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pattern perception

  • 1 восприятие паттерна

    Russian-english psychology dictionary > восприятие паттерна

  • 2 воспринимаемый образ

    Русско-английский медицинский словарь > воспринимаемый образ

  • 3 распознавание образов

    Русско-английский научный словарь > распознавание образов

  • 4 опознавание образов

    Русско-английский словарь по информационным технологиям > опознавание образов

  • 5 распознавание образов

    1. pattern recognition
    2. artificial perception

    Русско-английский большой базовый словарь > распознавание образов

  • 6 поисковый образ

    1. search image
    2. search pattern
    3. searchcase

    Русско-английский большой базовый словарь > поисковый образ

  • 7 Mind

       It becomes, therefore, no inconsiderable part of science... to know the different operations of the mind, to separate them from each other, to class them under their proper heads, and to correct all that seeming disorder in which they lie involved when made the object of reflection and inquiry.... It cannot be doubted that the mind is endowed with several powers and faculties, that these powers are distinct from one another, and that what is really distinct to the immediate perception may be distinguished by reflection and, consequently, that there is a truth and falsehood which lie not beyond the compass of human understanding. (Hume, 1955, p. 22)
       Let us then suppose the mind to be, as we say, white Paper, void of all Characters, without any Ideas: How comes it to be furnished? Whence comes it by that vast store, which the busy and boundless Fancy of Man has painted on it, with an almost endless variety? Whence has it all the materials of Reason and Knowledge? To this I answer, in one word, from Experience. (Locke, quoted in Herrnstein & Boring, 1965, p. 584)
       The kind of logic in mythical thought is as rigorous as that of modern science, and... the difference lies, not in the quality of the intellectual process, but in the nature of things to which it is applied.... Man has always been thinking equally well; the improvement lies, not in an alleged progress of man's mind, but in the discovery of new areas to which it may apply its unchanged and unchanging powers. (Leґvi-Strauss, 1963, p. 230)
       MIND. A mysterious form of matter secreted by the brain. Its chief activity consists in the endeavor to ascertain its own nature, the futility of the attempt being due to the fact that it has nothing but itself to know itself with. (Bierce, quoted in Minsky, 1986, p. 55)
       [Philosophy] understands the foundations of knowledge and it finds these foundations in a study of man-as-knower, of the "mental processes" or the "activity of representation" which make knowledge possible. To know is to represent accurately what is outside the mind, so to understand the possibility and nature of knowledge is to understand the way in which the mind is able to construct such representation.... We owe the notion of a "theory of knowledge" based on an understanding of "mental processes" to the seventeenth century, and especially to Locke. We owe the notion of "the mind" as a separate entity in which "processes" occur to the same period, and especially to Descartes. We owe the notion of philosophy as a tribunal of pure reason, upholding or denying the claims of the rest of culture, to the eighteenth century and especially to Kant, but this Kantian notion presupposed general assent to Lockean notions of mental processes and Cartesian notions of mental substance. (Rorty, 1979, pp. 3-4)
       Under pressure from the computer, the question of mind in relation to machine is becoming a central cultural preoccupation. It is becoming for us what sex was to Victorians-threat, obsession, taboo, and fascination. (Turkle, 1984, p. 313)
       7) Understanding the Mind Remains as Resistant to Neurological as to Cognitive Analyses
       Recent years have been exciting for researchers in the brain and cognitive sciences. Both fields have flourished, each spurred on by methodological and conceptual developments, and although understanding the mechanisms of mind is an objective shared by many workers in these areas, their theories and approaches to the problem are vastly different....
       Early experimental psychologists, such as Wundt and James, were as interested in and knowledgeable about the anatomy and physiology of the nervous system as about the young science of the mind. However, the experimental study of mental processes was short-lived, being eclipsed by the rise of behaviorism early in this century. It was not until the late 1950s that the signs of a new mentalism first appeared in scattered writings of linguists, philosophers, computer enthusiasts, and psychologists.
       In this new incarnation, the science of mind had a specific mission: to challenge and replace behaviorism. In the meantime, brain science had in many ways become allied with a behaviorist approach.... While behaviorism sought to reduce the mind to statements about bodily action, brain science seeks to explain the mind in terms of physiochemical events occurring in the nervous system. These approaches contrast with contemporary cognitive science, which tries to understand the mind as it is, without any reduction, a view sometimes described as functionalism.
       The cognitive revolution is now in place. Cognition is the subject of contemporary psychology. This was achieved with little or no talk of neurons, action potentials, and neurotransmitters. Similarly, neuroscience has risen to an esteemed position among the biological sciences without much talk of cognitive processes. Do the fields need each other?... [Y]es because the problem of understanding the mind, unlike the wouldbe problem solvers, respects no disciplinary boundaries. It remains as resistant to neurological as to cognitive analyses. (LeDoux & Hirst, 1986, pp. 1-2)
       Since the Second World War scientists from different disciplines have turned to the study of the human mind. Computer scientists have tried to emulate its capacity for visual perception. Linguists have struggled with the puzzle of how children acquire language. Ethologists have sought the innate roots of social behaviour. Neurophysiologists have begun to relate the function of nerve cells to complex perceptual and motor processes. Neurologists and neuropsychologists have used the pattern of competence and incompetence of their brain-damaged patients to elucidate the normal workings of the brain. Anthropologists have examined the conceptual structure of cultural practices to advance hypotheses about the basic principles of the mind. These days one meets engineers who work on speech perception, biologists who investigate the mental representation of spatial relations, and physicists who want to understand consciousness. And, of course, psychologists continue to study perception, memory, thought and action.
    ... [W]orkers in many disciplines have converged on a number of central problems and explanatory ideas. They have realized that no single approach is likely to unravel the workings of the mind: it will not give up its secrets to psychology alone; nor is any other isolated discipline-artificial intelligence, linguistics, anthropology, neurophysiology, philosophy-going to have any greater success. (Johnson-Laird, 1988, p. 7)

    Historical dictionary of quotations in cognitive science > Mind

  • 8 Creativity

       Put in this bald way, these aims sound utopian. How utopian they areor rather, how imminent their realization-depends on how broadly or narrowly we interpret the term "creative." If we are willing to regard all human complex problem solving as creative, then-as we will point out-successful programs for problem solving mechanisms that simulate human problem solvers already exist, and a number of their general characteristics are known. If we reserve the term "creative" for activities like discovery of the special theory of relativity or the composition of Beethoven's Seventh Symphony, then no example of a creative mechanism exists at the present time. (Simon, 1979, pp. 144-145)
       Among the questions that can now be given preliminary answers in computational terms are the following: how can ideas from very different sources be spontaneously thought of together? how can two ideas be merged to produce a new structure, which shows the influence of both ancestor ideas without being a mere "cut-and-paste" combination? how can the mind be "primed," so that one will more easily notice serendipitous ideas? why may someone notice-and remember-something fairly uninteresting, if it occurs in an interesting context? how can a brief phrase conjure up an entire melody from memory? and how can we accept two ideas as similar ("love" and "prove" as rhyming, for instance) in respect of a feature not identical in both? The features of connectionist AI models that suggest answers to these questions are their powers of pattern completion, graceful degradation, sensitization, multiple constraint satisfaction, and "best-fit" equilibration.... Here, the important point is that the unconscious, "insightful," associative aspects of creativity can be explained-in outline, at least-by AI methods. (Boden, 1996, p. 273)
       There thus appears to be an underlying similarity in the process involved in creative innovation and social independence, with common traits and postures required for expression of both behaviors. The difference is one of product-literary, musical, artistic, theoretical products on the one hand, opinions on the other-rather than one of process. In both instances the individual must believe that his perceptions are meaningful and valid and be willing to rely upon his own interpretations. He must trust himself sufficiently that even when persons express opinions counter to his own he can proceed on the basis of his own perceptions and convictions. (Coopersmith, 1967, p. 58)
       he average level of ego strength and emotional stability is noticeably higher among creative geniuses than among the general population, though it is possibly lower than among men of comparable intelligence and education who go into administrative and similar positions. High anxiety and excitability appear common (e.g. Priestley, Darwin, Kepler) but full-blown neurosis is quite rare. (Cattell & Butcher, 1970, p. 315)
       he insight that is supposed to be required for such work as discovery turns out to be synonymous with the familiar process of recognition; and other terms commonly used in the discussion of creative work-such terms as "judgment," "creativity," or even "genius"-appear to be wholly dispensable or to be definable, as insight is, in terms of mundane and well-understood concepts. (Simon, 1989, p. 376)
       From the sketch material still in existence, from the condition of the fragments, and from the autographs themselves we can draw definite conclusions about Mozart's creative process. To invent musical ideas he did not need any stimulation; they came to his mind "ready-made" and in polished form. In contrast to Beethoven, who made numerous attempts at shaping his musical ideas until he found the definitive formulation of a theme, Mozart's first inspiration has the stamp of finality. Any Mozart theme has completeness and unity; as a phenomenon it is a Gestalt. (Herzmann, 1964, p. 28)
       Great artists enlarge the limits of one's perception. Looking at the world through the eyes of Rembrandt or Tolstoy makes one able to perceive aspects of truth about the world which one could not have achieved without their aid. Freud believed that science was adaptive because it facilitated mastery of the external world; but was it not the case that many scientific theories, like works of art, also originated in phantasy? Certainly, reading accounts of scientific discovery by men of the calibre of Einstein compelled me to conclude that phantasy was not merely escapist, but a way of reaching new insights concerning the nature of reality. Scientific hypotheses require proof; works of art do not. Both are concerned with creating order, with making sense out of the world and our experience of it. (Storr, 1993, p. xii)
       The importance of self-esteem for creative expression appears to be almost beyond disproof. Without a high regard for himself the individual who is working in the frontiers of his field cannot trust himself to discriminate between the trivial and the significant. Without trust in his own powers the person seeking improved solutions or alternative theories has no basis for distinguishing the significant and profound innovation from the one that is merely different.... An essential component of the creative process, whether it be analysis, synthesis, or the development of a new perspective or more comprehensive theory, is the conviction that one's judgment in interpreting the events is to be trusted. (Coopersmith, 1967, p. 59)
       In the daily stream of thought these four different stages [preparation; incubation; illumination or inspiration; and verification] constantly overlap each other as we explore different problems. An economist reading a Blue Book, a physiologist watching an experiment, or a business man going through his morning's letters, may at the same time be "incubating" on a problem which he proposed to himself a few days ago, be accumulating knowledge in "preparation" for a second problem, and be "verifying" his conclusions to a third problem. Even in exploring the same problem, the mind may be unconsciously incubating on one aspect of it, while it is consciously employed in preparing for or verifying another aspect. (Wallas, 1926, p. 81)
       he basic, bisociative pattern of the creative synthesis [is] the sudden interlocking of two previously unrelated skills, or matrices of thought. (Koestler, 1964, p. 121)
        11) The Earliest Stages in the Creative Process Involve a Commerce with Disorder
       Even to the creator himself, the earliest effort may seem to involve a commerce with disorder. For the creative order, which is an extension of life, is not an elaboration of the established, but a movement beyond the established, or at least a reorganization of it and often of elements not included in it. The first need is therefore to transcend the old order. Before any new order can be defined, the absolute power of the established, the hold upon us of what we know and are, must be broken. New life comes always from outside our world, as we commonly conceive that world. This is the reason why, in order to invent, one must yield to the indeterminate within him, or, more precisely, to certain illdefined impulses which seem to be of the very texture of the ungoverned fullness which John Livingston Lowes calls "the surging chaos of the unexpressed." (Ghiselin, 1985, p. 4)
       New life comes always from outside our world, as we commonly conceive our world. This is the reason why, in order to invent, one must yield to the indeterminate within him, or, more precisely, to certain illdefined impulses which seem to be of the very texture of the ungoverned fullness which John Livingston Lowes calls "the surging chaos of the unexpressed." Chaos and disorder are perhaps the wrong terms for that indeterminate fullness and activity of the inner life. For it is organic, dynamic, full of tension and tendency. What is absent from it, except in the decisive act of creation, is determination, fixity, and commitment to one resolution or another of the whole complex of its tensions. (Ghiselin, 1952, p. 13)
       [P]sychoanalysts have principally been concerned with the content of creative products, and with explaining content in terms of the artist's infantile past. They have paid less attention to examining why the artist chooses his particular activity to express, abreact or sublimate his emotions. In short, they have not made much distinction between art and neurosis; and, since the former is one of the blessings of mankind, whereas the latter is one of the curses, it seems a pity that they should not be better differentiated....
       Psychoanalysis, being fundamentally concerned with drive and motive, might have been expected to throw more light upon what impels the creative person that in fact it has. (Storr, 1993, pp. xvii, 3)
       A number of theoretical approaches were considered. Associative theory, as developed by Mednick (1962), gained some empirical support from the apparent validity of the Remote Associates Test, which was constructed on the basis of the theory.... Koestler's (1964) bisociative theory allows more complexity to mental organization than Mednick's associative theory, and postulates "associative contexts" or "frames of reference." He proposed that normal, non-creative, thought proceeds within particular contexts or frames and that the creative act involves linking together previously unconnected frames.... Simonton (1988) has developed associative notions further and explored the mathematical consequences of chance permutation of ideas....
       Like Koestler, Gruber (1980; Gruber and Davis, 1988) has based his analysis on case studies. He has focused especially on Darwin's development of the theory of evolution. Using piagetian notions, such as assimilation and accommodation, Gruber shows how Darwin's system of ideas changed very slowly over a period of many years. "Moments of insight," in Gruber's analysis, were the culminations of slow long-term processes.... Finally, the information-processing approach, as represented by Simon (1966) and Langley et al. (1987), was considered.... [Simon] points out the importance of good problem representations, both to ensure search is in an appropriate problem space and to aid in developing heuristic evaluations of possible research directions.... The work of Langley et al. (1987) demonstrates how such search processes, realized in computer programs, can indeed discover many basic laws of science from tables of raw data.... Boden (1990a, 1994) has stressed the importance of restructuring the problem space in creative work to develop new genres and paradigms in the arts and sciences. (Gilhooly, 1996, pp. 243-244; emphasis in original)

    Historical dictionary of quotations in cognitive science > Creativity

  • 9 воспринимаемый образ

    1) Medicine: perception pattern
    2) Aviation medicine: perceptual pattern

    Универсальный русско-английский словарь > воспринимаемый образ

  • 10 распознавание образов

    3) Mathematics: automatical recognition
    4) Electronics: parent identification
    6) Astronautics: character recognition
    8) Security: image recognition

    Универсальный русско-английский словарь > распознавание образов

  • 11 характер восприятия

    1) Medicine: perception pattern
    2) Aviation medicine: perceptual pattern

    Универсальный русско-английский словарь > характер восприятия

  • 12 стиль восприятия

    1) General subject: pattern of perception
    2) Aviation medicine: perceptual style

    Универсальный русско-английский словарь > стиль восприятия

  • 13 रूपम् _rūpam

    रूपम् [रूप् क भावे अच् वा Uṇ.3.28]
    1 Form, figure, appearance; विरूपं रूपवन्तं वा पुमानित्येव भुञ्जते Pt.1.143; so सुरूप, कुरूप &c.
    -2 Form or the quality of colour (one of the 24 guṇas of the Vaiśeṣikas); चर्क्षुर्मात्रग्राह्यजातिमान् गुणो रूपम् Tarka K; (it is of six kinds:-- शुक्ल, कृष्ण, पीत, रक्त, हरित, कपिल, or of seven, if चित्र be added).
    -3 Any visible object or thing.
    -4 A handsome form or figure, beautiful form, beauty, elegance, grace; मानुषीषु कथं वा स्यादस्य रूपस्य संभवः Ś.1.25; विद्या नाम नरस्य रूपमधिकम् Bh.2.2; रूपं जरा हन्ति &c.
    -5 Natural state or condi- tion, nature, property, characteristic, essence; circum- stances (opp. to 'time' and 'place'); देशं रूपं च कालं च व्यवहारविधौ स्थितः Ms.8.45.
    -6 Mode, manner.
    -7 A sign, feature.
    -8 Kind, sort, species.
    -9 An image, a reflected image.
    -1 Similitude, resemblance.
    -11 Speci- men, type, pattern.
    -12 An inflected form, the form of a noun or a verb derived from inflection (declension or conjugation).
    -13 The number one, an arithmetical unit.
    -14 An integer.
    -15 A drama, play; see रूपक.
    -16 Acquiring familiarity with any book by learning it by heart or by frequent recitation.
    -17 Cattle.
    -18 A sound, a word.
    -19 A known quantity.
    -2 A beast.
    -21 A verse.
    -22 A name.
    -23 The white colour.
    -24 A particular coin (as a rupee); कस्यचिद् गृहे चोरयित्वा रूपाभिग्राहितो बद्धः Dk.2.4.
    -25 Silver; मसारगल्वर्कसुवर्णरूपैः Mb.7.16.54. (रूप is fre- quently used at the end of comp. in the sense of 'for- med or composed of', 'consisting of', 'in the form of', 'namely'; having the appearance or colour of', तपो- रूपं धनम्; धर्मरूपः सखा &c.). -m.
    -पः a deer.
    -Comp. -अधिबोधः the perception of form or colour of any object by the senses.
    -अक्षिग्राहित a. caught in the act, caught red-handed.
    -अस्त्रः Cupid.
    -आजीवा, -जीवना a harlot, prostitute, courtezan; रूपाजीवाश्च वादिन्यो वणिजश्च महाधनाः Rām; रूपाजीवाः स्नानप्रघर्षशुद्धशरीराः Kau. A.1.2.
    -आवली a list or series of variations of grammatical forms.
    -आश्रय a. exceedingly beautiful; त्वष्टा रूपाश्रयं रथम् Bhāg.4.15.17.
    -इन्द्रियम् the organ which per- ceives form and colour, the eye.
    -उच्चयः a collection of lovely forms; रूपोच्चयेन मनसा विधिना कृता नु Ś.2.1.
    -उपजीवनम् the gaining a livelihood by a beautiful form; रङ्गावतरणं चैव तथा रूपोपजीवनम् Mb.12.294.5. (com. रूपोपजीवनं जलमण्डपिकेति दाक्षिणात्येषु प्रसिद्धम् । यत्र सूक्ष्म- वस्त्रं व्यवधाय चर्ममयैराकारै राजामात्यादीनां चर्या प्रदर्श्यते).
    -कारः, -कृत् m. a sculptor; रूपकारो$पि शस्त्रेण क्रीडयैवोल्लिलेख ताम् Ks.37.8.9.
    -गुणः the quality of colour; वायोरपि विकुर्वाणाद्विरोचिष्णु तमोनुदम् । ज्योतिरुत्पद्यते भास्वत्तद्रूपगुणमुच्यते Ms.1.77.
    -ग्रहः the eye.
    -ज्ञ a. perceiving forms, dis- tinguishing visible objects; त्वं तु प्रत्यक्षदर्शी च रूपज्ञश्च महा- भुजः Mb.14.6.2.
    -तत्त्वम् inherent property, essence.
    -तर्कः an assay-master or inspector of mint (?).
    -धर a. of the form of, disguised as; जुगोप गोरूपधरामिवोर्वीम् R.2.3.
    -धारिन् 1 having a form or shape.
    -2 Pos- sessed of beauty, lovely. (-m.) an actor.
    -ध्येयम् beuaty.
    -नाशनः an owl.
    -परिकल्पना the assuming of a shape; Rām.
    -भागानुबन्धः the addition of a fraction to a unit.
    -भागापवादः the subtraction of a fraction from a unit.
    -भेदः (in gram.) diversity of phonetic form or sound.
    -लावण्यम् exquisiteness of form, elegance.
    -विपर्ययः disfigurement, morbid change of bodily form.
    -विभागः the dividing of an integer number into fractions.
    -शालिन् a. beautiful.
    -संपद्, -संपत्तिः f. perfection or excellence of form, richness of beauty, superb beauty; उदपादि चास्या रूपसंपदा आविर्भूतविस्मयस्य तस्य मनसि K.

    Sanskrit-English dictionary > रूपम् _rūpam

  • 14 Language

       Philosophy is written in that great book, the universe, which is always open, right before our eyes. But one cannot understand this book without first learning to understand the language and to know the characters in which it is written. It is written in the language of mathematics, and the characters are triangles, circles, and other figures. Without these, one cannot understand a single word of it, and just wanders in a dark labyrinth. (Galileo, 1990, p. 232)
       It never happens that it [a nonhuman animal] arranges its speech in various ways in order to reply appropriately to everything that may be said in its presence, as even the lowest type of man can do. (Descartes, 1970a, p. 116)
       It is a very remarkable fact that there are none so depraved and stupid, without even excepting idiots, that they cannot arrange different words together, forming of them a statement by which they make known their thoughts; while, on the other hand, there is no other animal, however perfect and fortunately circumstanced it may be, which can do the same. (Descartes, 1967, p. 116)
       Human beings do not live in the object world alone, nor alone in the world of social activity as ordinarily understood, but are very much at the mercy of the particular language which has become the medium of expression for their society. It is quite an illusion to imagine that one adjusts to reality essentially without the use of language and that language is merely an incidental means of solving specific problems of communication or reflection. The fact of the matter is that the "real world" is to a large extent unconsciously built on the language habits of the group.... We see and hear and otherwise experience very largely as we do because the language habits of our community predispose certain choices of interpretation. (Sapir, 1921, p. 75)
       It powerfully conditions all our thinking about social problems and processes.... No two languages are ever sufficiently similar to be considered as representing the same social reality. The worlds in which different societies live are distinct worlds, not merely the same worlds with different labels attached. (Sapir, 1985, p. 162)
       [A list of language games, not meant to be exhaustive:]
       Giving orders, and obeying them- Describing the appearance of an object, or giving its measurements- Constructing an object from a description (a drawing)Reporting an eventSpeculating about an eventForming and testing a hypothesisPresenting the results of an experiment in tables and diagramsMaking up a story; and reading itPlay actingSinging catchesGuessing riddlesMaking a joke; and telling it
       Solving a problem in practical arithmeticTranslating from one language into another
       LANGUAGE Asking, thanking, cursing, greeting, and praying-. (Wittgenstein, 1953, Pt. I, No. 23, pp. 11 e-12 e)
       We dissect nature along lines laid down by our native languages.... The world is presented in a kaleidoscopic flux of impressions which has to be organized by our minds-and this means largely by the linguistic systems in our minds.... No individual is free to describe nature with absolute impartiality but is constrained to certain modes of interpretation even while he thinks himself most free. (Whorf, 1956, pp. 153, 213-214)
       We dissect nature along the lines laid down by our native languages.
       The categories and types that we isolate from the world of phenomena we do not find there because they stare every observer in the face; on the contrary, the world is presented in a kaleidoscopic flux of impressions which has to be organized by our minds-and this means largely by the linguistic systems in our minds.... We are thus introduced to a new principle of relativity, which holds that all observers are not led by the same physical evidence to the same picture of the universe, unless their linguistic backgrounds are similar or can in some way be calibrated. (Whorf, 1956, pp. 213-214)
       9) The Forms of a Person's Thoughts Are Controlled by Unperceived Patterns of His Own Language
       The forms of a person's thoughts are controlled by inexorable laws of pattern of which he is unconscious. These patterns are the unperceived intricate systematizations of his own language-shown readily enough by a candid comparison and contrast with other languages, especially those of a different linguistic family. (Whorf, 1956, p. 252)
       It has come to be commonly held that many utterances which look like statements are either not intended at all, or only intended in part, to record or impart straightforward information about the facts.... Many traditional philosophical perplexities have arisen through a mistake-the mistake of taking as straightforward statements of fact utterances which are either (in interesting non-grammatical ways) nonsensical or else intended as something quite different. (Austin, 1962, pp. 2-3)
       In general, one might define a complex of semantic components connected by logical constants as a concept. The dictionary of a language is then a system of concepts in which a phonological form and certain syntactic and morphological characteristics are assigned to each concept. This system of concepts is structured by several types of relations. It is supplemented, furthermore, by redundancy or implicational rules..., representing general properties of the whole system of concepts.... At least a relevant part of these general rules is not bound to particular languages, but represents presumably universal structures of natural languages. They are not learned, but are rather a part of the human ability to acquire an arbitrary natural language. (Bierwisch, 1970, pp. 171-172)
       In studying the evolution of mind, we cannot guess to what extent there are physically possible alternatives to, say, transformational generative grammar, for an organism meeting certain other physical conditions characteristic of humans. Conceivably, there are none-or very few-in which case talk about evolution of the language capacity is beside the point. (Chomsky, 1972, p. 98)
       [It is] truth value rather than syntactic well-formedness that chiefly governs explicit verbal reinforcement by parents-which renders mildly paradoxical the fact that the usual product of such a training schedule is an adult whose speech is highly grammatical but not notably truthful. (R. O. Brown, 1973, p. 330)
       he conceptual base is responsible for formally representing the concepts underlying an utterance.... A given word in a language may or may not have one or more concepts underlying it.... On the sentential level, the utterances of a given language are encoded within a syntactic structure of that language. The basic construction of the sentential level is the sentence.
       The next highest level... is the conceptual level. We call the basic construction of this level the conceptualization. A conceptualization consists of concepts and certain relations among those concepts. We can consider that both levels exist at the same point in time and that for any unit on one level, some corresponding realizate exists on the other level. This realizate may be null or extremely complex.... Conceptualizations may relate to other conceptualizations by nesting or other specified relationships. (Schank, 1973, pp. 191-192)
       The mathematics of multi-dimensional interactive spaces and lattices, the projection of "computer behavior" on to possible models of cerebral functions, the theoretical and mechanical investigation of artificial intelligence, are producing a stream of sophisticated, often suggestive ideas.
       But it is, I believe, fair to say that nothing put forward until now in either theoretic design or mechanical mimicry comes even remotely in reach of the most rudimentary linguistic realities. (Steiner, 1975, p. 284)
       The step from the simple tool to the master tool, a tool to make tools (what we would now call a machine tool), seems to me indeed to parallel the final step to human language, which I call reconstitution. It expresses in a practical and social context the same understanding of hierarchy, and shows the same analysis by function as a basis for synthesis. (Bronowski, 1977, pp. 127-128)
        t is the language donn eґ in which we conduct our lives.... We have no other. And the danger is that formal linguistic models, in their loosely argued analogy with the axiomatic structure of the mathematical sciences, may block perception.... It is quite conceivable that, in language, continuous induction from simple, elemental units to more complex, realistic forms is not justified. The extent and formal "undecidability" of context-and every linguistic particle above the level of the phoneme is context-bound-may make it impossible, except in the most abstract, meta-linguistic sense, to pass from "pro-verbs," "kernals," or "deep deep structures" to actual speech. (Steiner, 1975, pp. 111-113)
       A higher-level formal language is an abstract machine. (Weizenbaum, 1976, p. 113)
       Jakobson sees metaphor and metonymy as the characteristic modes of binarily opposed polarities which between them underpin the two-fold process of selection and combination by which linguistic signs are formed.... Thus messages are constructed, as Saussure said, by a combination of a "horizontal" movement, which combines words together, and a "vertical" movement, which selects the particular words from the available inventory or "inner storehouse" of the language. The combinative (or syntagmatic) process manifests itself in contiguity (one word being placed next to another) and its mode is metonymic. The selective (or associative) process manifests itself in similarity (one word or concept being "like" another) and its mode is metaphoric. The "opposition" of metaphor and metonymy therefore may be said to represent in effect the essence of the total opposition between the synchronic mode of language (its immediate, coexistent, "vertical" relationships) and its diachronic mode (its sequential, successive, lineal progressive relationships). (Hawkes, 1977, pp. 77-78)
       It is striking that the layered structure that man has given to language constantly reappears in his analyses of nature. (Bronowski, 1977, p. 121)
       First, [an ideal intertheoretic reduction] provides us with a set of rules"correspondence rules" or "bridge laws," as the standard vernacular has it-which effect a mapping of the terms of the old theory (T o) onto a subset of the expressions of the new or reducing theory (T n). These rules guide the application of those selected expressions of T n in the following way: we are free to make singular applications of their correspondencerule doppelgangers in T o....
       Second, and equally important, a successful reduction ideally has the outcome that, under the term mapping effected by the correspondence rules, the central principles of T o (those of semantic and systematic importance) are mapped onto general sentences of T n that are theorems of Tn. (P. Churchland, 1979, p. 81)
       If non-linguistic factors must be included in grammar: beliefs, attitudes, etc. [this would] amount to a rejection of the initial idealization of language as an object of study. A priori such a move cannot be ruled out, but it must be empirically motivated. If it proves to be correct, I would conclude that language is a chaos that is not worth studying.... Note that the question is not whether beliefs or attitudes, and so on, play a role in linguistic behavior and linguistic judgments... [but rather] whether distinct cognitive structures can be identified, which interact in the real use of language and linguistic judgments, the grammatical system being one of these. (Chomsky, 1979, pp. 140, 152-153)
        23) Language Is Inevitably Influenced by Specific Contexts of Human Interaction
       Language cannot be studied in isolation from the investigation of "rationality." It cannot afford to neglect our everyday assumptions concerning the total behavior of a reasonable person.... An integrational linguistics must recognize that human beings inhabit a communicational space which is not neatly compartmentalized into language and nonlanguage.... It renounces in advance the possibility of setting up systems of forms and meanings which will "account for" a central core of linguistic behavior irrespective of the situation and communicational purposes involved. (Harris, 1981, p. 165)
       By innate [linguistic knowledge], Chomsky simply means "genetically programmed." He does not literally think that children are born with language in their heads ready to be spoken. He merely claims that a "blueprint is there, which is brought into use when the child reaches a certain point in her general development. With the help of this blueprint, she analyzes the language she hears around her more readily than she would if she were totally unprepared for the strange gabbling sounds which emerge from human mouths. (Aitchison, 1987, p. 31)
       Looking at ourselves from the computer viewpoint, we cannot avoid seeing that natural language is our most important "programming language." This means that a vast portion of our knowledge and activity is, for us, best communicated and understood in our natural language.... One could say that natural language was our first great original artifact and, since, as we increasingly realize, languages are machines, so natural language, with our brains to run it, was our primal invention of the universal computer. One could say this except for the sneaking suspicion that language isn't something we invented but something we became, not something we constructed but something in which we created, and recreated, ourselves. (Leiber, 1991, p. 8)

    Historical dictionary of quotations in cognitive science > Language

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