The study examines the modes of representation and communication of information through illustrative teaching aids in the 19th century. It focuses primarily on the didactic wall paintings and the tradition of lectures with slides and notes, how could the experience of these types of collectively observed images influence impressions and expectations of early film audiences. Didactic images are here analyzed primarily in terms of their compositional features, but in an effort to explain how processuality penetrated into the (...) class='Hi'>didactic image of the 19th century also with regard to the aspect of time. As a result, the study calls for a reassessment of the importance of the didactic wall painting in the formation of modern visuality and observational practices of the late 19th century. (shrink)

Transformations are not only conditioned by facts encompassing narrower or wider panoramas: from concentrating on death and one (political) role (the ode of Horace), through recalling Cleopatra’s mature life and love (the drama of Shakespeare), to creating an image embracing the heroine’s whole life with its numerous roles, but as a mother and a daughter in the first place, because even her lovers resemble a father and a child (the fictional biography of Karen Essex). Above all, they appear to (...) be more connected with different attitudes towards universal references lying within human cognitive abilities. Horace’s didactic opposition of contradictory patterns leads to the victory of one of them — and it is a linear pattern, as an equivalent of modern myth, which is accepted by the author himself. In Shakespeare, it takes a form of tragedy resulting from the fragmentary character of each pattern, one of which introduces change (archaic myth) and the other constancy (modern myth), and from a painful attempt to combine them. In Essex, the vision of the world in which archaic myth, strongly represented by a child, triumphs is utopian. Irrespective of the differences, all the works realize the essential role played by images developed by heroes, and especially by authors, in human cognition. (shrink)

Jakob Friedrich Fries (1773-1843): A Philosophy of the Exact Sciences -/- Shortened version of the article of the same name in: Tabula Rasa. Jenenser magazine for critical thinking. 6th of November 1994 edition -/- 1. Biography -/- Jakob Friedrich Fries was born on the 23rd of August, 1773 in Barby on the Elbe. Because Fries' father had little time, on account of his journeying, he gave up both his sons, of whom Jakob Friedrich was the elder, to the Herrnhut Teaching (...) Institution in Niesky in 1778. Fries attended the theological seminar in Niesky in autumn 1792, which lasted for three years. There he (secretly) began to study Kant. The reading of Kant's works led Fries, for the first time, to a deep philosophical satisfaction. His enthusiasm for Kant is to be understood against the background that a considerable measure of Kant's philosophy is based on a firm foundation of what happens in an analogous and similar manner in mathematics. -/- During this period he also read Heinrich Jacobi's novels, as well as works of the awakening classic German literature; in particular Friedrich Schiller's works. In 1795, Fries arrived at Leipzig University to study law. During his time in Leipzig he became acquainted with Fichte's philosophy. In autumn of the same year he moved to Jena to hear Fichte at first hand, but was soon disappointed. -/- During his first sojourn in Jenaer (1796), Fries got to know the chemist A. N. Scherer who was very influenced by the work of the chemist A. L. Lavoisier. Fries discovered, at Scherer's suggestion, the law of stoichiometric composition. Because he felt that his work still need some time before completion, he withdrew as a private tutor to Zofingen (in Switzerland). There Fries worked on his main critical work, and studied Newton's "Philosophiae naturalis principia mathematica". He remained a lifelong admirer of Newton, whom he praised as a perfectionist of astronomy. Fries saw the final aim of his mathematical natural philosophy in the union of Newton's Principia with Kant's philosophy. -/- With the aim of qualifying as a lecturer, he returned to Jena in 1800. Now Fries was known from his independent writings, such as "Reinhold, Fichte and Schelling" (1st edition in 1803), and "Systems of Philosophy as an Evident Science" (1804). The relationship between G. W. F. Hegel and Fries did not develop favourably. Hegel speaks of "the leader of the superficial army", and at other places he expresses: "he is an extremely narrow-minded bragger". On the other hand, Fries also has an unfavourable take on Hegel. He writes of the "Redundancy of the Hegelistic dialectic" (1828). In his History of Philosophy (1837/40) he writes of Hegel, amongst other things: "Your way of philosophising seems just to give expression to nonsense in the shortest possible way". In this work, Fries appears to argue with Hegel in an objective manner, and expresses a positive attitude to his work. -/- In 1805, Fries was appointed professor for philosophy in Heidelberg. In his time spent in Heidelberg, he married Caroline Erdmann. He also sealed his friendships with W. M. L. de Wette and F. H. Jacobi. Jacobi was amongst the contemporaries who most impressed Fries during this period. In Heidelberg, Fries wrote, amongst other things, his three-volume main work New Critique of Reason (1807). -/- In 1816 Fries returned to Jena. When in 1817 the Wartburg festival took place, Fries was among the guests, and made a small speech. 1819 was the so-called "Great Year" for Fries: His wife Caroline died, and Karl Sand, a member of a student fraternity, and one of Fries' former students stabbed the author August von Kotzebue to death. Fries was punished with a philosophy teaching ban but still received a professorship for physics and mathematics. Only after a period of years, and under restrictions, he was again allowed to read philosophy. From now on, Fries was excluded from political influence. The rest of his life he devoted himself once again to philosophical and natural studies. During this period, he wrote "Mathematical Natural Philosophy" (1822) and the "History of Philosophy" (1837/40). -/- Fries suffered from a stroke on New Year's Day 1843, and a second stroke, on the 10th of August 1843 ended his life. -/- 2. Fries' Work Fries left an extensive body of work. A look at the subject areas he worked on makes us aware of the universality of his thinking. Amongst these subjects are: Psychic anthropology, psychology, pure philosophy, logic, metaphysics, ethics, politics, religious philosophy, aesthetics, natural philosophy, mathematics, physics and medical subjects, to which, e.g., the text "Regarding the optical centre in the eye together with general remarks about the theory of seeing" (1839) bear witness. With popular philosophical writings like the novel "Julius and Evagoras" (1822), or the arabesque "Longing, and a Trip to the Middle of Nowhere" (1820), he tried to make his philosophy accessible to a broader public. Anthropological considerations are shown in the methodical basis of his philosophy, and to this end, he provides the following didactic instruction for the study of his work: "If somebody wishes to study philosophy on the basis of this guide, I would recommend that after studying natural philosophy, a strict study of logic should follow in order to peruse metaphysics and its applied teachings more rapidly, followed by a strict study of criticism, followed once again by a return to an even closer study of metaphysics and its applied teachings." -/- 3. Continuation of Fries' work through the Friesian School -/- Fries' ideas found general acceptance amongst scientists and mathematicians. A large part of the followers of the "Fries School of Thought" had a scientific or mathematical background. Amongst them were biologist Matthias Jakob Schleiden, mathematics and science specialist philosopher Ernst Friedrich Apelt, the zoologist Oscar Schmidt, and the mathematician Oscar Xavier Schlömilch. Between the years 1847 and 1849, the treatises of the "Fries School of Thought", with which the publishers aimed to pursue philosophy according to the model of the natural sciences appeared. In the Kant-Fries philosophy, they saw the realisation of this ideal. The history of the "New Fries School of Thought" began in 1903. It was in this year that the philosopher Leonard Nelson gathered together a small discussion circle in Goettingen. Amongst the founding members of this circle were: A. Rüstow, C. Brinkmann and H. Goesch. In 1904 L. Nelson, A. Rüstow, H. Goesch and the student W. Mecklenburg travelled to Thuringia to find the missing Fries writings. In the same year, G. Hessenberg, K. Kaiser and Nelson published the first pamphlet from their first volume of the "Treatises of the Fries School of Thought, New Edition". -/- The school set out with the aim of searching for the missing Fries' texts, and re-publishing them with a view to re-opening discussion of Fries' brand of philosophy. The members of the circle met regularly for discussions. Additionally, larger conferences took place, mostly during the holidays. Featuring as speakers were: Otto Apelt, Otto Berg, Paul Bernays, G. Fraenkel, K. Grelling, G. Hessenberg, A. Kronfeld, O. Meyerhof, L. Nelson and R. Otto. On the 1st of March 1913, the Jakob-Friedrich-Fries society was founded. Whilst the Fries' school of thought dealt in continuum with the advancement of the Kant-Fries philosophy, the members of the Jakob-Friedrich-Fries society's main task was the dissemination of the Fries' school publications. In May/June, 1914, the organisations took part in their last common conference before the gulf created by the outbreak of the First World War. Several members died during the war. Others returned disabled. The next conference took place in 1919. A second conference followed in 1921. Nevertheless, such intensive work as had been undertaken between 1903 and 1914 was no longer possible. -/- Leonard Nelson died in October 1927. In the 1930's, the 6th and final volume of "Treatises of the Fries School of Thought, New Edition" was published. Franz Oppenheimer, Otto Meyerhof, Minna Specht and Grete Hermann were involved in their publication. -/- 4. About Mathematical Natural Philosophy -/- In 1822, Fries' "Mathematical Natural Philosophy" appeared. Fries rejects the speculative natural philosophy of his time - above all Schelling's natural philosophy. A natural study, founded on speculative philosophy, ceases with its collection, arrangement and order of well-known facts. Only a mathematical natural philosophy can deliver the necessary explanatory reasoning. The basic dictum of his mathematical natural philosophy is: "All natural theories must be definable using purely mathematically determinable reasons of explanation." Fries is of the opinion that science can attain completeness only by the subordination of the empirical facts to the metaphysical categories and mathematical laws. -/- The crux of Fries' natural philosophy is the thought that mathematics must be made fertile for use by the natural sciences. However, pure mathematics displays solely empty abstraction. To be able to apply them to the sensory world, an intermediatory connection is required. Mathematics must be connected to metaphysics. The pure mechanics, consisting of three parts are these: a) A study of geometrical movement, which considers solely the direction of the movement, b) A study of kinematics, which considers velocity in Addition, c) A study of dynamic movement, which also incorporates mass and power, as well as direction and velocity. -/- Of great interest is Fries' natural philosophy in view of its methodology, particularly with regard to the doctrine "leading maxims". Fries calls these "leading maxims" "heuristic", "because they are principal rules for scientific invention". -/- Fries' philosophy found great recognition with Carl Friedrich Gauss, amongst others. Fries asked for Gauss's opinion on his work "An Attempt at a Criticism based on the Principles of the Probability Calculus" (1842). Gauss also provided his opinions on "Mathematical Natural Philosophy" (1822) and on Fries' "History of Philosophy". Gauss acknowledged Fries' philosophy and wrote in a letter to Fries: "I have always had a great predilection for philosophical speculation, and now I am all the more happy to have a reliable teacher in you in the study of the destinies of science, from the most ancient up to the latest times, as I have not always found the desired satisfaction in my own reading of the writings of some of the philosophers. In particular, the writings of several famous (maybe better, so-called famous) philosophers who have appeared since Kant have reminded me of the sieve of a goat-milker, or to use a modern image instead of an old-fashioned one, of Münchhausen's plait, with which he pulled himself from out of the water. These amateurs would not dare make such a confession before their Masters; it would not happen were they were to consider the case upon its merits. I have often regretted not living in your locality, so as to be able to glean much pleasurable entertainment from philosophical verbal discourse." -/- The starting point of the new adoption of Fries was Nelson's article "The critical method and the relation of psychology to philosophy" (1904). Nelson dedicates special attention to Fries' re-interpretation of Kant's deduction concept. Fries awards Kant's criticism the rationale of anthropological idiom, in that he is guided by the idea that one can examine in a psychological way which knowledge we have "a priori", and how this is created, so that we can therefore recognise our own knowledge "a priori" in an empirical way. Fries understands deduction to mean an "awareness residing darkly in us is, and only open to basic metaphysical principles through conscious reflection.". -/- Nelson has pointed to an analogy between Fries' deduction and modern metamathematics. In the same manner, as with the anthropological deduction of the content of the critical investigation into the metaphysical object show, the content of mathematics become, in David Hilbert's view, the object of metamathematics. -/-. (shrink)

For Plato mimesis is the appearance of the external image of things. In his view, the reality was not to be found in the world of objects but in the realm of ideas. Therefore, Plato sees the arts as an occupation that is inferior to science and philosophy, but that is also a potential source of corruption. His concept of imitation, although it evolved over time, led him to take an increasingly dogmatic and intolerant position regarding artistic creation. His (...) notion that poetry is morally dangerous establishes the foundations for a didactic critique, which tends to flourish in societies undergoing political crises. Plato wrote his works during an age of instability and decline; an age when the role of Athens as the leading power in the Mediterranean was beginning to be questioned. Through an analysis of Ion and Books II, III, and X of The Republic, this essay explores the epistemological and moral —rather than aesthetic— nature of Plato’s judgment on the value of Poetry and the Arts. (shrink)

One of the important components considered in this research approach is given by the study on teaching-learning strategies, methods and techniques in the lessons aimed at organizing economic activities. It is understood that such a topic takes into account, on the one hand, a series of aspects related to an economic issue, and on the other hand, issues of a methodological / didactic nature found in the teaching-learning-assessment activity. At the same time, the approach that is intended to be (...) highlighted reflects the practical-theoretical dimension of such a possible approach in class. Under these conditions, the research approach assumed involves an analysis focused, on the one hand, on the theoretical aspects related to the approached topic, and on the other hand, on the conceptual-theoretical operationalization with practical implications. In other words, there is an interest in valorizing and capitalizing on the contents approached both theoretically and practically. Therefore, it is considered that we will analyze, from a theoretical and pragmatic perspective, the strategies, methods and teaching-learning techniques at the level of economic-themed classes, also revealing the impact it has in the economic-educational dimension. (shrink)

The aim of this article is to unveil the ways of teaching new philosophical paradigms in Dutch Universities between Seventeenth and Eighteenth Century, by means of an analysis of the uses of illustrations in Cartesian and Newtonian natural-philosophical textbooks. This analysis allows to understand the overall functions of philosophical textbooks, where illustrations act as conceptual means, filling the gap between the premise of a theory and its actual contents; didactic means, aiming to help the reader in understanding scientific models (...) fully explained in texts; promoting or propagandistic instruments, useful to present theories in a fascinating way. Eventually, I argue for a positive correlation of the use of illustrations and the introduction of new philosophies, and for the existence of non-philosophical reasons for such use: as to the propagandistic function of illustrations intended as decorative means. (shrink)

In contemporary healthcare, medical image categorization is essential for illness prediction, diagnosis, and therapy planning. The emergence of digital imaging technology has led to a significant increase in research into the use of machine learning (ML) techniques for the categorization of images in medical data. We provide a thorough summary of recent developments in this area in this review, using knowledge from the most recent research and cutting-edge methods.We begin by discussing the unique challenges and opportunities associated with medical (...) image classification, including the complexity of anatomical structures, variability in imaging modalities, and the need for interpretability and reliability in clinical settings. Subsequently, we survey a wide range of ML algorithms and techniques employed for medical image classification, including traditional methods such as support vector machines and k-nearest neighbors, as well as deep learning approaches like convolutional neural networks (CNNs) and recurrent neural networks (RNNs). Furthermore, we examine key considerations in dataset preparation, feature extraction, and model evaluation specific to medical image classification tasks. We highlight the importance of large, annotated datasets, transfer learning, and data augmentation techniques in enhancing model performance and generalization. (shrink)

Some have suggested that images can be arguments. Images can certainly bolster the acceptability of individual premises. We worry, though, that the static nature of images prevents them from ever playing a genuinely argumentative role. To show this, we call attention to a dilemma. The conclusion of a visual argument will either be explicit or implicit. If a visual argument includes its conclusion, then that conclusion must be demarcated from the premise or otherwise the argument will beg the question. If (...) a visual argument does not include its conclusion, then the premises on display must license that specific conclusion and not its opposite, in accordance with some demonstrable rationale. We show how major examples from the literature fail to escape this dilemma. Drawing inspiration from the graphical logic of C. S. Peirce, we suggest instead that images can be manipulated in a way that overcomes the dilemma. Diagrammatic reasoning can take one stepwise from an initial visual layout to a conclusion—thereby providing a principled rationale that bars opposite conclusions—and the visual inscription of this correct conclusion can come afterward in time—thereby distinguishing the conclusion from the premises. Even though this practical application of Peirce’s logical ideas to informal contexts requires that one make adjustments, we believe it points to a dynamic conception of visual argumentation that will prove more fertile in the long run. (shrink)

The senses present their content in the form of images, three-dimensional arrays of located sense features. Peacocke’s “scenario content” is one attempt to capture image content; here, a richer notion is presented, sensory images include located objects and features predicated of them. It is argued that our grasp of the meaning of these images implies that they have propositional content. Two problems concerning image content are explored. The first is that even on an enriched conception, image content (...) has certain expressive limitations. In particular, it cannot express absolute location and time (as opposed to spatiotemporal relations) or logical complexity. Yet, perceptual experience does seem to express certain absolute locations—namely, here and now. How can it do so? Secondly, image content cannot exhaust the significance of perceptual states. This is proved by noting that perception, memory, and anticipation can have the same image content. Yet they have different significance. These problems show that some of the significance of sensory states comes from outside the image. (shrink)

Just as humans can draw conclusions responsibly or irresponsibly, so too can computers. Machine learning systems that have been trained on data sets that include irresponsible judgments are likely to yield irresponsible predictions as outputs. In this paper I focus on a particular kind of inference a computer system might make: identification of the intentions with which a person acted on the basis of photographic evidence. Such inferences are liable to be morally objectionable, because of a way in which they (...) are presumptuous. After elaborating this moral concern, I explore the possibility that carefully procuring the training data for image recognition systems could ensure that the systems avoid the problem. The lesson of this paper extends beyond just the particular case of image recognition systems and the challenge of responsibly identifying a person’s intentions. Reflection on this particular case demonstrates the importance (as well as the difficulty) of evaluating machine learning systems and their training data from the standpoint of moral considerations that are not encompassed by ordinary assessments of predictive accuracy. (shrink)

Most research on image schema examined the meaning configuration of words connotation. However, previous studies of adjectives are meaningful in cognitive linguistics because they provide insight into how those adjectives are involved with psychological movement. In this sense, from the perspective of cognitive linguistics, one’s conceptualization and cognition are closely associated with their bodily experience and surroundings; adjectives are no exception. The varieties of transformations of image schemas lay the foundation for the conception and perception. Accordingly, this study (...) is an investigation into the perception of adjectives and psychological activities associated with image schema. Data in this study come from adjectives in the novel The Great Gatsby, which were tagged and calculated with the help of software Python and the NLTK package. The results demonstrate that a significant amount of adjectives were used in the novel. Moreover, Nick’s psychological activities changed significantly from the SOURCE to the DESTINATION schematic stage, which is uncovered by his expression of adjectives. Finally, the results further suggest that transformations of image schema as BALANCE, CONTAINER, and PATH work together to motivate one’s linguistic expression of adjectives. The present findings have several implications for research on lexicons and literacy interpretation from cognitive linguistics. (shrink)

Imagism about Phenomenal Thought is (roughly) the view that there is some concept *Q* (for some sensory quality Q) that we can employ only while we experience the quality Q. I believe this view is theoretically significant, is or can be made intuitively appealing, and is explicitly or implicitly accepted by many contemporary philosophers However, there is no good reason to accept it. Or so I argue.

Ontology is one strategy for promoting interoperability of heterogeneous data through consistent tagging. An ontology is a controlled structured vocabulary consisting of general terms (such as “cell” or “image” or “tissue” or “microscope”) that form the basis for such tagging. These terms are designed to represent the types of entities in the domain of reality that the ontology has been devised to capture; the terms are provided with logical defi nitions thereby also supporting reasoning over the tagged data. Aim: (...) This paper provides a survey of the biomedical imaging ontologies that have been developed thus far. It outlines the challenges, particularly faced by ontologies in the fields of histopathological imaging and image analysis, and suggests a strategy for addressing these challenges in the example domain of quantitative histopathology imaging. The ultimate goal is to support the multiscale understanding of disease that comes from using interoperable ontologies to integrate imaging data with clinical and genomics data. (shrink)

In his 1903 Syllabus, Charles S. Peirce makes a distinction between icons and iconic signs, or hypoicons, and briefly introduces a division of the latter into images, diagrams, and metaphors. Peirce scholars have tried to make better sense of those concepts by understanding iconic signs in the context of the ten classes of signs described in the same Syllabus. We will argue, however, that the three kinds of hypoicons can better be understood in the context of Peirce's sixty-six classes of (...) signs. We analyze examples of hypoicons taken from the field of information design, describing them in the framework of the sixty-six classes, and discuss the consequences of those descriptions to the debate about the order of determination of the 10 trichotomies that form those classes. (shrink)

The paper is an introduction to the third issue of the Journal for the Philosophy of Language, Mind and the Arts. The authors give an account of the theories that have most enriched the study of images since the second half of the twentieth century: analytical philosophy and visual culture studies. A distinction is made between the two philosophical traditions. On the one hand, in particular within the context of analytic philosophy, images have been studied as single entities in relationship (...) with both a referent and the perceptual or interpretive abilities of an observer. On the other hand, thanks in particular to the iconographic tradition inaugurated by Aby Warburg, images have been analyzed in their multiplicity, in their mutual relationship, both synchronically and diachronically. (shrink)

The concept of ‘the image’ can be given historical, conceptual, aesthetic and moral specifications. This essay sets out some of the scholarly issues in the dense semantic field of ‘the image’. In particular, the essay considers how the meaning of the image is often determined in relation to the opposition between sensible form and intelligible idea. Specific attention is given to Kantian aesthetics, which inaugurates a specific way of understanding the sensible form as a mode of processing (...) moral ideas. (shrink)

I begin by reviewing recent research by Merleau-Ponty scholars opposing aspects of the critique of Merleau-Ponty made by Meltzoff and colleagues based on their studies of neonate imitation. I conclude the need for reopening the case for infant self-other indistinction, starting with a re-examination of Merleau-Ponty’s notion of indistinction in the Sorbonne lectures, and attending especially to the role of affect and to the non-exclusivity of self-other distinction and indistinction. In undertaking that study, I discover the importance of understanding self-other (...) distinction and indistinction in terms of their affective significance. For Merleau-Ponty, self-other indistinction is a virtual or imaginary participation in others’ orientations that he defines as an affective phenomenon. Further, Merleau-Ponty’s account of the advent of the body proper—the aspect of the body image that circumscribes the body as a distinct and private space—theorizes it as an affective innovation. Rather than being a fact of which we at first are ignorant and gradually grow to recognize, distinction from others in the sense that is important to Merleau-Ponty is a situation that must be cultivated and maintained through the negotiation of affective intimacy. Understanding indistinction and distinction in terms of the affective forces that sustain them explains how it is possible for them to coexist. (shrink)

The third issue of the Journal for the Philosophy of Language, Mind and the Arts is centered on a series of questions related to the nature of images. What properties characterize them? Do they exist also in our minds? What relationship do they have with phenomena such as perception, memory, language and interpretation? The authors participating in this issue have been asked to answer these and other questions starting from and in dialogue with the two philosophical perspectives that have most (...) enriched the study of our object of research since the second half of the twentieth century: analytical philosophy and visual culture studies. The first four essays address problems related to ontology (Didi-Huberman, Prinz, Bantinaki, Manzotti). In their pages the question will be asked not only about the nature of images but also about what it means for an image to represent an object or an action realistically. The second part contains discussions related to the topics of perception, appreciation and creation of pictures (Ferretti; Gavaler, Goldberg; Pigoni, Coraci, Carlenzi). The third section goes through the problems related to the very concept of representing by images (Biggs; Weichert; Derby). The last section of the issue is devoted to two cases in which images are used not so much and not only to represent something, but also to convey ethical-political values (Fasnacht; Olesiejuk). (shrink)

Gilles Deleuze demonstrated the key role of flashback in dealing with the relationship between actual image and recollection-image when interpreting the temporality of images. He established two criteria for judging whether a flashback implies a recollection-image by stating that: (1) it serves as some kind of prompt in the narrative to make the viewer perceive that the scene has entered a flashback; (2) it relies on fate or forking time. But Deleuze also mentioned that, if the context (...) or condition disappears, the recollection-image represented by the flashback will lose its support, at which point, the pure recollection will also disappear. In this case, the actual image no longer forms a connection with the sensor-motor, but is suspended, which produces a fantasmatic effect. Bi Gan extends this suspension in his film “Long Day’s Journey into Night” by removing the character being referred to in the flashback, stripping it from figure and confining it in the voice-over. The film features an extreme use of several effects in the sensory-motor situations and the flashbacks, as described in Deleuze’s “Cinema 2: Time-Image,” namely recollection, dream, and falsification. Thus, the boundary between flashback and reality is completely broken. In addition, Bi Gan uses doppelgangers in the second part of the film to reconstruct the ambiguity of actual images and recollection-images in the first part, turning them into pure fantasies. This essay will analyze issues relating to the images and characters in “Long Day’s Journey into Night” and show how this film constitutes a typical case of recollection-images transformed into fantasies through the power of falsification. (shrink)

When we try to understand what a picture represents, how we experience the picture, I argue, plays a key role in determining the content the picture represents. More specifically, I argue that understanding pictorially represented content requires two tasks—visually grasping the picture’s design (an image) and interpreting what the design represents (what it is an image of). Neither task is done without the other, meaning that the viewer’s success in the former—visually identifying the image—depends on their success (...) in the latter—determining what the image is of. Because of this interdependence, I argue, when the viewer succeeds in understanding the picture, they find their interpretation of the picture perceptually convincing. (shrink)

Without doubt, there is a great diversity of scientific images both with regard to their appearances and their functions. Diagrams, photographs, drawings, etc. serve as evidence in publications, as eye-catchers in presentations, as surrogates for the research object in scientific reasoning. This fact has been highlighted by Stephen M. Downes who takes this diversity as a reason to argue against a unifying representation-based account of how visualisations play their epistemic role in science. In the following paper, I will suggest an (...) alternative explanation of the diversity of scientific images. This account refers to processes which are caused by the social setting of science. What exactly is meant by this, I will spell out with the aid of Ludwik Fleck’s theory of the social mechanisms of scientific communication. (shrink)

Although better known for his phenomenology of perception and the perceived world, Merleau-Ponty’s writings also contain the outlines of a rich and unique account of the imagination and the imaginary. In this paper, I explicate the phenomenology of the image that Merleau-Ponty develops throughout his work. I show how Merleau-Ponty develops this account of the image in critical response to Sartre and in a way that follows from his own descriptions of what painters do when they paint and (...) of what we experience when we look at their paintings. The investigation of the particular mode of being of images leads to a consideration of the body and Merleau-Ponty’s later ontology. (shrink)

Advanced medical imaging, such as CT, fMRI and PET, has undergone enormous progress in recent years, both in accuracy and utilization. Such techniques often bring with them an illusion of immediacy, the idea that the body and its diseases can be directly inspected. In this paper we target this illusion and address the issue of the reliability of advanced imaging tests as knowledge procedures, taking positron emission tomography in oncology as paradigmatic case study. After individuating a suitable notion of reliability, (...) we argue that PET is a highly theory-laden and non-immediate knowledge procedure, in spite of the photographic-like quality of the images it delivers; the diagnostic conclusions based on the interpretation of PET images are population-dependent; PET images require interpretation, which is inherently observer-dependent and therefore variable. We conclude with a three-step methodological proposal for enhancing the reliability of advanced medical imaging. (shrink)

There is the tension between, on the one hand, Wittgenstein’s not giving theoretical weight to metaphor, and on the other, his exuberant use of it. On a more fundamental level, there is a straightforward contradiction between Wittgenstein’s claim of the primordial literalness of everyday language, and his stress on the multiplicity and flexibility of language-games. Wittgenstein’s problem was that he did not succeed in making his ideas on metaphor, and indeed his ideas on metaphor and images, converge with the main (...) drift of TS 227 (the so-called ‘Part I’ of the so-called ‘Philosophical Investigations’). It was this divergence, I believe, that prevented him from rounding out his later philosophy. (shrink)

The influence of imagery on perception depends on the content of the mental image. Sixty-three students responded to the location of the 2 hands of a clock while visualizing the correct or an incorrect clock. Reaction time was shorter with valid cueing. Could this have resulted from visual acquisition strategies such as planning visual saccades or shifting covert attention? No. in this study, a crucial control condition made participants look at rather than visualize the cue. Acquisition strategies should have (...) affected equally both types of cueing, but we observed that the effect of the visual cue was smaller and limited to a particular subcase in which one expects visual acquisition strategies. Thus, what matters is the similarity of the content of the mental image with the visual scene. In addition, an interaction involving the hand used for responding supports the notion that composite imagery is lateralized. (shrink)

[Pre-peer review draft available to download.] Our imaginative capacities shape the making of images, while the making of images has the ability to shape our imaginative capacities. What are the connections between vision and mental visual images that allow for this traffic between the contents of our minds and external images? And how are image-makers able to exploit the distinctive powers of imagery, to extend the modes of representation that are available to us, and hence also to extend the (...) resources upon which our imaginations can draw? The chapter explores various aspects of those issues. It starts by exploring “visual imagery” as a general category; and it identifies one very striking range of cases that encompasses both suitable mental and nonmental visual images. It develops a philosophical account of what is distinctive about the range of visual images thus identified. Subsequent sections then use the resulting ideas to investigate some of the ways in which various strategies for creating visual images exploit in remarkably inventive ways possibilities that are latent within the general phenomenon of imagistic representation. (shrink)

The new edition of the papiri of the second book of 'Peri Phuseos' allows for a detailed reconstruction of the mechanisms of vision. Some of the characteristic features of images according to Epicurus are presented here for the first time. One of the problems is the congruence between the representation and the object from which it originates: i.e. the truth of the image.

Enacting Images is devoted to images as they can mobilize cognition and theorizing. Though we can speak of a pictorial turn now that images have become a distinct and full-fledged topic of investigation, some may continue to cling to the impression that images should still be considered within a fundamentally representationalist framework. As an alternative, the enactive approach provides a conceptual setup within which images, beyond their informational, immersive, and aesthetic power, can be considered as being the manifestations of a (...) new epistemic access to the world. The present volume is a collection of essays that reflectively investigate the theoretical prerequisites, scope, and limits of enactive approach. (shrink)

My topic is a certain view about mental images: namely, the ‘Multiple Use Thesis’. On this view, at least some mental image-types, individuated in terms of the sum total of their representational content, are potentially multifunctional: a given mental image-type, individuated as indicated, can serve in a variety of imaginative-event-types. As such, the presence of an image is insufficient to individuate the content of those imagination-events in which it may feature. This picture is argued for, or (more (...) usually) just assumed to be true, by Christopher Peacocke, Michael Martin, Paul Noordhof, Bernard Williams, Alan White, and Tyler Burge. It is also presupposed by more recent authors on imagination such as Amy Kind, Peter Kung and Neil Van Leeuwen. I reject various arguments for the Multiple Use Thesis, and conclude that instead we should endorse SINGLE: a single image-type, individuated in terms of the sum total of its intrinsic representational content, can serve in only one imagination event-type, whose content coincides exactly with its own, and is wholly determined by it. Plausibility aside, the interest of this thesis is also in its iconoclasm, as well as the challenge it poses for the diverse theories that rest on the truth of the Multiple Use Thesis. (shrink)

This article questions the role of the author in the photographical image. Undoubtedly, the invention of photography has changed our attitude towards ourselves, towards the world. The impact of photography on one’s life is growing with the development of technology, mainly the photo-technology. One cannot but trust technological tools more than oneself, because any technological device nowadays is considered to be smarter, faster, and more precise than any human being. The technology plays a special role in photography, and that (...) is why the author’s position as the creator of the image is being challenged. Hence, there is also a much wider problem, the impact of technology on a person. Therefore, the purpose of this article is to show that photography as a kind of visual art is not directly a product of human creative activity. Nevertheless, as a technical product, it tends to anonymity when the question of authorship is simply decreasing. Although each image, as a human creation, has its author, in the photography the author becomes the background. We agree with Flusser that it is worthwhile to distinguish between the functionary and the photographer as candidates for the role of the author in the photographic process; but in the process of contemplating the photographs, the name of the author of the photographical image, regardless of his or her claims, is ignored, because the photography, retaining the function of objective documentation, captures any events without any interest. It is also completely dependent on technology; claiming not only for the mediation but also for the "authorship", it introduces the mode of anonymity and accidental fixation of events. The image is deprived of subjective features and the need to have an author. One can say that in any case the photographer falls into the "shadow" created by the device. The author "dies", giving the life to the photography, and dissolves in the technicality of the image. (shrink)

According to an influential philosophical view I call “the relational properties view”, “perspectival” properties, such as the elliptical appearance of a tilted coin, are relational properties of external objects. Philosophers have assessed this view on the basis of phenomenological, epistemological or other purely philosophical considerations. My aim in this paper is to examine whether it is possible to evaluate RPV empirically. In the first, negative part of the paper I consider and reject a certain tempting way of doing so. In (...) the second, positive part of the paper I suggest a novel way of evaluating RPV empirically, relying on the influential object files framework. (shrink)

Man has built tools to extend his visual experience in order to explore reality beyond his sensory capacity, for example microscopes, telescopes, high shutter speed and infrared cameras. However he has yet to build a tool to fully explore visual realms beyond his ordinary cognitive faculties. With the development of computing, comes the possibility of building a tool to explore the virtual forms/spaces of images that are ordinarily inaccessible to the mind. This article identifies how cognition is ordinarily limited and (...) posits a way of going beyond those limits, by defining a computational model of how those virtual forms/spaces might be created. This definition is based on brief but repeated empirical experiences of ‘higher order’ manifestations. (shrink)

In August 2022, only a few months before ChatGPT was released, Barry Smith, well-known contemporary philosopher, together with Jobst Landgrebe, artificial intelligence entrepreneur, published a book entitled Why Machines will Never Rule the World: Artificial Intelligence without Fear (Landgrebe and Smith 2022). In this important, dense and far-reaching work, Landgrebe and Smith argue from the mathematical theory of complex systems, and a sophisticated analysis of the capabilities of human intelligence, that AGI— at the level of human intelligence—will never be possible. (...) In broad outline, Landgrebe and Smith claim that intelligent human behaviour is a facility that develops from a complex world and for a complex world; that the complexities of the real world and our behaviour in it can never be fully specified or simulated mathematically; that digital systems can only execute what can be simulated mathematically; and that therefore human-level intelligence will never be manifested by a digital system. The present collection of articles is in response to and inspired by Landgrebe and Smith. It provides reflections from a variety of perspectives and disciplines on the possibility of AGI, as well as on the transformations that AI technology is already bringing even in its current incarnation. (shrink)

In order to emerge as a regional leader and an influential global power, India has been expanding its role as a donor or development partner across South Asian and Sub-Saharan African countries. To cash on its identity as the Big Brother of South Asia India, despite having some serious domestic and regional problems, recently invested a lot of money in a number of development projects in neighboring countries. This article attempts to delve into India's role as an emerging power in (...) the South Asian development business. With a view to examining India's prospect in this context, the article analyzes three pertinent development cases from three major South Asian countries namely Bangladesh, Nepal and Sri Lanka where India attempted to prove its regional development leadership through bilateral arrangements. After reviewing those cases, the author argues that India is still holding its image rather as a political Big Brother of South Asia with occasional attempts to interfere into the internal matters of its neighbors. In spite of some big joint development ventures in recent years, India in all three cases failed to formulate trust and credibility among the people living in neighboring countries. It also could not build an image of a regional development partner. This image crisis is one of the key reasons why it is very unlikely that India will soon become a regional or global superpower especially in the light of increasing Chinese influence in the region. (shrink)

In order to maintain the existence of the business, it always creates and implements various marketingstrategies to maintain and maintain business operations in the midst of fierce business competition. Allbusinesses have competition so this makes the company must have a strategy to be able to excel incompetition. Companies must be able to know how to retain their customers so as not to turn to competitors.Especially in the field of coffee drinks business which is currently being rife in Surabaya. This research (...) usesa Quantitative Approach is a research approach that uses data in the form of figures from survey answersdistributed to research samples and analyzed using statistical analysis techniques. The partial regressionresults (t-test) showed the results of the brand image proved to have a significant effect on the decision topurchase coffee drinks at Janji Jiwa Royal Plaza Surabaya. Value is proven to have a significant effect oncoffee beverage purchase decisions at Janji Jiwa Royal Surabaya. Simultaneous regression analysis (F-test)proved to have a significant effect on brand image and value on coffee beverage purchase decisions at JanjiJiwa Royal Surabaya. (shrink)

In this paper, I begin with an account of the initial distinction between likenesses and appearances, a distinction which may resemble the difference between sophists and philosophers. That distinction first arises immediately after the puzzling appearance of the noble sophist, who seems to occupy an odd space in between sophist and philosopher. In the second section, I look more closely at the noble sophist, and on what that figure might tell us about images and the use of images. I also (...) attempt to use the insights provided by the noble sophist in an investigation of the kind of images that Plato the author produces. This raises the question of the general notion of image as it appears in the Sophist, and especially of the dual nature of all images, which in turn invites reflection on certain features of the examination of being and non-being late in the dialogue. Finally, I return to the deception inherent in images, and I argue that this dialogue does not present the possibility of completely honest images. Nevertheless, I hope to show that some uses of deceptions and images are better than others. (shrink)

Formal systems are standardly envisaged in terms of a grammar specifying well-formed formulae together with a set of axioms and rules. Derivations are ordered lists of formulae each of which is either an axiom or is generated from earlier items on the list by means of the rules of the system; the theorems of a formal system are simply those formulae for which there are derivations. Here we outline a set of alternative and explicitly visual ways of envisaging and analyzing (...) at least simple formal systems using fractal patterns of infinite depth. Progressively deeper dimensions of such a fractal can be used to map increasingly complex wffs or increasingly complex 'value spaces', with tautologies, contradictions, and various forms of contingency coded in terms of color. This and related approaches, it turns out, offer not only visually immediate and geometrically intriguing representations of formal systems as a whole but also promising formal links (1) between standard systems and classical patterns in fractal geometry, (2) between quite different kinds of value spaces in classical and infinite-valued logics, and (3) between cellular automata and logic. It is hoped that pattern analysis of this kind may open possibilities for a geometrical approach to further questions within logic and metalogic. (shrink)

The purpose of this paper is to show that images have an ontological support by which they obtain an independent existence from the mind. In accordance with the new theories of aesthetics, we will see that the object of art is taken as an object of thought. Image has an important role in the existence of the work of art; therefore the image becomes an object of thought. To show how the image is independent from the mind (...) or to show how it is not a mind-dependent object, the analysis has to start from the pre-ontological level of the work of art in order to understand the existence of images in correlation with the work of art. At the beginning there is only the object. The object is the work of art before its concretization. It is not nature; it is the natural support of art. From this point of view, the role of the image can be explored in all ontological stages of the work of art. Firstly, it can be argued that the intuition of the artist is the image of the idea underlying the work of art. The intentional image is a subjective image. Secondly, it seems that people can see or have in mind different images (representations) referring to a work of art. This is possible in time and space and implies cultural differences, historical events and so on. A question arises: what supports the intentional image? One answer put forward is that the mind is the support of the image, but it seems that the original intentional image has something that can make other intentional images possible, an infinite number of representations, in other words an infinite number of images. The aim of this paper is to show that we can talk about an original intentional image (the first idea), intentional images (the representations of the work of art in time and space), and the transcendental image which can be defined as the ontological condition for the existence of the intentional image. At the end I will argue that the transcendental image is the support or the entity which offers the ontological conditions necessary for all intentional images. -/- Tags: intentional image, transcendental image, ontology, object and subjectivity. (shrink)

Background. A growing interest in discursive nature of Nobel lectures resulted in a number of studies which emphasize their rhetorical force to influence public opinion and to popularize ideas in different spheres of human life. Analyzing Literature Laureates’ lectures, most researchers focus on linguistic means and the personality of the Nobelist himself/herself. However, characteristics of a writer proper have not been dealt with indepth. This article maintains our previous study, which indicates a close relationship between the content component of the (...) Nobel lecture and the laureate’ outlook; the lecture itself can be regarded as a brief but extremely powerful expression of his/her human and professional qualities. -/- Purpose. The aim of this paper is to examine how literature laureates interpret the notion of a writer in their Nobel lectures and to identify main common themes in creating this collective image. -/- Methods. A method of linguistic description and observation, a descriptive method, and a contextual-interpretation method were employed to analyse the sample of 17 Nobel lectures. -/- Results. The outcomes of our study indicate that Nobel lectures are extremely powerful expression of prizewinners’ human and professional qualities. We have devised a set of five themes, namely the writer’s social duty, his/her destiny, literary background, tools, and literary outcome to describe the collective image of a writer. Within the framework of our research, literary background falls into two subthemes (literary heritage and a personal writing process); discussing the writer’s toolkit, we focus on language and words. -/- Discussion. Our findings show that laureates develop the concept “writer” to varying degrees but all of them stress a direct interconnection between an active social position and the writer’s destiny. Further research can involve the in-depth study of a definite Nobel lecture in terms of the compositional structure and employed linguistic means. (shrink)

The possibilities of depicting non-existents, depicting non-particulars and depictive misrepresentation are frequently cited as grounds for denying the platitude that depiction is mediated by resemblance. I first argue that these problems are really a manifestation of the more general problem of intentionality. I then show how there is a plausible solution to the general problem of intentionality which is consonant with the platitude.

While I strongly agree with Patrick Grim that abstract relationships are real, and that it is possible to get them right, the danger that we will get them wrong is just as real. The use of visual representation of abstract phenomena, precisely because of our predilection to see patterns in everything and because we don't have to think so hard about visible representations generally, may lead us to see things that aren't there.

During the Fifties and the Early Sixties Hans Jonas developed a theory of man based on a series of concepts as separation of form from matter, image and symbol. By reflecting on these themes, Jonas seems to refer to the aesthetic abilities man embodies as the essence of human life. In this article I try to analyse Jonas’ thoughts on man and to determine to what extent it is possible to consider his theory as an aesthetic anthropology. Eventually, I (...) discuss what Aesthetics may win by directing its attention to this author. (shrink)

In a recent article, Dawn Wilson (2021) has argued against single-stage accounts of photography by arguing against the latent photographic images upon which those accounts depend. Concomitantly, she argues that the only viable account of photography is multi-stage. Unlike single-stage accounts, multi-stage accounts do not postulate the existence of photographic images of any kind prior to development. Rather, according to multi-stage accounts, photographs are produced from “photographic registers.” In this Discussion Piece, I defend single-stage accounts by arguing that Wilson’s rejection (...) of latent photographic images is premised on an implausible view of what a latent photographic image is. Given a reasonable interpretation, the latent images described in single-stage accounts just are the photographic registers described in multi-stage accounts. (shrink)

Written in broad strokes, this paper attempts to draw form Krishnamurti’s life and teachings, a hermeneutics of the human soul’s quest-journey towards transcendent wholeness. It begins with an attempt to frame K’s “process” (the name given to the painful ordeals in his youth that many believe were the catalyst responsible for his metamorphosis) through a variety of disciplines and cultural perspectives, some of which underscore the impasse of scientific objectivity and the limits of phenomenalist categories in general. It then explores (...) the procedures and conceits of present technologies of self-transformation via pseudomeditative body work and suggests that this subject can only be confirmed by an experience so intimately and subversively (to its own object) subjective that it risks undermining its own legitimacy in the face of our body-phobic Cartesian cultural ethos that holds sacrosanct the mind-body split. -/- It then explores the deeper origins and history of this problem from the pre-Socratics to the misconceptions of modern mathematics about the proper place of metaphor and paradox and underscores how present day false consciousness fails to discriminate between a “noumenal” world and its conditioned “phenomenal” counterfeit copy. It ends with a brief meditation on K’s process. (shrink)

Just as it’s possible to understand novel sentences without having heard them before, it’s possible to understand novel pictures without having seen them before. But these possibilities are often supposed to have totally different explanations: whereas the ability to understand novel sentences is supposed to be explained by tacit knowledge of a compositional theory of meaning for their language, the ability to understand novel pictures is supposed to be explained differently. In this paper I argue against this disanalogy: insofar as (...) the ability to understand novel sentences is explained by tacit knowledge of a compositional theory, I argue, so is the ability to understand novel pictures. (shrink)