In Paul and Image, Philip Erwin challenges conventional interpretations of First Corinthians by focusing on the role that ancient Roman visual culture played in the lives of Paul and those of the people of Corinth.

Ecological Psychology and Enactivism both challenge representationist cognitive science, but the two approaches have only begun to engage in dialogue. Further conceptual clarification is required in which differences are as important as common ground. This paper enters the dialogue by focusing on important differences. After a brief account of the parallel histories of Ecological Psychology and Enactivism, we cover incompatibility between them regarding their theories of sensation and perception. First, we show how and why in ecological theory perception is, crucially, (...) not based on sensation. We elucidate this idea by examining the biological roots of work in the two fields, concentrating on Gibson and Varela and Maturana. We expound an ecological critique of any sensation-based approach to perception by detailing two topics: classic retinal image theories and perception in single-celled organisms. The second main point emphasizes the importance of the idea of organism-environment mutuality and its difference from structural coupling of sensations and motor behavior. We point out how ecological - phenomenological methods of inquiry grow out of mutualism and compare Gibson’s idea of visual kinesthesis to Merleau-Ponty’s idea of the lived body. Third, we conclude that Ecological Psychology and varieties of Enactivism are laying down different paths to pursue related goals. Thus, convergence of Ecological Psychology and Enactivism is not possible given their conflicting assumptions, but cross-fertilization is possible and desirable. (shrink)

By most accounts Deleuze's engagement with Marx begins with the two volumes of Capitalism and Schizophrenia he co-authored with Félix Guattari. However, Deleuze's Difference and Repetition alludes to a connection between Deleuze's critique of common sense and Marx's theory of fetishism, suggesting a connection between the critique of the image of thought and the critique of capital. By tracing this connection from its emergence in the early texts on noology, or the image of thought, to the development in (...) the critique of state thought in A Thousand Plateaus, it can be argued that what initially appears as an entirely infra-philosophical problem, concerned with the presuppositions of philosophy, is not only a political problem as well, but ultimately bears on the very nature of the conjunction between thought and politics, making possible a re-examination of what is meant by revolutionary thought. It is a transition from noology to noopolitics. In the end it can be argued that revolutionary thought is no longer an eschatology, attempting to discern the signs of the future revolution in the present, but a thought oriented towards everything that exceeds the fetish of society, towards the virtual relations and micropolitical transformations that constitute society but exceed its representation. (shrink)

This is one of those rare books whose influence will grow rather than diminish with the years. Icon and Idea is destined to take its place beside Ernst Cassirer's massive and difficult The Philosophy of Symbolic Forms as a basic work on the original, creative power of the human spirit as it is enacted as culture -- in myth, religion, science, art. Sir Herbert Read's book is neither massive nor difficult. It was first delivered as the Charles Eliot Norton Lectures (...) 1953-1954, at Harvard. Text and pictures together illustrate the intellectual courage of a great art critic, aesthetician and intellectual theorist, as well as poet and novelist. Advancing beyond Cassirer's theory of the irreducible autonomy of culture, Read develops his theory that "the image always precedes the idea in the development of human consciousness." Having established this major thesis, Read goes on to elaborate it in a way that will interest not only students of art history and the social sciences but any reader interested in the right basis for education. In arguing the primacy of art work in human development, Read gives the reader a fine general education in the history and psychology of art. (shrink)

Gillett argues that there are unexpected confluences between the tradition of Frege and Wittgenstein and that of Freud and Lacan. I counter that that the substance of the exegeses of Frege and Wittgenstein in Gillett's paper are flawed, and that these mistakes in turn tellingly point to unclarities in the Lacanian picture of language, unclarities left unresolved by Gillett. Lacan on language is simply a kind of enlarged/distorted mirror image of the Anglo-American psychosemanticists: where they emphasize information and representation, (...) he emphasizes evocation and connotation. Neither contrasting emphasis is remotely adequate to linguistic action-in-the-world. Is "the unconscious", as Lacan claims, a "network of signifiers"? Arguably, yes; but most ordinary / actual language does not involve such "signification". Words primarily "signify" concepts or things only in exceptional circumstances; normally, words are transparent, and nothing at all is meant by them except in an actual situation of use of a sentence. Second, is "the unconscious" structured like a language? Again, yes-- if we understand by "language" what Lacan asks us to. "The unconscious" arguably is structured like a language--as Lacan (inadequately) understands language. (shrink)

Will brain imaging technology soon enable neuroscientists to read minds? We cannot answer this question without some understanding of the state of the art in neuroimaging. But neither can we answer this question without some understanding of the concept invoked by the term “mind reading.” This article is an attempt to develop such understanding. Our analysis proceeds in two stages. In the first stage, we provide a categorical explication of mind reading. The categorical explication articulates empirical conditions that (...) must be satisfied if mind reading is to be achieved. In the second stage, we develop a metric for judging the proficiency of mind reading experiments. The conception of mind reading that emerges helps to reconcile folk psychological judgments about what mind reading must involve with the constraints imposed by empirical strategies for achieving it. (shrink)

Will brain imaging technology soon enable neuroscientists to read minds? We cannot answer this question without some understanding of the state of the art in neuroimaging. But neither can we answer this question without some understanding of the concept invoked by the term "mind reading." This article is an attempt to develop such understanding. Our analysis proceeds in two stages. In the first stage, we provide a categorical explication of mind reading. The categorical explication articulates empirical conditions that (...) must be satisfied if mind reading is to be achieved. In the second stage, we develop a metric for judging the proficiency of mind reading experiments. The conception of mind reading that emerges helps to reconcile folk psychological judgments about what mind reading must involve with the constraints imposed by empirical strategies for achieving it. (shrink)

This 1994 collection of interdisciplinary essays was the first to investigate how images in the history of the natural and physical sciences have been used to shape the history of economic thought. The contributors, historians of science and economics alike, document the extent to which scholars have drawn on physical and natural science to ground economic ideas and evaluate the role and importance of metaphors in the structure and content of economic thought. These range from Aristotle's discussion of the division (...) of labour, to Marshall's evocation of population biology, to Hayek's dependence upon evolutionary concepts, and more recently to neoclassical economists' invocation of chaos theory. Resort to such images, contributors find, was more than mere rhetorical flourish. Rather, appeals to natural and physical metaphors serve to constitute the very subject matter of the discipline and what might be accepted as the 'economic'. (shrink)

Roland Barthes remains one of the most influential cultural theorists of the postwar period and Image-Music-Text is his most widely taught work. Ed White provides students with a clear guide to this essential but difficult text. As students are increasingly expected to write across a range of media, Barthes' work can be understood as an early mapping of what we now call interdisciplinary or multidisciplinary study. The book's detailed section-by-section readings makes Barthes' most important writings accessible to undergraduate readers. (...) This book is a perfect companion for teaching and learning Barthes ideas in cultural studies and literary theory. (shrink)

Is seeing a matter of nature? Does perspective show things as they really are? Can we read an image in the same way as a text? This book draws together essays that attempt to answer these questions but in a variety of ways and from the different theoretical positions offered by psychoanalysis, semiotics, poststructuralism and postmodernism. The anthology opens up a dialogue between seeing and the seen, text and image, theory and practice. By discussing a range of visual (...) material, from advertising and architecture to painting and photography, it crosses generic and disciplinary boundaries and suggests ways in which vision and visuality are related to questions of textuality, subjectivity, race, and gender. (shrink)

In this text, Jacques Rancière critically discusses the work of Georges Didi-Huberman on images. He disagrees with various claims seemingly made by Didi-Huberman about images, such as that they can “take position” or that they are “active.” Rancière argues that Didi-Huberman adds another form of dialectics to the simpler form of dialectics adopted by Bertolt Brecht and Harun Farocki in their works, namely one that also involves a layering of different temporalities. However, both in Brecht’s War Primer and in Didi-Huberman’s (...) analysis of it, all the potencies credited to images as such are actually potencies of the words that accompany the images. Rancière comes to the conclusion that to “put images in motion,” as Didi-Huberman wants to do, or to regard them as being “active,” he has to put words, his own poetic and extensive writings, in motion. (shrink)

Ruyer et Bachelard ont en commun de concevoir le travail de la philosophie comme essentiellement lié à la science. Toutefois, alors que Bachelard s’en tient à des positions épistémologiques, Ruyer entend tirer des conclusions métaphysiques des résultats de la physique contemporaine. Il expose ses vues à l’occasion de deux comptes rendus qu’il fait des écrits de Bachelard. Selon Ruyer, les activités structurantes originales qui caractérisent les atomes et les molécules autorisent à les comparer aux êtres biologiques des étages supérieurs et (...) à défendre une vision panpsychiste du réel. L’imagination métaphysique peut alors proposer ce que Ruyer appelle une « lecture du monde » qui en donne une vision unifiée et intensifiée. Les deux directions opposées de l’œuvre de Bachelard, le concept et l’image, ont ainsi la possibilité d’être réconciliées. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Christopher Norris IMAGE AND PARABLE: READINGS OF WALTER BENJAMIN Marxist literary criticism is a house with many mansions, most of diem claiming a privileged access to the great central chamber of history and truth. Only the most blinkered polemicist could nowadays attack "Marxist criticism" as if it presented a uniform front or even a clearly delineated target. Differences of oudook have developed to a point where debates within (...) Marxism are often more highly charged and polarized man anything brought to bear by its downright opponents. These differences will seem a crippling liability only from the viewpoint of a hard-line determinist creed which insists both on the rightness of its own reductive methodology and on a one-track notion of historical necessity and reason. The alternative, as New Left theorists have argued, is to examine the diversity of present-day Marxist thinking and show how its manifold traditions take rise from various backgrounds of political and cultural development. Perry Anderson's Considerations on Western Marxism is one such attempt to "situate" the work of thinkers like Sartre, Almusser, and Adorno in terms of their beleaguered position as left intellectuals outside the active mainstream of any revolutionary movement.1 Another example is Terry Eagleton's Criticism and Ideology, a book which sets out to rethink the bases of a Marxist-theoretical approach to English literary history.2 Eagleton, like Anderson, takes it as axiomatic that no such critique can get underway without first coming to terms with the problems and dilemmas which others have faced in trying to make new sense of a communal enterprise. For Eagleton this means a diagnostic treatment of the gaps and significant sUences which have marked the texts of those — like Arnold or Leavis — engaged in a class-based mystification ofliterary history and values. The critique extends to what Eagleton sees as the inbuilt problems of a homespun British Marxism, whedier of the crudely determinist variety (Caudwell) or the "left-Leavisite" amalgam of radical mêmes and traditionalist assumptions represented by Raymond Williams. Eagleton's approach lays claim to a power of unmasking die 15 16Philosophy and Literature latent ideology at work both in literary and critical texts. Ramer than simply collapse that distinction — as desired by the current post-structuralists, with whom he is wholly out of sympadiy — Eagleton strives to articulate the different structures and relations of discourse which situate criticism vis-à-vis literary history. He proposes a Marxist "science of the text" which would bring out its ideological modes of production, inscribed in the twists and unconscious blind-spots of meaning where a project comes up against its own impossibility. Criticism "deconstructs" the literary text, but not (like the Yale deconstructors) with a view to breaking down all possible distinctions between literature and commentary, merging both in the infinite freeplay of signs. For Eagleton there is indeed a knowledge of die text which stands at a definite remove from its object, just as literature itself"works" and transforms the raw stuffoflived ideology, mus offering it up to critical knowledge. Eagleton's theory of literary production was worked out in response to a powerful new current of Marxist thought, associated mainly with the French philosopher Louis Akhusser. What mis program involved, very briefly, was a rigorous re-reading of Marx's texts, aimed at defining their precise theoretical structure and die place within mem of such concepts as "knowledge," "ideology," and "structure" itself. Only thus could Marxist science attain the clarity and grasp of its own first principles which would set it apart from other, deviant or "ideological" discourses. This meant drawing a firm critical line (or "epistemological break") between the early, humanist Marx and the later productions —including Das Kapital— where his thought took on the full rigor of its scientific basis. Such a theory, in Althusser^ words, "makes it possible to distinguish a word from a concept, to distinguish the existence or non-existence of a concept behind a word, to discern the existence of a concept by a word's function in the dieoretical discourse...." 3 This structuralist reading of the Marxist text is intended as an immanent critique, a means of salvaging the essential Marx from fhose elements in his... (shrink)

The image of the Peng bird, which opens the Zhuangzi text, is not the product of metaphysical reasoning. An inspiring example of soaring up and going beyond, the image is used to broaden the outlook of the small mind; its function is thus more therapeutic than instructional. With its rich poetic and experiential content, the image of the Peng refuses to be reduced to an abstract concept, or a mere signifier of certain philosophical position. Misreading of the (...) image results from any attempt to accurately “size up” its philosophical implication by measuring it quantitatively against a spectrum of positions and values. To see only the superficial “inconsistencies” in Zhuangzi’s argument and to read the wind under the Peng’s wings as a handicap that it needs to overcome in order to embark on its “free and easy wandering” is, in the name of logic and “consistency,” to ignore the big picture Zhuangzi presents. (shrink)

Assembled here for the first time in English translation, Sigrid Weigel and Georgina Paul offer illuminating new insights into Benjamin's theory, combining impulses from post-structuralism, feminism, cultural anthropology and psychoanalysis.

Certain anthropological narratives of South Africa's Eastern Cape province, such as Monica Hunter's 1936 Reaction to Conquest and Philip Mayer's 1963 Townsmen or Tribesmen, persist as potent referential 'bodies of knowledge'. By laying down the coordinates of Black rural and urban experience, such studies continue to animate concepts of tradition and modernity, effectively conjuring up notions of 'the border', both literally and metaphorically. Encountering Pauline Ingle's photographic collection amidst these circuits of knowledge and ways of seeing is to recognise that (...) it is both unusual and exceptional. It is a collection of over 4000 images that are not only located in a rural area but also covers a sustained time period, corresponding to the period of formal apartheid. The concept of the rural is amplified in the collection, positioning it as a site of development, as the 'not yet modern', in which subjects are figured both in class hierarchies and in relation to Daniel Morolong's urban photographs in and around East London in the 1950s. Employing the theory of social acts enables a re-contemplation of the subject, and a reading of the social that suggests a set of possibilities and futures beyond what currently constitutes the rural and the urban; and upturns the disciplinary optics that condition the predominating ethnographies and historiographies of the Eastern Cape. (shrink)

El artículo examina dos concepciones de la imagen de la filosofía clásica, para ensayar una relectura de la aparición digital o “imagen-pixel”. De Platón se considera la idea de imagen como symploké de ser y no ser: la imagen, como una piel diáfana que acompaña a las cosas, se desprende, cual fina película, de las cosas mismas y puede ser inscrita sobre una superficie. De Aristóteles se examina el concepto de lo diáfano, una potencia común a todos los cuerpos, la (...) que opera como instancia intermediaria para la emergencia de lo visible. Ambas concepciones ayudan a comprender la radicalidad de la imagen digital, entendida como una modalidad inmanente del ‘aparecer’ que no se inscribe sobre ninguna superficie ni medio, llevándonos a pensar en la figura de un nuevo diáfano hipermedial. This article examines two conceptions around the image of classical philosophy, in order to rehearse a re-reading of the digital appearance or “image-pixel”. From Plato, we consider the idea of the image as symploke of being and not being: the image, as a translucent skin that accompanies all things, comes off, like a fine film, from those same things, and can be inscribed on a surface. From Aristotle, the concept of the diaphanous is examined, a common potency to everything, which operates as an intermediary instance for the emergence of the visible things. Both concepts help to understand the radical nature of the digital image, understood as an immanent modality of the ‘appearance’ that is not inscribed on any surface or support, leading us to think of the figure of a hyper-medial new diaphaneity. (shrink)

This edited collection explores the distinctive contributions of postphenomenological perspectives toward imaging in science, medicine, and everyday life. With its original empirical investigations of imaging across a variety of fields, the book expands our conceptual framework for understanding images.

The last decade has seen a new wave of interest in philosophical and theoretical circles in the writings of Walter Benjamin. In _Body-and Image-Space_ Sigrid Weigel, one of Germany's leading feminist theorists and a renowned commentator on the work of Walter Benjamin, argues that the reception of his work has so far overlooked a crucial aspect of his thought - his use of images. Weigel shows that it is precisely his practice of thinking in images that holds the key (...) to understanding the full complexity, richness and topicality of Benjamin's theory. (shrink)

In business ethics literature, the figure of Machiavelli is often taken as a representation of that which is dark, sinister and negative—a source of inspiration for undesirable and unethical actions. In this research, we examine the evaluation of Niccolò Machiavelli’s thought in extant studies, and posit that Machiavelli’s works consist of ideas that may appear contradictory, which, coupled with historically contextualized close reading of his texts have more to offer. In this theoretical investigation, we construct new conceptual categories of (...) a leader’s decision-making rubric and attempt to provide a structured framework that will allow us to specify the boundary conditions under which the apparent contrary views may be accommodated, by undertaking a close reading of Machiavelli’s texts. Our work contributes to business ethics literature in at least three ways. First, we present a holistic assessment of the research area that applies the tenets of Machiavelli’s writings to business ethics, management, and organizational studies, and delineate the dominant themes. We outline and substantiate the informal research networks, thought structures, and “invisible colleges” that form the intellectual framework of this research area through a bibliometric analysis and literature review. Second, we present a contextualized close reading of Machiavelli’s major treatises. Third, we reimagine the critical landscape of business ethics literature, specifically pertaining to Machiavelli’s oeuvre by shifting the single-minded focus from _The Prince_, by including _The Discourses_, which, as we show, has new and unprecedented implications for business ethics. In light of this, the parameters for ethical action by business leaders can be redrawn according to a Machiavellian schema. This marks a radical departure from the long-standing association between Machiavelli’s tenets and the absence of ethics, instead proposing a more positive and affirmative relationship between Machiavelli and business ethics. Specifically, while pointing out that the existing ethical frameworks foisted on Machiavelli’s texts do not do justice to the political philosopher’s worldview, which are complex insights into ideas of leadership, we urge researchers to incorporate the thoughts offered in this research in future investigations. (shrink)

In order to better understand the conditions of the twenty-first century Raphael Sassower and Louis Cicotello revisit the twentieth century in Political Blind Spots: Reading the Ideology of Images. Sassower and Cicotello revisit some of the most significant periods in art and politics in the twentieth century paying close attention to the relationship between aesthetics and politics.

The nature of representation is a central topic in philosophy. This is the first book to connect problems with understanding representational artifacts, like pictures, diagrams, and inscriptions, to the philosophies of science, mind, and art. Can images be a source of knowledge? Are images merely conventional signs, like words? What is the relationship between the observer and the observed? In this clear and stimulating introduction to the problem John V. Kulvicki explores these questions and more. He discusses: the nature of (...) pictorial experience and "seeing in" recognition, resemblance, pretense, and structural theories of depiction images as aids to scientific discovery and understanding mental imagery and the nature of perceptual content photographs as visual prostheses. In so doing he assesses central problems in the philosophy of images, such as how objects we make come to represent other things, and how we distinguish kinds of representation - pictures, diagrams, graphs - from one another. Essential reading for students and professional philosophers alike, the book also contains chapter summaries, annotated further reading, and a glossary. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Future of the Book: Images of Reading in the American Utopian Novel by Kevin J. HayesMatthew LeggattKevin J. Hayes. The Future of the Book: Images of Reading in the American Utopian Novel. Oxford: Oxford University Press, 2022. E-book, 192 pp. ISBN 9780192670960.Kevin J. Hayes is a writer of high regard, having published many books over his distinguished career, including biographical studies such as Herman Melville, (...) Mark Twain, George Washington: A Life in Books, and several on Edgar Allen Poe. Works like the 2020 monograph Shakespeare and the Making of America showcase his intersecting interests in biography, literature, and American political history. It is these interests that are very much on display in his 2022 monograph The Future of the Book: Images of Reading in the American Utopian Novel, and we should be thankful that Hayes has turned his attention to the subject of utopian fiction as he certainly has much to add to the discussion. The book is clearly a labor of love and Hayes writes with a great degree of detail and authority suggesting he has always held a deep interest in the utopian novel. In fact, from the preface, it is clear the research supporting this book has spanned many years.The preface sets it all up very neatly. Immediately, the reader is invited into the research story of the book. Hayes has an evocative and methodical style that carries that research throughout. The author is also careful in this preface to assert his expertise in the field. Having read “virtually every utopian novel in American literature published before 1910” on microfilm gives Hayes the opportunity to explore many of the obscure and lesser-known works of the period (ix), which he notes in his introduction is primarily between 1880 and 1915. Since many of these novels are yet to be digitized, his insight is notably rare.Aside from an introduction and conclusion, the book is divided into five chapters. The first is titled “The Residential Library” and is centrally about [End Page 601] books in home-spaces, from personal libraries to books on shelves in someone’s living room. Chapter 2, “The Public Library,” explores depictions of public libraries and ways that collected knowledge might be organized and made accessible in utopian visions. “The Idea of Authorship,” chapter 3, is about the professional/amateur status of authors in utopian societies. In this section, Hayes also explores ideas about literary quality and attempts to answer concerns that a utopian age would necessarily be incapable of producing great literature. Chapter 4, titled “The Newspaper,” details the struggles utopian authors have had with the newspaper format. Finally, “The Printed Page and the Written Word” examines ways in which utopian authors sought to refine the printed and written word and their innovative suggestions in this area. Each of these chapters opens by considering Edward Bellamy’s Looking Backward in relation to the subject at hand and Bellamy’s 1888 novel is referred to extensively throughout The Future of the Book, offering a frame for Hayes’s exploration of utopian literature’s inner dialogue with the printed word.In his introduction, Hayes highlights that much of the scholarly work in this area has focused on dystopias. Indeed, when I think about the representation of literature in speculative fiction I tend, first, to think of the great dystopias like Orwell’s Nineteen Eighty-Four, in which history is erased and rewritten by The Party, or Ray Bradbury’s Fahrenheit 451, in which books are considered dangerous and thus are rigorously hunted and burned by the ironically named Firemen of the future. Alternatively, postapocalyptic movies spring to mind. Taking shelter in the New York Public Library, Sam Hall (played by Jake Gyllenhaal) frantically burns books for warmth despite the protests of several other characters in Roland Emmerich’s 2004 blockbuster The Day After Tomorrow. Likewise, in “Marooned” (1989), an episode of the British SF sitcom Red Dwarf (1988–), of which I was particularly fond during my formative years, a copy of the collected works of Shakespeare is burned to keep the last remaining human, David Lister (played by Craig Charles), alive. In the opposite direction, some postapocalyptic... (shrink)

In this paper I chart the seismic shift that has occurred over the past three decades in attitudes towards the interpretation of visual images. My strategy implies the argument that the reading of visual images would appear to be an inevitability given the accelerating change of attitudes towards pictures as containers of determinate knowledge. French critical theorists (Foucault, Barthes, Derrida et. al.) dominated debate on interpretation of text and image in the 1980s, where my survey begins. Michel Foucault (...) dismissed the image (in Madness and Civilization 1959/1988) as a fascinating site for the madness of dreams but one standing outside of reasoned interpretation because of an inherent excess of meaning and deeply hidden attributes and allusions. Generally, however, when images were discussed using identifiable interpretive strategies in the 1980s the framework was a variant of semiotic analysis (Marin, Eco and Barthes – who famously, diverges from this mode in Camera Lucida). I use W. J. T. Mitchell’s Iconology: Image, Text, Ideology 1986 as a focal text from the 1980s and follow this with two of his publications on images, one from 1995 and another from 2005 to demonstrate the dramatic shift in the approach to pictures across almost three decades. Around these focal texts by Mitchell I reference other texts and trends that culminate in the more recent proliferation of texts related to visual studies and the re-emergence of aesthetics. (shrink)

In _Reading the Figural, or, Philosophy after the New Media_ D. N. Rodowick applies the concept of “the figural” to a variety of philosophical and aesthetic issues. Inspired by the aesthetic philosophy of Jean-François Lyotard, the figural defines a semiotic regime where the distinction between linguistic and plastic representation breaks down. This opposition, which has been the philosophical foundation of aesthetics since the eighteenth century, has been explicitly challenged by the new electronic, televisual, and digital media. Rodowick—one of the foremost (...) film theorists writing today—contemplates this challenge, describing and critiquing the new regime of signs and new ways of thinking that such media have inaugurated. To fully comprehend the emergence of the figural requires a genealogical critique of the aesthetic, Rodowick claims. Seeking allies in this effort to deconstruct the opposition of word and image and to create new concepts for comprehending the figural, he journeys through a range of philosophical writings: Thierry Kuntzel and Marie-Claire Ropars-Wuilleumier on film theory; Jacques Derrida on the deconstruction of the aesthetic; Siegfried Kracauer and Walter Benjamin on the historical image as a utopian force in photography and film; and Gilles Deleuze and Michel Foucault on the emergence of the figural as both a semiotic regime and a new stratagem of power coincident with the appearance of digital phenomena and of societies of control. Scholars of philosophy, film theory, cultural criticism, new media, and art history will be interested in the original and sophisticated insights found in this book. _ _. (shrink)

Reading in the Brain (Les neurones de la lecture, 2007) examined the origins of human reading abilities in the light of contemporary cognitive neuroscience. It argued that reading acquisition, in all cultures, recycles preexisting cortical circuits dedicated to invariant visual recognition, and that the organization of these circuits imposes strong constraints on the invention and cultural evolution of writing systems. In this article, seven years later, I briefly review new experimental evidence, particularly from brain imaging studies of (...) illiterate adults, which indicates that reading acquisition invades culturally universal cortical circuits and competes with their prior function, including mirror-invariant visual recognition and face processing. In response to my critics, I emphasize how brain plasticity and brain constraints can be reconciled within the Bayesian perspective on learning. I also discuss the importance of a newly discovered gesture system in reading and writing. Finally, I argue that there is consistent evidence for deep cross-cultural universals in writing systems, as well as for the multiple subtypes of dyslexia that are expected given the broad set of areas recruited by the reading task. (shrink)

The article offers a new approach for the exploration of media and television studies by extracting the television-philosophy implicit in Samuel Beckett’s television play … but the clouds …. The reading focuses on the immanent logic of the play seen as a televisual and an intermedial whole, instead of constructing it as an intertextual tapestry of references. The article argues against a popular interpretation of Beckett as the artist of failure. The reading of …but the clouds… as illustrating (...) the failure of memory and as a comment on the televisual loss of pro-filmic referentiality is subsequently also contested. On the contrary, it is argued that the play in a self-reflexive positive gesture explores both the ontology of the television-image and the ontology of memory as a process of conjuration by presenting a successful emergence of the televisual Image-in-itself. (shrink)

"[Mitchell] undertakes to explore the nature of images by comparing them with words, or, more precisely, by looking at them from the viewpoint of verbal language.... The most lucid exposition of the subject I have ever read."—Rudolf Arnheim, _Times Literary Supplement_.

As words, images, and concepts are the media through which hermeneutic understanding takes place, reflection on their nature is central to any appreciation of how hermeneutics operates. The joy of coming to recognition entails the knowing of something again that we already know as if for the first time. In the image, what we already know (pre‐reflectively) emerges as if illuminated, from all the contingent and variable circumstances that condition it; it is grasped in its essence. It is known (...) as something”. The speculative dimension of language elucidates the capacity of an image to be future orientated. Words, images, and concepts have actual and potential satellite meanings able to upset and transform their core meanings. Indeterminacy of meaning is central. Reading, writing, and attentive looking are practices which because of the speculative dimensions of word, image, and concept disturb and disrupt what we think we know with certainty. (shrink)

The human body was made legible long ago. But what of the human mind? Is it possible to ‘read’ the mind, for one human being to know what another is thinking or feeling, their beliefs and intentions. And if I can read your mind, how about others – could our authorities, in the criminal justice system or the security services? Some developments in contemporary neuroscience suggest the answer to this question is ‘yes’. While philosophers continue to debate the mind-brain problem, (...) a range of novel technologies of brain imaging have been used to argue that specific mental states, and even specific thoughts, can be identified by characteristic patterns of brain activation; this has led some to propose their use in practices ranging from lie detection and security screening to the assessment of brain activity in persons in persistent vegetative states. This article reviews the history of these developments, sketches their scientific and technical bases, considers some of the epistemological and ontological mutations involved, explores the ecological niches where they have found a hospitable environment, and considers some implications of this materialization of the readable, knowable, transparent mind. (shrink)

Recent literature have underlined the connections between children’s reading skills and capacity to create and use mental representations or mental images; furthermore data highlighted the involvement of visuospatial abilities both during math learning and during subsequent developmental phases in performing math tasks. The present research adopted a longitudinal design to assess whether the processes of mental imagery in preschoolers (ages 4–5 years) are predictive of mathematics skills, writing and reading, in the early years of primary school (ages 6–7 (...) years). The research lasted for two school years; in the first phase, the general group of participants consisted of 100 children, and although all participants agreed to be part of the research, in the second phase, there was a mortality rate of 30%. In order to measure school learning and mental imagery processes four batteries of tests were used. The mental imagery battery evaluated mental generation, inspection and transformation processes. Data underlined that the different aspects in which mental imagery processes are articulated are differently implied in some skills that constitute school learning. These findings emphasise the potential usefulness of a screening for mental imagery ability for schoolchildren to adopt effective measures to increase their mental imagery abilities. (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)