A growing body of literature in the field of embodied situated cognition is drawing attention to the hostile ways in which our environments can be constructed, with detrimental effects on people’s ability to flourish as environmentally situated beings. This paper contributes to this body of research, focusing on a specific area of concern. Specifically, I argue that a very particular problematic quasi-Cartesian picture of the human body, the human mind, what it means for these to function well, and the role (...) of technology in promoting such functioning, animate our Western sociotechnical imagination. This picture, I show, shapes the sociotechnical niches we inhabit in an _ableist_ manner, perniciously legislating which body-minds have access to a rich world of affordances and are seen as agential and valuable. Because the ableist quasi-Cartesian commitments animating our Western sociotechnical imagination are problematic and pervasive, I argue that exposing and reimagining these commitments should be a prime focal point of those working at the intersection of science, technology, and human values. I present insights from enactive 4E cognition and critical disability studies as fruitful resources for such much-needed reimagining. I also make the case, more provocatively but also more tentatively, that the ableist view of bodily and minded well- functioning animating our Cartesian Western sociotechnical imagination is not only damaging to embodied minds who deviate from the presumed norm, creating inaccessible worlds for some of us; it is in fact a threat to human and planetary flourishing at large. (shrink)

n his 1785 review of Herder’s Ideen zur Geschichte der Menschheit Kant stresses the negative effects of sensibility and imagination in undermining philosophy. This essay will offer a defence of Herder against Kant in order to gesture towards a more positive account of the cognitive function of these capacities. I will argue that the eighteenth-century fascination with the experimental sciences and the demand to engage in anti-speculative philosophy in fact called for the integration of sensibility and imagination. (...) The reason for this call is that it is in virtue of these capacities that the mind is able to focus on the world of particulars and avoid the kind of metaphysical speculation that came under attack for its failure to account for the experienceable reality of human life. By analysing which cognitive role Herder attributes to our sensible and imaginative engagement with the world, it will emerge that the kind of inquiry advocated as a remedy against school metaphysics was not a reductive form of verificationism that pits the benefits of observation against reason, but a position marked by the belief that the mind’s best results can be achieved only if it commits itself to an integrated use of its rational and non-rational capacities. (shrink)

The main purpose of this article is, from a semiotic perspective, arguing for the recognizing of a semantic role of the imagination as a necessary condition to our linguistic experience, regarded as an essential feature of the relations of our thought with the world through signification processes ; processes centered in but not reducible to discourse. The text is divided into three parts. The first part presents the traditional position in philosophy and cognitive sciences that had barred (...) until recent times the possibility to investigate the semantic function performed by imagination, mainly due to the anti-psychologist arguments on which it is based. After that, I situate my perspective inside of the recent research panorama in philosophy and cognitive science. The second part presents the semiotic framework on the relation between thought, language, and world, conceived through the concepts of signification processes and sense-conditions. Within this framework, I introduce the concept of linguistic experience, characterizing semantic imagination as one of its sense-conditions. In the third part, several pieces of evidence for corroborating the semantic function of imagination are discussed. These pieces come from the fields of phenomena denoted as diagrammatic thought and counterfactual thought. Diagrammatic thought, briefly discussed, points out the semantic work of imagination in the semi-discursive sign systems constructed in mathematics, logic, and natural science. After defending a widening of the concept of counterfactual thought, and its intrinsic relation with semantic imagination, the role of semantic imagination is briefly discussed in some types of counterfactual thought found in our conceptions of modal concepts, in thought experiments, in apagogical arguments, and in the creative discursive devices. (shrink)

The paper focuses on the epistemology developed by Richard Burthogge, the lesser-known seventeenth-century English philosopher, and author, among other works, of Organum Vetus & Novum (1678) and An Essay upon Reason and the Nature of Spirits (1694). Although his ideas had a minimal impact on the philosophy of his time, and have hitherto not been the subject of a detailed study, Burthogge’s writings contain a highly original concept of idealistic constructivism, anticipating (relatively speaking) Kant’s idealism. At the same time, some (...) interesting implications for the issue of self-interpretation and self-identity can be derived from his account of the mind. At the core of Burthogge’s epistemological position is a remarkable idea of structural and functional similarity between the three human cognitive faculties, that is between reasoning, sensation and imagination. Accordingly, every cognition, intellectual as well as sensuous, contains in its structure an object-directed operation of apprehending and thus can be viewed as an intentional act in a broad sense of the term. An immediate consequence of this claim for both mind and object is that they cannot be reduced to a pure stream of sense data, but on the contrary are to be considered ontologically independent from the content of a cognitive act. Furthermore, an object of cognition is never presented to the mind directly, as it is in itself, but always under the modus concipiendi, a particular form or manner of conceiving, specific to human cognitive powers due to their internal structure. As a result, Burthogge clearly anticipates Kant in claiming that it is impossible to know reality in itself, and in situating human consciousness as if in between two unknowable spheres: the external and internal one. Since these restrictions are imposed not only on external, but also on internal cognition, that is on self-knowledge, they lead to considerable difficulties regarding the mind’s identity. Basically, two principal strategies to address this issue are available in the post-Cartesian framework of seeing the mind as an ontologically independent entity, and both of them appear to be ineffective when employed in Burthogge’s epistemology. First, the mind identity can be grounded in some extra-mental factors, preferably in matter. However, with no access to the external world in itself, and with the scope of knowledge restricted to mental phenomena, the mind’s identity cannot be defined in terms of relationship with the reality of which it knows nothing except that it exits. The second option is to explain personal identity by referring it to the intrinsic properties of the mind. Nevertheless, this strategy also faces insuperable obstacles, and for the same reasons as the former does. Since self-knowledge is no exception to the structural-functional principles imposed on cognition, the mind can also be known only under the subjective conditions of conceiving. It is, therefore, just as unknowable in itself as the external things are. The main purpose of the paper is to explore this aspect of Burthogge’s philosophy. (shrink)

The book suggests a new perspective on the essence of human language. This enormous achievement of our species is best characterized as a communication technology - not unlike the social media on the Net today - that was collectively invented by ancient humans for a very particular communicative function: the instruction of imagination. All other systems of communication in the biological world target the interlocutors' senses; language allows speakers to systematically instruct their interlocutors in the process of imagining (...) the intended meaning - instead of directly experiencing it. This revolutionary function has changed human life forever, and in the book it operates as a unifying concept around which a new general theory of language gradually emerges. Dor identifies a set of fundamental problems in the linguistic sciences - the nature of words, the complexities of syntax, the interface between semantics and pragmatics, the causal relationship between language and thought, language processing, the dialectics of universality and variability, the intricacies of language and power, knowledge of language and its acquisition, the fragility of linguistic communication and the origins and evolution of language - and shows with respect to all of them how the theory provides fresh answers to the problems, resolves persistent difficulties in existing accounts, enhances the significance of empirical and theoretical achievements in the field, and identifies new directions for empirical research. The theory thus opens a new way towards the unification of the linguistic sciences, on both sides of the cognitive-social divide. (shrink)

Galit Wellner’s exploration of new kinds of digital technologies employing AI algorithms that simulate features and functions of the human imagination leads her to propose a conceptual analysis of the imagination as a composite of perception and memory. Wellner poses the question of whether the output of such technological applications might be regarded as not merely simulating creative activity but as truly imaginative in their own right. Wellner concludes with a qualified “no.” The use of AI algorithms in (...) conjunction with human cognitive activity, conceived in terms of a layered architecture of the faculties in question, can in fact be understood as an essential component of imaginative, and thus creative, production, but humans are still needed in the mix. To the extent that the AI-algorithm-enhanced human system is capable of imagining and creating works of art, imagination can be extended to AI algorithms. But, the algorithms sans humans are not themselves imaginers. For Wellner, AI algorithms can augment and enhance human imaginative efforts, equipping us with a richer and vastly wider array of possibilities and options for aesthetic consideration, but ultimately, the human is the essential element. However, once the door is opened to accepting algorithmically determined alternatives as capable of successfully achieving desired results within a field of possible outcomes, it seems possible that the activities of connecting, coordinating, or meaningfully linking, combining, and establishing new imaginative layers that Wellner reserves as requiring humans to enact might also be programmable, algorithmically achievable tasks that instantiate genuine aesthetic decision making. (shrink)

Until recently, cognitive science focused on such mental functions as problem solving, grammar, and pattern-the functions in which the human mind most closely resembles a computer. But humans are more than computers: we invent new meanings, imagine wildly, and even have ideas that have never existed before. Today the cutting edge of cognitive science addresses precisely these mysterious, creative aspects of the mind.The Way We Think is a landmark analysis of the imaginative nature of the mind. Conceptual blending (...) is already widely known in research laboratories throughout the world; this book, written to be accessible to both lay readers and interested scientists, is its definitive statement. Gilles Fauconnier and Mark Turner show that conceptual blending is the root of the cognitively modern human mind, and that conceptual blends themselves are continually combined and reblended to create the rich mental fabric in which we live.The Way We Think shows how this blending operates; how it is affected by (and gives rise to) language, identity, culture, and invention; and how we imagine what could be and what might have been. The result is a bold and exciting new view of how the mind works. (shrink)

This paper investigates a capacity I call actuality-oriented imagining, by which we use sensory imagination in a way that's directed at representing the actual world. I argue that this kind of imagining is distinct from other, similar mental states in virtue of its distinctive content determination and success conditions. Actuality-oriented imagining is thus a distinctive cognitive capacity in its own right. Thinking about this capacity reveals that we should resist an intuitive tendency to think of the (...) class='Hi'>imagination’s primary function or default mode as representing the non-actual or the fictional. Instead, the imagination is a cognitive faculty that often puts us in touch with the way things are in reality. (shrink)

We often assume that religious beliefs are no different in kind from ordinary factual beliefs—that believing in the existence of God or of supernatural entities that hear our prayers is akin to believing that May comes before June. Neil Van Leeuwen shows that, in fact, these two forms of belief are strikingly different. Our brains do not process religious beliefs like they do beliefs concerning mundane reality; instead, empirical findings show that religious beliefs function like the imaginings that guide make-believe (...) play. -/- Van Leeuwen argues that religious belief—which he terms religious “credence”—is best understood as a form of imagination that people use to define the identity of their group and express the values they hold sacred. When a person pretends, they navigate the world by consulting two maps: the first represents mundane reality, and the second superimposes the features of the imagined world atop the first. Drawing on psychological, linguistic, and anthropological evidence, Van Leeuwen posits that religious communities operate in much the same way, consulting a factual-belief map that represents ordinary objects and events and a religious-credence map that accords these objects and events imagined sacred and supernatural significance. -/- It is hardly controversial to suggest that religion has a social function, but Religion as Make-Believe breaks new ground by theorizing the underlying cognitive mechanisms. Once we recognize that our minds process factual and religious beliefs in fundamentally different ways, we can gain deeper understanding of the complex individual and group psychology of religious faith. [Abstract writing credit: book editor Andrew Kinney, HUP]. (shrink)

Interactional expertise is said to be a form of knowledge achieved in a linguistic community and, therefore, obtained entirely outside practice. Supposedly, it is not or only minimally sustained by the so-called embodied knowledge. Here, drawing upon studies in contemporary neuroscience and cognitive psychology, I propose that ‘derived’ embodiment is deeply involved in competent language use and, therefore, also in interactional expertise. My argument consists of two parts. First, I argue for a strong relationship among language acquisition, language use (...) and the real world (i.e. the world accessible to the senses). Biological constraints in very early childhood anchor language to the body. These constraints are by-products of our evolutionary peculiarity that we gain because of our physical and psychological immaturity at birth. Thus, infancy is predominantly concerned with the bodily needs and experiences of the concrete while language acquisition takes place. Particular interest in the concrete furnishes our linguistic world and installs ‘concrete’ language as the principal constituent of competent language use. Second, I argue that well-established concrete language implicitly and explicitly elicits mental representations, namely partial reactivations of sensorimotor states that occur during experience. These are stepping stones by which we subsequently make sense of expressions in new linguistic areas. Like any competent language user, the interactional expert, therefore, prompts multimodal imagination and re-enacts concrete experiences when acquiring linguistic knowledge pertaining to a specialist field. Finally, I outline the characteristics of those imaginative powers to identify mechanisms that improve interactional expertise and discuss the obvious relation between interactional expertise and ordinary knowledge acquisition after the concrete language stage. (shrink)

This is the first book to describe and explain all of the ancient world's major mystery cults--one of the most intriguing but least understood aspects of Greek and Roman religion. In the nocturnal Mysteries at Eleusis, participants dramatically re-enacted the story of Demeter's loss and recovery of her daughter Persephone; in the Bacchic cult, bands of women ran wild in the Greek countryside to honor Dionysus; and in the mysteries of Mithras, men came to understand the nature of the (...) universe and their place within it through frightening initiation ceremonies and astrological teachings. These cults were an important part of life in the ancient Mediterranean world, but their actual practices were shrouded in secrecy, and many of their features have remained unclear until now. By richly illustrating the evidence from ancient art and archaeology, and drawing on enlightening new work in the anthropology and cognitive science of religion, Mystery Cults of the Ancient World allows readers to imagine as never before what it was like to take part in these ecstatic and life-changing religious rituals--and what they meant to those who participated in them. Stunning images of Greek painted pottery, Roman frescoes, inscribed gold tablets from Greek and South Italian tombs, and excavated remains of religious sanctuaries help show what participants in these initiatory cults actually did and experienced. A fresh and accessible introduction to a fascinating subject, this is a book that will interest general readers, as well as students and scholars of classics and religion. (shrink)

This article places Henry Corbin’s concept of creative imagination in conversation with the French phenomenological tradition. Section I explores Corbin’s phenomenological method and his view of the imaginal world, drawn from his interpretations of Suhrawardī and Ibn ‘Arabī. Section II then places this concept in conversation with the early Jean-Paul Sartre’s “annihilative” imagination and Maurice Merleau-Ponty’s critique of it. This section argues that Corbin needs a strong distinction like Sartre’s between imagination and perception but also (...) that he could be seen as agreeing partly with Merleau-Ponty’s critique of Sartre. What Corbin ultimately maintains, as the article’s conclusion argues, is that our access to the distinctive imaginal world enables a characteristic duality to arise in all perceptual life, a duality that is required if we are to be able to relate to perception either critically or charitably. (shrink)

Works of fiction are alleged to differ from works of nonfiction in instructing their audience to imagine their content. Indeed, works of fiction have been defined in terms of this feature: they are works that mandate us to imagine their content. This paper examines this definition of works of fiction, focusing on the nature of the activity that ensues in response to reading or watching fiction. Investigating how imaginings function in other contexts, I show, first, that they presuppose a (...) class='Hi'>cognitive infrastructure encompassing at least one additional kind of mental state, whose role is to determine, to some degree, truth in an imaginary world. I then discuss the implications for the definition of fiction, showing that the definition should be refined to accommodate the structure that imagining presupposes: a work counts as fiction just in case it mandates us, not only to imagine, but to engage in a more complex mental activity, an activity that in addition to imagining, involves positing a backdrop for our imaginings. (shrink)

This chapter contains sections titled: References.

I focus on Miki’s concept of the imagination as developed in his Logic of Imagination together with his understanding of technology that he also develops in his contemporaneous work Philosophy of Technology. Taking off from Kant’s productive imagination (Einbildung), Miki’s philosophy exposes the ontological function of the imagination in its construction, or formation (Bildung), of the world as well as our own being, in Heideggerian terms, our being-in-the-world. This formation of the world and (...) self that is an embodied praxis is technological, radically altering the environment along with ourselves, thus mediating between human beings and their surroundings and extending our somatic nature into the environing world. Moreover this ontological formation is social or collective, rather than simply being a matter of the individual subject. Through this dynamic process, the world unfolds as historical, and the imagination and technology are thus constitutive of what Miki calls, in Nishidian terms, the historical world. I will conclude with some critical assessments of Miki’s philosophy in regard to the Anthropocene and Miki’s claim that the imagination is operative within nature itself and the need to update Miki’s dialectic of continuity and discontinuity between nature and culture in light of more recent scientific discoveries and technological advances. (shrink)

continent. 1.1 (2011): 22-25. The Author gratefully acknowledges the financial support of CAPES (Coordenação de Aperfeiçoamento do Ensino Superior), Brazil. From the multifarious subdivisions of semiotics, be they naturalistic or culturalistic, the realm of semiotics of value is a ?eld that is getting more and more attention these days. Our entire political and economic systems are based upon structures of symbolic representation that many times seem not only to embody monetary value but also to determine it. The connection between monetary (...) and linguistic exchanges is self-evident: the former requires the latter and develops in direct relation to it. Creative experimentation and design of digital systems of value exchange are blossoming on the web. Dr. Gilson Schwartz, an economist turned media theorist and professor at the University of São Paulo, adopted the concept of Iconomics, originally created by Michael Kaplan, an author concerned with the linguistics of economic value. Empowering local communities and unlocking new levels of value creation and representation via digital technologies are the main goals of Dr. Schwartz’s projects, aiming at the re-designing of our relationship to the economic value of imagination and the social control of property. Schwartz is Assistant Professor at the School of Communication and Arts of the University of São Paulo, a former Chief Economist at BankBoston, Brazil and Advisor to the President of the National Social and Economic Development Bank (BNDES). FURTHER READING: Kaplan, Michael. “Iconomics: The Rhetoric of Speculation.” Public Culture . 15.3 (2003): 477-493. Renata Lemos-Morais: You have recently produced and directed a short documentary about Creative Currencies in Latin America. Could you tell us a bit about its process and its findings? Gilson Schwartz: The “Creative Currencies” project is a work-in-progress platform which unfolds as an action research agenda connected both to the production of audiovisual content and the development of social currency software. The initiative dates back to 2003 when I led an experimental project supported by the Presidency of Brazil. At that time, we issued paper currency in a small, touristic village in the Northeast Region which stimulated local cultural projects. But it was only in 2009 that the Central Bank of Brazil acknowledged “social currencies” as a legitimate economic agenda, calling for more debate at the I Financial Inclusion Forum. This year, the monetary authorities organized a second forum that also opened the room to discussions on mobile payment systems and new perspectives on poverty alleviation via State subsidies. The Ministry of Culture funded the “Creative Currencies” project in 2009-2010 and our next stage in this discovery process is to be supported by the National Social and Economic Development Bank (BNDES). In short, there is genuine interest among public officials in different areas and public funding for social currencies is on the rise in Brazil. However, after all these years we are still at a very early stage of research and practice. Some of the most successful initiatives (such as Banco Palmas) actually evolved out of local monetary creation to become correspondent banking operations for commercial banks and other financial groups. After eight years of price stability and social inclusion, Brazil stands out as a major opportunity for social experimentation, even the Grameen Bank is now entering the Brazilian market and many NGOs are geared towards different forms of entrepreneurialism in the base of the pyramid, riding solidarity economic models, microfinance and microcredit for local development. It is yet to be seen, however, whether these developments are just one more stage of “bankarization”, that is to say, an extension of regular banking services or actually a new form of social and symbolic self-determination at the local level. So far, the Central Bank of Brazil is open to new forms of credit and local finance as long as they are strictly territorial and very close to barter among the poor. In other words, whether the process of monetary creation could be made to fit an open source paradigm is yet to be seen. Community banking and social currencies might as well end up as just another channel for access to and use of banking services. The “Creative Currencies” project aims at promoting the discussion of more fundamental issues, such as the limits of central banking, the prospects for local financial development and the possibility of creating and managing financial icons as cultural assets. The purpose of this project is to produce short documentaries that will bear testimony to this evolving regulatory framework while inducing more discussion about the fundamental iconomic issues concealed in the process of money and wealth creation. RLM: What new potential is there in applying digital technologies to currency creation? GS: Globalization is a result of the virtualization of money, that is, the overcoming of illusions such as the “gold standard”. Money is an icon created by institutions, not on supposedly natural or material foundations but out of political and financial interests. The “dollar standard” is an outstanding evidence of this phenomenon and Kaplan´s paper, the first to use the expression “iconomics”, insists on the rhetoric and semiotic effects associated to a supposedly scientific model of money creation and management. This is a fundamental change that was perceived and discussed much before the digitalization of the world by unorthodox economists such as John Maynard Keynes since the early 20th century. The digitalization of global financial flows accelerated this immateriality and the creation of the Euro was yet another evidence of the political foundations of currencies. The banking establishment, however, is keen on the idea that scientific formulae hold the key to sound money creation. Keynesianism has been repeatedly associated to “inflationism” while the supposedly sound monetary policies of the Orthodoxy serve well the political and financial interests of a technocratic elite. Corporate media also serve this fictitious depiction of the monetary process despite the cyclical bust of monetary rules and financial regulations. The internet, however, has created numerous opportunities for the disintermediation in industries such as film, music and commodities. There is no reason to doubt that the financial industry can also be transformed by Peer-to-Peer (P2P) infrastructures. Money is media as well. Credit is but confidence. Once people realize that the distributed computing power of networks can also be the platform to weave new monetary and credit operations, there is room for grassroots emancipation out of the established owners of monetary institutions. So far, however, there has been a privatization of monetary management and there is not a clear path or model for the emergent (P2P) property democratization that is inherent to the internet. Digital assets, however, clearly have an inherent potential to escape central control and proprietary regulatory frameworks. RLM: How are social networks transforming the ways in which we exchange value? Do you believe that online influence and reputation might be translated into a new kind of currency? GS: The foundation for social currencies as envisaged by solidarity economics is the territory. Authorities are willing to concede local monetary creation as long as it is restricted to poor neighborhoods, as a proxy to barter. In this relevant but limited context, reputation, personal knowledge and informal ties form the matrix of local or “proximity” finance which are expected to keep credit and leverage to a sustainable level. Anything beyond that should and would lead to an integration of local finance into the established banking system. However, inasmuch as the internet promotes virtual territories and reputation is now subject to all sorts of digital manipulation and stardom becomes an everyday cultural process among teenagers and elders alike, the territorial “foundation” is substituted for more complex patterns of solidarity, cooperation and exchange that reach beyond the physical territory and even the “human.” Digital assets embody knowledge, technology, cultural and educational values that are exchanged at a global scale beyond the control of democratic States (Chinese-like intervention is the exception, not the rule). Hacktivism is unstoppable and so is monetary hacktivism. Especially in the Third World, mobile communications fast became conveyors of money transfers and other appropriation strategies. Banking and telecom sectors already battle for the control of these emerging markets and, as a matter of fact, have so far contributed to the containment of these processes. Governments serve these moguls and have usually adopted a wait-and-see attitude. If open source hardware and grassroots social movements combine to challenge these proprietary battles, then social networks may evolve into new forms of social capital and thus form the ground on which to design and implement social currencies. The global financial crisis, as well as the dollar demise, are an event of such a proportion that social networks may open the path for emancipator subjects to seize the opportunity. RLM: What are some of the social experiments that you think are revolutionizing the way in which value is exchanged? GS: There is a broad evolution of economic systems towards the valuation of intangible assets such as knowledge, reputation and sustainability. There are many examples of local as well as global events that call the traditional systems of exchange into question, from carbon credits to educational bonuses, digital barter frameworks and locally based solidarity and fair trade networks. These emerging examples, no matter how different in nature or scale, represent a challenge to the traditional value creation schemes and theories which are based on use and exchange value, supply and demand. This is not to say that utility and labour or scarcity are to be totally dismissed, but there is now an emerging perception that value is also a function of behavioral codes, symbolic patterns and the energy of institutional frameworks. The plasticity of digital platforms is relevant insofar as intellectual property becomes the central source of value creation. But when you discuss the property rights of public goods such as the environment or basic social rights (of minorities or localities), then a new paradigm seems to emerge. RLM: Are gaming and online storytelling digital practices that might have an impact on the way new currencies are created and developed? GS: “Play money” has been one of the early and most intriguing phenomena associated to the diffusion of virtual worlds. These virtual currencies have also been prone to “boom and bust” dynamics, speculation and pure theft (Second Life scams were common and led to “intervention” by the owners of the game). Storytelling is a major source of value, that is, the value of attention and the markets for audience. There are plenty of private monies created and managed by corporate entertainment groups, telecom operators (via mobile virtual network operators) and marketing frameworks. The casino economy, as already depicted by Keynes and other unorthodox economists, is always storytelling about future states of the world, confidence building and leverage of animal spirits. The novelty of current events is not the fictitious nature of any form of capital, but the potential for digital democratization of controls over the imaginary nature of value creation. But this is just a potential, a possibility, a figment that more often than not is appropriated by centralized and opaque private powers. The game industry is a testbed for new connections between storytelling and money creation. RLM: Monetary value was originally connected to the scarcity of precious metals, such as gold. Our entire monetary system seems therefore to function according to a logic of scarcity. Do you believe it is possible to reverse this logic into a logic of abundance? GS: The gold standard was a fiction itself, the “scarcity” is always produced by institutions that regulate confidence and access to credit. The key issue is not to fabricate abundance, but to question the institutions which produce scarcity out of any standard, gold or whatever. Central banks are at the service of private banks in the creation and management of scarcity. RLM: The promise that nanotechnology holds for our future is one of radical abundance (or so say transhumanists). The possibility of creating any kind of material substance through nanoengineering seems each day more feasible. What would this possibility entail in terms of systems of value exchange? GS: Nanotechnology, environmental concerns and grassroots appropriation of distributed knowledge are the frontiers of a new horizon of energy creation and management. Social groups in charge of managing scarcity for the sake of wealth and power concentration must be held accountable for the destruction of our future. Once this key political conundrum is accounted for, new systems of value exchange and even a non-mercantile society will come into existence. Revolutionary theorists such as Marx envisaged transformation via the extreme clash of contradictions between capital and labour. This approach has never led to a change in the systemic logic of scarcity for the sake of social control. We are once again facing the threshold of large scale societal change, but the outcome of the current crisis should come from our imagination, not from yet another paradox of abundance and scarcity. As long as we remain attached to the materiality of value, the illusion of freedom will but reinforce the massive manipulation of necessity. RLM: What do you think is the role of crowdfunding in this context? GS: Crowdsourcing as well as crowdfunding are examples of the peer to peer opportunities that come along with distributed computer power. However, the power structure behind wealth and scarcity creation may or may not be changed by crowd management. But it should not be taken at face value, so to speak. The stock market of course is an early form of crowdfunding without calling into question the proprietary framework of the companies offering their investment projects to the market. Any market is a form of crowdsourcing, that is to say, of distributed forms of supply and demand matchmaking. The wealth of networks, however, depends on the contractual ecosystem, the institutional framework, the channeling of social imagination, not on the purely quantitative distribution of bids and offers. I see economics as supply, demand and code. Once you have access to the code, once openness becomes part of the game, then there is a chance of crowd behavior becoming collective intelligence and sustainable imagination. RLM: Is the development of digital currencies headed towards a pluralistic ecology in which many micro currency systems co-exist, or is it penetrating the mainstream monetary system? If it is affecting the mainstream financial system, what would be its effect in the long-term? GS: The same issue is at stake both at local and global levels. The global system is, as a matter of fact, an unstable ecosystem of “micro currencies” whereas the dollar has so far exerted an overwhelming influence. Local currencies and private monies coexist with national currencies only to the extent that the Central Bank admits, for instance, that grassroots monetary emissions remain territorial and strictly connected to poverty. However, the question of how new developments in digital technologies and nanotechnologies might alter not only our current monetary systems but also our understanding of value in itself, is still an open question. (shrink)

This article is an attempt to situate imagination within consciousness complete with its own pre-cognitive, cognitive, and meta-cognitive domains. In the first sections we briefly review traditional philosophical and psychological conceptions of the imagination. The majority have viewed perception and imagination as separate faculties, performing distinct functions. A return to a phenomenological account of the imagination suggests that divisions between perception and imagination are transcended by precognitive factors of sense of reality and (...) non-reality where perception and imagination play an indivisible role. In fact, both imagination and perception define sense of reality jointly according to what is possible and not possible. Absorption in a possible world depends on the strengths of alternative possibilities, and the relationship between core and marginal consciousness. The model may offer a parsimonious account of different states and levels of imaginal consciousness, and of how “believed-in imaginings” develop and become under some circumstances “lived-in experiences.”. (shrink)

Thought experiments by ancient philosophers are often open to debate: in what sense did their reasoning really concern thought experimentation? For instance, in Plato's Republic, Glaucon uses the myth of Gyges to demonstrate why people who practice justice do so unwillingly. A challenge, posed to Socrates and provided through some sort of thought experiment by imagining the effects of using the ring of invisibility, was intended to answer the question of human nature and our basis for the inclination towards justice (...) or injustice. This collection expands the current, but rare, topic of whether it is possible to articulate a discussion about thought experiments and their arguments from the historical perspective of philosophy and science. It may sometimes seem that, in a loose sense, any philosophical reflection can already be interpreted as some form of thought experiment. Although the functions of it are very diverse and complex, and often closely linked to other cognitive tools, such as visualization, imagination or idealization, the contributions in this book provide new insights into how the concept of a thought experiment coincides with more modern perceptions. The purpose of the book is to show how philosophers, already in antiquity, began to use thought experiments and argumentation to convey theories in an accessible manner and how philosophical hypotheses, often being subjective and impossible to prove through empirical evidence, helped to promote scientific knowledge and discoveries. Different authors develop several lines of argumentation, claiming that philosophical thinking can be understood by comparing it to scientific experimenting, or vice versa: if empirical evidence is usually necessary for science, thought experiments may be used to develop a hypothesis or to prepare for experimentation. The analysis of historical examples of thought experiments might also contribute to a better understanding of philosophical endeavour in antiquity as a whole. (shrink)

A mythopoetic paradigm or perspective sees the world primarily as a dramatic story of competing personal intentions, rather than a system of objective impersonal laws. Asma argued that our contemporary imaginative cognition is evolutionarily conserved-it has structural and functional similarities to premodern Homo sapiens’s cognition. This article will outline the essential features of mythopoetic cognition or adaptive imagination, delineate the adaptive sociocultural advantages of mythopoetic cognition, explain the phylogenetic and ontogenetic mechanisms that give rise to human mythopoetic mind, (...) show how mythopoetic cognition challeng­es contemporary trends in cognitive science and philosophy, and recognize and outline empirical approaches for a new cognitive science of the imagination. (shrink)

Le mythe participe à la fois du vécu et du réel transcendés par le symbole, qui fait appel autant au visible qu’à l’immatériel. Exprimant une fiction selon certains, ou des vérités profondes pour d’autres, il traduit des croyances sur la cosmogenèse et l’anthropogenèse. Il a pour objet de dévoiler un mystère, et l’événement fondateur du cosmos et de l’humain.Le symbole, dans sa moitié signifiante, est toujours lié au concret, c’est-à-dire au matériel, au visible et au fini. Selon Paul Ricœur, un (...) symbole possède trois dimensions concrètes : cosmique, onirique et poétique. L’autre moitié du symbole exprime la part d’invisible et d’immatériel qui a sa logique propre. Mêlant la perception sensorielle à l’immatériel et au mystère, les mythes canaques précoloniaux traduisent aussi bien la réalité descriptive du monde visible, que la création de mondes imaginaires. Nous analyserons dans l’oralité canaque ces deux notions et leurs applications dans les domaines de la nature, de l’humain et du sociétal. Nous verrons comment s’articulent le visible et l’invisible dans le mythe canaque, quelle est la place respective du réel et de l’imaginaire impliqués dans chaque mythe, et leurs fonctions respectives. Sont-ils oppositionnels comme l’indique leur définition, ou bien forment-ils un ensemble de termes indissociables et complémentaires? Nous déterminerons in fine quelles sont l’interférence et la corrélation du réel et de l’imaginaire dans les fonctionnalités qui confèrent leur originalité aux mythes canaques. A myth is involved in both the living and real transcended by the symbol that appeals as much to the visible than the intangible. Expressing fiction for some, or deep truths for other, myth reflects beliefs about cosmogenesis and anthropogenesis. It aims to unveil a mystery, and the founding event of the cosmos and the human.The symbol, in its signifying half, is always linked to the concrete, i.e. the material, visible and finish. According to Paul Ricœur a concrete symbol has three dimensions: cosmic, oneiric and poetic. The other half of the symbol expresses the invisible hand and intangible that has its own logic. Combining sensory perception to the immaterial and mystery, precolonial Kanak myths reflect both the descriptive reality of the visible world, and the creation of imaginary worlds. We will analyze in Kanak orality these two concepts and their applications in the fields of nature, human and societal. We’ll see how articulate the visible and invisible in the Kanak myth, what is the respective role of the real and the imaginary involved in each myth, and their respective functions. Are they oppositional as indicated by their definition, or do they form a set of interrelated and complementary terms? We shall determine in fine which are the interference and the correlation of the reality and the imagination in the features which confer their originality on the Kanak myths. (shrink)

Imagination and belief are obviously different. Imagining that you have won the lottery is not quite the same as believing that you have won. But what is the difference? According to a standard view in the contemporary debate, they differ in two key functional respects. First, with respect to the cognitive inputs to which they respond: imaginings do not respond to real-world evidence as beliefs do. Second, with respect to the behavioural outputs that they produce: imaginings do (...) not motivate us to act as beliefs do. I argue that this view is mistaken in one important respect. The distinction between imagination and belief does lie at the functional level; but the relevant functional difference does not concern behavioural outputs – since, in spite of appearances, imaginings and beliefs motivate us to act in the same ways. To see the difference, we need to focus on the inputs side – and, relatedly, on the sorts of inferential relations that imaginings and beliefs bear to each other. I show that this view does not have the absurd consequences that it may prima facie seem to have; on the contrary, it has important implications for our understanding of how the mind works. (shrink)

There often appears to be a striking correspondence between mythic stories and aspects of reality. We will examine the processes of creative imagination within a neurobiological frame and suggest a theory that may explain the functions of myth in relation to the hidden aspects of reality. Myth is peppered with archetypal entities and interactions that operate to reveal hidden processes in reality that are relative to the human condition. The imagery in myths in a sense “sustains the true.” That (...) is, mythopoetic imagery keeps the interpretive process in experience closer to the actual nature of reality than the rational faculties operating alone are able to do. Indeed, whereas rationalizing can easily lead us awry, genuine myth rarely does. Explanations of events offered by cultures around the world are frequently couched in terms of mythic themes and events. An important function of myth is to provide a “field of tropes” that in‐forms the lived experience of people. This paper focuses especially on those aspects of myth that represent facets of the quantum universe and give us clues as to the relationship between consciousness, symbolism, and reality. (shrink)

Going back to Jacobi, commentators have often considered Kant’s notion of the transcendental object (thing in itself, monad, or object = X) to be concerned merely with empirical affection. Although most agree that this argument of Kant’s forbids the understanding from making illegitimate claims regarding the transcendental object, it is often assumed that no positive function can be ascribed to metaphysical illusions produced by reason. I will show in this paper, in contrast to most commentators, that a positive notion of (...) transcendental illusion is brought about by the cooperation of the imagination and reason in the latter’s pursuit of positing transcendental objects––in the same way that the imagination aids the understanding in determining objects of empirical cognition. When describing reason’s pursuit of systematicity, Kant writes that the transcendent ideas serve as a focus imaginarius that unifies cognition as such (A644/B672). It is not merely the case that metaphysical illusions regarding the soul, the world as such, and God are entirely useless, just because the understanding is prohibited from claiming having knowledge of such concepts.I take it that the transcendental object so considered in Kant’s Dialectic refers only to a representation of the imagination. I show that all three transcendental ideas––namely, God, the World as such, and the soul––are imaginary projections of unity carried out by the power of reason. Drawing on Kant’s notion of the focus imaginarius, I claim that reason regards transcendental illusions as being real objects. This holds as much for the schema of scientific knowledge, which is merely regulative, as it does for the three transcendental ideas. Unlike most commentators, I do not take Kant’s consideration of the transcendental object to concern empirical affection. Rather, reason posits this object in order to transcend the limits of the understanding, and to thereby use its own inner illusions for systematic purposes (cf. A250–53 and A393). To my mind, reason necessarily posits ideas, but the imagination often leads reason into holding that the focus imaginarius of the idea is an actual object. The critical use of reason must then put limits on the imagination (cf. A770/B798). But the imagination nonetheless serves reason’s interest by allowing it to put otherwise negative illusions to work for the sake of systematicity. (shrink)

continent. 2.2 (2012): 155–158 Michel Serres. Biogea . Trans. Randolph Burks. Minneapolis: Univocal Publishing. 2012. 200 pp. | ISBN 9781937561086 | $22.95 Conveying to potential readers the significance of a book puts me at risk of glad handing. It’s not in my interest to laud the undeserving, especially on the pages of this journal. This is not a sales pitch, but rather an affirmation of a necessary work on very troubled terms: human, earth, nature, and the problematic world we (...) made. It is this world that aspirates the silence (so to speak), and therefore the subject which, along with the development of the “made world” exports the excess augmentation of the cosmically missing, this silence of the natural, et cetera. Had we learned from Locke that lesson of “labor,” to consume what we need… but perhaps we need more than what matters? Serres’ Biogea has several functions on this manner, if it is indeed a book to be consumed. First, readers searching for novelistic entertainment have a place to dwell. Biogea deserves a place in your back pocket; biographical generosity and poetic fluidity should satisfy most textual fetishes. For lay philosophers who want to refresh their acumen, Biogea deserves a place on the book shelf, one already reads a sorely needed postmodern tune-up here. Serres’ style is clearly French; he leaves few cheese crumbs on his words, rather preciseness and breathing in the work give way to a sweeping manner that breaks the narrative line of sight. A circular narrative and anachronistic fragmentation of terms allows an abyssal atmosphere to swell, if only to pump into the book the externality of its broader text. Biogea aspires to a higher standard and the book, at times, is thinking this negentropic problem too. Univocal, the publisher, has crafted a book appropriate for the hands to hold and the translations are an achievement of an otherwise difficult writer to translate. Terms are the conditions of a broader text. It is important to note that Serres’ content is as much a thinking of terminal ports. There is a regard for the transportation technology of the written word. For me, this is the mark of genius, a craftiness that tells of a book device that I may trust. Serres is an accomplished thinker and a necessary voice to check the putative trendiness of anti-postmodernist and market-driven theory of endless cultural liquidation. Offering interventions on subjectivity as an open system we are given a chance to affirm the human, not merely to discard it, but to engage its poetic image emotion, the calibratory silent sense of the analogic world; the terms on which we base our efforts. 1 The human is the center of its own negation, constantly mediating it. Something deeper at stake appears in the work then, and it is quite obvious from the onset. Certainly, a book is an intensification of possible text and those who brought this actual book into existence have captured a rarity in regards to the subject matter and artistic accomplishment. I mentioned terms as conditions, so let us understand Biogea as bio-yea, a yes to bios . An affirmation of living and accepting presence for all of its defiance of images, words, and things temporal. Therefore Serres’ existence and its existants plays parts; out of linearity and still like a porous bone pumping blood it manufactures into the fleshy life it becomes. Starting from a man named silence chaos emerges, or the man “Old Taciturn” takes up a journey anticipating a great flood. In other words, a development akin to the one in Genesis. In dealing with this ancestral occupation, fusing Genesis with contemporary philosophical terms, Serres initiates this anachronistic fragmentation under the forming subjectivity of his own autobiography. This mutation in the open system is precisely one of Serres’ terms. There an abyss is at work, stated, but also measured by heels on the ground—the abyss dispatching earthen tensions, that which plays our tunes, that which we abide by and recognize in volcanoes, rivers, oceans, earthquakes and weaponry in the battles of the world. Set in later stages of the book, such tensions are harnessed through scientific principles in an attempt to unify the terms of natural force if only to terminate the world. Thus the elevation of the earth into the world is clearly set forth. Here already, and few pages in, a resonance is set forth under appellations such as the river Garonne, a subjectivity as much as it is inhuman, the river is the inhuman that makes us human. I get the sense that Serres is taking up a challenge issued by Wallace Stevens; namely, that the great poems of heaven and hell have been written, but that only the poem of the earth has resisted composition. 2 On this level we cannot avoid the killing factor of silence, given that our cognition blocks its pure, radical obliteration. Thus a silence of attunement to the earth is in a novel dialectic of the rithmic and rhythm. A technological world, a triumph of termination is set forth. If a text imposes its will given the reader who authorizes it, it is made to convey or convect a presupposition to a reader or its inhabitant(s). Text is therefore both, in-content, contenting, contentedness, and in reading it, a way to navigate self-destruction (dis-content). Here then would one note that the “inhuman” reveals itself, “an aperiodic rhythm of lovers and beloved…the sea as our friend…but as our enemy…maternal vivifying sea.” The sea is an open book, or vaginal birth canal, where the engagement of text comes forth: “…woman sea, open vulva.” One sees like the sea, but only after it, when the uninhabitable truth of inhabiting it switches the polarity of the sailors soul: “I was seeing like the sea” (9-11). In other words, we are invited to embrace the nonsense of the visible. At this point I am taken to Jean-François Lyotard’s work The Inhuman , specifically the first entry on negentropy that would be congruent with Serres’ thematic. 3 The human being exports, deports, or transplants its relation through text, through the system— and this is its sense or relation to silence, to music. Unaware of Serres’ proximity to this work, the concept of gender interrelation as regards a solar catastrophe runs clear. It would be, on this basis, that Serres references his peers, the other texts that, as mentioned above, are discarded in philosophy today. For students of philosophy what we have here is perhaps a gift, a needed project. If silence and death are at work, there is a political valence to deal with, and here, much like the domain of the text and the dominion of the reader, we confront the world of natural, fluid violence. The anti-postmodernist critique is in part based on a weak idea that the loss of ideology, of a world vision, motivates the “correlationist” project. 4 Serres seems to offer another way to view this when he notes that whereas persons “sometimes kill,” it is clearly “the collective” that “always kills” (17). What is the collective today, if not an organizing function we never see yet acts in its favor in the name of truth? One feels a sense of enigma here, if only to link to what Stevens remarked of communism as a “grubby faith,” providing this applies for capitalism as well, namely any ideology of progress overly interested in absolutes. Here we get the sense that the inhuman, silence, this type of killing, always killing, could not be matched by human-made, political dynamos. Or that if it comes to an equilibrium, a catastrophe is never too far from us to read with our heels. We are left to note that the forces of nature presuppose and permeate political systems, the more these systems obtain force, the more the system takes upon itself the proper name of nature that motivates its dissemination, albeit falsely. This note, that in an age of ecocide and technological captivity (sustainability and transparency) political regimes won’t grow our soul-learning ears any larger than our tongues, stands clear to us. The promise of technological desubjectification is here pushed aside. Regarding politics, Serres illustrates this fact: Where did this corpse come from? Who was it? Who killed it? I don’t know. I won’t try to find out. I refuse to get vengeance for it. And I only see Garonne. For our victims, today, are the rivers, too. Their waters have irrigated my life, enchanted my thought, invigorated my body; I’ve known them to be threatening, untamable, as dangerous as the sea when it rages. Yes, murderous. They decided to control their courses; dams, sometimes senseless, destroying sites and valleys, reduced entire populations to servile displacements; programs for the irrigation of thirsty farmland, often beneficial of course, completed their drying up.(22) Serres enters into his idea concerning the captivity of language from the natural into a world system: For thousands of years, we have been licking things with our tongues, covering and daubing them so as to appropriate things for ourselves. If language boils down to a convention, this convention took place between the speakers without consulting the thing named, become as a result the property of those who covered it in this way with their drawn or voiced productions. Malfeasance analyzes these acts of appropriation. Thus every inert object, every living thing as well, sleeps under the covers of signs, a little in the way that, today, a thousand posters shouting messages and ugly riots of color drown, with their filthy flood, the landscapes, or better, exclude them from perception because the meaning, almost nil, of this false language and these base images forms an irresistible source of attraction to our neurons and eyes. This appropriation covers the world’s beauty with ugliness. (38-39) Technological concealment coming to bear, we begin to get a sense of another commentary on the condition of sensing, driving home the necessity of a text dealing with such subject matter to be what its terms insist. Thus toward new openings: The new opening. As low beneath our feet as you like, the Biogea opens us to another space, high enough for us to be able to acquire a wisdom there, that of redeveloping this same place differently from our fathers, this place that’s still politically cut up by old hatreds, beneath the flood of tears and blood that we call history. Without this soft place, spiritually very old, but newly conceived in this way, without the juridical construction of a common good, opposed to our filthy ownership, I don’t see how our planet, hard, will survive. Hardness that depends on a softness, material belonging that depends on this temporary rented location (51). Serres enters into a summit on the content and the structure of his work. Archimedes is brought in with the concept of three volcanoes. Meaning fire, but as well earth, water, air. For it was Archimedes’ war machines that sought to lift the earth, thus bringing in the question of principles of science: “can a principle be invented while controlling its consequences?” (66-7). May the earth be put in a sentence, terminated by terminology, appellations, gone wild? By means of these element-dominating laws, this old physicist began to tear nature away from the ancient myths; by a strange return, today we’re plunging our successes back into the anxieties and terrors from which that ancient physics was born. Yes, our new history of science and technology is plunging, today, as though in a loop, into the fundamental human myths from which Empedocles’ first laws came. A major progression and a regression on the nether side of the origins. Consequently, the contemporary time requires that we try to return to that unity in which the principles of hate and love are at the same time human, living, inert and global. We will never attain a deontology of our knowledge and actions without thinking the subjective, the objective, the collective, and the cognitive all together simultaneously. Here, hate and love are the result of these four components.(71) Working then on the concept of fire-starting mirrors to the atomic annihilation of the Second War, Serres works into the subjectivity in question on the matter of rhythm—say rithmic— precisely at that point: Knowledge is changing today. The all-political is dying; the monarchy of the sciences said to be hard is coming to a close. The science of the things of the world will have to communicate just as much as the things of the world do, which do it much better than humans do, who don’t always want to do it. Let’s celebrate two changes this morning. The first one strikes a new blow to our narcissism. No, knowledge and the world don’t resemble our analytical enjoyments of refined cutting up, of endless debates and of exclusions full of hate. They, on the contrary, form a bloc and a sum, alliance and alloys. Uniting the fields of knowledge among themselves the way the things are connected among themselves, the second newness puts into place sets united by interlacing, webs and simplexes that combine with the things of the world, themselves combined, the combined knowledge that understands them.(130-1) Biogea closes on its opening flood thematic, approaching the initial telos of Genesis. Here the trees are brought into a position with atmosphere, the opaque abyssal reservoir, the tomb of the sun, sea in the polarity of the earthen heaven and hell. The poem of the earth then is silent but deadly, indeed, as funny as that phrase is, mainly a tomb gas. The meaning of the living and the non-meaning of things converge in the muteness of the world; this meaning and non-meaning plunge there and come out, the ultimate eddy. Mundus patet: through a fissure, through an opening, a fault, a cleft come noises, calls as small as these apertures. I’m listening, attentive, I’m translating, I’m advancing in the scaled-down meaning and science. Mundus patet: should the world open greatly, it will launch me into its silence. The totality remains silent. Knowledge expanded in elation. White origin of meaning, fountain of joy. (198) Final Remarks One test of a review is the long term trajectory the referee thinks the book will have. I see Serres’ text lending greatly into the vision of Biogea . In fact, in the vision of the novel inquiries of Stephen Jay Gould’s work there is something to be thought on the level of the individual and the species; namely, that humanity and its uniqueness is in its deferral, its thinking and naming, a thinking surrounded by silence that filters into everything, that pulls us through the world, the kinetic pulse we recognize, and all of that we cleave away in the base philosophical maxim of difference itself. Unique individuals are spatial creatures: we dwell, and we ought to get good at it. Yet this is an imaginative space that, if you are crazy enough to believe it, de-term-ine the conditions of its own terms. That is why we are not merely creating spaces on the acceleration of time, or so this ignoramus thinks, to accidentally transcend. Imagination already has this insatiable silence that we drink up and fail to manifest. Space is timeless. The imagination itself, shared by humans for themselves, their objects, and the species as a whole, is a non-defined space of relation; a whole human trajectory as part of nature, and part of worlds that are the other side of thinking nature, the consequence of it, at least our attempt to do so. Our survival is based on our deliberation, our caution, our natural deconstructive sense toward this silence that is already part of the song, sung, singing of this century without end. Good books will let us inhabit this space and recognize a form of life. Serres’ text moves toward dwelling, as noted, in masterful and accessible ways. The pitched battles are the falling replays of anemic and dead politics. As soon as we realize there is humanity, we may be able to enjoy the end of it, our inhuman capability of listening to silence. NOTES 1. See Michel Serres. The Parasite . Minneapolis: University of Minnesota Press. 2007. 2. Wallace Stevens, “Imagination as Value” [ca. 1945], in Collected Poetry and Prose . New York: The Library of America. 1997. 724-39. 3. Jean-François Lyotard. The Inhuman: Reflections on Time . Trans. Geoffrey Bennington & Rachel Bowlby. Stanford, CA: Stanford University Press. 1992. 4. See the introduction: Quentin Melliassoux. After Finitude: An Essay on the Necessity of Contingency . Trans. Ray Brassier. New York: Continuum. 2008. EDITOR'S NOTE: This review was updated on August 8, 2012. Substantial edits include block quotes from the book under review as well as the inclusion of comments from the author. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 123.3 (2002) 513-516 [Access article in PDF] Deborah Tarn Steiner. Images in Mind: Statues in Archaic and Classical Greek Literature and Thought. Princeton: Princeton University Press, 2001. xviii + 360 pp. 28 black-and-white figures. Cloth, $39.50. The production of sculpture in metal, stone, and other materials was a craft that virtually disappeared from the Greek world for several centuries after the end of (...) the Bronze Age. Small, solid cast bronze figurines reappeared in the ninth century B.C.E., but it was not until the middle seventh century that the first large-scale stone statues of women and men were created. From that point on, freestanding and architectural sculpture played a central role in Greek society and its artistic expression. While the stylistic evolution of Greek sculpture has been traced many times, in this provocative and ambitious book, Deborah Steiner sets out to examine, from a literary standpoint, "how archaic and classical Greek poets, philosophers, dramatists, and historians introduce statues as cognitive and hermeneutic devices in their texts" (xi). The investigation leads her to analyze what the statues "looked like, how they functioned," and "what they were credited with doing." The resulting book "aims to tell two stories, one about objects, the other about texts, and to show how each proves crucial to the other." The examination is somewhat lopsided, since the intellectual use of the visual material is given far greater emphasis than the statues themselves.The book is divided into five lengthy chapters and an epilogue. The first chapter, "Replacement and Replication," focuses on the physical resemblance of statues to people but not their inner natures. Chapter 2, "Inside and Out," examines, instead, the ways that a statue's exterior can relate more or less exactly to its inner truth. Chapter 3, "The Quick and the Dead," suggests that statues, by their very inertia, closely resemble the dead and therefore mediate in our imagination between the two states. Statues as erotic (or anti-erotic) art objects form the subject of chapter 4, "For Love of a Statue." The fifth and final chapter, "The Image in the Text," returns to the literary relation of sculpture to the production of memory: the similarity between victory odes and victors' statues, funerary epigrams and monuments, and the creation and regulation (on both the social and political levels) of honorary statuary and decrees. The retrospective epilogue is followed by twenty-eight black-and-white illustrations: Most of them depict well-known pieces of sculpture, but there are also several photographs of vase paintings and one of a drachma.In all the chapters, Steiner continually draws attention to the multivalent aspects of statues. The Greeks developed and applied a large and nuanced vocabulary to describe different types of image that embody differences only [End Page 513] poorly translated by our term, "statue": agalma, eidolon, eikon, kolossos, xoanon, and sema. Most of these have provoked extended discussion among modern scholars. The functions that statues played are even more diverse: they could serve as replacements for the absent or deceased individual, as votive offerings, as cult images, as commemorative monuments, as apotropaic devices, as protective symbols, as minatory agents, and occasionally as deadly entities (some statues could madden their viewer and even kill those who abused them or their creators by toppling over). They were also focusing devices that could evoke a wide range of emotional responses, from pity to lust. As exempla they served to instruct, and some could speak with their own voices, sometimes comically (e.g., the herms in Attic comedy) or poignantly through the words inscribed on their bases (e.g., the famous lines of Phrasikleia, the dead maiden who will never be a bride). The repeated use of the first person by funerary figures is particularly evocative. The inscriptions on other figures (like the very early Mantiklos Apollo statuette) make it clear that images could serve as bargaining chips with the gods for past services rendered or debts owed for the future.Other statues defy simple categorization—the Athena Parthenos, for example... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:HUME'S THEORY OF IMAGINATION* Historians of philosophy seem increasingly to agree with the view that David Hume is the greatest philosopher ever to have written in English. This high esteem of the Scottish empiricist, however, is a phenomenon of the last decades. As late as 1925 Charles W. Hendel could write "that Hume is no longer a living figure." And Stuart Hampshire reports that in the Oxford of (...) the Thirties the results of Humean philosophizing were regarded as "extravagances of 2 scepticism which no one could seriously accept." A cursory glance at the Hume bibliography edited by Roland Hall demonstrates that it has become standard practice in the English-speaking world to seek an understanding of Hume's arguments when analysing philosophical problems. Critical literature nevertheless continues to neglect the majority of his arguments. It is sufficient, I think, to mention Hume's remarks on space and time, his theory of emotions, his inquiries into the problem of justice, his economic writings and those on the psychology of roliqion. Dut 3 even in the frequently quoted passages of the Treatise Hume's central notion is not, in my opinion, at the heart of the analysis. Here I refer to Hume's remarks on the phenomenon of imagination (fancy). Although he mentions this curious faculty of our cognition on almost every page, there are only a few sporadic attempts at an interpretation of this "supreme Humean faculty." This may be due to the fact that until quite recently the 'problem of imagination' has hardly even belonged to the marginal topics of modern philosophy. This paper therefore attempts to demonstrate not only that Hume dealt with the phenomenon of imagination, but also that an analysis of this concept is of paramount significance for the understanding of his entire philosophy. In the first three sections three different faculties or functions of the imagination will be distinguished. Not only the artist's - 91 92. works, but also the insights of the scientist and the illusions of metaphysicians are, according to Hume, decisively based on this very cognitive faculty. Section 4 contains a brief discussion of the sceptical arguments of the Treatise, particularly of the Humean analysis of causation. Their impact on Hume's reflections on the problem of imagination is the topic of Section 5. I hope to prove that in the Enquiry Hume interprets these sceptical arguments differently than in the Treatise. While in his early work he feels himself exposed to Pyrrhonian doubts, he assumes the position of an 'academic sceptic' in the Enquiry. The concluding section eventually tries to determine which motives may have been decisive for Hume's change of opinion. I shall defend the thesis that in his late work Hume developed an 'ethics of belief on the basis of natural beliefs, in which the artistic capacity of the imagination assumes a decisive role in justifying philosophical and scientific propositions. 1. The Metaphysical Faculty of the Imagination In the Introduction to the Treatise Hume describes his endeavour as developing a propaedeutic basic science which should provide a better understanding of all products of the human mind (science, mathematics, metaphysics, ethics, aesthetics, politics). In the Abstract he calls his early work "a system of the sciences" (?7). Besides this empirical interest Hume saw the importance of justifying the choice of method, i.e. to extoll the experimental procedure as the only rational one. Metaphysical approaches are interpreted as products of a blind imagination. Beginning with the Introduction to the Treatise it has been a constant motive of Hume's philosophy to constrain metaphysics in order to make way for science. In the sections Of the effects of other relations and other habite (T106-117), Of unphilosophiaal probability 93. (T143-155), Of scepticism with regard to the senses (T187218 ), Of the antient philosophy (T219-225) Hume specifies those beliefs which, in his opinion, are based on figments of our imagination. He "had ^en that all the errors of philosophy arose from the fact that imagination determined men much more than they recognized - there could be no secure truth for him, then, until he had explored this aspect of the nature of man." He compares imagination to a ship which, having... (shrink)

Poetry is the most complex and intricate of human language used across all languages and cultures. Its relation to the worlds of human experience has perplexed writers and readers for centuries, as has the question of evaluation and judgment: what makes a poem "work" and endure. The Poem as Icon focuses on the art of poetry to explore its nature and function: not interpretation but experience; not what poetry means but what it does. Using both historic and contemporary approaches of (...) embodied cognition from various disciplines, Margaret Freeman argues that a poem's success lies in its ability to become an icon of the felt "being" of reality. Freeman explains how the features of semblance, metaphor, schema, and affect work to make a poem an icon, with detailed examples from various poets. By analyzing the ways poetry provides insights into the workings of human cognition, Freeman claims that taste, beauty, and pleasure in the arts are simply products of the aesthetic faculty, and not the aesthetic faculty itself. The aesthetic faculty, she argues, should be understood as the science of human perception, and therefore constitutive of the cognitive processes of attention, imagination, memory, discrimination, expertise, and judgment. (shrink)

It is fashionable nowadays to characterize necessity or necessary truth in a Leibnizian manner as what is true in all possible worlds. But the brilliance of this heuristic device ought not blind us to the fact that, unlike God, we cannot suppose ourselves able to individuate all possible worlds. The sense of the notion of necessity is that, whatever we may suppose possible worlds to be, nothing we conceive as forming a compossible world could falsify a truth we rightly (...) tendered as a necessary truth. Since to conceive or imagine a “particular” compossible world is to conceive or imagine a determinate state of affairs the details of which do not entail incompatible ascriptions among those details, there is reason to think that, whatever may be alleged to be the status of the formal principle of non-contradiction, conceptual compossibility is parasitic on the semantically rich natural languages with which in various ways we entertain possibilities relative to the actual world. If this much be conceded, then it is a very small step to grasp that if what we suppose to be possible relative to the actual world can be specified only within the scope of the particular conceptual schemes and theories that enable us to imagine determinate states of affairs of this sort or that, then: different conceptual schemes will permit us to entertain different and different ranges of compossible worlds; confined, within a given historical interval, to a particular conceptual scheme that does not yet feature or even know how to feature distinctions that are to become cognitively accessible at a later time, we cannot make sense of our ever being able to formulate in principle all possibilities with regard to the actual world—nor, therefore, all compossible worlds; and it would not be surprising that human investigators working in real-time terms with competing paradigms should find their paradigms at least provisionally incommensurable, as relating to differently conceived problems, differently conceived ways of construing events, and the like. (shrink)

This paper offers an interpretative presentation of Duns Scotus’ notion of intellect, as it is delineated in his treatise entitled De Spiritualitate et Immortalitate Animae Humanae. Duns Scotus’ theory is gradually formed through his critical examination of the Aristotelian views which are presented in De Anima and Metaphysics.Duns Scotus accepts the Aristotelian definition of the soul, according to which the soul knows and thinks through its intellective power, and he claims that the intellective soul is the proper form of man. (...) However, he is opposed to Aristotle’s theory concerning the imperishability of the intellect, holding that since the intellect is the form of the perishable composite, it cannot exist apart from the composite. Furthermore, adopting the Aristotelian view that only human beings have two cognitive powers, the senses and the intellect, Duns Scotus shows the supremacy of the intellect compared to the senses. He distinguishes intellectual knowledge from sense knowledge by designating their functions and objects. Intellectual knowledge is an immaterial and non organic act in contradistinction to sense knowledge, which is a material and organic act; the intellect perceives abstract objects whereas the senses grasp particular objects. Although Duns Scotus proves that intellectual knowledge is superior to sense knowledge, he recognizes the contribution of the senses in acquiring knowledge inasmuch as he holds that the intellect understands only when it is rotated to the outside world: the intellect knows the universal by perceiving the intellectual images through the medium of imagination (phantasia), which modifies sense images to intellectual images (phantasms). Therefore, for Duns Scotus, knowledge would be impossible without cooperation between the intellect and the senses. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 37.1 (2004) 21-41 [Access article in PDF] Conquering Our Imagination: Thought Experiments and Enthymemes in Scientific Argument Nathan Crick Department of Communication University of Pittsburgh The dividing line between rhetoric and science has traditionally been drawn at the split between persuasion and logic. On the one side, rhetoric seeks to influence human beliefs and behavior through use of stylistic language that resonates with the (...) experiences of an audience; on the other, science endeavors to describe empirical phenomena through the use of logical propositions that can be understood wholly on their own terms. However, recent scholarship has blurred this border. For instance, in his research on Charles Darwin's rhetorical accomplishments, John Angus Campbell has sought to break down "the neopositivist Berlin Wall separating the context of discovery from the context of justification" that represents this traditional division (1990, 23). Claiming that scientific discovery and rhetorical invention are each "an aspect of a flexible logic of inquiry and presentation" (23), Campbell argues that "the social and theological ring of Darwin's language is not merely decorative or ameliorative, but is constitutive of the fabric of his thought" (5). In other words, Campbell insists there is something intrinsically valuable about Darwin's frequent use of colloquial language beyond its immediate rhetorical appeal—it also contributes something fundamental to scientific knowledge itself.This "something," according to Campbell, is the necessary connection between argument and audience that inspires scientific theorizing and culminates in the establishment of new scientific paradigms. Within the context of discovery, the potential rhetorical audience works as a motivating force in the invention of persuasive arguments. That is why, when Darwin's notebooks are closely examined, it can "be said that virtually every note Darwin penned... was written with an eye to a public, often in response to a nameable individual" (1990, 23). Then, within the context of justification, the actual rhetorical audience works to literally fill in the necessary gaps in any rhetorical argument. That is why Darwin, in order to [End Page 21] tap into this resource, "embedded his central insight in a preexisting common world of thought and feeling" (4). Finally, it is for both of these reasons that one cannot fully reconstruct Darwin's "core concept of his argument as a logical proposition shorn of its colloquial language and associations" (4). For Campbell, "the danger in setting aside Darwin's language is that we effectively remove half of the problem he addressed and disregard the intelligence required to address it—how to present a radical idea to a particular scientific and popular audience in a way that retains the persuasive force of the very tradition it destroys" (5).Campbell's claim that rhetoric is constitutive and cannot be boiled away through logical or reductive analysis asserts the centrality of both stylistic language and audience within the process of scientific argumentation. However, although it is clear that rhetoric has a role to play during revolutionary moments in the history of science, it is not as clear that contemporary audiences cannot go directly to the logical reconstructions of past theories without any significant loss of cognitive value. Thus, we must ask whether a scientific argument, when removed from its immediate persuasive context, can nonetheless be "shorn of its colloquial language and associations" in order to reveal its logical core. What, in other words, is the relationship between the logic of scientific argumentation, the rhetorical appeal of language, and the participation of an audience?This essay suggests that a tentative answer can be found by approaching the question through the concept of the "thoughtexperiment." Thought experiments are distinguished from traditional experiments by their explicitly hypothetical quality. Instead of seeking immediately verifiable empirical results, they are designed to invite an audience to visualize a set of initial conditions and then imagine what might happen in response to those conditions. Galileo, for instance, authored one of the most famous thought experiments when he speculated what would happen if two objects of different weights were tied together and dropped. Einstein tried to envision what we might see from a clear box... (shrink)

Abstract:Although the idea of intellectual property (IP) rights—proprietary rights to what one invents, writes, paints, composes or creates—is firmly embedded in Western thinking, these rights are now being challenged across the globe in a number of areas. This paper will focus on one of these challenges: government-sanctioned copying of patented drugs without permission or license of the patent owner in the name of national security, in health emergencies, or life-threatening epidemics. After discussing standard rights-based and utilitarian arguments defending intellectual property (...) we will present another model. IP is almost always a result of a long history of scientific or technological development and numbers of networks of creativity, not the act of a single person or a group of people at one moment in time. Thus thinking about and evaluating IP requires thinking about IP as shared rights. A network approach to IP challenges a traditional model of IP. It follows that the owner of those rights has some obligations to share that information or its outcomes. If that conclusion is applied to the distribution of antiretroviral drugs, what pharmaceutical companies are ethically required to do to increase access to these medicines in the developing world will have to be reanalyzed from a more systemic perspective. (shrink)

While 4E approaches to cognition are increasingly introduced in educational contexts, little has been said about how 4E commitments can inform pedagogy aimed at fostering ethical competencies. Here, we evaluate a 4E-inspired ethics exercise that we developed at a technical university to enliven the moral imagination of engineering students. Our students participated in an interactive tinkering workshop, during which they materially redesigned a healthcare artifact. The aim of the workshop was twofold. Firstly, we wanted students to experience how material (...) choices at the levels of design and functionality can enable morally significant reimaginings of the affordances commonly associated with existing artifacts. We term this type of reimagining world-directed moral imagination. Secondly, through the design process, we wanted students to robustly place themselves in the lived embodied perspectives of (potential) users of their selected artifacts. We term this person-directed moral imagination. While student testimonies about the exercise indicate that both their world-directed and person-directed moral imagination were enlivened, we note that the fostering of robust person-directed moral imagination proved challenging. Using 4E insights, we diagnose this challenge and ask how it might be overcome. To this end, we engage extensively with a recent 4E-informed critique of person-directed moral imagination, raised by Clavel Vázquez and Clavel-Vázquez (2023). They argue that person-directed moral imagination is profoundly limited, if not fundamentally misguided, particularly when exercised in contexts marked by emphatic embodied situated difference between the imaginer and the imagined. Building upon insights from both the 4E field and testimonies from critical disability studies, we argue that, while their critique is valuable, it ultimately goes too far. We conclude that a 4E approach can take on board recent 4E warnings regarding the limits of person-directed moral imagination while contributing positively to the development of moral imagination in engineering ethics education. (shrink)

What, if any, are the limits of human understanding? Epistemic pessimists, sobered by our humble evolutionary origins, have argued that some parts of the universe will forever remain beyond our ken. But what exactly does it mean to say that humans are ‘cognitively closed’ to some parts of the world, or that some problems will forever remain ‘mysteries’? In this paper we develop a richer conceptual toolbox for thinking about different forms and varieties of cognitive limitation, which are (...) often conflated by the so-called ‘new mysterians’. We distinguish between representational access and imaginative understanding, as well as between different modalities of cognitive limitation. Next, we look at tried-and-tested strategies for overcoming our innate cognitive limitations, drawing from the literature on distributed cognition and cognitive scaffolding’. This allows us to distinguish between the limits of bare brains vs. scaffolded brains. Most importantly, we argue that this panoply of mind-extension devices is combinatorial and open-ended. In the end, this allows us to turn the table on the mysterians: for every alleged ‘mystery’, they should demonstrate that no possible combination of mind extension devices will bring us any closer to a solution. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Imagination in Inquiry by A. Pablo IannoneAmy KindIANNONE, A. Pablo. Imagination in Inquiry. Lanham, Md.: Lexington Books, 2022. xxvi + 254 pp. Cloth, $110.00; eBook $45.00Though imagination is often associated with the fanciful and the fictional, over the course of the last decade philosophers have begun to devote considerable attention to more practical uses of imagination. Philosophers of imagination have increasingly focused on (...) ways in which imagination can play an important epistemic role in activities such as decision-making, planning, and scientific discovery; more generally, there has been attention to a variety of ways in which imagination can teach us about the world in which we live. Iannone’s discussion in Imagination in Inquiry can be seen as part of this general trend—even if his discussion is not itself situated directly within contemporary philosophy of imagination but, rather, in a broader interdisciplinary approach.Iannone works with an expansive conception of what imagination is. In his view, we should not limit our understanding of imagination simply to the ability to generate images. Rather, imagination is a diverse set of different abilities that aim “at figuring out cognitively, emotively, or practically, alternatives for dealing with actual, probable, plausible, foreseeable, or merely possible challenges or problems, abstract or concrete, theoretical or practical being faced, or notions being considered, and determining or deciding which is (are) preferable in the circumstances, and acting accordingly.” Moreover, this set of abilities should not be seen as operating in isolation; rather, imagination functions as part of an ecology of human abilities. Iannone refers to his view of imagination as the “homeostatic model,” so called because he sees imaginative processes as maintaining stability by way of a system of self-correcting feedback and methods for incorporating and adjusting to any new information received.Iannone also operates with an expansive conception of what counts as practical use of imagination. In his view, imagination is put to practical use in a wide range of circumstances, for example, when a dancer imagines the next steps of a dance in the process of spontaneous improvising, when a combatant imagines how to block an expected blow from an opponent, and when an environmental activist imagines a new set of corrective policies to address pollution. All these uses fall under the activity of what Iannone calls “inquiry,” that is, the activity of finding a solution to a problem or challenge. The problems and challenges that might prompt the use of imagination can be both personal and interpersonal, and the imaginative processes used will involve strategies such as discovery, creation, and anticipation.In the first part of the book, Iannone develops his basic conceptual apparatus. In the next part of the book, he puts this apparatus to work in the context of philosophy, that is, he shows how imagination plays a role in philosophical inquiry. In the third part of the book, he looks at the role of imagination in other disciplines such as sociology and psychology. Here, the interdisciplinary nature of his discussion is especially on display. In the fourth part of the book, he applies his model of imagination to a number of different contexts; in particular, he discusses the role of [End Page 354] imagination in language, in humor, in vision (both at the personal and the societal level), and in morality. Finally, the last part of the book offers a variety of case studies involving dance, technology, and artificial intelligence. Of the four chapters in this part of the book, three are written by other authors: two by Alejandra Iannone, a scholar and practitioner of dance and theater (and the author’s daughter), and one by Rocci Luppicini, an expert in technology studies. In light of the explosive pace with which new AI technologies are being developed, the book’s discussion of whether and how such technologies present challenges for our capacity for imagination is especially timely and important.In addition to affirming the practical importance of imagination, Iannone also affirms the practical importance of nurturing imagination—something he repeats at several points throughout the book. But how do we do this? One natural way that imagination is nurtured is simply by its regular use... (shrink)

Hallucinatory states are experienced not only in connection with drugs and psychopathologies but occur naturally and spontaneously across the human circadian cycle: Our nightly dreams bring multimodal experiences in the absence of adequate external stimuli. The current study proposes a new, tighter measure of these hallucinatory states: Sleep onset, REM sleep, and non-REM sleep are shown to differ with regard to motor imagery indicating interactions with a rich imaginative world, and cognitive agency that could enable sleepers to recognize (...) their hallucinatory state. Mentation reports from the different states were analysed quantitatively with regard to two grammatical–semantic constructs, motor agency and cognitive agency. The present results support earlier physiological and psychological evidence in revealing a decline in cognitive functions and an increase in simulated interactions with a hallucinatory world, en route to normal REM sleep. This leads us to introduce the hypothesis that REM sleep, which exhibits remarkably high levels of sensorimotor processes, may have evolved to serve as a virtual laboratory for the development and rehearsal of embodied cognition. The new measure of hallucinatory states presented here may also hold implications for the study of executive functions and cognitions, which might be interesting, for example, for the investigation of lucid dreaming. (shrink)

Twentieth century philosophy and psychology have been peculiarly averse to mental images. Throughout nearly two and a half millennia of philosophical wrangling, from Aristotle to Hume to Bergson, images (perceptual and quasi-perceptual experiences), sometimes under the alias of "ideas", were almost universally considered to be both the prime contents of consciousness, and the vehicles of cognition. The founding fathers of experimental psychology saw no reason to dissent from this view, it was commonsensical, and true to the lived experience of conscious (...) thinking. However, early in this century, just about when the behaviorist revolution in psychology was loudly declaring the scientific illegitimacy of any attempt to study consciousness, and the concomitant non-existence of imagery (Watson, 1913; see Thomas, 1989), philosophy was undergoing its "linguistic turn", a turn to seeing philosophy as essentially about language rather than the world, even the 'inner' world. For decades, the very concept of the mental image was suspect, and it was certainly banished from playing any major role in theories of mind and of thinking. Ralph Ellis' Questioning Consciousness, together with the recent speculations of certain influential neuroscientists (Edelman, 1992; Damasio, 1994), may be signaling the end this unusual era. (shrink)

The contribution examines the aesthetic aspect of cognition in Kant by exploring the central function of the power of the imagination (Einbildungskraft) in Kant’s critical epistemology, first featured in the Critique of Pure Reason (1781; 1787) and revisited in the Critique of the Power of Judgment (1790). First, the focus will be on the relationship between the power of the imagination and the two main sources of (theoretical) cognition in Kant, viz., sensibility and the understanding. Second, special attention (...) will be devoted to the distinction between schema and symbol, as alternative products of the power of the imagination in the service of rendering discursive concepts intuitive – with schemata serving to make sensible the concepts of the understanding (Verstand) and symbols suited to provide intuitional counterparts to the concepts of reason (Vernunft). (shrink)

This paper seeks to integrate analytic philosophy and phenomenology. It does so through an approach generated, specifically, in relation to imagination and its cognitive significance. As an Introduction, some reservations about existing phenomenological approaches to imagination—in the work of Sartre and Edward S. Casey—are considered. It is argued that their introspective psychological approach needs to be qualified through a more analytic orientation that determines essence, initially, on the basis of public discourse concerning the term ‘imagination.’ Part (...) One then articulates this orientation through an ‘analytic reduction’ that identifies imagination’s essence in public discourse as thought in its quasi-sensory mode. Part Two offers a sustained phenomenological investigation of this essence, and identifies four major intrinsic features. On the basis of this, Part Three shows how imagination is implicated, centrally, in the capacity to acquire language. In Conclusion the proceeding arguments are defended against possible objections, and a final key summarizing argument is formulated to show that imagination must be regarded, also, as necessary to perception and its capacity to articulate a world. The paper ends with a few thoughts on the further potential of post-analytic phenomenology. (shrink)

This edited collection investigates the kinds of moral reflection we can undertake within the imaginative worlds of literature. In philosophical contexts of ethical inquiry we can too easily forget that literary experience can play an important role in the cultivation of our ethical sensibilities. Because our ethical lives are conducted in the real world, fictional representations of this world can appear removed from ethical contemplation. However, as this stimulating volume shows, the dichotomy between fact and fiction cannot be (...) so easily categorised. Moral perception, moral sensitivity, and ethical understanding more broadly, may all be developed in a unique way through our imaginative life in fiction. Moral quandaries are often presented in literature in ways more linguistically precise and descriptively complete than the ones we encounter in life, whilst simultaneously offering space for contemplation. The twelve original chapters in this volume examine literary texts – including theatre and film – in this light, and taken together they show how serious reflection within fictional worlds can lead to a depth of humane insight. The topics explored include: the subtle ways that knowledge can function as a virtue; issues concerning our relations to and understanding of each other; the complex intertwining of virtues and vices in the modern world; and the importance of bringing to light and reconsidering ethical presuppositions. With an appreciation of the importance of richly contextualized particularity and the power of descriptive acuity, the volume maps out the territory that philosophical reflection and literary engagement share. (shrink)

This is a book about imaginative work and its relationship with the construction of knowledge. It is fully acknowledged by epistemologists that imagination is not something opposed to rationality; it is not mere fantasy opposed to intellect. In philosophy and cognitive sciences, imagination is generally “delimiting not much more than the mental ability to interact cognitively with things that are not now present via the senses.” For centuries, scholars and poets have wondered where this capability could come (...) from, whether it is inspired by divinity or it is a peculiar feature of human mind. The omnipresence of imaginative work in both every day and highly specialized human activities requires a profoundly radical understanding of this phenomenon. We need to work imaginatively in order to achieve knowledge, thus imagination must be something more than a mere flight of fantasy. Considering different stories in the field of scientific endeavor, I will try to propose the idea that the imaginative process is fundamental higher mental function that concurs in our experiencing, knowing and understanding the world we are part of. This book is thus about a theoretical idea of imagining as constant part of the complex whole we call the human psyche. It is a story of human beings striving not only for knowledge and exploration but also striving for imagining possibilities.​. (shrink)

Successful behavior requires actively acquiring and representing information about the environment and people, and manipulating and using those acquired representations flexibly to optimally act in and on the world. The frontal lobes have figured prominently in most accounts of flexible or goal-directed behavior, as evidenced by often-reported behavioral inflexibility in individuals with frontal lobe dysfunction. Here, we propose that the hippocampus also plays a critical role by forming and reconstructing relational memory representations that underlie flexible cognition and social behavior. (...) There is mounting evidence that damage to the hippocampus can produce inflexible and maladaptive behavior when such behavior places high demands on the generation, recombination, and flexible use of information. This is seen in abilities as diverse as memory, navigation, exploration, imagination, creativity, decision-making, character judgments, establishing and maintaining social bonds, empathy, social discourse, and language use. Thus, the hippocampus, together with its extensive interconnections with other neural systems, supports the flexible use of information in general. Further, we suggest that this understanding has important clinical implications. Hippocampal abnormalities can produce profound deficits in real-world situations, which typically place high demands on the flexible use of information, but are not always obvious on diagnostic tools tuned to frontal lobe function. This review documents the role of the hippocampus in supporting flexible representations and aims to expand our understanding of the dynamic networks that operate as we move through and create meaning of our world. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 39.3 (2001) 385-406 [Access article in PDF] Some Thoughts on What Spinoza Learned from Maimonides on the Prophetic Imagination Part Two:Spinoza's Maimonideanism Heidi M. Ravven 1. Spinoza's Maimonideanism Now it is precisely with the belief that the prophets were philosophers and the Bible offers veiled insights into the central doctrines of philosophy, so powerfully argued and deeply held by Maimonides that (...) he included it as one of his Thirteen Principles of Jewish Faith the acceptance of which is a necessary condition of a share in the World to Come, 1 that Spinoza took strong issue. 2 At the same time, however, Spinoza agreed with Maimonides' doctrine [End Page 385] of the a. imaginative (literary) character 3 and b. the political function 4 of the Bible and of its authors and of the major prophetic figures. The quite obvious influence of Maimonides' account of prophecy upon Spinoza's account in the Tractatus Theologico-Politicus (TTP) has been widely recognized and commented upon. That is to say (although no commentator up till now, as far as I know, has made this point explicit), Spinoza adopted Maimonides' conception of prophecy as mimetic or productive and not only—or chiefly—as receptive. 5 The Maimonidean account of the (prophetic) imagination clarifies why the atomic fact model of the receptive function of the imagination is inapplicable to the TTP. The imaginative character of prophecy is not about picking up information (in a dream or otherwise) delivered from God; rather, it concerns how one understands (and presents) certain truths (in the case of Spinoza's notion of prophecy, namely, those of ethics and in Maimonides' those of science as well as of ethics) imaginatively rather than rationally, i.e., within a web of (narrative and symbolic) associations instead of within the deductive order of rational causal explanation. "Now we see," Spinoza, in the first chapter [End Page 386] of the Tractatus, 6 writes, echoing Maimonides (esp. Guide II, 47), "why the teachings of the prophets were nearly all in the form of parables and allegories, and why all spiritual matters were expressed in corporeal form, for this is more appropriate to the imaginative faculty." Prophecy does not consist in the simple reception of pieces of information transmitted directly from God. This is not what it is for Maimonides nor for Spinoza.Thus we find that Spinoza formally defines the prophet in the beginning of TTP, chapter i, as "one who interprets (interpretatur) God's revelations to those who cannot attain to certain knowledge of the matters revealed... For the Hebrew word for prophet is nabi, that is, speaker and interpreter (orator et interpres)." 7 The prophet is interpreter in imaginative terms, whether he reformulates belief imaginatively or instead merely understands it in that way himself to begin with. Prophecy is an imaginative (narrative, symbolic) rather than a philosophical (logical and demonstrable) type of understanding and presentation. If one looks at Spinoza's account of prophecy in TTP i, one finds that immediately after Spinoza defines prophecy, he then goes on to tell us what revelation is scientifically: "the nature of [the human] mind... is the primary cause of divine revelation." That is to say, the mind itself, whether rationally in intellectual thought or in its imaginative capacity and in both cases as itself a product of divine (i.e., natural) causes, supplies the content of revelation. 8 Spinoza then goes on to say that now that we have understood the true explanation of prophecy, we must return from this scientific understanding to the biblical account of prophecy. At that point he tells us that "the Jews never make mention of intermediate or particular causes nor pay any heed to them, but to serve religion and piety... they refer everything to God." Now this is a crucial passage and must be used as an interpretive principle for all that follows. (Spinoza illustrates the point in some detail at the end of the chapter where he lists the various... (shrink)

The point of this Special Issue of _Philosophies_ and of this essay is to look deeply into Merleau-Ponty’s _Phenomenology of Perception_, published in 1945, and to “read backwards” from the later works (whether published, transcripts of the later lectures, or the unpublished notes) in order to find the inchoate ideas that were already present in the _Phenomenology_ that was to be developed into the series of ideas of the later ontology of the flesh of the world. The presence of (...) these inchoate ideas is subtle and not as clearly developed as in the later works, but now we can see them more clearly. The dispersed, decentered, and intermittent sense of self, the circulation of sense into the depth of the world, the radical temporality of institution, the latency of sense, the imaginal lining of all perception and its role in Being, the invisibility of the visible and the poetic flesh ontology will be touched upon in this essay as all of them are developments of the initial move in the _Phenomenology_ to make perception the access to the real. This essay will go further than the many recent interpretations that look at some of these developing ideas to articulate that this is a _necessary trajectory_ from Merleau-Ponty’s starting point in the Phenomenology of Perception and that all these phenomena to which these ideas point _can only come forward in their interrelated interwovenness_. This would mean that all these strands are integral to the chiasmatic nature of the flesh of the world. (shrink)

Illusion is a significant concept in philosophy, art history, literary theory and aesthetics. It has a concrete scientific basis in the perspective of modern cognitive neuroscience. Historically, it has been critically discussed by many philosophers, including Plato, Bacon, Descartes, Kant, and Nietzsche, who considered it to be a distortion of reality. Yet illusion is connected with so many basic aesthetic issues -- such as ambiguity, imagination, and imagery -- that it remains an indispensable concept in modern aesthetics. In (...) the different art media communication of creators with appreciators involves illusory imagery. Its importance is emphasized by Ernst Gombrich in his Art and Illusion, one of the most influential art history texts in the English-speaking world. The concept of illusion becomes the crossing point of classical philosophy and contemporary aesthetics. In this article, the philosophical, psychological and aesthetic bases of illusion will be introduced. In different fields, illusion has different content, but depends on the same psychological mechanisms. The neural mechanisms that underpin aesthetic illusion in contemporary artistic production also function in the modern ideology described by Adorno, Eagleton, and Williams. Not all aesthetic illusions have positive functions, which sometimes leads to distorted cognition and emotional complexity. When it deviates too far from reality, aesthetic illusion contains particular cognitive emotional qualities that conflict with artistic imagery in classical arts. As a bearer of modern aesthetic emotion, it is also shaped by special economic and political situations and always has a kind of ideological character. Thus aesthetic illusion often promotes new configurations of aesthetics and art history. (shrink)

According to Rorty, philosophy is most of time the result of a contest between an entrenched vocabulary, which has become a nuisance, and half-formed new vocabulary which vaguely promises great things. In this paper, I will explore the contest between the entrenched vocabulary of imagination (and ‘the imaginary’ as its necessary counterpart) and a half-formed vocabulary that promises a lot of interesting things: the vocabulary of the ‘the imaginal’. After introducing the concept of the imaginal, I will (...) move on to show its force and, in particular, the role it plays in contemporary politics and in so-called post-Fordist capitalism. (shrink)

The goal of this dissertation is to demonstrate that construals of our emotional responses to fictions as irrational or merely pseudo-emotional are not the only explanations available to us, and that necessary and sufficient conditions for an emotional response to a fiction can be established without abandoning either its intentionality or the assignment of a causal role to our beliefs. ;Colin Radford's claim that our emotional responses to fictions are irrational and inconsistent is challenged in two ways. First, distinctions can (...) be drawn between our reactions to fiction and indisputably irrational emotional reactions which preclude arriving at Radford's conclusion via an argument from analogy. Further, the conditions for rationality put forward in several analyses of emotion, ranging from that of David Hume to that of Ronald de Sousa, are not violated by our emotional responses to fictions. ;Kendall Walton's contention that such affective reactions are merely quasi-emotions is contested on the ground that the absence of the existentially committed beliefs which Walton allies with all genuine emotional responses does not demonstrate an absence of cognitive content. Existentially uncommitted evaluative beliefs, thoughts, and even beliefs about the world can be linked to our emotional experience of fictions, and can serve a function necessary to the identification of the emotion, a function which Walton assigns to the existentially committed belief. ;In our experience of fictions, the objects of our emotion are various. However, a direct response to a fictional entity or event is characterized in terms of Peter Lamarque's account: as a response to the content of a thought, a response to what has been thought or imagined rather than to the thought itself. The roles played both by evaluative beliefs and beliefs about what can occur in the world are investigated and found to constitute necessary conditions for an emotional response to a fiction. An account of the role of the imagination, which borrows from Boruah, David Novitz, and Susan Feagin, provides another condition which, together with the two preceding, appears sufficient for such a response. (shrink)

Is it not surprising that we look with so much pleasure and emotion at works of art that were made thousands of years ago? Works depicting people we do not know, people whose backgrounds are usually a mystery to us, who lived in a very different society and time and who, moreover, have been ‘frozen’ by the artist in a very deliberate pose. It was the Classical Greek philosopher Aristotle who observed in his Poetics that people could apparently be moved (...) even by the imitation of a person or an act. And although we are usually well aware that it is a simulacrum, not a real situation, it nevertheless sometimes seems as if we ourselves are standing there on the stage or in the painting, so intense and emotional is our response, even though we are just spectators. Aristotle concludes from this that we have intellectual capacities which allow us put ourselves in another’s place and consequently to react to simulated situations as though they are actually happening to us, here and now. In this process, he contends, observation, memory, imagination and emotions are crucial elements. In the past it was not customary to invoke human mental faculties to explain our response to works of art. The Ancient Greeks, after all, knew little about the human body or brain and usually referred to the extended world of the gods in their endeavours to comprehend the ‘inner world’ of human beings. In our time the situation is completely different—such an allusion to the brain no longer surprises us. Whether it is about the mystery of the consciousness, the question of free will or accounts of bizarre psychological aberrations or disorders, we have become accustomed to references to parts of the brain, to images of brain scans, to reports about neural networks and the like. However, because there are so many factors that play a part in our appreciation of works of art we need a complex explanation for it, and it is not enough to look only at certain properties of the brain that are determined by evolution. Those properties are shared by every human being, and so are rather useless in explaining people’s different reactions to the same work of art. Evidently the brains of individuals differ so much that they make it possible for people to respond differently to one and the same artwork. This, of course, raises questions concerning the painted emotions that can be seen in this exhibition. Virtually everyone, after all, is fascinated by such paintings and usually recognizes the emotions they represent. The reactions to these painted emotions are also often similar. This is probably why artworks like this are generally highly valued, then and now, here and elsewhere: from the enigmatically smiling Egyptian Queen Nefertiti and the startled Rembrandt to a seemingly despairing African mask. Aristotle observed that in the theatre players imitate actions that are associated with emotions in a number of ways and that these emotions are shared in a particular fashion by the playwright, the actors and the audience. The audience may even be carried away by these emotions to such an extent that they are in a sense purged of them and can subsequently leave the theatre relieved. Are such emotional reactions perhaps related to the fact that emotions are universal and that brains respond similarly to them? Is this why we can so readily identify painted emotions? May we therefore also assume that the properties of the brain determined by evolution help us to explain these emotions? In answering these questions we shall discuss a number of insights into emotions in psychology and brain science and explore some theories about the possible function of emotions and their expression. (shrink)

This study juxtaposes an imaginal inquiry into the myth of Orpheus and Eurydice with a historical exegesis of the ancient religious movement generally termed Orphism, which came to be associated with it. Inviting unconscious elements into the study of myth and subsequently elaborating a theoretical analysis as well as a creative project---as this study does in the form of a screenplay adaptation---corresponds to Carl Jung's theory of the transcendent function, which states that a new level of being is possible (...) by balancing these two approaches to such material. This study unfolds the myth's latent theology by dreaming it forward in this way. ;The principal thesis---that Orpheus looks back to Eurydice with purpose and an awareness that his gaze will cause her to return to Hades---is itself an example of unconscious material emerging into consciousness. The greater part of this study is devoted to deriving meaning from the twist that this re-imagining implies for the elucidation of myth in general and for the study of this myth in particular. ;A principle question addressed is "What aspects of the latent theology found to exist in this myth can be said to constitute a founder story of Orphism?" In addition, this study proposes the figure of Orpheus as emblematic of the active masculine principle---exalted in his balancing of solar and lunar masculinity---that provides a blueprint for a dualistic cognitive model of archetypal experience. ;This model posits that the dualities found in the myth, and sometimes in life, derive their patterning from the individual's inability to experience the archetype directly. Orpheus' look back exemplifies a breaching of the veil that separates us from the archetype, allowing a momentary interpenetration of the individual's sphere of consciousness with the essence of the archetype. It is thought that integration of unconscious and conscious material follows. Finally, how these insights can be applied to the lives of men and women is addressed in this study's conclusion. (shrink)

Historia, as both a type of critical inquiry and a source of information about nature and the human world, is a key category in Spinoza’s Tractatus theologico-politicus. In this work, the Latin word cannot be simply and invariably translated as “history,” not even if we add the proviso that its meaning wavers inevitably between “history” and “story,” for its semantic range is too broad and complex. At the two ends of the semantic spectrum we have the impartial report, on (...) the one hand, and the creations of sheer fantasy, on the other. Historia may therefore denote the detached observation of nature and the philological analysis of a text, but it can also refer to the free exercise of the imagination in a variety of narrative contexts. While Spinoza denies that the inquiry resulting from historia and its products may have true cognitive value, he acknowledges that historia plays a fundamental role in society and politics. The reason is that historia and the imagination are bound up together by a special relationship. This is apparent at all levels of the historical engagement with reality, but is particularly true in the case of religion, moral norms and belief systems, for in this variegated domain the link between imagination and historia functions as the connective tissue that keeps societies united and functioning. This specific nexus of imagination and historia is Spinoza’s original contribution to the early modern notion of “moral certainty.” More importantly, it is only at this level that Spinoza grants a modicum of intelligibility to the ‘historical’ productions of the imagination, be they signa, revelationes, or even nugae. The fact remains, though, that to a certain extent humans keep having a distorted grasp of reality, indeed hallucinate, even when their ‘historical’ accounts of reality are socially and politically productive. Here the key element is the notion of fictional continuity based on a socially constructed trust in narrative accounts of reality: the imagination turns reality into stories, but in so doing it keeps the otherwise constitutively hallucinatory nature of humans at bay and under control. Perceptibilitas, that is, the ability to provide acceptable cognitive solutions between intelligible knowledge and moral certainty, is ultimately what defines the contribution of the imagination to the human work of knowledge. (shrink)

Cause and effect relationships play a central role in how we perceive and make sense of the world around us, how we act upon it, and ultimately, how we understand ourselves. Almost two decades ago, computer scientist Judea Pearl made a breakthrough in understanding causality by discovering and systematically studying the “Ladder of Causation” [Pearl and Mackenzie 2018], a framework that highlights the distinct roles of seeing, doing, and imagining. In honor of this landmark discovery, we name this the (...) Pearl Causal Hierarchy (PCH). In this chapter, we develop a novel and comprehensive treatment of the PCH through two complementary lenses, one logical-probabilistic and another inferential-graphical. Following Pearl’s own presentation of the hierarchy, we begin by showing how the PCH organically emerges from a well-specified collection of causal mechanisms (a structural causal model, or SCM). We then turn to the logical lens. Our first result, the Causal Hierarchy Theorem (CHT), demonstrates that the three layers of the hierarchy almost always separate in a measure theoretic sense. Roughly speaking, the CHT says that data at one layer virtually always underdetermines information at higher layers. Since in most practical settings the scientist does not have access to the precise form of the underlying causal mechanisms – only to data generated by them with respect to some of PCH’s layers – this motivates us to study inferences within the PCH through the graphical lens. Specifically, we explore a set of methods known as causal inference that enable inferences bridging PCH’s layers given a partial specification of the SCM. For instance, one may want to infer what would happen had an intervention been performed in the environment (second-layer statement) when only passive observations (first-layer data) are available. We introduce a family of graphical models that allows the scientist to represent such a partial specification of the SCM in a cognitively meaningful and parsimonious way. Finally, we investigate an inferential system known as docalculus, showing how it can be sufficient, and in many cases necessary, to allow inferences across PCH’s layers. We believe that connecting with the essential dimensions of human experience as delineated by the PCH is a critical step towards creating the next generation of AI systems that will be safe, robust, human-compatible, and aligned with the social good. (shrink)