The Experiential View of Language Con1prehension: How Is Negation Represented?

A good deal of energy is currently being expended into discovering the fundamental machinery underlying deductive reasoning. Is it based upon mental models (arrays) or deduction rules (propositions...

Human Reasoning: Deduction Rules or Mental Models, or Both?:

Over the past two decades, ‘visually situated’ language comprehension (the interplay between language comprehension, attention, and non-linguistic visual context) has emerged as an increasingly active area of research. One important result in this area is that both linguistic and world knowledge, as well as visual cues, can rapidly inform the unfolding interpretation as reflected by comprehenders' eye movements to objects during spoken language comprehension. However, upon closer inspection, temporal delays of object-directed gaze are not infrequent and emerge for the processing of non-canonical (vs. canonical) structures, for scalar implicatures and for recently learned world–language associations. While it may further be tempting to assume that the different knowledge sources and visual cues are on a par in guiding visual attention, comprehenders' eye movements in many instances reveal a robust referential priority (more looks go to the referent of a word than to other objects). Should this priority be taken as a trivial observation? In the present article, we argue that the tension between this referential priority and other world–language relations constitutes an important constraint on the linking hypotheses and mechanisms implicated in situated language comprehension and should be considered when conceptualizing models and accounts of visually situated language comprehension.

Visually situated language comprehension

Effects of picture-word format were investigated with four problem-solving items. In Experiment 1, picture-word input was presented for 8 sec followed by a test sentence that included verbatim and inference statements. Subjects made a true/false reaction time to the test sentence. In Experiment 2, the input remained on the screen while the test sentence was presented with varied stimulus onset asynchronies from 0 to 1,000 msec. Results showed that responses to pictures were faster than responses to words, and the format effect was larger with inference than with verbatim sentences. The picture advantage seemed to be due to the nature of the input and how information is extracted from it. The findings are discussed within the context of text-processing theories (Glenberg & Langston, 1992; Larkin & Simon, 1987).

https://link.springer.com/content/pdf/10.3758/BF03201085.pdf

Picture-word differences in a sentence verification task.

Four experiments are reported in which participants attempted to remember three or six concrete nouns, presented as pictures, spoken words, or printed words, while also verifying the accuracy of sentences. Hypotheses meant to explain the higher recall of pictures and spoken words over printed words were tested. Increasing the difficulty and changing the type of processing task from arithmetic to a visual/ spatial reasoning task did not influence recall. An examination of long-term modality effects showed that those effects were not sufficient to explain the superior performance with spoken words and pictures. Only when we manipulated the allocation of attention to the items in the storage task by requiring the participants to articulate the items and by presenting the stimulus items under a degraded condition were we able to reduce or remove the effect of presentation format. The findings suggest that the better recall of pictures and spoken words over printed words result from the fact that under normal presentation conditions, printed words receive less processing attention than pictures and spoken words do.

https://link.springer.com/content/pdf/10.3758/BF03193067.pdf

Presentation format effects in working memory: the role of attention.

Strategies in sentence—picture verification: The effect of an unexpected picture

In two works of photographic assemblage, portraits of those disappeared under the last Argentine and Uruguayan dictatorships appeared on the walls of Montevideo and Buenos Aires. In 1984 Buenos Aires, the collective C.A.Pa.Ta.Co. produced afiches participativos in the months following the country’s return to democracy. For this project, the public was invited to colour in black-and-white photocopied portraits installed around the Plaza de Mayo. In 2008, Juan Angel Urruzola installed enormous portraits of the disappeared throughout the streets of Montevideo in a visual campaign that coincided with a referendum on the Law of Expiry in Uruguay. Both projects represent acts of political and artistic assembling shaped by precariousness, a condition of simultaneous endurance and fragility. This article contributes to contemporary debates surrounding the constitution of public space, community, and communication in post-dictatorial Southern Cone with a focus on the encounter between the image and an emergent public. Bringing together Deleuze and Guattari’s philosophy of assemblage, Judith Butler’s reflections on political assembly, and Claire Bishop’s discussion of antagonism in participatory art, I argue that a precarious quality of assembly enables collective creation, dissent, and exchange within the space of the photographic assemblage.

Photographic Assembly in Post-Dictatorial Argentina and Uruguay

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Strategies in sentence—picture verification: The effect of an unexpected picture

Photographic Assembly in Post-Dictatorial Argentina and Uruguay