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

It is clear that visual imagery is somehow significantly visual. Some theorists, like Kosslyn, claim that the visual nature of visualisations derives from features of the neural processes which underlie those episodes. Pylyshyn claims, however, that it may merely reflect special features of the contents which we grasp when we visualise things. This paper discusses and rejects Pylyshyn's own attempts to identify the respects in which the contents of visualisations are notably visual. It then offers (...) a novel and very different account of what is distinctively sensory about the contents of sensory images. The paper's alternative account is used in explaining various pieces of phenomenological and behavioural data concerning visualisation. Finally, it is tentatively suggested that the proposed account of the contents of sensory images may also shed light upon some of the neurological data involving visualisation and sensory imagery more generally. (shrink)

Visual imagery is a form of sensory imagination, involving subjective experiences typically described as similar to perception, but which occur in the absence of corresponding external stimuli. We used the Activation Likelihood Estimation algorithm (ALE) to identify regions consistently activated by visual imagery across 40 neuroimaging studies, the first such meta-analysis. We also employed a recently developed multi-modal parcellation of the human brain to attribute stereotactic co-ordinates to one of 180 anatomical regions, the first time this (...) approach has been combined with the ALE algorithm. We identified a total 634 foci, based on measurements from 464 participants. Our overall comparison identified activation in the superior parietal lobule, particularly in the left hemisphere, consistent with the proposed ‘top-down’ role for this brain region in imagery. Inferior premotor areas and the inferior frontal sulcus were reliably activated, a finding consistent with the prominent semantic demands made by many visual imagery tasks. We observed bilateral activation in several areas associated with the integration of eye movements and visual information, including the supplementary and cingulate eye fields (SCEFs) and the frontal eye fields (FEFs), suggesting that enactive processes are important in visual imagery. V1 was typically activated during visual imagery, even when participants have their eyes closed, consistent with influential depictive theories of visual imagery. Temporal lobe activation was restricted to area PH and regions of the fusiform gyrus, adjacent to the fusiform face complex (FFC). These results provide a secure foundation for future work to characterise in greater detail the functional contributions of specific areas to visual imagery. (shrink)

Near-death experiences (NDEs) entail complex and structured conscious experience during conditions known to coincide with rapid loss of consciousness often associated with decline or disruption of the neurological correlates currently held to be causative factors of visual imagery and cognition. In this study, 653 NDE reports of cardiac and/or respiratory arrest patients were analyzed for unprompted, spontaneous references to quality of conscious visual imagery and mentation during an NDE. Results indicate that in a majority of NDEs, (...) both figurative and abstract mentation are either preserved or markedly improved during unconsciousness and unresponsiveness in the context of respiratory and cardiac arrests. These findings underscore the call to further study the mechanisms behind the ‘outliving’ of a conscious sense of selfhood and complex, structured visual imagery and cognition during severely deteriorating physiological function—and perhaps especially during clinical death. (shrink)

It has been suggested that certain problems may be unsolvable because of the mind's cognitive structure, but we may wonder what problems, and exactly why. The ultimate origin of the universe and the mind-body problem seem to be two such problems. As to why, Colin McGinn has argued that the mind-body problem is unsolvable because any theoretical concepts about the brain will be observation-based and unable to connect to unobservable subjective experience. McGinn's argument suggests a requirement of imagability -- an (...) observation basis -- for physical causal explanation that cannot be met for either of these problems. Acausal descriptions may be possible but not the causal analyses that provide the greatest explanatory satisfaction, a psychological phenomenon that seems tied to the strength of the underlying observation basis but is affected by other factors as well. (shrink)

How does visual imagination differ from visual perceptual experience? And how should we describe experiences of visual imagery? Moreover how can people who have visual imagery convey what it is like to have it to those who have never had it – congenital aphantisics? This paper addresses these questions using examples of illusions and other perceptual phenomena to hone in on the answers.

In this paper, I oppose the common assumption that visual descriptions in prose fiction are imageable by virtue of perceptual mimesis. Based on introspection as well as convergent support from cognitive science and other disciplines, I argue that visual description (and the mental imagery it elicits), unlike narrative (and the mental imagery it elicits), often stands in no positive relation to perceptual mimesis because it lacks a structural counterpart in perceptual experience. I present an alternative way (...) of defining the kind of mental imagery elicited by visual descriptions, and propose a number of text variables underlying the imageability or non-imageability of any such description. (shrink)

Recent research in psycholinguistics suggests that language processing frequently involves mental imagery. This paper focuses on visual imagery and discusses two issues regarding the processing of polysemous words (i.e. words with multiple related meanings or senses) – co-predication and sense-relatedness. It aims to show how mental imagery can illuminate these two issues.

(Open Access article, freely available to download from publisher's site.) Our visual experiences of objects as located in external space, and as having definite three-dimensional shapes, are closely linked to our implicit expectations about what things will look like from alternative viewpoints. What sorts of contents do these expectations involve? One standard answer is that they relate to what things will look like to us upon changing our positions. And what sorts of mental representations do the expectations call upon? (...) A standard answer is that they involve our powers of visual imagery; this answer requires us to allow for the possibility of unconscious visual imagery, however. The current paper presents an alternative model of the contents of our implicit visual expectations, one that regards them as wholly nonreflexive. It also argues that, once we ascribe the relevant contents to the expectations, there is no longer any reason for holding that they involve our powers of visual imagery. (shrink)

Fictions evoke imagery, and their value consists partly in that achievement. This paper offers analysis of this neglected topic. Section 2 identifies relevant philosophical background. Section 3 offers a working definition of imagery. Section 4 identifies empirical work on visual imagery. Sections 5 and 6 criticize imagery essentialism, through the lens of genuine fictional narratives. This outcome, though, is not wholly critical. The expressed spirit of imagery essentialism is to encourage philosophers to ‘put the (...) image back into the imagination’. The weakened conclusion is that while an image is not essential to imagining, it should be returned to our theories of imagination. (shrink)

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

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

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

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

Traditionally, philosophers have appealed to the phenomenological similarity between visual experience and visual imagery to support the hypothesis that there is significant overlap between the perceptual and imaginative domains. The current evidence, however, is inconclusive: while evidence from transcranial brain stimulation seems to support this conclusion, neurophysiological evidence from brain lesion studies (e.g., from patients with brain lesions resulting in a loss of mental imagery but not a corresponding loss of perception and vice versa) indicates that (...) there are functional and anatomical dissociations between mental imagery and perception. Assuming that the mental imagery and perception do not overlap, at least, to the extent traditionally assumed, then the question arises as to what exactly mental imagery is and whether it parallels perception by proceeding via several functionally distinct mechanisms. In this review, we argue that even though there may not be a shared mechanism underlying vision for perception and conscious imagery, there is an overlap between the mechanisms underlying vision for action and unconscious visual imagery. On the basis of these findings, we propose a modification of Kosslyn’s model of imagery that accommodates unconscious imagination and explore possible explanations of the quasi-pictorial phenomenology of conscious visual imagery in light of the fact that its underlying neural substrates and mechanisms typically are distinct from those of visual experience. (shrink)

One distinct interest in self-knowledge concerns whether one can know about one’s own mental states and processes, how much, and by what methods. One broad distinction is between accounts that centrally claim that we look inward for self-knowledge (introspective methods) and those that claim that we look outward for self-knowledge (transparency methods). It is here argued that neither method is sufficient, and that we see this as soon as we move beyond questions about knowledge of one’s beliefs, focusing instead on (...) how one distinguishes, for oneself, one’s veridical visual memories from mere (non-veridical) visual images. Given robust psychological and phenomenal similarities between episodic memories and mere imagery, the following is a genuine question that one might pose to oneself: “Do I actually remember that happening, or am I just imagining it?” After critical analysis of the transparency method (advocated by Byrne 2010, following Evans 1982) to this latter epistemological question, a brief sketch is offered of a more holistic and inferential method for acquisition of broader self-knowledge (broadly following the interpretive-sensory access account of Carruthers 2011). In a slogan, knowing more of the mind requires using more of the mind. (shrink)

It has long been known that memory need not be a literal reproduction of the past but may be a constructive process. To say that memory is a constructive process is to say that the encoded content may differ from the retrieved content. At the same time, memory is bound by the authenticity constraint which states that the memory content must be true to the subject's original perception of reality. This paper addresses the question of how the constructive nature of (...) visual memory can be reconciled with the authenticity constraint. In what respect and to what extent may the content of a visual memory differ from the original perceptual state while still adequately reflecting the subject's original perception? (shrink)

Human beings have the ability to ‘augment’ reality by superimposing mental imagery on the visually perceived scene. For example, when deciding how to arrange furniture in a new home, one might project the image of an armchair into an empty corner or the image of a painting onto a wall. The experience of noticing a constellation in the sky at night is also perceptual-imaginative amalgam: it involves both seeing the stars in the constellation and imagining the lines that connect (...) them at the same time. I here refer to such hybrid experiences – involving both a bottom-up, externally generated component and a top-down, internally generated component – as make-perceive (Briscoe 2008, 2011). My discussion in this paper has two parts. In the first part, I show that make-perceive enables human beings to solve certain problems and pursue certain projects more effectively than bottom-up perceiving or top-down visualization alone. To this end, the skillful use of projected mental imagery is surveyed in a variety of contexts, including action planning, the interpretation of static mechanical diagrams, and non-instrumental navigation. In the second part, I address the question of whether make-perceive may help to account for the “phenomenal presence” of occluded or otherwise hidden features of perceived objects. I argue that phenomenal presence is not well explained by the hypothesis that hidden features are represented using projected mental images. In defending this position, I point to important phenomenological and functional differences between the way hidden object features are represented respectively in mental imagery and amodal completion. (shrink)

Vision often dominates other perceptual modalities both at the level of experience and at the level of judgment. In the well-known McGurk effect, for example, one’s auditory experience is consistent with the visual stimuli but not the auditory stimuli, and naïve subjects’ judgments follow their experience. Structurally similar effects occur for other modalities (e.g. rubber hand illusions). Given the robustness of this visual dominance, one might not be surprised that visual imagery often dominates imagery in (...) other modalities. One might be surprised, however, that visual imagery often dominates perception in other modalities. This more controversial claim is motivated both by empirical data and by introspection. Some think of perception-perception visual dominance as epistemically good, holding that cases in which visual dominance misleads us (e.g. McGurk and rubber hand illusions) are cases in which the perceptual system resolves conflicts according to principles that are generally reliable. Here, we explore support for the more controversial claim that imagery-perception visual dominance is epistemically good. We suggest that, when the task is richly spatial, requiring for optimal performance the all-at-once identification of macro-spatial and allocentric properties (e.g. identifying the shape or location of a felt or heard object), the visual, whether perception or imagination, should dominate other modalities. Put another way, when identifying objects, one should go and look or, short of that, visually imagine candidate objects, and then follow the visual, even against conflicting perceptions from other modalities. For this broadly-typed category of of cognitive-perceptual task, vision does dominate and it should. (shrink)

Mental imagery is early perceptual processing that is not triggered by corresponding sensory stimulation in the relevant sense modality. Multimodal mental imagery is early perceptual processing that is triggered by sensory stimulation in a different sense modality. For example, when early visual or tactile processing is triggered by auditory sensory stimulation, this amounts to multimodal mental imagery. Pulling together philosophy, psychology and neuroscience, I will argue in this paper that multimodal mental imagery plays a crucial (...) role in our engagement with musical works. Engagement with musical works is normally a multimodal phenomenon, where we get input from a number of sense modalities. But even if we screen out any input that is not auditory, multimodal mental imagery will still play an important role that musicians and composers often actively rely on. (shrink)

It is often claimed that pre-attentive vision has an ‘iconic’ format. This is seen to explain pre-attentive vision's characteristically high processing capacity and to make sense of an overlap in the mechanisms of early vision and mental imagery. But what does the iconicity of pre-attentive vision amount to? This paper considers two prominent ways of characterising pre-attentive visual icons and argues that neither is adequate: one approach renders the claim ‘pre-attentive vision is iconic’ empirically false while the other (...) obscures its ability to do the explanatory work, which motivates positing pre-attentive visual icons in the first place. With this noted, I introduce the notion of an ‘Analogue Map’ and argue that it provides a superior characterisation of pre-attentive vision's iconicity. I then argue that this forces a reassessment of debates which have traditionally presupposed the iconicity of pre-attentive vision, emphasising ramifications for the viability of a format-based perception-thought border. (shrink)

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

The 11 experimental, pseudo-avantgarde visual poems (wordless, other than title and date) are an indirect homage to the late-great filmmaker and photographer, Chris Marker (1921-2012), foremost to his penchant for utilizing disintegrating imagery in his film-essays and multimedia installations. All images were captured using a Research in Motion, BlackBerry 8520 cellphone, and subsequently 100-percent de-saturated, and 100-percent contrast-adjusted, using Microsoft Office Picture Manager. The images, as a result, resemble the primitive production values given to the pinhole camera, and (...) the “dogmatic” (uniform) adjustments (as above), applied to the original BB images, reference the early strictures applied to filmmaking by Lars von Trier. The above-mentioned, black-and-white adjustments notwithstanding, all images are used “as captured,” without cropping. The series begins and ends in Botwnnog, Northwest Wales, in May and August of 2013, respectively, with interregnums and brief idylls in Rijeka, Croatia, Trieste and Ancona, Italy, and Igoumenitsa, Ioannina, and Athens, Greece. Tracking the peregrinations of the author of the poems across Europe, and intimately associated with the then-nascent research and exhibition project, “Not-I/Thou: The Other Subject of Art & Architecture,”* the poems are also a compressed form of scholarship, albeit operating in the shadow-lands of knowledge per se, and evoking the non-discursive side of literary-artistic production, a penumbral zone within cultural production that nonetheless references the discursive arts (essay and/or full-blown treatise), but favors the paradox and/or tautology – privileging, then, the much-desired destruction of dialectics. (shrink)

Previous research has suggested that bodily signals from internal organs are associated with diverse cortical and subcortical processes involved in sensory-motor functions, beyond homeostatic reflexes. For instance, a recent study demonstrated that the preparation and execution of voluntary actions, as well as its underlying neural activity, are coupled with the breathing cycle. In the current study, we investigated whether such breathing-action coupling is limited to voluntary motor action or whether it is also present for mental actions not involving any overt (...) bodily movement. To answer this question, we recorded electroencephalography (EEG), electromyography (EMG), and respiratory signals while participants were conducting a voluntary action paradigm including self-initiated motor execution (ME), motor imagery (MI), and visual imagery (VI) tasks. We observed that the voluntary initiation of ME, MI, and VI are similarly coupled with the respiration phase. In addition, EEG analysis revealed the existence of readiness potential (RP) waveforms in all three tasks (i.e., ME, MI, VI), as well as a coupling between the RP amplitude and the respiratory phase. Our findings show that the voluntary initiation of both imagined and overt action is coupled with respiration, and further suggest that the breathing system is involved in preparatory processes of voluntary action by contributing to the temporal decision of when to initiate the action plan, regardless of whether this culminates in overt movements. -/- . (shrink)

If the sight of cortically blind people were restored, could they visually recognize a cube or a sphere? This is Molyneux’s question. I argue that the answer to this question depends on the specificities of the mental setup of these cortically blind people. Some cortically blind people have (sometimes quite vivid) visual imagery. Others don’t. The answer to Molyneux’s question depends on whether the blind subjects have had visual imagery before their sight was restored. If they (...) did, the answer to Molyneux’s question is yes, if they didn’t, the answer is no. There is no generic answer to Molyneux’s question. (shrink)

The influence of imagery on perception depends on the content of the mental image. Sixty-three students responded to the location of the 2 hands of a clock while visualizing the correct or an incorrect clock. Reaction time was shorter with valid cueing. Could this have resulted from visual acquisition strategies such as planning visual saccades or shifting covert attention? No. in this study, a crucial control condition made participants look at rather than visualize the cue. Acquisition strategies (...) should have affected equally both types of cueing, but we observed that the effect of the visual cue was smaller and limited to a particular subcase in which one expects visual acquisition strategies. Thus, what matters is the similarity of the content of the mental image with the visual scene. In addition, an interaction involving the hand used for responding supports the notion that composite imagery is lateralized. (shrink)

Sensorimotor expectations concern how visual experience covaries with bodily movement. Sensorimotor theorists argue from such expectations to the conclusion that the phenomenology of vision is constitutively embodied: objects within the visual field are experienced as 3-D because sensorimotor expectations partially constitute our experience of such objects. Critics argue that there are two ways to block the above inference: to explain how we visually experience objects as 3-D, one may appeal to such non-bodily factors as expectations about movements of (...) objects, not the perceiver, or to the role of mental imagery in visual experience. But instead of using sensorimotor expectations to explain how objects are experienced within the visual field, we can instead use them to explain our experience of the visual field itself and, in particular, our experience of its limits; that is, our ever-present visual sense of there being more to see, beyond what’s currently within the visual field. Crucially, this inference from sensorimotor expectations to the constitutive embodiment of visual phenomenology is not threatened by the above two challenges. I thus present here a sensorimotor theory of the phenomenology of the visual field, that is, our experience of our visual fields as such. (shrink)

Sensory substitution devices (SSDs) aim to compensate for the loss of a sensory modality, typically vision, by converting information from the lost modality into stimuli in a remaining modality. “The vOICe” is a visual-to-auditory SSD which encodes images taken by a camera worn by the user into “soundscapes” such that experienced users can extract information about their surroundings. Here we investigated how much detail was resolvable during the early induction stages by testing the acuity of blindfolded sighted, naïve vOICe (...) users. Initial performance was well above chance. Participants who took the test twice as a form of minimal training showed a marked improvement on the second test. Acuity was slightly but not significantly impaired when participants wore a camera and judged letter orientations “live”. A positive correlation was found between participants' musical training and their acuity. The relationship between auditory expertise via musical training and the lack of a relationship with visual imagery, suggests that early use of a SSD draws primarily on the mechanisms of the sensory modality being used rather than the one being substituted. If vision is lost, audition represents the sensory channel of highest bandwidth of those remaining. The level of acuity found here, and the fact it was achieved with very little experience in sensory substitution by naïve users is promising. (shrink)

Cities have consistently served as fertile grounds for the emergence and growth of radical ideas, political transformations, and social movements, with urban landscapes nurturing visionary concepts, idealism, and revolutionary ideologies. This research delves into the captivating world of radical cities, exploring the power of image and visual narratives to communicate and comprehend urban activism within diverse contexts. By analyzing various case studies and student works, we aim to create, study, and reimagine vivid portrayals of urban activism, radical urbanism, and (...) future socio-spatial developments. The focus lies on developing innovative visual modalities and collaborative critical pedagogical approaches that engage with the complexities of radical cities across North America, Latin America, Asia, Europe, and beyond. In this study, we explore the potential of image and visual narratives to decode and understand pivotal societal transitions in radical cities. By employing imaginative and critical pedagogy, we aspire to foster a more profound comprehension of urban activism and its impact on shaping the cities of the future. (shrink)

The aim of this paper is to draw the attention of those conducting research on imagery to the different kinds of visual information deployed by expert drawers compared to non-expert drawers. To demonstrate this difference I draw upon the cognitive science literature on vision and imagery to distinguish between three different ways that visual phenomena can be represented in memory: structural descriptions, denotative descriptions, and configural descriptions. Research suggests that perception and imagery deploy the same (...) mental processes and that the drawing of one's imagery would require the simultaneous deployment of these very processes. I reason that drawing a picture of one's imagery is not possible. I hypothesize that when required to draw a picture from memory, both expert and non-expert drawers access their denotative description of the object rather than their imagery. I then suggest how my hypothesis could be tested and if accurate, how this finding would impact upon the design and interpretation of experiments on imagery when drawing is involved. I also suggest why the constraints that perception places upon the simultaneous deployment of imagery appear not to cause the same constraints in autistic savant drawers and visual agnosia patients. (shrink)

Visualizing and mental imagery are thought to be cognitive states by all sides of the imagery debate. Yet the phenomenology of those states has distinctly visual ingredients. This has potential consequences for the hypothesis that vision is cognitively impenetrable, the ability of visual processes to ground perceptual warrant and justification, and the distinction between cognitive and perceptual phenomenology. I explore those consequences by describing two forms of visual ambiguity that involve visualizing: the ability to visually (...) experience a picture surface as flat after it has caused volumetric nonconceptual contents, and the ability to use a surface initially perceived as flat to visualize three-dimensional scenes. In both cases, the visual processes which extract viewer-centered volumetric shapes have to rely solely on monocular depth cues in the absence of parallax and stereopsis. Those processes can be cognitively penetrated by acts of visualizing, including ones that draw on conceptual information about kinds. However, the penetrability of the visual processes does not weaken their ability to provide perceptual warrant and justification for beliefs. The reason is that picture perceptions—whether they are stimulus -driven or based on acts of visualizing—are different to object perceptions both phenomenologically and in terms of their functional roles as states. Thus, although the penetrability of the visual processes does mean that subjects can have visual experiences with contradictory contents, perceptual belief is adopted at most towards one set of contents, and questions of warrant and justification are raised only for those contents. A rule-proving exception is provided by trompe-l’oeils. (shrink)

Though researchers working on congenital aphantasia (henceforth “aphantasia”) agree that this condition involves an impairment in the ability to voluntarily generate visual imagery, disagreement looms large as to which other impairments are exhibited by aphantasic subjects. This article offers the first extensive review of studies on aphantasia, and proposes that aphantasic subjects exhibit a cluster of impairments. It puts forward a novel cognitive theory of aphantasia, building on the constructive episodic simulation hypothesis of memory and imagination. It argues (...) that aphantasia is best explained as a malfunction of processes in the episodic system, and is therefore an episodic system condition. (shrink)

Aphantasia, i.e., the inability to voluntarily form visual mental images, affects approximately 2 to 5 percent of the population and plays an important role in a more general debate revolving around the role of imagery for our cognition. This thesis investigates aphantasia by means of an interdisciplinary approach, combining insights from contemporary neuroscientific research with historical philosophical arguments, with a specific focus on the later philosophy of Ludwig Wittgenstein. A new theoretical concept, meta-imagination, is developed and it is (...) argued that the concept can explain why aphantasics perform successfully on a wide range of visual imagery tasks, thus providing important implications for the more general debate about the connection between imagery and cognition. (shrink)

This paper is dedicated to the Εἰκόνες of the two Philostrati and to the Ἐκφράσεις of Callistratus, that is to say to three Greek works that bear important witness to the genre of art criticism in Antiquity and which concern both literary history and the history of art. The first series of Εἰκόνες is the work of Philostratus the Elder (2nd-3rd century AD) and comprises sixty-five descriptions of paintings with mythological subjects, which the author assures us he has seen in (...) a gallery in Naples. Another Philostratus, who claims to be the grandson of the former, and who is traditionally referred to as Philostratus the Younger, wrote a second, shorter series of Εἰκόνες, which describes seventeen paintings. Finally, a certain Callistratus, who probably dates from the 4th century AD, is the author of the Ἐκφράσεις, which group together fourteen descriptions of statues in marble and bronze.1 Ecphrasis is a subject that is often the focus of contemporary research. Perhaps its importance stems from the fact that we live in a civilization dominated by images, and we feel the need to control the visual imagery that surrounds us, to govern it and to make sense of it through language. The attention given to literary theory, rhetoric and sophistry today also helps to explain the success of this subject. The present book is situated in this field of research. The "La Licorne" series in which it is published specializes in the study of ancient and modern literature, a specialization to which this volume corresponds. This volume has two points of focus: (1) the literary form of description and the complex relationships between word and image, between the oral and the visual (hence the title Le défi de l'art, which signifies, among other things, that the art of the painter and of the sculptor challenges the sophist, who tries to describe works of art with words); (2) the Nachleben of ancient texts, because Philostratus and Callistratus were well-known to posterity, particularly during the Renaissance. (shrink)

I argue that analogue mental representations possess a canonical decomposition into privileged constituents from which they compose. I motivate this suggestion, and rebut arguments to the contrary, through reflection on the approximate number system, whose representations are widely expected to have an analogue format. I then argue that arguments for the compositionality and constituent structure of these analogue representations generalize to other analogue mental representations posited in the human mind, such as those in early vision and visual imagery.

This paper assesses five main empirical scientific arguments against the reliability of belief formation on the basis of introspecting phenomenal states. After defining ‘reliability’ and ‘introspection’, I discuss five arguments to the effect that phenomenal states are more elusive than we usually think: the argument on the basis of differences in introspective reports from differences in introspective measurements; the argument from differences in reports about whether or not dreams come in colours; the argument from the absence of a correlation between (...) visual imagery ability and the performance on certain cognitive tasks; the argument from our unawareness of our capacity of echolocation; the argument from inattentional blindness and change blindness. I argue that the experiments on which these arguments are based do not concern belief formation on the basis of introspection in the first place or fail to show that it is unreliable, even when limited to introspection of phenomenal states. (shrink)

How tight is the conceptual connection between imagination and perception? A number of philosophers, from the early moderns to present-day predictive processing theorists, tie the knot as tightly as they can, claiming that states of the imagination, i.e. mental imagery, are a proper subset of perceptual experience. This paper labels such a view ‘perceptualism’ about the imagination and supplies new arguments against it. The arguments are based on high-level perceptual content and, distinctly, cognitive penetration. The paper also defuses a (...) recent, influential argument for perceptualism based on the ‘discovery’ that visual perception and mental imagery share a significant neural substrate: circuitry in V1, the brain’s primary visual cortex. Current neuropsychology is shown to be equivocal at best on this matter. While experiments conducted on healthy, neurotypical subjects indicate substantial neural overlap, there is extensive clinical evidence of dissociations between imagery and perception in the brain, most notably in the case of aphantasia. (shrink)

This article distinguishes between Machian empiricism and the logical positivism of the Vienna Circle and associated philosophers. Mach's natural philosophy was a first order attempt to reform and reorganize physics, not a second order reconstruction of the "language" of physics. Mach's elements were not sense data but realistic events in the natural world and in minds, and Mach admitted unobserved elements as part of his world view. Mach's critique of metaphysics was far more subtle and concerned the elimination of sensory (...) visual imagery from natural science, leaving only concrete elements and functions, very much an inspiration to the young Einstein and Heisenberg and a useful engine of theory construction in physics. (shrink)

This book has three principle aims: to show that neither vision nor mental imagery involves the creation or inspection of picture-like mental representations; to defend the claim that our visual processes are, in significant part, cognitively impenetrable; and to develop a theory of “visual indexes”. In what follows, I assess Pylyshyn’s success in realising each of these aims in turn. I focus primarily on his arguments against “picture theories” of vision and mental imagery, to which approximately (...) half the book is devoted. I argue that Pylyshyn adopts an unnecessarily restricted interpretation of what it would be for mental representations to be picture-like, and that this leads him prematurely to reject the possibility of explaining the introspective evidence concerning the nature of mental imagery. (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)

It has long been recognized that we have a great deal of freedom to imagine what we choose. This paper explores a thesis—what we call “intentionalism (about the imagination)”—that provides a way of making this evident (if vague) truism precise. According to intentionalism, the contents of your imaginings are simply determined by whatever contents you intend to imagine. Thus, for example, when you visualize a building and intend it to be of King’s College rather than a replica of the college (...) you have imagined the former rather than the latter because you intended to imagine King’s College. This is so even if the visual image you conjure up equally resembles either. This paper proposes two kinds of counterexamples to intentionalism and discusses their significance. In particular, it sketches a positive account of how many sensory imaginings get to be about what they are about, which explains how the causal history of our mental imagery can prevent us from succeeding in imagining what we intended. (shrink)

As soon as you believe an imagination to be nonfictional, this imagination becomes your ontological theory of the reality. Your ontological theory (of the reality) can describe a system as the reality. However, actually this system is only a theory/conceptual-space/imagination/visual-imagery of yours, not the actual reality (i.e., the thing-in-itself). An ontological theory (of the reality) actually only describes your (subjective/mental) imagination/visual-imagery/conceptual-space. An ontological theory of the reality, is being described as a situation model (SM). There is (...) no way to prove/disprove that there is only one reality, or there are two realities (i.e., “subjective reality” and “objective reality”). So, every ontology talk/theory/imagination about the two realities is only a talk/theory/imagination – we will never know whether it is true or not. The conventionally-called “physical/objective reality/world” around my conventionally-called “physical/objective body” is actually a geometric mathematical model (being generated/mathematically-modeled by my brain) – it's actually a subset/component/part/element of my brain’s mind/consciousness/manifest-image. Our cosmos is an autonomous objective parallel computing automaton (aka state machine) which evolves by itself automatically/unintentionally – wave-particle duality and Heisenberg’s uncertainty principle can be explained under this SM of my brain. Each elementary particle (as a building block of our cosmos) is an autonomous mathematical entity itself (i.e., a thing in itself). Our cosmos has the same nature as a Game of Life system – both are autonomous objective parallel-computing automata. Cosmos (as a state machine) is indistinguishable from a digital simulation – my consciousness (as something nonphysical) is not cosmos (as a state machine). If we are happy to accept randomness/stochasticity, then it is obviously possible that all other worlds in the many-worlds interpretation (MWI) actually do not exist (objectively). As one metaphysical option, we can treat all other worlds as subjective only (even if they are actually objective). Under the context of this metaphysical option, we are only living in one world (i.e., the world we are currently living in; this world) – we are not living in many worlds at the same time parallelly. Under the context of this metaphysical option, there is only one possible future. The relationship among any number of elementary particles, is governed/described by Schrodinger equation. If (in theory) Schrodinger equation can’t be used to reliably forecast whether I will go to McDonald for dinner in this world (based on the current state of all elementary particles of the cosmos), then what can Schrodinger equation do? The conventionally-called “space” does not exist objectively. “Time” and “matter” are not physical. Consciousness is the subjective-form (aka quale) of the mathematical models (of the objective cosmos) which are intracorporeally/subjectively used by the control logic of a Turing machine’s program fatedly. A Turing machine’s mind/consciousness/manifest-image or deliberate decisions/choices should not be able to actually/objectively change/control/drive the (autonomous or fated) worldline of any elementary particle within this world (i.e., the world we are currently living in, under the context of MWI). Besides the Schrodinger equation (or another mathematical equation/function which is yet to be discovered) which is a valid/correct/factual causality of our cosmos/state-machine, every other causality (of our cosmos/state-machine) is either invalid/incorrect/counterfactual or can be proved by deductive inference based on the Schrodinger equation (or the aforementioned yet-to-be-discovered mathematical equation/function) only. Closed causality entails no causality. Consciousness plays no causal role (“epiphenomenalism”), or in other words, any cognitive/behavioural activity can in principle be carried out without consciousness (“conscious inessentialism”). If the “loop quantum gravity” theory is correct, then time/space does not actually/objectively exist in the objective-evolution of the objective cosmos, or in other words, we should not use the subjective/mental concept of “time”, “state” or “space” to describe/imagine the objective-evolution of our cosmos. (shrink)

The attitude toward nature in James Thomson’s "The Seasons" has not been duly noted by literary commentators. Instead, the reception of "The Seasons" in modern literary criticism has focused on all sorts of aspects, ranging from visual imagery, to “dislocation, deformity and renewal.” However, when nature as a theme in the poem has been tackled, critics have favored its religious implications—specifically, those pertaining to the historical period in English literature, as well as a number of hypotheses about Thomson’s (...) own relation toward god—over Thomson’s conception of nature on its own terms. Furthermore, none has, in my view, concentrated enough on the most emblematic characteristic of "The Seasons": its unresolved stance toward the natural and its strongly polarized attitude toward it. The aim of this essay is to examine these inconsistencies in order to reveal what they tell us about the period’s changing perspectives, to place "The Seasons"’ reception of the natural in the history of eighteenth-century literature, and to uncover the implications and fertile consequences of Thomson’s view of nature—which spill into para-literary domains. (shrink)

The mental rotation ability is an essential spatial reasoning skill in human cognition and has proven to be an essential predictor of mathematical and STEM skills, critical and computational thinking. Despite its importance, little is known about when and how mental rotation processes are activated in games explicitly targeting spatial reasoning tasks. In particular, the relationship between spatial abilities and TetrisTM has been analysed several times in the literature. However, these analyses have shown contrasting results between the effectiveness of Tetris-based (...) training activities to improve mental rotation skills. In this work, we studied whether, and under what conditions, such ability is used in the TetrisTM game by explicitly modelling mental rotation via an ACT-R based cognitive model controlling a virtual agent. The obtained results show meaningful insights into the activation of mental rotation during game dynamics. The study suggests the necessity to adapt game dynamics in order to force the activation of this process and, therefore, can be of inspiration to design learning activities based on TetrisTM or re-design the game itself to improve its educational effectiveness. (shrink)

A theory of the structure and cognitive function of the human imagination that attempts to do justice to traditional intuitions about its psychological centrality is developed, largely through a detailed critique of the theory propounded by Colin McGinn. Like McGinn, I eschew the highly deflationary views of imagination, common amongst analytical philosophers, that treat it either as a conceptually incoherent notion, or as psychologically trivial. However, McGinn fails to develop his alternative account satisfactorily because (following Reid, Wittgenstein and Sartre) he (...) draws an excessively sharp, qualitative distinction between imagination and perception, and because of his flawed, empirically ungrounded conception of hallucination. His arguments in defense of these views are rebutted in detail, and the traditional, passive, Cartesian view of visual perception, upon which several of them implicitly rely, is criticized in the light of findings from recent cognitive science and neuroscience. It is also argued that the apparent intuitiveness of the passive view of visual perception is a result of mere historical contingency. An understanding of perception (informed by modern visual science) as an inherently active process enables us to unify our accounts of perception, mental imagery, dreaming, hallucination, creativity, and other aspects of imagination within a single coherent theoretical framework. (shrink)

First described by Galton in 1880 and then remaining unnoticed for a century, recent investigations in neuroscience have shown that a condition called aphantasia appears in certain individuals, which causes them to be unable to experience visual mental imagery. Comparing aphantasia to hyperphantasia – i.e., photo-like memory – and considering the neurological basis of perceptual phenomena, we are revisiting Hume's division of perceptions into impressions and ideas. By showing different vivacities of mental phenomena and comparing them to neurological (...) research, we are stating that not only impressions and ideas differ "in the degrees of force and liveliness", but ideas and impressions amongst themselves as well. Such a gradual range of perceptions and mental images bears significant consequences for not only representational theory and historical interpretations, but linguistics and semiotics as well. (shrink)

This paper addresses relations between memory and imagery in expert sport in relation to visual or visuospatial perspective. Imagining, remembering, and moving potentially interact via related forms of episodic simulation, whether future- or past-directed. Sometimes I see myself engaged in action: many experts report switching between such external visual perspectives and an internal, 'own-eyes', or field perspective on their past or possible performance. Perspective in retrieval and in imagery may be flexible and multiple. I raise a (...) range of topics for empirical research on perspective and visualization. (shrink)

This chapter has four parts. I distinguishes some types of perceptual skills and highlights their importance in everyday perception. II identifies a well-studied class of perceptual skills: cases of perceptual expertise. III discusses a less studied possible instance of perceptual skill: picture perception. Finally, IV outlines some important mechanisms underlying perceptual skills, with special emphasis on attention and mental imagery.

[Open Access.] Perceptual experiences have presentational phenomenology: we seem to encounter real situations in the course of visual experiences, for instance. The current paper articulates and defends the claim that the contents of at least some perceptual experiences are inherently presentational. On this view, perceptual contents are not always forceless in the way that, say, the propositional content that 2 + 2 = 4 is generally taken to be, as a content that may be asserted or denied or merely (...) supposed; rather, there are perceptual contents such that any mental state or episode which has the relevant content must be one in which things seem to the given subject to be a certain way. Intuitive motivation for the view is presented and an explanatory line of argument in support of it is developed: it is argued that the recognition of inherently presentational perceptual contents allows us to explain certain representational limitations to which ordinary visualizations and other forms of perceptual mental imagery are subject. Some potential objections to the position are explored, leading to further elaboration of it. (shrink)