This paper introduces a novel conceptualisation of mental imagery; namely, that is grease for the mind’s gears (MGT). MGT is not just a metaphor. Rather, it describes an important and overlooked higher-order function of mental imagery: that it aids various mental faculties discharge their characteristic functional roles. MGT is motivated by reflection on converging evidence from clinical, experimental and social psychology and solves at least two neglected conceptual puzzles about mental imagery. The first puzzle concerns imagery’s (...) architectural promiscuity; that is, its ability to assist diverse mental faculties and perform many different functions when doing so. The second puzzle concerns how to square imagery’s architectural promiscuity with its psychopathological relevance; that is, its being a maintaining cause, and possibly even a partial constituent, of several psychological disorders, including post-traumatic stress disorder, bipolar disorder and major depressive disorder. Mental imagery helps and harms human psychology to extreme degrees and this is something that calls for elucidation. MGT says that instead of facing perplexing heterogeneities here, we instead face a significant unity. On this score, MGT is argued to be superior to the currently dominant conception of imagery in the philosophical literature; namely, as a perception-like state of mind. (shrink)

Shepard has supposed that the mind is stocked with innate knowledge of the world and that this knowledge figures prominently in the way we see the world. According to him, this internal knowledge is the legacy of a process of internalization; a process of natural selection over the evolutionary history of the species. Shepard has developed his proposal most fully in his analysis of the relation between kinematic geometry and the shape of the motion path in apparent motion displays. We (...) argue that Shepard has made a case for applying the principles of kinematic geometry to the perception of motion, but that he has not made the case for injecting these principles into the mind of the percipient. We offer a more modest interpretation of his important findings: that kinematic geometry may be a model of apparent motion. Inasmuch as our recommended interpretation does not lodge geometry in the mind of the percipient, the motivation of positing internalization, a process that moves kinematic geometry into the mind, is obviated. In our conclusion, we suggest that cognitive psychologists, in their embrace of internal mental universals and internalization may have been seduced by the siren call of metaphor. Key Words: apparent motion; imagery; internalization; inverse projection problem; kinematic geometry; measurement; metaphors of mind. (shrink)

In a Star Trek: The Next Generation episode, Cpt. Picard is captured and trapped on a planet with an alien captain who speaks a language incompatible with the universal translator, based on their societal historical metaphors. According to Shapiro (2004), the concept of a universal translator removes everything alien from alien languages, and since the Tamarian language refers only to their historical and cultural archetypes, Picard can only establish dialogue by invoking human analogues, such as Gilgamesh. The purpose of this (...) paper is threefold. First, we will tie such communication to standard cognitive models in cognitive linguistics, pioneered by Lakoff and Johnson (1980) and Lakoff (1987). Second, we will show that metaphorical imaging resembling the Tamarian language is already present in our culture, by analyzing Dawkins's (1982) notion of a meme, who presupposes that memes as cultural living structures physically reside in the brain, and comparing that to a common format of a meme in pop culture. We will also contrast this concept with living natural languages such as Wolaytta, using a great number of proverbs, which can be seen as desemanticized metaphors that are used to embody different domains of the social realm of life (Make et al. 2014). Third, we will compare the notion of such a language with the current state of machine-learning and deep-learning techniques for natural language processing of metaphorical phrases, pinpointing that even deep learning today is powerless without sufficient training datasets (cf. Perifanos et al. 2020) or specific known word contexts and embeddings (Rei et al. 2017), compared to the same situation the universal translator was faced with when dealing with the Tamarian language. (shrink)

Metaphors establish connection. Root metaphors--patterns of relational imagery in the language and thought of a culture, in which a diverse group of tenors are related to a single indentifiable class of vehicles--play an important role in organizing our thought, and in bringing a coherence to our vision of the world. This is a political function; root metaphors, as philosopher Stephen Pepper discusses them, are most often found in the works of philosophers remembered as political philosophers. ;The second law of (...) thermodynamics--the law of entropy--holds that in any spontaneous process, usable energy becomes unusable energy. It also suggests that improbable order must succumb, through time, to more probable chaos. The law of entropy has enjoyed a popularity as metaphor unusual for such physics esoterica. In the works of Brooks Adams, Henry Adams, Nicholas Georgescu-Roegen, and Thomas Pynchon, the idea of entropy appears as the fundamental, organizing idea for an economic interpretation of history, a philosophy of history, an ecologically enlightened economic theory, and an encyclopedic novel that apotheosizes modern culture. Analysis of how the entropy metaphor is manifest in the works of these thinkers allows us to judge the strengths and weaknesses of entropy as root metaphor. Analysis of its contemporary popularity affords insight into the politics of the day. Ultimately, the entropy root metaphor serves as the foundation of a refurbished "generating substance" world hypothesis, but the root metaphor itself remains equivocal on the important issue of centralized versus decentralized political organization. (shrink)

An encyclopedic exploration of the images, symbols, motifs, metaphors, figures of speech and literary patterns of the Bible.

Socrates’ burial is dismissed as philosophically irrelevant in Phaedo 115c-e although it had previously been discussed by Plato’s older contemporaries. In Antisthenes’ Kyrsas dialogue describes a visit to Socrates’ tomb by a lover of Socrates who receives protreptic advice in a dream sequence while sleeping over Socrates’ grave. The dialogue is a metaphysical explanation of how Socrates’ spiritual message was continued after death. Plato underplays this metaphorical imagery by lampooning Antisthenes philosophy and his work (Phd. 81b-82e) and subsequently (...) precludes him from an active role in the Phaedo. A similar case is the exclusion of Euclides of Megara. Fragments of a lost Socratic dialogue depict Apollodorus citing an unnamed Megarian in order to justify care for the remains of the dead. Similar mistaken notions explain Kyrsas’ belief when he lusts after Socrates even though he was dead. In spite of these disputes, the philosophers (Euclides, Antisthenes and Plato) each attempted to present Socrates’ moral influence as a force that continued after his death and burial. (shrink)

Descartes and Architecture -/- The article analyses the architectural metaphor in Descartes' Discourse on Method and The Seventh replies. The idea of Descartes' project, introduced to the reader as a construction of a building and planning of a city, is much more indebted to its architectural imagery than, or so its critics say, is "sound" for a philosophical theory. Architecture is an analogon of philosophy in Descartes' texts. By producing a figure of philosopher-architect, Descartes tries to legitimate his philosophical (...) theory using architectural discourse. Descartes always uses the examples of architecture and urban planning when he intends to introduce his great project of a new beginning in philosophy. This new beginning is manifest in two levels: first, as a denial of traditional metaphysics of the Schools in the Discourse, and second, as a denial of one’s own beliefs in the Meditations using methodical doubt. In the conclusion, the article emphasises through Derrida's analysis of metaphor that, given the metaphysical nature of any metaphor, Descartes’ metaphor also cannot appear as a mere rhetorical figure. (shrink)

We think and speak in figures. This is key to our creativity. We re-imagine one thing as another, pretend ourself to be another, do one thing in order to achieve another, or say one thing to mean another. This comes easily because of our abilities both to work out meaning in context and re-purpose words. Figures of speech are tools for this re-purposing. Whether we use metaphor, simile, irony, hyperbole, and litotes individually, or as compound figures, the uses are all (...) rooted in literal meanings. These uses invite us to explore the context to find new meanings, new purposes, beyond the literal. -/- This special issue of Philosophical Studies brings together eight papers on various aspects and applications of figurative speech including: David Hills, Mitch Green, Liz Camp, Ofra Magidor, Larry Horn, Ken Walton, Stephen Barker, and Mihaela Popa-Wyatt. (shrink)

Social advertising often employs persuasive imagery in support of a morally laden cause. These visual arguments can take the form of veridical representations of the given situation or the form of purposeful visual blends. Both visual routes to persuasion have serious ethical issues to confront. In what concerns the purportedly veridical images, controversies about picture retouching and framing have cast many doubts on their success in offering unmediated access to a given reality. Editorial interests have proven far too influential (...) on the destiny of what and how is presented to the audience from the amount of visual material available on a topic. Even when the audience is certain that photos are not doctored, the use of veridical images may be seen as unethical. Their disproportionate affective impact may lead the audience to hold biased opinions, since other concerns may be impossible to capture in a vivid picture. Visual blends may be the answer to this problem, employing the fictional or the figurative to help the viewer grasp the moral anatomy of a given situation. Their generous use of figurative meaning may be seen as their strength and their weakness at the same time. It makes them less likely to face accusations of distorting reality, because they do not claim to be windows on reality per se. At the same time, it makes them vulnerable to interpretations that miss their true point – one might appreciate the artistry of a visual metaphor or a visual pun and fail to consider the statement it makes about a given situation. Contemporary philosophical approaches to the place of visuals in moral persuasion inform my analysis of the use of visual arguments in charity-oriented advertising. (shrink)

Despite the popularity that the embodied cognition thesis has gained in recent years, explicit memories of events personally experienced are still conceived as disembodied mental representations. It seems that we can consciously remember our personal past through sensory imagery, through concepts, propositions and language, but not through the body. In this article, I defend the idea that the body constitutes a genuine means of representing past personal experiences. For this purpose, I focus on the analysis of bodily movements associated (...) with the retrieval of a personal memory, which have certain features that make them different from procedural memories, pragmatic actions and common gestures, as well as other forms of embodied memories found in recent literature. I refer to these as “kinetic memories” and analyse their representative nature as well as their adaptive functions. Kinetic memories are bodily movements in which some event or action that took place in the past can be seen, because they are an externalisation of the subject’s inner intention of representing a past personal experience. Kinetic memories represent a past experience sometimes by imitation of a past movement, and other times through embodied symbols and metaphors. Furthermore, although sometimes they present direct pragmatic benefits, such as communicative benefits, they seem to enhance the whole reexperience of the past event and memory recall, which I argue is one important adaptive value. (shrink)

This paper inquires into literariness, a much neglected problem in translation, from a cognitive poetic perspective; it tries to show the nature of proxy as concerns translation through various illustrations, hence what is termed by Bausse-Beier the proxy principle, and in passing answer the philosophical problem of translatability or untranslatability. Literariness, not limited to literature, may exist in all texts. It can be defined as the form of a text that is suggestive of something, different from that of a text (...) that is not. Any text that is literary is a literary text. Literariness may be realized through the use of metaphors, personifications, imagery, hyperbole and so on, and through the employment of pattern such as alliteration, paranomasia, meter, rhyme and so on. In translating a literary text, a translator should capture the literariness, otherwise the translation fails. However, in the process of translation, some of these features that contribute to the form, such as phonological or prosodic ones, will be definitely lost. If literariness is to be maintained, there should be a way for compensation. Analogy comes to the fore, though translation is by nature analogical; it is employed to reveal the iconicity between signifier and signified through some means of representation. In such an endeavor, optimum relevance should be aimed at so that a good proxy can be ensured: what is in the mind of an original reader should be that in the mind of a translation reader. (shrink)

Hub Zwart's latest book, "The Truth on the Wall: A Psychoanalysis of Knowledge," establishes compelling connections between the literary and the scientific imagination. The author explores how seemingly fantastical literary tropes can serve as reflections of scientific progress. A notable example is the vampire archetype, traditionally depicted as a nocturnal, undead entity that sustains itself by consuming the blood of the living. This imagery, Zwart argues, can be interpreted as a metaphorical representation of scientific developments. He analyzes the (...) central motif of blood exchange between vampire and victim as an allegory for the scientific discourse surrounding blood transfusion in the late 19th century. During this period, blood transfusion posed significant challenges due to the undiscovered nature of blood groups. Furthermore, Zwart draws parallels between vampire-hunting strategies and scientific efforts to combat mysterious, potentially epidemic diseases, viewing both as attempts to control unknown and threatening forces. -/- [In Dutch: In "De waarheid op de wand: psychoanalyse van het weten", het nieuwste boek van Hub Zwart, worden de literaire en de wetenschappelijke verbeelding op inspirerende wijze aan elkaar gekoppeld. Zo blijkt het schijnbaar fantastische beeld van de vampier, de levende dode die in de nachtelijke uren tevoorschijn komt om zich te voeden met het bloed van de levenden, gelezen te kunnen worden als een reflectie op wetenschappelijke ontwikkelingen. De eerste associatie die het beeld van de vampier oproept, de uitwisseling van bloed tussen prooi en slachtoffer, interpreteert Zwart als een verbeelding van het wetenschappelijke debat over bloedtransfusie aan het eind van de 19e eeuw. Bloedtransfusie was destijds nog zeer problematisch omdat men nog niet wist van het bestaan van bloedgroepen. De strategieën die worden ingezet bij het bestrijden van vampiers, ziet Zwart als een beeld voor het wetenschappelijke gevecht tegen onbekende, geheimzinnige ziektes die uit kunnen groeien tot een nauwelijks te bestrijden epidemie. (shrink)

In this paper, I will analyze Rawad El Skaf’s (2017 & 2021) account of thought experiments (TEs) in physics. I will argue that El Skaf’s account is strengthened by taking on Amy Kind’s (2016 & 2018) constraints-based approach to the imagination, which highlights the epistemic significance of imaginative processes. First, I will present El Skaf’s step-by-step structure of TEs wherein he discusses their form, content, and epistemic function. Second, I will explain a canonical TE in physics known as the clock-in-the-box. (...) In turn, I will lay out El Skaf’s analysis of the clock-in-the-box TE. Then, I will present Amy Kind’s constraints-based approach to the imagination. I will then offer three critiques of El Skaf’s account and suggest that each critique is resolved by applying a constraints-based approach to his view. Once the hybrid view is laid out, I will discuss incompatible constraints on the imagination, which I call the home and away constraints. I will argue that a thought experimenter (TEer) may overcome this incompatibility by transforming away constraints into home constraints via metaphor. Lastly, I will argue that physics TEs are special since it is an essential feature of theirs that they ask the TEer to consider incompatible constraints on the imagination. (shrink)

Mental imagery often occurs during testimonial belief transmission: a testifier often episodically remembers or imagines a scene while describing it, while a listener often imagines that scene as it’s described to her. I argue that getting clear on imagery’s psychological roles in testimonial belief transmission has implications for some fundamental issues in the epistemology of testimony. I first appeal to imagery cases to argue against a widespread “internalist” approach to the epistemology of testimony. I then appeal to (...) the same sort of case to argue for an alternative, externalist view. (shrink)

The problem of amodal perception is the problem of how we represent features of perceived objects that are occluded or otherwise hidden from us. Bence Nanay (2010) has recently proposed that we amodally perceive an object's occluded features by imaginatively projecting them into the relevant regions of visual egocentric space. In this paper, I argue that amodal perception is not a single, unitary capacity. Drawing appropriate distinctions reveals amodal perception to be characterized not only by mental imagery, as Nanay (...) suggests, but also by genuinely visual representations as well as beliefs. I conclude with some brief remarks on the role of object-directed bodily action in conferring a sense of unseen presence on an object's occluded features. (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)

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.

We often ascribe possibility to the scenes that are displayed by mental or nonmental sensory images. The paper presents a novel argument for thinking that we are prima facie justified in ascribing metaphysical possibility to what is displayed by suitable visual images, and it argues that many of our imagery‐based ascriptions of metaphysical possibility are therefore prima facie justified. Some potential objections to the arguments are discussed, and some potential extensions of them, to cover nonvisual forms of imagery (...) and nonmetaphysical forms of possibility, are endorsed. (shrink)

The concept of metaphor as primarily a vehicle for conveying ideas, even if unusual ones, seems to me as wrong as the parent idea that a metaphor has a special meaning. I agree with the view that metaphors cannot be paraphrased, but I think this is not because metaphors say something too novel for literal expression but because there is nothing there to paraphrase. Paraphrase, whether possible or not, inappropriate to what is said: we try, in paraphrase, to say it (...) another way. But if I am right, a metaphor doesn't say anything beyond its literal meaning. This is not, of course, to deny that a metaphor has a point, nor that that point can be brought out by using further words.... My disagreement is with the explanation of how metaphor works its wonders. To anticipate: I depend on the distinction between what words mean and what they are used to do. I think metaphor belongs exclusively to the domain of use. It is something brought off by the imaginative employment of words and sentences and depends entirely on the ordinary meanings of those words and hence on the ordinary meanings of the sentences they comprise. Donald Davidson is University Professor of philosophy at the University of Chicago. He is the author of many important essays, including "Actions, Reasons and Causes," "Causal Relations," and "Truth and Meaning," coauthor of Decision-Making: An Experimental Approach, and coeditor of Words and Objections, Semantics of Natural Language, and The Logic of Grammar. (shrink)

Poetry evokes mental imagery in its readers. But how is mental imagery precisely related to poetry? This article 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 article 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 that are liable to be lost in paraphrase. (shrink)

Metaphor plays a central role in changing the architectural process. In order to better appreciate the nature of architectural creativity, generating more positive forms and volumes is required. Exists many conclusions which demonstrate that metaphors plays an important role shaping the design creativity. The aim of this paper is about understanding the exact role of the metaphor in architecture design from the concept of Aristotle to nowadays. Essentially it is the process by which most of the ideas come into being. (...) Metaphors structure our understanding and perceptions. They make our thoughts more interesting and more vivid. There are similar distinct uses of metaphor in architectural criticism, which is often heavily reliant on metaphor both as a form of expression and a tool of analysis. There is a dimension of meanings attached to the various uses of metaphor, ranging from the ornamental view at one hand to the rational view at the other [1].Metaphors role in the ecological design is essential and necessary. Architects use a variety of methods and techniques to enrich the architectural language. This process is accomplished with the infiltration of metaphors as a literary figure. By adopting the models of nature, there is a chance to work more sustainably and produce more sustainable products. Is this the paradigm shift we have been looking for? Maybe biomimicry and nature could be super metaphors in order to develop sustainable design. This paper should take in consideration also the metaphor as a tool implemented into design reflecting either positive or negative reactions. This theory should be explained by concrete examples. The working metaphor in the design process is another important issue to be judged. The aim of this paper is to demonstrate that architectural metaphors corporate in coherent ways with architectonic language shaping its functionality. Metaphor helps to perceive things from a different perspective that is new to us, changing and bringing new ideas. Architectural metaphors can be found everywhere also in the Albanian case. It is very evident how metaphor stretches architectural functionality. (shrink)

What is the relationship between perception and mental imagery? I aim to eliminate an answer that I call perceptualism about mental imagery. Strong perceptualism, defended by Bence Nanay, predictive processing theorists, and several others, claims that imagery is a kind of perceptual state. Weak perceptualism, defended by M. G. F. Martin and Matthew Soteriou, claims that mental imagery is a representation of a perceptual state, a view sometimes called The Dependency Thesis. Strong perceptualism is to be (...) rejected since it misclassifies imagery disorders and abnormalities as perceptual disorders and abnormalities. Weak Perceptualism is to be rejected since it gets wrong the aim and accuracy conditions of a whole class of mental imagery–projected mental imagery–and relies on an impoverished concept of perceptual states, ignoring certain of their structural features. Whatever the relationship between perception and imagery, the perceptualist has it wrong. (shrink)

Maurice Merleau-Ponty is often interpreted as claiming that opportunities for action are directly present in perceptual experience. However, he does not provide much evidence for how or why this would occur, and one can doubt that this is an appropriate interpretation of his phenomenological descriptions. In particular, it could be argued the Merleau-Pontyian descriptions mistakenly attribute pre-perceptual or post-perceptual elements such as allocation of attention or judgment to the perceptual experience itself. This paper argues for the Merleau-Pontyian idea that opportunities (...) for action are present in perceptual experience. It further argues that the phenomenological descriptions can be supported and explained via reference to contemporary research on motor imagery. In particular, it will be argued that non-conscious, covert motor imagery is used to prepare for and regulate skilled actions, and that it is plausible that this imagery combines with perception (likely vision) to create a single experience of the environment as enabling action. The paper will also show that contemporary views on motor imagery are broadly compatible with Merleau-Ponty’s aims. (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)

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)

Metaphorical meaning can be analyzed as triggered by an apparent communicative breach, an incongruity that leads to a default of the presumptive interpretation of a vehicle. This breach can be solved through contextual renegotiations of meaning guided by the communicative intention, or rather the presumed purpose of the metaphorical utterance. This paper addresses the problem of analyzing the complex process of reasoning underlying the reconstruction of metaphorical meaning. This process will be described as a type of abductive (...) argument, aimed at explaining how the vehicle can best contribute to the purpose of the utterance. This type of reasoning involves the analysis of the possible predicates that can be and usually are attributed to the vehicle, and the selection of the one that can support the implicit conclusion constituting the communicative goal of the metaphorical utterance. Metaphorical meaning, in this perspective, becomes the outcome of a complex process of meaning reconstruction aimed at providing the best explanation of the function of the vehicle within a discourse move. (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 (...) class='Hi'>imagery is among the most efficient ways of counteracting implicit bias. (shrink)

Metaphors can be used as crucial tools for reaching shared understanding, especially where an epistemic imbalance of knowledge is at stake. However, metaphors can also represent a risk in intercultural or cross-cultural interactions, namely in situations characterised by little or deficient common ground between interlocutors. In such cases, the use of metaphors can lead to misunderstandings and cause communicative breakdowns. The conditions defining when metaphors promote, and hinder understanding have not been analyzed in detail, especially in intracultural contexts. This study (...) proposes an analysis of metaphors identified within an Italian corpus of diabetes care interviews. Through a coding scheme capturing the types and the probative weights of the linguistic evidence that can be used to detect misunderstandings, the communicative effectiveness of metaphors is indirectly assessed. The quantitative and qualitative analyses show a positive correlation between metaphor use and problematic understanding. A more detailed scrutiny of the interlocutors’ roles and topics of the metaphors points out that most of the problematic metaphors are used by patients, while most of the problematic ones used by providers concern non-clinical matters. These results can be explained as resulting from incorrect presumptions of common ground between the interlocutors. (shrink)

Metaphorical statements surprise us as literal falsehoods, but the interpretation reveals a special motive for the figurative use of the language. Donald Davidson objects to nonliteral meaning: “to suppose a metaphor can be effective only by conveying a coded message is like thinking a joke or a dream makes some statement which a clever interpreter can restate in plain prose.” Taking this remark as my starting point I analyze interpretative strategies for metaphors, jokes, riddles and counterfactual conditionals – all (...) of them involve an initial incongruity and most of them require a certain blending of two different domains. I suggest that the ability to interpret metaphors is based on our ability to apprehend a special cognitive content associated with metaphors. (shrink)

Conceptual metaphors have received much attention in research on discourse about infectious diseases in recent years. Most studies found that conceptual metaphors of war dominate media discourse about disease. Similarly, a great deal of research has been undertaken on the new coronavirus, i.e., COVID-19, especially in the English news discourse as opposed to other languages. The present study, in contrast, analyses the conceptual metaphors used in COVID-19 discourse in French-language newspapers. The study explored the linguistic metaphors used in COVID-19 discourse (...) in these newspapers and conceptual metaphors that underlie and motivate them, using a conceptual metaphor theory framework (CMT). Therefore, two North African French-language newspapers, namely Libération, published in Morocco, and La Presse de Tunisie, published in Tunisia, formed the corpus of the current study. The results showed that the most frequent framing of COVID-19 was in terms of WAR, followed by DISASTER and KILLER, respectively. (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)

Visualizings, the simplest imaginings which employ visual imagery, have certain characteristic features; they are perspectival, for instance. Also, it seems that some but not all of our visualizings are imaginings of seeings. But it has been forcefully argued, for example by M.G.F. Martin and Christopher Peacocke, that all visualizings are imaginings of visual sensations. I block these arguments by providing an account of visualizings which allows for their perspectival nature and other features they typically have, but which also explains (...) how we can visualize things without thereby imagining visual sensations. (shrink)

Aphantasia is a condition that is often characterized as the impaired ability to create voluntary mental images. Aphantasia is assumed to selectively affect voluntary imagery mainly because even though aphantasics report being unable to visualize something at will, many report having visual dreams. We argue that this common characterization of aphantasia is incorrect. Studies on aphantasia are often not clear about whether they are assessing voluntary or involuntary imagery, but some studies show that several forms of involuntary (...) class='Hi'>imagery are also affected in aphantasia (including imagery in dreams). We also raise problems for two attempts to show that involuntary images are preserved in aphantasia. In addition, we report the results of a study about afterimages in aphantasia, which suggest that these tend to be less intense in aphantasics than in controls. Involuntary imagery is often treated as a unitary kind that is either present or absent in aphantasia. We suggest that this approach is mistaken and that we should look at different types of involuntary imagery case by case. Doing so reveals no evidence of preserved involuntary imagery in aphantasia. We suggest that a broader characterization of aphantasia, as a deficit in forming mental imagery, whether voluntary or not, is more appropriate. Characterizing aphantasia as a volitional deficit is likely to lead researchers to give incorrect explanations for aphantasia, and to look for the wrong mechanisms underlying it. (shrink)

This paper examines the mechanisms involved in the interpretation of utterances that are both metaphorical and ironical. For example, when uttering 'He's a real number-cruncher' about a total illiterate in maths, the speaker uses a metaphor with an ironic intent. I argue that in such cases both logically and psychologically, the metaphor is prior to irony. I hold that the phenomenon is then one of ironic metaphor, which puts a metaphorical meaning to ironic use, rather than an irony (...) used metaphorically (§1). This result is then used to argue for the claim that in metaphor, it is metaphorical, not literal, meaning that determines the utterance‘s truth conditions. Gricean accounts, which exclude metaphorical meaning from truth conditional content and rely entirely on conversational implicature, are seen to be unsatisfactory. Five contextualist arguments are briefly discussed to the conclusion that metaphorical content is part of truth-conditional content, rather than implicated (§2). (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)

Metaphors abound in both the arts and in science. Due to the traditional division between these enterprises as one concerned with aesthetic values and the other with epistemic values there has unfortunately been very little work on the relation between metaphors in the arts and sciences. In this paper, we aim to remedy this omission by defending a continuity thesis regarding the function of metaphor across both domains, that is, metaphors fulfill any of the same functions in science as they (...) do in the arts. Importantly, this involves the claim that metaphors in arts as well as science have both epistemic and aesthetic functions. (shrink)

Do frogs have lips? In thinking of an answer to this question, many people form a mental image of a frog and scrutinise it to find the answer. But what are they doing when they do this? The imagery debate that Michael Tye addresses in this book is between two kinds of answer to this question: the "pictorialist" answer that images are in important ways like pictures, and the "descriptionalist" answer that they are more like descriptions. Versions of these (...) views have been held both by philosophers and psychologists. Tye's book aims to disentangle the various claims made by pictorialists and descriptionalists and to defend a theory which incorporates elements from the description and picture theories. (shrink)

Many philosophers treat mental imagery as a kind of perceptual representation – it is either a perceptual state, or a representation of a perceptual state. In the sciences, writers point to mental imagery by way of a standard gloss – mental imagery is said to be (often, early) perceptual processing not directly caused by sensory stimuli (Kosslyn et al. 1995). Philosophers sometimes adopt this gloss, which I will call the basic view. Bence Nanay endorses it, and appeals (...) to it in a number of places to argue that mental imagery plays various functional or explanatory roles, as well as to argue that some mental phenomena should be seen as forms of mental imagery. In places he goes even further, relying on this view of mental imagery to explain how mental imagery is a unified kind despite heterogeneous appearances, and using this view to support his claim that mental imagery is a natural kind. Nanay’s book – which is a both a useful introduction to the many ways that mental imagery appears in discussions across philosophy, neuroscience, and psychology, as well as an extended argument for the multi-faceted relevance of mental imagery to a range of projects in the philosophy of mind and psychology – thus also serves as a nice test case for whether this basic view of mental imagery is good enough to aid theorizing across philosophy and the sciences. I think not. I will illustrate why by looking at two areas. First, I will discuss Nanay’s argument regarding mental imagery and object files. Second, I will discuss an issue Nanay raises, regarding the relationship between mental and motor imagery. A longer discussion might look to many more areas – as already mentioned, Nanay’s book covers a wide range of mental phenomena – with the same lesson emerging. The nature of mental imagery cannot be fully understood without facing an array of choice points, many of which push us to make commitments beyond the basic view. (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)

It is often observed that images—including mental images—are in some sense representationally ambiguous. Some, including Jerry Fodor, have added that mental images only come to have determinate contents through the contribution of non-imagistic representations that accompany them. This paper agrees that a kind of ambiguity holds with respect to mental imagery, while arguing (pace Fodor) that this does not prevent imagery from having determinate contents in the absence of other, non-imagistic representations. Specifically, I argue that mental images can (...) represent determinate types of outlays of properties without help from any non-imagistic representations, yet can only become involved in the representation of particular objects through pairing with a non-imagistic representation of the right sort. These points are defended through reflection on the “Picture Principle,” the nature of depiction, and general principles for typing and individuating mental states. (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)

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.

Metaphors for describing the introduction, impacts, and management of non-native species are numerous and often quite outspoken. Policy-makers have adopted increasingly disputed metaphorical terms from scientific discourse. We performed a critical analysis of the use of strong metaphors in reporting scientific findings to policy-makers. Our analysis shows that perceptions of harm, invasiveness or nativeness are dynamic and inevitably display multiple narratives in science, policy or management. Improving our awareness of multiple expert and stakeholder narratives that exist in the context (...) of non-native species management, as well as metaphorical alternatives, is critical. (shrink)

In this paper, we propose an account of metaphor identification on the basis of contextual coherence. In doing so, we build on previous work by Nicholas Asher and Alex Lascarides that appeals to rhetorical relations in order to explain discourse structure and the constraints on the interpretation of metaphor that follow from it. Applying this general idea to our problem, we will show that rhetorical relations are sometimes insufficient and sometimes inadequate for deciding whether a given utterance is a case (...) of metaphor. They are insufficient, since rhetorical relations fall short at times of providing a basis for disambiguating between literal and metaphorical interpretations. In such cases, contextual information other than previous discourse needs to enter the picture. To this effect, we bring the idea of external consistency into play. Beyond that, though, we will argue that rhetorical relations are sometimes inadequate to account for coherence, if conceived as relations among sentences only. The reason is that extra-linguistic elements of the situation in which the sentence is uttered may be crucial for getting at the preferred interpretation. To account for these cases, we allow rhetorical relations to connect both with previous discourse and with extra-linguistic situations. In our final refinement of the notion of contextual coherence, we forfeit any appeal to rhetorical relations in favour of Questions Under Discussion (QUD). We defend the view that this account does not only explain the same sort of cases. What is more, it solves the issue of metaphor identification in impoverished contexts. (shrink)

Conceptual Metaphor Theory makes some strong claims against so-called Classical Theory which spans the accounts of metaphors from Aristotle to Davidson. Most of these theories, because of their traditional literal-metaphorical distinction, fail to take into account the phenomenon of conceptual metaphor. I argue that the underlying mechanism for explaining metaphor bears some striking resemblances among all of these theories. A mapping between two structures is always expressed. Conceptual Metaphor Theory insists, however, that the literal-metaphorical distinction of Classical Theories (...) is empirically wrong. I claim that this criticism is based rather on terminological decisions than on empirical issues. Conceptual Metaphor Theory focusses primarily on conventional metaphors and struggles to extend its mechanism to novel metaphors, whereas Classical Theories focus on novel metaphors and struggle to extend their mechanisms to conventional metaphors. Since all of these theories study metaphors from the synchronic point of view, they are unable to take into account any semantic change. A diachronic perspective is what we need here, one which would allow us to explain the role of metaphor in semantic change and the development of language in general. (shrink)

This chapter challenges the common claim that vicious forms of argumentative practice, like interpersonal arrogance and discursive polarisation, are caused by martial metaphors, such as ARGUMENT AS WAR. I argue that the problem isn’t the metaphor, but our wider practices of metaphorising and the ways they are deformed by invidious cultural biases and prejudices. Drawing on feminist argumentation theory, I argue that misogynistic cultures distort practices of metaphorising in two ways. First, they spotlight some associations between the martial and argumentative (...) domains while occluding others, resulting in a sort of myopia. Second, those cultures interfere with a phenomenon I label normative isomorphism – the capacity of some structural metaphors to enable (and often encourage) a transfer of normative chracater traits from the source domain to the target domain. Crucially, the normative status of character trait often changes across domains—traits that are virtuous in the martial domain are often vicious in the argumentative domain, and vice versa. Sexist myopia tends to deform practices of metaphorising by interfering with normative isomorphism by privileging the transfer across domains of traits that recapitulate invidious cultural constructions of masculinity in terms of aggression, domination, and violence. Basically, the problem isn’t the metaphors, but the cultures. (shrink)

I examined the proposition that there are psychological limits on what scientific problems can be solved, and that these limits may be based on a failure to be able to produce imagable, observation-based models for any possible solution, a position suggested by philosopher Colin McGinn in an argument attempting to prove that the mind-body problem is unsolvable. I examined another likely candidate for an unsolvable problem -- the ultimate origin of the universe (i.e., what might have preceded the Big Bang (...) or any other starting point; why there should be something rather than nothing) -- by exploring the reasoning of physicists about this problem and measuring visual imagery frequency and vividness, with the expectation that those who most believed the problem unsolvable would be more frequent/vivid imagers and therefore more affected by the apparent impossibility of producing an imagable solution. Eight physicists were interviewed and imagery frequency and vividness measurements performed using Cohen & Saslona's IDQ-IHS and Marks's VVIQ, respectively. All subjects considered the problem unsolvable within today's physics and all but one thought the problem still meaningful, though none were optimistic about a solution. The one subject who dismissed the problem had the lowest imagery frequency score, and there was also a significant rank order correlation (r = 0.83, p < .02) between degree of belief in problem unsolvability (extended to include viewing the problem as meaningful and not already solved) and a composite imagery frequency/vividness score, though the sample was too small to control for some possible confounding factors. (shrink)

This book offers a new definition of metaphor-as an ontological and visual construction, whose roots are external visual forms, and its motivation is our attachment to forms. This definition, which Michalle Gal names “visualist,” challenges the ruling conceptualist theory of metaphors and places a new emphasis on how we experience rather than understand metaphors. In doing so, she responds to the visual turn that is taking place in literature and the media, demanding that the visual become a site of philosophical (...) analysis. This focus on the external visual world allows Gal to employ visual theories to capture the essence of metaphor. She looks beyond conceptual or semantic mechanism, and returns to theories of Arnheim and Gombrich and the current evolution of ideas about the visual or material and embodied cognition. Proposing to see visual metaphors in their basic form, she uses a new externalist terminology of ontology, visuality, composition, affordance, construction, and emergence. Setting out a new theory that takes into account that humans are visual no less than cognitive creatures, Visual Metaphors and Aesthetics lays the foundation for a new vocabulary to talk about metaphors. (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)

The concept of ‘living metaphor’ receives a number of articulations within metaphor theory. A review of four key theories – Nietzsche, Ricoeur, Lakoff and Johnson, and Derrida – reveals a distinction between theories which identify a prior, speculative nature working on or with metaphor, and theories wherein metaphor is shown to be performatively always, already active in thought. The two cannot be left as alternatives because they exhibit opposing theses with regard to the ontology of metaphor, but neither can an (...) impartial philosophical appraisal of the most cogent or defensible theory be made, since the status and conduct of philosophy are part of the problem. Two responses to the predicament from within ‘living metaphor’ theory are considered: (1) Lakoff and Johnson’s ecological spirituality thesis which promises to make the contest redundant on the grounds that the origin of human concepts in our shared, embodied condition in the world removes all obstructions; (2) taking the lead from Nietzsche and Ricoeur, an approach based on the intersection of discourses, not as a resolution but as a gesture which allows the conflict to speak about ‘living metaphor’. (1) is shown to be unsuccessful, but (2) results in ‘living metaphor’ emerging as an attentiveness to questions of what does and does not belong, inspired by tensions between ‘is’ and ‘is not’, ‘from this perspective’ and ‘from that perspective’, and ‘is spoken about’ and ‘is spoken with’. (shrink)