A synchronic lexical study of the Ede language continuum of West Africa: The effects of different similarity judgment criteria

In the context of a synchronic lexical study of the Ede varieties of West Africa, this paper investigates whether the use of different criteria sets to judge the similarity of lexical features in different language varieties yields matching conclusions regarding the relative relationships and clustering of the investigated varieties and thus leads to similar recommendations for further sociolinguistic research. Word lists elicited in 28 Ede varieties were analyzed with the inspection method. To explore the effects of different similarity judgment criteria, two different similarity judgment criteria sets were applied to the elicited data to identify similar lexical items. The quantification of these similarity decisions led to the computation of two similarity matrices which were subsequently analyzed by means of correlation analysis and multidimensional scaling. The findings of this analysis suggest compatible conclusions regarding the relative relationships and clustering of the investigated Ede varieties. However, the matching clustering results do not necessarily lead to the same recommendations for more in-depth sociolinguistic research, when interpreted in terms of an absolute lexical similarity threshold. The indicated ambiguities suggest the usefulness of focusing on the relative, rather than absolute in establishing recommendations for further sociolinguistic research.

»Imitation is the means, not the end, of art« - Peter Paul Rubens und Sir Joshua Reynolds über die Grammatik antiker Skulptur

In der vorliegenden Besprechung von Peter Paul Rubens’ Lehrschrift De imitatione statuarum (um 1610) und Sir Joshua Reynolds’ Discourse on Sculpture (1780) wird der Versuch unternommen, das Lehrgerüst der Grammatik als ein gemeinsames Referenzmodell herauszuarbeiten und die Position dieser beiden Malergrößen innerhalb der neuzeitlichen Kunsttheorie genauer zu verorten. Hierbei werden besonders die medienspezifischen Eigenschaften von Skulptur im Verhältnis zur Malerei diskutiert, die Maler bei der Nachahmung von antiker Skulptur zu beachten haben.

Passives without actives: evidence from verbless complement clauses in Spanish

This paper proposes a constructionist analysis à la Goldberg (1995, 2003, 2006) of passive verbless configurations in Spanish lacking a felicitous active counterpart.Under the paradigmatic – rather than syntagmatic – view of passives invoked in this paper, configurations of the type in (1) above, attested with a number of verba cogitandi et dicendi, are handled as instances of the Impersonal Subjective-Transitive construction, whose general skeletal meaning is X (NP1) attributed Y (XPCOMP) by Z (NP2) in a direct, categorical way. Moreover, the analysis proposed here also provides a satisfactory account of the distribution of grammatical subjects and the XPCOMPs, while also capturing the commonalities with “regular” passives (i.e. those with a felicitous active counterpart). In addition, Spanish passive verbless complement configurations with se dice (‘is said’) are shown to illustrate a three-point continuum consisting of (i) non-grammaticalized configurations with an active counterpart, (ii) non-grammaticalized configurations without an active counterpart, and (iii) grammaticalized configurations without an active counterpart. From a synchronic point of view, the structural and semantico-pragmatic properties exhibited by the lower-level lo que se dice XPFOCUS construction, involving a focusing/emphasizer subjunct function (e.g. verdaderamente ‘really’) as well as a reformulatory connective use (e.g. o sea ‘that is’, en otras palabras ‘in other words’) appear to point to an early process of grammaticalization, exhibiting decategorialization as well as generalization of meaning in conjunction with a prominent increase in pragmatic function and subjectification (cf. Traugott 1988, 1995a, 1995b, 2003).

Das kann ich aber auch!

In der Fotografie als reproduktiver Kunst und reproduktiver Technik existiert eine Vielzahl besonderer Umgangs- und Aneignungsformen im Kopieren originaler Bildideen. Das Spektrum reicht von der kreativen Nachstellung bis zum Plagiat. Fotografie ist das einzige Medium, das diese Bandbreite von Möglichkeiten in der Gegenüberstellung von Original und Kopie nutzen kann. Wolfgang Vollmer, Kölner Fotograf und Autor mehrerer Künstlerbücher, die sich kreativ mit Nachbildung und Fortführung von Ikonen der Fotografiegeschichte befassen, systematisiert die möglichen Umgangsformen der Fotografie mit "Vor-Bildern" aus ihrem medialen Bildgedächtnis.

Kopie der Kopie

In der Unterkirche San Rocco in Sansepolcro erhebt sich eine Kleinarchitektur, die laut Inschrift als Kopie des Jerusalemer Christusgrabes ausgewiesen ist. Statt sich an die architektonische Gestalt des nahöstlichen Originals anzulehnen orientiert sie sich jedoch an einer älteren Heiliggrabkopie, dem Heiliggrabtempietto von Leon Battista Alberti in San Pancrazio, Florenz. Der Aufsatz untersucht, auf welche Weise die „doppelte Kopie“ ihr Vorbild interpretiert und stellt Überlegungen zu Motivation, Bedeutung und Autorschaft der Heiliggrabkopie von Sansepolcro an.

GERMANY: Creating New Property Rights on the Basis of General Legal Concepts - Without Limits?

In two cases recently decided by two different senates of the German Federal Supreme Court (Bundesgerichtshof, BGH), the following issue was raised: To what extent can the filming of sports events organized by someone else, on the one hand, and the photographing of someone else’s physical property, on the other hand, be legally controlled by the organizer of the sports event and the owner of the property respectively? In its “Hartplatzhelden.de” decision, the first senate of the Federal Supreme Court concluded that the act of filming sports events does not constitute an act of unfair competition as such, and hence is allowed even without the consent of the organizer of the sports event in question. However, the fifth senate, in its “Prussian gardens and parks” decision, held that photographing someone else’s property is subject to the consent of the owner of the grounds, provided the photographs are taken from a spot situated on the owner’s property. In spite of their different outcomes, the two cases do not necessarily contradict each other. Rather, read together, they may well lead to an unwanted – and unjustified – extension of exclusive protection, thus creating a new “organizer’s” IP right.

XSAMPL3D: An Action Description Language for the Animation of Virtual Characters

In this paper we present XSAMPL3D, a novel language for the high-level representation of actions performed on objects by (virtual) humans. XSAMPL3D was designed to serve as action representation language in an imitation-based approach to character animation: First, a human demonstrates a sequence of object manipulations in an immersive Virtual Reality (VR) environment. From this demonstration, an XSAMPL3D description is automatically derived that represents the actions in terms of high-level action types and involved objects. The XSAMPL3D action description can then be used for the synthesis of animations where virtual humans of different body sizes and proportions reproduce the demonstrated action. Actions are encoded in a compact and human-readable XML-format. Thus, XSAMPL3D describtions are also amenable to manual authoring, e.g. for rapid prototyping of animations when no immersive VR environment is at the animator's disposal. However, when XSAMPL3D descriptions are derived from VR interactions, they can accomodate many details of the demonstrated action, such as motion trajectiories,hand shapes and other hand-object relations during grasping. Such detail would be hard to specify with manual motion authoring techniques only. Through the inclusion of language features that allow the representation of all relevant aspects of demonstrated object manipulations, XSAMPL3D is a suitable action representation language for the imitation-based approach to character animation.

Learning Two-Person Interaction Models for Responsive Synthetic Humanoids

Imitation learning is a promising approach for generating life-like behaviors of virtual humans and humanoid robots. So far, however, imitation learning has been mostly restricted to single agent settings where observed motions are adapted to new environment conditions but not to the dynamic behavior of interaction partners. In this paper, we introduce a new imitation learning approach that is based on the simultaneous motion capture of two human interaction partners. From the observed interactions, low-dimensional motion models are extracted and a mapping between these motion models is learned. This interaction model allows the real-time generation of agent behaviors that are responsive to the body movements of an interaction partner. The interaction model can be applied both to the animation of virtual characters as well as to the behavior generation for humanoid robots.