Search Results (55)

“Coexpressivity” is the property of utterances that marshal multiple linguistic elements and modalities simultaneously to perform the distinct linguistic functions of Jakobson’s classic analysis (1960). This study draws on a longitudinal corpus of natural conversation recorded over six decades with an accomplished “master speaker” of Tsotsil (Mayan), adept at using his language to manage different aspects of social life. The research aims to elaborate the notion of coexpressivity through detailed examples drawn from a range of circumstances. It begins with codified emic speech genres linked to prayer and formal declamation and then ranges through conversational narratives to gossip-laden multiparty interaction, to emphasize coexpressive connections between speech as text and concurrent gesture, gaze, and posture among interlocutors; audible modalities such as sound symbolism, pitch, and speech rate; and finally, specific morphological characteristics and the multifunctional effects of lexical choices themselves. The study thus explores how multiple functions may, in principle, be coexpressed simultaneously or contemporaneously in individual utterances if one takes this range of modalities and expressive resources into account. The notion of “master speaker” relates to coexpressive virtuosity by linking the resources available in speech, body, and interactive environments to accomplishing a wide range of social ends, perhaps with a special flourish although not excluded from humbler, plainer talk. Full article

This article examines the contributions of Turkish screenwriter Ayşe Şasa (1941–2014) to Turkish cinema and visual culture through her engagement with Sufism and metaphysical themes. It explores how Şasa draws on esoteric Sufi concepts such as the oneness of being (waḥdat al-wujūd), asceticism (zuhd), and inspiration (ilhām), using cinema as a vehicle for spiritual inquiry and the quest for truth (ḥaqīqa). Her films—including Hear the Reed (Dinle Neyden), The Night That Never Was (Hiçbir Gece), and My Friend the Devil (Arkadaşım Şeytan)—are explored through thematic and interpretive approaches that uncover their Sufi dimensions. The methodological approach combines Gillian Rose’s visual methodology, Klaus Krippendorff’s content analysis, and Arthur Asa Berger’s interpretive model. Rose’s framework facilitates an exploration of symbolic narrative in Şasa’s films and writings, while Krippendorff’s methods identify recurring metaphysical motifs. Berger’s approach uncovers layered meanings in visual and narrative elements. Through narrative structure, symbolic imagery, color, setting, costume, light, and sound, Şasa constructs a spiritually resonant cinematic esthetic that challenges the secular paradigms of modern cinema. Ultimately, this article argues that Şasa develops a distinct cinematic language grounded in Sufi metaphysics, enriching Turkish visual culture with a profound spiritual and moral sensibility. Full article

This paper explores how sound design in the Harry Potter film series shapes the symbolic significance of written words within the magical world. Sound mediates between language and meaning; while characters gain knowledge by reading and seeing, viewers are guided emotionally and thematically by how these written texts are framed through sound. For example, Harry’s magical identity is signalled to viewers through the score long before he fully understands himself—first through music when he speaks to a snake, then more explicitly when he receives his letter from Hogwarts. Throughout the series, characters engage with a wide array of written media—textbooks, letters, newspapers, diaries, maps, and inscriptions—that gradually shift in narrative function, from static props to dynamic, multi-sensory agents of transformation. Using a close analysis of selected scenes to examine layers of utterances, diegetic sounds, underscore, and sound design, this study draws on metaphor theory and adaptation theory to examine how sound design gives writing a metaphorical voice, sometimes framing it as character, landscape, or moral authority. As the series progresses, becoming more autonomous from the literary source, written words take on greater symbolic significance, and sound increasingly determines which texts are granted narrative power, whose voices are trusted, and how viewers interpret truth and agency across media. Ultimately, written words in the films are animated through sound into agents of growth, memory, resistance, and transformation. Thus, the audio-visual treatment of written magic reveals not just what is written, but what matters. Full article

The current study examined how pre-service early childhood teachers, through invented notation activities, intra-act with the agency of music and the environment to achieve a process of becoming-music, grounded in Barad’s agential realism, presuming that it is necessary to consider the encounter with music itself rather than perceiving it as a ‘teaching subject’. The collected data included 54 sets of invented notations performed by 22 pre-service teachers, recorded videos of their performances driven by their interpretations, their journals, and observational records and notes by the researcher. Qualitative analysis was conducted based on the intra-actions between the pre-service teachers and music. In the invented notation activity, pre-service teachers initiated their engagement by encountering musical concepts and experimenting with diverse art materials as well as daily-life items. They generated sounds and created three-dimensional invented notations designed to guide the performance of the sounds. Furthermore, they deeply responded to the symbols within the invented notations, connecting their daily lives and music. They continued to realize the becoming-music through the ongoing generation of N-dimensional sounds. Pre-service teachers, through invented notation activities, experienced musical thinking not as an acquisition of pre-established knowledge and skills but rather through a direct encounter with music itself. This suggests that invented notation activities provide a sustainable learning environment by facilitating a dynamic entanglement with music. Furthermore, it indicates that post-humanism, which proposes a relational symbiosis between human and nonhuman entities, serves as a fundamental framework for education for sustainable development. Full article

Can we turn AI black boxes into code? Although this mission sounds extremely challenging, we show that it is not entirely impossible by presenting a proof-of-concept method, MIPS, that can synthesize programs based on the automated mechanistic interpretability of neural networks trained to perform the desired task, auto-distilling the learned algorithm into Python code. We test MIPS on a benchmark of 62 algorithmic tasks that can be learned by an RNN and find it highly complementary to GPT-4: MIPS solves 32 of them, including 13 that are not solved by GPT-4 (which also solves 30). MIPS uses an integer autoencoder to convert the RNN into a finite state machine, then applies Boolean or integer symbolic regression to capture the learned algorithm. As opposed to large language models, this program synthesis technique makes no use of (and is therefore not limited by) human training data such as algorithms and code from GitHub. We discuss opportunities and challenges for scaling up this approach to make machine-learned models more interpretable and trustworthy. Full article

Unlike terrestrial radio, the speed of sound in the ocean is relatively slow, which results in mobile underwater M-ary spread spectrum communication typically exhibiting significant and variable multipath effects along with strong Doppler effects, leading to rapid carrier phase shifts in the received signal that severely impact decoding accuracy. This study aims to address the issue of rapid carrier phase shifts caused by significant time-varying Doppler shifts during mobile underwater M-SS communication. This paper innovatively proposes a method for updating matched filters based on correlation cost factors. By calculating the correlation cost factors for each received symbol, the method guides the direction of Doppler estimation and updates the matched filters. After identifying the optimal match, the received symbols are shifted, correlated, and decoded. Simulation and sea trial results indicate that this method demonstrates higher computational efficiency and improved decoding accuracy compared to traditional Doppler estimation matched filters under low signal-to-noise ratio conditions, and exhibits greater robustness under complex motion conditions. Full article

Speaking is a highly conventional enterprise. But unusual usages are, nonetheless, frequently encountered. Some of these novelties fall flat, while others find favour, to the extent of entering common usage. He considered to say something will sound wrong to most native speakers, while The military disappeared her husband, which was more or less unsayable prior to the 1960s, has come to seem fine. Linguist Adelle E. Goldberg has recently argued that speakers display a remarkable openness to new words, phrases and even grammatical forms, when there is no current way of communicating whatever it is those novel strings serve to express. My paper exegetes Goldberg’s findings to illuminate the question of poetic judgement. It proposes that there is a strong parallel between how people judge linguistic innovation in everyday speaking, and the way poets and critics judge innovative poetic diction: in both cases there is a premium on what cannot otherwise be said. The paper proceeds to deepen the analogies between these two modes of judgement. It starts by linking the lack of rules for determining the acceptability of new words and phrases in everyday speaking with the indifference to prior rules associated with aesthetic judgement in Kant’s third critique, and apparent in the appraisals of many a contemporary poetry critic. It turns to consider the claim that what motivates the judgements under consideration is a preference in the human conceptual system for distinct symbols to have mutually exclusive meanings. A fourth section concerns what Construction Grammar, the broad field of Goldberg’s intervention, has to reveal about the conditions under which new words and phrases can take on meaning in the first place. This too has something to suggest about why we judge certain poetic efforts poor, others landed. Full article

In recent years, multi-functional lecture halls have developed rapidly and become a symbol of contemporary public spaces and places. This kind of spatial facility that brings together the advantages of land intensiveness and multi-functional integration also faces feedback such as poor acoustic effects. However, current research rarely involves the architectural design perspective, which is actually the root consideration of this problem; that is, how to set up corresponding spatial layout measures to optimize acoustic performance in a relatively economical and simple way. This study uses the academic lecture hall of the School of Architecture and Planning of Yunnan University as a case to try to solve these problems. The research is based on holistic considerations, starting from site selection, architectural design, aesthetic considerations, and environmental noise assessment, and combining simulation results with actual measurement results. Using a prediction–comparison–verification method, key acoustic parameters such as speech intelligibility, loudness, and reverberation time were calculated and evaluated to understand the acoustic design problems of the hall. The study found that the out-of-control reverberation time was the main cause of poor acoustic feedback, and based on this, optimization and transformation were carried out from an architectural perspective. Finally, a renovation suggestion was made that the application of sound-absorbing materials on the rear wall can achieve better acoustic effects inside the hall. Among the space combination methods, the combination of “rear wall, central ceiling, and front ceiling” has the best effect. Practical insights are provided for improving the acoustic performance of the multi-functional lecture halls while taking into account the acoustic design and feasible requirements. Full article

Underwater signal processing is primarily based on sound waves because of the unique properties of water. However, the slow speed and limited bandwidth of sound introduce numerous challenges, including pronounced time-varying characteristics and significant multipath effects. This paper explores a channel estimation method utilizing superimposed training sequences. Compared with conventional schemes, this method offers higher spectral efficiency and better adaptability to time-varying channels owing to its temporal traversal. To ensure success in this scheme, it is crucial to obtain time-varying channel estimation and data detection at low SNRs given that superimposed training sequences consume power resources. To achieve this goal, we initially employ coarse channel estimation utilizing superimposed training sequences. Subsequently, we employ approximate message passing algorithms based on the estimated channels for data detection, followed by iterative channel estimation and equalization based on estimated symbols. We devise an approximate message passing channel estimation method grounded on a Gaussian mixture model and refine its hyperparameters through the expectation maximization algorithm. Then, we refine the channel information based on time correlation by employing an autoregressive hidden Markov model. Lastly, we perform numerical simulations of communication systems by utilizing a time-varying channel toolbox to simulate time-varying channels, and we validate the feasibility of the proposed communication system using experimental field data. Full article

Music transcription is the process of transforming recorded sound of musical performances into symbolic representations such as sheet music or MIDI files. Extensive research and development have been carried out in the field of music transcription and technology. This comprehensive review paper surveys the diverse methodologies, techniques, and advancements that have shaped the landscape of music transcription. The paper outlines the significance of music transcription in preserving, analyzing, and disseminating musical compositions across various genres and cultures. It also provides a historical perspective by tracing the evolution of music transcription from traditional manual methods to modern automated approaches. It also highlights the challenges in transcription posed by complex singing techniques, variations in instrumentation, ambiguity in pitch, tempo changes, rhythm, and dynamics. The review also categorizes four different types of transcription techniques, frame-level, note-level, stream-level, and notation-level, discussing their strengths and limitations. It also encompasses the various research domains of music transcription from general melody extraction to vocal melody, note-level monophonic to polyphonic vocal transcription, single-instrument to multi-instrument transcription, and multi-pitch estimation. The survey further covers a broad spectrum of music transcription applications in music production and creation. It also reviews state-of-the-art open-source as well as commercial music transcription tools for pitch estimation, onset and offset detection, general melody detection, and vocal melody detection. In addition, it also encompasses the currently available python libraries that can be used for music transcription. Furthermore, the review highlights the various open-source benchmark datasets for different areas of music transcription. It also provides a wide range of references supporting the historical context, theoretical frameworks, and foundational concepts to help readers understand the background of music transcription and the context of our paper. Full article

Jade artifacts produced in prehistoric China continue to generate extensive scholarly interest. In the absence of textual data, inferring how works functioned in Jade Age communities remains challenging. This paper focuses on Hongshan 红山 culture (4500–3000 BCE) jades, a distinctively styled corpus primarily recovered from late fourth millennium BCE graves in northeastern China. Recent finds within and beyond the Hongshan core zone have enriched the jade inventory and expanded the known scope of its stylistic variations. The analysis sheds light on enigmatic types, reveals the complex representational nature of this corpus, and clarifies the mimetic intentions that resulted in the soft rounded forms characteristic of the style. Most objects examined were unearthed at Hongshan ceremonial centers and have sound excavation pedigrees. Their study relies on contextual archaeological data and comparative visual analysis and draws on the broader Hongshan material world. Further considerations include environment, funerary practices, materiality, cognition, and human anatomy. Ultimately, the paper uncovers new paradigms of figural representation that should open fresh investigative avenues for specialists of early China. Preliminary evaluation of jades unearthed further south at Lingjiatan 凌家滩 and Liangzhu 良渚 sites suggests that some late Neolithic societies adopted Hongshan practices. Current evidence hints at members of prehistoric communities attempting, through jade works, to rationalize their physical circumstances and assert their social power by symbolically fusing with elements of their environments. Full article

This paper addresses the limitations of using smartphones in innovative localization systems based on audio signal processing, particularly in the frequency range of 18–22 kHz, due to the lack of technical specifications and noise characterization. We present a comprehensive study on signal design and performance analysis for acoustic communication in air ducts, focusing on signal propagation in indoor environments considering room acoustics and signal behavior. The research aims to determine optimal parameters, including the frequency band, signal types, signal length, pause duration, and sampling frequency, for the efficient transmission and reception of acoustic signals for commercial off-the-shelf (COST) devices. Factors like inter-symbol interference (ISI) and multiple access interference (MAI) that affect signal detection accuracy are considered. The measurements help define the frequency spectrum for common devices like smartphones, speakers, and sound cards. We propose a custom signal with specific properties and reasons for their selection, setting the signal length at 50 ms and a pause time of 5 ms to minimize overlap and interference between consecutive signals. The sampling rate is fixed at 48 kHz to maintain the required resolution for distinguishing individual signals in correlation-based signal processing. Full article

The number of smart devices is expected to exceed 100 billion by 2050, and many will feature conversational user interfaces. Thus, methods for generating appropriate prosody for the responses of embodied conversational agents will be very important. This paper presents the results of the “Talk to Kotaro” experiment, which was conducted to better understand how people from different cultural backgrounds react when listening to prosody and phone choices for the IPA symbol-based gibberish speech of the virtual embodied conversational agent Kotaro. It also presents an analysis of the responses to a post-experiment Likert scale questionnaire and the emotions estimated from the participants’ facial expressions, which allowed one to obtain a phone embedding matrix and to conclude that there is no common cross-cultural baseline impression regarding different prosody parameters and that similarly sounding phones are not close in the embedding space. Finally, it also provides the obtained data in a fully anonymous data set. Full article

Toward the end of the Eastern Jin 東晉 (317–420) and the beginning of the Liu Song 劉宋 (420–479) Dynasties, a series of scriptures, what we now know as the ancient Lingbao scriptures (gu Lingbao jing 古靈寶經), emerged. The texts contained various kinds of celestial scripts, which were regarded as the archetype of all the Lingbao scriptures. Among them, the 3 most important were the 672 graphs of the Perfected Script on Five Tablets in Red Writing (Chishu wupian zhenwen 赤書五篇真文), found in the Scripture of Celestial Writing 天書經 (DZ 22), the 256 graphs of the Self-Generating Jade Graphs of the Secret Language of the Great Brahmā (Dafan yinyu ziran yuzi 大梵隱語自然玉字), found in the Inner Sounds of All the Heavens 諸天內音 (DZ 97), and the 64 graphs of the Jade Script of the Five Directions and Five Sprouts (Wufang wuya yuwen 五方五牙玉文), found in the Preface to the Five Talismans of Lingbao 靈寶五符序 (DZ 388). This article traces the origins of these Lingbao celestial scripts, analyzing and explaining the content of their images and text, as well as the beliefs and practices related to them. It then summarizes how Lu Xiujing 陸修靜 (406–477), a prominent Daoist of the Liu Song Southern Dynasty, classified and understood the various scripts in his Catalogue of Lingbao Scriptures (Lingbao jingmu 靈寶經目). Such discussions reveal some basic characteristics of Daoism that distinguish it from other religious traditions: the veneration of written symbols, the pursuit of longevity and immortality, and the synthesis of philosophy and belief. Beliefs concerning celestial writing and scripts occupy a pivotal position in the broader system of Daoist scripture and teachings. Full article

The present article traces the symbols of the eye (Greek: κόρη [maiden, concubine, pupil of the eye]; Latin: pūpilla; Hebrew: īshōn bath ʿāyin (‘apple of the eye’ or the ‘pupil of the eye’ [lit. ‘daughter of an eye’], i.e., the feminine divine Presence [Shĕkhīnāh]); Arabic: ʿayn; Persian: chashm) and the black pupil of the eye (Arabic: insān al-ʿayn; Persian: mardum-i chashm) in Sufism, both—in the context of Andalusian Sufism, specifically in Ibn al-ʿArabī’s poem entitled ‘I saw a Girl…’, in whose dark pupil or abyssal blackness (Arabic: ḥawar; Hebrew: īshōn), pleasure of the gaze (naẓar) and repository of the secret (sirr), resides the Beloved—as in the medieval Persian gnosis of the followers of al-Sahykh al-Akbar—Fakhr al-Dīn ʿIrāqī and Maḥmūd Shabistarī—, and the mystical poet Ḥāfiẓ Shīrāzī. Ibn al-ʿArabī and Shabistarī have had an explicit influence on the work of the reputed American video artist Bill Viola (Queens, New York, 1951), specifically in his two video/sound installations—He Weeps for You (1976) and I Do Not Know What It Is I Am Like (1986), in which the common image of the mirror pupil of the eye summarizes the entire ancient Neoplatonic conception of the θεωρία (contemplatio, speculatio). Full article