In our first study, undergraduate students (30 men, 30 women) evaluated the ethical acceptability of two previously published studies that used guided imagery in rape situations. In one, women imagined themselves as rape victims; in the other, men imagined themselves as rapist. Most students rated the research acceptable, but there was a significant interaction (g < .05): Women found the study of women as victim less ethical, and men found the study of men as rapist less ethical. In (...) our second study, 30 noncollege women evaluated the research on women as rape victims. After reading the scenario, none of these women said they would have agreed to participate or thought the research was ethically acceptable. We discuss issues of informed consent, demands of the research situation, and potential benefits and risks. (shrink)

Imagery is one of the new, exciting frontiers in cognitive therapy. From the outset of cognitive therapy, its founder Dr. Aaron T. Beck recognised the importance of imagery in the understanding and treatment of patient's problems. However, despite Beck's prescience, clinical research on imagery, and the integration of imagery interventions into clinical practice, developed slowly. It is only in the past 10 years that most writing and research on imagery in cognitive therapy has been conducted. (...) The Oxford Guide to Imagery in Cognitive Therapy is a landmark book, which will play an important role in the next phase of cognitive therapy's development. Clinicians and researchers are starting to recognise the centrality of imagery in the development, maintenance and treatment of psychological disorders - for example, in social phobia, agoraphobia, depression, PTSD, eating disorders, childhood trauma, and personality disorder. In the fields of cognitive psychology and cognitive neuroscience, researchers are identifying the key role that imagery plays in emotion, cognition and psychopathology.The Oxford Guide to Imagery in Cognitive Therapy has been written both for clinicians and researchers. For clinicians, it is a user-friendly, practical guide to imagery, which will enable therapists to understand imagery phenomenology, and to integrate imagery-based interventions into their cognitive therapy practice. For researchers, it provides a state-of-the-art summary of imagery research, and points the way to future studies. Written by three well-respected CBT researcher-clinicians, it is essential reading for all cognitive therapists, who have recognised the limitations of purely 'verbal' CBT techniques, and want to find new ways to work with clients with psychological disorders. Readership: CBT therapists. (shrink)

The development of action representation during adolescence was investigated using a visually guided pointing motor task to test motor imagery. Forty adolescents and 33 adults were instructed to both execute and imagine hand movements from a starting point to a target of varying size. Reaction time was measured for both Execution and Imagery conditions. There is typically a close association between time taken to execute and image actions in adults because action execution and action simulation rely on (...) overlapping neural circuitry. Further, representations of actions are governed by the same speed-accuracy trade-off as real actions, as expressed by Fitts’ Law. In the current study, performance on the VGPT in both adolescents and adults conformed to Fitts’ Law in E and I conditions. However, the strength of association between E and I significantly increased with age, reflecting a refinement in action representation between adolescence and adulthood. (shrink)

Guides the practicing clinician or student therapist toward practical applications of imagery in a range of psychodynamic, cognitive, and behavioral therapies.

The COVID-19-pandemic brought massive changes in the provision of psychotherapy. To contain the pandemic, many therapists switched from face-to-face sessions in personal contact to remote settings. This study focused on psychodynamic therapists practicing Guided Affective Imagery, Hypnosis and Autogenous Relaxation and their subjective experiences with psychotherapy via telephone and videoconferencing during the first COVID-19 related lockdown period in March 2020 in Austria. An online survey completed by 161 therapists produced both quantitative and qualitative data with the latter being (...) subject to a qualitative content analysis. Our research suggests that telephone and videoconferencing are considered valuable treatment formats to deliver psychodynamic psychotherapy. However, therapists’ experiences with remote psychotherapy are multifaceted and ambiguous. In particular, the findings raise questions concerning the maintenance of the therapeutic alliance, the development of the analytic process, the sensitivity to unconscious communication, and the indication for certain types of patients that still need further investigation. Our research indicates that the long-standing reticence toward remote treatments offers among psychodynamic therapists is becoming more differentiated and partially dissolves as therapists gain experiences in their use. Attitudes are becoming more open. At the same time, the way is being prepared to take a closer look at the specific processes and dynamics of remote psychotherapy and to examine them critically in future studies. (shrink)

Both imagery and imagination play an important part in our mental lives. This article, which has three main sections, discusses both of these phenomena, and the connection between them. The first part discusses mental images and, in particular, the dispute about their representational nature that has become known as the _imagery debate_ . The second part turns to the faculty of the imagination, discussing the long philosophical tradition linking mental imagery and the imagination—a tradition that came under attack (...) in the early part of the twentieth century with the rise of behaviorism. Finally, the third part of this article examines modal epistemology, where the imagination has been thought to serve an important philosophical function, namely, as a guide to possibility. (shrink)

Mastery imagery has been shown to be associated with more positive cognitive and emotional responses to stress, but research is yet to investigate the influence of mastery imagery ability on imagery’s effectiveness in regulating responses to acute stress, such as competition. Furthermore, little research has examined imagery’s effectiveness in response to actual competition. This study examined (a), whether mastery imagery ability was associated with stress response changes to a competitive stress task, a car racing computer (...) game, following an imagery intervention, and (b), the effects of different guided imagery content on pre-task cognitive and emotional responses. In Session 1, 78 participants (M age = 20.03 years, SD = 1.28) completed ratings of pre-task anxiety intensity and direction, confidence, and perceived control. Imagery ability was also assessed before completing the task. In Session 2, participants were randomly allocated to an imagery condition (positive mastery, negative mastery, relaxation) or control group (no imagery) before completing the task and outcome measures again. For the negative mastery group, greater positive mastery imagery ability was associated with greater perceived control and perceiving anxiety as more facilitative. Furthermore, mastery imagery ability moderated the relationship between anxiety intensity and direction. Altogether, results suggest that positive mastery imagery ability may act as a potential buffer against the effects of negative images. (shrink)

The aim of this study is the examination of the effect of virtual reality based imagery (VRBI) training programs on the shot performance and imagery skills of athletes and, and to conduct a comparison with Visual Motor Behavior Rehearsal and Video Modeling (VMBR + VM). In the research, mixed research method and sequential explanatory design were used. In the quantitative dimension of the study the semi-experimental model was used, and in the qualitative dimension the case study design was (...) adopted. The research participants were selected from athletes who were involved in our target sports: curling (n= 14), bowling (n= 13), and archery (n= 7). All participants were randomly assigned to VMBR + VM (n= 11), VRBI (n= 12), and Control (n= 11) groups through the “Research Randomizer” program. The quantitative data of the study was: the weekly shot performance scores of the athletes and the data obtained from the “Movement Imagery Questionnaire-Revised.” The qualitative data was obtained from the data collected from the semi-structured interview guide, which was developed by researchers and field experts. According to the results obtained from the study, there were statistically significant differences between the groups in terms of shot performance and imagery skills. VRBI training athletes showed more improvement in the 4-week period than the athletes in the VMBR + VM group, in terms of both shot performance and imagery skills. In addition, the VRBI group adapted to the imagery training earlier than the VMBR + VM group. As a result, it was seen that they showed faster development in shot performances. From these findings, it can be said that VRBI program is more efficient in terms of shot performance and imagery skills than VMBR + VM, which is the most used imaging training model. (shrink)

This commentary explores a number of issues raised by Hurlburt and Schwitzgebel in 'Describing Inner Experience'. The commentary argues for expanding the definition of mental imag-ery, by which it is a virtually universal human attribute; reintroduces a theory of response organization, the meaning complex, to conceptu-alize unsymbolized thinking; draws on work with Guided Affective Imagery to comment on the fragility versus robustness of mental imagery; comments on the virtues and probable flaws of Descriptive Experience Sampling , including (...) an evolutionary explanation of the flaws; and describes a pair of alternatives to DES: idiothetic experience sampling in which rating scales immediately follow the narrative reports, in place of delayed interviews, and the growing promise of coupling experience sampling with brain imaging. (shrink)

I lay out the framework for my theory of sensory imagination in “Imagining as a guide to possibility.” Sensory imagining involves mental imagery , and crucially, in describing the content of imagining, I distinguish between qualitative content and assigned content. Qualitative content derives from the mental image itself; for visual imaginings, it is what is “pictured.” For example, visually imagine the Philadelphia Eagles defeating the Pittsburgh Steelers to win their first Super Bowl. You picture the greenness of the field (...) and the football’s brown oblong shape. Some of what you imagine isn’t explicitly pictured, however. That it is Sunday, that it is the Super Bowl: these facts are assigned. (shrink)

Laboratoire de Neurosciences Cognitives et Imagerie Ce´re´brale (LENA), Hoˆpital de La Salpeˆtrie`re, Centre National de la Recherche Scientifique (CNRS).

This paper aims to explore and expand on Wittgenstein’s remarks on the nature of mental imagery. Despite some rather cryptic passages and obvious objections, his notion of mental imagery as possessing a constitutive (and not merely added) element of expressive thought and conceptuality offers critical insights linking perceptual capacities with our shared practices. In particular I seek to further develop Wittgenstein’s claim that perceptual impressions presuppose a “mastery of a technique.” I argue that this sense of technique, understood (...) as acquired conceptual capacities, can explain and capture the rich and varied spectrum of expressive visual content that can be accessed by human beings initiated and embedded in a variety of shared practices. Using Gilbert Ryle’s account of dispositions, I cash out the notion of acquired conceptual capacities as spanning a wide latitude of responsive dispositions from mere “blind” visual habits to more normatively-guided, intelligent, and deliberately-trained visual “skills.” Visual impressions construed as such are hardly perceptually (nor representationally) univocal and instead exhibit a dynamic and reflexive plurivocity manifested through one’s initiation into shared practices and forms of life. This plurivocity makes possible a rich array of visual affordances that would otherwise not be accessible outside the context of a shared practice. This suggests that human beings possess a distinctive kind of expressive and responsive intelligence which picks out visual affordances determined not so much by a merely receptive perceptual faculty but by the subject’s skillful, active, and responsive engagement with the world. (shrink)

This paper is the reprinting under a new title of the “Foreword” of Paul A. Weiss's Life, Order, and Understanding: A Theme in Three Variations, published in 1970 as volume 8 supplement of The Graduate Journal of the University of Texas (Austin, Texas, #5.00 [hardcover], #2.50 [paperback], 157 pages). We reprint this paper here for two reasons. The first is that its beautiful, scientifically grounded imagery of living systems in relation to wave dynamics provides a significant supplement to this (...) issue of Zygon on human values in the context of thermodynamics. The second is that it is hoped this foreword will serve better than would a book review to introduce Zygon readers to the philosophical and scientific wisdom contained in Life, Order, and Understanding.–Editor. (shrink)

This paper deals with two theories Husserl worked out on imagery in order to see if the properties a phenomenological description ascribes to imagery are fit to give meaningful constraints upon theoretical models that guide empirical research. Husserlian descriptions and Kosslyn and colleagues models are hence compared as to their explanatory strategy and implications.

The aim of this paper is to argue that it is a promising avenue of research to consider philosophy of perception to be a guide to aesthetics. More precisely, my claim is that many, maybe even most, traditional problems in aesthetics are in fact about philosophy of perception that can, as a result, be fruitfully addressed with the help of the conceptual apparatus of philosophy of perception. This claim may sound provocative, but after qualifying what I mean by aesthetics (to (...) be contrasted with philosophy of art) and by philosophy of perception, it may be easier to accept. (shrink)

Although external representations, such as sketches, are regarded as facilitating insight during creative synthesis and design tasks, previous empirical studies have provided conflicting evidence in support of this role. Here, we argue sketches are static representations that fail to fully externalise mental imagery processes involved during creative synthesis tasks. An experiment is reported in which participants manipulate simple alpha-numeric and geometric shapes into patterns depicting familiar objects or symbols. Trials were performed using either mental imagery alone, drawing manipulations (...) in the air with a finger, sketching manipulations on a piece of paper, or dynamically performing the manipulations on-screen using a graphics package. Results show the number of patterns correctly interpreted as recognisable objects was significantly higher in the dynamic support condition in comparison to all other conditions. Based on this finding, we argue that static forms of external support may be less effec.. (shrink)

Achieving a high quality of life is dependent upon how individuals face adversity. Positive psychological interventions are well-suited to support coping efforts; however, experimental research is limited. The purpose of the current research was to examine whether different savoring interventions could increase important coping resources in response to a social-evaluative hassle. We completed an experimental mixed subject design study with a university student sample. All participants completed a hassle induction task and were then randomly assigned into different intervention groups. Positive (...) emotion ratings were collected at three points in time. Results revealed a significant time x intervention interaction effect, such that individuals in the savoring the moment intervention reported higher levels of positive emotions compared to individuals assigned to the true control group, guided imagery control group, and savoring through reminiscence intervention. Such findings represent a significant extension to savoring theory and offer support for savoring the moment exercises as a primary prevention strategy to bolster effective responses to social-evaluative hassles. (shrink)

This study explores the emotional patterns experienced by young musicians before performing and examines how their emotional beliefs influence these pre-performance emotions. A total of 320 students aged 10 to 18 years participated, recalling their most recent concert memory through a guided imagery induction. A selection of 10 emotional patterns was used to assess their feelings, and they selected Happy, Sad, Courageous, Angry, Elated, Inquisitive, Bored, Calm, Tired, and Afraid. They also responded to questions about their opinions regarding (...) musical performance nervousness (MPN), including MPN utility, MPN regulation, and audience attitude. The cluster analysis revealed distinct emotional profiles categorized into Llow MPN, Moderate MPN, and high MPN. Findings showed that beliefs regarding the negative impact of MPN, perceived inefficacy in managing anxiety, and pressure from an unsupportive audience were associated with high and moderate MPN profiles. The study discusses the practical implications for music education based on these insights. (shrink)

In response to Korn, Huelsman, and Reed's (1992)question, "Who defines those interests, and how serious must the setback be?" (p. 126), we argue that a wrongful (unjust) harm (a setback of interest) is not equivalent to a hurt (a temporary distressing mental state) and that the interests of importance are welfare interests (general means to our ulterior aims), not just a desire to avoid unpleasant mental states (hurts). To set back a welfare interest is to reverse its course or to (...) impede, thwart, defeat, or doom it. It is the primary responsibility of the investigator to define both welfare interests and the risk of harm. An informed consent - one with substantial understanding, in substantial absence of control by others, and given intentionally - allows participants to autonomously authorize participation in research, including their toleration of acts of mental discomfort or distress during an experiment. Not only were our participants not wrongfully harmed, they benefited and were willing to volunteer for future research. No strong evidence has been advanced or linked to guided imagery in a way that would justify its restraint; to so claim evokes a standard of legal paternalism that fails to respect participants' competence and autonomy to choose to participate in research on rape using guided imagery. (shrink)

Systemic Constellation Work is a rapidly growing experiential healing process that is being embraced by a variety of helping professionals, both traditional and alternative, worldwide. This book explores the history, principles and methodology of this approach, and offers a detailed comparison with psychodrama - the original mind-body therapy - explaining how each method can enhance the other. Constellation work is based on the notion that people are connected by unseen energetic forces and suggests that the psychological, traumatic and survival experiences (...) of our ancestors are genetically passed forward to the next generation and may live within us. Using insightful case studies from a variety of client groups, this book shows how Systemic Constellation Work can expand the possibilities of psychodrama techniques, and can be successfully integrated with psychodramatic enactment, guided imagery, ritual, concretization and other methods of healing and personal growth. This book will be essential reading for students and practitioners of psychodrama and Constellation work, as well as counselors, mental health professionals, experiential therapists, creative and expressive arts therapists and alternative practitioners looking to widen their knowledge of mind-body therapies. (shrink)

This is a phenomenological-hermeneutic case study of Tariq who initially presented with panic disorder. It documents how, as therapy proceeded, the underlying meaning of his initial panic deepened as its roots in traumatic memories of childhood emerged. There were four spaced phases of treatment over four years. The first focused on anxiety management; the second was conceptualized within schema-focused therapy, and evoked and worked with childhood memories using inner child guided imagery; in the third and fourth phases insights (...) gained led to an authentic re-engagement with family members in relationships that had been problematic. The panic attacks resolved and there were two dreams representing a reconfiguring of his relationship with his deceased father. The first two phases were the focus of an unpublished case study presented at a conference in 1995. This article incorporates material from that study and looks back at the case both in light of developments in phases two and three and also in light of theoretical developments in our understanding of complex trauma since the initial presentation. (shrink)

In this paper we review the factors alleged to be responsible for the creation of inaccurate reports among preschool-aged children, focusing on so-called "source misattribution errors." We present the first round of results from an ongoing program of research that suggests that source misattributions could be a powerful mechanism underlying children′s false beliefs about having experienced fictitious events. Preliminary findings from this program of research indicate that all children of all ages are equally susceptible to making source misattributions. Data from (...) a follow-up wave of data indicate that very young children may be disproportionately vulnerable to these kinds of errors when the procedure is changed slightly to create mental images more easily. This vulnerability leads younger preschoolers, on occasion, to claim that they actually experienced events that they only thought about. These preliminary findings are discussed in the context of the ongoing debate over the veracity and durability of delayed reports of early memories, repressed memories, dissociative states, and the validity risks posed by therapeutic techniques that entail repeated visually guided imagery inductions. (shrink)

Regina R. is a 12-year-old girl with recently diagnosed insulin-dependent diabetes. Before discharging her from the hospital, her family physician and consulting diabetes specialist try to instruct the girl and her parents in the appropriate program of treatment, including diet, insulin, and regular self-monitoring. However, the parents become upset when they learn what is involved in insulin treatment and inform the family physician they plan to employ the services of an alternative healing clinic that promises to cure their daughter with (...) a combination of herbal potions, macrobiotics, aroma therapy, therapeutic touch, Ayurveda, homeopathy, and guided imagery. (shrink)

Mosher and Bond (this issue) suggest experimental designs that are not appropriate for the research purposes they criticize. In defending their own research, they make contradictory statements about the realism of their guided imagery procedure for simulating rape. They present data that we believe provide evidence for the possibility that wrongful harm occurred in their previous research. We assert our right to study the ethics of research and object to specious charges of having threatened sexual freedom and being (...) associated with ideologues of the right and left. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Blue Pearl: The Efficacy of Teaching Mindfulness Practices to College StudentsDeborah J. Haynes, Katie Irvine, and Mindy BridgesBetween fall 2003 and spring 2011 I integrated contemplative practices into ten courses with a total of 877 students. Nine of these courses carried credit for the core undergraduate curriculum, either in literature and arts or ideals and values, and students elected my courses from a menu of options. Individual courses (...) ranged from 12 to 409 students. During two of these years, I conducted detailed human subject research using a number of surveys, gathering both quantitative and qualitative data with first-year undergraduates on their experiences with contemplative pedagogy. These courses dealt specifically with art and religion, focusing on traditions where the visual arts are intricately connected to religious practice. I gathered more subjective data in all of the other courses, including large lecture courses on world art from 1500 to the present. In general, my students were not majors in art or religious studies, but came from many disciplines within the arts, social sciences, and sciences, including business and engineering. This essay describes the process and results of the research I conducted with two undergraduate assistants, Katie Irvine and Mindy Bridges. Besides summarizing the findings, I also describe student responses to teaching a specific mindfulness practice—the bow—within a large lecture course with undergraduates. It is notable how little actual data exists about student experiences, and this prompted me to undertake the research that forms the basis for this essay.1I begin with a few comments on my understanding of contemplative or mindfulness practice and my role as researcher. There is no single way to describe or engage in contemplative practice. The Latin contemplari means to observe, consider, or gaze attentively. This definition gives clues about the varied forms of contemplative practice, which include sitting, standing, walking, and lying down; using attitudes of not doing; deep listening, pondering, and radical questioning; guided imagery and active imagination; exercises with the body; focusing techniques such as those developed by Eugene Gendlin; concentrated language experiments with freewriting, poetry, and journals; beholding; and creation of visual images to represent such experiences.2 The [End Page 63] word mindfulness is often used to describe contemplative practice. In its most basic form, it means moment-by-moment present awareness, which is available to everyone, regardless of religious or spiritual orientation.Broadly understood as methods to develop concentration, to deepen understanding and insight, and to cultivate awareness and compassion, these practices can have a profound impact on a student’s experience both in college and beyond. Specifically, teaching students techniques of awareness, concentration, and means of disciplining their attention is absolutely essential in our era of fragmentation, ever-increasing speed, multitasking, and continuously interrupted attention. While contemplative practices are rooted in the world’s religious traditions, I often tell parents and students that the application of these practices in a secular educational context can enhance the educational experience in unique ways. Students develop new techniques of awareness, they learn to refine their perceptual and observational skills, and they are encouraged to take chances and to foster attitudes such as curiosity and wonder rather than cynicism about the world in which we live.Contemplative PedagogyIntroducing contemplative practices into the classroom results in new educational practices and pedagogies. For example, in a course titled The Dialogue of Art and Religion my students learn about Russian Orthodox icons, Himalayan Buddhist thangkas, and Navajo sand paintings through studying cultural and social history, religion, formal visual analysis, and creative processes. I define this interdisciplinary teaching as a form of comparative visual studies. I normally teach this class to eighteen or twenty first-year college students. Students also learn about the practices of prayer and meditation that are central to Christian, Buddhist, and Native American traditions through sustained reading and discussion. They read accessible books about contemplative practice such as Thich Nhat Hanh’s The Miracle of Mindfulness.3 In each class, we practice simple techniques such as bowing, sitting in silence, breath awareness, and daily writing exercises.Over the past decade my students have talked about how these mindfulness exercises help to foster an atmosphere of respect, noting... (shrink)

This paper reports the results of three studies using mood induction procedures (MIPs) designed to investigate the relationship between anxiety and disgust. Study 1 used guided imagery vignettes (i.e., asking participants to imagine themselves in a series of described situations) and music (Mayer, Allen, & Beauregard, 1995). Study 2 used video clips (Gross & Levenson, 1995). Study 3 used autobiographical recall and music (Blagden & Craske, 1996). In order to be as sure as possible that target moods were (...) being induced, and that manipulation checks provided good evidence of mood induction, Studies 1 and 2 measured six moods (anxiety, sadness, happiness, anger, disgust, and contempt) on visual analogue scales. In addition, Study 3 included two further mood measures: a 30-adjective rating scale measuring 10 emotions, the Differential Emotion Scale (DES; Izard, 1972) and a free label questionnaire, allowing participants to record how they feel without any prior imposed structure. Results from all three studies demonstrated that induced anxiety will produce increases in reported disgust, but there was no evidence for an effect of induced disgust on reported anxiety. These findings were independent of the type of MIP (guided imagery vignette and music, video clips, and autobiographical recall and music), and the type of dependent mood measure used (visual analogue scale, differential emotion scale or a free label questionnaire). The findings have important implications for the putative role of disgust in anxious psychopathologies, and suggest that if disgust does have a causal influence in some anxious psychopathologies, this influence is not mediated simply by experienced disgust facilitating experienced anxiety. (shrink)

Because they failed to include our informed consent, guided imagery scenarios, and debriefing, the relevance of Korn, Huelsman, Reed, and Aiello's (1992) data remains unknown. The design of their Study 1 did not test the greater objectivity of role taking over involved participation. The design of their Study 2 did not demonstrate the effects of demand characteristics. The older "personal acquaintances" were not at higher risk of rape as they claimed. Properly gathered data from the University of Connecticut's (...) laboratory demonstrated that participants regarded the guided imagining of rape to be personally and scientifically beneficial, educating them about the crime and the experience of the rape victim. Prior research had demonstrated that exposure to rape stimuli in combination with debriefing had an educational effect on the decreased endorsement of rape myths. Previously published ethical principles for balancing the rights of scientists, subjects, and society explicate our ethical stance. Informed consent precludes the occurrence of wrongful harms. This poorly designed and poorly reasoned "ethical" critique was unfounded; yet, it might produce a chilling effect on both the use of guided imagery and freedom of inquiry into politically sensitive topics. (shrink)

Chronic obstructive pulmonary disease (COPD) is one of the most deadly and costly chronic diseases in the world characterized by many breathing problems. The management of COPD and the prevention of exacerbations are a priority goals to improve the quality of life in patients affected by this illness. In addition, it is also crucial to improve the patients’ adherence to care which, in turn, depends on their knowledge and understanding of some factors such as the prescribed medical treatment, changes in (...) dailylife, and the process of breathing. In turn, the adherence to care leads to greater autonomy for the patient who is thus able to better manage his illness. Here we presented the application of the Model IARA in patients affected by COPD in order to achieve their autonomy in illness management which, in turn, leads to a better quality of life. IARA is an intervention program which improve the awareness and knowledge of patients with respect to both the disease and symptoms through health education. Moreover, through IARA the patients are encouraged to become more actively involved in COPD care process, also regarding drug therapy adherence. Using St. George's Respiratory Questionnaire combined with qualitative analysis, we demonstrated that IARA could be considered a useful approach in COPD management. (shrink)

In this paper we argue that object perception may be affected by what we call “perceptual frames.” Perceptual frames are adaptations of the perceptual system that guide how perceptual objects are singled out from a sensory environment. These adaptations are caused by perceptual learning and realized through bottom-up functional processes such that sensory information is organized in a subject-dependent way leading to idiosyncratic perceptual object representations. Through domain-specific training, perceptual learning, and the acquisition of object-knowledge, it is possible to modulate (...) the adaptive perceptual system such that its ability to represent becomes bespoke. Different perceivers with different perceptual frames may, therefore, receive the same sensory information and perceive different perceptual objects due to the effects of framing. Consequently, we demonstrate the plausibility of this account by surveying empirical data concerning the functions of (1) multisensory integration, (2) amodal completion, and (3) predictive anticipation. Regarding (1), we argue that the perceptual system’s optimization processes employ perceptual frames to facilitate multisensory feature binding. Regarding (2), we argue that amodal completion can occur with or without the help of mental imagery, yet either instance of amodal completion requires perceptual frames. Regarding (3), we demonstrate that perceptually anticipating an object’s motion involves the implementation of perceptual frames. We conclude that framing effects are a matter of perceptual diversity and highlight the need to accommodate unique perspectives in the philosophy and science of perception. (shrink)

The overarching guiding principle of Alan Turing’s work was directed towards modelling the human mind as a machine. It is extraordinary that Turing introduced, in his early papers, ideas that are only now beginning to be investigated. Throughout his life, he considered conjectures to be of great importance because they suggest useful lines of research. In my own conjecture, I am asking the question: what is the brain’s geometry? Can it ever be unravelled, or does its complexity defy any form (...) of visual representation? Recent research reveals that the detailed workings of the brain take place in a ‘global workspace’, where conscious contents appear to be disseminated globally to a great multitude of networks throughout the brain that are unconscious. During conscious tasks, neurons contributing to the global workspace enter into a coherent activation pattern by being tightly connected through long axons. Is it possible, therefore, that my proposed geometric pattern (an Islamic latticework) can be envisaged as a useful means of interconnecting multiple long axons in a unified global workspace dedicated to conscious thought? I share and communicate my idea through a process that combines visual imagery with musical performance (i.e. visual music). It is a method that can assist in clarifying concepts that might otherwise remain elusive or esoteric. (shrink)

The recurrence of horse-imagery in Alcman's Partheneion suggested to Bowra that the chorus may have been the guild of priestesses called Leucippides, who seem from a mysterious gloss in Hesychius to have been known as It is true that the comparison of girls with fillies is common enough in Greek, but the appearance of Helen as of girls like at Ar. Lys. 1308–15 seems, as Bowra says, ‘to hide a ritual use of ’. The existence of this guild of (...) priestesses appears to be established from Paus. 3. 16. 1 and 3. 13. 7. In the latter passage they join with the in offering sacrifice to Dionysus and the unnamed hero who first guided him to Sparta, but it seems reasonable to assume that their principal concern was with the cult of the goddesses Phoebe and Hilaeira, the daughters of Leucippus, from whom, as Pausanias explicitly says, they took their name. (shrink)

According to sensorimotor theory perceiving is a bodily skill involving exercise of an implicit know-how of the systematic ways that sensations change as a result of potential movements, that is, of sensorimotor contingencies. The theory has been most successfully applied to vision and touch, while perceptual modalities that rely less on overt exploration of the environment have not received as much attention. In addition, most research has focused on philosophically grounding the theory and on psychologically elucidating sensorimotor laws, but the (...) theory’s ramifications for neuroscience still remain underexamined. Here we sketch the beginnings of a research program that could address these two outstanding challenges in terms of auditory perception. We review the neuroscience literature on passive listening, which is defined as listening without overt bodily movement, and conclude that sensorimotor theory provides a unique perspective on the consistent finding of motor system activation. In contrast to competing theories, this activation is predicted to be involved not only in the perception of speech- and action-related sounds, but in auditory perception in general. More specifically, we propose that the auditory processing associated with supplementary motor areas forms part of the neural basis of the exercise of sensorimotor know-how: these areas’ recognized role in facilitating spontaneous motor responses to sound and supporting flexible engagement of sensorimotor processes to guide auditory experience and enable auditory imagery, can be understood in terms of two key characteristics of sensorimotor interaction, its “alerting capacity” and “corporality”, respectively. We also highlight that there is more to the inside of the body than the brain: there is an opportunity to develop sensorimotor theory into new directions in terms of the still poorly understood active processes of the peripheral auditory system. (shrink)

Contents: 1) Peter Kung, Why We Need Something Like Imagery; 2) Derek Lam, An Imaginative Person’s Guide to Objective Modality; 3) Rebecca Hanrahan, Crossing Rivers: Imagination and Real Possibilities; 4) Michael Omoge, Imagination, Metaphysical Modality, and Modal Psychology; 5) Joshua Myers, Reasoning with Imagination; 6) Franz Berto, Equivalence in Imagination; 7) Christopher Badura, How Imagination Can Justify; 8) Antonella Mallozzi, Imagination, Inference, and Apriority; 9) Margherita Arcangeli, Narratives and Thought Experiments: Restoring the Role of Imagination; 10) Margot Strohminger, Two (...) Ways of Imagining Galileo’s Experiment; 11) Eric Peterson, Attention to Details: Imagination, Attention, and Epistemic Significance; 12) Amy Kind, Bridging the Divide: Imagining Across Experiential Perspectives; 13) Julia Langkau, On Imagining Being Someone Else; 14) Luke Roelofs, “Imagine If They Did That to You!”: The Complexity of Empathy; 15) Nick Wiltsher and Bence Nanay, Imagination, Selves, and Knowledge of Self: Pessoa’s Dreams in The Book of Disquiet . (shrink)

"John Anton introduces the reader to the poetry and poetics of Constantine P. Cavafy from a different perspective. He traces Cavafy's development during the early phases of the poet's creativity, when he was gradually discovering his poetic self, until he finally created his own authentic voice. Autobiographical elements in Cavafy's poems are introduced mainly as guides to explore one aspect of Cavafy's world: how he gradually learned to control the transformation of experience into "work in progress". Professor Anton clearly portrays (...) Cavafy's quality of thought, his originality, the freshness of his imagery and his penetrating commentary on the human condition. The author also provides details of the historical background of ancient Alexandria, which formed one of the key ways whereby Cavafy recreated the city for himself and used it to develop his unique poetic vision."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved. (shrink)

For thousands of years voyagers of inner space - spiritual seekers, shamans and mystics - have returned from their inner travels reporting another level of reality that is more real than the one we inhabit in 'waking life'. Others have claimed that under the influence of mysterious substances, known as entheogens, the everyday human mind can be given glimpses of this multidimensional realm of existence that is usually hidden from us by our five basic senses. Using information from the leading (...) edges of modern science, this book presents a startling new hypothesis that these 'inner worlds' are as real, or possibly even more real, than the 'reality' we experience in waking life. The Infinite Mindfield uses as its starting point the widespread historical belief that the pineal gland - the 'third eye' - is a profoundly important organ. It links this to the various myths, originating in ancient Sumer, that 'dragons' or 'serpents' have guided humanity and presents evidence that these beings are symbolic of DNA. It is now known that DNA gives off a form of light known as bioluminescence. This information-rich 'inner light' needs an organ of sight to process it - that organ is the pineal gland. It is through this small organ that we "perceive" the inner worlds of lucid dreaming, out-of-body experiences, hypnagogic imagery, near-death experiences, astral travel and the kundalini experience. The book ends with the mind-blowing proposition that all living beings are one unitary consciousness experiencing itself subjectively. This book is genuinely revolutionary and will cause both interest and controversy in equal measure. Its science is watertight as is its logic. Be ready to be stunned - you will never have read anything like this before. (shrink)

Reclaiming the Wild Soul takes us on a journey into Earth's five great landscapes - deserts, forests, oceans and rivers, mountains, and grasslands - as aspects of our deeper, wilder selves. Where the inner and outer worlds meet we discover our own true nature mirrored in the Earth's wild beauty and fierce challenges. A powerful archetypal model for transformation, the "soulscapes" return us to a primal terrain rich in knowing, healing, and wholeness. To guide our path, each soulscape offers up (...) wisdom in the form of soul qualities the modern world often undervalues and even undermines. We see how deserts model simplicity and silence, how forests help us make peace with uncertainty, how rivers and oceans reveal the power of flow, how mountains inspire our highest purpose, and how grasslands teach us about giving back. Weaving personal story with poetry, imagery, and explorations, Reclaiming the Wild Soul is simultaneously self-help and a courageous call to action. It is written for all those disillusioned with our hyper-paced, high-tech world, who decry what we are doing to the Earth, who feel the tug of their own wild souls longing for discovery and mystery - a new, yet ancient, way of being human. (shrink)

"The scholarship of Michael Spitzer's new book is impressive and thorough. The writing is impeccable and the coverage extensive. The book treats the history of the use of metaphor in the field of classical music. It also covers a substantial part of the philosophical literature. The book treats the topic of metaphor in a new and extremely convincing manner."-Lydia Goehr, Columbia University The experience of music is an abstract and elusive one, enough so that we're often forced to describe it (...) using analogies to other forms and sensations: we say that music moves or rises like a physical form that it contains the imagery of paintings or the grammar of language. In these and countless other ways, our discussions of music take the form of metaphor, attempting to describe music's abstractions by referencing more concrete and familiar experiences. Michael Spitzer's Metaphor and Musical Thought uses this process to create a unique and insightful history of our relationship with music--the first ever book-length study of musical metaphor in any language. Treating issues of language, aesthetics, semiotics, and cognition, Spitzer offers an evaluation, a comprehensive history, and an original theory of the ways our cultural values have informed the metaphors we use to address music. And as he brings these discussions to bear on specific works of music and follows them through current debates on how music's meaning might be considered, what emerges is a clear and engaging guide to both the philosophy of musical thought and the history of musical analysis, from the seventeenth century to the present day. Spitzer writes engagingly for students of philosophy and aesthetics, as well as for music theorists and historians. (shrink)

Research indicates that people value music primarily because of the emotions it evokes. Yet, the notion of musical emotions remains controversial, and researchers have so far been unable to offer a satisfactory account of such emotions. We argue that the study of musical emotions has suffered from a neglect of underlying mechanisms. Specifically, researchers have studied musical emotions without regard to how they were evoked, or have assumed that the emotions must be based on the mechanism for emotion induction, a (...) cognitive appraisal. Here, we present a novel theoretical framework featuring six additional mechanisms through which music listening may induce emotions: (1) brain stem reflexes, (2) evaluative conditioning, (3) emotional contagion, (4) visual imagery, (5) episodic memory, and (6) musical expectancy. We propose that these mechanisms differ regarding such characteristics as their information focus, ontogenetic development, key brain regions, cultural impact, induction speed, degree of volitional influence, modularity, and dependence on musical structure. By synthesizing theory and findings from different domains, we are able to provide the first set of hypotheses that can help researchers to distinguish among the mechanisms. We show that failure to control for the underlying mechanism may lead to inconsistent or non-interpretable findings. Thus, we argue that the new framework may guide future research and help to resolve previous disagreements in the field. We conclude that music evokes emotions through mechanisms that are not unique to music, and that the study of musical emotions could benefit the emotion field as a whole by providing novel paradigms for emotion induction. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:'You Belong Outside':Advertising, Nature, and the SUVShane Gunster (bio)And which driver is not tempted, merely by the power of his engine, to wipe out the vermin of the street, pedestrians, children and cyclists?—Theodor Adorno, Minima MoraliaImages of nature are among the most common signifiers of utopia in commercial discourse, tirelessly making the case that a certain commodity or brand will enable an escape from the malaise and drudgery of (...) urban existence. The invocation of natural themes has been especially prominent in the marketing and promotion of sport utility vehicles over the past decade. Speeding through deserts and jungles, fording raging rivers, and even scaling the heights of Mt. Everest, the SUV is routinely depicted in the most spectacular and remote natural locations. These fanciful themes now attract the scorn of many who draw upon them to underscore the rather glaring contradictions between how these vehicles are marketed and how they are actually used: the irony of using pristine images of a hyper-pure nature to motivate the use of a product that consumes excessive amounts of natural resources and emits high levels of pollutants lies at the core of the growing public backlash against the SUV. While generally sympathetic to this critical perspective, I argue that we need to think through the role of nature in constructing the promotional field of these vehicles in a more [End Page 4] rigorous fashion than is often the case. Otherwise, we risk failing to fully understand the complexity of the SUV's appeal; even worse, simplistic criticism can have the perverse effect of reinforcing the ideological conceptions of nature that constitute a cornerstone of that appeal. Through an examination of recent print and television advertising campaigns, I develop an alternative account of the significance of natural imagery based upon the dialectical relation between nature and society that dominates the SUV's promotional field.1 Instead of reifying the conceptual distance that divides these two categories, we must look to how they flow into and define each other, often blending together into a dense cluster of associations in which the images of one connote and invoke ideas of the other.Welcome to the (not So) Great Outdoors: The Many Faces of NatureSince the emergence of the automobile as a commodity in the early twentieth century, natural themes and imagery have been used to attach a utopian flavor to movement through space. From the 1920s onward, car advertising has often invoked the fantasy of leaving behind the constraints of a crowded, mundane, and polluted urban environment for the wide open spaces offered by nature. In words that have guided advertisers (and urban planners) ever since, Henry Ford once quipped, "we shall solve the city problem by leaving the city."2 Charting the evolution of automotive promotional discourse, Andrew Wernick argues that the reliance upon natural imagery intensified in the 1970s and 1980s as people grew disenchanted with technology (and its militaristic overtones) and expressed concerns over growing traffic congestion, energy consumption, and road construction. Among the easiest tactics for advertisers wishing to deflect the negative associations invoked by the car was, and remains, an image-based rearticulation of cars with nature.3 Invoking nature as the endpoint of vehicular travel affirms one of automobility's most precious and fiercely guarded illusions, namely, that spatial mobility offers access to places, experiences, and events that are fundamentally different from everyday life, that one can escape to somewhere other than where one is now. Furthermore, as Martin Green explains, the use of nature to frame flight to the countryside summons up a powerful nostalgia for the simpler times and lives connoted by idealized scenes of rural life.4Nevertheless, SUV marketing takes the appropriation of natural themes and imagery to new 'heights,' with epic campaigns that place vehicles atop [End Page 5] mountain peaks, in the midst of dense forests, or racing across vast deserts. Leading the way in this appropriation of nature has been the Ford Motor Company. Although its market share has suffered recently, Ford spearheaded the promotion of the SUV in the 1990s with the Explorer which quickly became the best selling family vehicle of the decade, producing immense... (shrink)

Micrographs obtained using different instrumental techniques are presented with the purpose of demonstrating their artistic qualities. The quality of uniformity currently dominates the aesthetic assessment in scientific practice and is discussed in relation to the classical appreciation of the interplay between symmetry and asymmetry in arts. It is argued that scientific and artistic qualities have converged and inspired each other throughout millennia. With scientific discoveries and inventions enriching the world of communication, broadening the space for artistic creativity and making artistic (...) products more accessible than ever, science inevitably influences artistic creativity. On the other hand, the importance of aesthetic principles in guiding scientific conduct has been appreciated by some of the most creative scientific minds. Science and arts can be thus considered as parallel rails of a single railroad track. Only when precisely coordinated is the passing of the train of human knowledge enabled. The presented micrographs, occupying the central part of this discourse, are displayed with the purpose of showing the rich aesthetic character of even the most ordinary scientific images. The inherent aesthetic nature of scientific imagery and the artistic nature of scientific conduct have thus been offered as the conclusion. (shrink)

Embark on a visual journey of self-discovery. In Beaming, Marilyne Verschueren-the artist behind internet sensation @beamingdesign-presents 100 expansive visuals designed to stimulate your mind and awaken your intuition. Messages of hope, resilience, and joy are incorporated into radiant art, with each image offering the reader an opportunity for deep contemplation and introspection. Powerful imagery is paired with 25 guided exercises for mindfulness, journaling, and breathwork to deepen your interactive experience. Full of warmth and positive energy, Beaming is an (...) exquisite companion and a stirring call to follow your truth. (shrink)