This paper aims to explore and expand on Wittgenstein’s remarks on the nature of mental imagery. Despite some rather cryptic passages and obvious objections, his notion of mental imagery as possessing a constitutive (and not merely added) element of expressive thought and conceptuality offers critical insights linking perceptual capacities with our shared practices. In particular I seek to further develop Wittgenstein’s claim that perceptual impressions presuppose a “mastery of a technique.” I argue that this sense of technique, understood (...) as acquired conceptual capacities, can explain and capture the rich and varied spectrum of expressive visual content that can be accessed by human beings initiated and embedded in a variety of shared practices. Using Gilbert Ryle’s account of dispositions, I cash out the notion of acquired conceptual capacities as spanning a wide latitude of responsive dispositions from mere “blind” visual habits to more normatively-guided, intelligent, and deliberately-trained visual “skills.” Visual impressions construed as such are hardly perceptually (nor representationally) univocal and instead exhibit a dynamic and reflexive plurivocity manifested through one’s initiation into shared practices and forms of life. This plurivocity makes possible a rich array of visual affordances that would otherwise not be accessible outside the context of a shared practice. This suggests that human beings possess a distinctive kind of expressive and responsive intelligence which picks out visual affordances determined not so much by a merely receptive perceptual faculty but by the subject’s skillful, active, and responsive engagement with the world. (shrink)

Joaquin Segura. Untitled (fig. 40) . 2007 continent. 1.2 (2011): 117-124. The interview that follows is a dialogue between artist and gallerist with the intent of unearthing the artist’s working strategies for a general public. Joaquin Segura is at once an anomaly in Mexico’s contemporary art scene at the same time as he is one of the most emblematic representatives of a larger shift toward a post-national identity among its youngest generation of artists. If Mexico looks increasingly like a foreclosed (...) home burning to the ground, Segura could likely be the one walking away, charred matchstick between thumb and forefinger and shit-eating grin on his face. His corrosive attacks on institutions, ideologies, and power reflect a deep general distrust of authority, increasingly evident within the work of younger Mexican artists. It is perhaps most directly the result of President Calderon’s deeply unpopular war against the cartels but no doubt equally the product of decades upon decades of rampant corruption and errant policy within Mexico. Brett W Schultz (BWS): A recurring—if not dominant—theme within your current work and investigation explores ideological extremism in reaction to some perceived political and economic disenfranchisement, especially that espoused and practiced by right-wing groups in United States. That's exactly why I thought of you when I was approached to contribute a piece to an issue on the subject of the moraine—taken metaphorically here to signify a certain set of beliefs that have resurfaced within mainstream American culture in the wake of a probably over-exaggerated political sea-change, marked by Obama's election. You're a Mexican artist who now lives and works in Guadalajara, far from the border cities where such concerns would seem more likely to be relevant to a contemporary artist; of course, you're even farther from the culture that birthed this nature of extremism. What interests you so intensely about this movement, if we can call it that? Joaquin Segura (JS): I think there are several seminal points that you touch on in this particular question. There's a very specific set of interests that make me address the socio-political issues I've been dissecting through my practice in the last few years. First of all, I don't really consider myself a 'mexican' artist. As I've made clear in the past, I don't really believe in the notion of 'identity' or the idea of 'nation', which I find totally laughable and heartwarmingly passé. I'm convinced that these are totally outdated models of understanding our differences and similarities, expanding our already immense and irreconcilable cultural abysses instead of bringing them together, thus resulting in their total dispersion among the complex and extremely arbitrary weaving of contemporary social nucleii. Pretty much a frankly bad joke, if I may say so. The fact that I live and work in Mexico is a completely random geographical and temporal factor, which of course affects what I think and what I do, but I've chosen not to be limited by this specific circumstance. In the past, while working abroad, I've taken advantage of this preconception of Mexico—to be more exact, pretty much all of Latin America—as one of the last barbaric bastions of western civilization. Totally amusing, if you ask me about it. I consider my practice to be, among other things, a gonzo strategy of deceit: there are quite a few roles you can adopt in this approach that may actually reveal themselves to be a privileged vantage point. In my experience, the gentle savage is one of the most effective ones to establish my standing position. Thus, I'm a mexican artist if I need it to prove my point. If it's not necessary in a specific circumstance, I'm not. Quite simple, I think. Said in other words, it's just an ace I can play to win a particular match. It has worked so far, at least for me. L: Hey, America… , 2009. R: The Inaugural Address , 2009. I am interested in the nature of power and the rise and fall of totalitarian ideological and political apparatuses nowadays. But I guess, going even further, I'm essentially fascinated by the fissures and contradictions that have made these structures spectacularly crumble to the ground. I do believe extreme ideologies have played a crucial role in the globalization of socio-political crisis. In the end, our world is nothing more than a fading monument to all things gone wrong—the inspiring triumph of failure, in every sense. I see this as an exciting parable. And of course, it is an undeniable fact that the US, through their influence in world economy, international policies and general attitude towards the rest of the planet is the largest structure waiting to collapse. I think we are all secretly awaiting that moment of splendor, even americans. It'll be disastrous and as nasty as it can get, but it will also be liberating and incredibly inspirational. Not just because it’s the US but because it'll prove that absolutely everything is susceptible to fall. And not only that, most importantly, it would confirm that radical change may actually be possible and not just one more of the unfulfilled promises modernity has left us to struggle with on our own. BWS: I want to talk first about two of your works in particular: Hey, America... and The Inaugural Address . I feel like your more recent work has a subtle —or even hidden—sinisterness, but these two works are perfect examples of how brutally confrontational your earlier work has been. When we showed Hey, America... at Mexico City's Zona Maco art fair in 2010, there were at least a couple visitors to our stand who were absolutely ready to punch me in my gringo face for having done so. Certainly the shock value of these works is crucial to their central ideas, but can you tell me more about your intentions and how these works relate to your general oeuvre? JS: So funny. Perhaps we do deserve to be punched in the face. I think that's what I'm sometimes looking for, but I hardly ever get it. I do think of such works as some sort of logical trap, a somewhat perverse ambush waiting for someone to walk into head-on. I think what I tried to do with those two specific works, as well as some other past projects, is just emphasize issues or themes that do disturb or make me uneasy and restless. I consider my essential intention a need to make clear that we do not have to look the other way, ignore or forget. We must address, understand and solve these manifestations of senseless violence and absurdity because if we don't confront them this way, they'll end up consuming us. In other words, I do consider these works as a personal need of coming to terms with the nonsense of the world we all are living in. I don't particularly consider myself to be someone with a clear set of beliefs. Perhaps my only certainty would be that everything is there to be denied, demolished and obliterated—even my supposed unquestionability of that particular 'dogma.' My practice is a reflection of that paradox, and I do think that's how these two pieces relate to a wider body of work. Every democratic system and so-called developed contemporary society is deeply flawed on the inside, and that is because each has swept things under the rug. Of course, there's tolerance, good will and eagerness to make a difference but there's also hatred, pain and fear lingering all around. We must learn to relate to both sides of the spectrum. In a way, I approach the themes behind these particular works in what I think to be a non-biased, somewhat 'neutral' way. I do think there's an encryption process going on in the way I work, some sort of formal refinement of this somewhat outrageous content. A digest of infamy, if we can refer to it that way. It is up to the individual experiencing the work to decide which way these pieces lean. They can easily be seen from both positions and I'm ok with that. If you look closely at these works, there's nothing that establishes an unrelenting position—neither support nor rejection. I don't want my personal political views to directly set an agenda for the spectator as that’s essentially propaganda, which is one of the things I absolutely despise. To sum it up, I strive for the spectator to complete the piece in that sense. The work then becomes a reflection of his or her own contradictions, a playground of the mind. I'm interested in achieving a deadpan and deadlock state in the observer. So, in a way, those visitors threatening to beat the shit out of you unconsciously became that particular issue the work is alluding to. Just blind and senseless reaction to god knows what people feel must be defended, the overwhelming virtue of ambiguity. Beautiful. Perhaps you can also think of my practice as a uber-sophisticated and snobbish version of Punk'd. And you wouldn't be far from what I'm trying to convey. Untitled (Disturbance Scenarios #2) . 2010. BWS: To me, an important transitional marker in the overall trajectory of your work is the series, Disturbance Scenarios , which evokes a similar generalized state of panic, paranoia, and impending doom through its incorporation of sensationalist newspaper headlines, yet also suggests this slyly mysterious meta-narrative via the context in which the newspaper itself is placed. How did you arrive at this series and why did you choose photorealistic painting as the medium for it? JS: I consider this series to be a by-product of the process I follow when making work. I spend an important part of my time just doing research, going through documentation and accumulating visual or historical references for the themes or episodes I'm interested in, in that particular moment. These are, of course, valuable assets that connect among themselves in a mysterious and almost undetectable manner, sometimes a few years between one and the other. I've employed similar production strategies in the past, in ongoing series like Random Moments of Urban Decay , in which I document what I consider to be physical traces of ethnic, religious or ideological violence in the form of text graffiti, invisibly scattered in different cities of the world, mostly in the US. Disturbance Scenarios was started in early 2010, following a particularly intense period of traveling here and there that lasted for most of the year. I've always felt compelled by text, as I find quite intriguing the idea of how words can create equally intense evocations of what I call a mental panorama of uneasiness than those produced by aesthetically-charged imagery; of course, if handled right. I have a close relationship to print media—due both to my academic background and to my attraction to its ubiquity and almost unlimited influence, which in the end, is nothing else but power—so I found myself with a growing archive of newspaper headlines snapshots from cities like Melbourne, Auckland, London, and LA. Going through them, I noticed that they had in common a very specific thematic slant: they were all about some sort of conflict: energy crisis, political unrest, local episodes of domestic violence, you name it. So as you very well put it, I felt they all connected through this feeling of anxiety and anguish and I decided to start thinking of them as a body of work. Basically, I felt an interest in creating what I think of as my personal fragmented prefigurements of the end of civilization. There were few elements on the shots that could give away its actual location, geographically speaking, and I liked that. I find this sensation of vagueness and uncertainty quite alluring. The more subtle, the more perverse. The formal resolution of the series—as photo-realistic painting—is linked to my intention of creating distance between me as the artist and the themes I work with. I rarely execute my own work, and that is more a personal choice as I'm more interested in the ideas I mingle with than in the actual outcome of that process, understood as an "art-object" with certain market value. I did some tests with light-jet prints of those snapshots and I found them devoid of that nightmarish, disturbing indistinctness that I felt was so important for them to be able to project the turmoil I experienced upon encountering them and in conceiving of them as a series. So I thought that photorealistic painting would be an interesting resource to play with, as I hardly had worked with that medium before because of my lenient animosity toward painters and their craft. So they were executed like that and I think it turned out to be just right. Homemade (Napalm #2) . 2010. BWS: Though Disturbance Scenarios remains ongoing, it's an interesting contrast to another series of yours, Homemade, which are these beautifully banal photographs of the ingredients used to make improvised explosives. Whereas Disturbance Scenarios still confronts the viewer aggressively with its visual emphasis on loaded texts, in Homemade , you've dropped the surface-level bravado entirely. They're pieces that require explanation to someone not already versed in the fine art of amateur explosive-making. You weren't known for subtlety in your past work; why this change in direction? JS: I'm personally convinced that these are just two angles of the same conceptual preoccupation. I mentioned before my obsession with the idea of encryption. I'm quite enticed by how these processes of translation can politically and semantically alter and deviate purportedly subversive materials such as the ones these works allude to. I do think subversion is futile. I was really troubled by that thought for some time, but I think now I understand that it's not really that important. What is really significant is to elaborate on these alternate views, to envision and refine possible escape routes. It doesn't really matter if they go nowhere, but that is because nothing really matters. A "mute" artwork is a notion that captivates me. When you look at the works you mention, you know there's something off, but it's not fully clear how and why that is. I rely on that insecurity—on that moment of hesitation. And that can also be achieved through an approach like the one I'm now interested in. Let's just call it a smoke screen, a surrogate ruse to get to the same point: to talk about impotence and defeat in contemporary life. The notion that readily accessible information is actually a weapon is a double-edged fallacy: sure, you can make use of whatever resources you can lay your hands on, but that doesn't set you free because freedom is impossible. Still, that doesn't mean you can't blow up stuff during the process, metaphorically or not. I didn't understand the nature of subtlety before. I used to think that you needed to be loud and manifest anger and unconformity in the most aggressive manner possible. Then I finally realized that you can actually permeate and rarify a battleground—because after all, this is low-intensity war—if you actually aim at silently building up the contradictions and making the symbolic value of ideas and acts clash within themselves. Or perhaps it is that I am just getting old. I guess I used to be an angry kid until recently. Now I think of myself as a disenchanted post-teenager, and of course that reflects in my work and my approach to art-making. Kind of a rite of passage and I laugh at it because, overall, it has been overwhelmingly fun. And that doesn't mean that I'm not ready to stick it in someone or something's face again if I feel like it. BWS: You're now taking the subtlety of the Homemade series even further with your newest series, Definitive Reader For a Botched Revolution , in which you photograph a series of politically-charged books side-on, negating their content entirely—essentially reducing them to purely aesthetic objects in which the subject matter is only revealed in the title of the work. Can you talk about the ideas behind this series? Furthermore, is your recent interest in this idea of the "botched revolution" an indication of a general attitudinal or philosophical shift you've since adopted? JS: This new series of works is the logical outcome of a brief period I went through. Probably the last couple years, in which due to a number of circumstances that don't really have to do with my art-making, I was forced to renegotiate my ideas, my beliefs and practically everything that surrounds me. It was quite distressful and turbulent, but in the end, I think it was also almost epiphanic. I came to terms with myself and now I'm calm and serene. That is, of course, my personal take on it but I mention it because I do think it's important to address this shift you mention. The idea of an artwork as a container for latent revelations enthralls me quite a bit. That's how I see these particular works: art as an incendiary agent. It's up to the artist and the spectator to do whatever they please with it. I think the detachment and almost surgical cleanliness from the Definitive Reader series is also my take at poking fun of the way some art is totally innocuous and uncompromising. These images may be pleasing to the eye, but there's something twisted and rotten within them, well hidden beneath. You'll either see it or not, but without a doubt, it will not cancel its presence. This series is intrinsically linked to Homemade . I'm pretty much horsing around with similar ideas and statements here. And well, yes, I do think any revolution is a botched one. There's nothing too heavy about their own downfall. Decay and breakdown are here and will not go away. Perhaps we must learn to embrace them in one way or another, for our own sake. L: Untitled (T.A.Z.). R: Untitled (United States Marine Guidebook of Essential Subjects) . 2011. BWS: Finally, let's discuss the near future. You've got an upcoming solo show at the Sala de Arte Público Siqueiros [SAPS] in Mexico City this summer. What can we expect from that? What else do you have planned? JS: I'll go and get seafood as soon as I'm done with this interview. It's pretty good here in Guadalajara. That's my top priority at this very moment. About my solo project at SAPS, it's due to open in late July. I'm quite looking forward to it. I'm still closely working with the curator on the general feel for the show but I can say that it'll be more of a revision of past works that have not been shown in Mexico City except for a couple pieces. It definitely won't be a showcase for new projects, although we may include one or two previously unseen works. What you can expect is a rereading of what I've been working on during the past few years. In a way, that's exciting to me because for some reason I don't really care about, I'm not that active in Mexico City even though that's where I lived and work for years. I've hardly shown there after my solo project at Yautepec in February of 2010. It'll be nice to see how it all comes together and I'm more thrilled about it because I totally love the space and I think they're doing an excellent job with their programming and its direction. And in a certain way it feels like going back home. About everything else, I need a period to reflect and fully understand what I've been thinking and working on. I've got a few group shows here and there: New York, San Francisco, and Melbourne are the ones happening soon. I will present my censored project Untitled ( Gringo Loco ) as part of the programming of the Museo de Arte de Zapopan in Guadalajara, two years after being escorted at gunpoint from the installation site by police sent by the extreme right-wing mayor of the city, which I found pretty amusing for an otherwise typical Saturday afternoon. I'm also involved in a couple "curatorial" projects. In my case, "curatorial" means that I help put together stuff I like and I'm interested in. One of them will open in late September of 2011 at Arena Mexico Arte Contemporaneo, and I will work with three of whom I consider to be some of the best artists in a lively and active scene such as the one here in Guadalajara. But most importantly, I've been doing heavy research so there are also a number of projects that I've yet to finalize. That'll be my main focus during the rest of the year, even though I really enjoy procrastination. There'll be time for that later. Or maybe not. We'll see. About Joaquin Segura The action, installation, intervention and photographic work of Joaquin Segura (b. Mexico City, 1980) has been shown in solo and group exhibitions in Mexico, the United States, Europe, and Asia. Some spaces that have featured his work include La Panaderia, Museo de Arte Carrillo Gil, Centro de la Imagen and Ex-Teresa Arte Actual in Mexico City; El Museo del Barrio and apexart, New York, NY; Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain; National Center for Contemporary Art, Moscow, Russia; and Palace Adria in Prague, Czech Republic. In 2008 and 2009, Segura was an artist-in-residence at the International Studio and Curatorial Program, New York, NY and at the 18th Street Arts Center, Santa Monica, CA. He is represented YAUTEPEC in Mexico City and by Arena Mexico Arte Contemporáneo in Guadalajara. Further Reading Joaquin Segura’s website YAUTEPEC artist page for Joaquin Segura Capps, Kriston. “ID-ENTITY: Washington, DC.” ART PAPERS . 2009. (shrink)

The way God reigns has analogues in terribly ordinary human events. This is the mysterious element which can never be fully applied and remains always in parabolic form.

Modern readers appalled by Abraham's unquestioning obedience to a divine command to slaughter his son on the altar of sacrifice readily and repeatedly comply with governmental calls to sacrifice their own and others' children on the battlefield. But the God who interrupts the sacrifice of Isaac awakens Abraham and modern readers from the idolatrous nightmare of a patriotism that commands and blesses the sacrificial slaughter of our children.

The article is on the exegesis of the parable of the Good Samaritan (Lk 10:25–35) and its relevance to the challenges that are being posed by COVID-19. Through the historical-critical approach, the article has concluded that the parable is relevant in troubleshooting the challenges that are caused by COVID-19, such as discrimination, stigma, hate and stereotypes. The article sees COVID-19 as teaching humanity the important lesson that no one can live in isolation, however powerful or economically strong they (...) are. Therefore, there is a need to take the opportunity of being a neighbour. Neighbourhood is understood as offering services to those in need and COVID-19 has presented a chance to the entire world to help someone with needs. A need-based world requires neighbours and this makes the parable relevant. Contribution: This article is a reflection of the challenges that are currently faced by people in response to the COVID-19 pandemic. It is within the scope of this theological journal that issues of identity, relationships, and theological reflection should be addressed, hence the article fits well within this scope. (shrink)

Many readings of the Parable of the Labourers in the vineyard want to treat the owner as representing God. Knowledge of actual agricultural practices relating to the management of vineyards suggest, on the contrary, that the details of the parable obstruct an easy identification of the owner with God, and that he displays unusual behaviour not only by paying all the labourers the same wage, but by his very intervention in the hiring process. The conclusion reached is that (...) the parable constructs the vineyard owner, typically one of the nouveau riche who lived in cities, not only as a ‘good employer’ but also, contrary to expectation, as a patron who intervened well beyond the strict norms of economic exchange. (shrink)

This dissertation focuses on an exploration of the use of parables in the works of Soren Kierkegaard. While some work has been done on Kierkegaard’s poetic style, very little attention has been paid to his metaphors, despite their prevalent use in his works. Much of the scholarship instead treats his parables as mere examples of philosophical concepts. In this work, I argue that Kierkegaard’s parables function primarily to cause the reader to see him or herself truly. The parables work like (...) mirrors, reflecting our true selves back onto ourself. In this way, the parables prompt Kierkegaard’s readers to overcome the illusion of Christendom and to instead recognize the requirements that authentic Christianity places upon them. My dissertation begins with an examination of the purpose that Kierkegaard saw for his authorship. By focusing on his later works, I argue that Kierkegaard primarily wanted to bring the religious forward in his readers. He thought that in order to accomplish this he needed to start with works describing the life that he thought most of his readers lived, a life of pleasure seeking, and to slowly move them towards the religious. I then present Kierkegaard’s view of what Christianity essentially consists of, subjectivity, and of the style of communication that is tied to subjectivity. Kierkegaard claims that when communicating subjective truths that we must employ an indirect style. I go on to argue that parables very much fit into this style and that they work to cause tension on the part of the reader. The reader of the parable must choose between various competing interpretations that the parable presents, and in choosing how to interpret the parable, the reader reveals and discloses him or herself. I follow this up with an examination of a number of parables from different works of Kierkegaard, showing how they function in this manner. I end by arguing that Kierkegaard’s parables are designed to function like mirrors, revealing ourselves to us. (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)

A particular research program on mental imagery is defended against certain sweeping methodological criticisms that have been advanced against it. The central claim is that the approach taken in the program is an appropriate response to the problem of doing empirical research in a theoretical vacuum, and that when it is viewed in this perspective, the criticisms are not merely unfounded, they are inappropriate. The argument for this claim is developed by first describing the program and then analyzing the (...) methodological rationale behind it. (shrink)

This study explored the effect of kinesthetic motor imagery training on reaching-to-grasp movement supplemented by a virtual environment in a patient with congenital bilateral transverse upper-limb deficiency. Based on a theoretical assumption, it is possible to conduct such training in this patient. The aim of this study was to evaluate whether cortical activity related to motor imagery of reaching and motor imagery of grasping of the right upper limb was changed by computer-aided imagery training in a (...) patient who was born without upper limbs compared to a healthy control subject, as characterized by multi-channel electroencephalography signals recorded before and 4, 8, and 12 weeks after CAIT. The main task during CAIT was to kinesthetically imagine the execution of reaching-to-grasp movements without any muscle activation, supplemented by computer visualization of movements provided by a special headset. Our experiment showed that CAIT can be conducted in the patient with higher vividness of imagery for reaching than grasping tasks. Our results confirm that CAIT can change brain activation patterns in areas related to motor planning and the execution of reaching and grasping movements, and that the effect was more pronounced in the patient than in the healthy control subject. The results show that CAIT has a different effect on the cortical activity related to the motor imagery of a reaching task than on the cortical activity related to the motor imagery of a grasping task. The change observed in the activation patterns could indicate CAIT-induced neuroplasticity, which could potentially be useful in rehabilitation or brain-computer interface purposes for such patients, especially before and after transplantation. This study was part of a registered experiment. (shrink)

This article examines contemporary representations of sakura (cherry blossom) in cosmetics marketing. Since the Heian period, sakura has been loved and regarded as having tangible and metaphorical significance in Japan. Imagery of sakura is rich in ambiguity and has a complex history as evident in its use in the militaristic promotion of heroism, especially related to the Second World War. However, in recent decades, sakura imagery has proliferated across a range of popular culture both inside and out of (...) Japan. In this article we focus on the circulation and meanings of sakura imagery accessible and appropriated in Australia with specific attention to cosmetics. Sakura offers not only aesthetic pleasure but also potentially some health benefits. Our discussion draws on data from surveys and interviews with participants in Australia about their perspectives of sakura aesthetics related to colour symbolism. This is accompanied by close analysis of colour symbolism in recent perfume, skincare and cosmetic marketing, branding and packaging which use sakura imagery. We argue that, using the complex symbolism associated with the wide colour spectrum, sakura imagery has now been refashioned as a versatile promotional tool in the global market, as exemplified by the brand engagement of sakura-themed cosmetics. (shrink)

This paper examines Epictetus’ use of athletic imagery as a pedagogical tool and what this tells us about his views on what philosophers can learn from athletes. This paper argues that this imagery...

Can theories of mental imagery, conscious mental contents, developed within cognitive science throw light on the obscure (but culturally very significant) concept of imagination? Three extant views of mental imagery are considered: quasi‐pictorial, description, and perceptual activity theories. The first two face serious theoretical and empirical difficulties. The third is (for historically contingent reasons) little known, theoretically underdeveloped, and empirically untried, but has real explanatory potential. It rejects the “traditional” symbolic computational view of mental contents, but is compatible (...) with recentsituated cognition and active visionapproaches in robotics. This theory is developed and elucidated. Three related key aspects of imagination (non‐discursiveness, creativity, and seeing as) raise difficulties for the other theories. Perceptual activity theory presents imagery as non‐discursive and relates it closely to seeing as. It is thus well placed to be the basis for a general theory of imagination and its role in creative thought. (shrink)

Although the body has been the focus of much contemporary cultural theory, the models that are typically applied neglect the most salient characteristics of embodied existence—movement, affect, and sensation—in favor of concepts derived from linguistic theory. In _Parables for the Virtual_ Brian Massumi views the body and media such as television, film, and the Internet, as cultural formations that operate on multiple registers of sensation beyond the reach of the reading techniques founded on the standard rhetorical and semiotic models. Renewing (...) and assessing William James’s radical empiricism and Henri Bergson’s philosophy of perception through the filter of the post-war French philosophy of Deleuze, Guattari, and Foucault, Massumi links a cultural logic of variation to questions of movement, affect, and sensation. If such concepts are as fundamental as signs and significations, he argues, then a new set of theoretical issues appear, and with them potential new paths for the wedding of scientific and cultural theory. Replacing the traditional opposition of literal and figural with new distinctions between stasis and motion and between actual and virtual, _Parables for the Virtual _tackles related theoretical issues by applying them to cultural mediums as diverse as architecture, body art, the digital art of Stelarc, and Ronald Reagan’s acting career. The result is an intriguing combination of cultural theory, science, and philosophy that asserts itself in a crystalline and multi-faceted argument. _Parables for the Virtual_ will interest students and scholars of continental and Anglo-American philosophy, cultural studies, cognitive science, electronic art, digital culture, and chaos theory, as well as those concerned with the “science wars” and the relation between the humanities and the sciences in general. (shrink)

Action-based theories of cognition place primary emphasis upon the role that agent-environment coupling plays in the emergence of psychological states. Prima facie, mental imagery seems to present a problem for some of these theories because it is understood to be stimulus-absent and thus thought to be decoupled from the environment. However, mental imagery is much more multifaceted than this “naïve” view suggests. Focusing on a particular kind of imagery, comparative mental imagery generation, this paper demonstrates that (...) although such imagery is stimulus-absent, it is also stimulus-sensitive. Exhibiting stimulus-sensitivity is sufficient for a process to qualify as coupled to the environment. The notion of variant coupling is explicated as the coupling of a cognizer’s perceptual system to variant environmental information. By demarcating the categories of stimulus-absent and stimulus-sensitive cognition, and variant and invariant coupling, this paper expands the conceptual apparatus of action-based theories, suggesting not only a way to address the problem that comparative mental imagery generation presents, but perhaps a way to account for other forms of imagery too. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Compassionate Justice: An Interdisciplinary Dialogue with Two Gospel Parables on Law, Crime, and Restorative Justice by Christopher D. MarshallGlen StassenCompassionate Justice: An Interdisciplinary Dialogue with Two Gospel Parables on Law, Crime, and Restorative Justice CHRISTOPHER D. MARSHALL Eugene, OR: Cascade Books, 2012. 386 pp. $33.60Christopher Marshall is known to Society of Christian Ethics members for his highly acclaimed book on restorative justice, Beyond Retribution, and for his plenary (...) address at the SCE annual meeting published in the JSCE 27, no. 2 (2007). The plenary address forms one chapter of the present Compassionate Justice. Well [End Page 221] informed on ethics, criminal justice, and human rights, Marshall is a New Testament scholar at Victoria University in New Zealand.Marshall points out that the two best-known of Jesus’s parables—the Compassionate Samaritan, and the Prodigal Son—have been the most influential of Jesus’s parables in Western culture and legal theory. The Compassionate Samaritan is Jesus’s response to a lawyer’s question that answers a central legal question of the time: Who is my neighbor, whom I am obligated by Leviticus 19:7 to love as myself? In the Prodigal Son, the three main characters in legal offense are clearly portrayed as the offender, the victim, and the law-abiding community; in turn, as Marshall points out, “the older brother’s reaction centers directly on the justice of his father’s actions” (192–93). Marshall argues that present legal theory can learn from careful dialogue with these two parables. These parables are not only historically influential but also so insightfully and beautifully crafted that dialogue with them can bring incisive insights. In addition, dialogue with them presses Anglo-Saxon liberalism where it is weak and needs to grow.The parable of the Compassionate Samaritan opens up questions about the need for Good Samaritan laws that defend persons who come to the aid of a person in danger of death (e.g., from an accident, fire, or drowning) against liability for inadvertently and unintentionally causing damage. Under present Anglo-Saxon law, such good Samaritans can be sued for damages. This is not the case, however, in most European countries. Similarly, most European and Latin American countries have bad Samaritan laws: Where “victims are in mortal danger and unable to save themselves,” there is a legal duty for “those who are consciously aware of the victim’s predicament, who are close enough to intervene, and who have the effective means of intervention available to them” to come to the aid of the victims. “The most glaring exception to this pattern,” Marshall argues, “occurs in Anglo-American legal systems” because of liberalism’s maximization of individual liberty even against coercion to come to the aid of persons who would die if no help arrives (155). Samaritan laws “give formal expression to the supreme value of human life, to the bonds of solidarity and empathy that comprise human identity and that bind people together in social community, and to ongoing need human beings have to be committed to one another’s rescue and restoration when severe harm befalls them” (174).Responding to the parable of the Prodigal Son, Marshall argues that both compassion and repentance are crucial for understanding the humanity and the sufferings of persons being defended or judged by law. This does not replace the standard tools of legal interpretation; it takes account of the more holistic context (288–90). In fact, “unreflective compassion can be dangerous and distorting” (296). Marshall discusses the complications insightfully and in a balanced [End Page 222] way. He concludes with an extensive discussion and refutation of perhaps the most important book-length criticism of restorative justice.Marshall’s interpretation of these two parables surpasses any other that I have read. His sensitive and thoughtful analysis of the experience of victimization goes beyond any other interpretation of the Compassionate Samaritan that I have seen. In this he resembles Daniel Philpott’s interpretation of victimization in Just and Unjust Peace (Oxford University Press, 2012). His description of the shameful rupture of relationship with father, family, and community by the prodigal son goes well beyond what I have seen previously. I think... (shrink)

Name der Zeitschrift: Semiotica Jahrgang: 2016 Heft: 213 Seiten: 177-196.

In this essay, I trace the motif of abandonment that runs through the ethics of Simone Weil. In doing so, as a conceptual lens, I make use of Giorgio Agamben’s concept of abandonment. Taking my cue from Weil’s hesitations concerning baptism, I examine her stance as a case of either sacrifice or exception, of ambiguity or indifference. Subsequently, I use Weil’s hesitations to examine an interconnected sequence of soteriology and metaphysics, following Church and potentiality, World and actuality, and The Kingdom (...) and contingency. This allows me to explore the themes of writing and life. A crucial role is reserved for the Parable of the Sower, and how it discriminates between the saved and the damned. (shrink)

L'exégèse de E. Schweizer dans Jesus : The Parable of God est construite sur un a priori protestant qui rappelle les positions théologiques de K. Barth et de R. Bultmann. La suggestion de substituer «parabole» à «sacrement» comme catégorie fondamentale pour une compréhension de Jésus conduit à considérer les positions catholique et protestante au sujet de l'analogie et de la liberté. Le contraste révèle en fait beaucoup de ressemblances quant à la structure fondamentale de la pensée, et la divergence (...) d'accentuation peut être dépassée par une philosophie et une théologie qui se préoccupe d'abord de la liberté et seulement ensuite des natures. Certaines considérations sont offertes ici en vue d'un progrès oecuménique. (shrink)

L'exégèse de E. Schweizer dans Jesus : The Parable of God est construite sur un a priori protestant qui rappelle les positions théologiques de K. Barth et de R. Bultmann. La suggestion de substituer «parabole» à «sacrement» comme catégorie fondamentale pour une compréhension de Jésus conduit à considérer les positions catholique et protestante au sujet de l'analogie et de la liberté. Le contraste révèle en fait beaucoup de ressemblances quant à la structure fondamentale de la pensée, et la divergence (...) d'accentuation peut être dépassée par une philosophie et une théologie qui se préoccupe d'abord de la liberté et seulement ensuite des natures. Certaines considérations sont offertes ici en vue d'un progrès oecuménique. (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)

Mental Imagery, whereby we experience aspect of a perceptual scene or perceptual object in the absence of direct sensory stimulation is ubiquitous. Often the existence of mental imagery is demonstrated by asking one’s reader to volitionally generate a visual object, such as closing ones eyes and imagining an apple. However, mental imagery also arises in auditory, tactile, interoceptive, and olfactory cases. A number of influential philosophical theories have attempted to explain mental imagery in terms of belief-based (...) forms of representation using the Dependence Thesis, dependence upon means of access, such as enactivism, or in terms of the similarity of content with perceptual processing. The focus of this paper concerns the later approach and in particular assessing if Nanay’s promissory note that his theory is applicable to modalities other than vision, such as smell, seems likely to be of theoretical tender. The thesis argued for in this paper is that olfactory imagery exists and is best accounted for by considering it as a type of perceptual processing with a unique representational format relative to the olfactory perceptual modality. The paper concludes by summarizing the applicability of Nanay’s theory of mental imagery for olfaction and suggests some further issues that arise when transitioning to multi-modal mental imagery. (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)

Poetry evokes mental imagery in its readers. But how is mental imagery precisely related to poetry? This article provides a systematic treatment. It clarifies two roles of mental imagery in relation to poetry—as an effect generated by poetry and as an efficient means for understanding and appreciating poetry. The article also relates mental imagery to the discussion on the ‘heresy of paraphrase’. It argues against the orthodox view that the imagistic effects of poetry cannot be captured (...) by prosaic paraphrase, but points to features of poetry that can shape aspects of mental imagery that are liable to be lost in paraphrase. (shrink)

A good many models used in physics and economics offer descriptions of imaginary situations, using a combination of mathematics and natural language. The descriptions are both thin - not much about the situation is filled in - and unrealistic - what is filled in is not true of many real situations. Yet we want to use the results of these models to inform our conclusions about a range of actually occurring situations. I propose we interpret many of these models as (...) fables. The actual happenings in the model are only one concrete instantiation of a lesson that is more widely applicable ‘when expressed in more abstract language.' A fable generally comes with the abstract lesson attached; parables, by contrast, usually require an interpretation from outside. Models, then, tend to be more like parables than fables. The right abstract interpretation is not supplied by the model itself. The central problem, then, is where shall it come from? (shrink)

A good many models used in physics and economics offer descriptions of imaginary situations, using a combination of mathematics and natural language. The descriptions are both thin - not much about the situation is filled in - and unrealistic - what is filled in is not true of many real situations. Yet we want to use the results of these models to inform our conclusions about a range of actually occurring situations. I propose we interpret many of these models as (...) fables. The actual happenings in the model are only one concrete instantiation of a lesson that is more widely applicable ‘when expressed in more abstract language.' A fable generally comes with the abstract lesson attached; parables, by contrast, usually require an interpretation from outside. Models, then, tend to be more like parables than fables. The right abstract interpretation is not supplied by the model itself. The central problem, then, is where shall it come from? (shrink)