Mental Imagery

Inner speech travels under many aliases: the inner voice, verbal thought, thinking in words, internal verbalization, “talking in your head,” the “little voice in the head,” and so on. It is both a familiar element of first-person experience and a psychological phenomenon whose complex cognitive components and distributed neural bases are increasingly well understood. There is evidence that inner speech plays a variety of cognitive roles, from enabling abstract thought, to supporting metacognition, memory, and executive function. One active area of (...) controversy concerns the relation of inner speech to auditory verbal hallucinations in schizophrenia, with a common proposal being that sufferers of AVH misidentify their own inner speech as being generated by someone else. Recently, researchers have used artificial intelligence to translate the neural and neuromuscular signatures of inner speech into corresponding outer speech signals, laying the groundwork for a variety of new applications and interventions. (shrink)

Cats and dogs are the same kind of thing in being mammals, even if cats are not a kind of dog. In the same way, remembering and imagining might be the same kind of mental state, even if remembering is not a kind of imagining. This chapter explores whether episodic remembering, on the one hand, and future and counter-factual directed imagistic imagining, on the other, may be the same kind of mental state in being instances of the same cognitive attitude. (...) I outline a continuist position where all three involve the same judgment-like attitude and compare its advantages to a discontinuist alternative where remembering requires use of its own distinctive attitude. Reasons are given for favoring a version of the continuist position, though this chapter’s focus is on the metatheoretical questions of how to go about understanding remembering in terms of a content and attitude pair, and which considerations are relevant when deciding among competing content/attitude pairs. (shrink)

To some it is a shallow platitude that inner speech always has an auditory-phonological component. To others, it is an empirical hypothesis with accumulating support. To yet others it is a false dogma. In this chapter, I defend the claim that inner speech always has an auditory-phonological component, confining the claim to adults with ordinary speech and hearing. It is one thing, I emphasize, to assert that inner speech often, or even typically, has an auditory-phonological component—quite another to propose that (...) it always does. When forced to argue for the stronger point, we stand to make a number of interesting discoveries about inner speech itself, and about our means for discriminating it from other psycholinguistic phenomena. Establishing the stronger conclusion also provides new leverage on debates concerning how we should conceive of, diagnose, and explain auditory verbal hallucinations and “inserted thoughts” in schizophrenia. (shrink)

Poetry evokes mental imagery in its readers. But how is mental imagery precisely related to poetry? This paper provides a systematic treatment. It clarifies two roles of mental imagery in relation to poetry – as an effect generated by poetry and as an efficient means for understanding and appreciating poetry. The paper also relates mental imagery to the discussion on the ‘heresy of paraphrase’. It argues against the orthodox view that the imagistic effects of poetry cannot be captured by prosaic (...) paraphrase, but points to features of poetry that can shape aspects of mental imagery which are liable to be lost in paraphrase. (shrink)

Mental imagery is early perceptual processing that is not triggered by corresponding sensory stimulation in the relevant sense modality. Multimodal mental imagery is early perceptual processing that is triggered by sensory stimulation in a different sense modality. For example, when early visual or tactile processing is triggered by auditory sensory stimulation, this amounts to multimodal mental imagery. Pulling together philosophy, psychology and neuroscience, I will argue in this paper that multimodal mental imagery plays a crucial role in our engagement with (...) musical works. Engagement with musical works is normally a multimodal phenomenon, where we get input from a number of sense modalities. But even if we screen out any input that is not auditory, multimodal mental imagery will still play an important role that musicians and composers often actively rely on. (shrink)

First described by Galton in 1880 and then remaining unnoticed for a century, recent investigations in neuroscience have shown that a condition called aphantasia appears in certain individuals, which causes them to be unable to experience visual mental imagery. Comparing aphantasia to hyperphantasia – i.e., photo-like memory – and considering the neurological basis of perceptual phenomena, we are revisiting Hume's division of perceptions into impressions and ideas. By showing different vivacities of mental phenomena and comparing them to neurological research, we (...) are stating that not only impressions and ideas differ "in the degrees of force and liveliness", but ideas and impressions amongst themselves as well. Such a gradual range of perceptions and mental images bears significant consequences for not only representational theory and historical interpretations, but linguistics and semiotics as well. (shrink)

Recent research in psycholinguistics suggests that language processing frequently involves mental imagery. This paper focuses on visual imagery and discusses two issues regarding the processing of polysemous words (i.e. words with multiple related meanings or senses) – co-predication and sense-relatedness. It aims to show how mental imagery can illuminate these two issues.

Jerry Fodor deemed informational encapsulation ‘the essence’ of a system’s modularity and argued that human perceptual processing comprises modular systems, thus construed. Nowadays, his conclusion is widely challenged. Often, this is because experimental work is seen to somehow demonstrate the cognitive penetrability of perceptual processing, where this is assumed to conflict with the informational encapsulation of perceptual systems. Here, I deny the conflict, proposing that cognitive penetration need not have any straightforward bearing on the conjecture that perceptual processing is composed (...) of nothing but informationally encapsulated modules, the conjecture that each and every perceptual computation is performed by an informationally encapsulated module, and the consequences perceptual encapsulation was traditionally expected to have for a perception-cognition border, the epistemology of perception and cognitive science. With these points in view, I propose that particularly plausible cases of cognitive penetration would actually seem to evince the encapsulation of perceptual systems rather than refute/problematize this conjecture. (shrink)

Almost every facet of the experience of musical listening—from pitch, to rhythm, to the experience of emotion—is thought to be shaped by the meeting and thwarting of expectations. But it is unclear what kind of mental states these expectations are, what their format is, and whether they are conscious or unconscious. Here, we distinguish between different modes of musical listening, arguing that expectations play different roles in each, and we point to the need for increased collaboration between music psychologists and (...) philosophers in order to arrive at a more detailed characterisation of conscious musical experience and the role of expectations therein. (shrink)

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

It has long been recognized that we have a great deal of freedom to imagine what we choose. This paper explores a thesis—what we call “intentionalism (about the imagination)”—that provides a way of making this evident (if vague) truism precise. According to intentionalism, the contents of your imaginings are simply determined by whatever contents you intend to imagine. Thus, for example, when you visualize a building and intend it to be of King’s College rather than a replica of the college (...) you have imagined the former rather than the latter because you intended to imagine King’s College. This is so even if the visual image you conjure up equally resembles either. This paper proposes two kinds of counterexamples to intentionalism and discusses their significance. In particular, it sketches a positive account of how many sensory imaginings get to be about what they are about, which explains how the causal history of our mental imagery can prevent us from succeeding in imagining what we intended. (shrink)

It has been repeatedly suggested that synesthesia is intricately connected with unusual ways of exercising one’s mental imagery, although it is not always entirely clear what the exact connection is. My aim is to show that all forms of synesthesia are forms of (often very different kinds of) mental imagery and, further, if we consider synesthesia to be a form of mental imagery, we get significant explanatory benefits, especially concerning less central cases of synesthesia where the inducer is not sensory (...) stimulation. (shrink)

What is the mental representation that is responsible for implicit bias? What is this representation that mediates between the trigger and the biased behavior? My claim is that this representation is neither a propositional attitude nor a mere association. Rather, it is mental imagery: perceptual processing that is not directly triggered by sensory input. I argue that this view captures the advantages of the two standard accounts without inheriting their disadvantages. Further, this view also explains why manipulating mental imagery is (...) among the most efficient ways of counteracting implicit bias. (shrink)

Historically, mental imagery has been defined as an experiential state - as something necessarily conscious. But most behavioural or neuroimaging experiments on mental imagery - including the most famous ones - don’t actually take the conscious experience of the subject into consideration. Further, recent research highlights that there are very few behavioural or neural differences between conscious and unconscious mental imagery. I argue that treating mental imagery as not necessarily conscious (as potentially unconscious) would bring much needed explanatory unification to (...) mental imagery research. It would also help us to reassess some of the recent aphantasia findings inasmuch as at least some subjects with aphantasia would be best described as having unconscious mental imagery. (shrink)

No presente trabalho, vamos abordar algumas das questões essenciais sobre o imaginário coletivo e suas relações com a realidade e a verdade. Devemos encarar esse assunto em uma estrutura conceptual, seguida pela análise factual correspondente às realidades comportamentais demonstráveis. Adotaremos não apenas a metodologia, mas principalmente os princípios e proposições da filosofia analítica, que com certeza serão evidentes ao longo do estudo e podem ser identificados pelos recursos descritos por Perez[1] : Rabossi (1975) defende a ideia de que a filosofia (...) analítica pode ser identificada considerando-se certas semelhanças familiares. Ele sugere os seguintes traços familiares: uma atitude positiva em relação ao conhecimento científico; uma atitude cautelosa em relação à metafísica; uma concepção da filosofia como uma tarefa conceptual, que toma a análise conteudo como um método; uma estreita relação entre linguagem e filosofia; uma preocupação em buscar respostas argumentativas para problemas filosóficos, e procura de clareza conceptual. Esses conceitos centrais envolvem conteúdos culturais, sociais, religiosos, científicos, filosóficos, morais e políticos, pertencentes à existência individual e coletiva de cada um de nós. Neste artigo, não discutiremos nem demonstraremos. Nosso objetivo não é o de sistematicamente criticar ou evidenciar qualquer coisa, de qualquer maneira. O presente trabalho se baseia na reflexão analítica. Apenas especularemos da maneira mais abrangente e profunda que pudermos e expressaremos os resultados de nossos pensamentos. Não obstante a natureza multidisciplinar do assunto e a abertura metodológica para aceitar contribuições de qualquer campo da ciência, este trabalho pertence ao objetivo da psicologia e ontologia ou, em outros termos, da psicologia social e ontológica. A metodologia livre que norteia tais reflexões abrange e leva em consideração tudo o que se aproxima da coerência com a epistemologia filosófica e psicológica. Essa metodologia não busca alcançar evidências, mas apenas procura a inter-relação entre evidências já existentes, de qualquer natureza e magnitude, inferindo um significado coerente para as coisas reais. Muitos dos grandes pensadores, a qualquer momento, nunca procuraram demonstrações, teorizações ou sistematizações. Esses pensadores apenas pensavam, meditavam e com a iluminação de sua humildade podiam se aproximar da verdade. Eles serão nossa referência e o exemplo a ser seguido. Com certeza, não encontraremos a verdade, mas podemos ter certeza de alguma coisa: em muitos momentos, chegaremos perto da verdade e, em todos os momentos, estaremos nos afastando da inverdade e da mentira. O escopo principal deste estudo é observar como alguns dos atributos evolutivos essenciais da humanidade, como criatividade, imaginação e associação, podem se tornar uma doença perigosa, abrigada nas sombras enevoadas da inteligência. (shrink)

​Imagination will remain a mystery—we will not be able to explain imagination—until we can break it into parts we already understand. Explaining Imagination is a guidebook for doing just that, where the parts are other ordinary mental states like beliefs, desires, judgments, and decisions. In different combinations and contexts, these states constitute cases of imagining. This reductive approach to imagination is at direct odds with the current orthodoxy, according to which imagination is a sui generis mental state or process—one with (...) its own inscrutable principles of operation. Explaining Imagination upends that view, showing how, on closer inspection, the imaginings at work in hypothetical reasoning, pretense, the enjoyment of fiction, and creativity are reducible to other familiar mental states—judgments, beliefs, desires, and decisions among them. Crisscrossing contemporary philosophy of mind, cognitive science, and aesthetics, Explaining Imagination argues that a clearer understanding of imagination is already well within reach. (shrink)

What triggers the execution of actions? What happens in that moment when an action is triggered? What mental state is there at the moment of action-execution that was not there a second before? My aim is to highlight the importance of a thus far largely ignored kind of mental state in the discussion of these old and much-debated questions: motor imagery. While there have been a fair amount of research in psychology and neuroscience on motor imagery in the last 30 (...) years or so, it is only recently that we start to understand the important role motor imagery plays in action initiation. And if, as these findings suggest, motor imagery plays an important role in action initiation, we can make progress not only in understanding action initiation in general but also in understanding what goes wrong in akratic actions and in relapse actions. Finally, this new picture of action-initiation also has far-reaching consequences for the relation between motivation and causation in naturalistic action-explanations. (shrink)

If the sight of cortically blind people were restored, could they visually recognize a cube or a sphere? This is Molyneux’s question. I argue that the answer to this question depends on the specificities of the mental setup of these cortically blind people. Some cortically blind people have (sometimes quite vivid) visual imagery. Others don’t. The answer to Molyneux’s question depends on whether the blind subjects have had visual imagery before their sight was restored. If they did, the answer to (...) Molyneux’s question is yes, if they didn’t, the answer is no. There is no generic answer to Molyneux’s question. (shrink)

Short‐term memory in vision is typically thought to divide into at least two memory stores: a short, fragile, high‐capacity store known as iconic memory, and a longer, durable, capacity‐limited store known as visual working memory (VWM). This paper argues that iconic memory stores icons, i.e., image‐like perceptual representations. The iconicity of iconic memory has significant consequences for understanding consciousness, nonconceptual content, and the perception–cognition border. Steven Gross and Jonathan Flombaum have recently challenged the division between iconic memory and VWM by (...) arguing against the idea of capacity limits in favor of a flexible resource‐based model of short‐term memory. I argue that, while VWM capacity is probably governed by flexible resources rather than a sharp limit, the two memory stores should still be distinguished by their representational formats. Iconic memory stores icons, while VWM stores discursive (i.e., language‐like) representations. I conclude by arguing that this format‐based distinction between memory stores entails that prominent views about consciousness and the perception–cognition border will likely have to be revised. (shrink)

This chapter has four parts. I distinguishes some types of perceptual skills and highlights their importance in everyday perception. II identifies a well-studied class of perceptual skills: cases of perceptual expertise. III discusses a less studied possible instance of perceptual skill: picture perception. Finally, IV outlines some important mechanisms underlying perceptual skills, with special emphasis on attention and mental imagery.

In this work, we will approach some of the essential questions about the collective imaginary and their relations with reality and truth. We should face this subject in a conceptual framework, followed by the corresponding factual analysis of demonstrable behavioral realities. We will adopt not only the methodology, but mostly the tenets and propositions of the analytic philosophy, which for sure will be apparent throughout the study, and may be identified by the features described by Perez : Rabossi (1975) defends (...) the idea that analytic philosophy can be identified by considering certain family resemblances. He suggests the following family traits: a positive attitude toward scientific knowledge; a cautious attitude toward metaphysics; a conception of philosophy as a conceptual task, which takes conceptual analysis as a method; a close relationship between language and philosophy; a concern with seeking argumentative answers to philosophical problems; search for conceptual clarity Perez, Diana Ines, "Analytic Philosophy in Latin America”, The Stanford Encyclopedia of Philosophy ). These core concepts involve cultural, social, religious, scientific, philosophic, moral, and political contents, belonging to the individual and collective existence of each one of us. In this paper, we will not debate nor demonstrate. Our purpose is not to systematically methodize, criticize, or bring to evidence anything, anyhow. The present work grounds itself on analytical reflection. We will just speculate the most comprehensive and profound way we can and express the results of our thoughts. Notwithstanding the multidisciplinary nature of the subject and the methodological openness for accepting contributions from any field of science, this work belongs to the aim of psychology and ontology or, in other terms, social and ontological psychology. The free methodology guiding such reflections embraces and takes into account everything approaching coherence with the philosophical and psychological epistemology. This methodology does not pursue reaching evidence but just looks for the interrelation among already existing evidence, of any nature and magnitude, inferring a coherent meaning to the real things. Many of the great thinkers at any time never searched for demonstrations, theorizations, or systematizations. These thinkers just thought, meditated, and with the enlightenment of their humility could approach the truth. They will be our reference and the example to be followed. For sure, we will not find the truth, but we may be sure about something: in many moments, we will get close to the truth, and in all moments, we will be retreating from untruth and lie. The main scope of this paper is to observe how some of the essential evolutionary attributes of humankind, like creativity, imagination, and association, can become a hazardous sickness, sheltered in the misty shadows of the intelligence. (shrink)

Nanay (2017) argues for unconscious mental imagery, inter alia based on the assumption that successful performance in imagery tasks requires the manipulation of mental imagery. I challenge this assumption with the help of results presented in Shepard and Metzler (1971), Zeman et al. (2010), and Keogh and Pearson (2018). The studies suggest that imagery tasks can be successfully performed by means of cognitive/propositional strategies which do not rely on imagery.

Action-based theories of cognition place primary emphasis upon the role that agent-environment coupling plays in the emergence of psychological states. Prima facie, mental imagery seems to present a problem for some of these theories because it is understood to be stimulus-absent and thus thought to be decoupled from the environment. However, mental imagery is much more multifaceted than this “naïve” view suggests. Focusing on a particular kind of imagery, comparative mental imagery generation, this paper demonstrates that although such imagery is (...) stimulus-absent, it is also stimulus-sensitive. Exhibiting stimulus-sensitivity is sufficient for a process to qualify as coupled to the environment. The notion of variant coupling is explicated as the coupling of a cognizer’s perceptual system to variant environmental information. By demarcating the categories of stimulus-absent and stimulus-sensitive cognition, and variant and invariant coupling, this paper expands the conceptual apparatus of action-based theories, suggesting not only a way to address the problem that comparative mental imagery generation presents, but perhaps a way to account for other forms of imagery too. (shrink)

Fictions evoke imagery, and their value consists partly in that achievement. This paper offers analysis of this neglected topic. Section 2 identifies relevant philosophical background. Section 3 offers a working definition of imagery. Section 4 identifies empirical work on visual imagery. Sections 5 and 6 criticize imagery essentialism, through the lens of genuine fictional narratives. This outcome, though, is not wholly critical. The expressed spirit of imagery essentialism is to encourage philosophers to ‘put the image back into the imagination’. The (...) weakened conclusion is that while an image is not essential to imagining, it should be returned to our theories of imagination. (shrink)

One distinct interest in self-knowledge concerns whether one can know about one’s own mental states and processes, how much, and by what methods. One broad distinction is between accounts that centrally claim that we look inward for self-knowledge (introspective methods) and those that claim that we look outward for self-knowledge (transparency methods). It is here argued that neither method is sufficient, and that we see this as soon as we move beyond questions about knowledge of one’s beliefs, focusing instead on (...) how one distinguishes, for oneself, one’s veridical visual memories from mere (non-veridical) visual images. Given robust psychological and phenomenal similarities between episodic memories and mere imagery, the following is a genuine question that one might pose to oneself: “Do I actually remember that happening, or am I just imagining it?” After critical analysis of the transparency method (advocated by Byrne 2010, following Evans 1982) to this latter epistemological question, a brief sketch is offered of a more holistic and inferential method for acquisition of broader self-knowledge (broadly following the interpretive-sensory access account of Carruthers 2011). In a slogan, knowing more of the mind requires using more of the mind. (shrink)

The role of intuition in Kant’s account of experience receives perennial philosophical attention. In this essay, I present the textual case that Kant also makes extensive reference to what he terms “images” that are generated by the imagination. Beyond this, as I argue, images are fundamentally distinct from empirical and pure intuitions. Images and empirical intuitions differ in how they relate to sensation, and all images (even “pure images”) actually depend on pure intuitions. Moreover, all images differ from intuitions in (...) their structure or format. I then turn to a question that naturally arises on the resulting view: if the imagination produces images, and if images are fundamentally distinct from intuitions, then how do intuitions relate to the imagination? I outline reasons for thinking that intuitions and their essential features do not depend on the imagination at all. Though this essay does not decisively argue for this thesis, the resulting view provides a clear account of the distinction between the senses and the imagination in Kant’s theory of sensibility. (shrink)

This is the introductory chapter to the anthology: Inner Speech: New Voices, to be published in fall 2018 by OUP. It gives an overview of current debates in philosophy, psychology, and neuroscience concerning inner speech, and situates the chapters of the volume with respect to those debates.

How does visual imagination differ from visual perceptual experience? And how should we describe experiences of visual imagery? Moreover how can people who have visual imagery convey what it is like to have it to those who have never had it – congenital aphantisics? This paper addresses these questions using examples of illusions and other perceptual phenomena to hone in on the answers.

У статті проаналізовано відображення сотеріологічних (пов’язаних із церковним ученням про спасіння) мотивів у проповіді Леонтія Карповича «Наука в неділю перед Різдвом». Розглянуто характеристику образу Спасителя-Месії, простежено зв’язок індивідуальної та загальної сотеріології у тексті Карповича, приділено увагу практичним рекомендаціям, які автор дає своїй пастві для того, щоб належно підготуватися до зустрічі свята Різдва.

Visual imagery is a form of sensory imagination, involving subjective experiences typically described as similar to perception, but which occur in the absence of corresponding external stimuli. We used the Activation Likelihood Estimation algorithm (ALE) to identify regions consistently activated by visual imagery across 40 neuroimaging studies, the first such meta-analysis. We also employed a recently developed multi-modal parcellation of the human brain to attribute stereotactic co-ordinates to one of 180 anatomical regions, the first time this approach has been combined (...) with the ALE algorithm. We identified a total 634 foci, based on measurements from 464 participants. Our overall comparison identified activation in the superior parietal lobule, particularly in the left hemisphere, consistent with the proposed ‘top-down’ role for this brain region in imagery. Inferior premotor areas and the inferior frontal sulcus were reliably activated, a finding consistent with the prominent semantic demands made by many visual imagery tasks. We observed bilateral activation in several areas associated with the integration of eye movements and visual information, including the supplementary and cingulate eye fields (SCEFs) and the frontal eye fields (FEFs), suggesting that enactive processes are important in visual imagery. V1 was typically activated during visual imagery, even when participants have their eyes closed, consistent with influential depictive theories of visual imagery. Temporal lobe activation was restricted to area PH and regions of the fusiform gyrus, adjacent to the fusiform face complex (FFC). These results provide a secure foundation for future work to characterise in greater detail the functional contributions of specific areas to visual imagery. (shrink)

This study examines the relation of language use to a person’s ability to perform categorization tasks and to assess their own abilities in those categorization tasks. A silent rhyming task was used to confirm that a group of people with post-stroke aphasia (PWA) had corresponding covert language production (or “inner speech”) impairments. The performance of the PWA was then compared to that of age- and education-matched healthy controls on three kinds of categorization tasks and on metacognitive self-assessments of their performance (...) on those tasks. The PWA showed no deficits in their ability to categorize objects for any of the three trial types (visual, thematic, and categorial). However, on the categorial trials, their metacognitive assessments of whether they had categorized correctly were less reliable than those of the control group. The categorial trials were distinguished from the others by the fact that the categorization could not be based on some immediately perceptible feature or on the objects’ being found together in a type of scenario or setting. This result offers preliminary evidence for a link between covert language use and a specific form of metacognition. (shrink)

Hallucination is a big deal in contemporary philosophy of perception. The main reason for this is that the way hallucination is treated marks an important stance in one of the most hotly contested debates in this subdiscipline: the debate between 'relationalists' and 'representationalists'. I argue that if we take hallucinations to be a form of mental imagery, then we have a very straightforward way of arguing against disjunctivism: if hallucination is a form of mental imagery and if mental imagery and (...) perception have some substantive common denominator, then a fortiori, perception and hallucination will also have a substantive common denominator. (shrink)

Look at a red apple. Now close your eyes and visualize this apple. Your perceptual state and your imagery of the apple are very similar in some respects. They are also different in some respects. The aim of this paper is to address three questions about the relation between perception and imagination: -/- (a) How similar are perception and imagination and what explains this similarity? (b) How different are perception and imagination and what explains this difference? (c) How do perception (...) and imagination interact? (shrink)

Despite the ubiquity of inner speech in our mental lives, methods for objectively assessing inner speech capacities remain underdeveloped. The most common means of assessing inner speech is to present participants with tasks requiring them to silently judge whether two words rhyme. We developed a version of this task to assess the inner speech of a population of patients with aphasia and corresponding language production deficits. As expected, patients’ performance on the silent rhyming task was severely impaired relative to controls. (...) More surprisingly, however, patients’ performance on this task did not correlate with their performance on a variety of other standard tests of overt language abilities. In particular, patients who were generally unimpaired in their abilities to overtly name objects during confrontation naming tasks, and who could reliably judge when two words spoken to them rhymed, were still severely impaired (relative to controls) at completing the silent rhyme task. This seems to suggest that inner speech was more severely impaired in these patients than outer speech. However, these results should also cause us to critically reflect on the relation between inner speech and silent rhyme judgments more generally. (shrink)

The aim of this paper is to argue that the phenomenal similarity between perceiving and visualizing can be explained by the similarity between the structure of the content of these two different mental states. And this puts important constraints on how we should think about perceptual content and the content of mental imagery.

This thesis attempts to address the philosophical implications of the N, N-Dimethyltryptamine (DMT) research of Dr. Rick Strassman. Strassman concludes that the psychedelic properties of DMT represent a proper biological starting point for discussing spiritual and near-death experiences. My research attempts to incorporate philosophical elements from the philosophy of mind and philosophy of religion/mysticism to give an accurate account of some of the philosophical issues worth exploring for future research. One of the essential patterns in this thesis is to trace (...) the research and conclusions of Strassman, compare them with the philosophical issues in the contemporary philosophy of mind and to address the problems of spiritual qualia and mystical experience. Part of the issue stems from understanding a theoneurological (brain mediated prophetic/spiritual communication) account for spiritual experiences within the framework of naturalism/supernaturalism philosophy. Here, I decipher the problems of qualitative distinctions amongst spiritual and nonspiritual experiences and how consciousness plays an essential role in this process. (shrink)

Hallucinations occur in a wide range of organic and psychological disorders, as well as in a small percentage of the normal population According to usual definitions in psychology and psychiatry, hallucinations are sensory experiences which present things that are not there, but are nonetheless accompanied by a powerful sense of reality. As Richard Bentall puts it, “the illusion of reality ... is the sine qua non of all hallucinatory experiences” (Bentall 1990: 82). The aim of this paper is to find (...) out what lends an experience ‘a sense of reality’: what features are required for an experience to feel ‘real’, in the relevant sense? I will investigate the claim that phenomenological features are largely responsible for a sense of reality, and will find this claim wanting. My suggestion is that a sense of reality is created and sustained by the larger nexus of the subject's beliefs. (shrink)

The objective of this article is twofold. In the first part, I discuss two issues central to any theoretical inquiry into mental imagery: embodiment and consciousness. I do so against the backdrop of second-generation cognitive science, more specifically the increasingly popular research framework of embodied cognition, and I consider two caveats attached to its current exploitation in narrative theory. In the second part, I attempt to cast new light on readerly mental imagery by offering a typology of what I propose (...) to be its four basic varieties. The typology is grounded in the framework of embodied cognition and it is largely compatible with key neuroscientific and other experimental evidence produced within the framework. For each imagery variety, I make some elementary suggestions as to how it may typically be cued by distinct narrative strategies. (shrink)

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)

Defined as vicarious sensorimotor experiencing, mental imagery is a powerful source of aesthetic enjoyment in everyday life and, reportedly, one of the commonest things readers remember about literary narratives in the long term. Furthermore, it is positively correlated with other dimensions of reader response, most notably with emotion. Until recent decades, however, the phenomenon of mental imagery has been largely overlooked by modern literary scholarship. As an attempt to strengthen the status of mental imagery within the literary and, more generally, (...) aesthetic discipline, this dissertation proposes an analysis positioned at a confluence of literary theory and the cognitive sciences, especially the emergent research framework of embodied cognition. Questions asked throughout the dissertation include the following: a) What are the basic varieties of mental imagery in the reading of literary narrative? b) By what contents or narrative strategies are they most likely to be prompted? c) What is it like to experience a mental image of a particular variety? d) What are its psychophysiological underpinnings? e) How does a mental image of a particular variety relate to perception? f) How does it relate to higher-order meaning-making? Four prototypical imagery varieties are distinguished on the basis of two variables with two values each (referential vs. verbal domain; inner vs. outer stance). Gradual transitions and in-between imagery varieties are acknowledged. The imagery typology and related hypotheses are grounded in introspection but carefully supported with indirect empirical evidence and, whenever possible, formulated so as to facilitate direct validation. (shrink)

It's often hypothesized that the structure of mental representation is map-like rather than language-like. The possibility arises as a counterexample to the argument from the best explanation of productivity and systematicity to the language of thought hypothesis—the hypothesis that mental structure is compositional and recursive. In this paper, I argue that the analogy with maps does not undermine the argument, because maps and language have the same kind of compositional and recursive structure.

In this paper, I oppose the common assumption that visual descriptions in prose fiction are imageable by virtue of perceptual mimesis. Based on introspection as well as convergent support from cognitive science and other disciplines, I argue that visual description (and the mental imagery it elicits), unlike narrative (and the mental imagery it elicits), often stands in no positive relation to perceptual mimesis because it lacks a structural counterpart in perceptual experience. I present an alternative way of defining the kind (...) of mental imagery elicited by visual descriptions, and propose a number of text variables underlying the imageability or non-imageability of any such description. (shrink)

Drawing on research in narrative theory and literary aesthetics, text and discourse processing, phenomenology and the experimental cognitive sciences, this paper outlines an embodied theory of presence in the reading of literary narrative. Contrary to common assumptions, it is argued that there is no straightforward relation between the degree of detail in spatial description on one hand, and the vividness of spatial imagery and presence on the other. It is also argued that presence arises from a first-person, enactive process of (...) sensorimotor simulation/ resonance, rather than from mere visualizing from the perspective of a passive, third-person observer. In sections 1 to 3, an inter-theoretical argument is presented, proposing that presence may be effectively cued by explicit references to object -directed bodily movement. In section 4, an attempt is made at explaining which ways of embedding such references in the narrative may be particularly productive at eliciting presence. (shrink)

The Perky experiments are taken to demonstrate the phenomenal similarity between perception and visualization. Robert Hopkins argues that this interpretation should be resisted because it ignores an important feature of the experiments, namely, that they involve picture perception, rather than ordinary seeing. My aim is to point out that the force of this argument depends on one’s views on picture perception. On what I take to be the most mainstream account of picture perception, Hopkins’s argument does not work. But even (...) if we accept Hopkins’s own account, we have good reasons to believe that his conclusion does not follow. (shrink)

Imaginative representations are crucial to the generation of action--both pretense and plain action. But well-known theories of imagination on offer in the literature [1] fail to describe how perceptually-formatted imaginings (mental images) and motor imaginings function in the generation of action and [2] fail to recognize the important fact that spatially rich imagining can be integrated into one's perceptual manifold. In this paper, I present a theory of imagining that shows how spatially rich imagining functions in the generation of action. (...) I also describe the imaginative structures behind two under-explored forms of action: semi-pretense and pretense layering. In addition, I suggest that my theory of imagining meshes better than the competitors with current work in cognitive and affective neuroscience. (shrink)

The notion of “representation” is central to Kant’s transcendental philosophy. But naturalism and mind-body reductionism tend to reduce talk of (first-person) representation to stories of (third-person) causality and evolution. How does Kant fare in this context?

The relationship between perceptual experience and memory can seem to pose a chal- lenge for conceptualism, the thesis that perceptual experiences require the actualization of conceptual capacities. Since subjects can recall features of past experiences for which they lacked corresponding concepts at the time of the original experience, it would seem that a subject’s conceptual capacities do not impose a limit on what he or she can experience perceptually. But this conclusion ignores the fact that concepts can be composed of (...) other simpler concepts that a subject possessed earlier, and that de- monstrative capacities can explain how a subject can experience a particular feature of her environment, even when she lacks a fully general concept for that feature. Using these resources, conceptualism can explain the relation between perceptual experience and memory. Nevertheless, a puzzle remains for the defender of conceptualism. A cer- tain view about the relation between perceptual experience and mental imagery in epi- sodic memory – that imagery in recall matches the experience retained in it – can make it difficult to understand how conceptualism could be true. For if a subject’s conceptual capacities determine what the phenomenology of an experience (or memory of it) is like, then one would expect a perceptual experience and its recall in memory to differ in phenomenology if they involve different concepts. In this essay, I solve this puzzle for conceptualism by undermining the assumption that there is a match between im- agery in episodic memory and the phenomenal character of experience. (shrink)

In this paper, Lévinas’s criticisms and reformulations of Sartre’s phenomenology of imagination, in the early text “Reality and its Shadow,” are explored in detail. Levinas's own views on imagination and art are shown to be intimately linked to his critique of Sartrean temporality, insofar as they rely on a renewed phenomenological examination of sensation. As a result, understanding Lévinas’s discussion of the image provides benefits for grasping his notion of the instant and its importance for some of his own positions (...) vis-à-vis temporality, e.g. on the future and death. The manner in which Lévinas takes issue with Sartre through a phenomenology of the image and and its composition in sensation is first investigated by looking at Lévinas’s novel choice to situate his descriptions of the image with respect to the function and power of art. Nevertheless, despite this crucial decision on Lévinas’s part, departing from earlier phenomenological accounts, there are clear parallels can be drawn between Lévinas’s and Sartre’s descriptions of the image. The similarites and differences between their treatments of the image and the role played therein by the materiality of sensation are then elucidated in terms of the ‘amphiboly’ of the image, distinguishing the image in both its representational and anti-representational characteristics. From there, we proceed to examine the amphiboly of the image according to its temporality attributes, seeing how for Lévinas and Sartre the temporality of the image, as that of an instant, relates to the temporality of consciousness in general. (shrink)