Mimesis is one of the oldest, most fundamental concepts in Western aesthetics. This book offers a new, searching treatment of its long history at the center of theories of representational art: above all, in the highly influential writings of Plato and Aristotle, but also in later Greco-Roman philosophy and criticism, and subsequently in many areas of aesthetic controversy from the Renaissance to the twentieth century. Combining classical scholarship, philosophical analysis, and the history of ideas--and ranging across discussion of poetry, painting, (...) and music--Stephen Halliwell shows with a wealth of detail how mimesis, at all stages of its evolution, has been a more complex, variable concept than its conventional translation of "imitation" can now convey. Far from providing a static model of artistic representation, mimesis has generated many different models of art, encompassing a spectrum of positions from realism to idealism. Under the influence of Platonist and Aristotelian paradigms, mimesis has been a crux of debate between proponents of what Halliwell calls "world-reflecting" and "world-simulating" theories of representation in both the visual and musico-poetic arts. This debate is about not only the fraught relationship between art and reality but also the psychology and ethics of how we experience and are affected by mimetic art. Moving expertly between ancient and modern traditions, Halliwell contends that the history of mimesis hinges on problems that continue to be of urgent concern for contemporary aesthetics. (shrink)

Inspired by a debate between Noam Chomsky and Jean Piaget, this work traces the development of natural history from Aristotle to Darwin, and demonstrates how the science of plants and animals has emerged from the common conceptions of folkbiology.

This paper (1) sketches a phenomenological analysis of visual mental imagery; (2) applies this analysis to the mental imagery debate in cognitive science; (3) briefly sketches a neurophenomenological approach to mental imagery; and (4) compares the results of this discussion with Dennett’s heterophenomenology.

Drawing on his own experiences of imagining, Edward S. Casey describes the essential forms that imagination assumes in everyday life. In a detailed analysis of the fundamental features of all imaginative experience, Casey shows imagining to be eidetically distinct from perceiving and defines it as a radically autonomous act, involving a characteristic freedom of mind. A new preface places Imagining within the context of current issues in philosophy and psychology.

"--Robert Fagles, translator of Homer's "Iliad" "I finished "Dreaming by the Book" feeling that fundamental aspects of the nature of consciousness had been peeled open and exposed to view."--Stephen M. Kosslyn, author of "Image and Brain".

The Phenomenological Mind is the first book to properly introduce fundamental questions about the mind from the perspective of phenomenology. Key questions and topics covered include: What is phenomenology? naturalizing phenomenology and the empirical cognitive sciences phenomenology and consciousness consciousness and self-consciousness, including perception and action time and consciousness, including William James intentionality the embodied mind action knowledge of other minds situated and extended minds phenomenology and personal identity Interesting and important examples are used throughout, including phantom limb syndrome, blindsight (...) and self-disorders in schizophrenia, making The Phenomenological Mind an ideal introduction to key concepts in phenomenology, cognitive science and philosophy of mind. (shrink)

"Perception is not something that happens to us, or in us," writes Alva Noe. "It is something we do." In Action in Perception, Noe argues that perception and perceptual consciousness depend on capacities for action and thought — that ...

Evidence from functional neuroimaging of the human brain indicates that information about salient properties of an object¿such as what it looks like, how it moves, and how it is used¿is stored in sensory and motor systems active when that information was acquired. As a result, object concepts belonging to different categories like animals and tools are represented in partially distinct, sensory- and motor property-based neural networks. This suggests that object concepts are not explicitly represented, but rather emerge from weighted activity (...) within property-based brain regions. However, some property-based regions seem to show a categorical organization, thus providing evidence consistent with category-based, domain-specific formulations as well.Acronyms and DefinitionsBiological motion: motion of animate agents characterized by highly flexible, fully articulated motion vectors, in contrast to the rigid, unarticulated motion vectors associated with most tools.Category-specific disorder: a relatively greater impairment in retrieving information about members of one superordinate object category (e.g., animals) as compared with other categories following brain injury or diseaseIPS: intraparietal sulcusLO: lateral occipital cortexObject concept: memory representations of a class or category of objects. Necessary for numerous cognitive functions including identifying an object as a member of a specific category and drawing inferences about object propertiespMTG: posterior middle temporal gyruspSTS: posterior superior temporal sulcusRepetition suppression: decreased neural response associated with repeated presentation of an identical, or a semantically/conceptually related, stimulusSD: semantic dementiaSemantic memory: a large division of long-term memory containing knowledge about the world including facts, ideas, beliefs, and conceptsSemantic priming: a short-lasting facilitation in processing a stimulus due to the prior presentation of a semantically related stimulusTMS: transcranial magnetic stimulationVPMC: ventral premotor cortex. (shrink)