Publications

Abstract

In his paper ‘On Horn's dilemma: presupposition and negation’ Burton-Roberts (1989a) presents an ambitious programme, formulated right at the outset. He seeks to establish three points: (i) Under the ‘standard logical definition of presupposition’ a pre-suppositional semantics is INCOMPATIBLE with a SEMANTICALLY AMBIGUOUS NEGATION operator (SAN), on pain of the theory being rendered ‘empirically empty and theoretically trivial’,. (ii) From this it follows that the one unambiguous negation is presupposition preserving. Cases that have been identified as presupposition-cancelling negation should be re-analysed as ‘instances of a pragmatic phenomenon’, not unlike what has been proposed in Horn (1985), that is as METALINGUISTIC NEGATION (MN). (iii) This pragmatic analysis of MN ‘itself implies a presuppositional semantics’, that is to say ‘a presuppositional theory of truth-value gaps’.

Abstract

An introductory study of the perception of stochastically specified events is reported. The initial problem was to determine whether the perceiver can split visual input data of this kind into random and determined components. The inability of subjects to do so with the stimulus material used (a filmlike sequence of dot patterns), led to the more general question of how subjects code this kind of visual material. To meet the difficulty of defining the subjects' responses, two experiments were designed. In both, patterns were presented as a rapid sequence of dots on a screen. The patterns were more or less disturbed by “noise,” i.e. the dots did not appear exactly at their proper places. In the first experiment the response was a rating on a semantic scale, in the second an identification from among a set of alternative patterns. The results of these experiments give some insight in the coding systems adopted by the subjects. First, noise appears to be detrimental to pattern recognition, especially to patterns with little spread. Second, this shows connections with the factors obtained from analysis of the semantic ratings, e.g. easily disturbed patterns show a large drop in the semantic regularity factor, when only a little noise is added.

Abstract

As a preliminary to further research on musical consonance an explanatory investigation was made on the different modes of judgment of musical intervals. This was done by way of a semantic differential. Subjects rated 23 intervals against 10 scales. In a factor analysis three factors appeared: pitch, evaluation and fusion. The relation between these factors and some physical characteristics has been investigated. The scale consonant-dissonant showed to be purely evaluative (in opposition to Stumpf's theory). This evaluative connotation is not in accordance with the musicological meaning of consonance. Suggestions to account for this difference have been given.