It is generally acknowledged that verbal auditory imagery, the reader's sense of hearing the words on a page, matters in the silent reading of poetry. Verbal auditory imagery (VAI) in the silent reading of narrative prose, on the other hand, is mostly neglected by literary and other theorists. This is a first attempt to provide a systematic theoretical account of the felt qualities and underlying cognitive mechanics of narrative VAI, drawing on convergent evidence from the experimental (...) cognitive sciences, psycholinguistic theory, and introspection. The central argument is that distinctions within the domain of embodied VAI also apply to higher-order meaning-making. That is, based on the imaginer's level of self-implication in their production, discrete types of VAI are associated with discrete tendencies in spontaneous literary interpretation. More generally, the aim of this paper is to isolate a new set of embodied experiences which, along with previously researched phenomena such as sensorimotor enactment or emotion, contribute to our understanding of literary narrative. (shrink)

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

The article aims to concretize the phenomenological account concerning the problem of an auditory image. The author considers auditory imagery as a scientific object and compares different treatments of the problem to fix the potential and advantages of its phenomenological interpretation. In the first stage of the study, the author distinguishes the key characteristics of the image by means the lexical analysis. This is the perceptual (predominantly visual) nature of an image, integrality, and essentiality (image as an (...) idea). In the second stage, the understandings of the mental and auditory imagery in physiology, experimental psychology, music psychology, musicology, and interdisciplinary studies are described. In the third stage, the peculiar phenomenological ways of the comprehension of an auditory image are revealed. The phenomenological interest is to pick out consciousness which perceiving of an image equally from the process of perceiving and from entailing in an image. The specific phenomenological stance is placing an auditory image on the bound of transcendent (the process of perceiving) and immanent (an image that is already perceived). The auditory image is conceived as the unity of Modi of its givenness. Most fecks of this Modi are original, they cannot be transferred into other science scopes: they are the interconnection of all moments of the temporal unfolding, self-organization in the time, self-referentiality, non-semanticity, periodicity/randomness, eventuality, quasi-embodiment (physicality). Solely phenomenological problems are problems of the constitution of an auditory image, its life-horizon, intersubjectivity, and regional matching. The author infers that phenomenology does not conceive auditory image as sustained auditory representation, associated with acoustic memory. Its perceptual nature does not play a key role here. Moreover, the perceptual-semantic duality of the image is not fixed by the phenomenological description. The phenomenological approach is unique because it researches auditory data exhaustively but does not use semantic and referential analysis of them. The main feature of phenomenological description is the focus on the unity of auditory image: All the elements of auditory data are interpreted in their synthesis as the different levels of the unity of hearing image. Thus, the phenomenological approach as a whole is the most promising for comprehending such a dominant quality of the auditory image as integrality. (shrink)

Take a moment to use mental imagery to perform the following tasks: (1) decide whether an apple is more similar in shape to a banana or an orange, (2) determine how to rearrange the furniture in your bedroom to make room for a new dresser, and (3) drive home during rush hour. Although we take our ability to perform tasks such as these for granted, they raise a host of interesting questions about imagery. For instance, what is the (...) relationship between imagery and perception? What types of processes are needed to account for our ability to generate, maintain, transform, and inspect images? How do we characterize individual differences in imagery ability? What is the relation between imagery and spatial representation? What can we do with mental imagery? This essay will focus on visual imagery, because we know more about visual imagery than auditory, haptic, gustatory, or olfactory imagery. The expectation is that many principles, although not all details, of emerging theory will be applicable to imagery in other modes. (shrink)

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

When I am looking at my coffee machine that makes funny noises, this is an instance of multisensory perception – I perceive this event by means of both vision and audition. But very often we only receive sensory stimulation from a multisensory event by means of one sense modality, for example, when I hear the noisy coffee machine in the next room, that is, without seeing it. The aim of this paper is to bring together empirical findings about multimodal perception (...) and empirical findings about (visual, auditory, tactile) mental imagery and argue that on occasions like this, we have multimodal mental imagery: perceptual processing in one sense modality (here: vision) that is triggered by sensory stimulation in another sense modality (here: audition). Multimodal mental imagery is not a rare and obscure phenomenon. The vast majority of what we perceive are multisensory events: events that can be perceived in more than one sense modality – like the noisy coffee machine. And most of the time we are only acquainted with these multisensory events via a subset of the sense modalities involved – all the other aspects of these multisensory events are represented by means of multisensory mental imagery. This means that multisensory mental imagery is a crucial element of almost all instances of everyday perception. (shrink)

The elaborated intrusion (EI) theory of desire (Kavanagh, Andrade, & May, 2005) attributes the motivational force of cravings to cognitive elaboration, including imagery, of apparently spontaneous thoughts that intrude into awareness. We report a questionnaire study in which respondents rated a craving for food or drink. Questionnaire items derived from EI theory formed a single factor alongside factors for anticipated reward/relief, resistance, and opportunity. In a multiple regression predicting strength of craving, the first three factors accounted for 36% of (...) the variance. Opportunity did not enter the model. In a second study, the difference between individuals' strong and weak cravings to take part in a sporting activity was shown to be related to visual, auditory, and general imagery, and to anticipated reward or relief from engaging in the activity. Implications for treatment of craving-related disorders are discussed in the light of these results and of other research indicating that interference with imagery can reduce the strength of craving. (shrink)

According to sensorimotor theory perceiving is a bodily skill involving exercise of an implicit know-how of the systematic ways that sensations change as a result of potential movements, that is, of sensorimotor contingencies. The theory has been most successfully applied to vision and touch, while perceptual modalities that rely less on overt exploration of the environment have not received as much attention. In addition, most research has focused on philosophically grounding the theory and on psychologically elucidating sensorimotor laws, but the (...) theory’s ramifications for neuroscience still remain underexamined. Here we sketch the beginnings of a research program that could address these two outstanding challenges in terms of auditory perception. We review the neuroscience literature on passive listening, which is defined as listening without overt bodily movement, and conclude that sensorimotor theory provides a unique perspective on the consistent finding of motor system activation. In contrast to competing theories, this activation is predicted to be involved not only in the perception of speech- and action-related sounds, but in auditory perception in general. More specifically, we propose that the auditory processing associated with supplementary motor areas forms part of the neural basis of the exercise of sensorimotor know-how: these areas’ recognized role in facilitating spontaneous motor responses to sound and supporting flexible engagement of sensorimotor processes to guide auditory experience and enable auditory imagery, can be understood in terms of two key characteristics of sensorimotor interaction, its “alerting capacity” and “corporality”, respectively. We also highlight that there is more to the inside of the body than the brain: there is an opportunity to develop sensorimotor theory into new directions in terms of the still poorly understood active processes of the peripheral auditory system. (shrink)

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

In this report, the phenomenology of two blind users of a sensory substitution device – “The vOICe” – that converts visual images to auditory signals is described. The users both report detailed visual phenomenology that developed within months of immersive use and has continued to evolve over a period of years. This visual phenomenology, although triggered through use of The vOICe, is likely to depend not only on online visualization of the auditory signal but also on the users’ (...) previous (albeit distant) experience of veridical vision (e.g. knowledge of shapes and visual perspective). Once established, the sensory substitution mapping between the auditory and visual domains is not confined to when the device is worn and, thus, may constitute an example of acquired synaesthesia. (shrink)

Brain–machine interfaces combining visual, auditory, and tactile feedback have been previously used to generate embodiment experiences during spinal cord injury rehabilitation. It is not known if adding temperature to these modalities can result in discomfort with embodiment experiences. Here, comfort levels with the embodiment experiences were investigated in an intervention that required a chronic pain SCI patient to generate lower limb motor imagery commands in an immersive environment combining visual, auditory, tactile, and thermal feedback. Assessments were made (...) pre-/ post-, throughout the intervention, and at 7 weeks follow up. Overall, high levels of embodiment in the adapted three-domain scale of embodiment were found throughout the sessions. No significant adverse effects of VR were reported. Although sessions induced only a modest reduction in pain levels, an overall reduction occurred in all pain scales at follow up. A high degree of comfort in the comfort scale for the thermal-tactile sleeve, in both the thermal and tactile feedback components of the sleeve was reported. This study supports the feasibility of combining multimodal stimulation involving visual, auditory, tactile, and thermal feedback to generate embodiment experiences in neurorehabilitation programs. (shrink)

This paper aims to clear a path for the thesis that inner speech, in the very languages we speak, is the sole medium of all conceptual thought. First, it is argued that inner speech should not be identified with the auditory imagery of speech. Since they are distinct, there may be many more episodes of inner speech than those that are accompanied by auditory imagery. Second, it is argued that it is not necessary to conceive of (...) linguistic communication as a matter of the speaker’s revealing through words an underlying thought. Rather, acts of speech may be conceived as producing cooperation by intervening on processes of thought that are essentially imagistic. So conceived, the practice of speaking in language may acquire a function wholly internal to the individual, where it adds a layer of coordination to an underlying foundation of imagistic cognition. (shrink)

This is the introductory chapter to the anthology: Inner Speech: New Voices, to be published in fall 2018 by OUP. It gives an overview of current debates in philosophy, psychology, and neuroscience concerning inner speech, and situates the chapters of the volume with respect to those debates.

One of the fundamental questions raised by Ruchkin, Grafman, Cameron, and Berndt's (Ruchkin et al.'s) interpretation of no distinct specialized neural networks for short-term storage buffers and long-term memory systems, is that of the link between perception and memory processes. In this framework, we take the opportunity in this commentary to discuss a specific working memory task involving percept formation, temporary retention, auditory imagery, and the attention-based maintenance of information, that is, the verbal transformation effect.

Inner speech has been shown to vary in form along several dimensions. Along condensation, condensed inner speech forms have been described, that are supposed to be deprived of acoustic, phonological and even syntactic qualities. Expanded forms, on the other extreme, display articulatory and auditory properties. Along dialogality, inner speech can be monologal, when we engage in internal soliloquy, or dialogal, when we recall past conversations or imagine future dialogues involving our own voice as well as that of others addressing (...) us. Along intentionality, it can be intentional (when we deliberately rehearse material in short-term memory) or it can arise unintentionally (during mind wandering). We introduce the ConDialInt model, a neurocognitive predictive control model of inner speech that accounts for its varieties along these three dimensions. ConDialInt spells out the condensation dimension by including inhibitory control at the conceptualization, formulation or articulatory planning stage. It accounts for dialogality, by assuming internal model adaptations and by speculating on neural processes underlying perspective switching. It explains the differences between intentional and spontaneous varieties in terms of monitoring. We present an fMRI study in which we probed varieties of inner speech along dialogality and intentionality, to examine the validity of the neuroanatomical correlates posited in ConDialInt. Condensation was also informally tackled. Our data support the hypothesis that expanded inner speech recruits speech production processes down to articulatory planning, resulting in a predicted signal, the inner voice, with auditory qualities. Along dialogality, covertly using an avatar’s voice resulted in the activation of right hemisphere homologues of the regions involved in internal own-voice soliloquy and in cerebellar deactivation, consistent with internal model adaptation. Switching from first-person to third-person perspective resulted in activations in precuneus and parietal lobules. Along intentionality, compared with intentional inner speech, mind wandering with inner speech episodes was associated with greater bilateral inferior frontal activation and decreased activation in left temporal regions. This is consistent with the reported subjective evanescence and presumably reflects condensation processes. Our results provide neuroanatomical evidence compatible with predictive control and in favor of the assumptions made in the ConDialInt model. (shrink)

Because imagination constitutes an indispensable tool of phenomenology, e.g., in understanding another author’s description, in eidetic reduction, etc., the practicability of phenomenological method and its claim to objectivity ought to be reconsidered with regard to its dependence on imagination. Auditory imagery serves to illustrate problems involved in grasping and analyzing imaginative contents – loudness in this case. Similar to phonetic segmentation and classification, phenomenologists segment and classify mental acts and contents. Just as phoneticians rely on experts’ evaluations of (...) notations to reach valid results, phenomenologists may try to develop similar agreement procedures to escape the ‘subjectivism’ of their solitary first-person approach. (shrink)

Almost every facet of the experience of musical listening—from pitch, to rhythm, to the experience of emotion—is thought to be shaped by the meeting and thwarting of expectations. But it is unclear what kind of mental states these expectations are, what their format is, and whether they are conscious or unconscious. Here, we distinguish between different modes of musical listening, arguing that expectations play different roles in each, and we point to the need for increased collaboration between music psychologists and (...) philosophers in order to arrive at a more detailed characterisation of conscious musical experience and the role of expectations therein. (shrink)

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

According to a common view, conscious thoughts necessarily involve quasi-perceptual experiences, or mental images. This is alleged to be the case not only when one entertains conscious thoughts about perceptible things, but also when one thinks about more abstract things. In the case of conscious abstract propositional thoughts, the idea is that they occur in inner speech, which is taken to involve imagery (typically auditory) of words in a natural language. I argue that unsymbolized thinking and total aphantasia (...) cast doubt on this common view. Unsymbolized thinking is the experience of thoughts that does not involve imagery. Total aphantasia is the inability to produce mental images of all sensory modalities. I consider and reject the objection that these individuals are mistaken either because their thoughts do involve images, or because those thoughts are not conscious. Thus, unsymbolized thinking and aphantasia provide evidence that conscious thoughts can occur without imagery. (shrink)

Journal of Experimental Psychology: Human Perception and ... V. Influence of imaged pictures and sounds on detection of visual and auditory signals. ...

In the last decade, a great variety and volume of scholarly work has appeared on mind-wandering, a mental process involving a vast range of human life, connected with “first-person perspective” and “personhood”, submental thinking, mental autonomy, etc. While different and emerging features that flow into and out of one another (second field, mental travel, visual imagery, inner speech, unspecific memory, autobiographical memory, fantasies, introspection, etc.) and negative and positive approaches seem to describe mind-wandering, we offer an interdisciplinary theoretical and (...) empirically informed and informative overview on mind-wandering studies and methodologies oriented toward the educational field. The aim is to transform and enrich the debate on mind-wandering but also to show how theoretical arguments and research findings could inform the teaching-learning context. This groundbreaking book, moves along three representations of developed scientific knowledge: imaginary lines, circles and spirals. The first section, “The Lines”, develops new lines of inquiry on attention (selective and sustained) and mind-wandering, the influence of age and mind-wandering, embodiment, consciousness and experience and mind-wandering. In the second section, the “Circles”, groups of Chapters on the same topic, methodology (tasks and measurement), intervention (auditory beat stimulation and mindfulness practices) and creativity, recreate a dance of interacting parts in which there are always profitable, decisive and retroactive exchanges between the information that each group or author activates. The last section, “The Spirals”, critically discusses the absence of a unified theoretical perspective, in the pedagogical field, attentive both to the processes of emergence and the interactions between parts. (shrink)

BackgroundFunctional neurodiagnostics could allow researchers and clinicians to distinguish more accurately between the unresponsive wakefulness syndrome and the minimally conscious state. It remains unclear how it informs surrogate decision-making.ObjectiveTo explore how the next of kin of patients with disorders of consciousness interpret the results of a functional neurodiagnostics measure and how/why their interpretations influence their attitudes towards medical decisions.Methods and SampleWe conducted problem-centered interviews with seven next of kin of patients with DOC who had undergone a functional HD-EEG examination at (...) a neurological rehabilitation center in Germany. The examination included an auditory oddball paradigm and a motor imagery task to detect hidden awareness. We analyzed the interview transcripts using structuring qualitative content analysis.ResultsRegardless of the diagnostic results, all participants were optimistic of the patients’ meaningful recovery. We hypothesize, that participants deal with the results of examinations according to their belief system. Thus, an unfavorable evaluation of the patient’s state had the potential to destabilize the participant’s belief system. To re-stabilize or to prevent the destabilization of their belief system, participants used different strategies. Participants accepted a “positive” HD-EEG result since it stabilized their belief system.ConclusionWe hypothesize, that a group of next of kin of patients with DOC deals with functional neurodiagnostics results on the basis of the result’s value and their high hope that the patient will recover meaningfully. A psychological mechanism seems to moderate the impact of functional neurodiagnostics on surrogate treatment decisions. (shrink)

Much of the current imaging literature either denies the existence of wakeful non-mental imagers, views non-imagers motivationally as 'repressors' or 'neurotic', or acknowledges them but does not fully incorporate them into their models. Neurobiologists testing for imaging loss seem to assume that visual recognition, describing objects, and free-hand drawing require the forming of conscious images. The intuition that 'the psyche never thinks without an image.... the reasoning mind thinks its ideas in the form of images' (Aristotle) has a long tradition (...) in philosophical psychology, from Aristotle through the British empiricists to the British-empiricist-inspired introspection paradigm of Titchener. The massive shift in early experimental psychology to the introspective-antagonistic paradigm of Watson's behaviourism, may have sprung from the contrary intuition that no one thinks in mental images. In both cases, people seemed to assume that what is in one's own mind is in everybody's mind. A third, mediating, intuition - that some people do not think with conscious mental imagery -- seems to be confirmed by empirical studies on many levels. From the early imagery interviews of Francis Galton through many modern surveys, including my own, a consistent diversity of self-reports on ones own mental imagery abilities suggests that some 2-5% of people are very poor- or non-visual- imagers who, yet, maintain normal visual recognition abilities. Comparable estimates have been made in auditory and other imagery modalities. (shrink)

What do people consciously experience when they read? There has been almost no rigorous research on this question, and opinions diverge radically among both philosophers and psychologists. We describe three studies of the phenomenology of reading and its relationship to memory of textual detail and general cognitive abilities. We find three main results. First, there is substantial variability in reports about reading experience, both within and between participants. Second, reported reading experience varies with passage type: passages with dialogue prompted increased (...) reports of inner speech, while passages with vivid visual detail prompted increased reports of visual imagery. Third, reports of visual imagery experiences, inner speech experiences, and experiences of conscious visual perception of the words on the page were at best weakly related to general cognitive abilities and memory of visual and auditory details. (shrink)

In The Performance of Reading, Peter Kivy introduces, on a purely phenomenological basis, an interesting and potentially fruitful analogy between the experience of silently reading literary texts and the experience of silently reading musical scores. In Kivy’s view, both mental experiences involve a critical element of auditory mental imagery, consisting in having a performance “in the head” or the mind’s ear. This analogy might have significant implications for the ontological status of literary works, as well as for the (...) theoretical relations between music and language. Nevertheless, Kivy’s hypothesis has never been investigated and discussed in its empirical merits. In the present paper, we shall claim that neuroscience data support, at least in part, Kivy’s phenomenological observations about the relation between reading musical scores and reading texts. Despite being functionally and anatomically dissociated at the cognitive level, the two reading experiences both involve an auditory simulation of the content, which seems to be functionally critical for a deep and rich experience of literary texts and musical scores. (shrink)

Walt Disney’s movie, The Pagemaster (1994) begins on a dark and stormy night, with a young boy stumbling into an immense, gothic-styled library for refuge from the rain. Once inside, he is soon carried away by a tumultuous river of coloured paints, transformed into an animated characterization of himself, and thrust into an animated world of literature, where he battles Captain Hook, flees Moby Dick, and participates in other classic tales of adventure, horror, and fantasy. -/- Adults might understand the (...) film as a fanciful description of how they feel when reading a lively book. Although they would probably not imagine themselves tagging along with the animated characters like a 4th musketeer, they might very well claim that they enter a fiction through the viewpoint of one or more of the characters, experiencing, imaginatively, mental images of the sights, sounds, smells, and movements that the character would experience. Under this description, the reader would be forming multi- modal images that would correspond directly to what the literary characters are doing, thinking, and experiencing. When a fictional hero whips out his sword and slashes a rope in half, the reader might form a visual image of the hero’s determined face, an auditory image of the sound of the whizzing sword, and a motor image of an extended arm movement. I call such an imitative participation, by use of mental images in any modality, a simulation. -/- I suggest that this imitative experiencing of a fiction through the production of multi-modal imagery - a simulation - is not the only way in which readers might engage a literary text. In this paper I explore the hypothesis that readers might use their own bodily processes - those of the somato-viscero-motor system (SVM) for a non-imitative activity that I call a reinterpretation and that the reinterpretation might make a distinctive contribution to the reading process. As an example of a simulation and a reinterpretation, take the SVM experience of the reader’s breathing. A simulation would occur if the text describes a character who is taking deep breaths of air and the reader creates a mental image representing the experience of breathing. In this case, the reader’s mental image of breathing would stand for a property of the literary work - the fictional experience of breathing. -/- By contrast to the simulation, a reinterpretation would occur if the text describes a character who is gazing at long, wispy clouds that extend outward from a horizon and the reader uses his own experience of breathing to stand for the visual sense of looking at a long, continuous expanse of filmy white: the reader’s actual breathing would stand for a property of the literary work - the fictional experience of seeing. Breathing is not the same as seeing. This should help clarify the following definition. -/- I hypothesize that a reinterpretation occurs when the reader becomes aware of some component of the SVM system and reinterprets it as a property of the literary work that is not the same as that particular SVM process. The SVM experience is projected into the literary work. (shrink)

Inner speech is known as the “little voice in the head” or “thinking in words.” It attracts philosophical attention in part because it is a phenomenon where several topics of perennial interest intersect: language, consciousness, thought, imagery, communication, imagination, and self-knowledge all appear to connect in some way or other to the little voice in the head. Specific questions about inner speech that have exercised philosophers include its similarities to, and differences from, outer speech; its relationship to reasoning and (...) conceptual thought; its broader cognitive roles—especially within metacognition and self-knowledge; and the role it can play in explanations of auditory verbal hallucinations and “thought insertion”. (shrink)

This paper explores the subjective psychophysiological research of the so-called subjective audition conducted by the Czech physician and endocrinologist Stanislav Vomela in the 1930s. It examines Vomela’s attempts to analyze his own peculiar experience of hearing what he called subjective music (music heard only by the subject) and introduces the concept of acousmatics Vomela developed to study this kind of auditory perception. Vomela’s methodology is studied against the background of J. E. Purkyně’s understanding of the subjective empiricist methodology of (...) self-knowing in the physiology of the senses and in the context of research into eidetic imagery by E. R. Jaensch and Victor Urbantschitsch. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Understanding Musical Understanding: The Philosophy, Psychology and Sociology of the Musical ExperienceDavid BakerHarold E. Fiske, Understanding Musical Understanding: The Philosophy, Psychology and Sociology of the Musical Experience. (Lewiston, New York: Edwin Mellen Press, 2008).Building on several earlier publications on music and the mind (1990, 1993, 1996, 2004), Harold Fiske offers Understanding Musical Understanding. This is a well-referenced piece that outlines the thinking of various authors (for example, Crowder, (...) 19931; Huron, 2006;2 Snyder, 20073). Furthermore, as Fiske meticulously constructs his case, it draws in psychologists such as Carl Seashore and philosophers like Aristotle, Hegel, Kant, and Schopenhauer. All this suggests an author of great expertise and wide appeal.Fiske begins to build his argument by discussing musical cognition in terms of ‘time’ (Chapter 2) and ‘shape’ (Chapter 3) returning to these themes in greater detail in Chapter 6. It may seem axiomatic that music is perceived structurally and through time. Yet, as the author mentions, the capacity for someone to designate musical form is no way in which to illustrate systematically the workings of musical understanding. This happens swiftly and unceasingly in the course of a person’s musical encounter. It is commonplace, too, for musicians and listeners to allude to visual imagery and shape when describing music (for example, ‘high [End Page 204] and low pitches,’ ‘a texture that is dense or thin,’ or ‘an angular melody’). Fiske contributes a plausible explanation of musical shape:... the perceived shape of music can only be the outcome of a construction (not reconstruction or ‘copy’) calculated on the part of the neural network mechanisms… The ‘reality’ of a musical-auditory image is likely a result of imposing a three-dimensioned visual perspective on an inherently unstructured (invisible, tasteless, intangible, and otherwise unknowable) transitory experience. This is the only means the brain has for making sense of a sound event. What it seems to do is: identify relevant cues, piece the cues together into patterns that can be retained (in the echoic memory) long enough for brain mechanisms to examine and create the sense that we can ‘look’ at music by invoking principles borrowed from vision, and then creating the impression of an auditory ‘object.’ The ‘object’ seems complete and multidimensioned but is, however, only remotely related to what we hear during the slit-like limitations of the perceptual ‘now.’(p. 56).Nonetheless, the manner in which we communicate musical perception with terms borrowed from vision does not inconclusively evidence the same mechanisms of human thought on receiving visual or, on the other hand, musical stimuli. Use of such language may only represent an opportune mode of expressing phenomena to which we have no dedicated vocabulary. Fiske argues that musical understanding is part of the human organism’s genetically-inherited capacity to construe (rapidly invent) patterns from sonic stimuli thus making sense of temporal experience. This process, he argues, is part of the brain’s facility to determine quickly the source, kind and meaning of stimuli for the organism’s immediate safety and survival; the mental processes involved are regulated by ‘brain time’ as opposed to ‘clock time.’ Brain time is “... a rapid, micro-temporal, flexible-variable scheme...” (p. 8) in contrast to pre- and externally-determined ‘clock time.’Musical memory is addressed in Chapter 4 in tandem with ‘pattern constructs.’ Pattern constructs, Fiske explains, are ‘chunks’ of learned musical experience encoded in ‘brain time’ as multi-dimensional, unidirectional entities (p. 63). There is evidence of the ‘inner replay’ of learned events such as these.4 Incoming musical information is perceived, though, according to the listener’s cognitive context, and perhaps retroactively linked for ‘best fit’ rather than being ‘measured’ against fixed expectations and pre-established contextual information, say, about genre. The degree of ‘best fit’ either confirms or modifies assumed context. An important point Fiske makes, then, is that “... a misfit... between incoming information and the presumed context” evidences learning (p. 84).5 Since a ‘misfit’ triggers modifications to the cognitive context by which a person discerns music, it enriches his or her musical knowledge and understanding. [End Page 205] Consequently, Fiske sets a challenge for music education: “... how [do we] design teaching... (shrink)

We present the set and setting of the velada, the Mazatec ritual of divination and healing. We highlight the subjective experiences of individuals who consumed sacred mushrooms and interpret them from their cultural and community contexts, but also from findings derived from experimental and neuroscientific research. We understand that the experiences connected to sacred mushrooms can be explained by the effects of psilocybin on the neurobiology of emotions, decision making, and visual, auditory, and bodily imagery. But we also (...) understand that experimentation does not consider the individual and collective history of the person, and that the velada can provide guidance for integrating a person’s history and beliefs into experimental designs. The resurgence of psychedelic medicine prompts us into a transdisciplinary dialogue that encompasses both the anthropological perspective and the set and setting of the entheogenic experience during the sacred mushroom ritual. (shrink)

Introduction: The potential therapeutic efficacy of real-time fMRI Neurofeedback has received increasing attention in a variety of psychological and neurological disorders and as a tool to probe cognition. Despite its growing popularity, the success rate varies significantly, and the underlying neural mechanisms are still a matter of debate. The question whether an individually tailored framework positively influences neurofeedback success remains largely unexplored.Methods: To address this question, participants were trained to modulate the activity of a target brain region, the visual motion (...) area hMT+/V5, based on the performance of three imagery tasks with increasing complexity: imagery of a static dot, imagery of a moving dot with two and with four opposite directions. Participants received auditory feedback in the form of vocalizations with either negative, neutral or positive valence. The modulation thresholds were defined for each participant according to the maximum BOLD signal change of their target region during the localizer run.Results: We found that 4 out of 10 participants were able to modulate brain activity in this region-of-interest during neurofeedback training. This rate of success is consistent with the neurofeedback literature. Whole-brain analysis revealed the recruitment of specific cortical regions involved in cognitive control, reward monitoring, and feedback processing during neurofeedback training. Individually tailored feedback thresholds did not correlate with the success level. We found region-dependent neuromodulation profiles associated with task complexity and feedback valence.Discussion: Findings support the strategic role of task complexity and feedback valence on the modulation of the network nodes involved in monitoring and feedback control, key variables in neurofeedback frameworks optimization. Considering the elaborate design, the small sample size here tested impairs external validity in comparison to our previous studies. Future work will address this limitation. Ultimately, our results contribute to the discussion of individually tailored solutions, and justify further investigation concerning volitional control over brain activity. (shrink)

This study compared 30 older musicians and 30 age-matched non-musicians to investigate the association between lifelong musical instrument training and age-related cognitive decline and brain atrophy. Although previous research has demonstrated that young musicians have larger gray matter volume in the auditory-motor cortices and cerebellum than non-musicians, little is known about older musicians. Music imagery in young musicians is also known to share a neural underpinning [the supramarginal gyrus and cerebellum] with music performance. Thus, we hypothesized that older (...) musicians would show superiority to non-musicians in some of the abovementioned brain regions. Behavioral performance, GMV, and brain activity, including functional connectivity during melodic working memory tasks, were evaluated in both groups. Behaviorally, musicians exhibited a much higher tapping speed than non-musicians, and tapping speed was correlated with executive function in musicians. Structural analyses revealed larger GMVs in both sides of the cerebellum of musicians, and importantly, this was maintained until very old age. Task-related FC analyses revealed that musicians possessed greater cerebellar-hippocampal FC, which was correlated with tapping speed. Furthermore, musicians showed higher activation in the SMG during MWM tasks; this was correlated with earlier commencement of instrumental training. These results indicate advantages or heightened coupling in brain regions associated with music performance and imagery in musicians. We suggest that lifelong instrumental training highly predicts the structural maintenance of the cerebellum and related cognitive maintenance in old age. (shrink)

This dissertation works out a new approach to understanding what makes a representation pictorial and what makes a representation imagistic. Over the last thirty years, the most common approach to these problems has been to claim that what makes a representation pictorial is that normal perceivers can perceive it in certain ways. By contrast, my approach singles out structural features of representational systems as that which distinguishes pictures from other kinds of representations. Pictorial systems are those that are transparent, relatively (...) syntactically sensitive, relatively replete, and semantically rich. All pictures are images, but the converse relation does not hold because images need not be transparent, though they satisfy the weaker condition of being mimetic. This approach is similar to, but enjoys advantages over, Nelson Goodman's work on the topic. ;The account of what makes a representation pictorial or imagistic is then brought to bear on the imagery debate, which concerns whether the brain implements imagistic systems of representation, specifically in the early stages of perception. A review of what we know about the workings of the visual and auditory systems reveals that no representations in the brain are pictorial, though some are imagistic in quite limited respects. Though they fail to be imagistic in many interesting respects, the early stages of the visual and auditory systems are highly isomorphic to what they represent. ;The role of isomorphism in perceptual states has been much discussed in both philosophy and cognitive neuroscience. The last two chapters of the dissertation argue that perceptual representations of traditionally secondary qualities like colors and sounds are isomorphic to those properties to a lesser degree than representations of traditionally primary qualities like shapes. This distinction in how such properties are represented can affect out intuitions concerning the nature of those properties and the nature of perceptual experience. Furthermore, it is argued that isomorphism is an important feature of perceptual representations because of the role it plays in making information cognitively available. This role for isomorphism is maintained even if one is an information theorist, and therefore thinks that lawful causal generalizations fix the content of representations. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Place of Touch in the ArtsChristopher Perricone (bio)IntroductionIn Breughel's great picture, The Kermess, the dancers go round, they go round and around, the squeal and the blare and the tweedle of bagpipes, a bugle and fiddles tipping their bellies (round as the thick- sided glasses whose wash they impound) their hips and their bellies off balance to turn them. Kicking and rolling about the Fair Grounds, swinging their (...) butts, those shanks must be sound to bear up under such rollicking measures, prance as they dance In Breughel's great picture, The Kermess.1"The Dance" written by William Carlos Williams in 1944 is one of my favorites. Williams gives us a feel for that life of the kermess (a carnival) in his poem through Breughel's picture, as it were three times removed from the event itself. Of course, unlike Plato, I would argue that the vitality of the kermess is not lost in the poem; it is actually enhanced by a subtle sleight of hand. The poem is not primarily about Breughel's picture. It is about dance, about the dancers who go round, their squeal, the crude music, its rollicking measures, the dancers kicking and rolling and swinging, their hips, bellies, and butts. Reading this poem, I "see" those ordinary folk of Breughel's great picture. I "hear" their music. I "move" to their dance. The poem seems a condensation, a summary of the fine arts. Perhaps the poem is about poetry's power to reinvigorate imaginatively what we hear and see. Perhaps I think of festivities at which I have danced, how such festivities are essential to the human experience. Perhaps William Carlos Williams in 1944, World War II coming to a close, was anticipating similar good times.Tactile ValuesThe fine arts do much to educate our senses. One need only recall the many essays and books written on art, on how to look and hear, how various [End Page 90] critics draw our attention to the power of imagery and song. The well-formed visual and auditory sensations we gain from the arts are, as it were, the melody of those experiences. They are the pictures we store away, the tunes we whistle. However, here I want to draw attention to an overlooked sense—touch. I want to argue that touch is the bass line to the melody of sight and hearing in the arts, that is, that touch keeps the artwork coherent and grounded.This is an old idea. Bernhard Berenson had the idea when he was examining the painters of the Italian Renaissance. In a sense this article is a resurrection of Berenson's idea of "tactile values." Berenson was on to something both about painting and about the arts in general. However, he lacked the scientific evidence about touch and its role in human relationships needed to develop his idea of tactile values to any great extent.The idea of tactile values is first mentioned at the beginning of the essay "The Florentine Painters." Berenson is discussing the art of Giotto. However, prior to plunging into his subject, he says that we need to know what is essential to figure painting before we can appreciate its real value. What is essential are the "tactile values" we give to our retinal impressions, "a test of reality."2 Painting stimulates touch in order for it to stimulate our "tactile imagination."3 Giotto was a genius in stimulating the tactile imagination. Like other medieval masters, Giotto was a fine story teller and had great compositional skills. However, unlike Giotto, other medieval masters "never painted a figure which has artistic existence."4 Giotto's predecessors crafted "highly elaborate, very intelligible symbols, capable, indeed, of communicating something, but losing all higher value the moment the message is delivered."5 If such medieval symbols communicated anything at all, it was only some residue of what one might touch; whatever reality those symbols might have possessed was virtually eviscerated by the artists' emphasis on form and cognitive content. Giotto's predecessors were driven merely by ideas and, one might add, not altogether consistent and coherent ones. On the contrary, Giotto's work seemed to... (shrink)

This study develops a theory about the interaction between music cognition and affective response. The theory demonstrates how musical thinking, knowledge, and decision-making result in qualitative musical behaviour. It reports new findings about the cognitive representation of musical structures, imagery as an auditory-phenomenological descriptor of music, aesthetic response as an outcome of specific cognitive decisions, and the value of music in cross-cultural human development. Each of the seven essays identifies a problem in music psychology that is relevant to (...) an explanation of the musical process, reviews the literature relevant to that problem, and, through systematic philosophical analysis, offers a solution. This book should be of interest to music philosophers, and psychologists working in the areas of cognition, aesthetics, music theory, music education, and music therapy. (shrink)

A glance at the contents of this book might be enough to persuade that it is absolutely required reading for anyone interested in the study of consciousness. The discussion is replete with insight into a number of neglected topics: colour in dream experience (chapter 1), echolocation in auditory experience (chapter 4) and closed-eye visualisations (chapter 8). More familiar themes such as the spatial qualities presented in visual experience (chapter 2), visual imagery (chapter 3), the introspectionist movement (chapter 5), (...) conscious attention and multisensory experience (chapter 6) are given genuinely novel treatment. Chapter 7, titled ‘The Unreliability of Introspection’ is almost a microcosm of the book as a whole; it is not quite representative of the entire book but it gives a strong flavour of the style of argument employed elsewhere, so the half-interested (or hurried) reader would be well advised to take it in as a taster. The book is written in accessible prose suitable for an .. (shrink)

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

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

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

Simulation Theory says we need not rely exclusively on prepositional knowledge of other minds in order to explain the actions of others. Seeking to know what you will do, I imagine myself in your situation, and see what decision I come up with. I argue that this conception of simulation naturally generalizes: various bits of our mental machine can be run‘off‐line’, fulfilling functions other than those they were made for. In particular, I suggest that visual imagery results when the (...) visual system is run off‐line. I briefly review the empirical evidence and consider the philosophical implications, particularly concerning the mode of mental representation in imagery. (shrink)