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When you use a metonymy to say “I’ve got a new set of wheels,” why do you refer to a car by means of the wheels rather any other part? Most cognitive linguist would agree that we prefer to talk about parts that are somehow salient, yet the seemingly simple notion of salience is entangled in a number of intricate problems related to how we understand and talk about the surrounding reality. Adopting the theoretic framework of Ronald Langacker’s Cognitive Grammar, this volume studies deep and general cognitive factors governing salience effects that influence the ways we use conceptual metonymies in phonic and sign languages.
Author:
When you use a metonymy to say “I’ve got a new set of wheels,” why do you refer to a car by means of the wheels rather any other part? Most cognitive linguist would agree that we prefer to talk about parts that are somehow salient, yet the seemingly simple notion of salience is entangled in a number of intricate problems related to how we understand and talk about the surrounding reality. Adopting the theoretic framework of Ronald Langacker’s Cognitive Grammar, this volume studies deep and general cognitive factors governing salience effects that influence the ways we use conceptual metonymies in phonic and sign languages.
Abstract
This is the first systematic review that focuses on the influence of product-intrinsic and extrinsic sounds on the chemical senses involving both food and aroma stimuli. This review has a particular focus on all methodological details (stimuli, experimental design, dependent variables, and data analysis techniques) of 95 experiments, published in 83 publications from 2012 to 2023. 329 distinct crossmodal auditory–chemosensory associations were uncovered across this analysis. What is more, instead of relying solely on static figures and tables, we created a first-of-its-kind comprehensive Power BI dashboard (interactive data visualization tool by Microsoft) on methodologies and significant findings, incorporating various filters and visualizations allowing readers to explore statistics for specific subsets of experiments. We believe that this review can be helpful for researchers and practitioners working in the food and beverage industry and beyond these scopes (e.g., cosmetics). Theoretical and practical implications discussed in this article point to computational approaches that facilitate decision-making regarding multisensory experimental methodology design.
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Abstract
A number of recent attempts to explain the apparent contrast between ‘human time’ and ‘physical time’ have appealed to sketch of an ‘Information Gathering and Utilizing System’ (IGUS) as a model for explaining human temporal experience. I argue that they fall foul of William dictum that “[a] succession of feelings, in and of itself, is not a feeling of succession”. Explaining how human beings come to represent time in the first place is a more substantive explanatory task than it is often taken to be.
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Abstract
Buonomano and Rovelli (unpubl. manuscript, ) and Gruber, Block, and Montemayor (Front. Psychol., , 13, art. 718505) grapple with the problem that we experience both a present moment and a flow of time, yet neither of those things seems to be recognised in physics. This paper makes three points about that. The present moment in perception is not the same as the present moment in physics because they occupy radically different time scales, 10–44 s in physics and something in the millisecond range in perception. The information about what is currently being perceived is experienced as in the present not because it is but because it is all labelled with time markers saying that it is the present; there are similar time markers identifying still active historical information as in the past. The flow of time is not generated by actual change over time but by an information structure existing at a single moment of time that represents change over connected time markers. Whether there is an actual present and an actual flow of time in the universe or not, the experienced present and experienced flow of time are perceptual constructs and nothing more.
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Abstract
Efforts continue to determine how many differing forms of time connote reality. These numbers range from the many to the few. The most common integer is two. Here, one represents a property of externality and the other a property of internality, or more colloquially a characteristic of mind. Attempts to weld this dyad into a “grand unified theory of time” are legion. However, since the essentially unquestioned foundational premise, viz the reality of time, is false, all subsequent theorizing, however well-meaning, proves vacuous. The unacceptable alternative is to embrace the delusion of time. However, this assertion of zero-time theory is so repugnant to the deeply entrenched belief in time by living systems that this answer proves unpalatable at best and rejected forthwith in virtually all instances. Explanations of time predicated upon the premises of duality and reality prove intriguing but eventually fruitless paths to pursue.
Abstract
Adults with aging-related hearing loss (ARHL) experience adaptive neural changes to optimize their sensory experiences; for example, enhanced audiovisual (AV) and predictive processing during speech perception. The mismatch negativity (MMN) event-related potential is an index of central auditory processing; however, it has not been explored as an index of AV and predictive processing in adults with ARHL. In a pilot study we examined the AV MMN in two conditions of a passive oddball paradigm — one AV condition in which the visual aspect of the stimulus can predict the auditory percept and one AV control condition in which the visual aspect of the stimulus cannot predict the auditory percept. In adults with ARHL, evoked responses in the AV conditions occurred in the early MMN time window while the older adults with normal hearing showed a later MMN. Findings suggest that adults with ARHL are sensitive to AV incongruity, even when the visual is not predictive of the auditory signal. This suggests that predictive coding for AV speech processing may be heightened in adults with ARHL. This paradigm can be used in future studies to measure treatment related changes, for example via aural rehabilitation, in older adults with ARHL.
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Abstract
Over the course of a century, filmmakers of popular cinema have composed conversations between two characters in several ways. Here, I investigate three. The oldest but initially rare conversational format occurred in silent movies, placing single characters in alternating shots either at midframe or on the same side of the screen. Next, beginning about 1930, movies began to show dyads with the camera looking over the shoulder of one character, and then reversing to show the other over the shoulder of the first. And finally, by the 1950s they increasingly began to place characters in alternating shots on opposite sides of the screen. I assessed the relative frequencies of these three types in over 60,000 shots in 210 movies released from 1915 to 2015. Each of these yoked-shot pairings increased, and by about 1990 they encompassed more than a third of all shots in popular cinema. But their increases were not uniform and their relative prominence has continually changed almost to the present day. A relevant factor is that mean shot durations decreased from the 1960s into the 2000s. Strikingly, once the average shot duration declined to about 5 s by the 1990s, the durations of same-side character pairings became systematically shorter in duration than opposing-side pairings, likely because of constraints of eye movements.
In:
Art & Perception
Abstract
We argue that the problem of the flow of time is a special problem, one unlike many other challenges in reconciling temporal phenomena with time in physics. After clarifying this point, we develop a Humean account of the flow of time according to which the psychological stream of experience explains why we think the world is tensed. On our account, the flow of time is not all inferential, as the invitation to think time flows comes from the deepest aspects of human experience, making it an offer we cannot refuse.
Abstract
Verbal information presented alongside artworks affects how they are judged and experienced, with diverse effects depending on aspects like information type and artistic style. The aim of the present studies was to explore the effect of different types of information (image only, short label, descriptive text, and interpretive text) on a range of responses to abstract expressionist and conceptual artworks, including aesthetic and epistemic emotions, judgments of understanding, and artistic value. Interpretive texts had positive effects on appraised ability to understand, epistemic emotions, and artistic value judgments, while descriptive texts affected aesthetic emotions. Artistic style was only relevant for the effect on epistemic emotions. Additionally, viewing times were shorter for images presented after texts. Overall, results suggest that different types of information might relate to different facets of the aesthetic experience.
In:
Art & Perception
Author:
Abstract
The flawed duality of mind and body leads logically, but fallaciously, to a conception of time divided into the physical and the psychological. The apparent question then becomes how to reconcile the two disparate perspectives and the integration of psychological constructs such as the “now” of the observer into the physis of the outer world. However, since mind is only an emergent property of a specific configuration of matter, so time becomes the inexorable delusion of living systems. The duality of time is thus a spurious inquiry motivated by flawed, but still understandably compelling premise.