Scientists From Montreal

"The expression 'cognitive penetrability' is borrowed from a cognitive scientist, Zenon Pylyshyn. He distinguishes between our cognitively penetrable mental functions on the one hand and our functional architecture on the other."

"Some skeptics, such as the cognitive scientist Zenon Pylyshyn, argue that images are “epiphenomenal.”"

"Cognitive scientist Zenon Pylyshyn objected that Shepard's mentally rotated images and Kosslyn's mentally compared images had to be constructed from imageless propositions in the central nervous system—propositions containing all of the information necessary to identify the correct answer without constructing any imagery."

"No one, to my knowledge, has suggested that the image must accelerate and decelerate or that the relation among torque, angular momentum, and angular velocity has a,1 analogue in the mental rotation case. Of course it may tum our that it takes subjects longer to rotate an object that they imagine to be heavier, thus increasing the predictive value of the metaphor. But in that case it seems clearer that, even if it was predictive, the metaphor could nor be explanatory (surely, no one believes that some images are heavier than others and the heavier ones accelerate more slowly)."

"What people report is not properties of their image but of the objects they are imagining. Such properties as color, shape, size and so on are clearly properties of the objects that are being imagined. This distinction is crucial. The seemingly innocent scope slip that takes image of object X with property Pro mean (image of object X) with property P instead of the correct image of (object X with property P) is probably the most ubiquitous and damaging conclusion in the whole imagery literature."

"When taken as a way of modeling cognitive architecture, really does represent an approach that is quite different from that of the classical cognitive science that it seeks to replace. Classical models of the mind were derived from the structure of Turing and Von Neumann machines. They are not, of course, committed to the details of these machines as exemplified in Turing's original formulation or in typical commercial computers—only to the basic idea that the kind of computing that is relevant to understanding cognition involves operations on symbols.. In contrast, connectionists propose to design systems that can exhibit intelligent behavior without storing, retrieving, or otherwise operating on structured symbolic expressions. The style of processing carried out in such models is thus strikingly unlike what goes on when conventional machines are computing some function."

"[A computer program for Task A qua an explanatory model and how a human cognizer actually carries out Task A are equivalent in the strong sense when it can be shown that]... the model and the organism are carrying out the same process."

"[If] we equip the programmed computer with transducers so it can interact freely with a natural environment and a linguistic one, as well as the power to make inferences, it is far from obvious what if any latitude the theorist (who knows how the transducers operate and therefore what they respond to) would still have in assigning a coherent interpretation to the functional states so as to capture psychologically relevant regularities in behavior. If the answer is that the theorist is left with no latitude beyond the usual inductive indeterminism all theories have in the face of finite data, it would be perverse to deny that these states had the semantic content assigned to them by the theory."

"Rather than a series of levels, we have a distinguished level, , the level at which interpretation of the symbols is in the intentional, or cognitive, domain or in the domain of the objects of thought."

"The term knowledge raises philosophical eyebrows (strictly speaking, it should be called belief)."

"Pylyshyn complains that Kosslyn's model is "more like an encyclopedia than a theory" [Pylyshyn, 1984, p. 254]. Because it is essentially ad hoc, the fact that it "predicts" the empirical evidence is hardly surprising."

"Without a specification of a creature's goals, the very idea of intelligence is meaningless. A toadstool could be given a genius award for accomplishing with pinpoint precision and unerring reliability, the feat of sitting exactly where it is sitting. Nothing would prevent us from agreeing with the cognitive scientist Zenon Pylyshyn that rocks are smarter than cats because rocks have the sense to go away when you kick them."

"During the late 1970s and early 1980s there was vigorous debate about the nature of visual mental imagery. One position (championed primarily by Pylyshyn 1973, 1981) held that representations that underlie the experience of mental imagery are the same type as those used in language; the other position (which my colleagues and I supported, e.g., Kosslyn, 1980, 1994) held that these representations serve to depict, not describe, objects. The debate evolved over time... but always centred on the nature of the internal representations that underlie the experience of visualisation."

"If the vapid writings . . . did indeed emanate from him, I can only say that this implies a terrible post-mortem reduction of personal capacities. (Survival of death with such an appalling decay of personality makes it, at least to me, a rather unattractive prospect.)"

"Until such time as logic and objective research concerning the relative efficiency of the various possibilities is undertaken, the cartographer can but rely on the experience and direction of the artist."

"Maps enable man to rise, so to speak, above his immediate range of vision, and contemplate the salient features of larger areas."

"Today most maps are printed by lithography."

"Good design looks right. It is simple (clear and uncomplicated). Good design is also elegant, and does not look contrived. A map should be aesthetically pleasing, thought provoking, and communicative"

"In an important sense, all cartography is an art in that it is representational and that operation always involves some degree of abstraction. Geographical reality is infinitely complex and its complete depiction is quite impossible; elements must be left out and intricacies modified as a consequence of the fundamental requirement of information reduction. All maps, therefore, are abstractions and the decisions involved in the process are artistic in the sense that many of them must be made subjectively by the cartographer."

"Two developments of the past four decades played crucial roles in establishing a research agenda for the study of map symbolization and design. The first was Arthur H. Robinson's dissertation (published as The Look of Maps in 1952), with its call for objective research... Robinson (1952) pointed out some limits to approaching map symbolization and design from a purely artistic viewpoint, as he suggested was the guiding perspective at the time. Maps, like buildings that are designed primarily for artistic impact, are often not functional... Robinson (1952) argued that treating maps as art can lead to "arbitrary and capricious" decisions. He saw only two alternatives: either standardize everything so that no confusion can result about the meaning of symbols, or study and analyze characteristics of perception as they apply to maps so that symbolization and design decisions can be based on "objective" rules... Robinson's dissertation, then, signaled the beginning of a more objective approach to map symbolization and design based on testing the effectiveness of alternatives, an approach that followed the positivist model of physical science. In his dissertation, Robinson cited several aspects of cartographic method for which he felt more objective guidelines were required (e.g., lettering, color, and map design). He also suggested that this objective look at cartographic methods should begin by considering the limitations of human perception. One goal he proposed was identification of the "least practical differences" in map symbols (e.g., the smallest difference in lettering size that would be noticeable to most readers)."

"In a career of teaching, writing and research, Dr. Robinson always found time, as mapmakers have for centuries, to look for the best possible solution to cartography's frustrating "Greenland problem." On maps drawn according to the most familiar projection, devised by Gerardus Mercator in the 16th century, Greenland appears to be about the size of South America, though it is actually no larger than Mexico. The distortion is a result of the compromises inherent in representing a sphere on a flat piece of paper. If the shapes of land masses are correct, the sizes will be distorted, and vice versa. If lower latitudes are close to reality on maps, then the polar regions will be grossly misshaped. In 1963, Dr. Robinson devised his own map projection..."

"The design process involves a series of operations. In map design, it is convenient to break this sequence into three stages. In the first stage, you draw heavily on imagination and creativity. You think of various graphic possibilities, consider alternative ways..."

"There are few results of man's activities that so closely parallel man's interests and intellectual capabilities as the map."

"The author took the only course in cartography available to him in 1937; it must have been fairly typical of the few being offered in America: lectures based largely on personal experiences were supplemented by a relatively few assigned readings, and by Deetz and Adam’s Elements of Map Projection. No textbook was used because there was none in English."

"I started with a kind of artistic approach... I visualized the best-looking shapes and sizes. I worked with the variables until it got to the point where, if I changed one of them, it didn't get any better... [only then I] figure out the mathematical formula to produce that effect."

"Take an orange and draw something on it -- say, a human face. Now carefully remove the peel, trying to keep it in one piece, and flatten it against your kitchen table. You'll see that in making a two-dimensional object out of a round one, something has to give. Either the face gets distorted and looks all 'mushed out,' or in flattening the peel, it breaks into segments, dividing the face as well into several parts. A cartographer chooses between a series of those kind of lesser-of-two-evils alternatives."

"Happiest day of my life, was when the Defense Department took down its Mercator... I started learning how to make maps while on an Army payroll. So getting to see mine in the Pentagon, flanked by generals, is a little like being a prophet who is finally honored by his hometown."

"I decided there ought to be another way of balancing out the various distortions without doing it mathematically."

"While doing illustrative work for Roderick Peattie, from him I learned the value of the unorthodox."

"Our experience in the Cartographic Section of the [OSS Map] Division clearly showed that the creation of a special purpose map was frequently as much a problem in design as it was a problem in substantive compilation."

"The development of design principles based on objective visual tests, experience, and logic; the pursuit of research in the physiological and psychological effects of color; and investigations in perceptibility and readability in typography are being carried on in other fields... such a movement in cartography cannot fail to materialize"

"If we then make the obvious assumption that the content of a map is appropriate to its purpose, there yet remains the equally significant evaluation of the visual methods employed to convey that content."

"The assumption that effective cartographic technique and its evaluation is based in part on some subjective artistic or aesthetic sense on the part of the cartographer and map reader is somewhat disconcerting. For example, E. Raisz claims that the “effective use of lines or colors requires artistic judgment,” and J.K. Wright explains that the suitability of a symbol “depends on the map maker's taste and sense of harmony.” Throughout the literature there are numerous similar assertions regarding the assumed subjective aesthetic and artistic content of cartography."

"There is also a considerable tendency to define the subject as a kind of meeting place of science and art. This is exemplified by Eckert. He pleads for artistic imagination and intuition in cartographic portrayal and claims that the inter-action of such talents with scientific geography produces the aesthetic map. There is no question about the importance of imagination and new ideas, but it is equally important that significant processes be objectively investigated, whether it be the visual consumption of a graphic technique or a process in geomorphology. It can perhaps best be approached by a comparison of the aims, techniques involved, and the results accomplished by each activity"

"Most scientific cartography is concerned with the dissemination of spatial knowledge."

"We must nevertheless present all possible interpretations for each observation, so that competing theories can be formulated and defended. In science, as elsewhere, intellectual inertia, the fashions of the moment, the weight of institutions, and authoritarianism are always to be feared. Heresies play an essential role by keeping our minds argumentative and alert."

"These are the limits of the scientific method and of logic itself, insofar as they must rely on language. Our words are built on the objects of our experience. They have acquired their effectiveness by adapting themselves to the occurrences of our everyday world. But when we approach realities of another scale, these words can become obstacles."