A visual language for representing invisible aspects of natural language
Graziella Tonfoni
University of Bologna, Istituto di Glottologia, Via Zamboni, 16 -40126 Bologna, Italy
(Email: Tonfoni@elet.polimi.it)
Abstract
CPP-TRS (Tonfoni 1989-94) is both a methodology and a language. Through the methodology (CPP), those invisible aspects of communication are identified and represented by the meta-language (TRS), which complements natural language.
CPP-TRS (Communicative Positioning Program/Text Representation Systems) is a visual language based on a system of 12 canvas, 10 signs, 14 symbols and a wide set of visual dynamic schemes. Based on a very simple syntax, CPP-TRS is capable of representing meaning and intention as well as communicative function visually.
It is the invisible aspects of natural language that are the most relevant to getting the global meaning of a text. CPP-TRS can therefore be considered an unambiguous,fast and effective visual system for reinforcing natural language.
CPP-TRS (Tonfoni 1991-94) is a visual language which can be productively used to complement natural language by adding certain important elements that are not represented by natural language in itself
These elements are precisely: the general action by which the text producer starts to plan text- represented by canvas, the global function of the text-represented by signs, the local intentions of sentences and the paragraphs- represented by symbols, and the role requested to the text receiver- represented by turn-taking symbols. The communicative intention and the function as well as the reader's role are invisible in natural language because neither specific words nor punctuation convey them sufficiently and unambiguously; they are therefore non-transparent.
CPP-TRS is both a conventional and natural metalanguage that makes explicit from the beginning what otherwise is left to arbitrary interpretation. The fact that you make explicit what was not visible before, by adding visual conventions, enhances final understanding of the text.
This way we can say that the system is both conventional because some specific schemes, symbols and sings have been chosen and need to be agreed upon, and natural because those elements which are being represented were there all the time, because they are inherently related to linguistic communication.
Relevant research on iconing languages (Mealing & Yazdani, 1990) has pointed out the need for accurate research in icon production. Criteria such as clarity, ambiguity avoidance, and simplicity have to be taken into account; an icon being considered a symbol representing, or analogous to, the thing it represents (Anon, 1986).
In CPP-TRS invisible processes are being represented and defined, canvases are therefore intended to describe different sets of actions that are dynamically taking place.
Signs and symbols represent interpretation keys for the text to be executed; text in CPP-TRS being conceived as a musical composition in the sense that the text-receiver is asked explicitly to play the text just as a musician executes a composition.
Density in Texture-This canvas shows the different densities
possible for the organisation of information to be turned into a
text.
Word Explosion and Word Chaining-This canvas is for brainstorming; it represents the cognitive process of free association. It also depicts how a group of words can be linked together from a word explosion so that they form a logical, linear chain. The word chain that results from this process can be a group of sentences, paragraphs, or even larger parts of a text.
Metaphor Creation-This canvas illustrates that a metaphor begins with two word explosions: one for the source word and one for the target word. The source word is the word we start with, and the target word is one that has been chosen for transferring a new meaning to the source word.
Pattern Recognition and Analogies in Stories- This canvas shows how a visual frame may represent the logical structure of a story by focusing on certain words and parts that link it together. Once the story is visually represented, it becomes easy to replicate its structural patterns to create other analogous stories.
Global Narrative Text Planning-This canvas represents a visual scheme for globally planning narrative text. A canvas such as this enables one to sketch out a long story that may encompass a number of events, protagonists, and possible outcomes. It opens up the possibility of many different ways to develop the story, and it aids the checking of its coherence.
Local Narrative Text Planning-This five-part canvas helps to plan and analyze the details of a narrative text. It visually represents how to examine the backward and forward links from a narrative concept, evolve a story in different ways from a particular point, use temporal and causal connectors to link narrative concepts, and reconstruct the story differently by changing its sequence.
Analogous Story Planning-This canvas is a visual aid for planning or finding other stories that are analogous to a particular story. It depicts the ways in which two stories can be analogous. They may be partially analogous, meaning they can be either initially, intermediately, or finally analogous. Two stories can also be totally or globally analogous.
Explanatory Text Drawing-This canvas presents visual schemes for planning and organising an explanatory text by exhibiting a logical progression or some causal or temporal development. The first visual scheme in this canvas resembles a traditional outline and shows the logical progression of the text, starting with a title and flowing down through the division and development of a set of paragraphs. The second scheme provides an alternative to a strictly logical progression of paragraphs, and it instead focuses on identifying and maintaining the topic attention.
Dialogue-Conversation-This canvas is for planning a conversation, recording its rhythm, and tracking its evolution. It is divided by a vertical line into two spaces: the left space records the contributions of the initiator of the conversation, while the right space records those of the addressee. The lines flowing down through the initiator's and addressee's spaces trace the dynamics of the dialogue as it progresses. The process of planning and drawing a conversation on the canvas has the effect of slowing it down so that it stays focused and is directed toward some goal. It also enables a detailed, written reconstruction of the conversation.
Collective Text Perception-This is a two-part canvas. The first part helps visualise a particular type of collective text planning called collage writing. Collage writing may be done by a group of people that collectively endeavor to create a story, explanatory text, or any other text by piecing together their individual written contributions. The second part of the canvas represents mosaic reading. This reading shows how different text receivers can read the same text in different ways. In mosaic reading, a small group of people summarise the same text and then compare how their summaries differ.
Text Rotation - This canvas is concerned with organising texts that carry the same message to readers whose needs for information and backgrounds differ, accommodating particular perspectives and expectations.
Hypertext-This canvas is particularly suited for hands-on explanatory texts such as instruction manuals or procedural guides. It is a nonlinear process that is intended to be specifically suited to fulfill differing information needs.
Here we briefly present textual signs which explicate the communicative functions of a text on a global level.
We now move on to local control symbols intended to explicate communicative intentions and styles. They are being presented here and each of them is supported by an explanation of its own meaning, giving some evidence about why a certain icon has been chosen based on both cognitive and etimological reasons:
Describe:
From Latin describo (write around). It means giving as much
information as you want, starting from a point, the middle point of
the spiral, and proceeding by expanding the spiral; there is no need
to follow any logical chronological order; the spiral may be small or
large. It depends on how much information is being presented.
Define:
From Latin definio (put limits). It means giving just some
information-the relevant part about a certain point, the middle point
of the square, by drawing the meaning territory; there is no need to
follow any logical-chronological order, but there is a need to select
and choose just some relevant information to be kept within the
square. Define is describe under certain constraints; like in any
dictionary, where the definition of a word or a concept implies
choosing what is relevant to be written in order to understand the
specific meaning.
Narrate:
It means presenting facts and events by following a logical and
chronological order; there are points following each other on a line.
The longer the story is, the more of them you may add. Arrows mean
the logical reading direction of facts and events. If the story
becomes longer and more articulated, some more points are being added
on the right side and the line becomes longer and longer.
Point
out: It means getting a point specific event or , fact, out of
a narrative (story), focusing on that, adding more information,
therefore expanding it. The visual symbol represents the specific
point which is being chosen and expanded within a chain of facts and
events. Within a story it may represent the need for further
information and details just about one part of it.
Explain:
from Latin explano, (unwrap, open up). It means representing facts in
a cause-and-effect order; I may start from the original cause and get
down progressively to a set of effects, or start with effects and go
back to the original cause. This is why the symbol, a graphic
representation of a procedural description, works in two ways and
opposite directions: from up-to down and from down-to- up
respectively.
Regress:
from Latin regredior (go back). Regression means here giving more
information about a certain item within a chain of information. The
visual symbol represents the item, focusing process and the in-depth
information expansion process, which is being activated just about
that point. You may have differing levels of regression according to
differing information needs.
Inform:
from Latin informo (put into shape, shape up). It means just
packaging information. The visual symbol is double-faced: you have to
read it left-to-right or right-to left.
First
Phase (1) :from large into tight - it means informing
synthetically; departing from a large database proceeding toward a
synthesis (central point).
Second
Phase (2) :from tight into large - it means informing
analytically; departing from a limited set of data (central point)
proceeding toward a more analytical data search.
Because of their strong visual impact, symbol (1) and (2) respectively, are being used to represent the concepts of synthesis and analysis in general and may be added to the other symbols as well (define, describe, explain, etc.).
Reformulate:
from Latin reformo / reformulo (change shape and shape again).
It means changing attitude toward information packaging: from explaining into describing, or defining or informing, etc.
It practically means substituting a cognitive attitude with another one, a visual symbol with another one. The visual symbol means change, substitute.
Express:
from Latin exprimo (push out, press out). It means giving personal
and emotional opinions about facts. This is the most subjective mode
of information packaging, bound to personal experiences like
I like/I dislike or I feel / I don't feel good. The visual symbol represents a visual territory which is open and subject to modification according to personal opinions: some kind of amoeba-like shape.
We will now have a look at turntaking symbols which are specifically defining the text receiver's role. These symbols are the following:
Major
scale: This symbol signals to the text receiver that what follows
should be read exactly as written.
Minor
scale: This symbol invites the text receiver to modify the marked
off portion of the text.
Open
or unsaturated rhythm: This symbol indicates to the text receiver
that the text programmer considers the text to be incomplete. It
invites one to get into that portion of text and add more information
if possible.
Tight
or saturated rhythm: This symbol indicates to the text receiver
that the text organiser considers the text to be complete.
We can conclude by saying that CPP-TRS starts from a general dynamic representation of actions, which are explained by a set of canvases, which are visual, dynamic schemes. It then proceeds toward a global perspective on text function by complementing language with signs up to a more local perspective by integrating sentences and paragraphs with symbols.
All together, canvases, signs and symbols are being used to orchestrate text execution much as a composer uses notation in a composition to direct actions on orchestra members.
Using the CPP-TRS visual language correctly means being able to attribute the right meaning to each of the canvas, signs and symbols: each individual needs to be able to observe and recognise on a cognitive level what he/she does all the time while using language for communicating, being therefore able to match it consistently with the canvas, signs, and symbols in the same way he would be able to recognise intonation and pausation and explicate that with the appropriate punctuation signs.
The matter in CPP-TRS is therefore not to match by resemblance or analogy to actual objects or events but by recognition of self-observation in cognitive processes.
CPP-TRS canvas, signs and symbols may be combined together to heighten the semantics of text. They have actually been designed to be combined because there is no overlap or contradiction; they indicate qualitatively different processes and convey different kind of messages. They may also be used
dynamically to represent change and reformulation as instruction for requested change on a consensually shared and agreed upon basis.
Icons and visual languages offer a rich potential for communicating interculturally (Mealing-Yazdani, 1990): CPP-TRS (Tonfoni, 199194) is intended to contribute to presently existing iconic languages, as well as to complement natural language for those features which have not yet been covered. It is this visual representation of the invisible aspects of language which matters very much in interpersonal understanding.
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