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

This chapter explores the role that non-textual narrations of biblical stories can play in Christian life and practice. Our case study is the Shrine of Divine Mercy in Kabuga, Rwanda. The stations at the shrine tell the story of Jesus’s life and passion, incorporating images from the Catholic devotional tradition of Divine Mercy and elements evoking the Rwandan genocide. While many philosophical accounts of narratives presuppose that narratives are textual, material and visual art like the Kabuga shrine can also be (...) narrative, in that, like text, material and visual art can selectively represent multiple events and connections between them. We argue that material-visual narratives like the shrine can be effective in achieving commonly identified functions of narratives, such as focusing attention, immersing in a story, engaging the emotions, and fostering a common perspective on the world. We further argue that material-visual art is well-suited to narrating the Gospel in particular, for it can present the Gospel story alongside other stories (in this case, the story of the Rwandan genocide) and in so doing reframe these other stories in light of the Gospel. (shrink)

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

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

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

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

In January 2024, non-consensual deepfakes came to public attention with the spread of AI generated sexually abusive images of Taylor Swift. Although this brought new found energy to the debate on what some call non-consensual synthetic intimate images (i.e. images that use technology such as AI or photoshop to make sexual images of a person without their consent), female celebrities like Swift have had deepfakes like these made of them for years. In 2017, a Reddit user named “deepfakes” posted several (...) videos in which he had used opensource machine learning tools to swap the faces of female celebrities on to the faces of female porn actors, displaying what appeared to be live video footage of the celebrity engaging in sex acts she never engaged in. Since that time, deepfake technology has advanced astronomically. What once were choppy sexualized videos are now nearly flawless videos that can be difficult to distinguish from a real video. According to recent research on deepfakes by Sensity AI, this technology has been used primarily on women to create sexual videos. These women’s sexual autonomy has been co-opted for the purposed of gratifying men’s sexual pleasure, but have also been used in campaigns to delegitimize and humiliate female journalists and politicians. In Canada, civil and criminal legislation has addressed the non-consensual distribution of intimate images, but in only a few provinces – British Columbia, New Brunswick, Prince Edward Island and Saskatchewan – does this offence include altered images that could include deepfakes. This paper explores the evolution of synthetic technology such as AI image generators and Canada’s legal responses to the non-consensual sharing of intimate images. (shrink)

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

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

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

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

Critical notice of Images of Science by P. M. Churchland and C. A. Hooker.

This essay explores Jonas’s multifaceted and rich enquiries into the notion of image. In particular, it argues that reflecting on the “image” helps Jonas clarify the unique condition of human existence, where the twine of thought and being reveals a paradoxical (and yet crucial) relationship between time and eternity, change and permanence, immanence and transcendence. The employ of the interpretative device provided by the image enables a nuanced understanding of the human complexity which goes beyond the partial (...) and reductive descriptions of relativistic immanentism, on the one hand, and immutable transcendence, on the other. By commenting upon its anthropological, aesthetic, and ethical significance, we propose that the study of Jonas’s thoughts on the image not only offers valuable insights into the philosophical understanding of such a fascinating object, but also sheds a new and interesting light on the unity of his oeuvre. (shrink)

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

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

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

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

In this paper, we argue that Midjourney—a generative AI program that transforms text prompts into images—should be understood not as an agent or a tool, but as a new type of artistic medium. We first examine the view of Midjourney as an agent, considering whether it could be seen as an artist or co-author. This perspective proves unsatisfactory, as Midjourney lacks intentionality and mental states. We then explore the notion of Midjourney as a tool, highlighting its unpredictability and the limited (...) fine-grained control users have over its outputs, which sets it apart from traditional artistic tools. We propose that creating images with Midjourney parallels a gardener's interaction with natura naturans—nature's autonomous generative processes. Similarly, Midjourney acts as machina naturans, where users engage with its dynamic recalcitrance to influence, but not fully control, the creative process. This approach presents Midjourney as an artistic medium shaped by its inherent unpredictability. (shrink)

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

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

Abstract: Fast food refers to quick, convenient, and ready-to-eat meals that are usually sold at chain restaurants or take-out establishments. Fast food is often criticized for its unhealthy ingredients, such as high levels of salt, sugar, and unhealthy fats, and its contribution to the growing obesity epidemic. Despite this, fast food remains popular due to its affordability, convenience, and widespread availability. Many fast food chains have attempted to respond to these criticisms by offering healthier options, such as salads and grilled (...) chicken sandwiches, and by using more natural and locally sourced ingredients. The aim in this paper to propose a deep learning model for the classification of fast food dishes. The proposed model, Xception, was trained on natural images and was fine-tuned to make up the fast food meals. The researchers collected the Fast Food V2 dataset from Kaggle depository, the dataset, contained 20,000 images. The dataset has ten labels of food images comprised of Baked Potato, Burger, Crispy Chicken, Donut, Fries, Hot Dog, Pizza, Sandwich, Taco, and Taquito. The dataset was split into three sets: training, validation and testing. The accuracy, F1-score, recall, precision on the separate test set showed that classification of fast food was accuracy (95.13%), Precision (95.34%), Recall (95.13%), and F1-Score (95.14%). (shrink)

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

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

In just about one year, OpenAI’s release of ChatGPT 4 has caused panic in our daily lives. After a year, OpenAI introduced Sora, a moving image-generating model from text, similar to DALL-E for still images. Even though Sora is not yet available to the public, the very potential itself has raised issues in film production from the perspectives of producers and studios, as well as directors, actors, writers, and editors. In this chapter, the role and expected impact of AI (...) video generation technologies, such as OpenAI Sora and Stable Diffusion 3, will be considered in regard to filmmaking. To discuss these issues, it is necessary to further analyze the concept of artificial intelligence, what it means, and how it is misunderstood by the general public. These misunderstandings also lead to sci-fi fantasy and doomsday talk, adding nothing valuable to the debate. Once this concept is defined, the argument of why an artificial general intelligence akin to a human being is unlikely will be set, mostly referring to Hubert Dreyfus and David Chalmers. However, even though the good old-fashioned AI seems impossible, the AI tools we have now seem to be enough to cause many of the problems that the thought of a complete artificial intelligence also brings forth. It is important to treat these tools as tools and not entities in their current forms to focus on the more practical problems regarding human labor, interaction, and experience in the world. In this regard, it is important to look back in history to see how technology has shifted ways of making films. When thought of as such, it becomes clearer that these tools will likely not end human involvement in the practice of creating art but transform the methods and aesthetics of film production, challenging conventions in both artistic and commercial works in some ways and exaggerating them in others. Furthermore, the chapter will consist of the investigation of the impact of various AI tools on human creativity. Regarding human creativity, commercial films will most likely go through a paradigm shift. Production companies will most likely regard this shift as a way of improving performance and production. However, this advancement poses dire questions in the field and pursuit of creating art. AI tools help automate and accelerate the filmmaking process at the cost of filmmaking as an art form. The discussion will address why commercial filmmaking will see a paradigm shift and loss of some human labor, but in an optimistic world of philosophical thought, film as fine art will gain much in return. This is because AI tools in their current and foreseeable state are not capable of willing to make art due to their limitations regarding embodied cognition, experience, unconsciousness, and intuition. These things make us what we are more than we think. There is no better way to explain why human beings make art than to show how tools do not matter but the ideas and the will to do it. -/- . (shrink)

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

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

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

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

What role do images play in philosophical persuasion? With the advent of bio-art in the 1990s, a new vista opened up for this age-old puzzle: the possibility of creating images through bioengineering of living matter. Here, I test the critical intentions of bio-artists by setting up a comparison between, on the one hand, bio-art, and on the other, bioethics, a philosophical discipline, which developed at around the same time as this new artform. I argue there is an aspect of ethics--'the (...) difficulty of reality' in Cora Diamond's coinage--which analytic bioethics obscures, and which art can help us come to terms with. I develop my argument by comparing the work of artists Eduardo Kac, Stelarc and Maja Smrekar, with utilitarian bioethics by philosophers like Julian Savulescu. Philosophical concepts of the living presence, the viral image and the pensive image are revisited through this inquiry. (shrink)

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

Representational pictures and sculptures both present their objects visually: to grasp what they represent is in some sense to see, not only the representation before one, but the object represented. But is the form of visual presentation the same? Or does a deep difference lie at the heart of our experience of these representations, a difference in how each presents us with its object? Almost all philosophical discussion of pictures and 3D representations has assumed or implied a negative answer to (...) this question. The notable exception is M.G.F.Martin’s account of pictures in terms of an ‘image’, a pure visibile that presents the represented object and its features without exemplifying them. In order to interpret Martin’s view so as to bring out its plausibility, I relate it to the somewhat similar position advocated by Lambert Wiesing’s account of pictures and our experience of them. That done, I ask whether a position drawing on both these positions can justify drawing a fundamental distinction between the ways in which pictures and sculptures present what they represent. (shrink)

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

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

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

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

More than 50 years after the publication of Thomas Kuhn’s seminal book, The Structure of Scientific Revolutions, this volume assesses the adequacy of the Kuhnian model in explaining certain aspects of science, particularly the social and epistemic aspects of science. One argument put forward is that there are no good reasons to accept Kuhn’s incommensurability thesis, according to which scientific revolutions involve the replacement of theories with conceptually incompatible ones. Perhaps, therefore, it is time for another “decisive transformation in the (...) image of science by which we are now possessed.” Only this time, the image of science that needs to be transformed is the Kuhnian one. Does the Kuhnian image of science provide an adequate model of scientific practice? If we abandon the Kuhnian picture of revolutionary change and incommensurability, what consequences would follow from that vis-à-vis our understanding of scientific knowledge as a social endeavour? -/- The essays in this collection continue this debate, offering a critical examination of the arguments for and against the Kuhnian image of science as well as their implications for our understanding of science as a social and epistemic enterprise. (shrink)

Abstract: The integration of Artificial Intelligence (AI) into medical imaging represents a transformative shift in healthcare, offering significant improvements in diagnostic accuracy, efficiency, and patient outcomes. This paper explores the application of AI technologies in the analysis of medical images, focusing on techniques such as convolutional neural networks (CNNs) and deep learning models. We discuss how these technologies are applied to various imaging modalities, including X-rays, MRIs, and CT scans, to enhance disease detection, image segmentation, and diagnostic support. Additionally, (...) the paper addresses the challenges faced in AI-driven medical imaging, including data quality, model interpretability, and ethical considerations. By examining recent advancements and real-world case studies, this paper provides insights into the current state of AI in medical imaging and its potential future directions. The findings highlight the ongoing evolution of AI technologies and their crucial role in advancing medical diagnostics and treatment strategies. (shrink)

Since the 1980's, the influence of context-based curricula has been growing in curricula and has been taking place in advance of improving the image of chemistry. This article argues that chemical societies should focus on a better understanding of the negative image of chemistry, by supporting historical and philosophical research. Based on that, chemistry curricula should change.

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)

Abstract: Teenage pregnancy has been identified as a social issue that requires attention. Given the negative impact on teenage mothers, the people who care for them, and the children they give birth to. This study examined the pattern of relationship between body image, self-esteem, socio-economic status, peer influence, and teenage pregnancy. This study employed a correlational design, and a multistage sampling procedure was utilized. Adolescents in Ibadan constitutes the population (N = 150; 12.0% below 14 years, 58.7% 14 – (...) 16 years, while 29.3% were 17 – 19 years). Participants completed standardized instruments: (Body Image Acceptance Survey α = 0.85; Rosenberg Self-Esteem Scale α = 0.78; Socio-economic Status Scale α = 0.79; Peer Influence Scale α = 0.81; and Teenage Pregnancy Scale α = 0.87). The results showed that body image (r = 0.327; p<0.05), self-esteem (r = 0.376; p<0.05), socio-economic status (r = 0.306; p<0.05), and peer influence (r = 0.201, p<0.05) all had a significant relationship with teenage pregnancy. A multiple regression coefficient (R = 0.484) and multiple regression adjusted (R2 = 0.234) were obtained. Also, self-esteem recorded the most effective relative contribution to teenage pregnancy, followed by body image, parental socio-economic status, and peer influence, respectively. This emphasizes the necessity of broad and all-encompassing strategies to stop teenage pregnancy because it is unlikely that a single element will be adequate to deal with the problem successfully. (shrink)

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

In this paper, I am predominantly interested in interpretations of emotional states portrayed in images of the face. In particular, the interpretations which have grown around the series of busts by Franz Xaver Messerschmidt, as well as those which attempt to expound Bill Viola’s video works. I will refer to aspects of physiognomy, artistic practices and aesthetics, in order to show what each of these tells us about our attitude to the body and emotions and what happens to the body (...) while a person is experiencing an emotion. My aim is to demonstrate how the act of depicting the body, regarded as a cognitive process in an artistic medium accompanied by a special kind of aesthetic experience, becomes a means of communication which is capable of conveying a universal message and of allowing us to define our attitude to the body. (shrink)

Mythopoetry, the imagistic voice of the muses which manifests in myth and natural poetry, has been invoked as an impression of ideal curriculum with which to cherish intimate, vital experience (and to oppose its exile from educational life). In this statement, I intend to see through the pleasant surface of the label, mythopoetry, to see what image may lie just out of sight, beyond the "inspired writing" that mythopoetry implies. Beyond words themselves, meaning is found in sound and in (...) expressive representation. “Music, when soft voices die, / Vibrates in the memory” (Shelley). (shrink)

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

Objectification involves treating someone as a thing. The role of images in perpetuating objectification has been discussed by feminist philosophers. However, the precise effect that images have on an individual's visual system is seldom explored. Kathleen Stock’s work is an exception—she describes certain images of women as causing viewers to develop an objectifying ‘gestalt’ which is then projected onto real-life women. However, she doesn’t specify the level of visual processing at which objectification occurs. In this paper, I propose that images (...) can affect a viewer's early visual system. I will argue that if a viewer is exposed to a lot of images that depict women as sexual objects, this will bias their early visual selection mechanisms in a way that can result in an objectifying way of seeing. This is an important contribution to work on objectification as it incorporates empirical studies on vision and findings from philosophy of mind. It also examines some of the epistemic and moral consequences of objectification occurring at this early visual stage. (shrink)

Abstract: The integration of Artificial Intelligence (AI) into medical imaging marks a transformative advancement in healthcare, significantly enhancing diagnostic accuracy, efficiency, and patient outcomes. This paper delves into the application of AI technologies in medical image analysis, with a particular focus on techniques such as convolutional neural networks (CNNs) and deep learning models. We examine how these technologies are employed across various imaging modalities, including X-rays, MRIs, and CT scans, to improve disease detection, image segmentation, and diagnostic support. (...) Furthermore, the paper discusses the challenges associated with AI-driven medical imaging, such as data quality, model interpretability, and ethical considerations. By analyzing recent advancements and real-world case studies, this paper offers insights into the current landscape of AI in medical imaging and explores its potential future directions. The findings underscore the ongoing evolution of AI technologies and their pivotal role in advancing medical diagnostics and treatment strategies. (shrink)

In 2016, a multidisciplinary body of scholars within the International Commission on Stratigraphy—the Anthropocene Working Group—recommended that the world officially recognize the Anthropocene as a new geological epoch. The most contested claim about the Anthropocene, that humans are a major geological and environmental force on par with natural forces, has proven to be a hotbed for discussion well beyond the science of geology. One reason for this is that it compels many natural and social scientists to confront problems and systems (...) that transgress traditional disciplinary boundaries, and as a result, calls for interdisciplinary research are now gaining traction. Proponents of such transgressions have dubbed the new scientific order that will result “Anthropocene Science”, and rhetoric notwithstanding, such discussions exemplify how recent changes within science justify rethinking a prevailing image of how science is done, and with it, the working relationship between scholars in the humanities, natural scientists, and social scientists. (shrink)

Thought is not based on an image that is isomorphic to the object. Descartes, Husserl, Frege, Wittgenstein and Brandom progressively overcome this Aristotelian misconception of the intentionality of thinking.

We are told by philosophers that photographs are a distinct category of image because the photographic process is mind-independent. Furthermore, that the experience of viewing a photograph has a special status, justified by a viewer’s knowledge that the photographic process is mind-independent. Versions of these ideas are central to discussions of photography in both the philosophy of art and epistemology and have far-reaching implications for science, forensics and documentary journalism. Mind-independence (sometimes ‘belief independence’) is a term employed to highlight (...) what is important in the idea that photographs can be produced naturally, mechanically, accidentally or automatically. Insofar as the process is physical, natural, mechanical or causal it can occur without human agency or intervention, entirely in the absence of intentional states. Presented innocuously, the idea is that although photographs are dependent on natural or mechanical processes, they can be produced independently of human agency – particularly human beliefs. Presented in a stronger form, the claim is that even if human agency is heavily involved in the production process, the definitive features that make the photograph a photograph and determine its salient properties are nonetheless independent of human minds. In epistemic debates, mind-independence is viewed as essential for explaining why photographs occupy a distinct category among images and justifying a variety of claims about their privileged epistemic and affective status in science, forensics, popular culture and journalism. But, in the philosophy of art, claims about mind-. (shrink)