Language Sense
Akinori Abe

ATR Intelligent Robotics and Communication Labs.

2-2-2, Hikaridai, Seika-cho, Soraku-gun, Kyoto 619-0288 JAPAN
ave@atr.jp, ave@ultimaVI.arc.net.my

Abstract
In this paper, we rst dene language sense, and examine Kansei (affective feeling) wherein language has aslanguage sense. We review a history of writing charactersand analyze the usage of them from the viewpoint of language sense. From the analysis, we obtain features of language sense. From daily usage of language, we can observe
artistic or entertainment aspects of language and nd a hidden feature of language: language sense. Then, we discusspossibilities for achieving computational processing of language sense.

Keywords: language sense, affective computing, Kansei,
wordplay

1. Introduction
Humans communicate with each other by means of language. In addition, since we have received old letters andpapers from our ancestors, we can read records written inan ancient age. For example, though it is not easy to readold characters such as Linear B and Mayan script etc., if wecollect many examples (in a corpus) and analyze them, we
can identify some rules for reading the characters and learn
the history of those days. These characters have revealed
signicant information such as laws and histories of kingsand countries etc..
If we observe current society, we can nd a (fragmentof) language in every place, publicly visible examples including advertisements and signs. Sometimes they include
signicant information, but often they are mere garbages.
Advertisements, apart from their signicance, are created to
be attractive in order to obtain as much attention as possible.
For this, professional copy writers elaborate their words andproduce phrases as attractive or impressive as possible.
We have been researching Language Sense processing
Engineering, where we focus on expressing Kansei (affective feeling) of language (kotoba in Japanese) on computers. In fact, our research results involve the B-class Ma-

chine [17], wordplays on computers [12],[16], and computational support for creating affective phrases such as catchcopy [2]. We especially focused on an aspect of wit andésprit of language that is, we considered, both intellectualand emotional aspects of language. Thus, we have been researching the feature of language that Takiura pointed out in[24]; that is, we seek a feature of language where language
communicates something in a non-communicative way andthat language does not really communicate anything, even
if it seems to communicate something.
In this paper, we rst dene language sense, and, withvarious examples, examine the Kansei that language has aslanguage sense. We then discuss possibilities of achieving
language sense processing on computers.

2. Language with language sense
2.1 Language sense
In previous papers, we roughly dened language senseto show affective or psychological aspects of language[2]. Accordingly, language sense would inspire such attributes of language including emotion, what enchants us,
what is artistic, and what is slightly difcult to explain... etc.
Thus, by language sense, we would like to express typesof non-logical feelings in language. According to the denition of language sense, we proposed the B-class Machine[17], wordplays on computers [12],[16], and support for acomputational generation of affective phrases [2] to show
possibilities of implementation of language sense on computers. The supporting concepts of the applications were
wit and ésprit. We tried to generate slightly different feelings by applying a mechanism of the Concept Base [14] thatcan calculate similarity between words with regarding context. Since we focused on applications that can be thoughtof as achievable by computers, we might be able to deal
with only a small part of language sense. In this section, we
will point out affective and emotional aspects in language
by using various examples.

2.2 Impersonal language
In this section, as a counterexample, we show featuresof computer-generated languages that we naturally do notthink have affective and emotional aspects. In particular, weanalyze a computationally translated language. From ourexperience, computationally translated language is quite
formal; accordingly, it would not be suitable to simply
use automatic translation systems on multi-lingual chat systems. For example, Fig. 1 shows a multi-lingual chatsystem developed in NTT MSC, Malaysia. Actually, thebrowsers show only greetings and these would be acceptable. However, when the users use informal language suchas C U (see you) later, normal translation systems cannot translate the phrase unless we implement a dictionary
including special expressions beforehand. When the users
use only formal expressions, the system can translate it well,
but the chat may not become fascinating, since a translated
sentence seems impersonal and sometimes awkward fromthe viewpoint of chat.

generated poem in [8]. In his example, we misunderstoodthe computer generated poem as one written by humanbeings and a human-written poem that was intentionallypoorly written as a computer-generated poem. Thus, wemight develop the prejudice that computer-made = awkward and poor.
Android Yuming [9],[10] is an example implemented oncomputer that generates poems as if they were written by
Yumingy1 In fact, after generating poems, human beings
correct particles etc. to make them sophisticated. Fromthe concept of intertextuality [15], it would be plausible tobuild Yuming-like poems by a construction of a mosaic ofquotations from Yuming's poems. As pointed out in [1],automatic generation of poems under the concept of intertextuality is logically possible. Generation of novels and poems based on intertextuality on computers is quite a promising approach. If the original has some language sense, thissense will be transferred after construction of a mosaic ofquotations, and enabling is to feel another language sensefrom the reconstruction.
Let us return to computational translation problems. The
funny picture shown in Fig. 2 is an image inspired by afunny sentence that was translated from Japanese to English and from English and Japanese (translated twice). As
shown in the following paragraphs, the quality of translation is not good. One problem is caused by proper nouns
that English does not have, while another is that it is difcult to nd the right context, which seems to be lost duringtranslation.
 Original Japanese

Figure 1. Multi-lingual chat system

As for multi-lingual BBS, Nomura et al. pointed out thatsince machine translation can translate only well written
sentences, the users need to rewrite their sentences by referring to the translated sentence [20]. If the interface werecomplicated, it would be quite difcult to generate affective
feeling or emotion, but if we change our viewpoint, language obtained by such a tting or ltering method might
display a sort of affective feeling or emotion. This is because the language is generated by our intellectual or mental
behaviour.
Of course, we tend to feel that computer-generated sentences are awkward and in fact, computers usually generate
poorly written sentences. Indurkhya showed a computer-Ko»{/>6 S 0
Sé ü8#&éRD#$& >7
.Mé'/é ü.é LK.'¯#&.'6ÙR$&. H7 S/öRä&L>6'/M/ Æ Rù
J>G7 S/o%K. 3;Rù#&L>

 Translated English

A certain day and peach Taro said. A grandfather, a
grandmother. A demon goes to an island and defeatsa demon. At the time, since the demon whose demon
is an island rioted, he was troubled by the capital.The
grandfather which it takes care and goes handed thesword. I need to make lunch. The old woman madethe No.1 millet dumpling of Japan.

 Translated Japanese from English

Ko H3MB/>6ap (a×) + ü8  +RJ>7.g+. + ü'K + #Rä.

y1 Yumi Matsutoya: Japanese singer songwriter.

'/â£c'?>ap6L/L
RF4+(J>>7æRä>
6M/IS!RùK9Ü J>7x/o%. No.1 ?L.F';RùJ>

Figure 2. Picture by Rintaro Hara and Yu Hara
based on above translation.

As a Japanese reader will notice, part of the twicetranslated passage is nonsense; however, it is not complete
nonsense, because it is based on original literature. In [3],we showed that a slightly different or unexpected Internet
search result can act as a catalyst to stimulate our hidden
creativity or desire. Thus, sometimes these types of errors
stimulate our creativity. In addition, these types of creativity might be inuenced by language sense that would fascinate us; that is, unintentional affective feeling or emotion seems to emerge in the picture. Since the computer
misunderstood the context, the translated passage was awkward, though the awkwardness becomes comfortable forus. Is it possible to measure the comfort level of computational awkwardness? If we apply some special background knowledge or experience, even computer-generated
language that is usually regarded as impersonal can be regarded as human-like language, meaning that there could be
language sense even in computationally generated matters.
In addition, since the language sense is unintentional andunpredictable, it might be actually more fascinating than intentional language sense.

2.3 Human language
Since ancient days, we have developed characters to publicize messages, and the characters still survive. Thanks tothese characters (sometimes, of course, we cannot read ancient characters), we can refer to old records such as thoseof kings, war and law. These types of characters were media

that precisely communicated somebody's intentions. Therefore, they should have been constructed by strict rules toprevent misunderstanding. Since the objective of a character is to express what is in the writer's mind, the rst character would be formed by referring to a real thing (representation) as shown in Fig. 3 (series of real things).

Figure 3. Sumerian hieroglyphic characters

It is quite uneconomical to use one picture for one concept or object. Instead, we would like to use the same symbol to express the letter `b' in both `bird' and `tomb.' Thiscan be done with an alphabet, the oldest surviving record ofwhich is Linear B; from a Greek dialect known as Mycenaean (Fig. 4). Usage of this alphabet is thought to havespanned the time period between approximately 1500 BCE
and 1200 BCE. This system was apparently designed fora non-Greek language, as it did not t the sounds of Greekvery well. In fact, it is likely that Linear A was used to write
the pre-Greek language of Crete, and the incoming Greeks
adopted this writing system for their own use.
Thus, characters that were invented to communicate
were, at rst, representations that could express each eventand object, but they have gradually changed to symbols thatcan express general matters.
Language in an ancient time would have been a medium
for real communication between people. Following Johannes Gutenberg's invention of the printing press inc.1450, we have been able to easily deliver sets of printed
matter. In addition, the aim of document delivery would
have been changed. That is, before the invention, the aimof document delivery would have been an ofcial deliveryof rules to communities and orders from kings etc. Moreover, it was not easy to produce many documents. After the
printing press' invention, however, the aim of document delivery would become easier and sometimes include artistic
activities. For example, Fig. 5 shows the Gutenberg Bible
which has many decorative characters. Since it is a book fordelivering the word of God, it should not need any decora-Figure 4. Linear B

Figure 6. Poem with a visual effect (shape)tions  however, as you can see, it does. These decorations
can be regarded as evidence of the birth of language sense,
and this sense would come from a sense of play as well as
faith in God.
In the next section, we discuss a feature of language fromthe viewpoint of visual effects.
Figure 7. Advertisement with a visual effect(Laforet, Japan)

Figure 5. From Gutenberg’s Bible

2.3.1 Language requiring visual effects
With progress in the function of language, language would
require visual effects. For instance, there are the poem inthe gure of a bird (Fig. 6) and the pop character in an
advertisement (Fig. 7).
Figure 6 shows the famous poem Le colombe
poignardée (The stabbed dove) by Guillaume Apollinaire.
After formatting a poem in the gure of a bird (pigeon), thepoem not only takes a graphical image of a bird but also
becomes a piece of art. This is an artistic example and it isquite difcult to create such an artistic work, in that there
needs to be excellent language sense to create such an excellent work. On the other hand, Fig. 7 may not be regarded

as art. The main purpose of the effect here is to be attractive
to the public. Apollinaire also wrote Le jet d'eau (The water jet), but the former example is not frequently observed
even in contemporary poems. On the contrary, the latterexample can be frequently observed in advertisements andcomics. This is a frequently used techniques to generatesome effects on images.
Even if the above examples use phonograms, when characters are placed on soundless paper, the visual effect is important. For example, Fig. 7 seems to generate a soundsuch as Ah or Ooops. The graphical (pop) character's
effect tends to strike the sense of hearing (sound experience)
rather than vision. In addition, we can feel a moving atmosphere from it. This is an explicit expression of language
sense.

2.3.2 Language not requiring visual effects
If we do not use visual effect such as that shown in the previous section, we cannot expect any effect such as a soundeffect. Instead, we can experience the effect of the inherent sound of language. Advertisements in Europe and USA,
whose language systems use only phonograms, are explana-tory advertisements. We consider the phenomenon is due totheir simple systems of language, but it might also be dueto the Product Liability Law. Accordingly, it is difcult toobserve advertisements that make full use of rhetorical techniques of language. We show one rare example in Fig. 8. In
the advertisement, berry is used to represent very. Thisis quite a simple example.

Figure 9. Example of quotation from a
proverb
Figure 8. Advertisement in USA

Another example can be observed, such as The Best
Things in Life are Basicy2 (Fig. 9). This type of techniqueoften seems to be used when producing advertisements. Aslong as advertisers use alphabets, to which they cannot add
meaning, it is quite difcult to add more effects than thoseshown above. That is, since Western logical languages depend upon alphabets which are phonograms, it is a natural
phenomenon that form and sound are separate in those language systems. As pointed out by McLuhan [18], a Western
typographic-culture-biased person tends to avoid an emotional, sentimental and imaginative life. Accordingly, incontrast to Japanese ones, there are relatively few examples of advertisements that contain affective or emotional
feelings.
The Japanese language is quite rare in featuring bothphonograms and ideographic characters. In Japanese, we
can use Chinese characters that contain both meaning andtwo types of sound (On (phonetic reading) and Kun (native Japanese reading)). As a result, we can express various types of effects by using such characters. For example,
the advertisement for Ohtemae University shown in Fig. 10
includes the phrase $V [danjo-kyogaku]. The
university used to be a women's college, but since the advertisement, they have changed to a university for both genders(danjo=men and women). The word 9Q [kyogaku]
means a school for both genders. The correct usage is $
9Q. However, they seem to try to express a certain surprise in the phrase. For this purpose, they used the word V (surprise), which has the same sound as 9Q,
In addition, in the Japanese case, Hiragana are quite special characters: they are phonograms with a function simy2 The phrase in the advertisement is based on the proverb The bestthings in life are free.

ilar to the alphabet, but they have the history of being invented by emotional females. In addition, Hiragana characters were inuenced by Chinese, because they were invented based on the writing patterns of Chinese characters.
Similarly, Katakana was invented by taking simple components of Chinese characters that have the same sound.
Accordingly, there is enough room for affective or emotional feeling in the characters. For example, if we distinguish kotoba in writing as (0 (Hiragana), (0(Katakana), and Ú (Chinese character), each of themwould have a different feeling. Details on effects and feelings in writing of letters can be referred to Hatta and Iwahara's reports [7],[11]. We think the selection of character
type is determined by language sense. Sometimes, the selection is inuenced by a sense of play.

Figure 10. Advertisement for Ohtemae University

Previously, we proposed a computational support system
to generate rhetorical phrases such as wordplay [2]. The
system can only generate quite simple phrases but we could
show that computers can perform human-like language activity. The system cannot always generate good phrases,and judgment on a phrase's aesthetic qualities should bedone by humans, though it may be a stimulus for humancreativity.

2.4 Super­human language
In this section, we show examples of special (not ordinary) usage of characters that may be inspired by language
sense.

2.4.1 Pictorial symbols
Figure 11 shows Tompa hieroglyphic characters that are
currently experiencing a boom. It is surprising that, evennow, these characters, which were thought to have been out
of use, are still used in Yunnan, China. Therefore, Tompa

hieroglyphic characters still reect the Naxi people's current lives, religion and culture, and are used as a living language. However, for outsiders, it is not necessity to use
Tompa characters as they are used in Yunnan. Since they
are constructed of hieroglyphics, we can guess the meanings of the characters, even if we cannot pronounce them.
Accordingly, they can be regarded as pictographs such as. Moreover, if we use them in wordplay, they can be
regarded like pictorial symbols on mobile phonesy3. In fact,
since they are not ofcially used in Japan nor in computational or mechanical matters, they look quite fresh or novel.
Moreover, since they are still in use to express daily ideas,
they have a more powerful expressive ability than do pictorial symbols such as smilies (or :-p). Furthermore,some users add other interpretations to characters by which
they were inspired. For example, in typography, Asaba
y3 Forexample,Tompadeproduced artistic works (typography) by using Tompa hieroglyphic characters (Fig. 12; http://www.asabatompa.com/). These sorts of unexpected usages andideas are inspired by language sense within the characters.

2.4.2 (Pictorial) symbols on mobile phones
In Japan, we have seen rapid progress in the functions ofmobile phones. Because in trains we cannot talk on mobile
phones, we usually use them for sending and receiving email (Another reason is that e-mail service costs less thanthe voice phone service.). Usually, we use Japanese characters (computer-installed fonts) to write an e-mail, but if
we have a sense of play, we also use pictorial symbols (Fig.
13). This is an extended version of the smiley. Regarding
the fact that they express thoughts, concepts and objects byusing pictures, it might be said that writing system go backto ancient times. Nevertheless, when we receive this type ofe-mail, the mail can be regarded as hand-written, and might
be more suitable than mail written only in expressionlesscomputer-installed fonts.

Figure 11. Tompa hieroglyphic characters

http://www.heno2.com/tompa/pc/ on the Japanese site.

Figure 12. Typography based on Tompa hieroglyphic characters

Mail

Figurephone

13. Pictorial symbols on a mobile

It seems, however, that not even pictorial symbols areenough to express our feelings. Recently, high school (girl)students have been using so-called gal-charactersy4  (Fig.
14).
y4 Gal characters are said to be borrowed from Kusachu characters that

Examples of gal-characters are as follows:

Ø*HIo = /H (good morning)a = Ha (Sho-nan)Figurephone

14. Pictorial symbols on a mobile

As you can see, these character types are generated bydecomposing one character into more than two charactersor by substituting another character that has a similar shape.
The most obvious feature is that all the characters can be
written in ASCII characters that are commonly used in all
Japanese mobile phones. The feeling of using these typesof characters might be caused by the fact that some of theabove pictorial symbols cannot be displayed on anothermaker's mobile phone. However, language sense plays asignicant role in the feeling. In fact, it is said that The
computer-installed characters are quite articial (mechanical), but these characters are something like hand-written
letters and are warm. We also have another feeling: thatthe characters are written slightly poorly or awkwardly, anda little awkwardness is sometimes comfortable for us. Of
course, it is also true that a little awkwardness has the same
effect as hand-written letters. Another reason is that they
use the characters to express their secret matters as if it werea sort of a cypher. For a person outside the community, it
would be difcult to read the characters. Even if it is used
as a cypher, there must exist a sort of language sense in arelaxed situation. A relaxed situation is usually caused by asense of play.
was used in 2ch (Japanese online-community). This is not completely true,
because they invent new characters according to their feelings.

3. Affective and emotional aspects of language
3.1 Features of language sense
In this paper, we showed examples to explain language
sense, and analyzed language from the viewpoint of relaxedsituation (sense of play). If there is the belief that we should
always correctly communicate everything, there will be nosense for play. Accordingly, there would be no attractive
usage of language. If our minds are free from the restrictionthat we must communicate as correctly as possible, we feel
inclined to conduct more attractive communication. Artistic language, such as decorated books and formated poems,
appears when we attain a certain level of relaxation in ourlives.
Of course, catch copy produced by professional writers
has a certain level of professional language sense. However,even non-professional writers can create artistic products.
As shown in the previous section, in Japan, we have various sorts of e-mail systems that can be regarded as wordplay. One example is an e-mail system that utilizes Tompa
hieroglyphic characters to express contents with graphicalobjects. This is not in regular use and is not an original
invention, but use of characters from another culture has a
new or novel impact on Japanese users.
There may not be any room for inventing new characters, but there is plenty of space for possible interpretations and additional meanings of the characters. They send
mail with Tompa hieroglyphic characters as a part of wordplay. Another example is gal-characters that show a typicalteenage sense of humour. Characters are decomposed and,at a glance, difcult to be read by people outside the writers' community. To tell the truth, this can be regarded as agood example of language sense. From computer-installed
fonts that are quite restricted, they try to generate new possibilities for communication with language; the language isdeconstructed but does not lose it's meaning. In addition, it
might stimulate new sense and imagination. Since they do
not need to use the apparatus correctly, there are many possibilities for unexpected but fascinating usage of languagethat includes language sense.
More formal analyses were performed by Osaka [21]and Seto [22],[23]. From their analyses, words that express
emotion can be qualitatively explained by onomatopoeia,
metaphor and metonymy. These features of language canbe regarded as language sense.

3.2 Measures for languages sense
In the previous sections, we illustrated features of language sense. One question remains: Is it possible to objectively measure language sense? Murakami used a statistical method (Quantication Method III or CorrespondenceAnalysis) to analyze Genji-monogatari and novels by Yasunari Kawabata [19]. He especially observed the peculiarity of the place of the punctuation. Similarly, we think thatfeatures of affective or emotional aspects of language canbe observed. In such a case, factors other than punctuation
use should be attempted.
Although it is not language, we have also analyzed music composition data (extended MIDI data) [5]. In that paper, we proposed the self-education method, which statistically compares a professional composer's composition pattern with that of a non-expert and shows a marked difference between the patterns. In fact, the professional composer's composition pattern is clearly distinguishable fromthe non-expert's composition pattern. Actually, the difference comes from talent or composition techniques. However, we think that if we use a proper method, we can nddifference between affective or emotional factors. Similarly, the analysis can be applied to affective or emotional
aspects of language. In addition, as shown in this paper, thistype of differential display can stimulate our creativity, thatis, language sense.

4. Conclusions
When we encountered the poster shown in Fig. 15y5, wethought that it would be signicant for developing a support
system that can support creativity to generate catch copy.
We then planned to develop the system shown in [2].

In addition, we thought that some of the generation procedures of catch copy can be modeled; therefore, we could
implement a part of the mechanism to generate such catchcopy on computer if we could obtain a generation protocol
for an affective or emotional aspect of language.
In Japan, wordplays have been done by those who have
not only a lot of time and money, but also those with relaxed
minds, such as aristocrats and Furyu-Jin. They have a certain room in their minds, so they possess outstanding affective feelings and emotions. From the viewpoint of creativity, such rooms are quite important for generate impressive
language. Aside from wordplay and creativity, this research
can be applied to more practical applications. A keyword
Kansei in language is also quite signicant for supporting communication between mentally handicapped people
and for chance discovery by analyzing language activities
in nursing activities etc. The main problem, as pointed out
above, is how to determine and retrieve Kansei from language. As shown before, we believe that if we apply the statistical method or its extension, the problem can be solved
to a certain level.
To realize a system dealing with language sense, we
think tools such as the Concept Base [14] that can calculate
the relationship between concepts is necessary, while studies such as that by Ando [6], which proposed to quantify therole of affective or emotional words, are quite important .
In this paper, we have analyzed language sense almost
solely in Japanese. We think other languages, such as thosewith characters other than alphabets, would have language
sense. Thus, it is necessary to analyze other language sensein languages other than Japanese.

Acknowledgments
This research is supported in part by the National Institute of Information and Communications Technology(NICT) (formerly the Telecommunications Advancement
Organization of Japan).

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Figure 15. Advertisement of JR East

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