This study aims to find out whether speakers of different language backgrounds (English, French, Spanish, and Macedonian) are sensitive to semantic associations (‘fluid’ and ‘forcible contact’) attached respectively to two purported phonaesthemes (/fl-/ and /tr-/). Participants completed the task in oral and written conditions. They had to match phonaestheme-related definitions with either of two non-words (one phonaestheme-bearing and the other containing a distractor). The results obtained indicate that participants significantly chose non-words beginning with /tr-/ when the definition activated a meaning (...) related to forcible contact, and non-words starting with /fl-/ when the definitions made reference to fluids in the four languages. The results point to the existence of non-arbitrary sound-meaning relations. A corpus-driven study of frequencies of lemmas and word tokens starting with the purported phonaesthemes also sheds light on the possible origin of the phonaesthemic associations, suggesting that both iconicity and systematicity motivate such associations. The results obtained are interpreted in the context of a functional, usage-based model of language, which can accommodate the existence of iconic tendencies, the role of learning and linguistic experience in language, and arbitrariness. (shrink)

Iconicity, or the resemblance between form and meaning, is often ascribed to a special status and contrasted with default assumptions of arbitrariness in spoken language. But does iconicity in spoken language have a special status when it comes to learnability? A simple way to gauge learnability is to see how well something is retrieved from memory. We can further contrast this with guessability, to see (1) whether the ease of guessing the meanings of ideophones outperforms the rate at (...) which they are remembered; and (2) how willing participants’ are to reassess what they were taught in a prior task—a novel contribution of this study. We replicate prior guessing and memory tasks using ideophones and adjectives from Japanese, Korean, and Igbo. Our results show that although native Cantonese speakers guessed ideophone meanings above chance level, they memorized both ideophones and adjectives with comparable accuracy. However, response time data show that participants took significantly longer to respond correctly to adjective–meaning pairs—indicating a discrepancy in a cognitive effort that favored the recognition of ideophones. In a follow‐up reassessment task, participants who were taught foil translations were more likely to choose the true translations for ideophones rather than adjectives. By comparing the findings from our guessing and memory tasks, we conclude that iconicity is more accessible if a task requires participants to actively seek out sound‐meaning associations. (shrink)

Sometimes form-meaning mappings in language are not arbitrary, but iconic: they depict what they represent. Incorporating iconic elements of language into a compositional semantics faces a number of challenges in formal frameworks as evidenced by the lengthy literature in linguistics and philosophy on quotation/direct speech, which iconically portrays the words of another in the form that they were used. This paper compares the well-studied type of iconicity found with verbs of quotation with another form of iconicity common (...) in sign languages: classifier predicates. I argue that these two types of verbal iconicity can, and should, incorporate their iconic elements in the same way using event modification via the notion of a context dependent demonstration. This unified formal account of quotation and classifier predicates predicts that a language might use the same strategy for conveying both, and I argue that this is the case with role shift in American Sign Language. Role shift is used to report others’ language and thoughts as well as their actions, and recently has been argued to provide evidence in favor of Kaplanian “monstrous” indexical expressions. By reimagining role shift as involving either quotation for language demonstrations or “body classifier” predicates for action demonstrations, the proposed account eliminates one major argument for these monsters coming from sign languages. Throughout this paper, sign languages provide a fruitful perspective for studying quotation and other forms of iconicity in natural language due to their lack of a commonly used writing system which is otherwise often mistaken as primary data instead of speech, the rich existing literature on iconicity within sign language linguistics, and the ability of role shift to overtly mark the scope of a language report. In this view, written language is merely a special case of a more general phenomenon of sign and speech demonstration, which accounts more accurately for natural language data by permitting more strict or loose verbatim interpretations of demonstrations through the context dependent pragmatics. (shrink)

We argue that one important aspect of the “cognitive neuroscience revolution” identified by Boone and Piccinini :1509–1534. doi: 10.1007/s11229-015-0783-4, 2015) is a dramatic shift away from thinking of cognitive representations as arbitrary symbols towards thinking of them as icons that replicate structural characteristics of their targets. We argue that this shift has been driven both “from below” and “from above”—that is, from a greater appreciation of what mechanistic explanation of information-processing systems involves, and from a greater appreciation of the (...) problems solved by bio-cognitive systems, chiefly regulation and prediction. We illustrate these arguments by reference to examples from cognitive neuroscience, principally representational similarity analysis and the emergence of dynamical models as a central postulate in neurocognitive research. (shrink)

This paper discusses three related claims. The first claim is that the expressive limitations of iconic and indexical communication and cognition are reasonably measured by their minimal arbitrariness across three distinct dimensions—resemblance, alternative, and acquisition—when compared to the high measures of resemblance, alternative, and acquisition arbitrariness of symbolic communication and cognition. The second claim is that the ways that developed symbolic communication systems ground symbols to the world can also help explain how iconic and indexical communication systems underwrote the generation (...) of symbols in the first place. And the third claim is that contemporary accounts about the origins of symbolic communication would benefit from keeping in mind the differences between resemblance arbitrariness, alternative resemblance, and acquisition resemblance as each is exemplified by icons, indexes, and symbols. (shrink)

It is being increasingly recognized that the Saussurean dictum of “the arbitrariness of the linguistic sign” is in conflict with the pervasiveness of the phenomenon commonly known as “sound symbolism”. After first presenting a historical overview of the debate, however, we conclude that both positions have been exaggerated, and that an adequate explanation of sound symbolism is still lacking. How can there, for example, be (perceived) similarity between expressionsand contents across different sensory modalities? We offer an answer, based on the (...) Peircian notion of iconic ground, and G. Sonesson’s distinction betweenprimary and secondary iconicity. Furthermore, we describe an experimental study, in a paradigm first pioneered by W. Kohler, and recently popularized by V.Ramachandran, in which we varied vowels and consonants in fictive word-forms, and conclude that both types of sounds play a role in perceiving an iconic ground between the word-forms and visual figures. The combination of historical conceptual analysis, semiotic explication and psychological experimentationpresented in this article is characteristic of the emerging paradigm of cognitive semiotics. (shrink)

One cue that may facilitate children's word learning is iconicity, or the correspondence between a word's form and meaning. Some have even proposed that iconicity in the early lexicon may serve to help children learn how to learn words, supporting the acquisition of even noniconic, or arbitrary, word–referent associations. However, this proposal remains untested. Here, we investigate the iconicity of caregivers’ speech to young children during a naturalistic free‐play session with novel stimuli and ask whether the (...) iconicity of caregivers’ speech facilitates children's learning of the noniconic novel names of those stimuli. Thirty‐four 1.5‐2‐year‐olds (19 girls; half monolingual English learners and half bilingual English‐Spanish learners) participated in a naturalistic free‐play task with their caregivers followed by a test of word‐referent retention. We found that caregivers’ use of iconicity, particularly in utterances in which they named the novel stimuli, was associated with the likelihood that children learned that novel name. This result held even when controlling for other factors associated with word learning, such as the concreteness and frequency of words in caregiver speech. Together, the results demonstrate that iconicity not only can serve to help children identify the referent of novel words (as in previous research) but can also support their ability to retain even noniconic word‐referent mappings. (shrink)

Charles S. Peirce’s semiotics uniquely divides signs into: i) symbols, which pick out their objects by arbitrary convention or habit, ii) indices, which pick out their objects by unmediated ‘pointing’, and iii) icons, which pick out their objects by resembling them (as Peirce put it: an icon’s parts are related in the same way that the objects represented by those parts are themselves related). Thus representing structure is one of the icon’s greatest strengths. It is argued that the implications (...) of scaffolding education iconically are profound: for providing learners with a navigable road-map of a subject matter, for enabling them to see further connections of their own in what is taught, and for supporting meaningful active learning. Potential objections that iconic teaching is excessively entertaining and overly susceptible to misleading rhetorical manipulation are addressed. (shrink)

This essay raises a challenge for the perceptual theory of emotion. According to the perceptual theory, emotions are perceptual states that represent values. But if emotions represent values, something should explain why. In virtue of what do emotions represent the values they do? A psychosemantics would answer this, and that’s what the perceptual theorist owes us. To date, however, the only perceptual theorist to attempt a psychosemantics for emotion is Jesse Prinz. And Prinz’s theory, I argue, faces an important difficulty: (...) It makes the pairing of any given emotion with its respective value entirely arbitrary. But that’s a problem. It seems—and this is a major contention of this essay—that an emotion, in virtue of how it feels, bears a natural or non-arbitrary link to the value it represents. And this datum makes it all the more difficult to provide a viable psychosemantics for the evaluative content of emotion. (shrink)

Cognitive Science, Volume 46, Issue 6, June 2022.

Journal Name: Semiotica Issue: Ahead of print.

Arbitrary communication systems can emerge from iconic beginnings through processes of conventionalisation via interaction. Here, we explore whether this process of conventionalisation occurs with continuous, auditory signals. We conducted an artificial signalling experiment. Participants either created signals for themselves, or for a partner in a communication game. We found no evidence that the speech-like signals in our experiment became less iconic or simpler through interaction. We hypothesise that the reason for our results is that when it is difficult to (...) be iconic initially because of the constraints of the modality, then iconicity needs to emerge to enable grounding before conventionalisation can occur. Further, pressures for discrimination, caused by the expanding meaning space in our study, may cause more complexity to emerge, again as a result of the restrictive signalling modality. Our findings have possible implications for the processes of conventionalisation possible in signed and spoken languages, as the spoken modality is more restrictive than the manual modality. (shrink)

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

There has been much discussion recently about the scope and limits of purely symbolic models of the mind and about the proper role of connectionism in cognitive modeling. This paper describes the symbol grounding problem : How can the semantic interpretation of a formal symbol system be made intrinsic to the system, rather than just parasitic on the meanings in our heads? How can the meanings of the meaningless symbol tokens, manipulated solely on the basis of their shapes, be grounded (...) in anything but other meaningless symbols? The problem is analogous to trying to learn Chinese from a Chinese/Chinese dictionary alone. A candidate solution is sketched: Symbolic representations must be grounded bottom-up in nonsymbolic representations of two kinds: iconic representations, which are analogs of the proximal sensory projections of distal objects and events, and categorical representations, which are learned and innate feature-detectors that pick out the invariant features of object and event categories from their sensory projections. Elementary symbols are the names of these object and event categories, assigned on the basis of their categorical representations. Higher-order symbolic representations, grounded in these elementary symbols, consist of symbol strings describing category membership relations. Connectionism is one natural candidate for the mechanism that learns the invariant features underlying categorical representations, thereby connecting names to the proximal projections of the distal objects they stand for. In this way connectionism can be seen as a complementary component in a hybrid nonsymbolic/symbolic model of the mind, rather than a rival to purely symbolic modeling. Such a hybrid model would not have an autonomous symbolic module, however; the symbolic functions would emerge as an intrinsically dedicated symbol system as a consequence of the bottom-up grounding of categories ' names in their sensory representations. Symbol manipulation would be governed not just by the arbitrary shapes of the symbol tokens, but by the nonarbitrary shapes of the icons and category invariants in which they are grounded. (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)

To make the case for non-conceptualism, Heck draws on an apparent dichotomy between linguistic and iconic representations. According to Heck, whereas linguistic representations have conceptual content, the content of iconic representations is non-conceptual. Based on the case of cartographic systems, the authors criticize Heck’s dichotomous distinction. They argue that maps are composed of semantically arbitrary elements that play different syntactic roles. Based on this, they claim that maps have a predicative structure and convey conceptual content. Finally, the authors argue (...) that, despite their differences, maps and sentences can logically interact with each other through heterogeneous inferences. These considerations not only challenge the view that conceptual content and inferential processes necessarily involve linguistic representations; furthermore, they provide a new perspective for thinking about maps, their semantics and syntax, and their interaction with linguistic systems. (shrink)

To what extent do people attribute meanings to “nonsense” words? How general is such attribution of meaning? We used a set of words lacking conventional meanings to elicit drawings of made‐up creatures. Separate groups of participants rated the nonsense words and the drawings on several semantic dimensions and selected what name best corresponded to each creature. Despite lacking conventional meanings, “nonsense” words elicited a high level of consistency in the produced drawings. Meaning attributions made to nonsense words corresponded with meaning (...) attributions made by separate people to drawings that were inspired by the name. Naïve participants were able to recover the name that inspired the drawing with greater‐than‐chance accuracy. These results suggest that people make liberal and consistent use of non‐arbitrary relationships between forms and meanings.Open Research Badges This article has been awarded Open Materials and Open Data badges. All materials and data are publicly accessible via the Open Science Framework at https://osf.io/8juyc/. Learn more about the Open Practices badges from the Center for Open Science: https://osf.io/tvyxz/wiki. (shrink)

Recently, the relationship between evolutionary ecology and perceptual science has received renewed attention under perception-mediated selection, a mode of natural selection linking perceptual saliency, rather than veridicality, to fitness. The Interface Theory of Perception (ITP) has been especially prominent in claiming that an organism’s perceptual interface is populated by icons, which arise as a function of evolved, species-specific perceptual interfaces that produce approximations of organisms’ environments through fitness-tuned perceptions. According to perception-mediated selection, perception and behavior calibrate one another as organisms’ (...) capacities to experience and know the objects and properties of their environments lead to responses highlighting certain environmental features selected for survival. We argue this occurs via the Umwelt/Umgebung distinction in ethology, demonstrating that organisms interact with their external environments (Umgebung) through constructed perceptual schema (Umwelt) that produce constrained representations of environmental objects and their properties. Following Peircean semiotics, we claim that ITP’s focus on icons as saliency-simplified markers corresponds to biosemiotics’ understanding of perceptual representations, which manifest as iconic (resembling objects), indexical (referring), or symbolic (arbitrary) modalities, which provide for organisms’ semiotic scaffolding. We argue that ITP provides the computational evidence for biosemiotics’ notion of iconicity, while biosemiotics provides explanation within ITP for how iconicity can build up into indices and symbols. The common contention of these separate frameworks that the process of perception tracks saliency rather than veridicality suggests that digital/dyadic perceptual strategies will be outcompeted by their semiotic/triadic counterparts. This carries implications for evolutionary theory as well as theories of cognition. (shrink)

This commentary supports MacNeilage's dismissal of an evolutionary development from sign language to spoken language but presents evidence of a feature in sign language (echo phonology) that links iconic signs to abstract vocal syllables. These data provide an insight into possible mechanism by which iconic manual gestures accompanied by vocalisation could have provided a route for the evolution of spoken language with its characteristically arbitrary form–meaning relationship.

While a large body of literature on pejorative language has emerged recently, derogatory communication is a broader phenomenon that need not constitutively involve the use of words. This paper delineates the class of non-verbal pejoratives and sketches an account of the derogatory power of a subset of NVPs, namely those whose effectiveness crucially relies on iconicity. Along the way, I point out some ways in which iconic NVPs differ from wholly arbitrary NVPs and ritualized threat signals in the (...) animal kingdom, such as the wolf’s snarl, which do not threaten or demean targets by virtue of any kind of iconographic depiction. An iconic portrayal such as a racist caricature disparages its target by inviting recipients to entertain an unflattering image of the target. “Blackface” performers in the nineteenth-century, for example, promulgated an unflattering image of African-Americans by means of make-up, costumes, and vocal impersonations. (shrink)

In this chapter we suggest that the origin of language, specifically the protolinguistic stage, was iconic rather than arbitrary, and fundamentally based on shared cross-modal associations. We provide evidence from natural language in the form of sound symbolism, distinguishing conventional sound symbolism from sensory sound symbolism. Sensory sound symbolism, or the presence of iconicity in natural language, is considered alongside psychological experiments in naming, and other investigations of cross-modal associations specifically involving linguistic sound. This evidence supports the idea (...) that we can directly express a variety of sensory experiences through linguistic sound, and thus that language systems have the capacity to be iconic to a large extent. We outline a theory of sensory protolanguage emergence, considering how and why arbitrariness eventually became the dominant relationship between form and meaning. Finally, we consider the possibility of continuity between cross-modal transfer in other primates and more abstract cross-modal associations among humans, suggesting this may have scaffolded the emergence of symbolic communication. (shrink)

The Archive is a central but paradoxical image in the work of the con temporary French artist Christian Boltanski (born 1944). Because Boltanski is obsessively concerned with the death-like rupture and loss by which experience is continuously reduced to fragmentary and inac curate memories of the past, especially regarding the adult's perception of childhood, archives represent for him a potential means of regaining access to what has been lost and is being mourned. However, Boltan ski's installation and performance works that (...) investigate the powers of archives set out ironically the absurdly limited and misleading processes of an archive. Photography in particular is shown to be unreliable, more icon than document, challenging rather than asserting notions of cat egory and coherence. The notion of the icon, moreover, underlines the spiritual dimension that accompanies this absurdist relationship with the past. Our faulty but much-desired awareness of a past gives complex value to our present, often in a touching, pathetic way, however arbitrary the means involved. The trail of the archive leads to an uncertainty that is nonetheless precious. The many subjects that Boltanski treats in this light vary disarmingly and controversially from the trivia and detritus of everyday living to the supreme seriousness of the Holocaust. He also transforms himself and his family into a labyrinthine and playful archive. Here a curious relationship emerges with the reputation and books of his brother, the sociologist Luc Boltanski. Christian borrows with no explicit acknowledgement the archive resources of Luc's sociological research as a sub-text in his visual works. Even more surprisingly, Luc Boltanski published in 1993 HISTORY OF THE HUMAN SCIENCES Vol. 11 No. 4 © 1998 SAGE Publications (London, Thousand Oaks and New Delhi) [0952-6951(199811)11:4;121-140; 006612]Poème, a collection of highly emotive and personal poetry about the past and the Holocaust. The problems raised by Christian Boltanski and by Luc conflate the personal and historical dimensions of the Archive. (shrink)

This article explores a distinctive representational strategy used in stop-motion animation: the object substitution. Using as its central example a children’s TV episode in which brushes stand in for dogs, it explains how this strategy produces a complex relationship between depiction and representation. The analysis highlights the pragmatic underpinnings of various theories of pictorial and cinematic representation, arguing that, in a substitution, depicted elements constitute explicatures and represented ones implicatures. Connecting this strategy to humans’ capacity for pareidolia (seeing things in (...) other things), it contends that an object substitution achieves its effects—and reconciles its marked incongruities—by prompting viewers to pleasurably reverse-engineer the far-fetched projective imagining that motivated its use. This process, which is a form of conceptual blending, is based on relations that are neither straightforwardly iconic nor purely arbitrary. (shrink)

Design features for language and stone toolmaking (not tool use) involve similar if not homologous cognitive processes. Both are arbitrary transformations of internal symbolization, whereas non-human tool using is mostly an iconic transformation. The major discontinuity between humans and non-humans (chimpanzees) is language. The presence of stone tools made to standardized patterns suggests communicative and social control skills that involved language.

This contribution is about semiology and art history. More specifically, it argues against the frequent claims that art history ought to take much more notice of semiology than it has tended to do so far. The argument against these claims is simple and basic: art history deals largely with images, and semiology does not — it has, in fact, little to say about them.Semiology has recently been presented as a “supra-disciplinary” theory” that, although in practice most often applied to written (...) texts, could equally well be applied to the art of painting. It has been considered merely a “historical accident” that semiotics was developed primarily “in conjunction with literary texts”. I do not think this is so. Semiology (or semiotics) not only has a strong anti-iconical bias, this bias was in fact one of its principles from the very beginning.Furthermore, the so-called “supra-disciplinary theory” of semiotics (in the form advocated for the humanities) is based upon specific views of language, signification and meaning, and these are not as evident as they are often made out to be — not even with regard to language itself. In particular the overriding importance attached to the role of “arbitrariness” within sign systems is questionable.In any case images are indeed in a class of their own, and without the acknowledgement of what is typical about them, it is hard to make much sense of either their use or construction — let alone of the history of art. (shrink)

A number of language evolution researchers have argued that while language as we now know it is a predominately vocal affair, early language plausibly made extensive use of gesture. Relatedly, these same researchers often claim that while modern language in general uses arbitrary symbols, it is very likely that early language made extensive use of iconicity. Anyone accepting an account of early language along these lines must therefore explain how language shifted over time from a heavily gestural and (...) iconic communication system to a predominately vocal and highly arbitrary one. This article looks at an intriguing theory advanced by Woll as to how this shift was made. We find the spirit of the theory plausible but take issue with its details. Specifically, we identify a serious tension at the core of the theory. We then go on to explore how that tension might be plausibly resolved. The result is a blueprint for a much-improved version of the theory, in our view. (shrink)

The relationship of words to the things they represent and to the mind that forms them has long been the subject of linguistic enquiry. Joseph Graham's challenging book takes this debate into the field of literary theory, making a searching enquiry into the nature of literary representation. It reviews the arguments of Plato's Cratylus on how words signify things, and of Chomsky's theory of the innate "natural" status of language (contrasted with Saussure's notion of its essential arbitrariness). In the process, (...) Graham explores the issues of meaning and intentionality in representation, and questions of how the mind represents the world. Graham's use of linguistic theories and models leads him to a new response to Wimsatt's notion of the verbal icon, Stanley Fish's concept of literature as self-consuming artifact, and de Man's idea of its function as an allegory of reading. In showing them in fact to be complementary, he transcends the current controversies among literary theorists, arguing that the solution lies not in epistemology or philosophy, but in psychology and the study of how literature teaches and why humans learn best by example. (shrink)

The concept of Rule of Law is the cornerstone of the proper functioning of the judicial system in any modern democratic society. It is a basic concept of defined rights and liberties to all persons, which offers protection from arbitrary prosecution and incarceration. This principle was firstly stipulated by the instrument of Magna Carta and it is considered as a key principle for good governance in any modern democratic society. The development of the rule of law principle is personified (...) through the independence of the Judiciary as a third branch of government. The contemporary democratic societies are faced with many challenges upon which in order to protect their values of the democratic system, often limit the rights and liberties of persons. It is the role of the courts and the judicial system to stop these injustices and protect the individual from any form of liberty deprivation and rights limitations. Before the promulgation of the Magna Carta in 1215, the rule of law was perceived as a divine justice, distributed solely by the monarch or the king or in this case - King John of England. Magna Carta doesn't have iconic status only in the British Society, which is perceived as an instrument with special constitutional status and cited by many judges, lawyers and politicians, but in any modern democratic states as well. The author in this article examines the development of the concept of Rule of Law in the modern democratic societies under the influence of the Magna Carta, and how it is perceived as a guarantee of fair trial and trial by jury of any persecuted persons whether the severity of their crimes. (shrink)

By employing Peirce’s semiotics, Totalitarianism is distinguished indexically from forms of Dictatorship and Authoritarianism. The former can be cast, as Arendt argued, to initiate a project for world domination dispensing with any sense of Authoritarianism in forwarding some purely fictitious conception where violence is manifested in terror. Alternatively, distortion of intellectual activity may issue within Populism so that the rule of Demagogy emerges initiating Despotism or a form of Dictatorship – either Commissarial or Sovereign form – where lawless violence is (...) sustained by secret police inducing fear but not terror. In the case of Authoritarianism induced iconically in a populace, violence may be tolerated accompanying either lawmaking or lawpreserving, both to be separated from Benjamin’s sense of pure violence. The latter – whether humanistically or spiritually understood – transcends both utilitarianism and sheer arbitrariness. (shrink)

Why does symbolic communication in humans develop primarily in an oral medium, and how do theories of language origin explain this? Non-human primates, despite their ability to learn and use symbolic signs, do not develop symbols as in oral language. This partly owes to the lack of a direct cortico-motoneuron control of vocalizations in these species compared to humans. Yet such modality-related factors that can impinge on the rise of symbolic language are interpreted differently in two types of evolutionary storylines. (...) 1) Some theories posit that symbolic language originated in a gestural modality, as in “sign languages”. However, this overlooks work on emerging sign and spoken language showing that gestures and speech shape signs differently. 2) In modality-dependent theories, some emphasize the role of iconic sounds, though these lack the efficiency of arbitrary symbols. Other theorists suggest that ontogenesis serves to identify human-specific mechanisms underlying an evolutionary shift from pitch varying to orally-modulated vocalizations (babble). This shift creates numerous oral features that can support efficient symbolic associations. We illustrate this principle using a sound-picture association task with 40 learners who hear words in an unfamiliar language (Mandarin) with and without a filtering of oral features. Symbolic associations arise more rapidly and accurately for sounds containing oral features compared to sounds bearing only pitch features, an effect also reported in experiments with infants. The results imply that, beyond a competence to learn and use symbols, the rise of symbolic language rests on the types of signs that a modality of expression affords. (shrink)

The paper propose an assemble of (un)conventional explanatory hypotheses regarding insufficiently known aspects of the genesis and evolution of the human language. The causes and mechanisms that justify the hypothesis of an original linguistic nucleus generating ethnic dialects later on have been studied here. These aspects, regarded from the interdisciplinary perspective of such sciences as semiotics and linguistics, neurology and biophotonics, psychosociology, logic and philosophy, are sustaining that the human language (word) history presupposes: an “iconicity phase” (naturalist theory), permitting (...) an essentially motivated communication, and an “arbitrary phase” (conventionalist theory). The “Babel language” myth, for which the “power of the word” means an archetype of reference, has been selected as a symbolic frame in order to describe the stages through which the human language passes on its way from Nature (“language of living“) to Culture (“language of spiritual meanings“). (shrink)

Metaphors of nature and organism play a central role in the epistemes of the Western culture and arts. The entire project of the 'modern' meant a separation of man from the cosmos and its laws. Signs and symbols are thought to be arbitrary and conventional social constructions. However, there are many returns to iconic imitations of nature and biological principles also in such an esoteric art as music. One of the highest aesthetic categories in Western art music is the (...) so-called 'organic growth' which particularly manifests in symphony. The concepts of 'organic/inorganic' can be used as analytic terms, whereby one might even compare such composers as Jean Sibelius and Gustav Mahler. Music is said to be 'organic' when (I) its theme actors live in their proper Umwelt (or isotopy); (2) all music material stems from the same themes (it is innerly iconic); (3) all musical events follow each other coherently (inner indexicality or the principle of Growth); (4) music strives for some goal (temporality). Moreover the Ueküll idea of a particular lch-Ton of every organism can be turned back to music. Hence we can say that every musical piece is like an 'organism' which has its lch-Ton detennining which signs it accepts and how it acts in the musical environmentof its own and formed by other musical works. (shrink)

What lies on the two sides of the linguistic divide is fairly clear: On one side, you have organisms buffeted about to varying degrees, depending on their degree of autonomy and plasticity, by the states of affairs in the world they live in. On the other side, you have organisms capable of describing and explaining the states of affairs in the world they live in. Language is what distinguishes one side from the other. How did we get here from there? (...) In principle, one can tell a seamless story about how inborn, involuntary communicative signals and voluntary instrumental praxis could have been shaped gradually, through feedback from their consequences, first into analog pantomime with communicative intent, and then into arbitrary category names combined into all powerful, truth value bearing propositions, freed from the iconic "shape" of their referents and able to tell all. (shrink)

Sound symbolism is a non‐arbitrary correspondence between sound and meaning. The majority of studies on sound symbolism have focused on consonants and vowels, and the sound‐symbolic properties of suprasegmentals, particularly phonation types, have been largely neglected. This study examines the size and shape symbolism of four phonation types: modal and creaky voices, falsetto, and whisper. Japanese speakers heard 12 novel words (e.g., /íbi/, /ápa/) pronounced with the four types of phonation and rated the size and roundedness/pointedness each of the (...) 48 stimuli seemed to represent on seven‐point scales. The results showed that phonation types as well as consonantal and vocalic features influenced the ratings. Creaky voice was associated with larger and more pointed images than modal voice, which was in turn associated with larger and more pointed images than whisper. Falsetto was also associated with roundedness but not with smallness. These results shed new light on the acoustic approaches to sound symbolism and suggest the significance of phonation types and other suprasegmental features in the phenomenon. (shrink)

A classic example of the arbitrary relation between the way a word sounds and its meaning is that microorganism is a very long word that refers to a very small entity, whereas whale is a very short word that refers to something very big. This example, originally presented in Hockett's list of language's design features, has been often cited over the years, not only by those discussing the arbitrary nature of language, but also by researchers of sound symbolism. (...) While the two groups disagreed regarding the role of arbitrariness and sound symbolism in language, they both agreed there is a nonsound symbolic relation between word length and entity size in this case. This paper shows that the length of the words whale and microorganism in fact reflects a sound symbolic pattern. An analysis of >600 languages from >100 language families shows that languages use longer words to denote the concept small than they do to denote the concept big. The paper thus shows how explicit judgments might differ from implicit cognitive association and the problem of relying on these in sound symbolism research. (shrink)

Millikan’s theory of content purports to rely heavily on the existence of isomorphisms between a system of representations and the things in the world which they represent — “the mapping requirement for being intentional signs” (Millikan 2004, p. 106). This paper asks whether those isomorphisms are doing any substantive explanatory work. Millikan’s isomorphism requirement is deployed for two main purposes. First, she claims that the existence of an isomorphism is the basic representing relation, with teleology playing a subsidiary role — (...) to account for misrepresentation (the possibility of error). Second, Millikan relies on an isomorphism requirement in order to guarantee that a system of representations displays a kind of productivity. This seemingly strong reliance on isomorphism has prompted the objection that isomorphism is too liberal to be the basic representing relation: there are isomorphisms between any system of putative representations and any set, of the same cardinality, of items putatively represented. This paper argues that all the work in fixing content is in fact done by the teleology. Deploying Millikan’s teleology-based conditions to ascribe contents will ensure that there is an isomorphism between representations and the things they represent, but the isomorphism ‘requirement’ is playing no substantive explanatory role in Millikan’s account of content determination. So an objection to her theory based on the liberality of isomorphism is misplaced. The second role for isomorphism is to account for productivity. If some kind of productivity is indeed necessary for representation, then functional isomorphism will again be too liberal a constraint to account for that feature. The paper suggests an alternative way of specifying the relation between a system of representations and that which they represent which is capable of playing an explanatory role in accounting for Millikan’s type of productivity. In short, the liberality of isomorphism is no objection to Millikan’s teleosemantics, since the isomorphism ‘requirement’ need play no independent substantive role in Millikan’s account of representation. (shrink)

The paper develops a new holistic theory of the word by integrating semiotic, linguistic, and psychological perspectives and introduces the Cogitative-Sensory Word Model, the CogSens Model, that unites the human mind and body. Saussure’s two-sided sign is replaced by a Peirce-inspired three-sided conception in which the expression unit mediates two content units, namely, an idea content connected to the human mind and an image content linked to the human body. It is argued that it is the word that makes human (...) language a unique tool of communication. Moreover, it is demonstrated how words interact with grammar to create an utterance. Finally, it is suggested that speech perception, i.e., fission of idea and image content, is the mirror image of speech production, i.e., fusion of idea and image content. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 153 a number of common criticisms of the being/goodness tradition. Except by Stump's and Kretzmann's essays, I am not encouraged to explore the medieval resources in the tradition, but I expect more encouragement will be forthcoming from the authors in this anthology. Georgetown College Georgetown, Kentucky ROBERT B. KRUSCHWITZ Being and Knowing: Reflections of a Thomist. By FREDERICK D. WIL· HELMSEN. Albany, N.Y.: Preserving Christian Publications, 1991. (...) Pp. 282. $25.00 (cloth) ; $12.00 (paper). In this book Dr. Frederick D. Wilhelmsen has gathered many opuscula, most of them articles previously published in journals such as The Thomist. They are not, however, a random assortment of short works, herded together under a somewhat arbitrary rubric, as such collections are notoriously apt to be. They all fit happily under the heading, " Being and Knowing," and are arranged in an order that shows careful thought: the first chapter deals with the character of metaphysics, following chapters deal with the metaphysics of esse, then further chapters carry the principles already enunciated into various special fields (such as computers, the modern self, and communication), with two final chapters that take the reader into the borderland of philosophy and faith. Wilhelmsen is well known as a vigorous exponent of what is called "existential Thomism." Although acknowledging the influence of Etienne Gilson, Wilhelmsen develops his thought in a way that is his own; he does not deserve to be hailed or dismissed on the basis of a handy tag. Certainly, for him, the doctrine of Thomas on esse is at the center, and radiates its light upon the whole of philosophy (not to say theology). But not only does Wilhelmsen expound this doctrine with special clarity and trenchancy; he shows its illuminative power in many fields of special contemporary interest, not least in radical critique of modernity-of the Cartesian ego and of the demiurgic attitude towards the world. Polemic purposes, both with respect to the whole modern demarche in philosophy and with respect to Thomisms of other stripes, are often present, sometimes explicit, sometimes implicit. He obviously stands in opposition to the deep assumptions underlying the Cartesian revolution and exercising sway over later thought. :J3ut he also finds much to 154 BOOK REVIEWS fault in would-be Thomists who do not sufficiently subordinate essentia to esse or who adopt a transcendental approach. Chapters VIII and IX exemplify the former confrontation with regard to the modern ego and its self-consciousness. Chapter IV casts a disapproving eye upon the primacy of the question as this is upheld by some eminent transcendental Thomists. An especially fine piece of work, in this reviewer's opinion, is Wilhelmsen 's study in Chapter VI of the relation of creation. The author thinks along with St. Thomas in developing the paradox of two-way priority as between the creature as substance and its relation to the God who creates it. The result is a combination of sharpness in distinguishing and depth in penetrating the ingredients of the solution: esse, divine and creaturely; esse and essentia; substance and accident; relation, real and mental-a masterly exposition of notions at the core of Thomistic metaphysics. I would mention also, particularly for its provocative contrasting of the iconic with the ironic, Chapter X, " The Philosophy of Communication." Wilhelmsen shows that he is wide awake to the current cultural scene and familiar with those who represent it and shape it. Here and elsewhere we find the " creativity " which he sees, in Chapter One, as belonging to metaphysics. Being and Knowing is a work that belongs on the shelves of all persons interested in Thomas and Thomism, in metaphysics, and in the philosophic ailments of our time and their cure., (One should also, at least parenthetically, congratulate the publishers, Preserving Christian Publications, for their effort to make more accessible such studies as those assembled in this volume. And perhaps one could be forgiven if one noted that such publications as this provide a much healthier stimulation than the pills which share ·the publisher's acronym.) Dominican House of Studies _ washington, D.C. NORMAN FENTON, O.P.... (shrink)

Emotions can be insensitive to certain attributes of a situation: Fear of flying is not always reduced by remembering air crash probabilities. A large body of evidence shows that information on probabilities, large numerical counts, and intentions is frequently disregarded in the elicitation and regulation of emotions. To date, no existing theory comprehensively accounts for the features that tend to be overlooked by emotion. In this paper, I call attention to the common denominator of such features: they do not contribute (...) to the iconic representation of events. For instance, the exceedingly low probability of a plane crash does not affect its imagistic representation (i.e., the iconic representation of the event is silent about the event’s probability). This paper introduces the Iconic Prioritization Hypothesis, positing that the prioritization of input in the iconic format by emotions can explain the neglect of information that is representationally silent in this format. Delving into the causes of this format prioritization, I argue that emotion might favour iconicity as it is the format of immediate information about our surroundings (perception) and of stored first-hand evidence (episodic memory). Lastly, the hypothesis's compatibility with philosophical theories of emotion causation and its implications for experimental research are examined. (shrink)

Short‐term memory in vision is typically thought to divide into at least two memory stores: a short, fragile, high‐capacity store known as iconic memory, and a longer, durable, capacity‐limited store known as visual working memory (VWM). This paper argues that iconic memory stores icons, i.e., image‐like perceptual representations. The iconicity of iconic memory has significant consequences for understanding consciousness, nonconceptual content, and the perception–cognition border. Steven Gross and Jonathan Flombaum have recently challenged the division between iconic memory and VWM (...) by arguing against the idea of capacity limits in favor of a flexible resource‐based model of short‐term memory. I argue that, while VWM capacity is probably governed by flexible resources rather than a sharp limit, the two memory stores should still be distinguished by their representational formats. Iconic memory stores icons, while VWM stores discursive (i.e., language‐like) representations. I conclude by arguing that this format‐based distinction between memory stores entails that prominent views about consciousness and the perception–cognition border will likely have to be revised. (shrink)

Iconicity, the resemblance between the form of a word and its meaning, has effects on behavior in both communicative symbol development and language learning experiments. These results have invited speculation about iconicity being a key feature of the origins of language, yet the presence of iconicity in natural languages seems limited. In a diachronic study of language change, we investigated the extent to which iconicity is a stable property of vocabulary, alongside previously investigated psycholinguistic predictors of (...) change. Analyzing 784 English words with data on their historical forms, we found that stable words are higher in iconicity, longer in length, and earlier acquired during development, but that the role of frequency and grammatical category may be less important than previously suggested. Iconicity is revealed as a feature of ultra-conserved words and potentially also as a property of vocabulary early in the history of language origins. (shrink)

This review covers experimental approaches to sound-symbolism—from infants to adults, and from Sapir’s foundational studies to twenty-first century product naming. It synthesizes recent behavioral, developmental, and neuroimaging work into a systematic overview of the cross-modal correspondences that underpin iconic links between form and meaning. It also identifies open questions and opportunities, showing how the future course of experimental iconicity research can benefit from an integrated interdisciplinary perspective. Combining insights from psychology and neuroscience with evidence from natural languages provides us (...) with opportunities for the experimental investigation of the role of sound-symbolism in language learning, language processing, and communication. The review finishes by describing how hypothesis-testing and model-building will help contribute to a cumulative science of sound-symbolism in human language. (shrink)

The essay proposes a notion of “icon” understood, according to the paradigm born of the Second Council of Nicaea, as a visible image of the invisible qua invisible. In this light, the distinctive feature of the icon-image is its ability to manifest the paradoxical identity-difference relationship that links visible and invisible, and, consequently, representable and unrepresentable, immanence and transcendence, eternity and time. By offering itself as the privileged place for the presentation of an absence and of a “withdrawal”, the icon (...) is distinguished in the first place by its apophatic and kenotic character. In this sense, the salient trait of the icon is its constitutive disquiet: it is founded on the “relational economy” of the image, which implies the need of an incessant articulation of the relation between visible and invisible. We can thus see in the icon the paradigm itself of “great art”: indeed, like the icon, great art is always primarily characterised by its disquiet, that is its ability to make transcendence appear in immanence, the Other of the visible appear in the visible. (shrink)

According to one important proposal, the difference between perception and cognition consists in the representational formats used in the two systems (Carey, 2009; Burge, 2010; Block, 2014). In particular, it is claimed that perceptual representations are iconic, or image-like, while cognitive representations are discursive, or language-like. Taking object perception as a test case, this paper argues on empirical grounds that it requires discursive label-like representations. These representations segment the perceptual field, continuously pick out objects despite changes in their features, and (...) abstractly represent high-level features, none of which appears possible for purely iconic representations. (shrink)

This paper concerns the role of the structural properties of representations in determining the nature of their content. I take as a starting point Fodor's (2007) and Heck's (2007) recent arguments making the iconic structure of perceptual representations essential in establishing their content as content of a different (nonconceptual) kind. I argue that the prima facie state–content error this strategy seems to display is nothing but a case of “state–content error error,” i.e., the mistake of considering that the properties that (...) characterize the type of content certain representations have are indeed independent of their structural properties. I also consider another objection to the general strategy, namely that it falls short of showing that the nonconceptual content of perceptual experiences thus established is the kind of content that figures in true explanations of intentional behavior. I concede this point in respect of Fodor's version of the strategy, while denying that it has any bearing on Heck's approach. The success of this objection in Heck's case ultimately depends, I argue, upon an unjustified commitment to a certain empirically suspect model of perception. (shrink)