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Sharing Experience: Computation, Form, and Meaning in the Work of Literature

I’ve uploaded another document: Sharing Experience: Computation, Form, and Meaning in the Work of Literature. You can download it from Academia.edu:

https://www.academia.edu/28764246/Sharing_Experience_Computation_Form_and_Meaning_in_the_Work_of_Literature

It’s considerably revised from a text I’d uploaded a month ago: Form, Event, and Text in an Age of Computation. You might also look at my post, Obama’s Affective Trajectory in His Eulogy for Clementa Pinckney, which could have been included in the article, but I’m up against a maximum word count as I am submitting the article for publication. You might also look at the post, Words, Binding, and Conversation as Computation, which figured heavily in my rethinking.

Here’s the abstract of the new article, followed by the TOC and the introduction:

Abstract

It is by virtue of its form that a literary work constrains meaning so that it can be a vehicle for sharing experience. Form is thus an intermediary in Latour’s sense, while meaning is a mediator. Using fragments of a cognitive network model for Shakespeare’s Sonnet 129 we can distinguish between (1) the mind/brain cognitive system, (2) the text considered merely as a string of signifiers, and (3) the path one computes through (1) under constraints imposed by (2). As a text, Obama’s Eulogy for Clementa Pinckney is a ring-composition; as a performance, the central section is clearly marked by audience response. Recent work on synchronization of movement and neural activity across communicating individuals affords insight into the physical substrate of intersubjectivity. The ring-form description is juxtaposed to the performative meaning identified by Glenn Loury and John McWhorter.

CONTENTS

Introduction: Speculative Engineering 2
Form: Macpherson & Attridge to Latour 3
Computational Semantics: Network and Text 6
Obama’s Pinckney Eulogy as Text 10
Obama’s Pinckney Eulogy as Performance 13
Meaning, History, and Attachment 18
Coda: Form and Sharability in the Private Text 20

Introduction: Speculative Engineering

The conjunction of computation and literature is not so strange as it once was, not in this era of digital humanities. But my sense of the conjunction is differs from that of computational critics. They regard computation as a reservoir of tools to be employed in investigating texts, typically a large corpus of texts. That is fine [1].

Digital critics, however, have little interest in computation as a process one enacts while reading a text, the sense that interests me. As the psychologist Ulric Neisser pointed out four decades ago, it was computation that drove the so-called cognitive revolution [2]. Much of the work in cognitive science is conducted in a vocabulary derived computing and, in many cases, involves computer simulations. Prior to the computer metaphor we populated the mind with sensations, perceptions, concepts, ideas, feelings, drives, desires, signs, Freudian hydraulics, and so forth, but we had no explicit accounts of how these things worked, of how perceptions gave way to concepts, or how desire led to action. The computer metaphor gave us conceptual tools for constructing models with differentiated components and processes meshing like, well, clockwork. Moreover, so far as I know, computation of one kind or another provides the only working models we have for language processes.

My purpose in this essay is to recover the concept of computation for thinking about literary processes. For this purpose it is unnecessary either to believe or to deny that the brain (with its mind) is a digital computer. There is an obvious sense in which it is not a digital computer: brains are parts of living organisms; digital computers are not. Beyond that, the issue is a philosophical quagmire. I propose only that the idea of computation is a useful heuristic: it helps us think about and systematically describe literary form in ways we haven’t done before.

Though it might appear that I advocate a scientific approach to literary criticism, that is misleading. Speculative engineering is a better characterization. Engineering is about design and construction, perhaps even Latourian composition [3]. Think of it as reverse-engineering: we’ve got the finished result (a performance, a script) and we examine it to determine how it was made [4]. It is speculative because it must be; our ignorance is too great. The speculative engineer builds a bridge from here to there and only then can we find out if the bridge is able to support sustained investigation.

Caveat emptor: This bridge is of complex construction. I start with form, move to computation, with Shakespeare’s Sonnet 129 as my example, and then to President Obama’s Eulogy for Clementa Pinckney. After describing its structure (ring-composition) I consider the performance situation in which Obama delivered it, arguing that those present constituted a single physical system in which for sharing experience. I conclude by discussing meaning, history, and attachment.

References

[1] William Benzon, “The Only Game in Town: Digital Criticism Comes of Age,” 3 Quarks Daily, May 5, 2014, http://www.3quarksdaily.com/3quarksdaily/2014/05/the-only-game-in-town-digital-criticism-comes-of-age.html

[2] Ulric Neisser, Cognition and Reality: Principles and Implications of Cognitive Psychology (San Francisco: W. H. Freeman, 1976), 5-6.

[3] Bruno Latour, “An Attempt at a ‘Compositionist Manifesto’,” New Literary History 41 (2010), 471-490.

[4] For example, see Steven Pinker, How the Mind Works (New York: W.W. Norton & company, Inc., 1997), 21 ff.

Special session on language evolution at CUNY Conference on Human Sentence Processing

The 30th CUNY Conference on Human Sentence Processing will take place March 30 – April 1, 2017 at MIT, Cambridge MA. The theme of the Special Session is Language processing and language evolution.

Abstracts for papers and posters are due December 12, 2016.

Invited Speakers

Michael Dunn, Uppsala University, Sweden
Maryia Fedzechkina, University of Arizona
Susan Goldin-Meadow, University of Chicago
Adele Goldberg, Princeton University
Simon Kirby, University of Edinburgh
Stephen Levinson, Max Planck Institute, Holland
Emily Morgan, Tufts University
Kaius Sinnemäki, University of Helsinki

Organizing Committee

Edward Gibson
Evelina Fedorenko
Richard Futrell
Melissa Kline

Contact e-mail: cuny2017.mit@gmail.com

ferro

Online Experiment on Language Evolution

A forthcoming exhibition in  Dresden, Germany entitled "LANGUAGE: THE WORLD OF WORDS, SIGNS, AND GESTURES" will feature an interesting language evolution experiment.

In the experiment, conducted by Dr Christine Cuskley at the University of Edinburgh, you learn an alien language called Ferro. Since the more participants the merrier, you can also learn Ferro from your computer at home!

So if you want to learn Ferro and participate in language evolution research you can do so here!

 

10 post-docs join new language evolution group in Nijmegen

In 2016 and 2017, ten post-doc researchers will join the MPI for Psycholinguistics in Nijmegen to form the Language Evolution and Interaction Scholars of Nijmegen group (LEvInSON).

The group will explore the biological and cultural origins of language, and how they are linked through social interaction. The group, led by Stephen Levinson, Seán Roberts and Mark Dingemanse, will be hosted by the Language and Cognition department.

The visitors include researchers specializing in experimental approaches (Hannah Little, Yasamin Motamedi, Alan Nielsen, Justin Sulik), computational modelling (Kevin Stadler, Bill Thompson), animal communication (Marcus Perlman, Andrea Ravignani), comparative linguistics (Piera Filipi), and conversational interaction (Ashley Micklos).

levinsongroup

Tessa Verhoef, who was awarded a VENI grant to study the evolution of linguistic structure, will also join the group.  All together, this will be one of the largest groups studying language evolution in the world.

Several senior researchers will visit throughout the period, including Vera Kempe (Abertay University), Monica Tamariz (University of Edinburgh), Gary Lupyan (University of Wisconsin-Madison), Cedric Boeckx (ICREA/Universitat de Barcelona) and Bart de Boer (Vrije Universiteit Brussel).

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Words, Binding, and Conversation as Computation

I’ve been thinking about my draft article, Form, Event, and Text in an Age of Computation. It presents me with the same old rhetorical problem: how to present computation to literary critics? In particular, I want to convince them that literary form is best thought of as being computational in kind. My problem is this: If you’ve already got ‘it’, whatever it is, then my examples make sense. If you don’t, then it’s not clear to me that they do make sense. In particular, cognitive networks are a stretch. Literary criticism just doesn’t give you any useful intuitions of form as being independent of meaning.

Any how, I’ve been thinking about words and about conversation. What I’m thinking is that the connection between signifier and signified is fundamentally computed in the sense that I’m after. It’s not ‘hard-wired’ at all. Rather it’s established dynamically. That’s what the first part of this post is about. The second part then goes on to argue that conversation is fundamentally computational.

This is crude and sketchy. We’ll see.

Words as bindings between sound and sense

What is a word? I’m not even going to attempt a definition, as we all know one when we see it, so to speak. What I will say, however, is that the common-sense core intuition tends to exaggeration their Parmenidean stillness and constancy at the expense of the Heraclitean fluctuation. What does this word mean:

race

It’s a simple word, an everyday word. Out there in the middle of nowhere, without context, it’s hard to say what it means. I could mean this, it could mean that. It depends.

When I look it up in the dictionary on my computer, New Oxford American Dictionary, it lists three general senses. One, “a ginger root,” is listed as “dated.” The other two senses are the ones I know, and each has a number of possibilities. One set of meanings has to do with things moving and has many alternatives. The other deals with kinds of beings, biological or human. These meanings no doubt developed over time.

And, of course, the word’s appearance can vary widely depending on typeface or how it’s handwritten, either in cursive script or printed. The spoken word varies widely as well, depending on the speaker–male, female, adult, child, etc.–and discourse context. It’s not a fixed object at all.

What I’m suggesting, then, is that this common ‘picture’ is too static:

sign

There we have it, the signifier and the signified packaged together in a little ‘suitcase’ with “sign” as the convenient handle for the package. It gives the impression the sentences are little ‘trains’ of meaning, with one box connected to the next in a chain of signifiers.

No one who thinks seriously about it actually thinks that way. But that’s where thinking starts. For that matter, by the time one gets around to distinguishing between signifier and signified one has begun to move away from the static conception. My guess is that the static conception arises from the fact of writing and the existence of dictionaries. There they are, one after another. No matter when you look up a word, it’s there in the same place, having the same definition. It’s a thing, an eternal Parmenidean thing.

Later in The Course in General Linguistics, long after he’s introduced the signifier/signified distinction, de Saussure presents us with this picture [1]:

waves sign

He begins glossing it as follows (112): “The linguistic fact can therefore be pictured in its totality–i.e. language–as a series of contiguous subdivisions marked off on both the indefinite plane of jumbled ideas (A) and the equally vague plane of sounds (B).” He goes on to note “the somewhat mysterious fact is rather that ‘thought-sound’ implies division, and that language words out its units while taking shape between two shapeless masses.” I rather like that, and I like that he chose undulating waves as his visual image. Continue reading

Form, Event, and Text in an Age of Computation

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I've put another article online. This is not a working paper. It is a near-final draft of an article I will be submitting for publication once I have had time to let things settle in my mind. I'd appreciate any comments you have. You can download the paper in the usual places:

Academia.edu: https://www.academia.edu/27706433/Form_Event_and_Text_in_an_Age_of_Computation
SSRN: http://ssrn.com/abstract=2821678

Abstract: Using fragments of a cognitive network model for Shakespeare’s Sonnet 129 we can distinguish between (1) the mind/brain cognitive system, (2) the text considered merely as a string of verbal or visual signifiers, and (3) the path one’s attention traces through (1) under constraints imposed by (2). To a first approximation that path is consistent with Derek Attridge’s concept of literary form, which I then adapt to Bruno Latour’s distinction between intermediary and mediator. Then we examine the event of Obama’s Eulogy for Clementa Pinckney in light of recent work on synchronized group behavior and neural coordination in groups. A descriptive analysis of Obama’s script reveals that it is a ring-composition and the central section is clearly marked in audience response to Obama’s presentation. I conclude by comparing the Eulogy with Tezuka’s Metropolis and with Conrad’s Heart of Darkness.

CONTENTS

Computational Semantics: Model and Text 3
Literary Form, Attridge and Latour 8
Obama’s Pinckney Eulogy as Performance 11
Obama’s Pinckney Eulogy as Text 15
Description in Method 19

Form, Event, and Text in an Age of Computation

The conjunction of computation and literature is not so strange as it once was, not in this era of digital humanities. But my sense of the conjunction is a bit different from that prevalent among practitioners of distant reading. They regard computation as a reservoir of tools to be employed in investigating texts, typically a large corpus of texts. That is fine.

But, for whatever reason, digital critics have little or no interest in computation as something one enacts while reading any one of those texts. That is the sense of computation that interests me. As the psychologist Ulric Neisser pointed out four decades ago, it was the idea of computation that drove the so-called cognitive revolution in its early years:

... the activities of the computer itself seemed in some ways akin to cognitive processes. Computers accept information, manipulate symbols, store items in “memory” and retrieve them again, classify inputs, recognize patterns, and so on. Whether they do these things just like people was less important than that they do them at all. The coming of the computer provided a much-needed reassurance that cognitive processes were real; that they could be studied and perhaps understood.

Much of the work in the newer psychologies is conducted in a vocabulary that derives from computing and, in many cases, involves computer simulations of mental processes. Prior to the computer metaphor we populated the mind with sensations, perceptions, concepts, ideas, feelings, drives, desires, signs, Freudian hydraulics, and so forth, but we had no explicit accounts of how these things worked, of how perceptions gave way to concepts, or how desire led to action. The computer metaphor gave us conceptual tools through which we could construct models with differentiated components and processes meshing like, well, clockwork. It gave us a way to objectify our theories.

My purpose in this essay is to recover the concept of computation for thinking about literary processes. For this purpose it is not necessary either to believe or to deny that the brain (with its mind) is a digital computer. There is an obvious sense in which it is not a digital computer: brains are parts of living organisms, digital computers are not. Beyond that, the issue is a philosophical quagmire. I propose only that the idea of computation is a useful heuristic device. Specifically, I propose that it helps us think about and describe literary form in ways we haven’t done before.

First I present a model of computational semantics for Shakespeare’s Sonnet 129. This affords us a distinction between (1) the mind/brain cognitive system, (2) the text considered merely as a string of verbal or visual signifiers, and (3) the path one’s attention traces through (1) under constraints imposed by (2). To a first approximation that path is consistent with Derek Attridge’s concept of literary form, which I adapt to Bruno Latour’s distinction between intermediary and mediator. Then we examine the event of Obama’s Eulogy for Clementa Pinckney in light of recent work on synchronized group behavior and neural coordination in groups. A descriptive analysis of Obama’s script reveals that it is a ring-composition; the central section is clearly marked in the audience’s response to Obama’s presentation. I conclude by comparing the Eulogy with Tezuka’s Metropolis and with Conrad’s Heart of Darkness.

Though it might appear that I advocate a scientific approach to literary criticism, that is misleading. I prefer to think of it as speculative engineering. To be sure, engineering, like science, is technical. But engineering is about design and construction, perhaps even Latourian composition. Think of it as reverse-engineering: we’ve got the finished result (a performance, a script) and we examine it to determine how it was made. It is speculative because it must be; our ignorance is too great. The speculative engineer builds a bridge from here to there and only then can we find out if the bridge is able to support sustained investigation.

Double-blind reviewing at EvoLang 11 reveals gender bias

In a new paper in the Journal of Language Evolution, Tessa Verhoef and I analyse reviewer ratings for papers submitted to the EvoLang conference between 2012 and 2016 .  In the most recent conference, we trialed double-blind review for the first time, and we wanted to see if hiding the identity of authors revealed any biases in reviewers' ratings.

We found that:

  • Proportionately few papers are submitted from female first authors.
  • In single-blind review, there was no big difference in average ratings for papers by male or female first authors ...
  • ... but female first-authored papers were rated significantly higher than male first authored papers in the double-blind condition.

There are many possible explanations of these findings, but they are indicative of a bias against female authors.  This fits with a wider literature of gender biases in science.  We suggest that double-blind review is one tool that can help reduce the effects of gender biases, but does not tackle the underlying problem directly.  We were pleased to see better representation of women on the most recent EvoLang talks and plenary speaker list, and look forward to making our field more inclusive.

The paper is available, free and open-access, at the Journal of Language Evolution.  The data and statistical code is also available on github.

Language Evolution and Gaming at Nineworlds

I'll be appearing at Nineworlds convention as part of Stephanie Rennick's panel on "Lessons for Academia from Computer Games".  The idea is to talk about ways in which games have informed our research, and here's some of the things I'll mention:

Minecraft shows us how language evolved
CompletedStructure
How were the very first languages created?  How do you agree on words for things if you don't have a language yet?  The accepted theory is people point at stuff they need and invent a word for it at the same time.  After many rounds of negotiation, people come to a consensus about how to describe things.  We tried to simulate this in Minecraft by getting people to build a little house together, but they could only communicate by knocking on the table.  But what we found was that, if you gave people the ability to point at things, they could do the task perfectly well without inventing a communication system at all.  This was quite surprising, and suggests that language did not originate as a simple way of requesting things, but maybe as a way of referring to stuff that you can't easily point to, like the future or emotions.  More here

A chimp playing a computer game shows us we have flexible brains

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Ayumu is a chimpanzee who plays computer games, and they're REALLY GOOD.  In a game where you have to memorise the location of numbers on a screen, they left human participants in the dust (there's a fun video of this).  The original researchers concluded that there was a genetic difference between us and chimpanzees:  Chimps had evolved better visual memory for hunting, and we evolved better auditory memory for speaking.  However, we wondered if Ayumu could beat experienced gamers.  We set up a 'Chimp Challenge' online where people could play the game.  We found over 60 people who were as good as Ayumu.  This suggests that the difference is also due to our experience - humans have very flexible brains that can get good at a lot of different things. More here.

Computer games can help us learn about linguistic diversity
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Linguists are great at spotting differences between languages, but we don't actually know very much about what differences matter most to people.  We explored "the great language game" - an online game where you have to name the language being spoken in a recording.  Looking at 15 million results, we found that the more different languages were, the easier people could tell them apart.  But we also found that people confused some languages that linguists would consider extremely different, and also that there were differences depending on the languages you know.  We suggest that how you experience a foreign language is linked to you cultural knowledge and beliefs.  We took this one step further by creating an updated version of the game with some very rare languages, which we hope to analyse in the future.  More here.
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I know (1) that you think (2) it’s funny, and you know (3) that I know (4) that, too.

A large part of human humour depends on understanding that the intention of the person telling the joke might be different to what they are actually saying. The person needs to tell the joke so that you understand that they're telling a joke, so they need to to know that you know that they do not intend to convey the meaning they are about to utter... Things get even more complicated when we are telling each other jokes that involve other people having thoughts and beliefs about other people. We call this knowledge nested intentions, or recursive mental attributions. We can already see, based on my complicated description, that this is a serious matter and requires scientific investigation. Fortunately, a recent paper by Dunbar, Launaway and Curry (2015) investigated whether the structure of jokes is restricted by the amount of nested intentions required to understand the joke and they make a couple of interesting predictions on the mental processing that is involved in processing humour, and how these should be reflected in the structure and funniness of jokes. In today’s blogpost I want to discuss the paper's methodology and some of its claims.

Continue reading

EvoLang proceedings now in physical form

The proceedings of the 11th Evolution of Language conference are now available to buy as a physical book.EvoLang11

The book is available through print-on-demand publisher Lulu for £23.72.  This is the lowest price allowed by the site, and will provide EvoLang with £2.81 for each sale.  The book now also has an ISBN: 978-1-326-61450-8.

This book is being made available due to popular demand, but all the papers and abstracts are freely available from the proceedings website, which is the canonical source.  Unfortunately, the costs were too great to publish in colour, so the inside of the book is black and white.

Buy the book now!

Culture, its evolution and anything inbetween