In the Islamic philosophical tradition, it seems that the image of woman has not been studied very much and the role of woman has hardly ever mentioned. First, we will briefly explain why we chose the concept of imagination. Afterward, from which sources the Islamic philosophical tradition has formed its concepts, and as a result, we would try to talk about where it established philosophy, whether it was theoretical or practical. Finally, we want to finish the subject by giving examples (...) from the fact of women in Islamic philosophical tradition. (shrink)

Traditional games are considered agents of enculturation. This article explores the procedure to access the cultural meanings transmitted in a traditional game. The goal is to understand what children aged 6–11 make of the game called ‘the chained bear’ and to compare the meanings retrieved with those of different traditional versions of the game. For such a purpose, through an exploratory cross-sectional study, cartoons depicting people playing the game were exhibited and viewers were asked to interpret them (...) as a drama play, as well as contributing a title, a plot and saying how they would name the characters. The results show that, beyond the individual images that each child created in their mind, most of them coincided in stories about harassment and defense and theft and protection. These plots match those of the ludic tradition, showing that the actions evoke different pictures to each individual, but share common cultural meanings in turn. The study shows a procedure to access the meanings that traditional games transmit and confirms that games contain pieces of culture, which makes them agents of enculturation. (shrink)

How, according to the folk-tradition, do the Walloons see the Flemish population? An analysis of a stereotype is attempted here, considering the importance of stock-phrases and tags with regard to relations between populations. For an historian, the study of the folk-tradition sets a lot of problems concerning the research and the critical use of a complex documentation : oral tradition, French and dialect al literature, newspapers, etc. With such a documentation, we are able to describe some «patterns» of Flemings : (...) the pedlar, the play-character, the militant Fleming, the farmer, the agricultural labourer and the worker. These portraits generally emphasize the dull-witted and rough appearance of the Fleming. The rise of these ideas, at a some time, among the Walloon population appears resulting from the social and cultural position of a great deal of the Flemish immigrants into the Walloon area. (shrink)

The thesis explored here is that ?image technologies? prominent in today's communications technologies are acidic to traditional cultures. I parallel examples from the history of early modern science and its optical instrumentation with the rise of cinema and television and other audio?visual technologies to show a similar history and effect. One dominant contemporary phenomenon which occurs through image technologies is the appearance of pluriculture, a unique mediation of the multi?cultural. The challenge of pluriculture vis?à?vis the contemporary forms of reaction (...) to the phenomenon is also examined. (shrink)

Images of Eternity. Concepts of God in Five Religious Traditions. Keith Ward. Oneworld Publications Ltd., Oxford and New York 1993. viii, 197 pp. £8.95.

This article analyses an important category from Deleuze's philosophy – the notion of intensity – and explores its significance for Deleuze and the ways it can be used to think about poetic cinema. I use the concept of the intensive-image to define a cinematic style that dissipates narrative action in favour of more contemplative and sensory experiences, hence films that are able to turn onscreen reality into purely affective phenomena. The notion of intensity, I argue, does not allow us to (...) reply easily to the question about representation (i.e., “what is the film about?”), mainly because its images are indeterminate and flowing, combined in a multiple manner that excludes any simple reduction to signification. The general argument that follows, illustrated by a careful reading of key poetic texts, is that the focus on the intensive-image inspires readers to reconsider Deleuze's classification of the cinema into two separate periods as well as to understand the ways in which intensity finds expression in films that produce problems, displacements and provocations. In the words of Pasolini, this is the poetic film tradition which must be placed diachronically in relation to the language of the film narrative, a diachronism that, he says, would appear destined to be always more pronounced. In the last section of this article, I look at Luis Buñuel's Un Chien Andalou (1929) as an early case of the poetic image and draw on key theorists and filmmakers who have discussed the cinema's power of affection and intensity. (shrink)

Is there a universal concept of God? Do all the great faiths of the world share a vision of the same supreme reality? In an attempt to answer these questions, Keith Ward considers the doctrine of an ultimate reality within five world religions - Hinduism, Buddhism, Islam, Judaism and Christianity. He studies closely the works of definitive, orthodox writers from each tradition - Sankara, Ramanuja, Asvaghosa, Maimonides, Al-Ghazzali and Aquinas - to build up a series of 'images' of God, (...) a common core of belief. Ward discovers that while the great religious traditions of the world retain their differences, there are convergences of thought at the deepest level, with a broad similarity of structure in concepts of God. He concludes that a recognition of these beliefs, as well as encouraging a clearer acceptance of the mystery of the divine, might also lead to an increase in understanding and tolerance of other faiths, to the enrichment of one's own. (shrink)

Nehama Aschkenasy Eves Journey: Feminine Images in Hebraic Literary Tradition Philadelphia: University of Pennsylvania Press, 1986. ISBN 0‐8122‐8033‐4. Hardcover, $36.95. Pp. xv+269.

The iconic revolution changing the routine of everyday communication is gradually leading to the creation of a linguistic structure that combines visual and verbal tools in both formal and semantic aspects. Computer and mobile applications today enable high-tech imaging that ensures the spread of iconic communication in mundane interactions and the possibility of a creative combination of verbal and iconic codes for language users who navigate in a world of images in an increasingly confident manner. The iconic revolution that (...) accompanies this expansion of new communication technologies thus leads to serious changes in language use, thereby enhancing the transmission of verbal and iconic language to become a key element of mundane communication. This article argues that this turn in communication technology guided the attention of Kristóf Nyíri, an eminent figure in contemporary Hungarian philosophy, to the problem of the relationship between icon, language, and tradition. The aim of the present essay is twofold: to shed light on the relevance of Nyíri’s analysis and thoughts on the relationship between tradition and language in the history of communication, and to identify, using Nyíri’s model of pictorial meaning as a starting point, the relevant aspects of the conception of technological determinism in answering questions from the philosophy of language and mind. (shrink)

Michigan State University faculty, staff, alumni, and students travel the world on "study abroad" programs, research and development projects, and personal vacations; many document their experiences photographically. "MSU Global Focus" is an international photography competition created in 1999 by MSU's Office of International Studies and Programs, to foster the sharing of such photographs. Global Focus: Images of a Land-Grant Tradition is a blend of images and words, of artistic expression and historical documentation, of past and present, and of (...) the perspectives of many people. Many of the archival and current photographs have never before been published. More than 60 winning photographs from the first five years of the competition are featured in this book. These photos are juxtaposedwith more than 100 images depicting the breadth of M.S.U.'s international involvements, stretching from as long ago as the 1870s to the present day. Michigan State University has a long history of international involvement. The institution was among the handful of U.S. colleges and universities involved in supporting and establishing foreign programs immediately after World War II. Those efforts involved hun-dreds of faculty members and initiated the tradition of strong international involvement that continues today. In her preface to the book, M.S.U. President Lou Anna K. Simon said, "Advancing Knowledge. Transforming Lives. That is how we sum up our land-grant mission today. And at its core, that means we make a difference in people's lives--not just those people who come to Michigan State, but all of the people whose lives we touch around the world. The photos and text in this book tell an important part of that story, one that helps define who we are and one in which all of us who are part of Michigan State can take tremendous pride.". (shrink)

From the blending of diverse peoples, a singular culture has developed in the lower Chattahoochee River Valley that persists to the present day-diverse, robust, and tradition proud. Published by the Historic Chattahoochee Commission, A Chattahoochee Album is Fred Fussell's personal tribute to the region, lovingly compiled to honor the folklife and traditions of an enduring place and its people.

Throughout history the image of the non-Jew in Judaism has profoundly influenced the way in which Jews interact with non-Jews. It has also shaped the understanding that Jews have of their own identity, as it determines just what distinguishes them from the non-Jews around them. A crucial element in this is the concept of Noahide law, understood by the ancient rabbis and subsequent Jewish thinkers as incumbent upon all humankind, unlike the full 613 divine commandments of the Torah, which are (...) incumbent on Jews alone. The approach adopted in this now classic study is to consider the history of the idea of Noahide law, and to show how the concept is relevant to practical discussions of the halakhah pertaining to non-Jews and to relations between Jews and non-Jews. The seven chapters that make up the first part of the study examine each of the Noahide laws in turn, with a view to showing their halakhic development in the rabbinic sources, in the codes, and in the responsa literature. The discussion draws primarily on classical texts by traditional commentators as they attempt to deal with living issues from the rabbinic world as equally vital concerns in their own time. The second part deals with the theory of Noahide law, concluding with a consideration of why it is an appropriate starting point for Jewish philosophy today. (shrink)

This article aims to discuss how Lucretius arranges the four ‘roots’ at the end of successive lines of verse in the De rerum natura (henceforth, DRN) (1.5–8). In this passage Lucretius, alluding to Empedocles, puts the words in such an order that one can see the layers of the world by a vertical reading. In the same passage, Lucretius imitates the very beginning of Homer's ecphrasis (Il. 18.478–85), which the allegorical tradition will explain as an image of the world, related (...) to Empedoclean theory. The article also discusses the allusion to Daedalus by means of the adjective daedalus in DRN 1.7 (daedala tellus), which could be related to both Empedocles and Homer. This adjective is a keyword for discussing the image produced by the words on the written page. (shrink)

How do pictures represent? In this book Robert Hopkins casts new light on an ancient question by connecting it to issues in the philosophies of mind and perception. He starts by describing several striking features of picturing that demand explanation. These features strongly suggest that our experience of pictures is central to the way they represent, and Hopkins characterizes that experience as one of resemblance in a particular respect. He deals convincingly with the objections traditionally assumed to be fatal to (...) resemblance views, and shows how his own account is uniquely well placed to explain picturing's key features. His discussion engages in detail with issues concerning perception in general, including how to describe phenomena that have long puzzled philosophers and psychologists, and the book concludes with an attempt to see what a proper understanding of picturing can tell us about that deeply mysterious phenomenon, the visual imagination. (shrink)

The article devoted to the study of an artistic image of female saint from stylistic and linguocultural perspectives. The image is represented by the characters of Judith and Juliana in Anglo-Saxon literature. Stylistic peculiarities of the image are result of the fact that it emerges as a combination of heroic and religious genres. Thus, two genre pictures of the world account for characteristics of the image: on the one hand, it is described by epithets relating to the sphere of divinity, (...) on the other, by lexis relating to military heroism. As a result, Anglo-saxon female saint stands out among other female images by a considerable degree of activity, which is manifested at all levels of analysis. Female saints are connotated positively and described as ‘bright‘, ‘wise‘, and ‘brave‘. A category binding the image and a sphere of culture is a notion of value, which is reflected in a linguocultural concept. Study ofconceptual space of female saints contributes to reconstructing values and anti-values of the Anglo-Saxon period. An interaction of heroic and religious pictures of the world account for a specific character of an image of the saint in Old English literature, namely the co-existence of concepts typical of these conceptual outlooks. On the one hand, God-related concepts: God, love, glory, on the other, such heroic concepts as strength, bravery, dignity. Anti-values within the image are associated with the macroconcept ‘devil‘ and devil-related concepts like death and feud. (shrink)

In developing a new theory of vision in Ad Vitellionem paralipomena Kepler introduced a new optical concept, pictura, which is an image projected on to a screen by a camera obscura. He distinguished this pictura from an imago, the traditional image of medieval optics that existed only in the imagination. By the 1670s a new theory of optical imagery had been developed, and Kepler's pictura and imago became real and virtual images, two aspects of a unified concept of (...) image. The new concept of image developed out of a synthesis of Kepler's determination of the geometrical location of a pictura as the limit, or focus, of refracted pencils of rays and the triangulation used by a single eye to determine the perceived location of an imago. The distinction between real and imaginary images was largely developed by Gilles Personne de Roberval and the Jesuits Francesco Eschinardi and Claude François Milliet Dechales. (shrink)

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

Between the radical, creative capacity of our imagination and the social imaginary we are immersed in is an intermediate space philosophers have termed the imaginal, populated by images or (re)presentations that are presences in themselves. Offering a new, systematic understanding of the imaginal and its nexus with the political, Chiara Bottici brings fresh perspective to the formation of political and power relationships and the paradox of a world rich in imagery yet seemingly devoid of imagination. Bottici begins by defining (...) the difference between the imaginal and the imaginary, locating the imaginal's root meaning in the image and its ability to both characterize a public and establish a set of activities within that public. She identifies the imaginal's critical role in powering representative democracies and its amplification through globalization. She then addresses the troublesome increase in images now mediating politics and the transformation of politics into empty spectacle. The spectacularization of politics has led to its virtualization, Bottici observes, transforming images into processes with an uncertain relationship to reality, and, while new media has democratized the image in a global society of the spectacle, the cloned image no longer mediates politics but does the act for us. Bottici concludes with politics' current search for legitimacy through an invented ideal of tradition, a turn to religion, and the incorporation of human rights language. (shrink)

Engages with the impact of modern technology on experimental physicists. This study reveals how the increasing scale and complexity of apparatus has distanced physicists from the very science which drew them into experimenting, and has fragmented microphysics into different technical traditions.

Representations of the active brain have served to establish a particular domain of competence for brain mappers and to distinguish brain mapping’s particular contributions to mind/brain research. At the heart of the claims about the emerging contributions of functional brain mapping is a paradox: functional imagers seem to reject representations while also using them at multiple points in their work. This article therefore considers a love-hate relationship between scientists and their object: the case of the iconoclastic imager. This paradoxical stance (...) is the result of the formation of an interdisciplinary approach that brings together a number of scientific traditions and their particular standards of what constitutes scientific evidence. By examining the various ways in which images are deployed and rejected, the origins of these conflicting tendencies can be traced to the technological, methodological, and institutional elements in the work of functional imagers. This approach provides insight into the current demarcation of imaging and reflects on features of visual knowledge. (shrink)

The poor denoising effect for noisy grayscale images with traditional processing methods would be obtained under strong noise condition, and some image details would be lost. In this paper, a parallel array model of Fitzhugh–Nagumo neurons was proposed, which can restore noisy grayscale images well with low peak signal-to-noise ratio conditions and the image details are better preserved. Firstly, the row-column scanning method was used to convert the 2D grayscale image into a 1D signal, and then the (...) 1D signal was converted into a binary pulse amplitude modulation signal by signal modulation. The modulated signal was input to an FHN parallel array for stochastic resonance. Finally, the array output signal was restored to a 2D gray image, and the image restoration effect was analyzed based on the PSNR and Structural SIMilarity index. It is shown that the SR effect can be exhibited in an array of FHN neuron nonlinearities by increasing the array size, and the image restoration effect is significantly better than the traditional image restoration method, and larger PSNR and SSIM can be obtained. It provides a new idea for grayscale image restoration in a low PSNR environment. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Image and SilenceGiorgio AgambenTranslated by Leland de la Durantaye (bio)[End Page 94]In the Roman pantheon there is a goddess named Angerona, represented with her mouth bound and sealed (ore obligato signatoque).1 Her finger is raised to her lips as if to command silence. Scholars claim that she represents, in the context of pagan mystery cults, the power of silence, although there is no consensus among them as to how (...) to understand this power. Etymologically speaking, myein, the root of the Greek word mysterion, means “to close the mouth, to silence.” At the beginning of the sacred rites in Eleusis a herald “commanded silence” (epittatei tēn siōpen). It is said that that the initiates into these Eleusinian mysteries were required to maintain absolute silence concerning what they had seen and heard during their initiation. Our question is how to understand this silence. Was it a prohibition aimed at keeping a secret doctrine from the uninitiated? Or did it concern, instead, something truly impossible to say?To begin we might ask what sense there might have been in the obligation to remain silent given that it was possible for anyone—including slaves, and thus, potentially, the entire population of Athens—to be initiated into the mysteries. In his early work, “On Philosophy,” Aristotle affirmed that, “the initiates do not need to learn something (mathein ti), but, instead, to be disposed to something, to experience and to undergo something (pathein kai diatethēnai).”2 It would therefore be possible that in the ancient mystery cults the initiate did not learn a doctrine that could be expressed in words (yet had to remain secret), but, instead, experienced something essentially silent, something impossible to say. “A great awe in face of the gods,” we read in the Homeric ode to Demeter, “silences the voice.”3The impossibility of speaking—and the power of silence—has two forms, one joyful and the other disturbing. In myth muteness is often associated with rape. The Romans tell the story of Lara who was punished for her inclination to gossip by being rendered mute and who was then raped in a sacred wood by Mercury (who took advantage of her impossibility of speaking). Before being transformed into a swallow Philomela was raped by Tereus, who cut off her tongue to prevent her from recounting his misdeed. Persephone, raped, kidnapped, and conducted to Hades, remained there silent as the dead. In every one of these cases silence is the painful experience of a privation of speech, of being unable to say what one wishes to say.In Gnostic mythology, the preexisting, eternal, uncreated God contains within himself a female figure which is his silence, Sigē. From his union with Silence Thought is born. “Sigē,” we read in a Valentinian text, “is the mother of all the beings that have emerged from the Abyss. He who has failed to say the unsayable has silenced it; he who was understood the unsayable, has declared it unsayable.”4 Here too silence appears as the experience of an impossibility of saying, as a privation. It is in opposition to this abyssal figure of silence that the church fathers affirmed the primacy of the logos in which God is revealed. Nevertheless, of the power of silence Heidegger would write: “This primordial silence is more powerful than any human potentiality. No one, on his or her own, has ever invented language—that is, has been strong enough to break the power of this silence.”5 [End Page 95]In Kafka’s parable on Ulysses, we are told that the silence of the Sirens is more perilous than their song, and that Ulysses—who realized, as his ship neared them, that the Sirens were silent—put on an act to protect himself from this silence, plugging his ears with wax and having his men tie him to the mast.6 In Kafka’s retelling of the tale, the silence of the Sirens represents a zero degree of song and, following a stubborn tradition that sees in absence the most extreme form of presence, also represents an at once zero and ultimate degree of reality. In this sense Heidegger could write... (shrink)

In this paper the author compares the concept of a Noh play, Matsukaze, with a Slovak altar painting from Košice Cathedral. The article uses Japanese Noh, where stage continuity has been preserved up until the present day, to reconstruct European medieval stage practices reflected in 15th century painting. Referring to the platonic tradition, the second speech represents a corrective to the first, thus legitimizing a sense of passion in the process leading to catharsis, or enlightenment.

Images have always stirred ambivalent reactions. Yet whether eliciting fascinated gazes or iconoclastic repulsion from their beholders, they have hardly ever been seen as true sources of knowledge. They were long viewed as mere appearances, placeholders for the things themselves or deceptive illusions. Today, the traditional critique of the spectacle has given way to an unconditional embrace of the visual. However, we still lack a persuasive theoretical account of how images work. -/- Emmanuel Alloa retraces the history (...) of Western attitudes toward the visual to propose a major rethinking of images as irreplaceable agents of our everyday engagement with the world. He examines how ideas of images and their powers have been constructed in Western humanities, art theory, and philosophy, developing a novel genealogy of both visual studies and the concept of the medium. Alloa reconstructs the earliest Western media theory—Aristotle’s concept of the diaphanous milieu of vision—and the significance of its subsequent erasure in the history of science. Ultimately, he argues for a historically informed phenomenology of images and visual media that explains why images are not simply referential depictions, windows onto the world. Instead, images constantly reactivate the power of appearing. As media of visualization, they allow things to appear that could not be visible except in and through these very material devices. (shrink)

Traditionally the central trope in Christian theological anthropology, “the image of God” tends to function more as a noun than a verb. While that has grounded significant interplay between specific Christian formulations and the concepts of nontheological disciplines and cultural constructs, it facilitates the withdrawal of the image and of theological anthropology more broadly from the context of active relation with God. Rather than a static rendering of the image a more interactionist, dynamic, and relational view of “imaging God” is (...) commended as a key anthropological term. Engaging with Psalm 8 suggests that, biblically, asking the anthropological question “What is humanity?” is tied to the answer to the theological question: who is God? This locates theological anthropology securely within the interactive context of being related to by God and suggests that theological anthropology might be a matter of performance rather than definition: actively imaging God. (shrink)

From a twenty-first century partnership between bioethics and neuroscience, the modern field of neuroethics is emerging, and technologies enabling functional neuroimaging with unprecedented sensitivity have brought new ethical, social and legal issues to the forefront. Some issues, akin to those surrounding modern genetics, raise critical questions regarding prediction of disease, privacy and identity. However, with new and still-evolving insights into our neurobiology and previously unquantifiable features of profoundly personal behaviors such as social attitude, value and moral agency, the difficulty of (...) carefully and properly interpreting the relationship between brain findings and our own self-concept is unprecedented. Therefore, while the ethics of genetics provides a legitimate starting point - even a backbone - for tackling ethical issues in neuroimaging, they do not suffice. Drawing on recent neuroimaging findings and their plausible real-world applications, we argue that interpretation of neuroimaging data is a key epistemological and ethical challenge. This challenge is two-fold. First, at the scientific level, the sheer complexity of neuroscience research poses challenges for integration of knowledge and meaningful interpretation of data. Second, at the social and cultural level, we find that interpretations of imaging studies are bound by cultural and anthropological frameworks. In particular, the introduction of concepts of self and personhood in neuroimaging illustrates the interaction of interpretation levels and is a major reason why ethical reflection on genetics will only partially help settle neuroethical issues. Indeed, ethical interpretation of such findings will necessitate not only traditional bioethical input but also a wider perspective on the construction of scientific knowledge. (shrink)

This original new book argues for a reassessment of Plato's challenge to the arts. Plato was the first great figure in Western philosophy to assess the value of the arts; he argued in the Republic that traditionally accepted forms of poetry, drama, and music are unsound. While this view has been widely rejected, Janaway argues that Plato's hostile case is a more coherent and profound challenge to the arts than has sometimes been supposed. Denying that Plato advocates "good art" in (...) any modern sense, Janaway seeks both to understand Plato's critique in the context of his own philosophy and to locate him in today's philosophy of art, showing how issues in aesthetics arise from responses to his charges. (shrink)

Now available in English for the first time, The Visibility of the Image explores the development of an influential aesthetic tradition through the work of six figures. Analysing their contribution to the progress of formal aesthetics, from its origins in Germany in the 1880s to semiotic interpretations in America a century later, the six chapters cover: Robert Zimmermann (1824-1898), the first to separate aesthetics and metaphysics and approach aesthetics along the lines of formal logic, providing a purely syntactic way of (...) using signs, regardless of objective content; Alois Riegl (1858-1905), who went on to further develop aesthetics on the model of formal logic, creating a theory of style in response to Zimmermann's call for an aesthetics oriented toward formal logic; Heinrich Wölfflin (1864-1945), who represents a step toward an understanding of consciousness by using pictures as cognitive tools; Konrad Fiedler (1841-1895), the Saxon philosopher who considered the possibility that some kinds of images are made and viewed not for what they show, but for their visibility's sake alone; Maurice Merleau-Ponty (1908-1961), responsible for taking up the connections between the problems of reducing the range of potential meanings and contexts of a given image down to just the picture surface; Charles William Morris (1901-1979), who set out to establish whether a picture with no objective reference, such as an abstract painting, still counts as a sign, and if so, in what sense. Bringing these thinkers together and interlinking their ideas, Lambert Wiesing presents an engaging history of formal aesthetics, while reconstructing the philosophical foundations for the appearance of new image forms in the 20th century, including the video-clip, abstract collage, digital simulation and virtual reality. Using this original approach, The Visibility of the Image introduces the rise of modern image theory and provides a valuable account of our engagement with pictures in the 21st century. (shrink)