We discuss external and internal graphical and linguistic representational systems. We argue that a cognitive theory of peoples' reasoning performance must account for (a) the logical equivalence of inferences expressed in graphical and linguistic form, and (b) the implementational differences that affect facility of inference. Our theory proposes that graphical representation limit abstraction and thereby aid “processibility”. We discuss the ideas of specificity and abstraction, and their cognitive relevance. Empirical support both comes from tasks which involve the manipulation of external (...) graphics and tasks that do not. For the former, we take Euler's (1772) circles, provide a novel computational reconstruction, show how it captures abstractions, and contrast it with earlier construals and with Johnson‐Laird's (1983) mental models representations. We demonstrate equivalence of the graphical Euler system, and the nongraphical mental models system. For tasks not involving manipulation of external graphics, we discuss text comprehension, and the mental performance of syllogisms. By positing an internal system with the same specificity as Euler's circles, we cover the mental models data, and generate new empirical predictions. Finally, we consider how the architecture of working memory explains why such specific representations are relatively easy to store. (shrink)

In this original and provocative account of the evolutionary origins of human communication, Michael Tomasello connects the fundamentally cooperative structure of human communication (initially discovered by Paul Grice) to the especially ...

This experiment investigated the effect of format (line vs. bar), viewers’ familiarity with variables, and viewers’ graphicacy (graphical literacy) skills on the comprehension of multivariate (three variable) data presented in graphs. Fifty-five undergraduates provided written descriptions of data for a set of 14 line or bar graphs, half of which depicted variables familiar to the population and half of which depicted variables unfamiliar to the population. Participants then took a test of graphicacy skills. As predicted, the format influenced viewers’ interpretations (...) of data. Specifically, viewers were more likely to describe x–y interactions when viewing line graphs than when viewing bar graphs, and they were more likely to describe main effects and “z–y” (the variable in the legend) interactions when viewing bar graphs than when viewing line graphs. Familiarity of data presented and individuals’ graphicacy skills interacted with the influence of graph format. Specifically, viewers were most likely to generate inferences only when they had high graphicacy skills, the data were familiar and thus the information inferred was expected, and the format supported those inferences. Implications for multivariate data display are discussed. (shrink)

In Gesture and Thought he brings together years of this research, arguing that gesturing, an act which has been popularly understood as an accessory to speech, ...

The objective of this essay is to provide the beginning of a principled classification of some of the ways space is intelligently used. Studies of planning have typically focused on the temporal ordering of action, leaving as unaddressed questions of where to lay down instruments, ingredients, work-in-progress, and the like. But, in having a body, we are spatially located creatures: we must always be facing some direction, have only certain objects in view, be within reach of certain others. How we (...) manage the spatial arrangement of items around us is not an afterthought: it is an integral part of the way we think, plan, and behave. The proposed classification has three main categories: spatial arrangements that simplify choice; spatial arrangements that simplify perception; and spatial dynamics that simplify internal computation. The data for such a classification is drawn from videos of cooking, assembly and packing, everyday observations in supermarkets, workshops and playrooms, and experimental studies of subjects playing Tetris, the computer game. This study, therefore, focuses on interactive processes in the medium and short term: on how agents set up their workplace for particular tasks, and how they continuously manage that workplace. (shrink)

The now-classic Metaphors We Live By changed our understanding of metaphor and its role in language and the mind. Metaphor, the authors explain, is a fundamental mechanism of mind, one that allows us to use what we know about our physical and social experience to provide understanding of countless other subjects. Because such metaphors structure our most basic understandings of our experience, they are "metaphors we live by"--metaphors that can shape our perceptions and actions without our ever noticing them. In (...) this updated edition of Lakoff and Johnson's influential book, the authors supply an afterword surveying how their theory of metaphor has developed within the cognitive sciences to become central to the contemporary understanding of how we think and how we express our thoughts in language. (shrink)

Mimesis as Make-Believe is important reading for everyone interested in the workings of representational art.

Maps, notes, descriptions, diagrams, flowcharts, photographs, paintings, and prints, all, in one way or another, manage to be about things or stand for them. This article looks at three ways in which philosophers have explained the way that pictures represent the world. It starts by describing some leading perceptual accounts and then surveys contemporary content and structural alternatives.

Ancient Greek mathematics developed the original feature of being deductive mathematics. This article attempts to give a explanation f or this achievement. The focus is on the use of a fixed system of linguistic formulae in Greek mathematical texts. It is shown that the structure of this system was especially adapted for the easy computation of operations of substitution on such formulae, that is, of replacing one element in a fixed formula by another, and it is further argued that such (...) operations of substitution were the main logical tool required by Greek mathematical deduction. The conclusion explains why, assuming the validity of the description above, this historical level is the best explanatory level for the phenomenon of Greek mathematical deduction. (shrink)

Since its publication fifty years ago, this work has established itself as a classic. It casts the visual process in psychological terms and describes the creative way one's eye organizes visual material according to specific psychological premises. In 1974 this book was revised and expanded, and since then it has continued to burnish Rudolf Arnheim's reputation as a groundbreaking theoretician in the fields of art and psychology.

Barbara Stafford is at the forefront of a growing movement that calls for the humanities to confront the brain’s material realities. In Echo Objects she argues that humanists should seize upon the exciting neuroscientific discoveries that are illuminating the underpinnings of cultural objects. In turn, she contends, brain scientists could enrich their investigations of mental activity by incorporating phenomenological considerations—particularly the intricate ways that images focus intentional behavior and allow us to feel thought. This, then, is a book for both (...) sides of the aisle, a stunningly broad exploration of how complex images—or patterns that compress space and time—make visible the invisible ordering of human consciousness. Stafford demonstrates, for example, how the compound formats of emblems, symbols, collage, and electronic media reveal the brain’s grappling to construct mental objects that are redoubled by prior associations. On the other hand, she compellingly shows that findings in evolutionary biology and the neurosciences are providing profound opportunities for understanding aesthetic conundrums as old and deep-seated as the human urge to imitate, the mapping of inner space, and the role of narrative and nonnarrative representation. As precise in her discussions of firing neurons as she is about the coordinating dynamics of image making, Stafford locates these major transdisciplinary issues at the intersection of art, science, philosophy, and technology. Ultimately, she makes an impassioned plea for a common purpose—for the acknowledgement that, at the most basic level, these separate projects belong to a single investigation. (shrink)

The A.W. Mellon lectures in the fine arts 1956, National Gallery of Art, Washington.

The current investigations coordinate math cognition and cultural approaches to numeric thinking to examine the linkages between numeric and spatial processes, and how these linkages are modified by the cultural artifact of writing. Previous research in the adult numeric cognition literature has shown that English monoliterates have a spatialised mental number line which is oriented from left-to-right with smaller magnitudes associated with the left side of space and larger magnitudes are associated with the right side of space. These associations between (...) number and space have been termed the Spatial Numeric Association Response Code Effect. The current study investigates the spatial orientation of the mental number line in the following groups: English monoliterates, Arabic monoliterates who use only the right-left writing system, Arabic-English biliterates, and illiterate Arabic speakers who only read numerals. Current results indicate, for the first time, a Reverse SNARC effect for Arabic monoliterates, such that the mental number line had a right-to-left directionality. Furthermore, a weakened Reverse SNARC was observed for Arabic-English biliterates, and no effect was observed among Illiterate Arabic speakers. These findings are especially notable since left-right biases are neurologically supported and are observed in pre-literate children regardless of which writing system is used by adults. The broader implications of how cultural artifacts affect basic numeric cognition will be discussed. (shrink)

This article reports the results of an experiment involving 108 college students with varying backgrounds in biology. Subjects answered questions about the evolutionary history of sets of hominid and equine taxa. Each set of taxa was presented in one of three diagrammatic formats: a noncladogenic diagram found in a contemporary biology textbook or a cladogram in either the ladder or tree format. As predicted, the textbook diagrams, which contained linear components, were more likely than the cladogram formats to yield explanations (...) of speciation as an anagenic process, a common misconception among students. In contrast, the branching cladogram formats yielded more appropriate explanations concerning levels of ancestry than did the textbook diagrams. Although students with stronger backgrounds in biology did better than those with weaker biology backgrounds, they generally showed the same effects of diagrammatic format. Implications of these results for evolution education and for diagram design more generally are discussed. (shrink)

We discuss external and internal graphical and linguistic representational systems. We argue that a cognitive theory of peoples' reasoning performance must account for (a) the logical equivalence of inferences expressed in graphical and linguistic form; and (b) the implementational differences that affect facility of inference. Our theory proposes that graphical representations limit abstraction and thereby aid processibility. We discuss the ideas of specificity and abstraction, and their cognitive relevance. Empirical support comes from tasks (i) involving and (ii) not involving the (...) manipulation of external graphics. For (i), we take Euler's Circles, provide a novel computational reconstruction, show how it captures abstractions, and contrast it with earlier construals, and with Mental Models' representations. We demonstrate equivalence of the graphical Euler system, and the non-graphical Mental Models system. For (ii), we discuss text comprehension, and the mental performance of syllogisms. By positing an internal system with the same specificity as Euler's Circles we cover the Mental Models data, and generate new empirical predictions. Finally, we consider how the architecture of working memory explains why such specific representations are relatively easy to store. (shrink)

Rudolf Arnheim has been known, since the publication of his groundbreaking _Art and Visual Perception_ in 1974, as an authority on the psychological interpretation of the visual arts. Two anniversary volumes celebrate the landmark anniversaries of his works in 2009. In _The Power of the Center_, Arnheim uses a wealth of examples to consider the factors that determine the overall organization of visual form in works of painting, sculpture, and architecture. _The Dynamics of Architectural Form_ explores the unexpected perceptual consequences (...) of architecture with Arnheim's customary clarity and precision. (shrink)

Much of the cognitive lies beyond articulate, discursive thought, beyond the reach of current computational notions. In Sketches of Thought, Vinod Goel argues that the cognitive computational conception of the world requires our thought processes to be precise, rigid, discrete, and unambiguous; yet there are dense, ambiguous, and amorphous symbol systems, like sketching, painting, and poetry, found in the arts and much of everyday discourse that have an important, non-trivial place in cognition. Goel maintains that while on occasion our thoughts (...) do conform to the current computational theory of mind, they often are - indeed must be - vague, fluid, ambiguous, and amorphous. He argues that if cognitive science takes the classical computational story seriously, it must deny or ignore these processes, or at least relegate them to the realm of the nonmental. Along the way, Goel makes a number of significant and controversial interim points. He shows that there is a principled distinction between design and nondesign problems, that there are standard stages in the solution of design problems, that these stages correlate with the use of different types of external symbol systems, that these symbol systems are usefully individuated in Nelson Goodman's syntactic and semantic terms, and that different cognitive processes are facilitated by different types of symbol systems. (shrink)

Rudolf Arnheim has been known, since the publication of his groundbreaking _Art and Visual Perception_ in 1974, as an authority on the psychologicalinterpretation of the visual arts. Two anniversary volumes celebrate the landmark anniversaries of his works in 2009. In _The Power of the Center_, Arnheim uses a wealth of examples to consider the actors that determine the overall organization of visual form in works of painting, sculpture, and architecture. _The Dynamics of Architectural Form_ explores the unexpected perceptual consequences of (...) architecture with Arnheim's customary clarity and precision. (shrink)

Mechanical systems have structural organizations—parts, and their relations—and functional organizations—temporal, dynamic, and causal processes—which can be explained using text or diagrams. Two experiments illustrate the role of arrows in diagrams of mechanical systems. In Experiment 1, people described diagrams with or without arrows, interpreting diagrams without arrows as conveying structural information and diagrams with arrows as conveying functional information. In Experiment 2, people produced sketches of mechanical systems from structural or functional descriptions. People spontaneously used arrows to indicate functional processes (...) in diagrams. Arrows can play a powerful role in augmenting structural diagrams to convey dynamic, causal, or functional information. (shrink)

Three experiments investigated whether the similarity of relational structures influences the interpretation of spatial representations. Adults were shown diagrams of hand gestures paired with simple statements and asked to judge the meaning of new gestures. In Experiment 1 the gestures were paired with active declarative statements. In Experiment 2, the gestures were paired with conjunctive and disjunctive relations. Experiment 3 used statements similar to those used in Experiment 1, but eliminated the initial object‐to‐object mapping provided in Experiments 1 and 2. (...) In all three experiments, most participants chose an interpretation that set up a parallel relational structure between the gesture and its meaning: spatial elements were paired with conceptual elements and spatial relations were paired with conceptual relations. These results are consistent with the hypothesis that similarity of relational structures influences spatial reasoning, and have implications for analogical reasoning, diagrammatic reasoning, and language processing. (shrink)