This paper pursues the idea that human and non-human great apes share a common set of directive (imperative) gestures and their meanings. We investigate gestures that are multifunctional, in that they have different effects in different contexts, focusing on non-human ape gestures that communicate “Stop that” in some contexts, and “Move away” in others. What may superficially appear to be lexical ambiguity can be derived from a single abstract lexical entry, “Not X!”, concluded to be a candidate for a universal (...) building block of meaning, shared by human and non-human great apes, reflections of which may also be found in the pragmatic gestures in humans. (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)

Deictic (or pointing) gestures are traditionally known to have a simple function: to supply something as the referent of a demonstrative linguistic expression. I argue that deixis can have a more complex function. A deictic gesture can be used to _say something_ in conversation and can thereby become a full discourse move in its own right. To capture this phenomenon, which I call _rich demonstration_, I present an update semantics on which deictic gestures can indicate situations from a conversation’s context (...) and those situations coherently connect to prior discourse to generate information. (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)

There has been a long debate on whether demonstratives are directly referential as Kaplan originally argued, or indirectly referential like a definite description. I propose a new analysis of demonstratives that combines intuitions from both direct and indirect approaches. The demonstrative is analyzed as an indirectly referential expression with a binary maximality operator that takes two arguments, where the second argument can be a deictic pointing, an anaphoric index, or a relative clause. Direct reference is encoded not in the meaning (...) of the demonstrative but in the meaning contributed by the pointing gesture, thus capturing both direct and indirect uses. I further propose that some pronouns in English function as demonstratives, realizing the binary structure and competing with the demonstrative. The main advantages of this proposal include (a) deriving the distribution of pronominal and adnominal demonstratives systematically; (b) capturing the unique interaction that demonstratives have with a pointing gesture; and (c) locating English demonstratives against a larger, cross-linguistic picture. (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)

Humans communicate with different modalities. We offer an account of multi-modal meaning coordination, taking speech-gesture meaning coordination as a prototypical case. We argue that temporal synchrony (plus prosody) does not determine how to coordinate speech meaning and gesture meaning. Challenging cases are asynchrony and broadcasting cases, which are illustrated with empirical data. We propose that a process algebra account satisfies the desiderata. It models gesture and speech as independent but concurrent processes that can communicate flexibly with each other and exchange (...) the same information more than once. The account utilizes the ψ-calculus, allowing for agents, input-output-channels, concurrent processes, and data transport of typed λ-terms. A multi-modal meaning is produced integrating speech meaning and gesture meaning into one semantic package. Two cases of meaning coordination are handled in some detail: the asynchrony between gesture and speech, and the broadcasting of gesture meaning across several dialogue contributions. This account can be generalized to other cases of multi-modal meaning. (shrink)

In his paper ‘Gesture Projection and Cosuppositions,’ Philippe Schlenker argues that co-verbal gestures convey not at-issue content by default and in particular, that they trigger conditional presuppositions. In this commentary, I take issue with both of these claims. Conditional presuppositions do not supply a systematic means for capturing the semantic contribution of a co-verbal gesture. Some gestures appear to contribute content inside of a negation when their associated speech content is likewise embedded; in other cases, co-verbal gestures arguably contribute unconditional (...) content to the global level. When this happens, we can infer what might look like a conditional presupposition, but this inference follows naturally from general principles already at work in purely verbal discourse and does not justify the claim that gesture content is contributed to a conditional presupposition. Problems exposed in the discussion of conditional presuppositions show that we are not yet in a position to make a general claim about the at-issue status of co-verbal gestures. (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)

Language has a rich typology of inferential types. It was recently shown that subjects are able to divide the informational content of new visual stimuli among the various slots of the inferential typology: when gestures or visual animations are used in lieu of specific words in a sentence, they can trigger the very same inferential types as language alone (Tieu et al., 2019 ). How general are the relevant triggering algorithms? We show that they extend to the auditory modality and (...) to music cognition. We tested whether pro-speech musical gestures, i.e. musical excerpts that replace words in sentences, can give rise to the same inferences. We show that it is possible to replicate the same typology of inferences using pro-speech music. Minimal and complex musical excerpts can behave just like language, gestures, and visual animations with respect to the logical behavior of their content when embedded in sentences. Specifically, we found that pro-speech music can generate scalar implicatures, presuppositions, supplements, and homogeneity inferences. (shrink)