (shrink)

For α less than ε0 let $N\alpha$ be the number of occurrences of ω in the Cantor normal form of α. Further let $\mid n \mid$ denote the binary length of a natural number n, let $\mid n\mid_h$ denote the h-times iterated binary length of n and let inv(n) be the least h such that $\mid n\mid_h \leq 2$ . We show that for any natural number h first order Peano arithmetic, PA, does not prove the following sentence: For all (...) K there exists an M which bounds the lengths n of all strictly descending sequences $\langle \alpha_0, ..., \alpha_n\rangle$ of ordinals less than ε0 which satisfy the condition that the Norm $N\alpha_i$ of the i-th term αi is bounded by $K + \mid i \mid \cdot \mid i\mid_h$ . As a supplement to this (refined Friedman style) independence result we further show that e.g., primitive recursive arithmetic, PRA, proves that for all K there is an M which bounds the length n of any strictly descending sequence $\langle \alpha_0,..., \alpha_n\rangle$ of ordinals less than ε0 which satisfies the condition that the Norm $N\alpha_i$ of the i-th term αi is bounded by $K + \mid i \mid\cdot inv(i)$ . The proofs are based on results from proof theory and techniques from asymptotic analysis of Polya-style enumerations. Using results from Otter and from Matou $\breve$ ek and Loebl we obtain similar characterizations for finite bad sequences of finite trees in terms of Otter's tree constant 2.9557652856... (shrink)

As with mathematics, logic is easier to do if its symbols and their rules are better. In a graphic way, the logic symbols introduced in thís paper show their truth-table values, their composite truth-functions, and how to say them as either ?or? or ?if ? then? propositions. Simple rules make the converse, add or remove negations, and resolve propositions.

The current Republican ascendancy in American government has generated considerable scholarly interest in the conservative movement. Through an ethno-graphic study of the widely publicized but seldom-observed “Wednesday meeting” of conservative activists, this article inquires into the bases of the conservative movement’s internal cohesion and successful management of alliances with state officials. I argue that the meeting functions as both an instrument of material power and a ritual of symbolic maintenance by establishing relations of reciprocal exchange and sustaining a moral (...) community of conservative activists and their allies. More broadly, the article examines the mutual conditioning and genetic linkage of two dimensions of social reality: relations of force and relations of meaning. (shrink)

Erratum to: Synthese 191:1925–1930 DOI:10.1007/s11229-013-0380-3 The authors were unaware that points in their article appeared in “Caveats for Causal Reasoning with Equilibrium Models,” by Denver Dash and Marek Druzdzel, published in S. Benferhat and P. Besnard : European Conferences on Symbolic and Quantitative Approaches to Reasoning with Uncertainty 2001, Lecture Notes in Artificial Intelligence 2143, pp. 192–203. The authors were unaware of this essay and would like to apologize to the authors for failing to cite their excellent work.

Both the slasher movie and its more recent counterpart the "torture porn" film centralize graphic depictions of violence. This article inspects the nature of these portrayals by examining a motif commonly found in the cinema of homicide, dubbed here the "pure moment of murder": that is, the moment in which two characters’ bodies adjoin onscreen in an instance of graphic violence. By exploring a number of these incidents (and their various modes of representation) in American horror films ranging (...) from Psycho (1960) to Saw VI (2009), the article aims to expound how these images of slaughter demonstrate (albeit in an augmented, hyperbolic manner) a number of long-standing problems surrounding selfhood that continue to fuel philosophical discussion. The article argues that the visual adjoining of victim and killer onscreen echoes the conundrum that in order to attain identity, the individual requires and yet simultaneously repudiates the Other that constitutes unique subjectivity. (shrink)

Does geometry constitues a core set of intuitions present in all humans, regarless of their language or schooling ? We used two non verbal tests to probe the conceptual primitives of geometry in the Munduruku, an isolated Amazonian indigene group. Our results provide evidence for geometrical intuitions in the absence of schooling, experience with graphic symbols or maps, or a rich language of geometrical terms.

In lieu of an abstract, here is a brief excerpt of the content:The Paradox of Kandinsky's Abstract RepresentationKenneth BerryThere is a paradox in the relationship between Kandinsky's use of the terms, "abstract" and "concrete," which is presented in the expression, "Kandinsky's abstract representation." Thisexpression, while being apparently contradictory, may point to a feature underpinning Kandinsky's art, which is pivotal to a proper experience of his work, just as, in Christopher Middleton's view, a poetic language may be pivotal to the formation (...) of cultures.1 Art and cultural artifacts are vital to aesthetic experience and aesthetic education, and both the language of art and other languages are instrumental to this end. However, how may Kandinsky's mature abstraction, being in essence objectless, have any claim to representation, and consequently the higher cultural goals of aesthetic expression and the aesthetic enrichment of society?According to Thomas M. Messer, the position of centrality that Kandinsky has assumed in our understanding of modern art is largely due to his having brought to bear on his art, an instinctive awareness of what constituted the central aesthetic issues of his era.2 Kandinsky's writings in Concerning the Spiritual in Art elaborate on his aesthetic theories, and, in particular, [End Page 99] present the view that paintings should be looked at as a graphic representation of a mood rather than as a representation of objects. Messer observes that, for Kandinsky, abstraction, defined as a mode of painting extending beyond the depiction of recognizable objects, having gradually stripped itself of mimetic vestiges, thus becomes paramount. Michael Carter has similarly pointed out that with the pure forms of absolute abstraction, the non-objective colors and shapes of Kandinsky's paintings were regarded as distillations of the aesthetic properties of the artistic sign3 — separable from any referential aspect of art.4 This aesthetic aspect of Kandinsky's work, which became known as nonfigurative, nonobjective, or nonrepresentational,goes along with the cultural — and, as sculptor Anish Kapoor has remarked, "in the deepest, deepest depths of human history the cultural has always been a motivator of people," and has the power to transform society through finding visual equivalents for an emotional language.5Much has been written about Kandinsky's use of color, but perhaps the primary innovation that he made, as in the case of Barnett Newman, was in the field of drawing. Kandinsky was influenced by Gauguin's idea that drawing was an abstraction from memory after nature, just as Gauguin had been affected by the simplified contours and flattened forms of Puvis de Chavannes. Drawing did not come so easily to Kandinsky as color — he had to work harder at drawing, but in his early improvisations, forms and their outlines as graphic symbols came welling up from the unconscious, and eidetic motifs only had to be copied — almost as the art of calligraphy. Kandinsky's "organic" drawing developed as an urge to nonnaturalistic impulses, and during the period of Point and Line to Plane became almost a grammar of form, saved from mere pedantry by the living forces or visual tensions that made various kinds of line operate not just as contours but as dynamic or restful elements within themselves. In 1913, Kandinsky wrote in his "Reminiscences" that, "painting is a thundering collision of different worlds, intended to create a new world in, and from, their struggles with one another, a new world which is the work of art."6 It is clear from this that the Modernist work of art was intended to be a "new world" operating according to its own universal aesthetic laws.Kandinsky is not just a painter; he is also a visual poet. Poetry, according to Tony Curtis, involves the expression of the intensification of experience — the elevation of banal facts of life into something beyond the merely prosaic — something unique and perceptively heightened.7 It involves both imagination and poetic license to explore both ambiguity and paradox. As Scottish poet Norman MacCaig observed, poetry renders the ordinary extraordinary, seeing the unfamiliar in the familiar.8 Creative analogical thinking such as evinced in Kandinsky's art, often involves breaking free of a clichéd representation.Malcolm Budd has remarked that, in its most exclusive sense, a work... (shrink)

The learning account of the puzzle of ideography cannot be dismissed as readily as Morin maintains, and is compatible with the standardization account. The reading difficulties of deaf and dyslexic individuals, who cannot easily form connections between written letter strings and spoken words, suggest limits to our ability to bypass speech and reliably access meaning directly from graphic symbols.

Polygamy is associated with lower marital satisfaction and is known to involve sexual, physical, and emotional abuse on the part of the husband. Less is known about the experience of mothers in polygamous families. This study was designed to shed light on the experiences of women in polygamous families in a sample of 80 Israeli Arab mothers living in polygamous families who use social services, domestic violence agencies, and health centers. Mothers were asked to draw their experiences in their families (...) and to provide narratives for the drawings. A phenomenological approach was used to analyze the drawings, and yielded five different pictorial phenomena: (1) pseudo-sweetness, (2) houses, (3) the absentee father and the estranged mother, (4) incorporation of graphic symbols and lettering that represented distress, and (5) growth and development. Most of the drawings were restricted and shallow, indicating a complex emotional state of despair and distress. The central feelings that emerged from the drawings were negative emotions of anger, sadness, loneliness, and powerlessness. While some women longed for romantic relationships with their husbands, others expressed the desire for revenge and justice. Dissociation and parentification, as central coping strategies, emerged from the drawings and the narratives. The findings are discussed theoretically and clinically. (shrink)

This paper compares two explanations of the process by which human communication systems evolve: iterated learning and social collaboration. It then reports an experiment testing the social collaboration account. Participants engaged in a graphical communication task either as a member of a community, where they interacted with seven different partners drawn from the same pool, or as a member of an isolated pair, where they interacted with the same partner across the same number of games. Participants’ horizontal, pair‐wise interactions led (...) “bottom up” to the creation of an effective and efficient shared sign system in the community condition. Furthermore, the community‐evolved sign systems were as effective and efficient as the local sign systems developed by isolated pairs. Finally, and as predicted by a social collaboration account, and not by an iterated learning account, interaction was critical to the creation of shared sign systems, with different isolated pairs establishing different local sign systems and different communities establishing different global sign systems. (shrink)

The organizational changes that occurred within the Italian prison system led to profound modifications in the way juridical–educational professionals working in prison perceive themselves and their role. The present study aims at exploring the representations of their professional identity in two groups of JEPs working in as many correctional facilities in Italy. To reach this goal, the JEPs taking part to the research were administered the Symbolic Drawing of the Organizational Life Space, a graphic symbolic tool useful to understand (...) the main features, values, and culture of an organization. The analysis was performed on the drawings made by the JEPs along with the transcriptions of their discourses while performing the task. The outcomes, presented in a previous study published in Narrare I Gruppi call for a further, in depth, analysis of the JEPs discourses, therefore the present study focuses on such transcripts. This article aims at investigating the specific values connected to the JEPs' pro... (shrink)

Graphical AbstractTo mechanistically understand the dynamics of complex ecosystems, Yize Chen et al. employ symbolic regression (SR), a machine learning method that automatically reverse-engineers both model structure and parameters from temporal data. SR randomly assembles candidate models, computes the model fitness, and employs mutation and crossover to build better ones. The Pareto front reflects the trade-off between complexity and fitness of candidate models. More details can be found in article number 1900069 by Yize Chen et al.

This article discusses work on implementing emotional and cultural models into synthetic graphical characters. An architecture, FAtiMA, implemented first in the antibullying application FearNot! and then extended as FAtiMA-PSI in the cultural-sensitivity application ORIENT, is discussed. We discuss the modelling relationships between culture, social interaction, and cognitive appraisal. Integrating a lower level homeostatically based model is also considered as a means of handling some of the limitations of a purely symbolic approach. Evaluation to date is summarised and future directions discussed.

Charles S. Peirce’s second trichotomy, which introduces the concepts of iconicity, indexicality, and symbolicity, is probably the only piece of his semiotic that is familiar to visual artists and designers. Although the concepts have found their way into the academy, their utility in the field has been reduced for a couple of reasons. First, as with all of Peirce’s philosophy, his second trichotomy is a concept that is subtle, fluid, and difficult to fully grasp in a sound bite. Second, there (...) has simply been no bridge concept that would form a working connection between that philosophy in its logical guise and the studio practice in the visual arts. The purpose of this article is to remedy that situation by investigating the subtle ways the second trichotomy functions within the visual sphere, and to then suggest a model that can serve to bridge the divide between pure theory and practice. The article makes four main points: first, using examples from visual identity and the graphic arts, it demonstrates how the modes of icon, index, and symbol tend to be blended; second, examples from fine art are used to illustrate how the concept of abstraction, as used in the art world, can only be partially accounted for within the second trichotomy, but can be modeled by supplying a syntactical supplement; third, it expands on and elaborates a previously sketched model, the visual gamut, which makes it possible to classify visual entities according to their position within a map of semantic and syntactic space; finally, it concludes by suggesting ways this enhanced version of the visual gamut model might be used in the analysis of, or creation of, art and design, presenting suggestions for further study. (shrink)

The work of which this is an English translation appeared originally in French as Precis de logique mathematique. In 1954 Dr. Albert Menne brought out a revised and somewhat enlarged edition in German. In making my translation I have used both editions. For the most part I have followed the original French edition, since I thought there was some advantage in keeping the work as short as possible. However, I have included the more extensive historical notes of Dr. Menne, his (...) bibliography, and the two sections on modal logic and the syntactical categories, which were not in the original. I have endeavored to correct the typo graphical errors that appeared in the original editions and have made a few additions to the bibliography. In making the translation I have profited more than words can tell from the ever-generous help of Fr. Bochenski while he was teaching at the University of Notre Dame during 1955-56. OTTO BIRD Notre Dame, 1959 I GENERAL PRINCIPLES § O. INTRODUCTION 0. 1. Notion and history. Mathematical logic, also called 'logistic', ·symbolic logic', the 'algebra of logic', and, more recently, simply 'formal logic', is the set of logical theories elaborated in the course of the last century with the aid of an artificial notation and a rigorously deductive method. (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 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. Scholars believe, and we concur, that this work is important enough to be (...) preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

The vast graphic legacy illustrating the Mosque-Cathedral of Córdoba prior to the rise of paper photography around 1850, constitutes an important documentary source for research. After an extensive work of tracing and identification of those images, the present work provides accurate references upon their authors, contexts and techniques, assessing their trustability or graphic precision. The earliest images known correspond to Christian times, where two urban panoramic views should be highlighted, one of them widely plagiarized and disseminated in Europe. (...) The first scale drawings of the building still preserved date back to the 18th century, while the first interior views are from the end of the same century. In the first half of the 19th century there was a large production of images made by travelers and artists, some of them of great beauty, and published with great editorial success. The graphic documents highlighted here are compiled according to authorship and chronological order: first symbolic images, Wyngaerde, Civitatis, copies of Civitatis, Baldi, anonymous oil painting, schematic images, drawing from Vázquez Venegas’ collection, Academic plans, Swinburne, Karwinsky and Rillo, Laborde, Murphy, Bacler d’Able, Taylor, Ford, Lewis, Prangey, Gail, Roberts, Dauzats, Chapuy, Villaamil, Bossuet, Gerhardt, Guesdon, Parcerisa, and Los Monumentos Arquitectónicos. (shrink)

PARC is an "appended numeral" system of natural deduction that I learned as an undergraduate and have taught for many years. Despite its considerable pedagogical strengths, PARC appears to have never been published. The system features explicit "tracking" of premises and assumptions throughout a derivation, the collapsing of indirect proofs into conditional proofs, and a very simple set of quantificational rules without the long list of exceptions that bedevil students learning existential instantiation and universal generalization. The system can be used (...) with any Copi-style set of inference rules, so it is quite adaptable to many mainstream symbolic logic textbooks. Consequently, PARC may be especially attractive to logic teachers who find Jaskowski/Gentzen-style introduction/elimination rules to be far less "natural" than Copi-style rules. The PARC system is also keyboard-friendly in comparison to the widely adopted Jaskowski-style graphical subproof system of natural deduction, viz., Fitch diagrams and Copi "bent arrow" diagrams. (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 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. Scholars believe, and we concur, that this work is important enough to be (...) preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Because humans cannot know one another’s minds directly, every form of communication is a solution to the same basic problem: how can privately held information be made publicly accessible through manipulations of the physical environment? Language is by far the best studied response to this challenge. But there are a diversity of non-linguistic strategies for representation with external signs as well, from facial expressions and fog horns to chronological graphs and architectural renderings. The general thesis of this dissertation is that (...) there is an impressively wide spectrum of conventional systems of representation, corresponding to the many ways that the problem of communication can be solved, and that these systems can be described and explained using the tools of contemporary mathematical semantics. As a partial corrective to the countervailing norm, this work concentrates on the class of systems arguably most different from language— those governing the interpretation of pictorial images. Such representations dominate practical communication: witness the proliferation of maps, road signs, newspaper photographs, scientific illustrations, television shows, engineering drawings, and even the fleeting imagery of manual gesture. I argue that systems of depiction and languages embody a parallel technologies of communication. Both are based on semantics: systematic and conventional mappings from signs to representational content. But I also provide evidence that these semantics are profoundly divergent. Whereas the semantics of languages are based on arbitrary associations of signs and denotations, the semantics of systems of depiction are based on rules of geometrical transformation. Drawing on recent research in computer graphics and computational vision, I go on to develop a precise theory of pictorial semantics. This in turn facilitates a detailed comparison of iconic, image-based representation, and symbolic, language-based representation. A consequence of these conclusions is that the traditional, language-centric conception of semantics must be overhauled to allow for a more general semantic theory, one which countenances the wide variety of interpretive mechanisms actually at work in human communication. (shrink)

Mathematics is a struggle for many. To make it more accessible, behavioral and educational scientists are redesigning how it is taught. To a similar end, a few rogue mathematicians and computer scientists are doing something more radical: they are redesigning mathematics itself, improving its ergonomic features. Charles Peirce, an important contributor to ordinary symbolic logic, also introduced a rigorous but non-symbolic, graphical alternative to it that is easier to picture. In the spirit of this iconic logic, George Spencer-Brown founded iconic (...) mathematics. Performing iconic arithmetic, algebra, and even trigonometry, resembles doing calculations on an abacus, which is still popular in education today, has aided humanity for millennia, helps even when it is merely imagined, and ameliorates severe disability in basic computation. Interestingly, whereas some intellectually disabled individuals excel in very complex numerical tasks, others of normal intelligence fail even in very simple ones. A comparison of their wider psychological profiles suggests that iconic mathematics ought to suit the very people traditional mathematics leaves behind. (shrink)

Since the mid-1970s, some artists have portrayed Jesus Christ in female form. The depiction of a female Christ crucified is a particularly controversial representation that challenges theological orthodoxies and upsets the gender symbolism ingrained upon the Christian cross. The controversy and ecclesiastical censure that such works often provoke indicates the emotive power of gender subversion. This study provides a detailed account of five images of the female-Christ form in art, considers their function as theological symbols, and assesses their contribution (...) to feminist theology. It will be suggested that the Christa offers a subversive feminist strategy of representation. And—while such representations do not remove the unanswered theological difficulties associated with divine suffering, the problem of evil and the mystery of salvation—the graphic portrayal of female suffering powerfully exposes the reality of the cross as a site of patriarchal violence. (shrink)

This paper explores the role of iconicity in spoken language and other human communication systems. First, we concentrate on graphical and gestural communication and show how semantically motivated iconic signs play an important role in creating such communication systems from scratch. We then consider how iconic signs tend to become simplified and symbolic as the communication system matures and argue that this process is driven by repeated interactive use of the signs. We then consider evidence for iconicity at the level (...) of the system in graphical communication and finally draw comparisons between iconicity in graphical and gestural communication systems and in spoken language. (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 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 has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and (...) made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (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 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 has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and (...) made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Proceeding from the debate opened by Beck, Giddens and Lash’s Reflexive Modernization, this paper seeks to clear the way for a more consistent and coherent concept of reflexivity in relation to the cultural-symbolic foundations of society. Seeing that Lash in his contribution to the debate inadvertently raises a key problem, i.e., the broad cognitive problem, the paper develops a critique of his hermeneutic culturalism. It focuses on the disparity between the position explicitly put forward in the debate with Beck and (...) Giddens and the cognitive one which more or less implicitly comes into play throughout his relevant essays. The disparity shows up already in his treatment of the problem of mediation, but it comes graphically to a head in his appropriation of Bourdieu. To lend the analysis some profile and depth, the argument is supported by elements of a socio-cognitive theory which has been gaining visibility in both social theory and the philosophy of social science. While the paper is critical of Lash, its overall aim is to strengthen his contribution to the debate. (shrink)

The study of graph structure has advanced in recent years with great strides: finite graphs can be described algebraically, enabling them to be constructed out of more basic elements. Separately the properties of graphs can be studied in a logical language called monadic second-order logic. In this book, these two features of graph structure are brought together for the first time in a presentation that unifies and synthesizes research over the last 25 years. The author not only provides a thorough (...) description of the theory, but also details its applications, on the one hand to the construction of graph algorithms, and, on the other to the extension of formal language theory to finite graphs. Consequently the book will be of interest to graduate students and researchers in graph theory, finite model theory, formal language theory, and complexity theory. (shrink)

The emergence of human communication systems is typically investigated via 2 approaches with complementary strengths and weaknesses: naturalistic studies and computer simulations. This study was conducted with a method that combines these approaches. Pairs of participants played video games requiring communication. Members of a pair were physically separated but exchanged graphic signals through a medium that prevented the use of standard symbols (e.g., letters). Communication systems emerged and developed rapidly during the games, integrating the use of explicit signs (...) with information implicitly available to players and silent behavior‐coordinating procedures. The systems that emerged suggest 3 conclusions: (a) signs originate from different mappings; (b) sign systems develop parsimoniously; (c) sign forms are perceptually distinct, easy to produce, and tolerant to variations. (shrink)

Proof-theory has traditionally been developed based on linguistic (symbolic) representations of logical proofs. Recently, however, logical reasoning based on diagrammatic or graphical representations has been investigated by logicians. Euler diagrams were introduced in the eighteenth century. But it is quite recent (more precisely, in the 1990s) that logicians started to study them from a formal logical viewpoint. We propose a novel approach to the formalization of Euler diagrammatic reasoning, in which diagrams are defined not in terms of regions as in (...) the standard approach, but in terms of topological relations between diagrammatic objects. We formalize the unification rule, which plays a central role in Euler diagrammatic reasoning, in a style of natural deduction. We prove the soundness and completeness theorems with respect to a formal set-theoretical semantics. We also investigate structure of diagrammatic proofs and prove a normal form theorem. (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 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. Scholars believe, and we concur, that this work is important enough to be (...) preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

In the final tablet of Ludlul bēl nēmeqi lines 42–53 Šubši-mešrê-Šakkan passes through twelve gates in or near the precincts of Marduk’s Esagila in Babylon. As the protagonist passes through these twelve gates he is symbolically rehabilitated and reintegrated into society, marking the end of his trials and the beginning of his Marduk-renewed life. One gate is named in each of the twelve lines. At each gate, identified in the first half of the line, the protagonist is granted something positive, (...) which is described in the second half of the line. In the present study I argue that the author of Ludlul derived the substance of what the sufferer received at each gate—and therefore the textual substance of the second half of each of these poetic lines—from the names of the gates themselves via the same kinds of learned scribal interpretive methods used in commentary and explanatory texts. That is, the author of Ludlul connected the names of the gates and the descriptions of what the sufferer received at each by way of applied translations of the Sumerian gate names, sound plays on the words and syllables comprising the names of the gates, graphic plays on the cuneiform signs with which the names are written, and in at least one case a mythological interpretation based on the gate’s name. (shrink)

Eden In Iraq is an environmental design and water remediation project in the marshes of southern Iraq using design and wastewater as bio-art, to create a restorative garden for education, cultural memory, and contemplation. Earmarked for a 20,000 m2 site at Al Manar in the marshes between the Tigris and Euphrates rivers, near a probable site of the historic Garden of Eden, Eden in Iraq is a project that brings, art, design, and technology together with culture and history. Drawing on (...) Islamic and Mesopotamian traditions originating in this historically and symbolically charged region, the Eden in Iraq Waste Water Garden is designed to be a syncretic container for ecological and cultural restoration and heritage after the time of war. This paper looks at this project from three inter-related activities, namely, treatment of wastewater suitable for growing a large scale garden, design of the garden starting from the Islamic garden design principles and thirdly, reviving the cultural heritage of the pre-Islamic, Mesopotamian art in contemporary forms.Graphic abstract. (shrink)

_Using Art Media in Psychotherapy_ makes a thoughtful and contextual argument for using graphic art materials in psychotherapy, providing historical context for art materials and their uses and incorporating them with contemporary practices and theories. Written with an analytic focus, many of the psychological references nod to Jung and post-Jungian thought with keen attention to image and to symbolic function. This book jettisons the idea of reductionist, cookbook approaches and instead provides an integrated and contextual understanding of the origins (...) of each art form as well as an insightful use for each in its application in mental health healing practices. _Using Art Media in Psychotherapy _gives clinicians and students alike the tools they need to offer psychologically minded and clinically astute choices that honor their clients. (shrink)

The concept of vagueness is essential to understand some Nietzsche’s main ideas about the relationship between language and reality. In this way, is it precisely vagueness, and not ambiguity or polysemy, which characterizes verbal-conceptual language for Nietzsche? In order to answer this question, firstly I will summarize the functions of the cognitive process, underlying all types of languages. Secondly, I will identify the Nietzsche’s closer concept in relation with the modern concept of ‘vagueness’ and interpret it following the rst section. (...) Thirdly, I will brie y examine what type of symbolic language is mu- sic. Finally, I will develop a comparison between verbal-conceptual language and musical language concerning the property of vagueness. The paper approach will be more theoretical than historio-graphical, because it focuses on the potential of Nietzsche’s thought regarding both the philosophy of language and the philosophy of music. (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 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 has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and (...) made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

The article presents a model of understanding that takes into account interaction, cultural knowledge, and the constraints of organizations and institutions. It analyzes discourse and cognition in high school biology classes and clinical consultations involving discussions of genetics. The analytical lenses of constraint satisfaction, coherence-based reasoning, and collective cognition reveal multilayered social, cultural, and interactional components of authority and agency that influence understanding. The analysis reveals similarities across settings in discourse structure and the ways that participants relate to local constraints. (...) In both types of settings, participants attempt to develop process narratives that present a sequential or causal relationship between information and lead to remembered understandings of concepts. However, the absence of certain process information that links terms or concepts functions like a missing plot point in a story, hindering the development of process narratives and understandings. In order to cover such information gaps, students and patients construct and display grey boxes. In addition to talk and text, these consist of various actions and resources specific to a local discourse framework such as pointing at graphics, tabular information, and symbols. Grey boxes satisfy the organizational constraints of time, resources, and task structure that affect interaction related to understanding concepts and procedures, but their connection to a particular discourse framework restricts the transfer of knowledge between settings. The power of medical practitioners and teachers to enhance or restrict understandings relates to the ways that they accommodate the use of grey boxes during interactions with clients and students. Professional frames of reference that teachers or practitioners apply to task interactions may constrain the ways students or clients apply grey boxes and process narratives. Awareness of the functions of process narratives and grey boxes presents opportunities to modify local discourse frameworks and increase understandings of concepts, medical conditions, and treatment options. (shrink)

Combining textual, visual, and ethnographic approaches to discourse, this article examines a variety of resources employed in the narrative construction of Washington, DC’s Chinatown in a billboard advertisement that de-ethnicizes the neighborhood. Analysis of the linguistic resources of narrative structure, comparative reference, and lexical cohesion reveals how the gentrification of Chinatown is constructed as a positive transformation driven by a corporation. Further, the visual juxtaposition of text with photos and graphics appropriates the community voice and infuses it with corporate identity. (...) This ideological multimodal construction of the transformation of Chinatown is finally actualized in its durable material form and strategic spatial emplacement. Incorporating ethnographic observation and an interview, this article illustrates how the symbolic power of narrative in place-making is interdependent on the economic power of its producer to propagate ideological discourse in the material world. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Renaissance Crisis of ExemplarityFrançois Rigolot“Every example is lame” (Tout exemple cloche), acknowledged Montaigne in the last chapter of his Essais. 1 Was this the moaning of a lone, disillusioned skeptic or the idiosyncratic formulation of a widely shared attitude of mistrust at the end of the sixteenth century? To answer this question one must first examine the epistemological status of examples at the end of the period we (...) still conventionally call the “Renaissance”; and this is the purpose of this group of papers. 2In his work on the notion of exemplum in early modern France and Italy John D. Lyons helped restore the concept of exemplarity to its central place in the history of rhetoric. 3 From Aristotle’s paradeigmata—simple case stories at the orator’s disposal (Rhetoric 1.2. 1356b)—to Montaigne’s “lame” exemples—contingent instances unfit for demonstrative purposes (Essais III, 13, 1070)—the rhetorical impulse has followed strangely circuitous ways. Part of the confusion is probably due to the transformation of technical language under the pressure of common usage. Throughout the early modern period, while the Latin word exemplum continued to refer to rhetorical practice (an illustrative anecdote with a moral point), its vernacular derivatives (esempio, ejemplo, exemple, etc.) generally had a broader, looser, and less didactic meaning, as the emphasis was displaced to the “narrative” aspect of instances, regardless of their intentionality. In other words, although examples were often used to illustrate a didactic point, they differed from exempla inasmuch as they were not always meant to serve a demonstrative purpose.Of course, to the extent that choosing an example necessarily involves some form of selective process from a larger quantity of material, every instance is [End Page 557] bound to entertain a metonymic relation with a greater whole. But, etymologically, an example (essample, in Old French spelling) is a sample, one thing merely alleged to resemble another one, not a demonstrative tool. Yet in his Dictionarie of the French and English Tongues (London, 1611), Randle Cotgrave gave polysemous English equivalents for exemple and exemplaire:Exemple: 1) An example, sample, patterne, or president [sic] to follow; 2) a copie, or counterpane of a writing; 3) one thing alledged to prove, or inforce another that resembles it.Exemplaire: 1) A patterne, sample, or sampler; 2) an example, president [sic] or precedent, for others to follow, or to take heed by; 3) also, the copie, or counterpane of a writing. 4There is an odd mixture of demonstrative and non-demonstrative connotations. The two seemingly interchangeable words receive tripartite definitions, with the three meanings of exemple corresponding to the three of exemplaire.In Renaissance humanistic oratory the evocation of examples was often a simple matter of style. For better elocutory purposes public speakers were encouraged to use graphic case stories to make their speeches more appealing and enjoyable, but orators also used what they called exemplars (Latin exemplaria) to provide their audience with models of conduct to imitate. Worthiness was the ultimate criterion for exemplarity. Cato and Socrates were living symbols of moral determination and courage. They became powerful exemplars of ancient “virtue,” or moral fortitude (Latin virtus; Italian virtù). In the selective process of arguments (inventio), they were chosen because they exemplified a specific attitude or line of conduct: they were, by definition, exemplary examples. 5In the Renaissance the uplifting reading of ancient exemplars was closely related to the doctrine of imitatio, the sacrosanct recourse to inherited cultural models. At the same time the appeal of mimesis, characterized by the actual experience of the real world in reaction to scholastic insularity, greatly problematized the reception of ancient models. Whereas a long-held reverence for the imitative power of traditional exempla offered compelling patterns of moral conduct, the new attractiveness of a more “natural” mimetic discourse [End Page 558] tended to turn the study of models away from duplication. 6 In the face of the inexhaustible diversity and unpredictability of human actions, how can we choose a proper model after which to pattern our own behavior? This is one of the many questions raised by the humanist’s disenchantment with imitative symbols of moral conduct.In recent years the concept... (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 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 has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and (...) made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

A comparison of African grammars written in French, and bilingual Franco-African or Franco-Caribbean dictionaries, allows us to discern a common myth concerning “family” ties between French and African Languages.Missionaries consider two means of conversion: by the introduction of the God-Word to his children, which predetermines the foreign society to be encountered; the other demands an ethno- graphic study (to discover the meaning of language) in oral societies (African, Caribbean) to whom an alphabetical language is superimposed (with Latin characters). This (...) effort of transcription presupposes the harmonious compatibility of all oral languages with French. Thus the missionaries breathe the Word and transcendence into the colonies in order to recover in “Word incarnate”, instrument and symbol for the conversion process. (The theologian would speak here of the “verticality of transcendence”.) But the missionary enterprise meets with the resistances of written language and of foreign societies endowed with complex structures and syntaxes. Thus, the so-called “verticality” crumbles along with missionary hopes, resulting in a trite approximate translation which could be characterized as “horizontal”. (shrink)