Shared Metaphors and Conceptual Overlap

May 16th, 2006 Fred McVittie

Abstract concepts which share a common metaphor tend to be perceived as related, and may be linked behaviourally, even when there is no actual and necessary concrete link between the concepts. An example of this phenomenon is outlined by George Lakoff when he demonstrates that the concepts anger and sexuality are linked through the common metaphor of heat. Through an analysis of texts and utterances relating to these two abstract concepts he shows not only that both are extensively understood through the entailments of this metaphor, but also that there is considerable ‘contamination’ of each concept by the contents of the other. So there is a tendency, through the workings of this structural overlap, for us to sexualise the expression of anger, and conversely (and much more problematically) to normalise the expression of violence and aggression within sexual practice.

This paper will cite a number of other key examples of such metaphorical imbrication and the impact that such overlap has in producing mixed or ‘contaminated’ concepts.

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Levels of Metaphor

August 8th, 2006 Fred McVittie

Although all abstract concepts are rendered comprehensible through the use of embodied metaphor, there is no clear division between the concrete and the abstract. It is more useful to consider metaphor operating at various levels of remove.

  • Functional and operational actions performed by the body are clearly not metaphorical and are the most ‘concrete’
  • Gestures and words which ’stand in’ for these concrete actions are similarly concrete, although there may be an element of metonymy in their isolation of a particular element of a concrete action.
  • Words for concepts or entities which have no physically experienced properties can only be rendered linguistically by using reference to concrete actions/objects, i.e. metaphor.
  • Non-natural languages can be developed to discuss certain abstract concepts based on the systematisation of concrete embodied metaphors, e.g. Mathematics, poetry.

Posted in Abstract, Embodiment, Gesture, Mathematics, Metaphor, Poetics | No Comments »

Embodied Natural Language

August 9th, 2006 Fred McVittie

Natural language contains many terms for concepts which are inherently abstract; justice, love etc. It also contains terms for entities which are beyond the range of human sense; quarks, black holes etc. It also contains terms for entities which are purely theoretical and/or fictitious; ghosts, epicycles, souls, etc. Despite the discorporate nature of these entities, it is apparent that their appearance in language is not discorporate at all. All these concepts, when looked at in the context of their use in sentences and in their definitions expressed in natural language, is made readily embodiable through the application of concrete metaphor. In fact, it might be said that natural language, in its entirety, is a fully embodied system. This contrasts with, for example, the language of mathematics, which is not obviously embodied, (although is it clearly based ultimately on embodied ideas, after Lakoff and Nunez).

Posted in Abstract, Embodiment, Language, Mathematics, Nunez, Rafael | No Comments »

Through a Glass Concretely

September 21st, 2006 Fred McVittie

It seem likely that the consciousness we have of the world ‘out there’ is not achieved through process of simulation, in which we somehow reproduce an image of the world inside our heads and refer to this image, but rather that the world itself, as presented to the senses, is its own image (Velmans etc). This is not to say however, that we do not produce abstract models of the world, models which are inevitably partial, contingent and purposive. The purposive nature of mental modelling comes from the logic that the ability to produce such models can only have been provided by evolution, and evolutionary parsimony would limit such modelling to the concrete needs of physical survival. Our inability to directly model an image of those elements of the world which are not concrete, which in the complex world of human culture is probably the majority of experience, means that the world is reflected in our mind but the reflection is imperfect. The mirror of consciousness is constructed with ancient tools; embodied cognition and the limited senses that produce it, and these tools cannot model ‘justice’, ‘love’, or any other abstraction literally. The representation we build of the mind through the use of these tools is of a world as seen ‘through a glass darkly’.

Posted in Abstract, Cognition, Mirror, Velmans, Max | No Comments »

Feelings aren’t Facts

October 21st, 2006 Fred McVittie

We come to know and understand abstract concepts through the metaphorical application of non-abstract embodied concepts. These concepts, which are entirely familiar and concrete, and include such things as physical objects, journeys, containers, etc., are organised ‘naturally’ into different sensory modes; those which are apprehended visually, aurally, kinaesthetically, gustatory, olfactorily, and as tactile experience. Therefore our understanding of abstract concepts is likely to be similarly organised into different metaphorical sensory modes. There is certainly an apparent order to the way we use language to articulate different types of abstract concepts; those which we regard as objective (e.g. justice, truth, etc) tend to be described using visual metaphors, whereas those which are thought of as subjective (love, hate, etc) are often spoken of using metaphors of touch. Abstract concepts which are objectified through the use of visual metaphor are awarded the status usually attributed to objects; permanence, boundedness, etc, whereas those which are not objectified in this way but are understood using tactile metaphors are regarded as ‘feelings’, and as everyone knows, feelings aren’t facts.

Posted in Abstract, Metaphor, Objectivity, Seeing, Sense, Smell, Taste, Touch | No Comments »

Come into the light

May 22nd, 2007 Fred McVittie

The metaphors we use to articulate abstract concepts draw most extensively from those type of concrete experiences which are most common. In terms of the sensory mode in which such experiences present themselves the most prevalent type of experience is visual. With up to 40% of the brain’s processing power being taken up with dealing with visual information it is not surprising that visual metaphors are the most frequently used, (although sensorimotor metaphors are not far behind, for possible explanations of this see Noe, Regan).

Our extensive use of visual metaphor to conceptualise abstract ideas causes an interesting phenomenon when this conceptualisation reflects back upon itself. Given that thought and the making of concepts are themselves deeply abstract activities we can inevitably only comprehend and articulate such concepts through metaphor. In other words, we can only think about thinking metaphorically. When searching for a metaphor which indicates this self-referential thinking, and remembering that most metaphors are visual, we should expect this metaphor (or meta-metaphor) to convey something of the circumstances of visuality. If KNOWING IS SEEING, and we want to talk about the properties of KNOWING, then we should find ourselves talking about the properties of SEEING. When talking about knowledge we should expect people to use terms related to sight and the conditions which make sight possible. Again this is exactly what we find. Knowledge metaphors make much use of visual concepts and terminology: we say ‘I see’ when we mean ‘I know’ etc. Also, a basic condition for the operation of sight is the presence of light and once again there is a close correspondence in language and thought between knowledge and light. In concrete terms light allows us to experience visual space. In metaphorical terms light allows us to comprehend conceptual space.

Interestingly, when we want to refer to extreme forms of knowing, as we might when we are looking for some kind of spiritual or religious knowledge, the metaphor of light is extended, intensified, and sometimes personified such that the all-encompassing knowledge which passes all understanding is conceived of as a divine light.

Posted in Abstract, Knowledge, Liquid, Metaphor, Seeing | No Comments »

Can we really taste love?

June 26th, 2007 Fred McVittie

Most of what we think about both consciously and unconsciously, and most of what we talk, write, draw, paint, and make movies about is human stuff, the products of human society and culture. We live in a materialist, secular society, with an appreciation of the down-to-earth, rational, nuts-and-bolts attitude that built the modern world, and yet our discourse is dominated not by the hard facts of trees and moons and sailing ships but by concepts like truth, justice, love, anger, our careers, the economy, the school system, taxation, inflation, rising (or falling) house prices etc etc etc. These are not hard facts, they have no resilience at all, not do they have texture, odour, colour, taste,or visible shape. Given that these and similar concepts have such a significant foothold in our mental lives it is worthwhile considering where these intangible ideas are located on the great globe of knowledge. When we look around from our privileged place at the centre of the universe, past the trees and moons and sailing ships, where do we find these ideas? Is the truth really out there? Is it within reach? Can we walk up to justice and run our hands over it? Can we taste love and can we really smell fear?

Posted in Abstract, Love, Sense | No Comments »

Emotional Maths

July 13th, 2007 Fred McVittie

Imagine you are standing on a tightrope, or if that is too difficult and precarious, imagine standing on a balance beam, four inches wide, three feet above the ground. You have your hands outstretched at each side and you are standing perfectly still. In this position you feel fine: poised, in control, focussed.

Now imagine someone comes along and places two books in the palm of your right hand. These books are not heavy but they do affect your posture and your ability to stand perfectly still. Now your feelings have changed and you no longer feel fine. You feel the precariousness of your position, you feel out of control and anxious. Your poise is under threat. Thankfully, at this moment someone else comes along and places another two books, first one, then another, on the palm of your left hand. Your equilibrium is restored and you feel a wave of positive emotion flowing through you as your control returns and your poise regained.

This type of experience, the fully embodied sensations associated with balance and loss of balance, may form the prototype from which more conceptual notions of balance and equilibrium are drawn. For example, the practice of mathematics, particularly in dealing with formulae and equations, involves a set of parallel operations and may be fueled by similar emotional and somatic responses.

When we are confronted by an equation of the type 1 = 1 we recognise it as ‘balanced’, and whilst we may not consciously feel the same degree of poise and control that we felt on the balance beam we can nevertheless sense the ‘rightness’ of it. We might say that this equation has inherited some of the emotional content of the physical experience it mirrors and we feel fine about it in some small way similar to how we felt as motionless acrobats. When the equation is changed to 1 = 3 however, the sense of rightness disappears and is replaced by the subtle, but nevertheless present, feelings of negativity and ‘wrongness’. Just as maintaining one’s position on the balance beam when one has an uneven distribution of weight is anxiety provoking, so this unbalanced equation conveys the same uneasiness. This felt sense of rightness and wrongness, emerging as it does from a metaphorical mapping of embodied experience onto the abstractions of mathematics, shows that maths, and indeed all abstractions, are rarely free of emotional content. Indeed it is this emotional engagement which is the difference between understanding mathematics and simply wielding symbols according to certain disembodied rules.

Posted in Abstract, Embodiment, Emotion, Mathematics, Metaphor | No Comments »

Language and Objects

September 17th, 2007 Fred McVittie

Or ability to give names to the objects, events, actions, and properties of the world may have had some odd and unpredictable effects on the development of consciousness. It seems likely that, in the historical narrative of language development, the first fully established and culturally shared language elements or words were those for concrete objects and entities: man, tree, mountain. And even is this word/object connection was not primary in the development of the species, it is certainly our first introduction to formal language acquisition as children. Our story books and primers and full of brightly coloured pictures of apples and zebras with the corresponding label firmly attached alongside. This building of language on a foundation consisting of the naming of things has the inevitable effect of forming a very close association between the ontology of words and the ontology of things. Words, and more critically the concepts which those words exemplify, only feel ‘real’ when they have the properties of identifiable objects.

One significant property that is possessed by all objects is that they each have a location in space. Every entity we give the word ‘tree’ to is found at a particular location; ‘There is a tree’ we might say, indicating that location. The attachment of words to things means that when we point to these things we seem also to be pointing to the place where the word and the concept is. We know intellectually (even if we are wrong) that the conceptualisation is taking place in our brain, but it feels like the tree, and the concept of the tree, are over there.

This also applies (although perhaps less so) to actions and attributes: concepts which are realised linguistically not as nouns but as verbs and adjectives. We can easily point to (something) red or (someone) running and the end point of this pointing is a particular location in space. Again, we do not feel that the object and the concept are separate, the action or attribute somehow out there while the concept is ‘in here’. We experience both concept and ‘object’ simultaneously and holistically as existing at that location.

There are some concepts however which do not, and possibly cannot, be easily conceived of as occupying a particular spatial location. Many of the concepts we have words for simply cannot be pointed at (or more accurately, cannot be pointed at easily. I may argue that we often modify our concepts to allow some form of pointing to be possible). Such unlocatables include emotions (which we might try to locate in the body, but are never entirely satisfied when X marks that particular spot), interpersonal, political, and institutional structures such as ‘the law’, ‘art’, and ‘nationality’, and pretty much any word/concept ending in ‘-ness’: happiness, consciousness, etc. Obviously these ideas, whilst they may be attributed to particular classes of entity or behaviour, do not have concrete referents and cannot be pointed at. We might point at a person who seems to exhibiting consciousness, or at a painting on the wall of a gallery, or at a policeman that we know is involved is somehow ‘upholding the law’, or at a nationalist symbol such as a flag, but we cannot point to the thing itself. Moreover, when we point at these things, we do not feel entirely sure that we have identified the place where the concept is really happening. ‘The Law’ is not part of the adjectival property of a policeman in the way that ‘red’ is a property of a pillar box, ‘art’ seems to be somehow larger or more variable than its single instantiation may suggest, and the design of flags may change without that affecting the concept. When we try to point to such concepts we feel as if we are constantly missing, when we point we miss the point one might say.

Regardless of the inherent impossibility of attributing such abstract concepts with a specific location in space, the unconscious tendency we have to attempt such attribution, a tendency built on the foundations of an early association of concepts with concrete objects, means that we nevertheless often make the attempt. A concept without a location is felt as less real than one with such a location. Abstract concepts have no location in space. To make our abstract concepts seem real we give them a location artificially. Intuitively real concepts involve the marriage of the conceptual and the perceptual, and sometimes, in order to keep it real, such marriages are not made in the Heaven of material objects but are arranged on the Earth of abstract ideas.

Posted in Abstract, Language, Object, Space | No Comments »

CFP - The Conference without Powerpoint

November 28th, 2007 Fred McVittie

Usually, when one goes to conferences which have some relationship to arts practice there is a mix of academic and art-based practice. So one may attend panels in which papers are delivered and discussed, and one might also stroll around an exhibition, or watch a performance event of some kind. Despite the best intentions of organisers and attendees however, the balance between these different presentations is rarely even and the status of these is weighted heavily in favour of paper and powerpoint rather than art and aesthetics. Also, whilst there may be attempts at a dialogue between the forms, or possibly some forays into a kind of hybrid practice in which academic and aesthetic knowledge combine, these are rarely successful and often point more to what each form lacks rather than to their fruitful union. There is nothing like academically-informed art to reveal, by its absence, the unique quality of real art. There is also nothing like an overly arty paper presentation to make you cry out for the rigour of real academicism.

Here is a conference with a difference. No papers will be presented in their entirety, although the abstracts will be available. There will also be no actual artwork shown, only documentation and description.

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Modes of Sensory Knowing

January 28th, 2008 Fred McVittie

Knowledge (or knowing) is not a singular type of entity with clearly-defined parameters, rather the objects or entities of knowledge are conceptualised as existing along a continuum from ‘objective’ at one end to ’subjective’ at the other. This paper will propose that this distinction, and the continuum which it articulates, is derived from a single metaphorical schema through which the abstract notion of ‘knowing’ is grounded in the sensory experiences of the body.

The guiding metaphor for human knowing is derived from the experience of human sensing. The structure and details of our sensory embodiment provides the schema with which the abstractions of cognitive meaning-making is rendered comprehensible and conscious. The overall schema has particular entailments which carry over into our organisation of knowledge such that different types of knowing are associated with differences in the organisation of human sensory awareness. The visual sense has characteristics which distinguish it from the sense of touch, and both these sensory modes have differences from the sense of taste, and the differences in these characteristics provide a metaphorical template for differences in knowledge. Some of the differences in these modes, and which carry over into their metaphorical application to the structure of our concept of knowledge, include:

  • Distance/Proximity - The different senses are able to operate at different distances from the body. (Allied to this is the feature of Salience, in which proximity to the body indicates increasing salience; it is a necessary feature of human cognition that objects or events which occur close to, or at the surface of the body should have a high level of relevance)..
  • Intersubjectivity - Some sensory modes operate in shared public space (seeing being the paradigmatic public form), whilst others operate purely in relation to a single individual (as exemplified by taste).
  • Substantiality - Some sensory modes provide information which appears clearly bounded (as with a visualised object) whilst that provided by other modes is blended, suffuse, or indistinct (sounds or smells for example).
  • Vectoriality - The information provided by some sense seems to offer a direction from which it arises (or a vector for the intentionality which locates it) whereas that provided by other senses seems not to offer this extension.
  • Spatial Orientation - Related to Vectoriality, some senses suggest a particular alignment or spatialisation in which some information is more available than others. This is particularly evident with vision which only operates in a forward direction. (The detailed particularities of visual awareness suggests a number of other particularities which we do not have space to discuss here).

These characteristics, which mark the differences between the different sensory modes, can be shown to map onto the metaphorical schema that we use to understand and structure our concept of ‘knowledge’.

Posted in Abstract, Embodiment, Knowledge, Metaphor, Perception, Sense, Space, thesis | No Comments »