Imagery Rehearsal Therapy is effective for trauma-related nightmares and is also a challenge to patients in finding access to their traumatic memories, because these are saved in non-verbal, visual, or audiovisual language. Art therapy is an experiential treatment that addresses images rather than words. This study investigates the possibility of an IRT-AT combination. Systematic literature review and field research was conducted, and the integration of theoretical and practice-based knowledge resulted in a framework for Imagery Rehearsal-based Art Therapy. The (...) added value of AT in IRT appears to be more readily gaining access to traumatic experiences, living through feelings, and breaking through avoidance. Exposure and re-scripting take place more indirectly, experientially and sometimes in a playlike manner using art assignments and materials. In the artwork, imagination, play and fantasy offer creative space to stop the vicious circle of nightmares by changing theme, story line, ending, or any part of the dream into a more positive and acceptable one. IR-AT emerges as a promising method for treatment, and could be especially useful for patients who benefit least from verbal exposure techniques. This description of IR-AT offers a base for further research. (shrink)

Imagery is one of the new, exciting frontiers in cognitive therapy. From the outset of cognitive therapy, its founder Dr. Aaron T. Beck recognised the importance of imagery in the understanding and treatment of patient's problems. However, despite Beck's prescience, clinical research on imagery, and the integration of imagery interventions into clinical practice, developed slowly. It is only in the past 10 years that most writing and research on imagery in cognitive therapy has been conducted. (...) The Oxford Guide to Imagery in Cognitive Therapy is a landmark book, which will play an important role in the next phase of cognitive therapy's development. Clinicians and researchers are starting to recognise the centrality of imagery in the development, maintenance and treatment of psychological disorders - for example, in social phobia, agoraphobia, depression, PTSD, eating disorders, childhood trauma, and personality disorder. In the fields of cognitive psychology and cognitive neuroscience, researchers are identifying the key role that imagery plays in emotion, cognition and psychopathology.The Oxford Guide to Imagery in Cognitive Therapy has been written both for clinicians and researchers. For clinicians, it is a user-friendly, practical guide to imagery, which will enable therapists to understand imagery phenomenology, and to integrate imagery-based interventions into their cognitive therapy practice. For researchers, it provides a state-of-the-art summary of imagery research, and points the way to future studies. Written by three well-respected CBT researcher-clinicians, it is essential reading for all cognitive therapists, who have recognised the limitations of purely 'verbal' CBT techniques, and want to find new ways to work with clients with psychological disorders. Readership: CBT therapists. (shrink)

Given that computers are not merely information-processors but rather representation-processors, who are the people most suited to dealing with representations of consciousness or the lack of it, once these consist in a computer? Who are the experts on irredundant holism when it comes to making sense of and manipulating these representations? Neither scientists nor philosophers, but rather artists, poets and so on. If this is the case it is not surprising that there already exists, in and out of the computational (...) domain, a body of knowledge about and evidence for the synthesis in an almost alchemical way of the scientific and philosophical (spiritual, one might almost say) approaches to consciousness. This presentation will examine aspects of zombie in both computer-based and traditional art, with several previously unknown examples of the use of zombie-like imagery in classical art leading to contemporary attempts to portray the nothing that being a zombie is like. Audience participation will be more or less obligatory. This document is really background notes to the above, pretending to be a paper. (shrink)

A visitor's experience of immersion in projection technology accumulates over time with the navigational movements that are called for through the digital artwork. The visitor travels through the artwork to gain an understanding of space and a sense of place within the visual field. An engaging display envelopes the visitor and thereby enhances their sense of immersion. An explorative movement within the virtual environment garners understanding, facilitates decision-making and intensifies navigation. Abstraction and symbolism in the visual experience offer a metaphoric (...) journey through the visual virtual experience. This article calls for a need to subvert and exploit rational imagery to stimulate the imagination in an effort to enhance immersion through the projection screen. The article will discuss how virtual environments fusing projection technologies with artistic imagery energizes experiential circumstances, promotes navigational movements and instigates perceptual shifts. In interactive media, the joystick navigates through a virtual environment as if painting the imagery of a place coincidently with its discovery. This self-referential journey shatters the sense of the fixed picture plane with a stable point of view established in traditional aesthetic engagement. The projection wall initially appears as a boundary for vision but acts, in essence, as a psychological screen for emergent experience. (shrink)

Does martial arts practice contribute to psychological well-being in professional martial artists? If so, what are the specific ways that martial arts practice accomplishes this? It has been a long-standing and widely held belief that martial arts practice can contribute to psychological well-being, however, there has been a lack of empirical research in the psychological literature focused on investigating the details of this hypothesis. The purpose of this research is therefore to investigate the impact of a paradigmatic martial arts practice—shadowboxing—on (...) the psychological well-being of professional martial artists. In this article I present the results from an original empirical study on professional Muay Thai practitioners (n = 14) that reveals how a martial arts practice (shadowboxing) contributes to their overall psychological well-being by contributing to their positive emotions, engagement, relationships, meaning, and accomplishment. I present general results for how shadowboxing contributes to the psychological well-being of these professional martial artists overall, as well as more specific results for how shadowboxing contributes to the psychological well-being of these professional martial artists based on factors such as their gender, fight experience, and training location. This article also provides qualitative first-person reports from professional Muay Thai practitioners (n = 14) about their use of visualization and mental imagery and their experience of flow while shadowboxing, offering unique insight into the minds of professional martial artists as they are actively engaged in their craft. Finally, this article discusses the value and limitations of the present study and outlines suggestions for future research. (shrink)

From a historical point of view, the idea of moving forces behind imagery opens up a new perspective on the spreadability and effectiveness of digital imagery today, especially in the form of Internet memes. Aby M. Warburg’s theory of Art History as collective memory is not only connected to the early theories of Evolutionary Biology by Richard Semon, but can also be interpreted as a parallel line of thought to Carl Jung’s psychological concept of archetype. The question of (...) how cultural content was shared and received was deeply connected with Warburg’s theory of the ‘Pathosformel’ or ‘Wanderstraße der Bilder’. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Aristotle’s Phantasia in the Rhetoric:Lexis, Appearance, and the Epideictic Function of DiscourseNed O’GormanIntroductionThe well-known opening line of Aristotle's Rhetoric, where he defines rhetoric as a "counterpart" (antistrophos) to dialectic, has spurred many conversations on Aristotelian rhetoric and motivated the widespread interpretation of Aristotle's theory of civic discourse as heavily rationalistic. This study starts from a statement in the Rhetoric less discussed, yet still important, that suggests that a visual (...) aspect inheres in Aristotle's theory of rhetoric. Near the beginning of book 3, which deals with lexis (style, sometimes subsuming delivery1 ), Aristotle conjoins lexis and phantasia with the copula "is" (eimi): "The subject of expression [lexeôs], however, has some small necessary place in all teaching; for to speak in one way rather than another does make some difference in regard to clarity, though not a great difference; but all these things are forms of outward show [phantasia] and intended to affect the audience" (1404a).2 Whereas scholars exploring the relationship between rhetoric and dialectic have compared and contrasted the Rhetoric and the Topics, I explore rhetoric's relationship with phantasia by reading the Rhetoric alongside De Anima. De Anima is Aristotle's seminal account of the senses and their relationship to psychê (often translated "soul"). It addresses topics intimately connected to rhetoric: perception, cognition, deliberation, visualization, imagination, and the image. Phantasia is integral to each of these psychic processes and to Aristotle's understanding of the function of appearance in human experience. Hence, itis a lens suitable for exploring the relationship between Aristotle's conception of civic discourse and his notions of sight and appearances as they relate to perception, interpretation, deliberation, and judgment. I find in Aristotle's phantasia a tie between his art of rhetoric and his psychology and phenomenology (anachronistic though these terms are). Aristotle's psychological works, as Richard McKeon points out, are foundational to Aristotle's philosophy, and thus to his Rhetoric. [End Page 16] "Psychological inquiries occupy an extremely important position in the philosophy of Aristotle, for the conception of the psychê lays the foundation for the continuity of functions in nature" (1947, 142). De Anima, especially, articulates the psychological and phenomenological conceptions often tacitly at work in the Rhetoric.The importance of phantasia for the trajectory of ancient rhetorical and aesthetic theory is seen in the parallels between the visual arts, rhetoric, and poetics in Greek and Roman thought.3 As David Freedberg states (perhaps, slightly overstates), parallels between painting and poetry are "to be found everywhere in classical literature" (1989, 50). With respect to such visual-verbal parallels in Aristotle, D. Thomas Benediktson's reading of Aristotle's psychological, poetic, and rhetorical works concludes that phantasia ties together the visual and the literary. "[Aristotle's passages on phantasia] do help to see why Aristotle took for granted the similarity, almost the identity, of literature and the visual arts. Both types of art are imagistic; they present to the viewer either an image, as in visual art, or as in literature, a set of moving images that the soul then uses as raw data (phantasia) to enable thought to occur" (2000, 170). Phantasia developed a legacy in Hellenistic aesthetics, where it came to designate suprarealism in painting, moving art "beyond imitation" (Fowler 1989, 180–81). In later Greco-Roman works, phantasia was used to designate vivid imagery in written and oral discourse, imagery that could create sights and scenes in the minds of audience members. As Quintilian noted in his discussion of forensic rhetoric, in Latin phantasiai were termed visiones. Here, phantasiabecame a mode of displacing narrative in rhetorical discourse:There are certain experiences which the Greeks call phantasiai, and the Romans visions [visiones], whereby things absent are presented to our imagination with such extreme vividness that they seem actually to be before our very eyes.... From such impressions arises that enargeia which Cicero calls illumination [illustration] and actuality [evidential], which makes us seem not so much to narrate [dicere] as to exhibit [ostendere] the actual scene.(Institutio Oratoria 4.2.29, 32)Quintilian's invocations of phantasia and enargeia can be traced to Aristotle's discussion of rhetorical style in book... (shrink)

L'omniprésence des images dans la société mass-médiatique est corrélative de leur évanescence et du constant renouvellement qui conditionne le processus de leur consommation. Leur omnipotence se réduit ainsi à celle de stimuli destinés à induire des comportements. Or, il convient d'autant plus de revenir d'une telle exténuation de l'image que cette dernière constitue l'une des dimensions essentielles du déploiement de la vie humaine. L'image est traditionnellement rapportée à l'activité imaginante d'un sujet. Mais, s'il est vrai que l'étoffe des hommes et (...) des choses qui se donnent à voir dans le paraître sensible d'une image n'existe pas coupée d'un tel paraître, l'esthétique relève aussi de l'ontologie et sa tâche est de nous ré-apprendre à contempler les images. Au regard de la clarté et de la distinction conférées par la théorie à notre appréhension des choses, la détermination positive des images ne tient-elle pas en effet au fait que c'est dans leur dimension qu'il nous est donné de faire l'expérience vive du paraître de ces choses, jusqu'à l'extrême de l'horreur, du merveilleux et du sacré? (shrink)

In lieu of an abstract, here is a brief excerpt of the content:MIMETIC SADISM IN THE FICTION OF YUKIO MISHIMA Jerry Piven New York University Mishima Yukio (1925-1970) was one ofthe mostenigmatic authors of the 20th century. Novelist, playwright, actor, exhibiionist —his novels are rife with homoerotic and violent imagery, while his fanatical and nihilistic philosophy calls for a return to a Samurai ethos. Mishima thus attained infamy in Japan and in the West, as his shocking novels inspired hordes (...) ofyoung Japanese into a cult ofMishima worship, while critics who acknowledge his genius are still nervous about his sadistic homosexuality and his suicide. Mishima's works are suffused with erotic bloodshed and misogyny, and Mishima finally ended his life by ritually disemboweling himself. I will make the case that Mishima was incessantly plagued by torturous mimetic frustrations, and that his final act of spilling his blood and intestines can be interpreted as the result of mimetic hatred against his rivals. I also argue that Mishima was fundamentally schizoidal; in Girardian terms, a man whose hypocrisy for the sakeofdesire rendered him an exhibitionistic maskdisguisingmimetic rage and fear. Having previously written about Mishima from a psychoanalytic perspective, I believe that a Girardian approach would often yield drastically different interpretations of identical biographical and literary materials. ' 1I initially wrote on Mishima for several diagnostic assignments at my psychoanalytic institute, the National Psychological Association for Psychoanalysis (NPAP). After considering the psychoanalytic and Girardian approaches, I expanded these original essays using identical material to determine whetherthe interpretations orconclusions would differ; I was struck by the way the same details could provide both remarkable congruences and vast divergences ofperspective. Read side by side, one can find compatible conclusions, but one also finds perceptions ofthe same details that would be difficultto conceive or articulate 70Jeremy Piven Mimesis, misogyny, and maculacy Kimitake Hiraoka was a frail, sickly child before he became the muscular and exhibitionistic novelist Yukio Mishima. His brutal and helpless childhood inaugurated his mimetic complexes: his need to escape the suffocating and diseased environment of his grandmother, his rivalry with her, and his mimetic ideal ofbeauty and muscular invulnerability. Mishima was an unhealthy youth, taken from the arms of his mother before he was two months old, and confined to the sickroom of his grandmother for the first twelve years ofhis life. Under the auspices ofhis tyrannical and ostensively psychotic grandmother, Mishima lived in the dark, could play only female friends (becausetheywere deemed harmless), and could eat only gentle foods. He thus lived an imprisoned life away from his parents, amid the excrescences of his sick and hysterical grandmother until adolescence, when his father "reclaimed him." Mishima later rebelled against this sickly nature, sculpting himself into a statuesque ideal of masculine beauty. He became obsessed with martial arts and the eroticism ofhis own engraved body. His fiction and philosophy were permeated by misogyny, glorification ofGrecian male sexuality and aesthetics, and the repudiation ofanything weak or feminine. He finally killed himselfbefore age could wither his masculine beauty. Mishima's fiction prominently features protagonists who mirror his sickly youth. The autobiographical Confessions of a Mask (Kamen no Kokuhaku) describes the homoerotic development ofthis frail child. Such fraiIcharacters inMishima'sfiction arealwaysdrawneroticallytobeautiful males as both mimetic rivals and models. The narrator of Confessions describes his sexual attraction to a sewage collector, a "ladler of excrement"(8). Thehandsomemanwith "ruddycheeks" and "shiningeyes" fascinates the narrator, and he is filled with desire lookingathistightjeans. using psychoanalytic perspectives andjargon. Two ofthe original essays will be published inthePsychoanalyticReview in comingmonths: "PhallicNarcissism, Anal Sadism, and Oral Discord: The Case ofYukio Mishima (part I)," and "Narcissistic Revenge and Suicide: The Case ofYukio Mishima (part H)." I am currently translating these articles for publication in Japan. I included a brief discussion of Mishima in the introduction to Psychological Undercurrents ofHistory (Piven and Lawton, eds.), to explore the complex methodological and psychological dynamics of the field of psychohistory. A commentary on Mishima's traumaticchildhood entitled "The Pathology ofGenius," will appearin aforthcomingedition ofTapestry: TheJournalofHistoricalMotivations andtheSocialFabric, and afinal article, "Voyeurism and Rage in The Sailor Who Fellfrom Grace with the Sea," will appear in Psychological Undercurrents ofHistory, Volume II (2002). Mimetic Sadism in the Fiction ofYukio Mishima71 The narrator thus emerges into a burgeoning homosexuality, but he also fantasizes about dying dramatically. His... (shrink)

Illusion is a significant concept in philosophy, art history, literary theory and aesthetics. It has a concrete scientific basis in the perspective of modern cognitive neuroscience. Historically, it has been critically discussed by many philosophers, including Plato, Bacon, Descartes, Kant, and Nietzsche, who considered it to be a distortion of reality. Yet illusion is connected with so many basic aesthetic issues -- such as ambiguity, imagination, and imagery -- that it remains an indispensable concept in modern aesthetics. In the (...) different art media communication of creators with appreciators involves illusory imagery. Its importance is emphasized by Ernst Gombrich in his Art and Illusion, one of the most influential art history texts in the English-speaking world. The concept of illusion becomes the crossing point of classical philosophy and contemporary aesthetics. In this article, the philosophical, psychological and aesthetic bases of illusion will be introduced. In different fields, illusion has different content, but depends on the same psychological mechanisms. The neural mechanisms that underpin aesthetic illusion in contemporary artistic production also function in the modern ideology described by Adorno, Eagleton, and Williams. Not all aesthetic illusions have positive functions, which sometimes leads to distorted cognition and emotional complexity. When it deviates too far from reality, aesthetic illusion contains particular cognitive emotional qualities that conflict with artistic imagery in classical arts. As a bearer of modern aesthetic emotion, it is also shaped by special economic and political situations and always has a kind of ideological character. Thus aesthetic illusion often promotes new configurations of aesthetics and art history. (shrink)

Picasso's Crucifixion of 1932 is one of his few works that contains Christian imagery. The painting combines traditional elements with aspects - typical of Picasso's oeuvre - that seem intentionally obscure. Iconographic tools of art history and theology are inadequate to explicate the work. Why did Picasso choose to measure himself against this subject? The answers are seen in his Catholic upbringing, his love for old master paintings, his desire to stay a step ahead of his public's expectations, the (...) vicissitudes of his private life, and the obsessive fears and desires that drove his creativity. Picasso's Crucifixion represents a step in the artist's complex and contradictory spiritual search, revealing an inquiry into the nature of Christianity and a psychological yearning for redemption. (shrink)

The process of transmitting ballet’s complex technique to young dancers can interfere with the innate processes that give rise to efficient, expressive and harmonious movement. With the intention of identifying possible solutions, this article draws on research across the fields of neurology, psychology, motor learning, and education, and considers their relevance to ballet as an art form, a technique, and a training methodology. The integration of dancers’ technique and expressivity is a core theme throughout the paper. A brief outline (...) of the historical development of ballet’s aesthetics and training methods leads into factors that influence dancers’ performance. An exploration of the role of the neuromotor system in motor learning and the acquisition of expert skills reveals the roles of sensory awareness, imagery, and intention in cuing efficient, expressive movement. It also indicates potentially detrimental effects of conscious muscle control, explicit learning and persistent naïve beliefs. Finally, the paper presents a new theory regarding the acquisition of ballet skills. Recontextualization theory proposes that placing a problematic task within a new context may engender a new conceptual approach and/or sensory intention, and hence the genesis of new motor programs; and that these new programs may lead to performance that is more efficient, more rewarding for the dancer, more pleasing aesthetically, and more expressive. From an anecdotal point of view, this theory appears to be supported by the progress of many dancers at various stages of their dancing lives. (shrink)

Purpose. The purpose of the study is to show the connection of romanticism with the anthropological doctrine that goes back to Hegelianism and Kantianism, and at the same time – with the concepts of the future, structuralism and postmodernism. Theoretical basis. The man is a central figure of the Romantic literary, therefore it makes sense to single out romantic human anthropological doctrine and the image of man associated with a specific historical and cultural era called the "epoch of romanticism"; to (...) show that many romantic philosophical positions remained relevant to the basic foundations of contemporary anthropological research and coincide with it in analytical and critical thinking about a man, a person, his historical and evolutionary fate. Originality. The romantic worldview determined the specifics of anthropological discourse, both logical and illogical, remaining symbols and attaching, as for example, a real historical anecdote, a popular history, a philosophical thought, a myth, a famous literary episode and the arts multiplied by creative inspiration and imagination. This tendency determined the fragmentation of thinking and the scientific image of man as a dual being, nevertheless, presented and described in all the variety of relations with the world and with himself, that allows us to call this area of thought "the romantic human science". Conclusions. Structural analysis of numerous romantic texts allows us to draw the following conclusion: with mythopoetic imagery and anthropological thought about a man, romantic writers introduced the reader to any wisdom, to philosophical understanding of their human essence, to past and modern teachings, in a way processed antique, medieval and enlightening views, in which an important place was given to reflections on the place of man in nature, society, and history. Correlating the well-known statements about a person as a descendant of the "old Adam", "person", "personality", "soul", with the modern idea of historical and social development, about the evolution of the consciousness of a person who revealed himself as an individual in modern times, with scientific and aesthetic views, the writers of the first half of the XIX century gave romantic thought anthropological meaning and, in fact, laid the foundations of historical, social, psychological, cultural and psychoanalytic anthropology. (shrink)

Imagination occupies a central place in philosophy, going back to Aristotle. However, following a period of relative neglect there has been an explosion of interest in imagination in the past two decades as philosophers examine the role of imagination in debates about the mind and cognition, aesthetics and ethics, as well as epistemology, science and mathematics. This outstanding _Handbook_ contains over thirty specially commissioned chapters by leading philosophers organised into six clear sections examining the most important aspects of the philosophy (...) of imagination, including: Imagination in historical context: Aristotle, Descartes, Hume, Kant, Husserl, and Sartre What is imagination? The relation between imagination and mental imagery; imagination contrasted with perception, memory, and dreaming Imagination in aesthetics: imagination and our engagement with music, art, and fiction; the problems of fictional emotions and ‘imaginative resistance’ Imagination in philosophy of mind and cognitive science: imagination and creativity, the self, action, child development, and animal cognition Imagination in ethics and political philosophy, including the concept of 'moral imagination' and empathy Imagination in epistemology and philosophy of science, including learning, thought experiments, scientific modelling, and mathematics. The Routledge Handbook of Philosophy _of Imagination_ is essential reading for students and researchers in philosophy of mind and psychology, aesthetics, and ethics. It will also be a valuable resource for those in related disciplines such as psychology and art. (shrink)

This book is about the ways we make sense of the constant changes and interchanges of webs of meaning and being to which we are all connected. Working from textual, visual, historical, and contemporary fieldworks, each chapter presents a unique exercise on challenges of thinking through the figurations of imaginaries into their aesthetic forms.

From fields as art history, semiotics and communication theories, a dozen researchers attempt to provide new and compelling approaches about the genesis of the images, their functions in relation to our existence and how we establish and construct our social and power relations, through the book.

The "Kinsey Report" suggests the existence of such a mentality. Of 142 women with much homosexual experience, 70 percent reported no regrets. This consciousness has manifested itself in literature in two ways. First, in lesbian romanticism: fusions of life and death, happiness and woe, natural imagery and supernatural strivings, neoclassical paganism with a ritualistic cult of Sappho, and modern beliefs in evolutionary progress with a cult of the rebel. At its worst an inadvertent parody of fin de siecle decadence, (...) at its best lesbian romanticism ruthlessly rejects a stifling dominant culture and asserts the value of psychological autonomy, women, art, and a European civilization of the sensuous, sensual, and voluptuous. Woolf's Orlando is its most elegant and inventive text, but its symbol is probably the career of Natalie Barney, the cosmopolitan American who was the prototype of Valerie Seymour.23· 23. See Rubin, introduction to Vivien's A Woman Appeared to Me, and George Wickes, The Amazon of Letters: The Life and Loves of Natalie Barney .Catherine R. Stimpson, professor of English at Rutgers University, is the former editor of Signs: Journal of Women in Culture and Society. The author of both critical essays and fiction, she recently co-edited, with Ethel Spector Person, Women, Sex and Sexuality. (shrink)

AimsIn this pilot mixed-methods study, we examined the participants experiences of engaging in virtual drawing tasks and the impact of an olfactory stimulus on outcomes of affect, stress, self-efficacy, anxiety, creative agency, and well-being.MethodsThis study used a parallel mixed-methods, simple block randomization design. The study participants included 24 healthy adults aged 18 to 54 years, including 18 women and six men. The participants completed two 1-h immersive virtual art making sessions and were randomly assigned to receive either a fragrance or (...) a non-fragrance condition for the first session. Quantitative and qualitative datasets were collected concurrently and integrated during data analysis.ResultsThe quantitative results indicated that the fragrance condition demonstrated a significant reduction in negative affect, namely, reduced feelings of negativity when compared to the non-fragrance condition. A trend toward improvement in self-efficacy was also seen in the fragrance condition. No significant changes were found for fragrance or non-fragrance conditions for positive affect, anxiety, and creative agency. The qualitative findings included five themes related to art making experiences in virtual reality in both conditions: fun and joy; novelty of virtual media, experimentation, and play; relaxation and calm; learning curve; and physical discomfort and disorientation. Four themes were identified for virtual art content and visual qualities: nature imagery, references to memories and personal symbols, fantasy and play within imagery, and depiction of everyday objects.ConclusionsOverall, the participants reported positive responses to the novel virtual art making experiences which were further heightened by the inclusion of the fragrance stimulus for negative affect. These preliminary findings need to be replicated with larger sample sizes to confirm the outcomes and the trends that were seen in this pilot study. Further research is recommended to examine the differences between experiences of virtual and traditional art media and to examine different olfactory stimuli promoting focus and concentration. (shrink)

When a theorist of my persuasion looks at photography he is more concerned with the character traits of the medium as such than with the particular work of particular artists. He wishes to know what human needs are fulfilled by this kind of imagery, and what properties enable the medium to fulfill them. For his purpose, the theorist takes the medium at its best behavior. The promise of its potentialities captures him more thoroughly than the record of its actual (...) achievements, and this makes him optimistic and tolerant, as one is with a child, who has a right to demand credit for his future. Analyzing media in this way requires a very different temperament than analyzing the use people make of them. Studies of this latter kind, given the deplorable state of our civilization, often make a depressing reading. Among Rudolf Arnheim's latest publications are Toward a Psychology of Art, Visual Thinking, and Entropy and Art. A new version of Art and Visual Perception: A Psychology of the Creative Eye, will appear this fall. He is professor of the psychology of art, emeritus, at the Carpenter Center for the Visual Arts, Harvard University. Other contributions to Critical Inquiry are "A Stricture on Space and Time" and "THE LANGUAGE OF IMAGES: A Plea for Visual Thinking". (shrink)

Frederick Douglass, the abolitionist, the civil rights advocate and the great rhetorician, has been the focus of much academic research. Only more recently is Douglass work on aesthetics beginning to receive its due, and even then its philosophical scope is rarely appreciated. Douglass’ aesthetic interest was notably not so much in art itself, but in understanding aesthetic presentation as an epistemological and psychological aspect of the human condition and thereby as a social and political tool. He was fascinated by the (...) power of images, and took particular interest in the emerging technologies of photography. He often returned to the themes of art, pictures and aesthetic perception in his speeches. He saw himself, also after the end of slavery, as first and foremost a human rights advocate, and he suggests that his work and thoughts as a public intellectual always in some way related to this end. In this regard, his interest in the power of photographic images to impact the human soul was a lifelong concern. His reflections accordingly center on the psychological and political potentials of images and the relationship between art, culture, and human dignity. In this chapter we discuss Douglass views and practical use of photography and other forms of imagery, and tease out his view about their transformational potential particularly in respect to combating racist attitudes. We propose that his views and actions suggest that he intuitively if not explicitly anticipated many later philosophical, pragmatist and ecological insights regarding the generative habits of mind and affordance perception : I.e. that we perceive the world through our values and habitual ways of engaging with it and thus that our perception is active and creative, not passive and objective. Our understanding of the world is simultaneously shaped by and shaping our perceptions. Douglass saw that in a racist and bigoted society this means that change through facts and rational arguments will be hard. A distorted lens distorts - and accordingly re-produces and perceives its own distortion. His interest in aesthetics is intimately connected to this conundrum of knowledge and change, perception and action. To some extent precisely due to his understanding of how stereotypical categories and dominant relations work on our minds, he sees a radical transformational potential in certain art and imagery. We see in his work a profound understanding of the value-laden and action-oriented nature of perception and what we today call the perception of affordances (that is, what our environment permits/invites us to do). Douglass is particularly interested in the social environment and the social affordances of how we perceive other humans, and he thinks that photographs can impact on the human intellect in a transformative manner. In terms of the very process of aesthetic perception his views interestingly cohere and supplement a recent theory about the conditions and consequences of being an aesthetic beholder. The main idea being that artworks typically invite an asymmetric engagement where one can behold them without being the object of reciprocal attention. This might allow for a kind of vulnerability and openness that holds transformational potentials not typically available in more strategic and goal-directed modes of perception. As mentioned, Douglass main interest is in social change and specifically in combating racist social structures and negative stereotypes of black people. He is fascinated by the potential of photography in particular as a means of correcting fallacious stereotypes, as it allows a more direct and less distorted image of the individuality and multidimensionality of black people. We end with a discussion of how, given this interpretation of aesthetic perception, we can understand the specific imagery used by Douglass himself. How he tried to use aesthetic modes to subvert and change the racist habitus in the individual and collective mind of his society. We suggest that Frederick Douglass, the human rights activist, had a sophisticated philosophy of aesthetics, mind, epistemology and particularly of the transformative and political power of images. His works in many ways anticipate and sometimes go beyond later scholars in these and other fields such as psychology & critical theory. Overall, we propose that our world could benefit from revisiting Douglass’ art and thought. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy, Psychiatry, & Psychology 12.4 (2005) 307-310 [Access article in PDF] Aesthetics, Criticism, and Psychotherapy John Z. Sadler Keywords aesthetics, psychiatry, psychotherapy, Sibley In his wide-ranging survey of how Kantian aesthetic theory is implicated in psychothera-py, John Callender has raised at least a dozen potentially profound and rewarding possibilities in applying aesthetic theory to psychiatry and psychotherapy. Although the idea of marrying aesthetic theory to psychiatry and psychotherapy (...) is not new, Callender's direction of the merger is distinctively novel. The mid-twentieth century had a distinct literature in applying psychoanalytic and psychiatric theory to aesthetic experience, summarized by the sizable bibliography by Norman Kiell, Psychiatry and Psychology in the Visual Arts and Aesthetics: A Bibliography (1965). This line of interdisciplinary work influenced a later generation of art historians and literary theorists in applying (particularly) psychoanalytic theory to interpretation and appreciation of the arts, contributions that are still being developed today, along with the emergence of complementary viewpoints from cognitive neuroscience (Peretz and Zatorre 2003; Rose 2004; Zeki 1999). Callender's project, however, is quite the converse—he wishes to show how philosophical aesthetics can contribute to psychiatry and clinical psychology. Exploring the aesthetics of psychiatry is the innovation.Before focusing my own comments on a few of Callender's points, I wish to call attention to the substantive questions he has directly raised or implied by his discussions. These questions are worthy of further development in this and other journals, and I hope that Callender will succeed in engaging the minds of his readers and inspire them to work in this exciting area in the philosophy of psychiatry. In his elegant review of Kant's key theoretical points of aesthetics, his discussion provokes us to consider the kinds of evaluations that patients make of themselves (moral? aesthetic? others?), as well as the kinds of evaluations clinicians make in their judgments of psychopathology. Evolutionists may wonder about the adaptive significance of aesthetic capacities (e.g., derivatives of grooming? mating displays?). In presenting Kant's notion of "disinterestedness" or contemplative judgment, readers may wonder about overlap with notions of therapist neutrality and unconditional positive regard. Should therapist relationships with patients be dominated by a similar aesthetic sensibility? What does the aesthetic posture have to do with the therapist posture?Importantly, Callender notes the connections and ambiguities between moral values and aesthetic values. This is borne out in his later discussions of clinical case material (considered again below). He focuses primarily on the duplication of aesthetic and moral values in the same terms of praise (honesty, integrity, originality), but there is no question that aesthetic experiences are had by viewers of art exhibiting perverse or depraved [End Page 307] imagery (consider, for instance, Francis Bacon's "3 Screaming Popes" or, even more extremely, the grotesque staged photographs of Joel-Peter Witkin). The implication here is that (as an example) to understand the aesthetics of sadomasochistic art may help us to understand the psychology of sadomasochistic people.By the time he introduces his case material, Callender has raised the issue of intersubjectivity in aesthetic experience, an experience that may be devoid of discursive cognitive content but may be profound with emotional content, thus challenging tenets of cognitive psychology and psychotherapy. His discussion of cases reflecting elements of Kant's components of aesthetic judgment point toward new ways of understanding psychopathology as disturbances in aesthetic self-appraisal.I would like to return to the problem of moral and aesthetic judgments in psychotherapy and in psychopathology. Dr. Callender presents three cases—a woman who has been traumatized by multiple instances of sexual abuse, a young girl with postpartum depression with fears of losing her child because of bad mothering, and a third patient with anorexia nervosa who demonstrates the typically distorted body self-image. I suggest that the aesthetic nature of these patients' self-judgments is not so clear cut as Callender suggests. His sexual abuse case summary certainly suggests a woman consumed by shame. Because shame is a typical "moral emotion," the question is raised of moral badness being involved in her self-concept as well as, or perhaps... (shrink)

_The Politics of Imagination_ offers a multidisciplinary perspective on the contemporary relationship between politics and the imagination. What role does our capacity to form images play in politics? And can we define politics as a struggle for people’s imagination? As a result of the increasingly central place of the media in our lives, the political role of imagination has undergone a massive quantitative and a qualitative change. As such, there has been a revival of interest in the concept of imagination, (...) as the intimate connections between our capacity to form images and politics becomes more and more evident. Bringing together scholars from different disciplines and theoretical outlooks, _The Politics of Imagination_ examines how the power of imagination reverberates in the various ambits of social and political life: in law, history, art, gender, economy, religion and the natural sciences. And it will be of considerable interest to those with contemporary interests in philosophy, political philosophy, political science, legal theory, gender studies, sociology, nationalism, identity studies, cultural studies, and media studies. (shrink)

Embark on a visual journey of self-discovery. In Beaming, Marilyne Verschueren-the artist behind internet sensation @beamingdesign-presents 100 expansive visuals designed to stimulate your mind and awaken your intuition. Messages of hope, resilience, and joy are incorporated into radiant art, with each image offering the reader an opportunity for deep contemplation and introspection. Powerful imagery is paired with 25 guided exercises for mindfulness, journaling, and breathwork to deepen your interactive experience. Full of warmth and positive energy, Beaming is an exquisite (...) companion and a stirring call to follow your truth. (shrink)

This paper considers W.E.B. Du Bois’s short story, “Jesus Christ in Texas,” in the perspective of his analysis of the concept of beauty in Darkwater (1920); his exposition of the idea that “all art is propaganda” in “Criteria of Negro Art” (1926); and his moral psychology of white supremacy. On my account, Du Bois holds that beautiful art can help to undermine white supremacy by using representations of moral goodness to expand the white supremacist’s ethical horizons. To defend this (...) thesis, he relies on an image of “the cross and the lynching tree” to revise imagery that he draws from Albrecht Dürer’s 1504 painting, “The Adoration of Kings.”. (shrink)

Throughout the 20th century, the theory and history of performing arts repeatedly attempted to systematize various phenomena in the field of interpretation of works of academic music. The number of performing styles and types in various researches has risen dramatically, until the beginning of this century when it was reduced to a single concept - to the category of an individual style. This topic was discussed mainly in research papers devoted to the theory of pianism. The results of their observations (...) and conclusions can be applied to the performing arts in general. The article mentions the works of K.A. Martinsen, D.A. Rabinovich, V.P. Chinaeva, A.V. Malinkovskaya and others. The topic of musical perception is addressed both in musicology and in musical psychology. This research offers a new vector for studying of musical perception, linking the features of musical imagery created by the performer and the nature of perception. The following aspects are revelated: patterns that allow us to talk about the types of musical image, the principles of its construction and the types of perception. This is an affective image created on the principle of contrast. It corresponds to the psychophysical type of perception. The contextual image is guided by the principle of connections. It corresponds to the aesthetic type of perception. The integrative image is formed, focusing on the principle of the whole. It corresponds to the symbolic type of perception. A hermetic system of typology is considered to be impossible; artistic practice will largely oppose it. However, these tendencies are able to shed light on the nature of musical perception and allow to continue the scientific discussion of the current topic of musical performance. (shrink)

At the end of his attack on my use of the psychoanalytic model for the interpretation of literature, Heller raises the question concerning what the task of the literary critic is or ought to be. His own "sketch of the Kleistean theme's historical ancestry and its later development," he says, seeks to deepen and enrich the reader's appreciation of Kleist's literary art, the artistry of his phrasing, the persuasiveness of his incidents, the conclusiveness of his examples." By implication he suggests (...) that my method does not have this end—that is, appreciation—for its goal. In this he is partially right. "Appreciation" in Heller's sense is not as directly a goal for me. But does Heller's method of intellectual history and literary relation meet his own criteria of deepening and enriching the reader's appreciation of Kleist? In his capsule treatment of Great Thinkers of the Western World from Plato to Marx, we learn that many writers besides Kleist treated Kleist's theme of man's fall from unconscious grace. What exactly does this tell us about Kleist's treatment of it? How does it deepen the reader's appreciation of Kleist's literary art, the artistry of his phrasing, the persuasiveness of his incidents? It doesn't. It isn't even about Kleist. Although Heller tells us that it is the "thought" and "imagery" which "make for the great distinction of the essay" , his evidence for this consists, in the case of the former, in his tracing the history of the essay's thought and, in the case of the latter, in his statements that Kleist's use of the puppet as the exemplar of the unselfconscious graceful being is "unusual" and "novel" and that his bear story, though it may lack "in immediate plausibility," "gains in making Kleist's point" and is "a memorable exemplar" of the "art of grotesque inventions that are capable of floating for quite a while above and between the comic and the serious before landing with scintillating effect in one domain or the other" . Margret Schaefer is a lecturer in the department of psychiatry at Northwestern University Medical School. She responds here to Erich Heller's "The Dismantling of a Marionette Theater; or, Psychology and the Misinterpretation of Literature" , in which he discussed her article, "Kleist's 'About the Puppet Theater,". (shrink)

Real-time computer graphics and complex sensory input challenge past assumptions of highly constrained metaphors based on static imagery. Access to research and gaming interfaces have popularized the understanding of tracking technologies that tailor interaction to ambulatory displacement and dexterous handling of objects, expanding the realm of metaphors from visual to physical phenomena. But behaviour and the mind have been studied far before there were real-time computer graphics or digitally created synthetic environments. Dynamic relationships between environment, body and thought are (...) being dissected today by neuro-scientific research, and, conversely, synthetic environments are being utilized to address psychological disorders. This article examines research on scientific and philosophical fields that advance the definition of representation, from an image-based realm as limited by previous popular media to an understanding of action and immersion, where attention is activated by change, and rooted in the body. From this perspective, the advent of embodied representation may not be as much of a change of medium, but the perceptual relation with the medium, the medium being a created Umwelt, where the virtual world builds the mind through the body. (shrink)

“Dance” has been associated with many psychophysiological and medical health effects. However, varying definitions of what constitute “dance” have led to a rather heterogenous body of evidence about such potential effects, leaving the picture piecemeal at best. It remains unclear what exact parameters may be driving positive effects. We believe that this heterogeneity of evidence is partly due to a lack of a clear definition of dance for such empirical purposes. A differentiation is needed between (a) the effects on the (...) individual when the activity of “dancing” is enjoyedas a dancerwithindifferent dance domains(e.g.,professional/”high-art”type of dance,eroticdance,religiousdance,clubdancing,Dance Movement Therapy(DMT), and what is commonly known ashobby, recreationalorsocialdance), and (b) the effects on the individual within these different domains, as a dancer of thedifferent dance styles(solo dance, partnering dance, group dance; and all the different styles within these). Another separate category of dance engagement is, not as a dancer, but as a spectator of all of the above. “Watching dance” as part of an audience has its own set of psychophysiological and neurocognitive effects on the individual, and depends on the context where dance is witnessed. With the help of dance professionals, we first outline some different dance domains and dance styles, and outline aspects that differentiate them, and that may, therefore, cause differential empirical findings when compared regardless (e.g., amount of interpersonal contact, physical exertion, context, cognitive demand, type of movements, complexity of technique and ratio of choreography/improvisation). Then, we outline commonalities between all dance styles. We identify six basic components that are part of any dance practice, as part of a continuum, and review and discuss available research for each of them concerning the possible health and wellbeing effects of each of these components, and how they may relate to the psychophysiological and health effects that are reported for “dancing”: (1) rhythm and music, (2) sociality, (3) technique and fitness, (4) connection and connectedness (self-intimation), (5) flow and mindfulness, (6) aesthetic emotions and imagination. Future research efforts might take into account the important differences between types of dance activities, as well as the six components, for a more targeted assessment of how “dancing” affects the human body. (shrink)