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Updated 3d ago
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• Maritime Empires: Powerful European states like Spain, Portugal, England, France, and the Netherlands that expanded overseas via naval power and colonization. • Caravel: A small, fast ship developed by the Portuguese, great for long voyages and exploration. • Astrolabe: A tool used by sailors to navigate by the stars. • Magnetic Compass: A navigation tool that always points north, improving ocean travel. • Columbian Exchange: The transfer of crops, animals, people, and diseases between the Old World (Europe, Asia, Africa) and the New World (Americas). • Triangular Trade: A system where Europe sent goods to Africa, Africa sent enslaved people to the Americas, and the Americas sent raw materials to Europe. • Middle Passage: The brutal, deadly journey of enslaved Africans across the Atlantic Ocean. • Joint-Stock Company: Businesses where investors shared profits and losses, making colonization less risky (e.g., British East India Co.). • Mercantilism: Economic system focused on building national wealth by controlling trade and colonies. • Encomienda System: Spanish labor system using Native Americans for work on plantations and in mines. • Hacienda System: Large Spanish estates that produced crops using coerced labor. • Syncretism: The blending of religions or cultures (ex: Vodun, Sikhism). • Diaspora: People leaving or being forced from their homeland and forming new communities. • Resistance Movements: Uprisings by native peoples or enslaved populations against colonial powers. Q&A: Q: What technological innovations made transoceanic travel possible? A: Caravel ships, the compass, the astrolabe, and new sailing techniques like lateen sails. Q: What were the effects of the Columbian Exchange? A: Population collapse in the Americas (due to disease), new crops in Europe (like potatoes), and new animals in the Americas (like horses). Highlights: • European empires shifted from land-based to sea-based power. • Global trade expanded. • African slave trade intensified. Conclusion: Unit 4 was all about new global connections—especially across the Atlantic and Pacific. Technology and trade built powerful empires and changed life everywhere, especially for indigenous peoples and Africans
Updated 28d ago
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Loie Fuller: The Art of Illusion * Known for her innovative use of fabric, light, and color to create captivating visual illusions in performance. * Her work emphasized the image created rather than the physicality of the dancer's body, marking a shift in performance art. * Patented several costume and set designs, including the iconic Serpentine dress and the glass floor for Fire Dance, showcasing her ingenuity. * Premiered notable works such as The Serpentine (1889) and Fire Dance (1895), which were pivotal in her career. * Succeeded in creating an aesthetic transformation, emphasizing individual interpretation of visual experiences. Isadora Duncan: The Mother of Modern Dance * An eccentric figure who rejected traditional ballet, favoring movement inspired by emotion and nature's rhythms. * While she did not create a new dance technique, she introduced a new motivation for movement, rooted in nostalgia for Ancient Greece. * Her philosophy emphasized that motion should be driven by emotion and expressed through the entire body, leading to a more natural form of dance. * Duncan's choreography was improvisational, focusing on feeling over form, and drew inspiration from her childhood innocence. * Her performances in St. Petersburg (beginning in 1904) inspired contemporaries like Fokine and Nijinsky, influencing the broader dance community. * Left a legacy of natural, emotional dancing, characterized by bare feet and flowing costumes, as seen in works like Ballspiel (1906) and Five Brahms Waltzes. The Denishawn School and Its Legacy Ruth St. Denis and Ted Shawn: Pioneers of Dance * Ruth St. Denis was captivated by exotic and oriental themes, famously inspired by an Egyptian cigarette poster featuring the goddess Isis. * Her dance Radha was a significant work that launched her career, showcasing her understanding of spectacle and audience engagement. * Ted Shawn played a crucial role in introducing men to professional dance, emphasizing powerful and athletic movement. * He founded an all-male dance company, Ted Shawn and His Male Dancers, and was a driving force behind the Denishawn School. * Shawn established Jacob’s Pillow, a significant dance venue in Massachusetts, which remains influential today. * Their collaboration and individual contributions helped shape the landscape of American dance. The Denishawn School: A Foundation for Modern Dance * Established in Los Angeles in 1915, Denishawn was the first dance school in the U.S. to produce a professional company. * The curriculum included a variety of styles, with a typical day comprising stretching, ballet, Oriental dance, and yoga meditation. * The school closed in 1919, but the Denishawn Company continued to tour, becoming the first U.S. company to perform in the Orient in 1925. * The school created a lineage of dancers, including Martha Graham and Doris Humphrey, who would further develop modern dance. * Denishawn's approach combined various techniques, allowing for a diverse exploration of movement and expression. * The legacy of Denishawn is evident in the evolution of modern dance and its emphasis on personal expression. The Big Four: Shaping Modern Dance Doris Humphrey: The Architect of Dance * Studied at Denishawn from 1917 to 1928, where she formed a creative partnership with Charles Weidman. * Known for her movement theory of 'fall and recovery,' which emphasizes the dynamics of balance and gravity in dance. * Established the Humphrey-Weidman Company in 1928, focusing on structure and technique in choreography. * Authored The Art of Making Dances, which codified choreographic design and emphasized ensemble work over solo performance. * Her choreography often explored themes of human experience and emotion, as seen in works like Water Study (1928). * Left a significant impact on modern dance through her innovative techniques and teachings. Martha Graham: The Psychological Pioneer * Studied at Denishawn from 1916 to 1923, where she developed her unique style of modern dance. * Her first concert as an independent artist in 1926 marked the beginning of the 'Heroic Age' of modern dance. * Graham's choreography often drew from psychoanalysis, focusing on the inner emotional landscape and reinterpreting patriarchal narratives. * Developed the Graham Technique, centered on contraction and release, which became the first codified modern dance technique. * Her company is recognized as the first truly modern dance company, celebrating its centennial milestone. * Graham's legacy includes a profound influence on the perception of dance as a serious art form. Ausdruckstanz and Its Influencers Rudolf Laban and Mary Wigman: Movement Innovators * Ausdruckstanz, or 'expressive dance,' emerged as a response to the cultural movements of the early 20th century, paralleling American modern dance. * Rudolf Laban, a movement scientist, developed a system of movement training and Labanotation for dance notation. * Laban's Movement Choirs allowed for structured improvisation, making dance accessible to all, regardless of training. * Mary Wigman, Laban's student, became a leading figure in German dance, known for her harsh and grotesque style. * Wigman's work often explored apocalyptic themes and the validity of all movement, including the ugly. * The rise of Nazism interrupted the development of Ausdruckstanz, impacting both Laban and Wigman's careers. Hanya Holm: Bridging Cultures in Dance * A student of Mary Wigman, Holm opened the Wigman School in NYC, later renamed the Hanya Holm School of Dance. * Known for her teaching talent, she blended American objectivity with German subjectivity in her methods. * Holm's approach produced highly skilled dancers, emphasizing detailed movement and expression. * Her influence extended through her students and the techniques she developed, contributing to the evolution of modern dance. * Holm's legacy is marked by her ability to adapt and innovate within the dance community. Key Influential Choreographers José Limón * Notable works include The Moor’s Pavane (1949), There is a Time (1956), and Missa Brevis (1958). * Developed the Limón Technique, which emphasizes movement through positions rather than the positions themselves. * Integrates breath (inspired by Doris Humphrey) and gesture (inspired by Charles Weidman) into dance. * Core principles include breath, fall and recovery, succession, and opposition, promoting a holistic approach to movement. * Describes the body as an orchestra, highlighting the importance of coordination and expression in dance. Lester Horton * Born in Indianapolis and moved to Los Angeles in 1928, where he became influenced by Native American cultures. * Inspired to pursue dance after witnessing a Denishawn performance, leading to the creation of the Horton Technique. * Established the first interracial dance company and the Lester Horton Dance Theater, which was the first venue dedicated to modern dance. * Horton Technique focuses on body actions viewed artistically, emphasizing anatomy and conditioning in exercises. * Known for the 17 Fortifications, which include movements like flat backs and lunges, producing versatile and articulate dancers. Katherine Dunham * A pioneer in integrating Black dance traditions into modern dance, she is recognized as the first dance anthropologist. * Conducted research in the West Indies, studying dance as a cultural expression, supported by fellowships from the University of Chicago. * Founded the Katherine Dunham Dance Company and the Dunham School for Arts and Research in 1945. * Major contributions include paving the way for Black dancers and establishing dance anthropology as a field of study. * Developed the Dunham Technique, which combines ballet and modern dance with Afro-Caribbean movements, often accompanied by jazz or polyrhythmic percussion. Modern Dance Techniques Horton Technique * Focuses on the body and its basic actions, viewed through an artistic lens, with a strong emphasis on anatomy and conditioning. * Inspired by 'primitive' cultures, it incorporates movements that reflect these influences. * Training includes foundational movements such as flat backs, lateral T, and lunges, aimed at creating dancers who are 'long and strong'. * The technique promotes versatility and fluidity in movement, allowing for detailed expression. * The Horton class at Butler University exemplifies the application of this technique in a structured learning environment. Limón Technique * Emphasizes movement through positions rather than static positions, focusing on the flow of movement. * Integrates breath and gesture, creating a dynamic interplay between the two. * Built on principles of fall and recovery, succession, and opposition, which are essential for expressive movement. * The concept of the 'body as an orchestra' highlights the importance of coordination and musicality in dance. * Instruction in this technique encourages dancers to explore their physicality and expressiveness. Dunham Technique * Combines principles of ballet and modern dance with a focus on torso isolations and Afro-Caribbean movements. * Musical accompaniment typically features jazz or polyrhythmic percussion, enhancing the cultural fusion in the dance. * The technique showcases a blend of American dance and Black dance heritage, enriching the modern dance landscape. * Dunham's work emphasizes the importance of cultural context in dance, reflecting her anthropological background. * The technique has influenced many dancers and choreographers, expanding the scope of modern dance. Postmodern Dance Movement A Postmodern America * Emerged in 1945, following WWII, characterized by skepticism and socio-political unrest. * Youth culture began to rebel against the traditional values of their parents, leading to significant cultural shifts. * Key events of the 1960s, such as the Women's and Civil Rights Movements, shaped the artistic landscape. * The assassinations of prominent figures like JFK, MLK, and Malcolm X, along with the Vietnam War and Cuban Missile Crisis, influenced the themes in postmodern art. * This period marked a departure from traditional narratives in dance, paving the way for new forms of expression. Merce Cunningham * Regarded as a revolutionary figure in the arts, comparable to Picasso and Stravinsky, he danced with Martha Graham from 1939 to 1945. * Challenged the necessity of meaning in dance, often at odds with the groundedness of Graham's technique. * Founded the Merce Cunningham Dance Company in 1953, which continued until 2011, following his wishes for a legacy tour. * His technique blends ballet and modern styles, emphasizing verticality and clarity of form. * Cunningham's choreography often utilized chance methods, allowing for equality among movements and ideas. Paul Taylor * Danced with Graham, Cunningham, and Balanchine, becoming a significant figure in modern dance. * His choreography reflects a unique blend of influences, resulting in a distinctive style that remains relevant today. * Taylor's work is characterized by openness to movement possibilities, creating a varied body of work. * While he did not codify a specific technique, his signature style incorporates balletic ideas with a more connected performance feel. * His choreography often features a two-dimensional aesthetic and specific movement shapes, such as the Taylor V. The Judson Dance Theater and Grand Union Characteristics of Postmodern Dance * Rejects the boundaries between high and low art, promoting a more inclusive artistic dialogue. * Emphasizes process over product, focusing on the exploration of ideas rather than traditional narratives. * Disregards the boundaries between different art mediums, allowing for a fusion of styles and expressions. * The Judson Dance Theater served as a public performance space for experimental movement artists, fostering innovation in dance. * Grand Union furthered these ideals, creating a collaborative environment for diverse artistic expressions. Overview of Postmodern Dance Key Characteristics of Postmodern Dance * Emphasizes process over product, valuing the journey of creation rather than the final performance. * Rejects formalism and traditional labels, allowing for a broader interpretation of what dance can be. * Embraces the ephemeral nature of dance, recognizing that each performance is unique and transient. Historical Context and Key Figures * The dominant period of postmodern dance was from 1962 to 1964, with significant performances starting on July 6, 1962. * Key artists include Yvonne Rainer, Steve Paxton, and Trisha Brown, who were instrumental in shaping the movement. The Grand Union Collective * Formed from a project initiated by Yvonne Rainer, emphasizing collaboration and close working relationships among members. * Operated from 1970 to 1976, with performances that were entirely improvised, showcasing the spontaneity of the art form. * Members included prominent figures like Rainer, Paxton, and Brown, who contributed to the collective's innovative approach. Influential Artists and Their Contributions Yvonne Rainer * Rainer is considered the most significant figure of the Judson Dance Theater era, known for her shift from traditional techniques to more accessible forms of dance. * Her 'No Manifesto' articulated the principles of postmodern dance, advocating for a rejection of conventional aesthetics. * 'Trio A' (1966) is her most famous work, characterized by its minimalist approach and focus on movement rather than narrative. Steve Paxton and Contact Improvisation * Paxton founded Contact Improvisation (CI) in 1972, which emphasizes a shared experience between dancers, alternating roles of giving and receiving weight. * CI encourages uninhibited movement and connection, allowing for personal expression and exploration. * The lack of codification in CI promotes diverse teaching methodologies, making it adaptable to various styles. Trisha Brown * Brown is a leading figure in postmodern dance, known for her innovative use of improvisation as a choreographic tool. * Her technique focuses on gravity, exploring how to release into it and its effects on the body. * 'Set and Reset' (1983) is a hallmark of her work, showcasing collaboration with artists like Robert Rauschenberg and Laurie Anderson. The Evolution of Dance Styles The Balanchine Legacy * George Balanchine's neoclassicism transformed ballet, making it more athletic and less courtly, influenced by modern and jazz dance. * His work laid the foundation for the New York City Ballet (NYCB) and inspired emerging choreographers like William Forsythe. * Arthur Mitchell, the first African American ballet star at NYCB, founded the Dance Theatre of Harlem, integrating African American traditions into ballet. Twyla Tharp's Innovations * Tharp emerged from the postmodern movement, merging its ideas with ballet to expand the boundaries of both forms. * Founded Twyla Tharp Dance in 1965, focusing on space, time, and pedestrian movement. * Her work emphasizes creativity and improvisation, showcasing a blend of various dance styles. Contemporary Dance Practices Contemporary Training Techniques Technique Name Description Countertechnique Investigates principles of dynamic balance. Gaga Improvisational, rooted in descriptive imagery. Flying Low Focuses on using the body’s natural spiralic energy. Release Technique Centers on breath and fluidity through the joints. FoCo Technique Merges concepts from Chinese classical and modern. Somatic Practices Prioritizes feeling and sensing over visual cues. Commentary Through Choreography * Dance serves as a vessel for social commentary, addressing various social, political, and global issues. * The universal language of the body allows for a performance platform that transcends cultural barriers. * Choreographers often engage in deep research to elevate their work beyond mere entertainment, creating pieces that are literal, abstract, or metaphorical. Social Justice in Dance Bill T. Jones and His Impact * Bill T. Jones is a prominent choreographer known for using dance as a vehicle for social change, particularly during the AIDS epidemic. * His work often incorporates elements of performance art, including spoken word and multimedia. * Founded the Bill T. Jones/Arnie Zane Dance Company in 1982, which continues to thrive today. Notable Works by Bill T. Jones * 'D-Man in the Waters' (1989) addresses the aftermath of personal loss and the AIDS crisis. * 'Last Supper at Uncle Tom’s Cabin/The Promised Land' (1990) explores themes of suffering and faith. * 'Still/Here' (1994) emerged from workshops with terminally ill individuals, gaining notoriety for its poignant exploration of mortality. * His recent work, 'Deep Blue Sea' (2021), reflects on social justice issues during the COVID-19 pandemic and the Black Lives Matter movement. Undergraduate Study in Dance Degree Types and Focus Areas * Bachelor of Fine Arts (BFA): Emphasizes performance and choreography, preparing students for careers in dance performance and creative roles. * Bachelor of Arts (BA): Balances performance with a broader liberal arts education, allowing for a more diverse academic experience. * Bachelor of Science (BS): Focuses on scientific and quantitative studies, often including courses in dance sciences like kinesiology and movement therapies. Core Coursework in BFA Programs * Dance Technique: Varies by program, covering various styles and foundational skills. * Choreography: Includes practical experience in creating dance pieces, often with a focus on Dance for Camera. * Dance Pedagogy: Prepares students for teaching dance, covering methods and educational theories. * Anatomy and Kinesiology: Essential for understanding the physical body in relation to dance, enhancing performance and injury prevention. Additional Opportunities in Undergraduate Programs * Performance Opportunities: Students can perform in works by faculty, guest artists, and peers, gaining practical experience. * Masterclasses and Guest Lectures: Exposure to industry professionals enhances learning and networking. * Internships: Provide real-world experience and professional connections in the dance field. Graduate and Doctoral Study in Dance Types of Graduate Degrees * Master of Fine Arts (MFA): A terminal degree focusing on performance and creative research, essential for advanced artistic careers. * Master of Arts (MA): Often a stepping stone to Ph.D. work, focusing on liberal arts research or non-performance areas like Movement Therapy. * Ph.D. in Dance: Terminal degree for those pursuing research in educational, historical, or anthropological aspects of dance. Importance of Terminal Degrees * Terminal degrees are crucial for teaching positions in higher education, ensuring educators have advanced knowledge and skills. * They provide a pathway for specialized research, contributing to the academic field of dance. Transferable Skills from Dance Training Key Skills Developed * Time Management: Balancing rigorous training schedules with academic responsibilities. * Teamwork and Collaboration: Essential for group performances and choreographic projects. * Creative Thinking: Developing innovative solutions in choreography and performance. * Leadership: Opportunities to lead projects or direct performances enhance leadership skills. Career Opportunities in Dance Diverse Career Paths * Performance: Opportunities as company dancers or freelance artists in concert and commercial settings. * Choreography: Roles as resident choreographers or freelance artists, including dance filmmaking. * Teaching: Positions in private studios, public schools, and higher education, including curriculum development. Complementary Fields * Physical Therapy and Exercise Science: Important for injury prevention and rehabilitation for dancers. * Technical Theater: Involves stage management, costume design, and lighting design, supporting dance productions. * Nutrition and Dietetics: Essential for maintaining health and performance levels in dancers. Challenges in the Dance Industry Key Challenges Faced * Funding: Securing financial support for training and performances remains a significant hurdle. * Societal Perception: The relevance of artists is often questioned, impacting funding and support. * Job Stability: Economic factors and the nature of the industry can lead to instability in careers. The Evolution of Dance Categories Traditional Definitions * Concert Dance: Focuses on artistic expression in formal settings, traditionally dominated by ballet and modern styles. * Commercial Dance: Aimed at mainstream audiences, includes hip hop, street dance, and Broadway, requiring different training focuses. Blurring the Lines Between Categories * The rise of versatile training in the 1980s and 1990s has led to a blending of concert and commercial styles. * Shows like So You Think You Can Dance have increased exposure for dancers, allowing them to cross between genres. Dance as Sport Athleticism in Dance * Professional dance requires physical attributes similar to those in traditional sports, including strength, endurance, and flexibility. * Cross-training is essential for dancers to enhance their physical skills and performance capabilities. Dance Competitions * Competitions are organized regionally and nationally, with categories based on age, level, and genre. * Scoring systems evaluate technique, performance, and choreography, with awards given for various achievements. Pros and Cons of Dance Competitions Advantages of Dance Competitions * Dance competitions elevate the visibility of dance as a sport, engaging both dancers and audiences in a competitive atmosphere. * They provide young dancers with valuable experiences in handling rejection and understanding the subjective nature of performance evaluation. * Competitions encourage versatile training, which can serve as a launchpad for professional careers, emphasizing the importance of time management, personal responsibility, and teamwork. * Many competitions offer scholarship opportunities and conventions, enhancing training, networking, and exposure for participants. Challenges and Criticisms of Dance Competitions * Technical training may be compromised in competitive studios, focusing more on choreography and tricks rather than foundational skills. * The emphasis on sports elements can overshadow the artistic aspects of dance, influencing teaching practices in studios. * Choreography may lack individuality as dancers often follow trends that are more likely to win competitions. * Issues of hypersexuality in young dancers and the appropriateness of choreography/music are prevalent during competition seasons
Updated 41d ago
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Language Allows Us To Communicate A Tremendous Amount Of Information, In- Cluding Such Theoretical And Complex Concepts As “Threat,” “Retaliation,” And “Hijack.” In The First Section Of This Chapter You’Ll Learn That The Human Brain Is So Finely Adapted To Learn Language That Babies Pick It Up Effortlessly, And That Parts Of The Brain Are Specialized To Understand Or Produce Language. The Marvel Of How Our Minds Readily Categorize And Process Information Is Covered In Section 10.2. You’Ll Learn About The Concept Of Attention, Which Is Vital To Information Processing. We Will Discuss How Attention Is A Limited Resource, So Directing It To One Activity Can Make Us Blind To Other Events. In The Final Section We’Ll Consider The Process Of How We Make Judgments And Use Them To Make Decisions. We’Ll See That We Are Not Very Good At Making Certain Kinds Of Decisions And Are Sus- Ceptible To Several Kinds Of Bias In Our Judgments. 10.1 Language One Of The Most Amazing Things About Human Speech Is Something Most People Take For Granted: Virtually Every Baby Learns A Language With No Formal Teaching Whatsoever. Just By Being Around People Who Talk, Babies Learn The Language (Or Languages) Spoken Around Them. If You’Ve Ever Tried To Learn A New Language As An Adult, You Will Appreciate How Remarkable It Is That Babies Master Not Only Words But Syntax Within A Relatively Short Period Of Time. In This Section We’Ll Review Evidence That The Human Brain Is Especially Good At Acquiring Languages Before We Reach The Age Of 12 Or So, But Not Thereafter (Maddeningly, The Precise Age When Many School Systems Begin Teaching A Second Language!). We’Ll Consider The Special Skill Of Reading And The Fascinating Question Of Why Some Children Who Are Clearly Very Intelligent Nevertheless Have A Hard Time Learning To Read. We’Ll Conclude This Section By Discussing Evidence Indicating That The Language We Learn, And The Culture We Learn It In, Has An Impact On The Way We Think. What Are The Components Of Human Language? There Are An Estimated 7,000 Languages In The World Today, About 1,000 Of Which Have Been Studied By Linguists (Wuethrich, 2000), Scientists Who Study Language. Their Analyses Reveal That All These Languages Share Similar Basic Characteristics. For Example, All Spoken Languages Are Composed Of A Set Of Sounds And Symbols That Have Distinct Meanings. Those Sounds And Symbols Are Arranged According To Rules That Are Characteristic Of The Particular Lan- Guage. Each Language Has Basic Speech Sounds, Or Phonemes. English Con- Sists Of About 50 Different Phonemes (Exactly How Many Depends On The Dialect Of English), Which Include Both Vowels And Consonants. Some Languages Have Over 100 Phonemes, Others Have As Few As 11 (Crystal, 2010), But Because There Are Estimated To Be Over 800 Phonemes Used In One Language Or Another (Gibbs, 2002), It Is Rare For Any Two Languages To Use The Exact Same Subset Of Phonemes. If You’Ve Tried To Learn Another Language, Such As French Or Chinese, You’Ve Faced The Challenge Of Making A Sound That You Had Never Tried To Make Before, As You Try To Reproduce A New Phoneme. In Each Language, Phonemes Are Assembled Into Simple Units Of Meaning Called Morphemes, And These Morphemes Are Assembled Into Words. The Word Unfathomable, For Example, Consists Of The Morphemes Un, Fathom, And Able ••Components Of Language ••Evolutionary Beginnings Of Language ••Teaching Language To Animals ••Human Language Acquisition ••Language Function Is In The Left Cortex ••Language Influences On Thinking Linguists Scientists Who Study Language. Phonemes The Basic Speech Sounds That Make Up Languages. Morphemes The Basic Units Of Meaning In A Language. They Are Composed Of Phonemes. Semantics The Study Of The Meanings Of Words. Syntax The Rules For Constructing Phrases And Sentences In A Language. Generative Term Used To Describe The Capacity Of A Language To Produce An Infinite Number Of Sentences. Surface Structure The Particular String Of Words That Are Put Together In A Sentence. Deep Structure The Particular Meaning Beneath The Surface Structure Of A Sentence. (Figure 10.1). Words Have Meaning, And The Study Of Those Meanings Is The Field Of Semantics. Words, In Turn, Are As- Sembled Into Meaningful Strings, Which May Be Complete Sentences Or Just Phrases. For Each Language, There Are Rules For Constructing Phrases And Sentences, And Those Rules Are The Language’S Syntax. You Might Think Of The Rules For Constructing Sentences And Phrases As Grammar, But Grammar Typically Refers To A Set Of Rules About How You Ought To Structure Your Sentences. Syntax Is Con- Cerned With How Native Speakers Actually Assemble Sen- Tences To Communicate With One Another. Anyone Who Knows The Phonemes (Sounds) And Syntax (Rules) Of A Par- Ticular Language Can Speak Sentences That Convey Infor- Mation To Others Who Have Similar Knowledge Of The Lan- Guage. A Speaker Who Also Knows The Symbols Used To Depict The Phonemes, In Our Case The Alphabet, Can Write Sentences That Convey Information. One Powerful Characteristic Of All Languages Is That Their Words Can Be Rearranged To Produce Many Different Sen- Tences, With Vastly Different Meanings. The Number Of English Words Is Estimated At 1 Million And Growing (Michel Et Al., 2011), But Probably No One Could Define Them All Without Consulting A Dictionary (Figure 10.2). The Average American High School Graduate Is Thought To Know 50,000 To 60,000 Words (Pinker, 1994). Knowing That Many Words Means That, In Practical Terms, There Are An Infinite Number Of Different Sentences A Speaker Might Construct. Because Language Has This Vast Capacity To Produce So Many Differ- Ent Sentences, It Is Said To Be Generative (While Not Used Often, This English Word Means “Capable Of Producing Lots Of Offspring”). I Love Listening To Young Children Speak, Be- Cause In Their Beginning Efforts They Often Put Words To- Gether In A Way That Sounds Utterly Fresh. “The Ladybugs Are Having A Race On The Window!” I Doubt I’D Ever Heard Anyone Say That Before. This Ability Of Even Beginning Speakers To Produce New Sentences Illustrates Both The Generative Capacity Of Language And The Fact That A Speak- Er Is Trying To Represent A Particular Meaning, Even If He Or She Doesn’T Yet Have The Vocabulary Or The Proper Syntax To Express It Very Clearly. The Meaning, Or Semantic Content, Of Language Brings Up A Distinction About How We Use Language. The Famous Linguist Noam Chomsky (1957) Proposed That Every Sen- Tence Has Two Layers Of Representation. The Surface Structure Is The Particular String Of Words That Are Put To- Gether In A Sentence. The Deep Structure Is The Particular Meaning (Semantic Relations) Beneath The Surface Struc- Ture. If Two Girls Are Skipping Rope On The Sidewalk, There Are Many Different Sentences We Could Put Together To De- Scribe That. Each Sentence Would Have A Distinct Surface Structure, But They Would All Share The Same Deep Struc- Ture—The Underlying Meaning. Linguists Have Noted This Distinction Between Surface Structure And Deep Structure To Suggest That All Human Languages May Share A Common Figure 10.1 Breedlove Intro Psych 1e 06/30/14 Language And Cognition 399 Phonemes Make Morphemes That Make Words Words Are Strung Together According To The Rules Of A Language, The Syntax, To Communicate Meaning To Others. (Note: Linguists Use A Very Specific Notation To Identify Phonemes, Which We Are Not Using Here.) 1m 800 600 400 200 0 1900 Fig. 10.01, #1001 1920 1940 1960 1980 2000 Year Figure 10.2 Number Of English Words Note The Rapid Ad- Dragonfly Media Group Dition Of Words Since 1950. The Figures For The Dictionaries For 2001 Are For The Number Of Entries, But Many Entries Include Variations Of Words (For Example, The Entry “Blend” Covers “Blending,” “Blends,” And “Blender”). (After Michel Et Al., 2011.) Unfathomable Morpheme Fathom (“Understand”) Morpheme Able (“Capable Of”) Morpheme Un (“Not”) Two Phonemes: “U,” “N” Five Phonemes: “F,” “A,” “Th,” “O,” “M” Four Phonemes: “A,” “B,” “U,” “L” Number Of Entries In: Oxford English Dictionary Webster’S Third New In Ternational Dictionary Number Of Words In English (Thousands) 400 Chapter 10 Born To Talk Noam Chomsky Believes The Human Brain Has Evolved To Acquire Language. Deep Structure. That Issue Is Well Beyond Our Scope, But The Distinction Between Surface Structure And Deep Structure Also Emphasizes How Human Language Is Filled With Meaning. When We Speak, We Are Symbolically Representing How The World Is, Was, Or Should Be. I’Ve Emphasized The Generative Capacity Of Language And The Semantic Con- Tent Of Language Because These Issues Will Arise When We Ask Whether Other Ani- Mals Can Also Use Language, As We’Ll Do Next. Animal Communication Reveals The Evolutionary Roots Of Language Do Animals Use Language? You Might Think That Is A Straightforward Question, But In Fact There Is No Easy Answer. For Example, Scholars Have Suggested That Speech And Language Originally Developed From Gestures Of The Face And Hands (Corballis, 2002; Hewes, 1973). Even Today, Hand Movements Facilitate Speech: People Who Are Prevented From Gesturing Make More Slips And Have More Pauses In Their Speech (Krauss, 1998). Furthermore, People Who Have Been Blind From Birth, And So Have Never Seen The Hand Gestures Of Others, Make Hand Gestures While They Speak (Iverson & Goldin-Meadow, 1998). Deaf Children Raised Without Access To An Established Sign Language May Invent One Of Their Own, Complete With Structural Features That Characterize Other Spoken And Sign Languages (Goldin-Meadow, 2006). These Observations Suggest That Gestures Represent At Least The Beginnings Of Language. Lots Of Other Species Use Gestures To Communicate: Many Birds Display Elaborate Courtship Behaviors To Attract A Mate, Chimpanzees Shake Their Arms To Signal Threat, And Dogs And Wolves Freeze And Stare To Alert Other Members Of The Pack (Or The Dog’S Owner) To The Location Of A Potential Prey. The Gestures That Other Species Use To Com- Municate May Well Reflect The Earliest Beginnings Of Human Language. Plenty Of Non-Human Animals Vocalize As Well As Gesture—Producing Chirps, Barks, Meows, And Songs, Among Other Sounds. Whales Sing And May Imitate Songs That They Hear From Distant Oceans (Noad Et Al., 2000), And Some Seal Mothers Recognize Their Pups’ Vocalizations Even After 4 Years Of Separation (Insley, 2000). In Fact, Many Species—From Elephants To Bats To Birds To Dol- Phins—Are Capable Of Vocal Learning And Use Their Vocalizations To Help Form Social Bonds And Identify One Another (Poole Et Al., 2005; Tyack, 2003). Rats And Mice Produce Complex Ultrasonic Vocalizations, Which We Cannot Hear, That May Communicate Emotional Information (Panksepp, 2005). Although No One Would Suggest That It Is An Evolutionary Precursor To Hu- Man Speech, Birdsong Offers Intriguing Analogies To Human Language (Marler, 1970). Many Birds, Such As Chickens And Doves, Produce Only Simple Calls With Limited Communicative Functions, But Songbirds Like Canaries, Zebra Finch- Es, And Sparrows Produce Complex Vocalizations That Are Crucial For Social Behaviors And Reproductive Success. In These Songbirds, Only Males Of The Species Sing, And The Song Is Learned—In Much The Same Way That Humans Learn Language (Devoogd, 1994; See Figure 8.26). Another Striking Similarity Between Birdsong And Human Language Involves The Different Contributions Of The Left And Right Cerebral Hemispheres. We’Ll See Later In This Chapter That In Humans The Left Hemisphere Plays A Crucial Role In Language—Left-Hemisphere Damage Is Far More Likely To Disrupt Language Than Right-Hemisphere Dam- Age—And The Same Is True In Some Songbirds: Only Left-Hemisphere Lesions Of The Brain Impair Singing (Nottebohm, 1980). One Might Dismiss The Fact That Birds Control Song With Their Left Hemisphere While We Control Language With Our Left Hemisphere As Mere Coincidence. But Is It? Take Into Consideration That If The Hemisphere That Evolved To Control An Activ- Ity (Such As Language) Were Determined By Chance, There Would Be A 50% Chance That It Would Be The Same In Two Species. On The Other Hand, Several Observations Provide Evidence That The Left Hemisphere May Play A Special Role In Ape Communication, Just As It Does In People (Meguerditchian & Vauclair, 2006; Taglialatela Et Al., 2006). Several Brain Regions Related To Language Are Larger In The Left Hemisphere Than In The Right In Humans, And Those Same Regions Are Also Larger In The Left Hemisphere In Apes. Furthermore, Apes Tend To Favor Gesturing With The Right Hand, Which Is Controlled By The Left Side Of The Brain. Was The Left Hemisphere Specialized To Control Communication In The Common Ancestor Of Other Apes And Humans, Or Even In The Common Ancestor Of Birds And Humans? Genetic Studies Support The Idea That Brain Systems Controlling Language Evolved From Communication Systems Like Those Found In Other Animals. Analysis Of A British Family With A Rare Heritable Language Disorder Led To The Identification Of A Gene That Appears To Be Important For Human Language. Children With A Specific Mutation Of This Gene, Foxp2, Take A Long Time To Learn To Speak (Lai Et Al., 2001), And They Display Long-Lasting Difficulties With Some Specific Language Tasks, Such As Learning Verb Tenses (Nudel & Newbury, 2013). The Pattern Of Brain Activation In These Individuals During Performance Of A Language Task Is Dif- Ferent From That Seen In Typical Speakers—They Show Underactivation Of Broca’S Area (Figure 10.3), A Brain Region Important In Language, Which We Will Discuss Later (LiéGeois Et Al., 2003). The Foxp2 Gene In The Other Great Apes Is Different From That Of Humans (Enard Et Al., 2002), Suggesting That This Gene Has Been Evolving Rapidly In Humans, Presumably Because Language Is So Adaptive In Our Species That, Once Begun, It Became Ever More Elaborate In A Short Time (In Evo- Lutionary Terms, Within The Past 1 Million Years). Yet The Basic Function Of Foxp2 May Have Always Been To Support Communi- Cation, Because This Same Gene Is Also Important For Communication In Other Species. The Ultrasonic Vocalizations In Rats And Mice That We Mentioned Earlier Are Disrupted By Mutations In The Foxp2 Gene (French & Fisher, 2014; Shu Et Al., 2005). What’S More, When Researchers Selectively Silenced Foxp2 Expression In The Songbird Brain, Adolescent Males Failed To Properly Learn Their Song (Haesler Et Al., 2007). Because This Same Gene Normally Contributes To Brain Communica- Tion Systems In Both Humans And Other Animals, It Seems Likely That Human Lan- Guage Evolved From A Preexisting Brain System That Was Already Involved In Com- Munication. In That Case, These Animal Communication Systems Really Do Represent The Evolutionary Beginnings Of Human Language. In Natural Settings, Monkeys Combine Certain Vocalizations Into More Com- Plex Calls, Suggesting The Rudiments Of Both Syntax And Semantic Meaning (Ar- Nold & ZuberbüHler, 2006; Ouattara Et Al., 2009), But Nothing Like That Seen In Every Human Language. Even If We Regard These Monkey Vocalizations As Mor- Phemes—Combinations Of Sounds That Convey Particular Meanings, Like “Hawk” Unaffected Group Affected Group Rlrl Broca’S Area Figure 10.3 An Inherited Language Disorder Family Members Of The British Fam- Ily Affected By The Foxp2 Gene Show Underactivation Of Broca’S Area When Carrying Out A Language Task. Instead, The Affected Individuals Seem To Activate A Scattering Of Brain Regions, Mostly In The Right Hemisphere. (After Fisher & Marcus, 2005.) Acquiring Song Male Zebra Finches Learn Their Song From Their Father. Language And Cognition 401 402 Chapter 10 Communication Between Species Service Dogs Learn To Communicate With Their Human Comrades. Versus “Snake”—There Are Too Few To Be Considered A Full-Blown Language. Nor Is There Evidence That Animal Vocalizations Follow Particular Rules About How To String More Than Two Sounds Together To Convey A Particular Meaning. In Other Words, We’Ve Yet To Discern Genuine Syntax In Any Animal Communication Sys- Tem In The Wild. But If No Other Species In Nature Uses A Full-Blown Language, Do Any Species Have Enough Rudiments Of Brain Communication Systems That They Could Be Taught A Language? Can Other Animals Acquire Language With Training? People Have Long Tried To Communicate With Animals, Sometimes Quite Success- Fully: Anyone Who Has Watched A Service Dog At Work, Responding To Commands From Its Owner, Has To Acknowledge That The Human Is Transmitting Lots Of Infor- Mation To A Highly Intelligent Companion. Instilling Language In A Non-Human Is A Different Matter, However. Every Day, You Utter Sentences That You Have Never Said Before, Yet The Meaning Is Clear To Both You And Your Listener Because You Both Understand The Speech Sounds And Syntax Involved. Animals Generally Are Incapable Of Similar Feats, Instead Requiring Extensive Training With Each Specific Utterance (E.G., Each Voice Command To The Sheepdog) In Order For Communica- Tion To Occur At All. In Other Words, Most Animals Appear To Lack An Understanding Of The Meaning Of Individual Words (Semantics) Or The Rules About Putting Words To- Gether To Convey A Particular Message (Syntax)—Although, In Fairness, We Are Ask- Ing Them To Learn Our Semantics And Syntax When We Know Very Little About Theirs. One Strategy For Teaching Language To An Animal Is To Choose A Species As Much Like Ourselves As Possible, In Other Words, One Of The Other Great Apes. Because The Vocal Tracts Of The Other Apes Are Very Different From Those Of Hu- Mans, Scientists Have Given Up Attempting To Train These Animals To Produce Human Speech. But Can Non-Human Primates Be Taught Other Forms Of Com- Munication That Have Features Similar To Those Of Human Language, Including The Ability To Represent Objects With Symbols And To Manipulate Those Symbols Ac- Cording To Rules Of Order? Our Nearest Primate Relatives, Chimpanzees, Are Capable Of Learning Many Of The Hand Gestures Of American Sign Language (Asl), The Standardized Sign Language Used By Some Deaf People In North America. Chimps Trained In Asl Have Been Reported To Use Signs Spontaneously, And In Novel Sequences (Gard- Ner & Gardner, 1969, 1984). Gorillas Apparently Also Can Learn Hundreds Of Asl Signs (Patterson & Linden, 1981) (Figure 10.4a). An Alternative Language System Involves The Use Of Assorted Colored Chips (Symbols) That Can Be Arranged On A Magnetic Board. After Extensive Training With This System, Chimps Reportedly Organize The Chips In Ways That Seem To Reflect An Acquired Ability To Form Short Sentences And To Note Various Logical Classifications (Premack, 1971). A Third Language System Uses Computerized Keys To Represent Concepts; Again, Apes Show Some Ability To Acquire Words In This Language, Which They Appear To String Together Into Novel, Meaningful Chains (Lyn Et Al., 2011; Rumbaugh, 1977). The Idea That Apes Can Acquire And Use Rudiments Of Language Remains Con- Troversial. According To Many Linguists, Syntax Is The Essence Of Language, So Investigators Look For The Ability Of Chimps To Generate Meaningful And Novel Sequences Of Signs That Follow Syntactical Rules. The Work Of Gardner And Gard- Ner (1969, 1984), Premack (1971), And Others Suggested That Chimps Do Make Distinctive Series Of Signs, Including Categories And Negatives, Just As Though They Were Using Words In A Sentence. However, Other Researchers Argued That These Sequences May Simply Be Subtle Forms Of Imitation (Terrace, 1979), Per- Haps Unconsciously Cued By The Experimenter Who Is Providing The Training. Native Asl Users Dispute The Linguistic Validity Of The Signs Generated By Apes; And Pinker (1994) Insists, “Even Putting Aside Vocabulary, Phonology, Morphol- Ogy, And Syntax, What Impresses One The Most About Chimpanzee Signing Is That (A) (B) Language And Cognition 403 Figure 10.4 Communicating With Animals (A) Koko The Gorilla, Shown Here With Trainer Dr. Penny Patterson, Communicates Using American Sign Language. (B) Chim- Panzees Can Learn To Use Arbitrary Signs And Symbols On A Keyboard To Communicate. Fundamentally, Deep Down, Chimps Just Don’T Get It” (P. 349). Indeed, It’S Hard To Imagine How We Could Even Tell If An Animal Understood Words For Complex Con- Cepts Like Retaliation Or Terrorism. Nevertheless, Considering That Apes Can Comprehend Spoken Words, Produce Novel Combinations Of Words, And Respond Appropriately To Sentences Arranged According To A Syntactic Rule, It Seems Likely That The Linguistic Capacity Of Apes Was Underestimated Historically (Savage-Rumbaugh, 1993). For Example, A Bonobo (Pygmy Chimpanzee) Named Kanzi, The Focus Of A Long-Term Research Program (Savage-Rumbaugh & Lewin, 1994), Reportedly Learned Numerous Symbols And Ways To Assemble Them In Novel Combinations, Entirely Through Observational Learning Rather Than The Usual Intensive Training (Figure 10.4b). Kanzi’S Ability To Produce Novel Strings Of Words Suggests That His Is A Generative Language, Like Human Language. So Although The Debate Is Far From Settled, The Linguistic Accom- Plishments Of Primates Have Forced Investigators To Sharpen Their Criteria Of What Constitutes Language. Another Strategy For Teaching Language To Animals Is To Choose A Species That May Not Be Closely Related To Us But Is Adapted For Flexible, Oral Communication, Namely A Parrot. When Irene Pepperberg Purchased A Year-Old African Gray Par- Rot And Named Him Alex, She Soon Became Intrigued By How Quickly Alex, Like Other Parrots, Would Learn New Phrases. She Devised A New Training System That Exploited The Highly Social Nature Of Parrots, Working With Another Person, Encouraging Alex To Imitate The Humans’ Use Of Language. Alex’S Job Was To Outcompete His Rival (The Other Human) For Treats, And For Pep- Perberg’S Approval And Praise. Eventually Alex Learned About 150 Words. He Could Name The Color, Shape, And Type Of Mate- Rial That Made Up An Object, Even One He’D Never Seen Before. He Could Sort Objects By Shape Or Color (Figure 10.5) And Could Count Small Numbers Of Objects (PéRon Et Al., 2014). Most Important, Alex Could Perform These Feats Even For A Stranger, With Pepperberg Out Of The Room. This Meant That Alex Was Not Like “Clever Hans,” The Horse We Learned About In Section 2.1, Breedlove Intro Psych 1e Who Relied On His Trainer’S (Unconscious) Cues To Stamp His Hoof Fig. 10.04 #0000 “You Be Good, See You Tomorrow” The Af- Rican Gray Parrot Alex (1976–2007) Spoke With His Owner, Dr. Irene Pepperberg, And Appeared To Create New, Meaningful The Correct Number Of Times. Alex Appeared To Produce New Sentences From A Vocabulary Of About 150 English Words. 08/19/13 Figure 10.5 404 Chapter 10 Babble Sentences And Even New Words. Shown A Dried Banana Chip, He Called It A “Banacker,” Which Sounds Suspiciously Like A Blending Of Two Words He Already Knew: “Banana” And “Cracker.” As Pepperberg Put Him In His Cage One Night, Alex Said His Typical Bedtime Phrases To Her: “You Be Good, See You Tomorrow. I Love You.” The Next Morning He Was Dead, Apparently Of Natural Causes, At Age 31. Despite Alex’S Accomplishments, One Researcher Still Denied That Alex Was Using Language. As Quoted In The New York Times Obituary For Alex, David Premack Dismissed The Parrot’S Ability As Unlike Human Language Because “There’S No Evidence Of Recursive Logic, And Without That You Can’T Work With Digital Numbers Or More Complex Human Grammar” (Carey, 2007). Personally, It Seems To Me That Every Time An Animal Manages To Accomplish Some Aspect Of Language That Was Previously Thought To Be Uniquely Human, The Bar For What Constitutes True Language Gets Raised. First We Were Told That Ani- Mals Didn’T Understand The Symbolic Aspect Of Language—That A Particular Set Of Sounds Means “Water.” Then When Animals Learned To Use Keyboards With Arbi- Trary Symbols, Or Asl Gestures To Represent Objects, We Were Told They Could Not Produce New Sentences. Then When Animals Were Demonstrated To Have Gener- Ated New Sentences That Seemed To Make Sense, The Objection Was That They Don’T Understand Syntax—They Don’T Follow Strict Rules About The Order Of Words Used In A Sentence. For Goodness Sakes, Alex’S Ability Was Dismissed Because He Couldn’T Work With “Digital Numbers” Or Do “Recursive Logic” (Can You?)! It’S Hard Not To Suspect That Some Researchers Feel Threatened By The Idea That Hu- Mans Are Not Unique In Our Abilities, Or Are Eager To Downplay The Abilities Of In- Dividuals That Are Just “Animals.” The Question Of Whether Other Animals Can Really Learn Language Is Not Likely To Be Settled Anytime Soon. Although We Have Yet To Experience The Miracle Of Being Able To Carry On A Conversation With Another Species, Learning A Language While Growing Up Is Miraculous In Itself. We Start Life Ready To Decode Any Language We Happen To Hear A Child’S Brain Is An Incredible Linguistic Machine, Rapidly Acquiring The Pho- Nemes, Vocabulary, And Syntax Of The Local Language. Language Is Learned With- Out Any Formal Instruction; The Baby Simply Has To Hear The Language Spoken In Order To Learn It. Of Course, The Baby Is Not At All Passive In This Process. One Of The Reasons Babies Learn Language So Rapidly Is Because They Are Intensely Interested In Hearing Speech And In Watching A Talking Face. We’Ll See Shortly That Even Newborns Are Willing To Work In Order To Hear Someone Talk. As They Avidly Attend To Language And Soak It Up, Children Pass Through Behavioral Milestones Of Language Development (Table 10.1). While The Time Line Of When An Individual Child Reaches A Particular Milestone Varies Considerably, The Sequence Is Almost Always The Same. That Finding Indicates That Each Stage Of Language Acquisition Lays The Groundwork To Tackle The Next Stage. Of Course A Child Does Not Begin Speaking In Fully Formed, Grammatically Cor- Rect Sentences. A Newborn Will Fuss, Cry, And Laugh, But By 6 Months Or So Most Babies Babble, Making Meaningless Sounds That Are Strung Together Such That They Resemble Speech. The First Stages Of Babbling Tend To Be Repetitive—“Ba- Ba-Ba-Ba-Ba-Ba-Ba”—While Later The Babbling Sounds Are More Variable. One Of My Favorite Stages In The Development Of My Own Children Was That Point When They Would Wake Up Alone In Their Crib And Begin Babbling In That Variable Way. I Would Hear All The Inflections And Tones Of Human Speech, But The Words Were Pure Nonsense. I Could Almost Imagine The Child Was Speaking Some Exotic For- Eign Language. As The Child Learns To Articulate Specific Words, She Will Use Telegraphic Speech, Providing Only A Few Words, Or Even A Single Word, To Communicate. The Meaningless Sounds Strung Together To Resemble Speech Made By Infants, Typically Before The Age Of 6 Months. Telegraphic Speech Communication Form In Young Children, In Which A Few Words Are Used To Express An Idea. Language And Cognition 405 Table 10.1 Typical Stages Of Childhood Language Development Age Receptive Language Expressive Language Birth–5 Months Reacts To Loud Sounds Turns Head Toward Sounds Watches Faces That Speak Vocalizes Pleasure And Displeasure (Laugh, Cry, Giggle) Makes Noises When Talked To 6–11 Months Understands “No-No” Tries To Repeat Sounds Babbles (“Ba-Ba-Ba, Da-Da-Da”) Gestures 12–17 Months Attends To Book About 2 Minutes Follows Simple Gestures Tries To Imitate Simple Words Points To Objects, People Says 2–3 Words To Label Object 18–23 Months Enjoys Being Read To Follows Simple Commands Points To Body Parts Understands Simple Verbs Says 8–10 Words (Maybe With Unclear Pronunciation) Asks For Foods By Name Starts Combining Words (“More Milk”) 2–3 Years Understands About 50 Words Understands Pronouns Knows Spatial Concepts (“In,”“Out”) Says About 40 Words Uses Pronouns Such As “You,”“I” Uses 2- To 3-Word Phrases 3–4 Years Understands Colors Understands Groupings Of Objects (Foods, Clothes, Toys, Etc.) Is Mostly Understandable By Strangers Expresses Ideas, Feelings 4–5 Years Understands Complex Questions Understands “Behind,”“Next To” Says About 200–300 Words Uses Some Irregular Verb Past Tenses (“Ran,”“Fell”) Engages In Conversation 5 Years Understands > 2,000 Words Understands Sentences > 8 Words Long Can Follow Series Of Three Directions Understands Time Sequences (What Happened First, Second, Last) Uses Complex And Compound Sentences Sources: American Speech-Language-Hearing Association, N.D.; National Institutes Of Health, 2014; Pro-Ed Inc., 1999. “Need Cookie!” Rather Than “I Want A Cookie” Or, Better Yet, “May I Have A Cookie, Please?” Typically, Adults Will Repeat The Child’S Communication, Filling In The Missing Words, So That By 3 Years Of Age Or So, Most Children Speak In Complete Sentences. What’S More, The Child’S Pronunciation Of Words Is Likely To Be Imper- Fect At First. This Means That In The Early Stages, The Child’S Family And Caregivers, Who Have Learned To Understand The Child, May Be The Only Ones Who Effectively Get The Message. As The Child’S Language Skills Improve, She Will Also Be Under- Stood By Strangers. Another Landmark For Children In Modern Times Is Being Able To Understand Speech, And Produce Comprehensible Speech, Over The Tele- Phone, Without Any Visual Cues To Aid Communication. Psychologists Use Behavior To Test Babies’ Language Ability One Of The First Things Babies Must Learn Is How To Tell Different Phonemes Apart When They Hear Them. This Is A More Difficult Task Than You Might Think, Because Some Of The Sounds That, To Our Adult Ears, Sound Very Distinct Are In Fact Physi- Cally Very Similar. For Example, The Syllables Ba And Pa Are A Lot Alike, And Differ Only In Terms Of How Soon We Vocalize (Make A “Hum” In The Back Of Our Throat) After We Pop Our Lips Apart. Yet 4-Month-Old Children Can Tell Them Apart. How Do We Know? In A Pioneering Study, Peter Eimas And Colleagues (1971) Presented Babies Of Different Ages With Different Sounds. The Babies Were Too Little To Talk, But Habituation Response 406 Chapter 10 Habituate To Stop Attending To A Stimulus Because It Is No Longer Novel. The Researchers Found A Way To Know Whether The Babies Could Distinguish Between, For Example, Ba And Pa. Babies Were Rewarded For Sucking On An Artificial Nipple By Being Presented With Brief Speech Sounds. They Must Have Found This Rewarding, Because They Would Suck More Eagerly When Given That Reward. This Finding Alone Tells Us Something Important About Babies—They Are Eager To Hear Language, As We Noted Earlier. Most Important, If We Present The Same Word Over And Over, The Babies Eventually Grow Tired Of Hearing It. We Say That They Have Habituated To The Sound—They Can Still Hear It, But They Stop Attending To It. In A Variation Of The Habituation Technique We Dis- Cussed In Chapter 5 (See Figure 5.13), This Tendency To Habituate To Sounds Can Be Used To Determine If The Babies Can Tell Ba From Pa. If They’Ve Been Hearing Nothing But “Ba” For A While, They Slow Down Their Sucking As They Habituate. If We Now Present “Pa,” Then The Babies Should Regain Interest And Increase Their Sucking, But Only If They Notice The Difference In The Phoneme. Psychologists Have Exploited This Logic To Determine What Babies Can And Cannot Perceive In Spoken Language, As We’Ll See Next (Figure 10.6). Researchers At Work “Reading Babies’ Minds” Figure 10.6 Babies Will Work To Hear New Speech Sounds (After Eimas Et Al., 1971.)  Question: Can Babies Distinguish Between Similar Phonemes?  Hypothesis: Babies Who Have Habituated To One Phoneme Will Notice The Difference In The Other, Slightly Different Phoneme.  Test: Have Babies Suck On A Pacifier For A Chance To Hear Sounds. If They Are Given The Same Sound Repeatedly, They Will Habituate And Suck Less. If They Are Given A New Sound, They Will Renew Their Sucking If They Can Actually Tell That The Phoneme Is New.  Results: The Babies Increased Sucking When Presented With A New, Different Phoneme. Two Very Similar Phonemes Two Distinct Phonemes Same Phoneme 45 60 45 30 15 New Phoneme Presented 45 45 60 60 45 45 30 30 15 15 New Phoneme Presented Au/Sa: 0 2 4 6 8 10 0 2 4 6 8 10 0 Time (Min) Time (Min) 2 4 6 8 10 Time (Min) We Extended The Graphs A Little Past 10 So The Divide Screens Would Be The Same Width And Visually Pleasing. Is This Ok? Thanks, Dmg  Conclusion: Even Young Babies Can Distinguish Different Phonemes. Later Research Would Use Similar Methods To Show That Young Babies Can Distinguish All The Phonemes That Have Been Found In Any Language. Because The Baby’S Response Increases When The New Phoneme Is Presented, She Must Be Able To Distinguish It From The Previous Phoneme. Average Number Of Sucking Responses (A) 100 80 60 40 20 0 6–8 10–12 Months Months Age Of Infants (B) 100 80 60 40 20 0 Figure 10.7 Sharpening Phoneme Detection Infants Slowly Lose The Ability To Dis- Tinguish Phonemes If They Are Not Exposed To Them. (A) At 6–8 Months Of Age, Ameri- Can And Japanese Infants Are Equally Good At Distinguishing The Sound Of R Versus L. A Few Months Later, American Babies Become Better At Distinguishing The Two Sounds, But Japanese Infants, Having No Exposure To English, Begin To Lose The Capacity To Tell The Two Phonemes Apart. (B) American Babies Can Distinguish Phonemes In Hindi That English-Speaking Adults Cannot. (A After Kuhl Et Al., 2006; B After Werker Et Al., 1981.) Adult Monkeys Can Also Discriminate Between Phonemes (Ramus Et Al., 2000), So This Ability May Reflect A Basic Property Of The Primate Auditory Sys- Tem. But There’S More To The Story About Babies. By Attending To The Pho- Nemes In The Language Spoken Around Them, Human Babies, Who Begin Life Babbling Nearly All The Phonemes Known In All Human Languages, Soon Come To Use Only The Subset Of Phonemes In Use Around Them. Not Only That, But Human Babies Also Get Better And Better At Distinguishing The Phonemes They’Re Exposed To. As They Get More And More Exposure To The Phonemes In Use Around Them, They Slowly Lose The Ability To Distinguish Other Phonemes. For Example, Japanese Newborns Can Distinguish Between The Sounds For R Versus L, But If They Hear Only Japanese While Growing Up, They Will Find It Hard To Tell Those Sounds Apart As Adults (Figure 10.7a; Kuhl Et Al., 2006). As An- Other Example, Native English-Speaking Adults Have A Very Difficult Time Distin- Guishing Some Of The Phonemes In Hindi, One Of The Official Languages Of India. Yet 6- To 8-Month-Old Babies From English-Speaking Households Can Detect Those Different Hindi Phonemes (Figure 10.7b; Werker Et Al., 1981). Babies Begin This Process Of Losing The Ability To Distinguish Phonemes They Have Not Been Exposed To At About The Age They Themselves Start Making Halting Lan- Guage-Like Sounds, At 6 To 8 Months Of Age. The Baby’S Developing Language Abilities Are Especially Shaped By Motherese, The Singsong, High-Pitched Speech With Slow, Exaggerated Pro- Nunciation That Parents Use With Their Babies (Falk, 2004) In All Cultures (Boys- Son-Bardies, 2001). Babies Will Work Especially Hard To Hear This Sort Of Speech. The Lilting Qualities Of Motherese Convey Emotional Tone And Reward, Helping The Baby Attend To Speech And Use Developing Memory Skills To At- Tach Meaning To Previously Arbitrary Speech Sounds. The Fact That Babies Go Through This Process Of Attending To Speech And Sharpening Their Ability To Distinguish The Phonemes They Hear, And Losing The Ability To Distinguish Other Phonemes, Suggests That Our Brain Is Specialized To Motherese Learn Language. Certainly Many Linguists Believe This, And To The Extent That There The Singsong, High- Pitched Speech With Slow, Exaggerated Pronunciation That Parents Use With Babies. Breedlove Intro Psych 1e Fig. 10.06, #1006 06/30/14 07/10/14 Dragonfly Media Group Language And Cognition 407 American Infants Japanese Infants Adult Hindi Speakers American Infants Adult English Speakers Infants In English-Speaking Homes Can Distinguish Hindi Phonemes That Their Parents Cannot. Percentage Of Infants Distinguishing English Phonemes Percentage Of Participants Distinguishing Phonemes 408 Chapter 10 Box 10.1 Psychology In Everyday Life Williams Syndrome Offers Clues About Language Williams Syndrome, Which Occurs In Approximately 1 Out Of 20,000 Births (Bower, 2000), Illustrates A Fascinating Disconnect Between What We Normally Regard As Intelligence And Language. Individuals With Williams Syndrome Speak Freely And Fluently With A Large Vocabulary, Yet They May Be Unable To Draw Simple Images, Arrange Colored Blocks To Match An Example, Or Tie Shoelaces. The Individuals Are Very Sociable, Ready To Strike Up Conversa- Tion And Smile. They May Also Display Strong Musical Talent, Either Singing (See Figure) Or Playing An Instrument. The Syndrome Results From The Dele- Tion Of About 28 Genes From One Of The Two Copies Of Chromosome 7 (De Luis Et Al., 2000). No One Understands Why The Remaining Copies Of These Genes, On The Other Chromosome 7, Do Not Compensate For The Lost Copies. The Absence Of One Copy Of The Gene Called Elastin (Which Encodes A Protein Important For Connective Tissue In Skin And Ligaments) Leads To Pixielike Facial Features In People Who Have Williams Syndrome. Several Of The Other Missing Genes Are Thought To Lead To Changes In Brain Development And To The Behavioral Features Of The Syndrome. Because Speech Development In Williams Syndrome Is Spared In A Brain That Finds Many Other Tasks Difficult, The Human Brain May Indeed Be Spe- Cialized To Pick Up Languages In A Way That’S Distinct From Solving Other Tasks. The Psychological Development Of Such Individuals Is Complicated. As Infants They May Display A Greater Understanding Of Numbers Than Other Infants, But As Adults They May Show A Poor Grasp Of Numbers. Con- Versely, Their Language Performance Is Poor In Infancy But Greatly Improved By Adulthood (Paterson Et Al., The Appearance Of Williams Syndrome Children With Williams Syn- Drome Are Often Very Fluent In Languages And Very Expressive In Music. 1999). These Findings Suggest That The Developmental Process Is Distinctively Altered In Williams Syndrome, Which Adds To The Mystery Of Why These Children Seem To Catch Up In Language But Not Other Skills. In- Triguingly, Possession Of Extra Copies Of The Identified Genes On Chromosome 7—Rather Than Deletions Of These Genes—Produces A Syndrome That Is, In Many Ways, The Converse Of Williams Syndrome: Very Poor Expressive Language Accompanied By Normal Spatial Abilities (Somerville Et Al., 2005). These Cases Also Suggest That The Learning Of Language Is Distinct From Other Forms Of Intelligence, Perhaps Because Humans Evolved A Specialized Capacity To Acquire Language. Williams Syndrome A Genetic Disorder Characterized By Normal Verbal Abilities But Severe Deficits In Spatial Reasoning. Is Any Disagreement, It Lies In Different Ideas About What It Means To Say The Brain Is “Specialized.” One Reason To Think That Parts Of The Human Brain Are Especially Adapted To Learn Language, As Opposed To Being Generalized To Solve Any Prob- Lem, Is The Observation That Some People Have Especially Fluent Speech But Have Great Difficulty With Non-Speech Tasks, Discussed In Box 10.1. While It Is True That Babies Are Remarkably Good At Picking Up Language, They Need That Exposure To Language Early In Life In Order To Become Proficient In Lan- Guage, As We’Ll Discuss Next.
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1.3 Macro Intro Breaking a bond = hydrolysis Build/make a bond = remove water, dehydration synthesis 1.4 Macros Nucleic Acids DNA and RNA Made from nucleotides A, T, C, G, U Proteins Amino acids Polypeptide To make it into a protein you need to fold and modify Carbs Monosaccharides Ex. glucose Polysaccharides Ex. starch, cellulose, glycogen, chitin Lipids nonpolar Ex. phospholipids Saturated (butter) vs unsaturated (oil) 1.5 Macros structure + function Uses covalent bonds between nucleotides Main structure want it to be covalent bond so its strong Bases use hydrogen bonds DNA is antiparallel, equally spaced read in opposite directions Protein Primary - Amino acids Secondary - Pleats and coils (hydrogen bonding) Tertiary - Interactions between the R-groups (unique shapes) Quaternary - 2 or more chains (any bond) Carbs Chains of sugars using covalent bonds 1.6 Nucleic Acids DNA Deoxyribose sugar T Double stranded RNA Ribose sugar U Single stranded Common Both use nucleotides A, G, C U2 Cells Organelles Ribosomes = protein synthesis Found on rough ER or free Show common ancestry Endoplasmic Reticulum Rough = ribosomes Smooth = makes lipids, detox Golgi complex Protein trafficking Packaging and transport of proteins mitochondria Site of cellular respiration, ATP production Double membrane Own DNA circular DNA Chloroplast Site of photosynthesis Own circular DNA Lysosome Hydrolytic enzymes Apoptosis Vacuole Large in plants Small in animal cells 2.3 Cell Size Small cells Inc surface area to volume ratio More efficient Better for transportation, elimination of waste, heat, exchanges, etc 2.4 Plasma Membrane Small and nonpolar can pass through easily (oxygen and carbon dioxide) 2.5 Membrane Permeability Selectively permeable Transport proteins needed for larger polar molecules Cell wall - plants, fungi, and prokaryotes Provides extra support and protection 2.6 Transport Passive transport (high to low) Does Not require any energy Diffusion Osmosis Facilitated diffusion (uses proteins) Active transport (low to high) Require energy Exocytosis Moving things in or out Endocytosis 2.7 Facilitated diffusion Uses integral proteins Ex. aquaporins, ion channels, neurons Proteins also used for active transport 3.6 Cellular Respiration Glycolysis Within the cytoplasm Evidence of common ancestry because all organisms go through glycolysis Glucose to 2 pyruvates Energy investment phase and energy payoff phase Get pyruvate, ATP, and NADH Fermentation (ONLY IF NO OXYGEN) To reset everything Takes NADH and turns it back to NAD+ to keep running glycolysis Grooming Phase Modify and turn it into Acetyl CoA Kreb Cycle With in the matrix Making electron carriers (NADH and FADH2) Inner mitochondrial membrane Where the electron transport chain takes place 3.7 Fitness Max offspring Variation can increase fitness Unit 4 Cell Communications 4.1 Signal Transduction Pathway Autocrine (signal yourself) Paracrine (next to you) Endocrine (far from you) 4.2 Signal Transduction Pathway intro Reception → transduction → response Reception: ligand attacks to the receptor The process by which a cell detects a signal in the environment. Ex. ligand binds to G protein which activates Transduction: phosphorylation cascade and amplifies signal The process of activating a series of proteins inside the cell from the cell membrane. Response: The change in behavior that occurs in the cell as a result of the signal. Second messenger - first is ligand, second messenger is for amplification (cAMP - each can have their own phosphorylation cascades) 4.3 STP Responses Turn gene off/on Apoptosis Cell growth start/stop 4.4 changes to STP Mutations (respond too much or too little to the signal molecule attacking) Chemical can release that can interfere with your STP resulting with death 4,5 Feedback Respond to changes (homeostasis) Negative (reverse change) Positive (increasing the change) 4.6 / 4.7 Cell Cycle/ Regulation G1 - growth G1 checkpoint (determine if you go to S phase or to G0 non dividing state) S - DNA replication G2 - organelle replication and growth G2 checkpoint - make sure the cell is ready for division M phase - Mitosis PMAT Prophase - nucleus disappears Metaphase - lined up at the equator Anaphase - replicated chromosomes are split Telophase - move to opposite ends M-phase checkpoint - checks to make sure division is correct Cytokinesis - final split into 2 Cyclin increases during S and peaks at M Cdk binds with cyclin to produce mpf Level of cyclins lets cell know where it’s supposed to be Tells your cell you are at your full maturity ready to produce Unit 5 Heredity 5.1 / 5.2 Meiosis Increases genetic variation Crossing over (Prophase 1) Reduction division haploid (half the amount of genetic information) Random fertilization Nondisjunction (meiosis 1 all 4 cells are irregular / meiosis 2 half the cells are irregular) Independent Assortment Increases genetic diversity 5.3 Mendelian Genetics A = dominant allele a = recessive allele Genotype - combination of letters (AA, Aa, aa) Phenotype = looks Law of Segregation - Aa → A / a Law of Independent Assortment (Aa Bb → AB, Ab, aB, ab) Sex Linked Located on a sex chromosome Usually X Sex linked recessive is more common in males because they only have one X Sex linked dominant both can inherit easily Incomplete dominance - blending Codominance - both alleles expressed 5.5 Environmental Effects Ex. weather, pH of soil 5.6 Chromosomal Inheritance Mutation → inherited Some have no effect, negative effect, neutral effect, 6.1 Gene Expression and Regulation 6.1 DNA Double stranded Deoxyribose T RNA Ribose Single stranded U 6.2 Replication (S-Phase) 5’ → 3’ Ligase - binds the new bases together Helicase - unwinds the DNA DNA poly - put down the new bases Primase - makes primer Topoisomerase - stops DNA from getting overwind Leading - able to all go in one go Lagging - many primers and okazaki fragments 6.3 Transcription and Processing Nucleus RNA poly makes primary transcript (pre mRNA) from DNA Template strand is the one the DNA is using to build Non template strand one not being used RNA processing Introns are removed Exons are put together Add cap and tail for protection Alternative splicing 6.4 Translation Ribosome Reverse Transcriptase retroviruses Ex. HIV RNA genomes use reverse transcriptase to make DNA from RNA 6.5 Regulation of Gene Expression Signal to unpack the gene Transcribed (transcription factors differ by cells and allows different gens to turn on) RNA editing Translation Polypeptide folding All need to go correctly or else the gene wont be expressed Acetylation of histones - adding acetyl group causes the DNA to be more loose making it easier to read Methylation of histones - adding methyl groups to the DNA causes it to be tighter and harder to read Enhancers - enhances transcription and causes it to occur more often Activators - dont bind to RNA poly it binds to the enhancer Depends of which genes and stage of development Epigenetics - one gene controls another gene Inducible Operon - usually off Repressor is bound to operon and lactose inactivates Repressible Operon - usually on Repressor is usually inactive, trp activates repressor 6.6 Gene Expression and Cell Specialization Promoter region (TATA box) alerts RNA poly that its a promoter region and where to attach Negative regulation - blocks promoter so RNA poly cant attach small RNA - can turn certain genes off 6.7 Mutations Increase normal gene function Decrease normal gene function Can lead to new phenotypes Cancer can be due to overproduction of growth factors, hyperactive proteins (requires many mutations Can have positive, negative, or no effect Causes of mutation Exposures Random Errors in DNA replication Increase or decrease in chromosome number Prokaryotes Transformation - pick up random DNA Transduction - virus accidentally is filled with bacterial DNA Conjunction - mating bridge/sex pilus 6.8 Biotechnology Electrophoresis - separates DNA by charge and size PCR - artificial DNA replication, increases amount of DNA sample Transformation - you make the bacteria take up a gene you're interested in Unit 7 7.1 Natural Selection natural / selective pressures decide survival Reproductive fitness (max out your kids) 7.2 Natural Selection Acts on phenotypes which can affect genotype Preferring brown fur over white decreases white fur allele frequency Environmental changes → selective pressures 7.3 Artificial Selection Humans select (ex. Dogs, livestock, etc) Convergent evolution - not closely related but because of similar environments you look alike Divergent - had a recent common ancestor but you started becoming separate Niche partitioning - choosing separate niches so you dont have to compete with others 7.4 Population Genetics Mutation - variety and evolution Genetic drift - random event that alters the gene pool Bottleneck effect - an event causes a large part of the population to die off and the remaining left repopulate with a different gene pool Founder effect - the og are there but some leave/get separated 7.5 Hardy Weinburg Large population No natural selection Random mating No mutation No gene flow P+q = 1 p2 + 2pq +q2 = 1 (AA) + (Aa) + (aa) = 1 7.6 Evidence of Evolution Fossils DNA (molecular homologies) Anatomy Vestigial structure (things we dont need anymore) (evidence of common ancestry) Biogeography (species are found all around the world)(kangaroos, genetic code, glycolysis) 7.7 Common Ancestry All Eukaryotes Membrane bound organelles Linear DNA and chromosomes Genes with introns 7.8 Continuing Evolution Genomic changes over time Continuous changes in fossils Evolution of antibiotic resistance Disease evolution 7.9 Phylogeny / Cladistics Phylogeny = included time Cladograms = just traits Shared characters Derived characters Molecular (DNA, proteins, amino acids) are more accurate than characteristics Parsimony - the one with the fewer events on it, the frewer you have the more likely it is 7.10 Speciesation Pre-zygotic Mechanical - parts dont match Gametic - egg doesnt match Geographical - dont live in the same place Temporal - ready to mate at different times Behavioral - specific type of mating display is not there Post-zygotic Hybrid sterility - the hybrid made is healthy but they cannot have children (mule) Hybrid breakdowns - the hybirds are okay but after a generation or two they cannot produce anymore Hybrid inviability - hybrid is produced but cannot survive long enough to reproduce Sympatric New species arrises in the original location Gradualism - slow steady evolution Allopstric Separation leads to speciation Punctuated - long periods of evolution with no change then rapid change 7.11 Extinction Can be natural or human caused If something goes extinct it can open up opprotunities for other species 7.12 Variation Genetic diversity Diversity of the ecosystem = inc biodiversity Less likey to be 7.13 Origins of Life on Earth No oxygen on earth 4.6 billion No ozone layer Tons of UV radiation High ocean levels Vooacanic eruptions RNA was the first genetic material DNA is dependant of RNA in
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