[Xmca-l] Re: language and music

[James Ma]

Henry, personally I prefer Xmca-I discussion to be exploratory and free
style, allowing for the coexistence of subjectness and subjectless. When it
comes to scholarly writing, we know we will switch the code.

James

HENRY SHONERD <hshonerd@gmail.com> 于 2018年11月29日周四 18:58写道：

> James,
> This conversation has been so satisfying I don’t want to let go of it, so
> I hope I am not tiring you or others with all the connections I find. But,
> in the spirit of Alfredo’s post, I’ll just keep on talking and remark on
> how the duck tail hair cut is a rich gesture, an important concept in this
> subject line. Gesture is an aspect of communication present in many
> species. Hence, the importance of gesture as a rudimentary form of language
> with evolutionary results in human language. Maybe this is a reach, but I
> see the business of quotes in the subject line now taking place (Anna
> Stetsenko and Anne-Nelly Perret-Clermont, contributing right now) on the
> last chapter of Vygotsky’s Speech and Language as an issue of gesture.
> Language, written language in this case, is limited in its ability to
> provide nuance. Writing without quotes “gestured”, pointed to to author
> sources familar in the day that Vygotsky wrote, such that quotes were not
> necessary. Dan Slobin, psycholinguist at Univ of Calf, wrote that two
> charges of language where in “tension”: 1) make yourself clear and 2) get
> it said before losing the thread of thinking and talking. Gesture, I would
> like to argue, is an aspect of discourse that helps to address this
> tension. A turn (in discourse) is a gesture, with temporal constraints that
> belie the idea that a single turn can ever be totally clear in and of
> itself. Writing, as we are doing now, is always dialogic, even a whole
> book, is a turn in discourse. And we keep on posting our turns.
> Henry
>
>
> On Nov 29, 2018, at 8:56 AM, James Ma <jamesma320@gmail.com> wrote:
>
>
> Henry, Elvis Presley is spot on for this subject line!
>
> The ducktail hairstyle is fabulous. Funnily enough, it is what my brother
> would always like his 9-year-old son to have because he has much thicker
> hair than most boys. Unfortunately last year the boy had a one-day show off
> in the classroom and was ticked off by the school authority (in
> China). However, my brother has managed to restore the ducktail twice a
> year during the boy's long school holiday in winter and summer!
>
> I suppose the outlines of conversation are predictable due to
> participants' intersubjective awareness of the subject. Yet, the nuances of
> conversation (just like each individual's ducktail unique to himself) are
> unpredictable because of the waywardness of our mind. What's more,
> such nuances create the fluidity of conversation which makes it difficult
> (or even unnecessary) to predict what comes next - this is perhaps the
> whole point that keeps us talking, as Alfredo pointed out earlier.
>
> James
>
>
> On Wed, 28 Nov 2018 at 22:19, HENRY SHONERD <hshonerd@gmail.com> wrote:
>
>> Back at you, James. The images of the mandarin drake reminded me of a
>> hair style popularin the late 50s when I was in high school (grades 9-12): ducktail
>> haircuts images
>> <https://www.google.com/search?client=safari&rls=en&q=ducktail+haircuts+images&ie=UTF-8&oe=UTF-8>.
>> One of the photos in the link is of Elvis Presley, an alpha male high
>> school boys sought to emulate. Note that some of the photos are of women,
>> interesting in light of issues of gender fluidity these days. I don’t
>> remember when women started taking on the hair style. Since I mentioned
>> Elvis Presley, this post counts as relevant to the subject line! Ha!
>> Henry
>>
>>
>>
>> On Nov 28, 2018, at 7:39 AM, James Ma <jamesma320@gmail.com> wrote:
>>
>> Thank you Henry.
>> More on mandarin duck, just thought you might like to see:
>> https://www.livingwithbirds.com/tweetapedia/21-facts-on-mandarin-duck
>>
>> HENRY SHONERD <hshonerd@gmail.com> 于 2018年11月27日周二 19:30写道：
>>
>>> What a beautiful photo, James, and providing it is a move on this
>>> subject line that instantiates nicely Gee’s conception of discourse. Thanks
>>> for your thoughtful and helpful response.
>>> Henry
>>>
>>>
>>> On Nov 27, 2018, at 11:11 AM, James Ma <jamesma320@gmail.com> wrote:
>>>
>>> Henry, thanks for the info on Derek Bickerton. One of the interesting
>>> things is his conception of displacement as the hallmark of language,
>>> whether iconic, indexical or symbolic. In the case of Chinese language,
>>> the sounds are decontextualised or sublimated over time to become
>>> something more integrated into the words themselves as ideographs. Some of
>>> Bickerton's ideas are suggestive of the study of protolanguage as an *a
>>> priori *process, involving scrupulous deduction. This reminds me of
>>> methods used in diachronic linguistics, which I felt are relevant to CHAT
>>> just as much as those used in synchronic linguistics.
>>>
>>> Regarding "intermental" and "intramental", I can see your point. In fact
>>> I don't take Vygotsky's "interpsychological" and "intrapsychological"
>>> categories to be dichotomies or binary opposites. Whenever it comes to
>>> their relationship, I tend to have a post-structuralism imagery present in
>>> my mind, particularly related to a Derridean stance for the conception of
>>> ideas (i.e. any idea is not entirely distinct from other ideas in terms
>>> of the "thing itself"; rather, it entails a supplement of the other idea
>>> which is already embedded in the self). Vygotsky's two categories are
>>> relational (dialectical); they are somehow like a pair of mandarin ducks
>>> (see attached image). I also like to think that each of these categories is
>>> both "discourse-in-context" and "context-for-discourse" (here discourse is
>>> in tune with James Gee's conception of discourse as a patchwork of actions,
>>> interactions, thoughts, feelings etc). I recall Barbara Rogoff talking
>>> about there being no boundary between the external and the internal or the
>>> boundary being blurred (during her seminar in the Graduate School of
>>> Education at Bristol in 2001 while I was doing my PhD).
>>>
>>> James
>>>
>>>
>>>
>>>
>>> On Wed, 21 Nov 2018 at 23:14, HENRY SHONERD <hshonerd@gmail.com> wrote:
>>>
>>>> James,
>>>> I think it was Derek Bickerton (
>>>> https://en.wikipedia.org/wiki/Derek_Bickerton) who argued that “formal
>>>> syntax” developed from stringing together turns in verbal interaction. The
>>>> wiki on Bickerton I have linked is short and raises issues discussed in
>>>> this subject line and in the subject line on Corballis. Bickerton brings me
>>>> back to the circularity of discourse and the development of discourse
>>>> competence. Usage-based grammar. Bickerton’s idea that complex grammar
>>>> developed out of the pidgins of our ancestors is interesting. Do I see a
>>>> chicken/egg problem that for Vygotsky, “…the intramental forms of semiotic
>>>> mediation is better understood by examining the types of intermental
>>>> processes”? I don’t know. Could one say that inner speech is the vehicle
>>>> for turning discourse into grammar? Bickerton claimed a strong biological
>>>> component to human language, though I don’t remember if he was a Chomskian.
>>>> I hope this is coherent thinking in the context of our conversation. All
>>>> that jazz.
>>>> Henry
>>>>
>>>>
>>>> On Nov 21, 2018, at 3:22 PM, James Ma <jamesma320@gmail.com> wrote:
>>>>
>>>>
>>>> Alfredo, I'd agree with Greg - intersubjectivity is relevant and
>>>> pertinent here.
>>>>
>>>> As I see it, intersubjectivity transcends "outlines" or perhaps
>>>> sublimates the "muddledness" and "unpredictability" of a conversation (as
>>>> in Bateson's metalogue) into what Rommetveit termed the "draft of a
>>>> contract". This is because shared understanding makes explicit and external
>>>> what would otherwise remain implicit and internal. Rommetveit argues
>>>> that private worlds can only be transcended up to a certain level and
>>>> interlocutors need to agree upon the draft of a contract with which the
>>>> communication can be initiated. In the spirit of Vygotsky, he uses a
>>>> "pluralistic" and "social-cognitive" approach to human communication - and
>>>> especially to the problem of linguistic mediation and regulation in
>>>> interpsychological functioning, with reference to semantics, syntactics and
>>>> pragmatics. For him, the intramental forms of semiotic mediation is better
>>>> understood by examining the types of intermental processes.
>>>>
>>>> I think these intermental processes (just like intramental ones) can be
>>>> boiled down or distilled to signs and symbols with which interlocutors are
>>>> in harmony during a conversation or any other joint activities.
>>>>
>>>> James
>>>>
>>>>
>>>> *________________________________________________*
>>>>
>>>> *James Ma  Independent Scholar **https://oxford.academia.edu/JamesMa
>>>> <https://oxford.academia.edu/JamesMa>   *
>>>>
>>>>
>>>>
>>>> On Wed, 21 Nov 2018 at 08:09, Alfredo Jornet Gil <a.j.gil@ils.uio.no>
>>>> wrote:
>>>>
>>>>> Henry's remarks about no directors and symphonic potential of
>>>>> conversation reminded me of G. Bateson's metalogue "why do things have
>>>>> outlines" (attached). Implicitly, it raises the question of units and
>>>>> elements, of how a song, a dance, a poem, a conversation, to make sense,
>>>>> they must have a recognizable outline, even in improvisation; they must be
>>>>> wholes, or suggest wholes. That makes them "predictable". And yet, when you
>>>>> are immersed in a conversation, the fact that you can never exactly predict
>>>>> what comes next is the whole point that keep us talking, dancing, drawing,
>>>>> etc!
>>>>>
>>>>>
>>>>> Alfredo
>>>>>
>>>>> ------------------------------
>>>>> *From:* xmca-l-bounces@mailman.ucsd.edu <
>>>>> xmca-l-bounces@mailman.ucsd.edu> on behalf of HENRY SHONERD <
>>>>> hshonerd@gmail.com>
>>>>> *Sent:* 21 November 2018 06:22
>>>>> *To:* eXtended Mind, Culture, Activity
>>>>> *Subject:* [Xmca-l] Re: language and music
>>>>>
>>>>> I’d like to add to the call and response conversation that discourse,
>>>>> this conversation itself, is staged. There are performers and and an
>>>>> audience made up partly of performers themselves. How many are lurkers, as
>>>>> I am usually? This conversation has no director, but there are leaders.
>>>>> There is symphonic potential. And even gestural potential, making the chat
>>>>> a dance. All on line.:)
>>>>> Henry
>>>>>
>>>>>
>>>>>
>>>>> On Nov 20, 2018, at 9:05 PM, mike cole <mcole@ucsd.edu> wrote:
>>>>>
>>>>> For many years I used the work of Ellen Dissenyake to teach comm
>>>>> classes about language/music/development. She is quite unusual in ways that
>>>>> might find interest here.
>>>>>
>>>>> https://ellendissanayake.com/
>>>>>
>>>>> mike
>>>>>
>>>>> On Sat, Nov 17, 2018 at 2:16 PM James Ma <jamesma320@gmail.com> wrote:
>>>>>
>>>>>>
>>>>>> Hello Simangele,
>>>>>>
>>>>>> In semiotic terms, whatever each of the participants has constructed
>>>>>> internally is the signified, i.e. his or her understanding and
>>>>>> interpretation. When it is vocalised (spoken out), it becomes the signifier
>>>>>> to the listener. What's more, when the participants work together to
>>>>>> compose a story impromptu, each of their signifiers turns into a new
>>>>>> signified – a shared, newly-established understanding, woven into the
>>>>>> fabric of meaning making.
>>>>>>
>>>>>> By the way, in Chinese language, words for singing and dancing have
>>>>>> long been used inseparably. As I see it, they are semiotically indexed to,
>>>>>> or adjusted to allow for, the feelings, emotions, actions and interactions
>>>>>> of a consciousness who is experiencing the singing and dancing. Here are
>>>>>> some idioms:
>>>>>>
>>>>>> 酣歌醉舞 - singing and dancing rapturously
>>>>>>
>>>>>> 村歌社舞 - dancing village and singing club
>>>>>>
>>>>>> 燕歌赵舞 - citizens of ancient Yan and Zhao good at singing and dancing,
>>>>>> hence referring to wonderful songs and dances
>>>>>>
>>>>>> 舞榭歌楼 - a church or building set up for singing and dancing
>>>>>>
>>>>>>
>>>>>>
>>>>>> James
>>>>>>
>>>>>> *________________________________________________*
>>>>>>
>>>>>> *James Ma  Independent Scholar **https://oxford.academia.edu/JamesMa
>>>>>> <https://oxford.academia.edu/JamesMa>   *
>>>>>>
>>>>>>
>>>>>>
>>>>>> On Sat, 17 Nov 2018 at 19:08, Simangele Mayisela <
>>>>>> simangele.mayisela@wits.ac.za> wrote:
>>>>>>
>>>>>>>
>>>>>>>
>>>>>>> Colleagues,
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>> This conversation is getting even more interesting, not that I have
>>>>>>> an informed answer for you Rob, I can only think of the National Anthems
>>>>>>> where people stand still when singing, even then this is observed only in
>>>>>>> international events.
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>> Other occasions when people are likely not to move when singing when
>>>>>>> there is death and the mood is sombre. Otherwise singing and rhythmic body
>>>>>>> movement, called dance are a norm.
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>> This then makes me  wonder what this means in terms of cognitive
>>>>>>> functioning, in the light of Vygotsky’s developmental stages – of language
>>>>>>> and thought. Would the body movement constitute the externalisation of the
>>>>>>> thoughts contained in the music?
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>> Helena – the video you are relating about reminds of the language
>>>>>>> teaching or group therapy technique- where a group of learners (or
>>>>>>> participants in OD settings) are instructed to tell a single coherent and
>>>>>>> logical story as a group. They all take turns to say a sentence, a sentence
>>>>>>> of not more than 6 words (depending on the instructor ), each time linking
>>>>>>> your sentence to the sentence of previous articulator, with the next person
>>>>>>> also doing the same, until the story sounds complete with conclusion. More
>>>>>>> important is that they compose this story impromptu, It with such stories
>>>>>>> that group dynamics are analysed, and in group therapy cases, collective
>>>>>>> experiences of trauma are shared.  I suppose this is an example of
>>>>>>> cooperative activity, although previously I would have thought of it as
>>>>>>> just an “activity”
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>> Simangele
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>> *From:* xmca-l-bounces@mailman.ucsd.edu [mailto:
>>>>>>> xmca-l-bounces@mailman.ucsd.edu] *On Behalf Of *
>>>>>>> robsub@ariadne.org.uk
>>>>>>> *Sent:* Friday, 16 November 2018 21:01
>>>>>>> *To:* eXtended Mind, Culture, Activity <xmca-l@mailman.ucsd.edu>;
>>>>>>> Helena Worthen <helenaworthen@gmail.com>
>>>>>>> *Subject:* [Xmca-l] Re: Michael C. Corballis
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>> I remember being told once that many languages do not have separate
>>>>>>> words for singing and dancing, because if you sing you want to move - until
>>>>>>> western civilisation beats it out of you.
>>>>>>>
>>>>>>> Does anybody know if this is actually true, or is it complete cod?
>>>>>>>
>>>>>>> If it is true, does it have something to say about the relationship
>>>>>>> between the physical body and the development of speech?
>>>>>>>
>>>>>>> Rob
>>>>>>>
>>>>>>> On 16/11/2018 17:29, Helena Worthen wrote:
>>>>>>>
>>>>>>> I am very interested in where this conversation is going. I remember
>>>>>>> being in a Theories of Literacy class in which Glynda Hull, the instructor,
>>>>>>> showed a video of a singing circle somewhere in the Amazon, where an
>>>>>>> incredibly complicated pattern of musical phrases wove in and out among the
>>>>>>> singers underlaid by drumming that included turn-taking, call and response,
>>>>>>> you name it. Maybe 20 people were involved, all pushing full steam ahead to
>>>>>>> create something together that they all seemed to know about but wouldn’t
>>>>>>> happen until they did it.
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>> Certainly someone has studied the relationship of musical
>>>>>>> communication (improvised or otherwise), speech and gesture? I have asked
>>>>>>> musicians about this and get blank looks. Yet clearly you can tell when you
>>>>>>> listen to different kinds of music, not just Amazon drum and chant circles,
>>>>>>> that there is some kind of speech - like potential embedded there. The
>>>>>>> Sonata form is clearly involves exposition (they even use that word).
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>> For example: the soundtrack to the Coen Brothers’ film Fargo opens
>>>>>>> with a musical theme that says, as clearly as if we were reading aloud from
>>>>>>> some children’s book, “I am now going to tell you a very strange story that
>>>>>>> sounds impossible but I promise you every word of it is
>>>>>>> true…da-de-da-de-da.’ Only it doesn’t take that many words.
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>> (18) Fargo (1996) - 'Fargo, North Dakota' (Opening) scene [1080] -
>>>>>>> YouTube
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>> Helena Worthen
>>>>>>>
>>>>>>> helenaworthen@gmail.com
>>>>>>>
>>>>>>> Berkeley, CA 94707 510-828-2745
>>>>>>>
>>>>>>> Blog US/ Viet Nam:
>>>>>>>
>>>>>>> helenaworthen.wordpress.com
>>>>>>>
>>>>>>> skype: helena.worthen1
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>> On Nov 16, 2018, at 8:56 AM, HENRY SHONERD <hshonerd@gmail.com>
>>>>>>> wrote:
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>> Andy and Peter,
>>>>>>>
>>>>>>> I like the turn taking principle a lot. It links language and music
>>>>>>> very nicely: call and response. By voice and ear. While gesture is linked
>>>>>>> to visual art. In face-to-face conversation there is this rhythmically
>>>>>>> entrained interaction. It’s not just cooperative, it’s verbal/gestural art.
>>>>>>> Any human work is potentially a work of art. Vera John-Steiner and Holbrook
>>>>>>> Mahn have talked about how conversation can be a co-construction “at the
>>>>>>> speed of thought”.  Heady stuff taking part, or just listening to, this
>>>>>>> call and response between smart people.  And disheartening and destructive
>>>>>>> when we give up on dialog.
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>> As I write this, I realize that the prosodic aspects of spoken
>>>>>>> language (intonation) are gestural as well. It’s simplistic to restrict
>>>>>>> gesture to visual signals. But I would say gesture is prototypically
>>>>>>> visual, an accompaniment to the voice. In surfing the web, one can find
>>>>>>> some interesting things on paralanguage which complicate the distinction
>>>>>>> between language and gesture. I think it speaks to the embodiment of
>>>>>>> language in the senses.
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>> Henry
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>> On Nov 16, 2018, at 7:00 AM, Peter Feigenbaum [Staff] <
>>>>>>> pfeigenbaum@fordham.edu> wrote:
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>> Andy,
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>> I couldn't agree more. And thanks for introducing me to the notion
>>>>>>> of delayed gratification as a precondition for sharing and turn-taking.
>>>>>>>
>>>>>>> That's a feature I hadn't considered before in connection with
>>>>>>> speech communication. It makes sense that each participant would need
>>>>>>>
>>>>>>> to exercise patience in order to wait out someone else's turn.
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>> Much obliged.
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>> Peter
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>> On Fri, Nov 16, 2018 at 8:50 AM Andy Blunden <andyb@marxists.org>
>>>>>>> wrote:
>>>>>>>
>>>>>>> Interesting, Peter.
>>>>>>>
>>>>>>> Corballis, oddly in my view, places a lot of weight in so-called
>>>>>>> mirror neurons to explain perception of the intentionality of others. It
>>>>>>> seems blindingly obvious to me that cooperative activity, specifically
>>>>>>> participating in projects in which individuals share a common not-present
>>>>>>> object, is a form of behaviour which begets the necessary perceptive
>>>>>>> abilities. I have also long been of the view that delayed gratification, as
>>>>>>> a precondition for sharing and turn-taking, as a matter of fact, is an
>>>>>>> important aspect of sociality fostering the development of speech, and the
>>>>>>> upright gait which frees the hands for carrying food back to camp where it
>>>>>>> can be shared is important. None of which presupposes tools, only
>>>>>>> cooperation.
>>>>>>>
>>>>>>> Andy
>>>>>>> ------------------------------
>>>>>>>
>>>>>>> Andy Blunden
>>>>>>> http://www.ethicalpolitics.org/ablunden/index.htm
>>>>>>> <https://urldefense.proofpoint.com/v2/url?u=http-3A__www.ethicalpolitics.org_ablunden_index.htm&d=DwMFaQ&c=aqMfXOEvEJQh2iQMCb7Wy8l0sPnURkcqADc2guUW8IM&r=mXj3yhpYNklTxyN3KioIJ0ECmPHilpf4N2p9PBMATWs&m=itd0qPWlE7uAuyEX0ii8ohEoZegfdMAOOLf-YoaEqqs&s=-uwTjZDhHtJM2EFdBS-rXLTptADQdSGAcibaav-mhJw&e=>
>>>>>>>
>>>>>>> On 17/11/2018 12:36 am, Peter Feigenbaum [Staff] wrote:
>>>>>>>
>>>>>>> If I might chime in to this discussion:
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>> I submit that the key cooperative activity underlying speech
>>>>>>> communication is *turn-taking*. I don't know how that activity or rule came
>>>>>>> into being,
>>>>>>>
>>>>>>> but once it did, the activity of *exchanging* utterances became
>>>>>>> possible. And with exchange came the complementarity of speaking and
>>>>>>>
>>>>>>> listening roles, and the activity of alternating conversational
>>>>>>> roles and mental perspectives. Turn-taking is a key process in human
>>>>>>> development.
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>> Peter
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>> On Thu, Nov 15, 2018 at 9:21 PM Andy Blunden <andyb@marxists.org>
>>>>>>> wrote:
>>>>>>>
>>>>>>> Oddly, Amazon delivered the book to me yesterday and I am currently
>>>>>>> on p.5. Fortunately, Corballis provides a synopsis of his book at the end,
>>>>>>> which I sneak-previewed last night.
>>>>>>>
>>>>>>> The interesting thing to me is his claim, similar to that of Merlin
>>>>>>> Donald, which goes like this.
>>>>>>>
>>>>>>> It would be absurd to suggest that proto-humans discovered that they
>>>>>>> had this unique and wonderful vocal apparatus and decided to use it for
>>>>>>> speech. Clearly* there was rudimentary language before speech was
>>>>>>> humanly possible*. In development, a behaviour is always present
>>>>>>> before the physiological adaptations which facilitate it come into being.
>>>>>>> I.e, proto-humans found themselves in circumstances where it made sense to
>>>>>>> develop interpersonal, voluntary communication, and to begin with they used
>>>>>>> what they had - the ability to mime and gesture, make facial expressions
>>>>>>> and vocalisations (all of which BTW can reference non-present entities and
>>>>>>> situations) This is an activity which further produces the conditions for
>>>>>>> its own development. Eventually, over millions of years, the vocal
>>>>>>> apparatus evolved under strong selection pressure due to the practice of
>>>>>>> non-speech communication as an integral part of their evolutionary niche.
>>>>>>> In other words, rudimentary wordless speech gradually became modern
>>>>>>> speech, along with all the accompanying facial expressions and hand
>>>>>>> movements.
>>>>>>>
>>>>>>> It just seems to me that, as you suggest, collective activity must
>>>>>>> have been a part of those conditions fostering communication (something
>>>>>>> found in our nearest evolutionary cousins who also have the elements of
>>>>>>> rudimentary speech)  - as was increasing tool-using, tool-making,
>>>>>>> tool-giving and tool-instructing.
>>>>>>>
>>>>>>> Andy
>>>>>>> ------------------------------
>>>>>>>
>>>>>>> Andy Blunden
>>>>>>> http://www.ethicalpolitics.org/ablunden/index.htm
>>>>>>> <https://urldefense.proofpoint.com/v2/url?u=http-3A__www.ethicalpolitics.org_ablunden_index.htm&d=DwMFaQ&c=aqMfXOEvEJQh2iQMCb7Wy8l0sPnURkcqADc2guUW8IM&r=mXj3yhpYNklTxyN3KioIJ0ECmPHilpf4N2p9PBMATWs&m=VlOXr8x02-mghKHGod2LwGx8_X-LHNRmDI_elI-7rKI&s=A3k5oeQ13zGCPUbWibdOb2KNZT4q__fLyCwugyULUDw&e=>
>>>>>>>
>>>>>>> On 16/11/2018 12:58 pm, Arturo Escandon wrote:
>>>>>>>
>>>>>>> Dear Andy,
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>> Michael Tomasello has made similar claims, grounding the surge of
>>>>>>> articulated language on innate co-operativism and collective activity.
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>> https://www.cambridge.org/core/books/cambridge-handbook-of-child-language/90B84B8F3BB2D32E9FA9E2DFAF4D2BEB
>>>>>>> <https://urldefense.proofpoint.com/v2/url?u=https-3A__www.cambridge.org_core_books_cambridge-2Dhandbook-2Dof-2Dchild-2Dlanguage_90B84B8F3BB2D32E9FA9E2DFAF4D2BEB&d=DwMFaQ&c=aqMfXOEvEJQh2iQMCb7Wy8l0sPnURkcqADc2guUW8IM&r=mXj3yhpYNklTxyN3KioIJ0ECmPHilpf4N2p9PBMATWs&m=VlOXr8x02-mghKHGod2LwGx8_X-LHNRmDI_elI-7rKI&s=vxJZooXRDYwTRrM4dzWBbLfUhF9HhmUvU3ouq6sbwPI&e=>
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>> Best
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>> Arturo
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>> --
>>>>>>>
>>>>>>> Sent from Gmail Mobile
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>> --
>>>>>>>
>>>>>>> Peter Feigenbaum, Ph.D.
>>>>>>>
>>>>>>> Director,
>>>>>>>
>>>>>>> Office of Institutional Research
>>>>>>> <https://www.fordham.edu/info/24303/institutional_research>
>>>>>>>
>>>>>>> Fordham University
>>>>>>>
>>>>>>> Thebaud Hall-202
>>>>>>>
>>>>>>> Bronx, NY 10458
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>> Phone: (718) 817-2243
>>>>>>>
>>>>>>> Fax: (718) 817-3817
>>>>>>>
>>>>>>> email: pfeigenbaum@fordham.edu
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>> --
>>>>>>>
>>>>>>> Peter Feigenbaum, Ph.D.
>>>>>>>
>>>>>>> Director,
>>>>>>>
>>>>>>> Office of Institutional Research
>>>>>>> <https://www.fordham.edu/info/24303/institutional_research>
>>>>>>>
>>>>>>> Fordham University
>>>>>>>
>>>>>>> Thebaud Hall-202
>>>>>>>
>>>>>>> Bronx, NY 10458
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>> Phone: (718) 817-2243
>>>>>>>
>>>>>>> Fax: (718) 817-3817
>>>>>>>
>>>>>>> email: pfeigenbaum@fordham.edu
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>> This communication is intended for the addressee only. It is
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>>>>>>>
>>>>>>
>>>>>
>>>> <Mandarin Ducks.jpg>
>>>
>>>
>>>
>>
>
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