Hi Mike,

Let's assume that you get my point that construction grammar handles idioms 
easily.  This passage is describing an instance of a composite event whose 
general characteristics should be known in advance by the comprehending system. 
 Rather then give an example of how I would teach Texai this event type from a 
clarification dialog using this passage, I'll just sketch the symbolic 
knowledge representation of the general event that it should already know about 
to understand the passage:
this is the aftermath of a  (football) game event observed via video
the televised event is described by a text reporter to stimulate the 
recollection of a viewer of the video
proper temporal (optional) subevents sequentially described the text reporter 
are: the viewing a defeated player on the field who is in a state of exhaustion 
and mental agony
the defeated player's comrades offering condolences and supportthe defeated 
player walking to the team dressing roomthe player removing his (football) 
gearthe video camera person records the dramatic facial expressions of the 
player for the interest of the human viewers of the video
This activity script is applicable to a wide variety of televised human sports 
activities, described in text by a reporter.  

Mike, have you given any thought to how deaf and blind humans become mentally 
competent?  I have, and this fact gives me hope that my bootstrap English 
dialog approach can comprehend visual descriptions that the system is not 
capable of seeing.

Cheers.
-Steve


Stephen L. Reed

Artificial Intelligence Researcher
http://texai.org/blog
http://texai.org
3008 Oak Crest Ave.
Austin, Texas, USA 78704
512.791.7860

----- Original Message ----
From: Mike Tintner <[EMAIL PROTECTED]>
To: [email protected]
Sent: Wednesday, April 23, 2008 11:01:45 PM
Subject: Re: [agi] Why Symbolic Representation P.S.

     DIV { MARGIN:0px;}     
     
   Stephen,
    
   Fighting    comeback :).  But then how do you get from "hell" etc to people 
patting    him etc to his walking achingly to a dressing-room to discarding 
bits of    "apparatus" to "a tie-up" to "clamping down on a water bottle" to " 
A camera    zooming in.." to  him looking like a movie character (& why, if    
you've seen the movie, will you & I probably remember the same shot, that    
we've never heard talked about), to understanding what "a replay showing on    
his face etc.." means?
    
   It is    an awesomely difficult passage if you're trying to process it. And 
the reason    I'm dwelling on it, is because it's so fascinating - it actually 
barely    illustrates my particular, earlier point re movement trajectories 
(though    that is still valid).
    
   If    you really want to understand how language works - that's a movie 
scene, with    changing shots and POV's, being put together from, in some 
cases, purely    visual, movie sequences in memory (including The Long Good 
Friday final    scene). And I think that actually IS how language and the brain 
works. It's    basically a movie editor. (Even when you think you're doing 
nothing else but    looking at a symbolic equation, "2 + 2 =4" it's still being 
projected on the    movie screen of your consciousness, as Damasio insists).
    
   The    syntax of those sentences is the same syntax that binds this sequence 
   together:
    
   http://faculty.cua.edu/johnsong/hitchcock/pages/stills-NxNW/UN3.html
    
   And it's    the same syntax that will probably allow your brain to 
understand a set of    non-sentences like:
    
   "Morning.     Frozen breath. Train. Boring Mondays. Crowds surging. Doors 
clattering.    Sitting down. Newspapers rustling."
    
   Do you    really think a purely verbal processor can stay with all that?
    
    
    
   Hi    Mike,

   "John Arne Riise stood doubled over in his tiny    corner of football hell."


These sentences are great    demonstrations of why I favor a construction    
grammar.   It's not necessary to process the imagery from first    principles.  
These sentences are full of idioms that can be simply    treated as 
constructions (i.e. form <--> meaning pairs).
        doubled over -- from WordNet: bent over or curled up, usually with      
laughter or pain     corner of X hell -- a very uncomfortable situation 
involving X     tiny corner of X hell -- very uncomfortable situation involving 
X in      which the agent (i.e. John Arne Riise) does not share the situation 
with      anyone else...and so forth for the rest of the passage.  The    
downside of construction grammar is lots of constructions.  But human    
children learn them, by being taught and by observation / induction , so I    
think a dialog system can too.

This sort of text by the way, long ago    put an end to the Cyc Project's then 
ambition to read and comprehend an    article in a newspaper.  Texai may fail 
also, but certainly not in the    same way Cyc did.
   
-Steve


Stephen L. Reed

   Artificial Intelligence Researcher
http://texai.org/blog
http://texai.org
3008 Oak    Crest Ave.
Austin, Texas, USA 78704
512.791.7860   

   -----    Original Message ----
From: Mike Tintner    <[EMAIL PROTECTED]>
To: [email protected]
Sent: Wednesday,    April 23, 2008 8:07:13 PM
Subject: Re: [agi] Why Symbolic Representation    P.S.

Abram,

Just to illustrate further, here's the opening lines    of today's Times sports 
report on a football match.[Liverpool v Chelsea]    How on earth could this be 
understood without massive imaginative    simulation? [Stephen?] And without 
mainly imaginative memories of football    matches?

"John Arne Riise stood doubled over in his tiny corner of    football hell. 
Agony engulfed him. One by one, teammates offered a pat on    the back, a 
handshake, or just a touch, some form of human contact to show    they cared. 
None of it did much good. He walked, step by aching step, to    the sanctuary 
of the dressing-room, discarding bits of the apparatus of    the professional 
footballer as he went. A tie-up here, a shin pad    there.

He clamped down on his water bottle and held it between his    teeth, like a 
bit to stop him gnawing through his bottom lip. A camera    zoomed in to show 
muscles around his eyes and mouth tensing as his mind    worked overtime. He 
looked like Harold Shand being driven to his execution    in the final scenes 
of The Long Good Friday. A replay of every mistake he    had made to get there 
was showing on his face."    


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