In this paper we explore the notion of rehearsal as a way to develop an embodied and enactive account of imagining. After reviewing the neuroscience of motor imagery, we argue, in the context of performance studies, that rehearsal includes forms of imagining that involve motor processes. We draw on Sartre’s phenomenology of imagining which also suggests that imagining involves motor processes. This research in neuroscience and phenomenology, supports the idea of an embodied and enactive account of imagination.

The aim of the article is to further assess and develop feminist standpoint theory by introducing the notion of the `situated imagination' as constituting an important part of this theory as well as that of `situated knowledge'. The article argues that the faculty of the imagination constructs as well as transforms, challenges and supersedes both existing knowledge and social reality. However, like knowledge, it is crucial to theorize the imagination as situated, that is, as shaped and conditioned (although not determined) (...) by social positioning. (shrink)

A common objection to sense-datum theories of perception is that they cannot give an adequate account of the fact that introspection indicates that our sensory experiences are directed on, or are about, the mind-independent entities in the world around us, that our sense experience is transparent to the world. In this paper I point out that the main force of this claim is to point out an explanatory challenge to sense-datum theories.

This paper considers the epistemic role that embodiment plays in imagining. We focus on two aspects of embodied cognition understood in its strong sense: explicit motoric processes related to performance, and neuronal processes rooted in bodily and action processes, and describe their role in imagining. The paper argues that these two aspects of strongly embodied cognition can play distinctive and positive roles in constraining imagining, thereby complementing Amy Kind's argument for the epistemic relevance of imagination "under constraints" and Magdalena Balcerak (...) Jackson's argument for justification by imagination. (shrink)

Episodic memory is usually regarded in a Conceptualist light, in the sense of its being dependent upon the grasp of concepts directly relevant to the act of episodic recollection itself, such as a concept of past times and of the self as an experiencer. Given this view, its development is typically timed as being in the early school-age years. We present a minimalist, Non-Conceptualist approach in opposition to this view, but one that also exists in clear contrast to the kind (...) of minimalism espoused by Clayton and Dickinson with regard to memory in food-caching birds. While emphasising the nonconceptual elements of episodic memory we also insist on the essentially phenomenological nature of the memory. We propose the third year of life as a plausible onset period. Our view is rooted in Kantian assumptions about the spatiotemporal content of experience and about the synthetic unity of experience—and thus of re-experience. We answer two objections to this position. (shrink)

This paper suggests that design ethics can be enriched by considering ethics beyond the traditional approaches of deontology, teleology, and virtue ethics. Design practice and design ethics literature tend to frame ethics in design according to these approaches. The paper argues that a fundamental and concrete ethical understanding of design ethics can also be found in Sartrean Existentialism, a philosophy centered on the individual and his/her absolute freedom. Through the analysis of four core concepts of Sartrean Existentialism that define a (...) specific ethics, the paper illustrates why such philosophical approach is relevant to design ethics. The paper also shows how Sartrean Existentialism and its ethics apply to critical issues of professional practice in design such as professional engagement and design decision-making. The paper finally argues that Sartre’s philosophy and ethics is a perspective that offers the designer in design practice a solid ground to engage his/her ethical dilemma. (shrink)

There is, to all appearances, a philosophic hostility to fashionable dress. Studying this contempt, this paper examines likely sources in philosophy's suspicion of change; anxiety about surfaces and the inessential; failures in the face of death; and the philosophic disdain for, denial of, the human body and human passivity. If there are feminist concerns about fashion, they should be radically different from those of traditional philosophy. Whatever our ineluctable worries about desire and death, whatever our appropriate anger and impatience with (...) the merely superficial, whatever our genuine need to mark off the serious from the trivial, feminism may be a corrective therapy for philosophy's bad humor and self-deception, as these manifest themselves when the subject turns to beautiful clothes. (shrink)

This article is concerned with an apparent similarity between the conceptions of human nature found in the early work of Jean-Paul Sartre and certain forms of transhumanism, and the role of a particular conception of human nature in the application of transhumanist ideas to debates on performance-enhancement. The article begins with a brief outline of major features of Sartre's phenomenological work (?I). The article then gives a more detailed account of the relationship between Sartre's phenomenological ontology and the view of (...) human nature expressed in Existentialism and Humanism (?II). This is followed by an outline of the central features of Sartre's later work that have a bearing on his view of human nature (?III). This allows the articulation of two possible different uses of the expression ?human nature?. A contrast is drawn between the more satisfactory of the two and the view of human nature that appears to motivate transhumanism (?IV). The article will conclude by considering the implications of Sartre's view on human nature for the advocacy of what purports to be a transhumanist project in relation to performance-enhancement in sport (?V). (shrink)

The present study utilized research design in which six different poems were given repeated readings by groups of persons in which there were an equal number of males and females and of introverts and extraverts as assessed by the Myers- Briggs Type Indicator (Myers, 1962). Assessments of readers’ experience of the poem were obtained immediately after an initial reading and again after repeated readings of the poem. Subjects' general descriptions of their experience of the poems were reduced to fundamental descriptions (...) (Colaizzi, 1969) by a three-step procedure (preliminary listing, grouping, and constituent definition) and then resynthesized in a fourth step that placed the constituents into a coherent general description. As understanding increased, readers experience became less personal and more closely related to that intended by the poet. The general trend was increased imagery but attenuation of emotional experience as both were experienced as a part of or derived more directly from the poem itself. (shrink)

The essay traces the double, phenomenological and psychological, background of Sartre’s theory of the imagination. Insofar as these two phenomenological and psychological currents are equally influential for Sartre’s theory of the imagination, his intellectual project is situated in an inter-disciplinary research area which combines the descriptive analyses of Edmund Husserl with the clinical reports and psychological theories of Pierre Janet. While Husserl provides the foundation for the prevailing theory of imagination as pictorial representation, Janet’s findings on obsessive behavior enrich an (...) alternative current in Sartre’s thinking about imagination as spontaneous and self-determined creativity. (shrink)

Many educators persist in opposing art to intellect. This is incompatible with modern understandings of the interdependence of cognition and feeling. It also causes neglect of the value of art as one medium for presenting and exploring ideas. Historical examples add weight to the point by showing the richness of thought that has often informed visual art. The educational waste and cultural damage consequent on neglecting this aspect of art is indicated and remedial approaches are suggested.