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)

The distinction between the body schema and the body image has become the stock in trade of much recent work in cognitive neuroscience and philosophy. Yet little is known about the interactions between these two types of body representations. We need to account not only for their dissociations in rare cases, but also for their convergence most of the time. Indeed in our everyday life the body we perceive does not conflict with the body we act with. Are the (...) body image and the body schema then somehow reshaping each other or are they relatively independent and do they only happen to be congruent? On the basis of the study of bodily hallucinations, we consider which model can best account for the body schema/body image interactions. (shrink)

This chapter presents an account of Merleau-Ponty’s interpretation of the body schema as an operative intentionality that is not only opposed to, but also complexly intermingled with, the representation-like grasp of the world and one’s own body, or the body image. The chapter reconstructs Merleau-Ponty’s position primarily based on his preparatory notes for his 1953 lecture ‘The Sensible World and the World of Expression’. Here, Merleau-Ponty elaborates his earlier efforts to show that the body schema is a perceptual ground (...) against which the perceived world stands out as a complex of perceptual figures. The chapter clarifies how Merleau-Ponty’s renewed interpretation of the figure-ground structure makes it possible for him to describe the relationship between body schema and perceptual (body) image as a strictly systematic phenomenon. Subsequently, the chapter shows how Merleau-Ponty understands apraxia, sleep, and perceptual orientation as examples of dedifferentiation and subtler differentiation of the body-schematic system. The last section clarifies how such body-schematic differentiating processes give rise to relatively independent superstructures of vision and symbolic cognition which constitute our body image. It, moreover, explains how, according to Merleau-Ponty, the cognitive superstructures always need to be supported by praxic operative intentionality to maintain their full sense, even though, in some cases, they have the power to compensate for praxic deficiencies. (shrink)

In recent years, the notion of the body schema has been widely discussed, in particular in fields connecting philosophy, cognitive science, and dance studies, as it seems to have bearing across disciplines in a fruitful way. A main source in this literature is Shaun Gallagher’s distinction between the body schema – the “pre-noetic” conditions of bodily performance – and the body image – the body as intentional object –, another is Merleau-Ponty’s writings on the living body, that Gallagher often (...) draws upon. In this paper, I will first discuss Gallagher’s presumed clarification of body schema–body image, and discuss a recent critique by Saint Aubert (2013), who evaluates it against the backdrop of Merleau-Ponty’s thoughts on this issue. While I believe that Saint Aubert’s criticism overshoots the mark, it is useful for a clarification of Gallagher’s analysis and points to a problematic feature, namely the alleged inscrutability of the body schema to phenomenological reflection. This is particularly interesting in relation to contemporary dance and performance practice, where working with – and against – habitual structures is a core element. Certain contemporary training techniques are explicitly aimed at raising awareness of those bodily aspects that condition movement and expression – that Gallagher sees as pertaining to the body schema – and that in ordinary activities often remain hidden. In order to clarify the role that reflection on our own body and its habitual patterns plays in contemporary dance practice, I will examine the movement language and improvisation practice “Gaga”, where this aspect is arguably fundamental. (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 current paper expands on previous work done on the influence of learners’ language and preexisting knowledge on understanding physics terminology by exploring the concept of ACCELERATION in Arabic and English. The study attempts to answer two questions: (1) what are the similarities and differences between the polysemy of Arabic تَسَارُع (tasāruʿ) (acceleration) and the polysemy of English acceleration, and (2) to what extent do prototypes and factors motivating the conceptualization of تَسَارُع (tasāruʿ) and the conceptualization of acceleration converge or (...) diverge? To this end, Arabic and English dictionaries and corpora, the ArabiCorpus (Arabic Corpus Search Tool) and the British National Corpus (BNC), were employed. The dictionaries were surveyed to explore the various meanings of تَسَارُع (tasāruʿ) and acceleration, while the ArabiCorpus and the BNC were employed to investigate the senses and to identify the most frequent collocates and so the prototypes of these terms. The meaning extension of the terms is examined on the basis of the cognitive mechanisms which appear in the corpora. Theoretically, the paper is informed by the prototype theory (Rosch, 1973; 1975), image schemas (Johnson, 1987), and conceptual metaphor (Lakoff & Johnson, 1980/2003). The results show that تَسَارُع (tasāruʿ) (acceleration) and acceleration generally overlap in terms of polysemy, prototype, and images schemas as well as conceptual metaphor that organize the conceptualization of these terms. It was also found that both Arab and English speakers mix ACCELERATION up with SPEED and so misunderstand them in a scientific setting. The present findings have several implications for science curriculum design, education, and research on universal and culture-specific properties of language. (shrink)

Despite the wide range of studies on how students’ past knowledge influences their understanding of scientific terminology, few studies were conducted to compare non-scientific language with scientific language, or rather everyday language with scientific language, from a cognitive linguistic perspective. The present paper aims to determine the cognitive mechanisms, i.e., image schemas, conceptual metaphor, and conceptual metonymy, which underpin the conceptualisation of the Arabic term سرعة (speed), using a conceptual metaphor theory framework. Thus, the research question guiding this (...) study is: What cognitive mechanisms underlie the concept of سرعة (speed) in Arabic? The findings of this study will shed light on how Arab speakers conceptualise this term, demonstrating their background knowledge of the term compared to its scientific meaning. The article adds to the growing body of cognitive linguistics research on the conceptual processes behind physics terms. The data was collected from the Arabic Web Corpus (arTenTen) using the Sketch Engine. The findings demonstrated that VERTICATLITY and SCALE schemas are the most dominant image schemas that anchor the conceptual meaning in Arab speakers’ perceptions of the term under investigation and the discourse in which it is employed, as well as offer the concrete basis for conceptual metaphors. The conceptual metaphor CHANGE IS MOTION (LOCATION) was also shown to be active in motivating the conception of SPEED in Arabic. (shrink)

In § 49 of the Critique of the Power of Judgment Kant puts forward a view that the feeling of pleasure in the experience of the beautiful can be stimulated not merely by perceptual properties, but by ideas and thoughts as well. The aim of this paper is to argue that aesthetic ideas fill in the emptiness that abstract and emotion concepts on their own would have without empirical intuitions. That is, aesthetic ideas make these concepts more accessible to us, (...) by creating image schemas that allow us to think about these abstract concepts in a way linked to sensory experience, thereby imbuing them with a more substantive meaning and understanding. (shrink)

The current paper expands on previous work done on the influence of learners’ language and preexisting knowledge on understanding physics terminology by exploring the concept of ACCELERATION in Arabic and English. The study attempts to answer two questions: (1) what are the similarities and differences between the polysemy of Arabic تَسَارُع (tasāruʿ) (acceleration) and the polysemy of English acceleration, and (2) to what extent do prototypes and factors motivating the conceptualization of تَسَارُع (tasāruʿ) and the conceptualization of acceleration converge or (...) diverge? To this end, Arabic and English dictionaries and corpora, the ArabiCorpus (Arabic Corpus Search Tool) and the British National Corpus (BNC), were employed. The dictionaries were surveyed to explore the various meanings of تَسَارُع (tasāruʿ) and acceleration, while the ArabiCorpus and the BNC were employed to investigate the senses and to identify the most frequent collocates and so the prototypes of these terms. The meaning extension of the terms is examined on the basis of the cognitive mechanisms which appear in the corpora. Theoretically, the paper is informed by the prototype theory (Rosch, 1973; 1975), image schemas (Johnson, 1987), and conceptual metaphor (Lakoff & Johnson, 1980/2003). The results show that تَسَارُع (tasāruʿ) (acceleration) and acceleration generally overlap in terms of polysemy, prototype, and images schemas as well as conceptual metaphor that organize the conceptualization of these terms. It was also found that both Arab and English speakers mix ACCELERATION up with SPEED and so misunderstand them in a scientific setting. The present findings have several implications for science curriculum design, education, and research on universal and culture-specific properties of language. (shrink)

The aim of this paper is to develop and defend an Attentional View of bodily awareness, on which attention is necessary for bodily awareness. The original formulation of the Attentional View is due to Marcel Kinsbourne. First, I will show that the Attentional View of bodily awareness as formulated by Kinsbourne is superior to other accounts in the literature for characterizing the relationship between attention and bodily awareness. Kinsbourne’s account is the only account in the literature so far which can (...) accommodate key neurological diseases such as personal neglect. Second, when I consider Kinsbourne’s view in more detail, I will argue that Kinsbourne’s Attentional View faces problems because it is too reductive. Kinsbourne deviates from the standard taxonomy on which there is a body schema and a body image. Instead he reduces the body image to the neural representation of the body in the somatosensory cortex, the body schema and attentional shifts. I will present two challenges to Kinsbourne’s view which demonstrate that Kinsbourne’s reduction of the body image is unsuccessful. Finally, I will present a revised version of the Attentional View that is both empirically adequate and philosophically satisfactory. (shrink)

Jenny Saville is a leading contemporary painter of female nudes. This paper explores her work in light of theories of gender and embodied agency. Recent work on the phenomenology of embodiment draws a distinction between the body image and the body schema. The body image is your representation of your own body, including your visual image of it and your emotional attitudes towards it. The body schema is comprised of your proprioceptive knowledge, your corporeally encoded memories, and (...) your corporeal proficiency with respect to various environments and activities. Saville is concerned with body image issues, and I discuss how she reconfigures representational practices with respect to feminine body images. However, the most exciting potential for feminist analysis of the state of the female nude derives from the concept of the body schema, for this concept endows the human body with subjectivity and agency. My key question, then, is by what pictorial means and to what extent Saville succeeds in representing agentic womanhood. I argue that interpreting Saville’s paintings from the standpoint of the body schema demonstrates the radicality of her remaking of the female nude and the rapport between her imagery and feminist values. (shrink)

In this paper, we present a formalism for handling polysemy in spatial expressions based on supervaluation semantics called standpoint semantics for polysemy (SSP). The goal of this formalism is, given a prepositional phrase, to define its possible spatial interpretations. For this, we propose to characterize spatial prepositions by means of a triplet ⟨ image schema, semantic feature, spatial axis⟩⁠. The core of SSP is predicate grounding theories, which are formulas of a first-order language that define a spatial preposition through (...) the semantic features of its trajector and landmark. Precisifications are also established, which are a set of formulae of a qualitative spatial reasoning formalism that aims to provide the spatial characterization of the trajector with respect to the landmark. In addition to the theoretical model, we also present results of a computational implementation of SSP for the preposition ‘in’. (shrink)

The phenomenological point of view of the body is usually appreciated for having introduced the notion of the ‘lived’ body. We cannot merely analyze and explain the body as one of the elements of the world of objects. We must also describe it, for example, as the center of our perspective on the world, the place where our sensing is ‘localized’, the agens which directly executes our intentions. However, in Husserl, the idea of the body as lived primarily complements his (...) objectivism: the body (Leib) is an objective and mental reality, a ‘double unity’, as he writes. In contrast, Merleau-Ponty’s later considerations of the body in Phenomenology of Perception tend to the idea of a circular relationship between the objective and subjective dimensions of the body – between the objective and the lived. One of the means to overcome the idea of the body as a site of the correlation between two opposite and complementary realms is, for Merleau-Ponty, the philosophical interpretation of an early neurological notion of ‘body schema’. Body schema is neither an idea nor a physiological-physical fact, it is rather a practical diagram of our relationships with the world, an action-based norm in reference to which things make sense. In the recently published preparatory notes for his 1953 courses, Merleau-Ponty dedicates much effort to further developing the notion of body schema, and interprets fresh sources that he did not use in Phenomenology of Perception. Notably, he studies various possibilities of how this practical ‘diagram’ can be de-differentiated (pathology) or further refined (cognitive and cultural superstructures, symbolic systems), which shows the fundamentally dynamic unity of the body. This paper summarizes the basic elements of Merleau-Ponty’s 1953 renewed philosophical interpretation of the notion of body schema, while contrasting it to the more traditional understanding of the body in phenomenology and in recent philosophical texts dealing with body schema. (shrink)

In their Anachronic Renaissance, Alexander Nagel and Christopher Wood identify two principles upon which, in fifteenth-century Europe, a work of art might establish its validity or authority: substitution and performance. It has become established wisdom that the dual schema of substitution and performance follows Hans Belting's dualism of the medieval cult of the image and the modern aesthetic system of art. This, I submit, is not just a mistake, but also prevents from evaluating one of the book's most ambitious (...) contributions to art-historical theory on its own merits. An analysis of the structure of the claims made by Nagel and Wood brings to light that the two concepts—substitution and performance—do not play the same role as the conceptual pair of Bild and Kunst in Belting's influential work. (shrink)

Much recent cognitive neuroscientific work on body knowledge is representationalist: “body schema” and “body images”, for example, are cerebral representations of the body (de Vignemont 2009). A framework assumption is that representation of the body plays an important role in cognition. The question is whether this representationalist assumption is compatible with the variety of broadly situated or embodied approaches recently popular in the cognitive neurosciences: approaches in which cognition is taken to have a ‘direct’ relation to the body and to (...) the environment. A “direct” relation is one where the boundaries between the body and the head, or between the environment and the animal are not theoretically important in the understanding of cognition. These boundaries do not play a theoretically privileged role in cognitive explanations of behavior. But representationalism appears to put a representational veil between the locus of cognition and that which is represented, making cognitive relations to the body and to the environment be indirect, with a high associated computational load. For this reason, direct approaches have tried to minimize the use of internal representations (Suchman 1987; Barwise 1987; Agre and Chapman 1987; Brooks 1992; Thelen and Smith 1994; van Gelder 1995; Port and van Gelder 1995; Clark 1997, 1999; Rupert 2009, p. 180). Does a cognitive neuroscience committed to direct relations rule out a representationalist approach to body knowledge? Or is direct representationalism possible? (shrink)

continent. 1.1 : 3-13. / 0/ – Introduction I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Mieville's Iron Council which puts down track as it moves reclaiming it along the way. The strange trajectory is the following: Kant's critical philosophy and much of continental philosophy which has followed, (...) has been a defense against horror and madness. Kant's prohibition on speculative metaphysics such as dogmatic metaphysics and transcendental realism, on thinking beyond the imposition of transcendental and moral constraints, has been challenged by numerous figures proceeding him. One of the more interesting critiques of Kant comes from the mad black Deleuzianism of Nick Land stating, “Kant’s critical philosophy is the most elaborate fit of panic in the history of the Earth.” And while Alain Badiou would certainly be opposed to the libidinal investments of Land's Deleuzo-Guattarian thought, he is likewise critical of Kant's normative thought-bureaucracies: Kant is the one author for whom I cannot feel any kinship. Everything in him exasperates me, above all his legalism—always asking Quid Juris? Or ‘Haven’t you crossed the limit?’—combined, as in today’s United States, with a religiosity that is all the more dismal in that it is both omnipresent and vague. The critical machinery he set up has enduringly poisoned philosophy, while giving great succour to the academy, which loves nothing more than to rap the knuckles of the overambitious [….] That is how I understand the truth of Monique David-Menard’s reflections on the properly psychotic origins of Kantianism. I am persuaded that the whole of the critical enterprise is set up to to shield against the tempting symptom represented by the seer Swedenborg, or against ‘diseases of the head’, as Kant puts it. An entire nexus of the limits of reason and philosophy are set up here, namely that the critical philosophy not only defends thought from madness, philosophy from madness, and philosophy from itself, but that philosophy following the advent of the critical enterprise philosophy becomes auto-vampiric; feeding on itself to support the academy. Following Francois Laruelle's non-philosophical indictment of philosophy, we could go one step further and say that philosophy operates on the material of what is philosophizable and not the material of the external world. [1] Beyond this, the Kantian scheme of nestling human thinking between our limited empirical powers and transcendental guarantees of categorical coherence, forms of thinking which stretch beyond either appear illegitimate, thereby liquefying both pre-critical metaphysics and the ravings of the mad in the same critical acid. In rejecting the Kantian apparatus we are left with two entities – an unsure relation of thought to reality where thought is susceptible to internal and external breakdown and a reality with an uncertain sense of stability. These two strands will be pursued, against the sane-seal of post-Kantian philosophy by engaging the work of weird fiction authors H.P. Lovecraft and Thomas Ligotti. The absolute inhumanism of the formers universe will be used to describe a Shoggothic Materialism while the dream worlds of the latter will articulate the mad speculation of a Ventriloquil Idealism. But first we must address the relation of philosophy to madness as well as philosophy to weird fiction. /1/ – Philosophy and Madness There is nothing that the madness of men invents which is not either nature made manifest or nature restored. Michel Foucault. Madness and Civilization. The moment I doubt whether an event that I recall actually took place, I bring the suspicion of madness upon myself: unless I am uncertain as to whether it was not a mere dream. Arthur Schopenhauer. The World as Will and Idea, Vol. 3. Madness is commonly thought of as moving through several well known cultural-historical shifts from madness as a demonic or otherwise theological force, to rationalization, to medicalization psychiatric and otherwise. Foucault's Madness and Civilization is well known for orientating madness as a form of exclusionary social control which operated by demarcating madness from reason. Yet Foucault points to the possibility of madness as the necessity of nature at least prior to the crushing weight of the church. Kant’s philosophy as a response to madness is grounded by his humanizing of madness itself. As Adrian Johnston points out in the early pages of Time Driven pre-Kantian madness meant humans were seized by demonic or angelic forces whereas Kantian madness became one of being too human. Madness becomes internalized, the external demonic forces become flaws of the individual mind. Foucault argues that, while madness is de-demonized it is also dehumanized during the Renaissance, as madmen become creatures neither diabolic nor totally human reduced to the zero degree of humanity. It is immediately clear why for Kant, speculative metaphysics must be curbed – with the problem of internal madness and without the external safeguards of transcendental conditions, there is nothing to formally separate the speculative capacities for metaphysical diagnosis from the mad ramblings of the insane mind – both equally fall outside the realm of practicality and quotidian experience. David-Menard's work is particularly useful in diagnosing the relation of thought and madness in Kant's texts. David-Menard argues that in Kant's relatively unknown “An Essay on the Maladies of the Mind” as well as his later discussion of the Seer of Swedenborg, that Kant formulates madness primarily in terms of sensory upheaval or other hallucinatory theaters. She writes: “madness is an organization of thought. It is made possible by the ambiguity of the normal relation between the imaginary and the perceived, whether this pertains to the order of sensation or to the relations between our ideas” Kant's fascination with the Seer forces Kant between the pincers of “aesthetic reconciliation” – namely melancholic withdrawal – and “a philosophical invention” – namely the critical project. Deleuze and Guattari's schizoanalysis is a combination and reversal of Kant's split, where an aesthetic over engagement with the world entails prolific conceptual invention. Their embrace of madness, however, is of course itself conceptual despite all their rhizomatic maneuvers. Though they move with the energy of madness, Deleuze and Guattari save the capacity of thought from the fangs of insanity by imbuing materiality itself with the capacity for thought. Or, as Ray Brassier puts it, “Deleuze insists, it is necessary to absolutize the immanence of this world in such a way as to dissolve the transcendent disjunction between things as we know them and as they are in themselves”. That is, whereas Kant relied on the faculty of judgment to divide representation from objectivity Deleuze attempts to flatten the whole economy beneath the juggernaut of ontological univocity. Speculation, as a particularly useful form of madness, might fall close to Deleuze and Guattari’s shaping of philosophy into a concept producing machine but is different in that it is potentially self destructive – less reliant on the stability of its own concepts and more adherent to exposing a particular horrifying swath of reality. Speculative madness is always a potential disaster in that it acknowledges little more than its own speculative power with the hope that the gibbering of at least a handful of hysterical brains will be useful. Pre-critical metaphysics amounts to madness, though this may be because the world itself is mad while new attempts at speculative metaphysics, at post-Kantian pre-critical metaphysics, are well aware of our own madness. Without the sobriety of the principle of sufficient reason we have a world of neon madness: “we would have to conceive what our life would be if all the movements of the earth, all the noises of the earth, all the smells, the tastes, all the light – of the earth and elsewhere, came to us in a moment, in an instant – like an atrocious screaming tumult of things”. Speculative thought may be participatory in the screaming tumult of the world or, worse yet, may produce its spectral double. Against theology or reason or simply commonsense, the speculative becomes heretical. Speculation, as the cognitive extension of the horrorific sublime should be met with melancholic detachment. Whereas Kant's theoretical invention, or productivity of thought, is self -sabotaging, since the advent of the critical project is a productivity of thought which then delimits the engine of thought at large either in dogmatic gestures or non-systematizable empirical wondrousness. The former is celebrated by the fiction of Thomas Ligotti whereas the latter is espoused by the tales of H.P. Lovecraft. /2/ – Weird Fiction and Philosophy. Supernatural horror, in all its eerie constructions, enables a reader to taste treats inconsistent with his personal welfare. Thomas Ligotti Songs of a Dead Dreamer. I choose weird stories because they suit my inclination best—one of my strongest and most persistent wishes being to achieve,momentarily, the illusion of some strange suspension or violation of the galling limitations of time, space, and natural law which forever imprison us and frustrate our curiosity about the infinite cosmic spaces beyond the radius of our sight and analysis H.P. Lovecraft. “Notes on Writing Weird Fiction” Lovecraft states that his creation of a story is to suspend natural law yet, at the same time, he indexes the tenuousness of such laws, suggesting the vast possibilities of the cosmic. The tension that Lovecraft sets up between his own fictions and the universe or nature is reproduced within his fictions in the common theme of the unreliable narrator; unreliable precisely because they are either mad or what they have witnessed questions the bounds of material reality. In “The Call of Cthulhu” Lovecraft writes: The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age. Despite Lovecraft's invocations of illusion, he is not claiming that his fantastic creations such as the Old Ones are supernatural but, following Joshi, are only ever supernormal. One can immediately see that instead of nullifying realism Lovecraft in fact opens up the real to an unbearable degree. In various letters and non-fictional statements Lovecraft espoused strictly materialist tenets, ones which he borrowed from Hugh Elliot namely the uniformity of law, the denial of teleology and the denial of non-material existence. Lovecraft seeks to explore the possibilities of such a universe by piling horror upon horror until the fragile brain which attempts to grasp it fractures. This may be why philosophy has largely ignored weird fiction – while Deleuze and Guattari mark the turn towards weird fiction and Lovecraft in particular, with the precursors to speculative realism as well as contemporary related thinkers have begun to view Lovecraft as making philosophical contributions. Lovecraft's own relation to philosophy is largely critical while celebrating Nietzsche and Schopenhauer. This relationship of Lovecraft to philosophy and philosophy to Lovecraft is coupled with Lovecraft's habit of mercilessly destroying the philosopher and the figure of the academic more generally in his work, a destruction which is both an epistemological destruction and an ontological destruction. Thomas Ligotti's weird fiction which he has designated as a kind of “confrontational escapism” might be best described in the following quote from one of his shortstories, “The human phenomenon is but the sum of densely coiled layers of illusion each of which winds itself on the supreme insanity. That there are persons of any kind when all there can be is mindless mirrors laughing and screaming as they parade about in an endless dream”. Whereas Lovecraft's weirdness draws predominantly from the abyssal depths of the uncharted universe, Ligotti's existential horror focuses on the awful proliferation of meaningless surfaces that is, the banal and every day function of representation. In an interview, Ligotti states: We don't even know what the world is like except through our sense organs, which are provably inadequate. It's no less the case with our brains. Our whole lives are motored along by forces we cannot know and perceptions that are faulty. We sometimes hear people say that they're not feeling themselves. Well, who or what do they feel like then? This is not to say that Ligotti sees nothing beneath the surface but that there is only darkness or blackness behind it, whether that surface is on the cosmological level or the personal. By addressing the implicit and explicit philosophical issues in Ligotti's work we will see that his nightmarish take on reality is a form of malevolent idealism, an idealism which is grounded in a real, albeit dark and obscure materiality. If Ligotti's horrors ultimately circle around mad perceptions which degrade the subject, it takes aim at the vast majority of the focus of continental philosophy. While Lovecraft's acidic materialism clearly assaults any romantic concept of being from the outside, Ligotti attacks consciousness from the inside: Just a little doubt slipped into the mind, a little trickle of suspicion in the bloodstream, and all those eyes of ours, one by one, open up to the world and see its horror [...] Not even the solar brilliance of a summer day will harbor you from horror. For horror eats the light and digests it into darkness. Clearly, the weird fiction of Lovecraft and Ligotti amount to a anti-anthrocentric onslaught against the ramparts of correlationist continental philosophy. /3/ – Shoggothic Materialism or the Formless Formless protoplasm able to mock and reflect all forms and organs and processes—viscous agglutinations of bubbling cells—rubbery fifteen-foot spheroids infinitely plastic and ductile—slaves of suggestion, builders of cities—more and more sullen, more and more intelligent, more and more amphibious, more and more imitative—Great God! What madness made even those blasphemous Old Ones willing to use and to carve such things? H.P. Lovecraft. “At the Mountains of Madness” On the other hand, affirming that the universe resembles nothing and is only formless amounts to saying that the universe is something like a spider or spit. Georges Bataille. “Formless”. The Shoggoths feature most prominently in H.P. Lovecraft's shortstory “At the Mountains of Madness” where they are described in the following manner: It was a terrible, indescribable thing vaster than any subway train – a shapeless congeries of protoplasmic bubbles, faintly self -luminous, and with myriads of temporary eyes forming and un-forming as pustules of greenish light all over the tunnel-filling front that bore down upon us, crushing the frantic penguins and slithering over the glistening floor that it and its kind had swept so evilly free of all litter. The term is a litmus test for materialism itself as the Shoggoth is an amorphous creature. The Shoggoths were living digging machines bio engineered by the Elder Things, and their protoplasmic bodies being formed into various tools by their hypnotic powers. The Shoggoths eventually became self aware and rose up against their masters in an ultimately failed rebellion. After the Elder Ones retreated into the oceans leaving the Shoggoths to roam the frozen wastes of the Antarctic. The onto-genesis of the Shoggoths and their gross materiality, index the horrifyingly deep time of the earth a concept near and dear to Lovecraft's formulation of horror as well as the fear of intelligences far beyond, and far before, the ascent of humankind on earth and elsewhere. The sickly amorphous nature of the Shoggoths invade materialism at large, where while materiality is unmistakably real ie not discursive, psychological, or otherwise overly subjectivist, it questions the relation of materialism to life. As Eugene Thacker writes: The Shoggoths or Elder Things do not even share the same reality with the human beings who encounter them—and yet this encounter takes place, though in a strange no-place that is neither quite that of the phenomenal world of the human subject or the noumenal world of an external reality. Amorphous yet definitively material beings are a constant in Lovecraft's tales. In his tale “The Dream-Quest of Unknown Kadatth” Lovecraft describes Azathoth as, “that shocking final peril which gibbers unmentionably outside the ordered universe,” that, “last amorphous blight of nethermost confusion which blashphemes and bubbles at the centre of all infinity,” who, “gnaws hungrily in inconceivable, unlighted chambers beyond time”. Azathoth's name may have multiple origins but the most striking is the alchemy term azoth which is both a cohesive agent and a acidic creation pointing back to the generative and the decayed. The indistinction of generation and degradation materially mirrors the blur between the natural and the unnatural as well as life and non-life. Lovecraft speaks of the tension between the natural and the unnatural is his short story “The Unnameable.” He writes, “if the psychic emanations of human creatures be grotesque distortions, what coherent representation could express or portray so gibbous and infamous a nebulousity as the spectre of a malign, chaotic perversion, itself a morbid blasphemy against Nature?”. Lovecraft explores exactly the tension outlined at the beginning of this chapter, between life and thought. At the end of his short tale Lovecraft compounds the problem as the unnameable is described as “a gelatin—a slime—yet it had shapes, a thousand shapes of horror beyond all memory”. Deleuze suggests that becoming-animal is operative throughout Lovecraft's work, where narrators feel themselves reeling at their becoming non-human or of being the anomalous or of becoming atomized. Following Eugene Thacker however, it may be far more accurate to say that Lovecraft's tales exhibit not a becoming-animal but a becoming-creature. Where the monstrous breaks the purportedly fixed laws of nature, the creature is far more ontologically ambiguous. The nameless thing is an altogether different horizon for thought. The creature is either less than animal or more than animal – its becoming is too strange for animal categories and indexes the slow march of thought towards the bizarre. This strangeness is, as aways, some indefinite swirling in the category of immanence and becoming. Bataille begins “The Labyrinth” with the assertion that being, to continue to be, is becoming. More becoming means more being hence the assertion that Bataille's barking dog is more than the sponge. This would mean that the Shoggotth is altogether too much being, too much material in the materialism. Bataille suggests that there is an immanence between the eater and the eaten, across the species and never within them. That is, despite the chaotic storm of immanence there must remain some capacity to distinguish the gradients of becoming without reliance upon, or at least total dependence upon, the powers of intellection to parse the universe into recognizable bits, properly digestible factoids. That is, if we undo Deleuze's aforementioned valorization of sense which, for his variation of materialism, performed the work of the transcendental, but refuse to reinstate Kant's transcendental disjunction between thing and appearance, then it must be a quality of becoming-as-being itself which can account for the discernible nature of things by sense. In an interview with Peter Gratton, Jane Bennett formulates the problem thusly: What is this strange systematicity proper to a world of Becoming? What, for example, initiates this congealing that will undo itself? Is it possible to identify phases within this formativity, plateaus of differentiation? If so, do the phases/plateaus follow a temporal sequence? Or, does the process of formation inside Becoming require us to theorize a non-chronological kind of time? I think that your student’s question: “How can we account for something like iterable structures in an assemblage theory?” is exactly the right question. Philosophy has erred too far on the side of the subject in the subject-object relation and has furthermore, lost the very weirdness of the non-human. Beyond this, the madness of thought need not override. /4/ - Ventriloquial Idealism or the Externality of Thought My aim is the opposite of Lovecraft's. He had an appreciation for natural scenery on earth and wanted to reach beyond the visible in the universe. I have no appreciation for natural scenery and want the objective universe to be a reflection of a character. Thomas Ligotti. “Devotees of Decay and Desolation.” Unless life is a dream, nothing makes sense. For as a reality, it is a rank failure [….] Horror is more real than we are. Thomas Ligotti. “Professor Nobody's Little Lectures on Supernatural Horror”. Thomas Ligotti's tales are rife with mannequins, puppets, and other brainless entities which of replace the valorized subject of philosophy – that of the free thinking human being. His tales such as “The Dream of the Manikin” aim to destroy the rootedness of consciousness. James Trafford has connected the anti-egoism of Ligotti to Thomas Metzinger – where the self is at best an illusion and we plead desperately for someone else to acknowledge that we are real. Trafford has stated it thus, “Life is played out as an inescapable puppet show, an endless dream in which the puppets are generally unaware that they are trapped within a mesmeric dance of whose mechanisms they know nothing and over which they have no control”. An absolute materialism, for Ligotti, implies an alienation of the idea which leads to a ventriloquil idealism. As Ligotti notes in an interview, “the fiasco and nightmare of existence, the particular fiasco and nightmare of human existence, the sense that people are puppets of powers they cannot comprehend, etc.” And then further elaborates that,“[a]ssuming that anything has to exist, my perfect world would be one in which everyone has experienced the annulment of his or her ego. That is, our consciousness of ourselves as unique individuals would entirely disappear”. The externality of the idea leads to the unfortunate consequence of consciousness eating at itself through horror which, for Ligotti, is more real than reality and goes beyond horror-as-affect. Beyond this, taking together with the unreality of life and the ventriloquizing of subjectivity, Ligotti's thought becomes an idealism in which thought itself is alien and ultimately horrifying. The role of human thought and the relation of non-relation of horror to thought is not completely clear in Ligotti's The Conspiracy Against the Human Race. Ligotti argues in his The Conspiracy Against the Human Race,that the advent of thought is a mistake of nature and that horror is being in the sense that horror results from knowing too much. Yet, at the same time, Ligotti seems to suggest that thought separates us from nature whereas, for Lovecraft, thought is far less privileged – mind is just another manifestation of the vital principal, it is just another materialization of energy. In his brilliant “Prospects for Post-Copernican Dogmatism” Iain Grant rallies against the negative definition of dogmatism and the transcendental, and suggests that negatively defining both over-focuses on conditions of access and subjectivism at the expense of the real or nature. With Schelling, who is Grant's champion against the subjectivist bastions of both Fichte and Kant, Ligotti's idealism could be taken as a transcendental realism following from an ontological realism. Yet the transcendental status of Ligotti's thought move towards a treatment of the transcendental which may threaten to leave beyond its realist ground. Ligotti states: Belief in the supernatural is only superstition. That said, a sense of the supernatural, as Conrad evidenced in Heart of Darkness, must be admitted if one's inclination is to go to the limits of horror. It is the sense of what should not be- the sense of being ravaged by the impossible. Phenomenally speaking, the super-natural may be regarded as the metaphysical counterpart of insanity, a transcendental correlative of a mind that has been driven mad. Again, Ligotti equates madness with thought, qualifying both as supernatural while remaining less emphatic about the metaphysical dimensions of horror. The question becomes one of how exactly the hallucinatory realm of the ideal relates to the black churning matter of Lovecraft's chaos of elementary particles. In his tale “I Have a Special Plan for This World” Ligotti formulates thus: A: There is no grand scheme of things. B: If there were a grand scheme of things, the fact – the fact – that we are not equipped to perceive it, either by natural or supernatural means, is a nightmarish obscenity. C: The very notion of a grand scheme of things is a nightmarish obscenity. Here Ligotti is not discounting metaphysics but implying that if it does exist the fact that we are phenomenologically ill-equipped to perceive that it is nightmarish. For Ligotti, nightmare and horror occur within the circuit of consciousness whereas for Lovecraft the relation between reality and mind is less productive on the side of mind. It is easier to ascertain how the Kantian philosophy is a defense against the diseases of the head as Kant armors his critical enterprise from too much of the world and too much of the mind. The weird fiction of both Lovecraft and Ligotti demonstrates that there is too much of both feeding into one another in a way that corrodes the Kantian schema throughly, breaking it down into a dead but still ontologically potentiated nigredo. The haunting, terrifying fact of Ligotti's idealism is that the transcendental motion which brought thought to matter, while throughly material and naturalized, brings with it the horror that thought cannot be undone without ending the material that bears it either locally or completely. Thought comes from an elsewhere and an elsewhen being-in-thought. The unthinkable outside thought is as maddening as the unthought engine of thought itself within thought which doesn't exist except for the mind, the rotting décor of the brain. /5/ - Hyperstitional Transcendental Paranoia or Self -Expelled Thought Weird fiction has been given some direct treatment in philosophy in the mad black Deleuzianism of Nick Land. Nick Land along with others in the 1990s created the Cyber Culture Research Unit as well as the research group Hyperstition. The now defunct hyperstitional website, an outgrowth of the Cyber Culture Research Unit, defined hyperstition in the following fourfold: 1-Element of effective culture that makes itself real. 2-Fictional quantity functional as a time-traveling device. 3-Coincidence intensifier. 4-Call to the Old Ones. The distinctively Lovecraftian character of hyperstition is hard to miss as is its Deleuzo-Guattarian roots. In the opening pages of A Thousand Plateaus Deleuze and Guattari write, “We have been criticized for over-quoting literary authors. But when one writes, the only question is which other machine the literary machine can be plugged into”. The indisinction of literature and philosophy mirrors the mess of being and knowing as post-correlationist philosophy, where philosophy tries to make itself real where literature, especially the weird, aims itself at the brain-circuit of horror. The texts of both Lovecraft and Ligotti work through horror as epistemological plasticity meeting with proximity as well as the deep time of Lovecraft and the glacially slow time of paranoia in Ligotti. Against Deleuze, and following Brassier, we cannot allow the time of consciousness, the Bergsonian time of the duree, to override natural time, but instead acknowledge that it is an unfortunate fact of existence as a thinking being. Horror-time, the time of consciousness, with all its punctuated moments and drawn out terrors, cannot compare to the deep time of non-existence both in the unreachable past and the unknown future. The crystalline cogs of Kant's account of experience as the leading light for the possibility of metaphysics must be throughly obliterated. His gloss of experience in Prolegomena to any Future Metaphysics could not be more sterile: Experience consists of intuitions, which belong to the sensibility, and of judgments, which are entirely a work of the understanding. But the judgments which the understanding makes entirely out of sensuous intuitions are far from being judgments of experience. For in the one case the judgment connects only the perceptions as they are given in sensuous intuition [....] Experience consists in the synthetic connection of appearances in consciousness, so far as this connection is necessary. Here it is difficult to dismiss the queasiness that Kant's legalism induces upon sight for both Badiou and David-Menard. Kant's thought becomes, as Foucault says when reflecting on Sade's text in relation to nature, “the savage abolition of itself”. For Badiou, Kant's philosophy simply closes off too much of the outside, freezing the world of thought in an all too limited formalism. Critical philosophy is simply the systematized quarantine on future thinking, on thinking which would threaten the formalism which artificially grants thought its own coherency in the face of madness. Even the becoming-mad of Deleuze, while escaping the rumbling ground, makes grounds for itself, mad grounds but grounds which are thinkable in their affect. The field of effects allows for Deleuze's aesthetic and radical empiricism, in which effects and/or occasions make up the material of the world to be thought as a chaosmosis of simulacra. Given a critique of an empiricism of aesthetics, of the image, it may be difficult to justify an attack on Kantian formalism with the madness of literature, which does not aim to make itself real but which we may attempt to make real. That is, how do Lovecraft's and Ligotti's materials, as materials for philosophy to work on, differ from either the operative formalisms of Kant or the implicitly formalized images of Deleuzian empiricism? It is simply that such texts do not aim to make themselves real, and make claims to the real which are more alien to us than familiar, which is why their horror is immediately more trustworthy. This is the madness which Blanchot discusses in The Infinite Conversation through Cervantes and his knight – the madness of book-life, of the perverse unity of literature and life a discussion which culminates in the discussion of one of the weird's masters, that of Kafka. The text is the knowing of madness, since madness, in its moment of becoming-more-mad, cannot be frozen in place but by the solidifications of externalizing production. This is why Foucault ends his famous study with works of art. Furthermore extilligence, the ability to export the products of our maligned brains, is the companion of the attempts to export, or discover the possibility of intelligences outside of our heads, in order for philosophy to survive the solar catastrophe. To borrow again from Deleuze, writing is inseparable from becoming. The mistake is to believe that madness is reabsorbed by extilligence, by great works, or that it could be exorcised by the expelling of thought into the inorganic or differently organic. Going out of our heads does not guarantee we will no longer mean we cannot still go out of our minds. This is simply because of the outside, of matter, or force, or energy, or thing-in-itself, or Schopenhauerian Will. In Lovecraft’s “The Music of Erich Zahn” an “impoverished student of metaphysics” becomes intrigued by strange viol music coming from above his room. After meeting the musician the student discovers that each night he plays frantic music at a window in order to keep some horridness at bay, some “impenetrable darkness with chaos and pandemonium”. The aesthetic defenses provided by the well trained brain can bear the hex of matter for so long, the specter of unalterability within it which too many minds obliterate, collapsing everything before the thought of thought as thinkable or at least noetically mutable on our own terms. Transcendental paranoia is the concurrent nightmare and promise of Paul Humphrey's work, of being literally out of our minds. It is the gothic counterpart of thinking non-conceptually but also of thinking never belonging to any instance of purportedly solid being. As Bataille stated, “At the boundary of that which escapes cohesion, he who reflects within cohesion realizes there is no longer any room for him” Thought is immaterial only to the degree that it is inhuman, it is a power that tries, always with failure, to ascertain its own genesis. Philosophy, if it can truly return to the great outdoors, if it can leave behind the dead loop of the human skull, must recognize not only the non-priority of human thought, but that thought never belongs to the brain that thinks it, thought comes from somewhere else. To return to the train image from the beginning “a locomotive rolling on the surface of the earth is the image of continuous metamorphosis” this is the problem of thought, and of thinking thought, of being no longer able to isolate thought, with only a thought-formed structure. [1] One of the central tenets of Francois Laruelle's non-philosophy is that philosophy has traditionally operated on material already presupposed as thinkable instead of trying to think the real in itself. Philosophy, according to Laruelle, remains fixated on transcendental synthesis which shatters immanence into an empirical datum and an a prori factum which are then fused by a third thing such as the ego. For a critical account of Laruelle's non-philosophy see Ray Brassier's Nihil Unbound. (shrink)

This article presents Paul Ricœur’s hermeneutic of the productive imagination as a methodological tool for understanding the innovative social function of texts that in exceeding their semantic meaning, iconically augment reality. Through the reasoning of Rastafari elder Mortimo Planno’s unpublished text, Rastafarian: The Earth’s Most Strangest Man, and the religious and biblical signification from the music of his most famous postulate, Bob Marley, this article applies Paul Ricœur’s schema of the religious productive imagination to conceptualize the metaphoric transfer from text (...) to life of verbal and iconic images of Rastafari’s hermeneutic of word, sound and power. This transformation is accomplished through what Ricœur terms the phenomenology of the iconic augmentation of reality. Understanding this semantic innovation is critical to understanding the capacity of the religious imagination to transform reality as a proclamation of hope in the midst of despair. (shrink)

Elsewhere I have argued that the future is made of words and images that we create and use in the present, and that the nature of these words is such that we project our future(s)1 from them[1]. Ultimately, we then treat those projected worlds, made of our own words and images, as being something real, or at least real enough to be considered unavoidable, and thus we read back meaning on the present based upon the unavoidable future that we have (...) created. If one accepts this schema, then it begins to make sense not only to examine this process of future creation, but to examine the particular words and images that we have chosen to create the future. Here, I want to examine a particular word—the word “millennium”. A recent edition of the television programme Equinox began with the question “Why has the millennium— a date of our own making—become the focus for the hopes and fears of mankind?”2 The answer lies in the question—it is our own making. We are not only the ones who have done the mathematical calculation to make it 2000, we have created the meaning and significance that it has. And then strangely, dumb-founded and amazed, we stand back as though we are looking upon something as otherpowered as the sun. How do we do this? (shrink)

I attempt to draw out some difficulties with what may at first seem an intuitive and uncontroversial picture of tactile sensation - a picture of tactile sensation as perception of spatial locations where these spatial locations serve as the units out of which we build our awareness of bodily position. Given these shortcomings, rather than continue to labour under this overall picture of tactile sensation as the epistemic foundation of our awareness of bodily position, I reverse the direction of explanation, (...) taking an immediate awareness of bodily position as the epistemic foundation of tactile sensation. Brian O'Shaughnessy's perceptual theory, and Michael Martin's development of it - if correct - enable this reversal. I do not critically assess O'Shaughnessy and Martins' theories, at least not in much depth. However, by giving a clear account of the difficulties they may resolve, it is hoped that the scope and potential power of these theories has been demonstrated. (shrink)

A body schema is an agent's model of its own body that enables it to act on affordances in the environment. This paper presents a body schema system for the Learning Intelligent Decision Agent (LIDA) cognitive architecture. LIDA is a conceptual and computational implementation of Global Workspace Theory, also integrating other theories from neuroscience and psychology. This paper contends that the ‘body schema' should be split into three separate functions based on the functional role of consciousness in Global Workspace Theory. (...) There is (1) an online model of the agent's effectors and effector variables (Current Body Schema), (2) a long-term, recognitional storage of embodied capacities for action and affordances (Habitual Body Schema), and (3) "dorsal" stream information feeding directly from early perception to sensorimotor processes (Online Body Schema). This paper then discusses how the LIDA model of the body schema explains several experiments in psychology and ethology. (shrink)

Thirty years ago, I elaborated on a position that could be seen as a compromise between an "extreme," symbol-based AI, and a "neurochemical reductionism" in AI. The present article recalls aspects of the espoused framework of schema theory that, it suggested, could provide a better bridge from human psychology to brain theory than that offered by the symbol systems of A. Newell and H. A. Simon.

In his 1953 lectures at the College de France, Merleau-Ponty dedicated much effort to further developing his idea of embodied subject and interpreted fresh sources that he did not use in Phenomenology of Perception. Notably, he studied more in depth the neurological notion of "body schema". According to Merleau-Ponty, the body schema is a practical diagram of our relationships to the world, an action-based norm with reference to which things make sense. Merleau-Ponty more precisely tried to describe the fundamentally dynamic (...) unity of the body, i.e. the fact there are various possibilities how the practical "diagram" of body schema could be de-differentiated (in pathology) or further refined (via cognitive and cultural superstructures, symbolic systems). This chapter summarises Merleau-Ponty's interpretation of the notion, while contrasting it to the more traditional understanding of the body in phenomenology and recent philosophical texts dealing with body schema. (shrink)

One of the philosophical uses of Dedekind’s categoricity theorem for Peano Arithmetic is to provide support for semantic realism. To this end, the logical framework in which the proof of the theorem is conducted becomes highly significant. I examine different proposals regarding these logical frameworks and focus on the philosophical benefits of adopting open-ended schemas in contrast to second order logic as the logical medium of the proof. I investigate Pederson and Rossberg’s critique of the ontological advantages of open-ended (...) arithmetic when it comes to establishing the categoricity of Peano Arithmetic and show that the critique is highly problematic. I argue that Pederson and Rossberg’s ontological criterion deliver the bizarre result that certain first order subsystems of Peano Arithmetic have a second order ontology. As a consequence, the application of the ontological criterion proposed by Pederson and Rossberg assigns a certain type of ontology to a theory, and a different, richer, ontology to one of its subtheories. (shrink)

The syllogistic figures and moods can be taken to be argument schemata as can the rules of the Stoic propositional logic. Sentence schemata have been used in axiomatizations of logic only since the landmark 1927 von Neumann paper [31]. Modern philosophers know the role of schemata in explications of the semantic conception of truth through Tarski’s 1933 Convention T [42]. Mathematical logicians recognize the role of schemata in first-order number theory where Peano’s second-order Induction Axiom is approximated by Herbrand’s Induction-Axiom (...) Schema [23]. Similarly, in first-order set theory, Zermelo’s second-order Separation Axiom is approximated by Fraenkel’s first-order Separation Schema [17]. In some of several closely related senses, a schema is a complex system having multiple components one of which is a template-text or scheme-template, a syntactic string composed of one or more “blanks” and also possibly significant words and/or symbols. In accordance with a side condition the template-text of a schema is used as a “template” to specify a multitude, often infinite, of linguistic expressions such as phrases, sentences, or argument-texts, called instances of the schema. The side condition is a second component. The collection of instances may but need not be regarded as a third component. The instances are almost always considered to come from a previously identified language (whether formal or natural), which is often considered to be another component. This article reviews the often-conflicting uses of the expressions ‘schema’ and ‘scheme’ in the literature of logic. It discusses the different definitions presupposed by those uses. And it examines the ontological and epistemic presuppositions circumvented or mooted by the use of schemata, as well as the ontological and epistemic presuppositions engendered by their use. In short, this paper is an introduction to the history and philosophy of schemata. (shrink)

Imagism about Phenomenal Thought is (roughly) the view that there is some concept *Q* (for some sensory quality Q) that we can employ only while we experience the quality Q. I believe this view is theoretically significant, is or can be made intuitively appealing, and is explicitly or implicitly accepted by many contemporary philosophers However, there is no good reason to accept it. Or so I argue.

Proponents of the predictive processing (PP) framework often claim that one of the framework’s significant virtues is its unificatory power. What is supposedly unified are predictive processes in the mind, and these are explained in virtue of a common prediction error-minimisation (PEM) schema. In this paper, I argue against the claim that PP currently converges towards a unified explanation of cognitive processes. Although the notion of PEM systematically relates a set of posits such as ‘efficiency’ and ‘hierarchical coding’ into a (...) unified conceptual schema, neither the frameworks’ algorithmic specifications nor its hypotheses about their implementations in the brain are clearly unified. I propose a novel way to understand the fruitfulness of the research program in light of a set of research heuristics that are partly shared with those common to Bayesian reverse engineering. An interesting consequence of this proposal is that pluralism is at least as important as unification to promote the positive development of the predictive mind. (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)

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)

Bilateral proof systems, which provide rules for both affirming and denying sentences, have been prominent in the development of proof-theoretic semantics for classical logic in recent years. However, such systems provide a substantial amount of freedom in the formulation of the rules, and, as a result, a number of different sets of rules have been put forward as definitive of the meanings of the classical connectives. In this paper, I argue that a single general schema for bilateral proof rules has (...) a reasonable claim to inferentially articulating the core meaning of all of the classical connectives. I propose this schema in the context of a bilateral sequent calculus in which each connective is given exactly two rules: a rule for affirmation and a rule for denial. Positive and negative rules for all of the classical connectives are given by a single rule schema, harmony between these positive and negative rules is established at the schematic level by a pair of elimination theorems, and the truth-conditions for all of the classical connectives are read off at once from the schema itself. (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)

Approfondendo lo schema dell’immaginazione, introdotto da Kant nella Critica della Ragione Pura per risolvere l’applicazione tra concetti e intuizioni, diversi commentatori hanno individuato alcuni legami con l’impostazione di Wittgenstein, soprattutto con le nozioni di immagine del Tractatus logico-philosophicus e di regola delle Ricerche filosofiche. Partendo da una prospettiva filosofico-linguistica, in particolare dalla questione della denominazione, questo saggio prova a ripercorrere alcuni punti critici che emergono dal tale confronto (§ 1),affrontando sia le difficoltà epistemiche interne alla riflessione kantiana sia gli aspetti (...) che caratterizzano il suo paradigma procedurale (§ 2e § 3), per individuare un accostamento plausibile all’impresa filosofica di Wittgenstein (§ 4 e § 5). (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)

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)

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)

I attend to the temporal schema of open/closed by examining its elaboration in Bergson's philosophy and critically parsing the possibilities for its destabilization. Though Bergson wrote in a colonial context, this context barely receives acknowledgement in his work. This obscures the uncomfortable resonances between Bergson's late work, The Two Sources of Morality and Religion, and the temporal narratives that justify French colonialism. Given Bergson's uptake by philosophers, such as Gilles Deleuze, and by contemporary feminist and political theorists (especially “new materialists”), (...) a critical re-examination is called for. The Two Sources not only introduces a new dichotomy into Bergsonian philosophy—that of open/closed—it puts an end to the movement of duration by defining its possibilities as goals already given in advance. By turning the tools of Bergsonian critique onto The Two Sources, I propose an alternative to the open/closed—that of the “half-open”—creating in this way the conditions for decolonizing duration. (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)

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)

We propose a multi-step evaluation schema designed to help procurement agencies and others to examine the ethical dimensions of autonomous systems to be applied in the security sector, including autonomous weapons systems.

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)

In the interesting and thought-provoking article Grazziano and colleagues argue for their Attention Schema Theory (AST) of consciousness. They present AST as a unification of Global Workspace Theory (GWT), Illusionism, and the Higher-Order Thought (HOT) theory. We argue it is a mistake to equate 'subjective experience,' ad related terms, with dualism. They simply denote experience. Also, as presented, AST does not accurately capture the essence of HOT for two reasons. HOT is presented as a version of strong illusionism, which it (...) isn't, and HOT requires that one be aware of one's mental life, and postulates that his consists in a re-representation of what is occurring at at the lower-order levels. However, the authors deny that AST involves re-representing visual stimuli. We close by proposing an alternative unification: GWT and AST provide crucial accounts of how lower-order states are assembled and maintained, but higher-order theory provides the account of subjective experience. (shrink)

To what extent should we focus on implicit bias in order to eradicate persistent social injustice? Structural prioritizers argue that we should focus less on individual minds than on unjust social structures, while equal prioritizers think that both are equally important. This article introduces the framework of transactive memory into the debate to defend the equal priority view. The transactive memory framework helps us see how structure can emerge from individual interactions as an irreducibly social product. If this is right, (...) then debiasing interventions are structural interventions. One upshot is that the utility of the individual versus structural distinction is not apparent for the purposes of intervention. (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)

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)

In this largely theoretical article, we discuss the relation between a kind of affect, behavioural schemas and aspects of the proving process. We begin with affect as described in the mathematics education literature, but soon narrow our focus to a particular kind of affect – nonemotional cognitive feelings. We then mention the position of feelings in consciousness because that bears on the kind of data about feelings that students can be expected to be able to report. Next we introduce (...) the idea of behavioural schemas as enduring mental structures that link situations to actions, in other words, habits of mind, that appear to drive many mental actions in the proving process. This leads to a discussion of the way feelings can both help cause mental actions and also arise from them. Then we briefly describe a design experiment – a course intended to help advanced undergraduate and beginning graduate mathematics students improve their proving abilities. Finally, drawing on data from the course, along with several interviews, we illustrate how these perspectives on affect and on behavioural schemas appear to explain, and are consistent with, our students’ actions. (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)

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)