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)

This anthology is about the signal change in Leibniz’s metaphysics with his explicit adoption of substantial forms in 1678-79. This change can either be seen as a moment of discontinuity with his metaphysics of maturity or as a moment of continuity, such as a passage to the metaphysics from his last years. Between the end of his sejour at Paris and the first part of the Hanover period, Leibniz reformed his dynamics and began to use the theory of corporeal substance. (...) This book explores a very important part of the philosophical work of the young Leibniz. Expertise from around the globe is collated here, including Daniel Garber’s work based on the recent publication of Leibniz's correspondence from the late 1690s, examining how the theory of monads developed during these crucial years. Richard Arthur argues that the introduction of substantial forms, reinterpreted as enduring primitive forces of action in each corporeal substance, allows Leibniz to found the reality of the phenomena of motion in force and thus avoid reducing motion to a mere appearance. Amongst other themes covered in this book, Pauline Phemister’s paper investigates Leibniz’s views on animals and plants, highlighting changes, modifications and elaborations over time of Leibniz’s views and supporting arguments and paying particular attention to his claim that the future is already contained in the seeds of living things. The editor, Adrian Nita, contributes a paper on the continuity or discontinuity of Leibniz’s work on the question of the unity and identity of substance from the perspective of the relation with soul and mind. (shrink)