DOCSLIB.ORG

Guggenheim Museum Archives Reel-To-Reel Collection on the Future of Art: “Art and the Structuralist Perspective” by Annette Michelson, 1969

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Guggenheim Museum Archives Reel-To-Reel Collection on the Future of Art: “Art and the Structuralist Perspective” by Annette Michelson, 1969 Guggenheim Museum Archives Reel-to-Reel collection On the Future of Art: “Art and the Structuralist Perspective” by Annette Michelson, 1969 MALE 1 Good evening, ladies and gentlemen, and welcome to the fourth in the series of lectures presented by the Guggenheim Museum on the general subject of the future of art. This evening’s speaker is Ms. Annette Michelson, who was born in New York City, studied the history of art at Columbia University, and studied philosophy at the Sorbonne. During a period of residence in Paris in the late ’50s and early ’60s, she was art editor and critic of the Paris Herald Tribune, as well as Paris editor and correspondent for Arts Magazine and Art International. At present, she is contributing [00:01:00] editor of Artforum, and teaches the aesthetics of cinema at the Graduate School of the Arts of New York University. She is currently working on a study of the aesthetics and ideology of chance, as well as a further study on the aesthetics of cinema. She will speak to us tonight on art and the structuralist perspective. Ms. Michelson. (applause) ANNETTE MICHELSON [00:02:00] Years ago, when I was a student, I happened to see an entry in a bookseller’s catalog for an edition of Kant’s Critique of Pure Reason and Critique of Aesthetic Judgment, which was described in that entry as beautiful and illustrative. That entry caught my fancy, teased the imagination, and it intrigued me, really, to the point that I eventually made the trip down to Fourth Avenue to have a look at that beautiful and illustrative edition. Actually, I would say that the notion of such an edition produced a kind of mental cramp, and I spent a few days, before taking the subway down, trying to relax [00:03:00] that cramp, speculating and imagining what the style and order of those illustrations could be. That kind of tension recurred again quite recently. When reading through some of Eisenstein’s theoretical writings on the aesthetics of film, I came across the mention of a project for a film version of Marx’s Capital. History has deprived us of that film version, the history of Marxism in fact. That man does not live who can say that he has seen the movie, though he’s not read the book. But if that film were to exist, what would it be like? How do you film Capital? There is a sense in which the history of the realist novel, [00:04:00] of the nineteenth century particularly, illustrates certain chapters — dramatizes them, rather. That is to say, the chapter on the horrors of the working day, admirably dramatized in Zola, in Dickens. And I suppose that the theater of Brecht does constitute the most prominent, and probably the most exact, exemplification of certain aspects of Marxist analysis, I think most particularly of the distancing or alienation effect, which is a kind of aesthetic strategy which is very directly Marxist-inspired. But an illustrated edition of the Critiques — what could that be? How, for example, [00:05:00] do you think about the order of the figures? I remember my speculations — and they were really more kind of musing — tended to center around motions and images of geometric form, those which are described, by Plato, in the Philebus as being the truest, and therefore the most beautiful. Now, I will read you a short passage in which he describes them. “What I mean, says Socrates, what the argument points to, is something straight or round, and the surfaces and solders which a lathe or a carpenter’s ruling square produces from the straight and round, I wonder if you understand. Things of that sort, I maintain, are beautiful not like most things, in a relative sense. They are always beautiful, in their very nature, and they offer pleasures peculiar to themselves, quite unlike others. They have [00:06:00] that purity which makes for truth. They are philosophical.” Transcript © 2018 The Solomon R. Guggenheim Foundation (SRGF). All rights reserved. Page 1 of 12 Guggenheim Museum Archives Reel-to-Reel collection On the Future of Art: “Art and the Structuralist Perspective” by Annette Michelson, 1969 Now, Plato, of course, had never conceived the notion of those philosophical things or geometrical forms as constituting the very substance, the very vocabulary, of art itself. And out of pure plastics, that ultimate variant of aesthetic idealism was unknown to him. But it was known to me, and I enjoyed them, imagining an illustrated edition of the Critiques as a kind of series of icons of the rational, and though that cramp was not quite relaxed by thoughts of [late Mondrian?] and Kandinsky, I do remember that my imaginings were tinted by them. [00:07:00] I tended to imagine this edition as illustrated by something like this composition of 1927 of Mondrian, or perhaps by Kandinsky, such as this, of 1923. I knew that I actually imagined these two distinguished disciples of Madame Blavatsky as being iconographers of reason and the rational. Well, I was wrong, of course, because when I dropped down to Fourth Avenue and opened those volumes, this is what I saw. I should have known. Of course I should have known that the [00:08:00] illustrations of that edition consisted of one frontispiece, a portrait of old Kant. I should have known, but I didn’t, and it now crossed me that I probably didn’t want to, because the imagining involved a kind of game. It involved, as well, a very primitive exercise, a rather naive one, in some theory or in semiology. In any case, the notion of an illustrated edition of Critiques seems to have stayed or slumbered on in me until much later, when, opening a volume of works of Claude Levi-Strauss, I came upon a number of quotes which seemed to me much closer approximations than that engraving of the philosopher himself. Here’s one. It is a diagram showing and comparing kinship systems of certain primitive [00:09:00] tribes with kinship systems of a social group in the Caucasus. I’ll show you another. It is a kind of charting of the themes of the Oedipus legend. And why, wherein, can these be said to constitute better icons of reason, or the rational? Because, quite simply, as Levi-Strauss himself would recognize, they represent, or figure, an attempt, initiated by Kant, and implemented now by analytic methods proper to structuralist anthropology, to extend our knowledge of reality as knowable, which is to say the manner in which the human mind organizes its experience and world. There are [00:10:00] figures, if you’d like, of a step forward in the expiration of the dynamics or the functioning of the mind, and consequently towards an ultimate intelligibility of our universe. These diagrams, then, figure, or refer to, an undertaking as ambitious and as impressive as anyone could propose. The manner in which that enterprise is articulated and performed is something to which we will return. For the moment, however, we will listen, if you’d like, to the articulations of its aims as they have informed a life work, a project, covering enormous range of empirical observation, and grounded in linguistic theory. A kind of epistemology formulated on the basis of a study of kinship systems in the tribes we call primitive, on myth, on custom, on [00:11:00] usages, on legend, on ritual. “The destination,” Levi-Strauss says, “is the building, based on ethnographic experience, of an inventory of our mental contours, a reduction of seemingly arbitrary data to an order. Vocation of that level, on which necessity, eminent in the illusions of freedom, is revealed. Beneath the superficial randomness and incoherence and diversity, which marriage regulations would seem to present, we brought out, in our study of basic kinship structures, a few simple principles. Through their application, various complex set of customs and usages, at first seemingly absurd and generally judged as such, were assembled into a meaningful system.” Transcript © 2018 The Solomon R. Guggenheim Foundation (SRGF). All rights reserved. Page 2 of 12 Guggenheim Museum Archives Reel-to-Reel collection On the Future of Art: “Art and the Structuralist Perspective” by Annette Michelson, 1969 The anthropologist, unlike the philosopher, does not feel he must address himself to the conditions governing his own thought processes, [00:12:00] or to the science of his own society and historical period. He does not work with a view to extending his local conclusions to standards whose universality can only be hypothetical and potential. Although preoccupied by the same problems, he adopts a procedure which constitutes a kind of double inversion of the philosophers. The hypothesis of universal suppositions is rejected in favor of an empirical observation, collective ones, whose properties are somehow solidified, rendered visible through innumerable concrete systems of representations.” Those representations are the myths, the customs, the rituals, et cetera, to which I referred before. And since, for the anthropologist, it is always a matter of a given social origin, particular culture, a region and historical period, these systems represent the entire [00:13:00] range of possibilities within a given type, he chooses expressly those which seem to differ most sharply, in the hope that the principle used to translate them into tongues which are his own will uncover a network of fundamental common constraints. This involves a supreme form of gymnastics, in which the exercise of reflection, pushed to its upmost objective limits, which of course have been surveyed, measured, and inventoried through research in the field, bring out each muscle and joint of a skeleton, thereby exposing the ligaments of a general anatomic structure.
Load more

Recommended publications
  • Iconicity As Recognizability Pascal Vaillant, Marie-Françoise Castaing
    Iconicity as Recognizability Pascal Vaillant, Marie-Françoise Castaing To cite this version: Pascal Vaillant, Marie-Françoise Castaing. Iconicity as Recognizability. 2003. hal-00329352 HAL Id: hal-00329352 https://hal.archives-ouvertes.fr/hal-00329352 Preprint submitted on 10 Oct 2008 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. ICONICITY AS RECOGNIZABILITY Pascal Vaillant Marie-Françoise Castaing GEREC-F/GIL – Faculté des Lettres CRITT – CCST Université des Antilles et de la Guyane Les Algorithmes, Bâtiment Euclide B.P. 7207 Saint-Aubin 97275 SCHOELCHER CEDEX 91194 GIF-SUR-YVETTE CEDEX [email protected] [email protected] INTRODUCTION Interest in iconic communication has been constantly increasing over these past decades. Not only as a point of theoretical interest in the field of semiotics, but as an efficient and simple way of communicating general information in everyday life. In public places like airports, icons indicate directions or services. In printed form, like on product packages or instruction manuals, they provide detailed instructions in a synthetic way. On the internet “web sites”, they guide users of many different countries, who sometimes do not even share a writing system.
    [Show full text]
  • Language Is More Abstract Than You Think, Or, Why Aren't Languages
    Downloaded from http://rstb.royalsocietypublishing.org/ on June 19, 2018 Language is more abstract than you think, or, why aren’t languages more iconic? rstb.royalsocietypublishing.org Gary Lupyan1 and Bodo Winter2 1Department of Psychology, University of Wisconsin, Madison, WI 53706, USA 2Department of English Language and Applied Linguistics, University of Birmingham, Birmingham, UK Opinion piece GL, 0000-0001-8441-7433 Cite this article: Lupyan G, Winter B. 2018 How abstract is language? We show that abstractness pervades every corner Language is more abstract than you think, or, of language, going far beyond the usual examples of freedom and justice. In the light of the ubiquity of abstract words, the need to understand why aren’t languages more iconic? Phil. where abstract meanings come from becomes ever more acute. We argue Trans. R. Soc. B 373: 20170137. that the best source of knowledge about abstract meanings may be language http://dx.doi.org/10.1098/rstb.2017.0137 itself. We then consider a seemingly unrelated question: Why isn’t language more iconic? Iconicity—a resemblance between the form of words and their Accepted: 9 March 2018 meanings—can be immensely useful in language learning and communi- cation. Languages could be much more iconic than they currently are. So why aren’t they? We suggest that one reason is that iconicity is inimical One contribution of 23 to a theme issue to abstraction because iconic forms are too connected to specific contexts ‘Varieties of abstract concepts: development, and sensory depictions. Form–meaning arbitrariness may allow language use and representation in the brain’.
    [Show full text]
  • Language Is Far Less Arbitrary Than One Thinks: Iconicity and Indexicality in Real-World Learning and Processing
    1 Nonarbitrariness in Language Language is far less arbitrary than one thinks: Iconicity and indexicality in real-world learning and processing Margherita Murgiano, Yasamin Motamedi & Gabriella Vigliocco* Experimental Psychology, University College London *Corresponding author: [email protected] 2 Nonarbitrariness in Language Abstract In the last decade, a growing body of work has convincingly demonstrated that languages embed a certain degree of non-arbitrariness (mostly in the form of iconicity, namely the presence of imagistic links between linguistic form and meaning). Most of this previous work has been limited to assessing the degree (and role) of non-arbitrariness in the speech (for spoken languages) or manual components of signs (for sign languages). When approached in this way, non-arbitrariness is acknowledged but still considered to have little presence and purpose, showing a diachronic movement towards more arbitrary forms. However, this perspective is limited as it does not take into account the situated nature of language use in face-to-face interactions, where language comprises categorical components of speech and signs, but also multimodal cues such as prosody, gestures, eye gaze etc. We review work concerning the role of context-dependent iconic and indexical cues in language acquisition and processing to demonstrate the pervasiveness of non-arbitrary multimodal cues in language use and we discuss their function. We then move to argue that the online omnipresence of multimodal non-arbitrary cues supports children and adults in dynamically developing situational models. Keywords: iconicity, multimodal communication, language acquisition, language processing 3 Nonarbitrariness in Language 1. Introduction Moving away from a more traditional view of language (e.g.
    [Show full text]
  • People Can Create Iconic Vocalizations to Communicate
    www.nature.com/scientificreports OPEN People Can Create Iconic Vocalizations to Communicate Various Meanings to Naïve Received: 21 June 2017 Accepted: 23 January 2018 Listeners Published: xx xx xxxx Marcus Perlman 1 & Gary Lupyan 2 The innovation of iconic gestures is essential to establishing the vocabularies of signed languages, but might iconicity also play a role in the origin of spoken words? Can people create novel vocalizations that are comprehensible to naïve listeners without prior convention? We launched a contest in which participants submitted non-linguistic vocalizations for 30 meanings spanning actions, humans, animals, inanimate objects, properties, quantifers and demonstratives. The winner was determined by the ability of naïve listeners to infer the meanings of the vocalizations. We report a series of experiments and analyses that evaluated the vocalizations for: (1) comprehensibility to naïve listeners; (2) the degree to which they were iconic; (3) agreement between producers and listeners in iconicity; and (4) whether iconicity helps listeners learn the vocalizations as category labels. The results show contestants were able to create successful iconic vocalizations for most of the meanings, which were largely comprehensible to naïve listeners, and easier to learn as category labels. These fndings demonstrate how iconic vocalizations can enable interlocutors to establish understanding in the absence of conventions. They suggest that, prior to the advent of full-blown spoken languages, people could have used iconic vocalizations to ground a spoken vocabulary with considerable semantic breadth. In the parlor game charades, players are challenged to shed their spoken language and communicate using gestures. To succeed in creating a signal that communicates the intended meaning to their teammates, players typically make use of iconicity – a resemblance between the form of a signal and its meaning.
    [Show full text]
  • Textual Rhetoric on Hillary Clinton Speech Transcript “Anti-Trump” in Nevada
    TEXTUAL RHETORIC ON HILLARY CLINTON SPEECH TRANSCRIPT “ANTI-TRUMP” IN NEVADA A Thesis Submitted to Faculty of Adab and Humanities In Partial Fulfillment of the Requirements for the Degree of Strata One FEBRINA WONOSANTOSO 1113026000034 ENGLISH LETTERS DEPARTMENT FACULTY OF ADAB AND HUMANITIES STATE ISLAMIC UNIVERSITY SYARIF HIDAYATULLAH JAKARTA 2018 ABSTRACT Febrina Wonosantoso. Textual Rhetoric on Hillary Clinton Speech Transcript “Anti-Trump” in Nevada. A thesis: English Letters Department, Adab and Humanities Faculty, State Islamic University (UIN) Syarif Hidayatullah Jakarta, 2017. This study is about Leech‟s Textual Rhetoric in speech transcript. Textual rhetoric has four principles and its maxims. They are: 1) processibility principle with end-focus, end-weight, and end-scope maxim, 2) clarity principle with transparency and ambiguity maxim, 3) economy principle with maxim of reduction, and 4) expressivity principle with iconicity maxim. The objective of this study is to identify Leech‟s textual rhetoric and analyze its function that applied in Hillary Clinton speech transcript "Anti-Trump" in Nevada for the readers. The qualitative research method is used in this research in order to determine if the speech transcript conforms to the Leech‟s textual rhetoric. This study used a descriptive approach. The data in this research was taken from Hillary Clinton speech transcript "Anti-Trump" in Nevada which obtained from the web page of The Washington Post. The instrument of this research is the writer to obtain data. Keywords: Textual rhetoric, four principles, maxims, speech transcript i APPROVEMENT TEXTUAL RHETORIC ON HILLARY CLINTON SPEECH TRANSCRIPT “ANTI-TRUMP” IN NEVADA A Thesis Submitted to Faculty of Adab and Humanities in Partial Fulfillment of the Requirements for the Strata One (S1) Degree in English Letters Department Febrina Wonosantoso NIM.
    [Show full text]
  • The Generality of Form-To-Meaning Iconicity
    THE GENERALITY OF FORM-TO-MEANING ICONICITY CHARLES P. DAVIS*1, HANNAH M. MORROW1, MARGHERITA DE LUCA2, and GARY LUPYAN3 *Corresponding Author: [email protected] 1Department of Psychological Sciences, University of Connecticut, Storrs, USA 2Department of Document Studies, Linguistics, Philology and Geography, Sapienza University of Rome, Rome, Italy 3Department of Psychology, University of Wisconsin-Madison, Madison, USA Do certain words fit some meanings better than others? If so, to what extent do people make use of these relationships? Given a choice of whether a “nonsense” word refers to one or another object, people show predictable choices (e.g., Sapir, 1929; see Dingemanse et al., 2015 for review). Understanding the generality and origins of iconicity – a resemblance between a word’s form and its meaning – is critical for research in language evolution as it lends insight into how initial form- to-meaning links may be established prior to emergence of large-scale conventional vocabularies. To test whether form–meaning resemblances affect behavior in a relatively open-ended task, in a recent study (Davis et al., 2019), we first asked people to match written English-like nonsense words (from Westbury et al., 2018) to properties, e.g. is a horgous large, round, etc. (Fig. 1). A second group drew creatures in response to the same nonce words. A third group was asked to indicate whether the drawn creatures were large, round, etc. A final group was shown the creatures and asked to match them to nonsense words. Remarkably, the form of the nonsense words permeated the creature drawings: people judged the drawn creatures as having the same properties connoted by the original nonce words and were able to match the drawn creatures back to the name used to elicit them with higher-than-chance accuracies (e.g.
    [Show full text]
  • Empirically Observed Iconicity Levels of English Phonaesthemes
    Public Journal of Semiotics 7(2) Empirically Observed Iconicity Levels of English Phonaesthemes Nahyun Kwon This paper aims to reveal to what extent the diagrammatic iconicity (i.e., form-meaning correspondences which are created by relating similar sets of forms with similar sets of meanings [Peirce, 1955, p. 104]) of English phonaesthemes (e.g., gl- in glitter, glisten, and glow) could manifest primary iconicity (i.e., iconicity that involves a sufficient similarity between sign and referent to allow the understanding that the former stands for the latter [Sonesson, 1997]). To serve the aim, the current research conducts a test, using a multiple-choice task in which groups of native English and Korean speakers choose the meanings of phonaesthemes in sets of aurally-presented nonsense English phonaesthemic words. If primary iconicity is carried by a phonaestheme, then both native and non-native listeners should be able to report with some consistency the putative meaning of the nonsense phonaesthemic words. If, on the other hand, a form-meaning correspondence is carried by secondary iconicity (where the existence of the sign-relation, given by convention or by being explicitly pointed out, is the precondition for noticing the similarity between sign and referent [Sonesson, 1997]), then neither language group is expected to deliver high correct guessing rates. The result showed that the purported meanings of sk- and tw- were correctly guessed by the Korean-speaking participants only, and those of cl-, gl-, sw-, gr-, sn-, and sq- were correctly guessed by the English-speaking participants only. The purported meanings of sp- and tr- were correctly guessed by neither language group.
    [Show full text]
  • Varieties of Iconicity
    Rev.Phil.Psych. DOI 10.1007/s13164-014-0210-7 Introduction: Varieties of Iconicity Valeria Giardino · Gabriel Greenberg © Springer Science+Business Media Dordrecht 2014 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 represen- tation, 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 evolu- tion 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. 1 Types of Iconicity As early as 1868, Charles S. Peirce distinguished between at least two basic kinds of sign: symbols and icons.1 As we shall understand these categories, SYMBOLIC 1We use Peirce’s taxonomy as the point of departure for our own, but we don’t aspire to exegetical accu- racy. In fact, Peirce famously distinguished up to three kinds of sign, including not only symbols and icons, but also indices. To simplify our presentation, we will only discuss the first two. Moreover, in 1868, Peirce used the term “likeness” instead of “icon”, but later changed his terminology.
    [Show full text]
  • The Application of Iconicity in Teaching Vocabulary in College English
    ISSN 1799-2591 Theory and Practice in Language Studies, Vol. 9, No. 11, pp. 1449-1453, November 2019 DOI: http://dx.doi.org/10.17507/tpls.0911.11 The Application of Iconicity in Teaching Vocabulary in College English Huaiyu Mu Inner Mongolia University, China Abstract—Vocabulary is the cornerstone of language teaching and learning. At present, a majority of college English teachers invest a lot of time in vocabulary teaching; however, they haven’t achieved the goal of college English vocabulary teaching as they desired. Iconicity is an important notion in semiotics, which mainly refers to the resemblance between the form of a sign and what it refers to, namely, the object or concept. Consequently, to some extent, the form of vocabulary is closely connected with what it refers to. Based on the relations between the form of vocabulary and what it refers to, this paper mainly explores the application of lexical iconicity in teaching vocabulary in college English with the purpose of formulating more effective vocabulary teaching approaches. Index Terms—Morpheme Iconicity, Metaphor Iconicity, Etymology Iconicity, Vocabulary Teaching I. INTRODUCTION In English learning, nothing is more important than vocabulary acquisition. Vocabulary acquisition is the precondition of the basic language skills, such as listening, speaking, reading, writing and translation or interpretation. Wilkins(1978) argued without grammar very little can be conveyed and without vocabulary noting can be conveyed1.The size of vocabulary determines the degree of foreign language comprehension. There is no exaggeration to say that vocabulary is the most important factor that restricts the efficiency of foreign language learning, and at the same time, vocabulary is the basic material of any given language.
    [Show full text]
  • Degrees of Iconicity in the Lexicon
    ELSEVIER Journal of Pragmatics 22 (1994) 55-70 Degrees of iconicity in the lexicon Linda R. Waugh Department of Modern Languages and Linguistics, Merrill Hall, Cornell University, Ithaca, NY 14853, USA Abstract Iconicity is an important part of language: e.g., there is substantial diagrammatic iconicity in the lexicon due to recurrences of form-meaning connections in morphemes, submor- phemes, phonesthemes, and word-affinity relations. However, the term morpheme has been applied to phenomena which do not exhibit iconicity. And, differential polysemy across words constrains cross-lexical recurrence of meaning. It emerges that the lexicon exhibits degrees of iconicity, as defined by two competing tendencies for sound: one towards total iconicity, the other towards total non-iconicity (arbitrariness). 1. Introduction The debilitating premise (Friedrich, 1975: 200) of the arbitrariness of the linguis- tic sign has for too long held sway not only in general linguistics (including psy- cholinguistics, cognitive linguistics and linguistic pragmatics more generally), where in some circles it has become almost unquestioned dogma, but also, oddly enough, in semiotics (including semiotic pragmatics), despite the towering intellectual legacy of Charles Sanders Peirce, whose work has convincingly shown that iconicity is an important part of all semiotic systems, including language (1955 [1902]). But gen- eral linguistics and semiotics still labor under the shadow of de Saussure (1959 [ 19 16]), even though throughout the 20th century there have been repeated demon- strations that arbitrariness is quite limited. In fact, in the last decade or so, there has been a good deal of work on iconicity, in particular the iconicity of syntax and gram- matical (inflectional) morphology; ’ this research has shown the iconic basis of, for example, word order, morpheme order, distance between elements, (a)symmetrical structures, and so forth.
    [Show full text]
  • Iconicity in Language
    Iconicity in Language Iconicity in Language: An Encyclopaedic Dictionary By Juan Carlos Moreno Cabrera Iconicity in Language: An Encyclopaedic Dictionary By Juan Carlos Moreno Cabrera This book first published 2020 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2020 by Juan Carlos Moreno Cabrera All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-4741-8 ISBN (13): 978-1-5275-4741-4 “One summer, when there was a great drought at Fredkrisstad (Norway), the following words were posted in a W.C. ‘Don’t pull the string for bimmelim, only for bummelum’. This was immediately understood” (Jespersen 1933: 558). “The existence of a universal symbolism in the case of certain sounds of language … which has been merely a very plausible hypothesis for a long time, appears to be well established today. Individuals can be more or less sensitive to it, but their reactions are not found to be contradictory when observation is made with all the requisite guarantees: the timbre of [i], for example, goes together with the concept of smallness, which is not invalidated by either big or small in English; the timbre of [u] naturally evokes thickness and heaviness.
    [Show full text]
  • Digitalization in the Evolution of Language Leonard Talmy Department of Linguistics Center for Cognitive Science University at B
    Digitalization in the Evolution of Language Leonard Talmy Department of Linguistics Center for Cognitive Science University at Buffalo, State University of NewYork PART 1:Introduction 1. Overview 1.1 Possible evolutionary sequence 1.1.1 A bottleneck In pre-language hominids, the vocal auditory channel, as it was then constituted, may have been inadequate as a means of transmission for communication involving certain levels of thought and interaction This circumstance, if regarded metaphoriclly in terms of conflicting evolutionary pressures / forces, could be seen as a bottleneck -- one consisting of a conflict between these twofactors: A) the selective advantage of communicative transmission involving increased levels of 1) thought and 2) interaction B) limitations in the means of transmission as then constituted As to A1): within an individual, the capacity for thought -- i.e., conceptual content (including that pertaining to affective states) and its processing -- perhaps had the near potential to increase or was already increasing, in (the range of): - the qualitatively different kinds of concepts dealt with - the granularity of concepts, from broad to fine - the abstractness of concepts, from concrete to abstract - the complexity of concepts and conceptual interrelations, from simple to intricate - speed As to A2): communicative interactions among individuals perhaps had the potential to increase in: - the encoding and decoding of advanced individual thought - speed As to B): limitations in the vocal-auditory means of transmission may
    [Show full text]