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Meanings without words: a study of pictures, mental sensory images and other forms of distinctively sensory representation

没有文字的意义：对图片、心理感官图像和其他形式的独特感官表征的研究

基本信息

批准号：
AH/H036857/1
负责人：
Dominic Gregory
金额：
$ 7.53万
依托单位：
University of Sheffield
依托单位国家：
英国
项目类别：
Fellowship
财政年份：
2010
资助国家：
英国
起止时间：
2010 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FH036857%2F1
关键词：
Meanings without words study pictures

项目摘要

Researchers who study types of representations generally distinguish between, on the one hand, their contents - roughly, the information which the representations provide to those who understand them - and, on the other, the ways in which the representations express their contents. So, for example, a written sentence comes to express its content by virtue of certain complex facts involving visible features of the inscription. But a spoken version of the sentence comes to express the very same content by virtue of certain complex facts involving audible properties of the utterance.We constantly interact with external representations which represent things in a distinctively sensory way, by showing how things look or sound or ...; just consider pictures, televisual images and many playbacks of audio recordings. Similarly, very many of our inner mental episodes revolve around mental sensory images, which also show us how things look or sound or ...; our memories often involve visual and auditory imagery, for example. Researchers have expended an enormous amount of effort on attempting to understand the nature of the contents which are expressed using language yet, despite their obvious prevalence, they haven't expended nearly the same amount of effort on trying to get clear about the contents of distinctively sensory representations. It is natural to suspect that pictures and the rest have something fundamental in common - they are, after all, alike in showing us how things look or sound or ... One might attempt to substantiate that suspicion by looking for resemblances in the ways in which distinctively sensory representations express their contents. (Many psychologists have argued that pictures and visual images express their contents in the same broad sort of way, for example.) This is not the obvious way to proceed, however; on the face of it, there is no single way in which, say, pictures and mental auditory images express their contents.Yet that does not mean that we cannot make sense of the idea that all distinctively sensory representations are crucially similar. For perhaps their similarity derives from the especially sensory nature of their contents, rather than from resemblances in how the representations express their contents. My proposed research involves the elaboration and application of a detailed account of the contents which belong to distinctively sensory representations, an account which fully justifies that last thought. The resulting framework can be used to explain the important properties which are shared by distinctively sensory representations as a whole.But the account may also be used to shed light upon the properties of specific groups of distinctively sensory representations. It can help us to understand more fully the representational importance of some of the technical devices which painters employ, for example, and to appreciate better the very basic differences which result from major variations between pictorial styles. The framework also sheds light upon empirical questions concerning mental visual imagery, by showing how many of the pieces of experimental data that have been gathered by psychologists in relation to visualisation can be explained in terms of the optical nature of the contents which belong to mental visual images. More broadly, my proposed research provides a range of ideas which illuminate one of the most significant human phenomena - our ability to produce and interpret items that are 'about' things - by clarifying the precise nature of the contents which figure in one of that phenomenon's most widespread manifestations, and by clarifying the relationships between that manifestation of the phenomenon and others, like our use of language.

研究表征类型的研究者通常会区分表征的内容（大致来说，就是表征提供给理解它们的人的信息）和表征表达其内容的方式。因此，例如，一个书面的句子来表达其内容凭借某些复杂的事实，涉及可见的特点的题词。但是，由于某些复杂的事实涉及到话语的听觉特性，句子的口语版本表达的内容是完全相同的。我们不断地与以独特的感官方式代表事物的外部表征相互作用，通过显示事物的外观或声音或……仅考虑图片、电视图像和许多音频记录的回放。同样地，我们的许多内在精神事件都围绕着精神感官图像，这些图像也向我们展示了事物的外观或声音或......例如，我们的记忆通常涉及视觉和听觉意象。研究者们花费了大量的精力试图理解用语言表达的内容的本质，然而，尽管它们明显流行，他们还没有花费几乎同样多的精力试图弄清楚独特的感官表征的内容。人们很自然地会怀疑，图片和其他东西有一些基本的共同点--毕竟，它们在向我们展示事物的外观或声音方面是相似的。人们可能会试图通过寻找独特的感觉表征表达其内容的方式中的相似性来证实这种怀疑。(Many例如，心理学家认为，图片和视觉图像以同样广泛的方式表达其内容。然而，这并不是一个显而易见的方法。从表面上看，并不存在一种单一的方式来表达它们的内容，比如说，图片和心理听觉图像，但这并不意味着我们不能理解所有独特的感官表征都是至关重要的相似性这一观点。因为它们的相似性也许来自于它们的内容的特殊感官性质，而不是来自于表征如何表达它们的内容的相似性。我所建议的研究涉及对属于独特感觉表征的内容的详细描述的阐述和应用，这种描述完全证明了最后一种想法。由此产生的框架可用于解释独特感官表征作为一个整体所共有的重要属性，但该解释也可用于阐明特定群体的独特感官表征的属性。例如，它可以帮助我们更充分地理解画家所使用的某些技术手段在表现上的重要性，并更好地欣赏绘画风格之间的主要差异所导致的最基本的差异。该框架还揭示了有关心理视觉图像的经验问题，通过显示心理学家收集的与视觉化有关的实验数据中有多少可以用属于心理视觉图像的内容的光学性质来解释。更广泛地说，我提出的研究提供了一系列的想法，阐明了最重要的人类现象之一-我们产生和解释“关于”事物的项目的能力-通过澄清该现象最广泛的表现形式之一的内容的确切性质，并通过澄清该现象的表现形式与其他人之间的关系，如我们使用语言。