A number of recent publications have made use of the incremental output of stochastic parsers to derive measures of high utility for psycholinguistic modeling, following the work of Hale (2001;. In this paper, we present novel methods for calculating separate lexical and syntactic surprisal measures from a single incremental parser using a lexicalized PCFG. We also present an approximation to entropy measures that would otherwise be intractable to calculate for a grammar of that size. Empirical results demonstrate the utility of our methods in predicting human reading times.

How do children as young as 2 years of age know that numerals, like one, have exact interpretations, while quantifiers and words like a do not? Previous studies have argued that only numerals have exact lexical meanings. Children could not use scalar implicature to strengthen numeral meanings, it is argued, since they fail to do so for quantifiers (Papafragou & Musolino, 2003). Against this view, we present evidence that children's early interpretation of numerals does rely on scalar implicature, and argue that differences between numerals and quantifiers are due to differences in the availability of the respective scales of which they are members.Evidence from previous studies establishes that (1) children can make scalar inferences when interpreting numerals, (2) children initially assign weak, non-exact interpretations to numerals when first acquiring their meanings, and (3) children can strengthen quantifier interpretations when scalar alternatives are made explicitly available.

Collective dance improvisation (e.g., traditional and social dancing, contact improvisation) is a participatory, relational and embodied art form which eschews standard concepts in aesthetics. We present our ongoing research into the mechanisms underlying the lived experience of “togetherness” associated with such practices. Togetherness in collective dance improvisation is kinaesthetic (based on movement and its perception), and so can be simultaneously addressed from the perspective of the performers and the spectators, and be measured. We utilise these multiple levels of description: the first-person, phenomenological level of personal experiences, the third-person description of brain and body activity, and the level of interpersonal dynamics. Here, we describe two of our protocols: a four-person mirror game and a ‘rhythm battle’ dance improvisation score. Using an interpersonal closeness measure after the practice, we correlate subjective sense of individual/group connectedness and observed levels of in-group temporal synchronization. We propose that kinaesthetic togetherness, or interpersonal resonance, is integral to the aesthetic pleasure of the participants and spectators, and that embodied feeling of togetherness might play a role more generally in aesthetic experience in the performing arts.