The Influence of Shared Visual Context on the Successful Emergence of Conventions in a Referential Communication Task

Human communication is thoroughly context bound. We present two experiments investigating the importance of the shared context, that is, the amount of knowledge two interlocutors have in common, for the successful emergence and use of novel conventions. Using a referential communication task where black‐and‐white pictorial symbols are used to convey colors, pairs of participants build shared conventions peculiar to their dyad without experimenter feedback, relying purely on ostensive‐inferential communication. Both experiments demonstrate that access to the visual context promotes more successful communication. Importantly, success improves cumulatively, supporting the view that pairs establish conventional ways of using the symbols to communicate. Furthermore, Experiment 2 suggests that dyads with access to the visual context successfully adapt the conventions built for one color space to another color space, unlike dyads lacking it. In linking experimental pragmatics with language evolution, the study illustrates the benefits of exploring the emergence of linguistic conventions using an ostensive‐inferential model of communication.     

陈莲笙道长生平

陈莲笙道长生于1917年10月25日,上海市人.历任中国道教协会副会长,中国道教协会顾问,上海市道教协会会长.上海市道教协会名誉会长,上海城隍庙住持,上海道学院院长,<上海道教>杂志主编,上海市宗教学会理事,上海市政协第七届委员,上海市政协第八、九届常委等职.     

The Creativity Matrix: Spotlights and Blind Spots in Our Understanding of the Phenomenon

In this paper, we organize past and present theories and models of creativity by using a new conceptual framework—the creativity matrix—with the aim of highlighting the dimensions of creativity we know a lot about and those we tend to either ignore or find difficult to study. This matrix is formed by bringing together a developmental model of creativity (the 4 C's) and a structural one (the 5 A's). We start by briefly describing these two conceptual frameworks, and then, we proceed to exploring the matrix itself by describing how the 5 A's are dynamically organized at each “level” of the 4 C's. Importantly, our overview of the matrix is informed by existing models and concepts that address one of more of the C's and the A's. This gives us a unique opportunity to take stock of what has been studied so far and, toward the end, consider new avenues for the development of theory and research agendas within creativity studies.     

Binocular cues in the perception of distance of a point source of light

The ability to make egocentric distance estimates of a single point source of light, seen in darkness and without the cues of changing size and luminance, was investigated in sixteen observers. The attenuation required to maintain constant luminance, when the target was viewed from different distances, was shown to follow the inverse square law providing the angle subtended by the light was less than 20 s arc. Distance changes were also simulated by means of a split mirror which produced vergence cues, or by test lenses to provide accommodation cues. Over the range 0.5 to 9.2 m distance estimates were surprisingly accurate, although there was some overestimation of near and underestimation of far distances. Most observers made good judgements when only convergence cues were varied, whereas no observers made consistently good judgements when only accommodation cues were varied. The difficulties are discussed in terms of the accommodation-convergence link. When distance was simulated by changing convergence and accommodation cues, estimates were not as good as when real distance was changed. Since good estimates were made with brief target exposures, these judgements were not based on subsequent convergence or accommodation changes. It is suggested that the metric or reference against which the apparently absolute judgements were made was the efferent demand signal associated with a 'resting' position of convergence in darkness.