It is common to distinguish two great families of representation. Symbolic representations include logical and mathematical symbols, words, and complex linguistic expressions. Iconic representations include dials, diagrams, maps, pictures, 3-dimensional models, and depictive gestures. This essay describes and motivates a new way of distinguishing iconic from symbolic representation. It locates the difference not in the signs themselves, nor in the contents they express, but in the semantic rules by which signs are associated with contents. The two kinds of rule have (...) divergent forms, occupying opposite poles on a spectrum of naturalness. Symbolic rules are composed entirely of primitive juxtapositions of sign types with contents, while iconic rules determine contents entirely by uniform natural relations with sign types. This distinction is marked explicitly in the formal semantics of familiar sign systems, both for atomic first-order representations, like words, pixel colors, and dials, and for complex second-order representations, like sentences, diagrams, and pictures. (shrink)

It is often observed that images—including mental images—are in some sense representationally ambiguous. Some, including Jerry Fodor, have added that mental images only come to have determinate contents through the contribution of non-imagistic representations that accompany them. This paper agrees that a kind of ambiguity holds with respect to mental imagery, while arguing (pace Fodor) that this does not prevent imagery from having determinate contents in the absence of other, non-imagistic representations. Specifically, I argue that mental images can represent determinate (...) types of outlays of properties without help from any non-imagistic representations, yet can only become involved in the representation of particular objects through pairing with a non-imagistic representation of the right sort. These points are defended through reflection on the “Picture Principle,” the nature of depiction, and general principles for typing and individuating mental states. (shrink)

I argue that analogue mental representations possess a canonical decomposition into privileged constituents from which they compose. I motivate this suggestion, and rebut arguments to the contrary, through reflection on the approximate number system, whose representations are widely expected to have an analogue format. I then argue that arguments for the compositionality and constituent structure of these analogue representations generalize to other analogue mental representations posited in the human mind, such as those in early vision and visual imagery.

This paper develops an account of accuracy and truth in pictorial assertion. It argues that there are two ways in which pictorial assertions can be indirect: with respect to their content and with respect to their target. This twofold indirectness explains how accurate, unedited pictures can be used to make false pictorial assertions. It captures the fishiness of true pictorial assertions involving target-indirectness, such as true pictorial assertions involving outdated pictures. And it raises the question whether target-indirectness may also arise (...) in linguistic assertion. (shrink)

We argue that formal linguistic theory, properly extended, can provide a unifying framework for diverse phenomena beyond traditional linguistic objects. We display applications to pictorial meanings, visual narratives, music, dance, animal communication, and, more abstractly, to logical and non-logical concepts in the ‘language of thought’ and reasoning. In many of these cases, a careful analysis reveals that classic linguistic notions are pervasive across these domains, such as for instance the constituency (or grouping) core principle of syntax, the use of logical (...) variables (for object tracking), or the variety of inference types investigated in semantics/pragmatics. The aim of this overview is to show how the application of formal linguistic concepts and methodology to non-linguistic objects yields non-trivial insights, thus opening the possibility of a general, precise theory of signs. (An appendix, found in the online supplements to this article, surveys applications of Super Linguistics to animal communication.). (shrink)

While much has been written about verbal narratives, we still lack a clear account of what makes images narrative. I argue that there are narrative characteristics of images and show this with examples of single images. The argument proceeds in three steps. First, I propose that from a semantic perspective, the following two characteristics are necessary for an image to be narrative: a representation of an event and a representation of time. Second, I argue that there are paradigmatic characteristics, such (...) as at least two events, bridging connections, and unifying subjects between these events, characters with intentions, and the representation of goal-directed actions. Third, I show that it is possible to differentiate between narrative and non-narrative images while also accounting for the idea that narrativity is a matter of degree. While I do not provide a full definition of narrative images, my account constitutes a necessary first step in this direction. (shrink)

Some have claimed that there are laws of appearance, i.e. in principle constraints on which types of sensory experiences are possible. Within a representationalist framework, these laws amount to restrictions on what a given experience can represent. I offer an in-depth defence of one such law and explain why prevalent externalist varieties of representationalism have trouble accommodating it. In light of this, I propose a variety of representationalism on which the spatial content of experience is determined by intrinsic features of (...) conscious subjects. I conclude by considering an externalist-friendly reworking of my proposal, but suggest that the success of such a reworking is dubious. (shrink)

When we experience the world – see, hear, feel, taste, or smell things – we gain all sorts of knowledge about the things around us. And this knowledge figures heavily in our reasoning about the world – about what to think and do in response to it. But what is the nature of this knowledge? On one commonly held view, all knowledge is constituted by beliefs in propositions. But in this paper I argue against this view. I argue that some (...) knowledge is constituted, not by beliefs in propositions, but by awareness of properties and objects. To make my case, I focus on the role of visual perception in reasoning. I start by introducing a principle about the relationship between knowledge and reasoning, which says that to learn something new by reasoning, one must know the bases of one’s reasoning. Then I argue that in some cases of genuine, knowledge-conferring reasoning, the bases of our reasoning are not propositions that we believe; rather, they’re properties or objects that we see. Thus, I conclude that some such knowledge is non-propositional and is rather what some call “knowledge of things”. (shrink)

Novels like Fight Club or American Psycho are said to be instances of unreliable narration: the first person narrator presents an evidently distorted picture of the fictional world. The film adaptations of these novels are likewise said to involve unreliable narration. I resist this extension of the term ‘unreliable narration’ to film. My argument for this rests on the observation that unreliable narration requires a personal narrator while film typically involves an impersonal narrator. The kind of ambiguous story-telling that we (...) find in literary fiction with unreliable narrators, where for certain descriptions it is unclear whether what we’re told is an accurate account of what’s happening in the story world or not, can instead be achieved by conventionalized filmmaking techniques for reporting the contents of mental states, like the point of view shot, but especially the more ambiguous blended perspective shot. (shrink)

I argue that emojis are essentially little pictures, rather than words, gestures, expressives, or diagrams. ???? means that the world looks like that, from some viewpoint. I flesh out a pictorial semantics in terms of geometric projection with abstraction and stylization. Since such a semantics delivers only very minimal contents I add an account of pragmatic enrichment, driven by coherence and nonliteral interpretation. The apparent semantic distinction between emojis depicting entities (like ????) and those depicting facial expressions (like ????) I (...) analyze as a difference between truth-conditional and use-conditional pictorial content: ???? depicts what the world of evaluation looks like, while ???? depicts what the utterance context looks like. (shrink)

In several sign languages, plurals can be realized with unpunctuated or punctuated repetitions of a noun, with different semantic implications; similar repetition-based plurals have been described in some homesigns and silent gestures. Unpunctuated repetitions often get approximate ‘at least’ readings while punctuated repetitions typically correspond to ‘exactly’ readings. The prevalence of these mechanisms could be thought to be a case in which Universal Grammar does not just specify the abstract properties of grammatical elements, but also their phonological realization, at least (...) in the visual modality. We explore an alternative in which punctuated and unpunctuated repetitions arise from general properties of iconic representations. On an empirical level, we argue that in ASL, punctuated and unpunctuated repetitions are unlikely to be an exclusively grammatical mechanism, as they can be found with purely iconic representations. On a theoretical level, we argue for a modular account with three components. First, repetition-based plurals can create a simplified pictorial representation. Second, unpunctuated repetitions give rise to pictorial vagueness, resolved by way of quantification over precisifications. Third, a pragmatic process involving strategic reasoning maps these vague representations onto a set of candidate linguistic meanings, including some ‘at least’ plural readings that are best expressed by unpunctuated repetitions. (shrink)

A semantics of pictorial representation should provide an account of how pictorial signs are associated with the contents they express. Unlike the familiar semantics of spoken languages, this problem has a distinctively spatial cast for depiction. Pictures themselves are two-dimensional artifacts, and their contents take the form of pictorial spaces, perspectival arrangements of objects and properties in three dimensions. A basic challenge is to explain how pictures are associated with the particular pictorial spaces they express. Inspiration here comes from recent (...) proposals that analyze depiction in terms of geometrical projection. In this essay, I will argue that, for a central class of pictures, the projection-based theory of depiction provides the best explanation for how pictures express pictorial spaces, while rival perceptual and resemblance theories fall short. Since the composition of pictorial space is itself the basis for all other aspects of pictorial content, the proposal provides a natural foundation for further pictorial semantics. (shrink)

Lexical innovations (e.g., zero-derivations coined on the fly by a speaker) seem to bear semantic content. Yet, such expressions cannot bear semantic content as a function of the conventions of meaning in force in the language, since they are not part of its lexicon. This is in tension with the commonplace view that the semantic content of lexical expressions is constituted by linguistic conventions. The conventionalist has two immediate ways out of the tension. The first is to preserve the conventionalist (...) assumption and deny that lexical innovations bear semantic content. The second is to dynamicize the conventionalist assumption, that is, argue that presentations of unattested expressions trigger an augmentation of the standing semantic resources of the language and instantiate content as a result of this underlying update. Building on a comparison with the production of novel onomatopoeic words, iconic pseudowords and pro-speech gestures, the paper argues that the issue is best addressed by suspending the conventionalist assumption, and describes the metasemantic implications of the claim. (shrink)

Je défends ici la nécessité, et ébauche une première version, d’une théorie iconique des propositions. Selon celle-ci, les propositions sont comme les objets de représentation, ou similaires à eux. Les propositions, suivant cette approche, sont des propriétés que l’esprit instancie lorsqu’il modélise le monde. Je connecte cette théorie aux récents développements de la littérature académique sur les propositions, ainsi qu’à une branche de recherches en sciences cognitives, qui explique certains types de représentations mentales en termes d’iconicité. I motivate the need (...) for, and then sketch, an iconic theory of propositions according to which propositions are like or similar to their objects of representation. Propositions on this theory are properties that the mind instantiates when it models the world. I connect the theory to recent developments in the propositions literature as well as to a strain of cognitive science that explains some kinds of mental representation in terms of iconicity. (shrink)

Semantics traditionally focuses on linguistic meaning. In recent years, the Super Linguistics movement has tried to broaden the scope of inquiry in various directions, including an extension of semantics to talk about the meaning of pictures. There are close similarities between the interpretation of language and of pictures. Most fundamentally, pictures, like utterances, can be either true or false of a given state of affairs, and hence both express propositions (Zimmermann, 2016; Greenberg, 2013; Abusch, 2015). Moreover, sequences of pictures, like (...) sequences of utterances, can be used to tell stories. Wordless picture books, comics, and film are cases in point. In this paper I pick up the project of providing a dynamic semantic account of pictorial story-telling, started by Abusch (2012) and continued by Abusch & Rooth (2017); Maier & Bimpikou (2019); Fernando (2020). More specifically, I propose here a semantics of speech and thought bubbles by adding event reference to PicDRT. To get there I first review the projection-based semantics for pictures (section 1), noting the fundamental distinction between symbolic and iconic meaning that makes speech bubbles especially interesting (section 2). I then review the dynamic PicDRT framework for pictorial narratives (section 3), add events (section 4), and propose an account of speech bubbles as quotational event modification (section 5). I end with a brief look at other conventional, symbolic enrichments in comics (section 6). (shrink)

This introduction aims to familiarize readers with basic dimensions of variation among pictorial and diagrammatic representations, as we understand them, in order to serve as a backdrop to the articles in this volume. Instead of trying to canvas the vast range of representational kinds, we focus on a few important axes of difference, and a small handful of illustrative examples. We begin in Section 1 with background: the distinction between pictures and diagrams, the concept of systems of representation, and that (...) of the properties of usage associated with signs. In Section 2 we illustrate these ideas with a case study of diagrammatic representation: the evolution from Euler diagrams to Venn diagrams. Section 3 is correspondingly devoted to pictorial representation, illustrated by the comparison between parallel and linear perspective drawing. We conclude with open questions, and then briefly summarize the articles to follow. (shrink)

ASL can express plurals by repeating a noun, in an unpunctuated fashion, in different parts of signing space. We argue that this construction may come with a rich iconic component: the geometric arrangement of the repetitions provides information about the arrangement of the denoted plurality; in addition, the number and speed of the repetitions provide information about the size of the denoted plurality. Interestingly, the shape of the repetitions may introduce a new singular discourse referent when a vertex can be (...) inferred to denote a singular object. Thus one may point towards the first or last iteration of a horizontal repetition of BOOK to denote the left- or right-edge of the corresponding row. This yields a remarkable interaction between iconic semantics and standard logical semantics. We show that our analysis extends to ‘punctuated’ repetitions, which involve clearly individuated iterations of a singular noun. While these may initially look like coordinated indefinites, they are better handled by the same iconic framework as plural, unpunctuated repetitions. Some repetition-based mass terms also give rise to iconic effects, and to different readings depending on whether the repetition is continuous, unpunctuated, or punctuated. Our analysis highlights the need for a formal semantics with iconicity to study the integration of such iconic and logical conditions. It also raises a question: can similar facts be found in spoken language when gestures are taken into account? We suggest that several effects can be replicated, especially when one considers examples involving ‘pro-speech gestures’. (shrink)

We argue that a formal semantics for music can be developed, although it will be based on very different principles from linguistic semantics and will yield less precise inferences. Our framework has the following tenets: Music cognition is continuous with normal auditory cognition. In both cases, the semantic content derived from an auditory percept can be identified with the set of inferences it licenses on its causal sources, analyzed in appropriately abstract ways. What is special about music semantics is that (...) it aggregates inferences based on normal auditory cognition with further inferences drawn on the basis of the behavior of voices in tonal pitch space. This makes it possible to define an inferential semantics but also a truth-conditional semantics for music. In particular, a voice undergoing a musical movement m is true of an object undergoing a series of events e just in case there is a certain structure-preserving map between m and e. Aspects of musical syntax might be derivable on semantic grounds from an event mereology, which also explains some cases in which tree structures are inadequate for music. Intentions and emotions may be attributed at several levels, and we speculate on possible explanations of the special relation between music and emotions. (shrink)

The notion of an object file figures prominently in recent work in philosophy and cognitive science. Object files play a role in theories of singular reference, object individuation, perceptual memory, and the development of cognitive capacities. However, the philosophical literature lacks a detailed, empirically informed theory of object files. In this paper, we articulate and defend the multiple-slots view, which specifies both the format and architecture of object files. We argue that object files represent in a non-iconic, propositional format that (...) incorporates discrete symbols for separate features. Moreover, we argue that features of separate categories are stored in separate memory slots within an object file. We supplement this view with a computational framework that characterizes how information about objects is stored and retrieved. (shrink)

By creating certain marks on paper, or by making certain sounds-breathing past a moving tongue-or by articulation of hands and bodies, language users can give expression to their mental lives. With language we command, assert, query, emote, insult, and inspire. Language has meaning. This fact can be quite mystifying, yet a science of linguistic meaning-semantics-has emerged at the intersection of a variety of disciplines: philosophy, linguistics, computer science, and psychology. Semantics is the study of meaning. But what exactly is "meaning"? (...) What is the exact target of semantic theory? Much of the early work in natural language semantics was accompanied by extensive reflection on the aims of semantic theory, and the form a theory must take to meet those aims. But this meta-theoretical reflection has not kept pace with recent theoretical innovations. This volume re-addresses these questions concerning the foundations of natural language semantics in light of the current state-of-the-art in semantic theorising. (shrink)

How is it possible for a picture to depict a picture? Proponents of perceptual theories of depiction, who argue that the content of a picture is determined, in part, by the visual state it elicits in suitable viewers, that is, by a state of seeing-in, have given a plausible answer to this question. They say that a picture depicts a picture, in part, because, under appropriate conditions of observation, a suitable viewer will be able to see a picture in the (...) picture. In this article, I first argue that this answer is in conflict with the way in which some of the most influential perceptual theories of depiction – Robert Hopkins's version of the experienced resemblance theory and Dominic Lopes's version of the recognition theory – construe seeing-in. I then formulate a version of the recognition theory that avoids this conflict and show how it can explain the depiction of pictures. (shrink)

In demonstration, speakers use real-world activity both for its practical effects and to help make their points. The demonstrations of origami mathematics, for example, reconfigure pieces of paper by folding, while simultaneously allowing their author to signal geometric inferences. Demonstration challenges us to explain how practical actions can get such precise significance and how this meaning compares with that of other representations. In this paper, we propose an explanation inspired by David Lewis’s characterizations of coordination and scorekeeping in conversation. In (...) particular, we argue that words, gestures, diagrams and demonstrations can function together as integrated ensembles that contribute to conversation, because interlocutors use them in parallel ways to coordinate updates to the conversational record. (shrink)

Although philosophers of art and aesthetics regularly appeal to a notion of ‘pictorial content’, there is little agreement over its nature. The present paper argues that pictures have propositional contents. This conclusion is reached by considering a style of argument having to do with the phenomenon of negation intended to show that pictures must have some kind of non-propositional content. I first offer reasons for thinking that arguments of that type fail. Second, I show that when properly understood, such arguments (...) can in fact be turned on their heads and shown to support the propositionalist position. (shrink)

Pictures are 2D surfaces designed to elicit 3D-scene-representing experiences from their viewers. In this essay, I argue that philosophers have tended to underestimate the relevance of research in vision science to understanding the nature of pictorial experience. Both the deeply entrenched methodology of virtual psychophysics as well as empirical studies of pictorial space perception provide compelling support for the view that pictorial experience and seeing face-to-face are experiences of the same psychological, explanatory kind. I also show that an empirically informed (...) account of pictorial experience provides resources to develop a novel, resemblance-based account of depiction. According to what I call the deep resemblance theory, pictures work by presenting virtual models of objects and scenes in phenomenally 3D, pictorial space. (shrink)

We argue that formal linguistic theory, properly extended, can provide a unifying framework for diverse phenomena beyond traditional linguistic objects. We display applications to pictorial meanings, visual narratives, music, dance, animal communication, and, more abstractly, to logical and non-logical concepts in the ‘language of thought’ and reasoning. In many of these cases, a careful analysis reveals that classic linguistic notions are pervasive across these domains, such as for instance the constituency (or grouping) core principle of syntax, the use of logical (...) variables (for object tracking), or the variety of inference types investigated in semantics/pragmatics. The aim of this overview is to show how the application of formal linguistic concepts and methodology to non-linguistic objects yields non-trivial insights, thus opening the possibility of a general, precise theory of signs. (An appendix, found in the online supplements to this article, surveys applications of Super Linguistics to animal communication.). (shrink)

This paper presents an analysis of face emoji (disc-shaped pictograms with stylized facial expressions) that accompany written text. We propose that there is a use of face emoji in which they comment on a target proposition expressed by the accompanying text, as opposed to making an independent contribution to discourse. Focusing on positively valenced and negatively valenced emoji (which we gloss as _happy_ and _unhappy_, respectively), we argue that the emoji comment on how the target proposition bears on a contextually (...) provided discourse value endorsed by the author. Discourse values embody what an author desires, aspires to, wishes for, or hopes for. Our analysis derives a range of non-trivial generalizations, including (i) ordering restrictions with regards to the placement of emoji and text, (ii) cases of apparent mixed emotions, and (iii) cases where the lexical content of the accompanying text influences the acceptability of a face emoji. (shrink)

Recent advances in the Super Linguistics of pictures have laid the Super Semantic foundation for modelling the phenomena of narrative sequencing and co-reference in pictorial and mixed linguistic-pictorial discourses. We take up the question of how one arrives at the pragmatic interpretations of such discourses. In particular, we offer an analysis of: (i) the discourse composition problem: how to represent the joint meaning of a multi-picture discourse, (ii) observed differences in narrative sequencing in prima facie equivalent linguistic vs pictorial discourses, (...) and (iii) the phenomenon of co-referencing across pictures. We extend Segmented Discourse Representation Theory to spell out a formal Super Pragmatics that applies to linguistic, pictorial and mixed discourses, while respecting the particular ‘genius’ of either medium and computing their distinctive pragmatic interpretations. (shrink)

This article aims at defending the old theory of iconological dualism that opposes ‘handmade’ pictures to photographic pictures. I defend a new version of that theory, according to which photographs always enable viewers to have singular thoughts on the things photographed, while handmade pictures by themselves never enable viewers to have singular thoughts but only enable them to have what I call ‘thoughts by depiction’. To this end, I defend the old theory according to which singular thoughts require a special (...) relation—called ‘acquaintance’—between the thinker and the object thought about. I put this traditional view forward thanks to a new version of the classic spy argument for the acquaintance constraint on singular thoughts. (shrink)

As part of a recent attempt to extend the methods of formal semantics beyond language, it has been claimed that music has an abstract truth-conditional semantics, albeit one that has more in common with iconic semantics than with standard compositional semantics. After summarizing this approach and addressing a common objection, we argue that music semantics should be enriched in three directions by incorporating insights of other areas of Super Semantics. First, it has been claimed by Abusch 2013 that visual narratives (...) make use of discourse referents akin to those we find in language. We argue that a similar conclusion extends to music, and we highlight it by investigating ways in which orchestration and dance may make cross-referential dependencies more explicit. Second, we show that by bringing music semantics closer to the semantics of visual narratives, we can give an account of the semantics of mixed visual and musical sequences. Third, it has been claimed that co-speech gestures trigger characteristic conditionalized presuppositions, called ‘cosuppositions’, and that their semantic status derives from their parasitic character relative to words. We argue that the same conclusion extends to some instances of film and cartoon music: it may trigger cosuppositions that can be revealed by embedding film excerpts or gifs in sentences so as to test presupposition projection. We further argue that under special discourse conditions, pro-speech gestures and pro-speech music alike can trigger cosuppositions as well. These results suggest that new insights can be gained not just by extending the methods of semantics to new objects, but also by drawing new connections among them. (shrink)

Celem niniejszego artykułu jest wyznaczenie kierunków badań edukacyjnych w działalności Polskiej Szkoły Argumentacji oraz zainicjowanie dyskusji w polskim środowisku filozoficznym i wśród nauczycieli szkolnych. Opierając się na dotychczasowej działalności Szkoły w badaniach nad edukacją i tworzeniu standardów nauczania sztuki argumentacji oraz wątków edukacyjnych wyeksponowanych podczas XV konferencji ArgDiaP, formułujemy postulaty, które mogą stanowić część planu edukacyjnego w najbliższych latach. Realizacja tych postulatów może stanowić punkt odniesienia do realizacji długoterminowego planu tworzenia standardów nauczania sztuki argumentacji.

Our ordinary judgments and our metaphysical theories share a common commitment to facts about resemblance. The nature of resemblance is, however, a matter of no small controversy. This essay examines some of the pressing questions that arise regarding the status and structure of resemblance. Among those to be discussed in what follows: what kinds of resemblance relations are there? Can resemblance be analyzed in terms of the sharing of properties? Is resemblance an objective or subjective matter? What, if any, resemblance (...) facts are fundamental? How does resemblance relate to naturalness? (shrink)

It is often observed that images—including mental images—are in some sense representationally ambiguous. Some, including Jerry Fodor, have added that mental images only come to have determinate contents through the contribution of non-imagistic representations that accompany them. This paper agrees that a kind of ambiguity holds with respect to mental imagery, while arguing (pace Fodor) that this does not prevent imagery from having determinate contents in the absence of other, non-imagistic representations. Specifically, I argue that mental images can represent determinate (...) types of outlays of properties without help from any non-imagistic representations, yet can only become involved in the representation of particular objects through pairing with a non-imagistic representation of the right sort. These points are defended through reflection on the “Picture Principle,” the nature of depiction, and general principles for typing and individuating mental states. (shrink)

Little has been said about whether pictures can depict properties of properties. This article argues that they do. As a result, resemblance theories of depiction must be changed to accommodate this phenomenon. In addition, diagrams and maps are standardly understood to represent properties of properties, so this article brings accounts of depiction closer to accounts of diagrams than they had been before. Finally, the article suggests that recent work on perceptual content gives us reason to believe we can perceive properties (...) of properties. (shrink)

Na przykładzie teorii znaku ikonicznego Kazimierza Świrydowicza krytycznie omawiam teorie semantyczne dla znaków ikonicznych oparte na koncepcji podobieństwa i antykonwencjonalizmie. Przedstawiam również główne założenia, które powinna spełniać adekwatna teoria semantyczna dla znaków ikonicznych. P.

The grammatical paradigm used to be a model for entire areas of cognitive science. Its primary tenet was that theories are axiomatic-like systems. A secondary tenet was that their predictions should be tested quickly and in great detail with introspective judgments. While the grammatical paradigm now often seems passé, we argue that in fact it continues to be as efficient as ever. Formal models are essential because they are explicit, highly predictive, and typically modular. They make numerous critical predictions, which (...) must be tested efficiently; introspective judgments do just this. We further argue that the grammatical paradigm continues to be fruitful. Within linguistics, implicature theory is a recent example, with a combination of formal explicitness, modularity, and interaction with experimental work. Beyond traditional linguistics, the grammatical paradigm has proven fruitful in the study of gestures and emojis; literature (“Free Indirect Discourse”); picture semantics and comics; music and dance cognition; and even reasoning and concepts. We argue, however, that the grammatical paradigm must be adapted to contemporary cognitive science. Computational methods are essential to derive quantitative predictions from formal models (Bayesian pragmatics is an example). And data collection techniques offer an ever richer continuum of options, from introspective judgments to large-scale experiments, which makes it possible to optimize the cost/benefit ratio of the empirical methods that are chosen to test theories. (shrink)

As formal theoretical linguistic methodology has matured, recent years have seen the advent of applying it to objects of study that transcend language, e.g., to the syntax and semantics of music (Lerdahl & Jackendoff 1983, Schlenker 2017a; see also Rebuschat et al. 2011). One of the aims of such extensions is to shed new light on how meaning is construed in a range of communicative systems. In this paper, we approach this goal by looking at narrative dance in the form (...) of Bharatanatyam. We argue that a semantic approach to dance can be modeled closely after the formal semantics of visual narrative proposed by Abusch (2013, 2014, 2021). A central conclusion is that dance not only shares properties of other fundamentally human means of expression, such as visual narrative and music, but that it also exhibits similarities to sign languages and the gestures of non-signers (see, e.g., Schlenker 2020) in that it uses space to track individuals in a narrative and performatively portray the actions of those individuals. From the perspective of general human cognition, these conclusions corroborate the idea that linguistic investigations beyond language (see Patel-Grosz et al. forthcoming) can yield insights into the very nature of the human mind and of the communicative devices that it avails. (shrink)

Le immagini sono rappresentazioni visive: quello che mostrano ai nostri occhi è rilevante per la comprensione di ciò che rappresentano. Le rappresentazioni pittoriche sono immagini che rappresentano visivamente aspetti visibili di altri oggetti: per questo motivo, ci sembra spesso che queste immagini assomiglino agli oggetti che rappresentano, ci sembra di riconoscere tali oggetti guardando le immagini che li rappresentano e può anche capitarci che ci sembri di avere un'esperienza degli oggetti rappresentati attraverso l'immagine che li rappresenta. Potrebbe però anche darsi (...) che ci sbagliamo e che queste nostre intuizioni non siano affidabili. Questo contributo è un'introduzione alle principali teorie della rappresentazione pittorica, che mirano a comprendere la natura della modalità di rappresentazione che distingue le immagini che rappresentano visivamente aspetti visibili di altri oggetti. Dopo alcune considerazioni preliminari, presento cinque concetti centrali per la comprensione della natura delle rappresentazioni pittoriche: proprietà prospettiche, riconoscimento, esperienza, somiglianza, struttura. Secondo alcuni, la natura della rappresentazione pittorica si può comprendere considerando certe particolari proprietà degli oggetti che chiamiamo "rappresentazioni pittoriche" (come le proprietà prospettiche, di somiglianza, o strutturali), secondo altri la si può comprendere indagando le peculiarità dell'esperienza di visione di una rappresentazione pittorica, o individuando quali abilità cognitive sono mobilitate quando afferriamo il contenuto di una rappresentazione pittorica. Talvolta più strategie esplicative sono adottate nel contesto della stessa teoria. (shrink)