Book reviews: BOER, Wietse de; ENENKEL, Karl; MELION, Walter S.. Jesuit image theory. Leiden: Brill, 2016.. ISBN 978-90-04-31911-0 ISBN 978-90-04-31912-7.

The aim of this essay is to explore a field of studies that until now has not gained the attention of the Hegelian scholars: the relationship between the Hegelian Philosophy and the philosophies of the Late Antiquity. The paper is divided in two parts, following what I consider the change of paradigm in image theories, during the passage from the Pagan to the Christian world. In the first part I consider Hegel’s thesis on what we could call the Greek (...) image theory, defined by the rationality of the human figure, until its slow decay. Such a decay will not be a simple disappearance but a transformation to what would later be the new principle for a Christian image theory: the speculative likeness. At the end of this essay, I will try to highlight the principle that undergoes the whole Hegelian treatment and that corresponds not to historical or empirical facts, but to his gnoseological theory, developed in the section of the Subjective Spirit in his Encyclopedia of the Philosophical Sciences. The whole essay should be considered as a brief contribution to the construction of what is aimed to be a Hegelian theory of images and particularly to what I call “endogenous iconoclasm of the image”. Key words: Hegel – Late Antiquity – Image Theory – Endogenous Iconoclasm – Subjective Spirit.Resumen: El objetivo de este ensayo es explorar un campo de estudio que hasta ahora no ha llamado la atención de los especialistas: la relación entre la filosofía hegeliana y las filosofías de la Tardoantigüedad. El siguiente trabajo está dividido en dos partes, siguiendo lo que considero el cambio de paradigma en las teorías de la imagen durante el pasaje del paganismo al mundo cristiano. En la primera parte se examina la tesis de Hegel que podríamos llamar la teoría griega de la imagen, definida por la racionalidad de la figura humana, hasta su lento declive. Tal declive no será una simple desaparición, sino una transformación de lo que más tarde será un nuevo principio para una teoría cristiana de la imagen: la semejanza especulativa. Al final de este ensayo, trataré de evidenciar el principio que subyace en toda la doctrina hegeliana y que no corresponde a hechos históricos o empíricos, sino a su teoría del conocimiento, desarrollada en la sección del Espíritu Subjetivo en su Enciclopedia de las Ciencias Filosóficas. El ensayo en su totalidad debería ser considerado una breve contribución a la construcción de lo que estará destinado a convertirse en una teoría de la imagen hegeliana y espe- cíficamente en el desarrollo de lo que considero una “iconoclasia endógena de la imagen”.Palabras Clave: Hegel - Tardoantigüedad - teoría de la Imagen - iconoclasia endógena - Espíritu Subjetivo. (shrink)

The proliferation of digital technology has changed our visual perception and the way we interpret terms such as 'representation', 'immersion', and 'virtuality'.0Kresimir Purgar examines some of the topics fundamental to an understanding of the contemporary culture of images. The principal thesis of this volume is that we are witnessing the transitional period of images as not-representation-anymore and not-yet-immersion. Instead of just asking what images mean, we should ask ourselves what images are, how they appear, and what they do to us. (...) The author proposes the comprehensive concept of "pictorial appearing" that takes into account phenomenological, semiotic, and art-historical perspectives on both old and new images. (shrink)

As a means of overcoming the "Third Man" argument, several commentators have developed an influential theory of the relationship between Platonic Forms and particulars based on Plato's use of "image" analogies. This essay explores the viability of this "image-analogy" hypothesis and, in particular, examines an important, but neglected, argument advanced by R. E. Allen intent on establishing an ontological distinction between an image and its object-source.

The study of decision making has multiple implications for business ethics. This paper outlines some commonly used frameworks for understanding choice in business. It characterises the dominant model for business decision making as rational choice theory (RCT) and contrasts this with a more recent, naturalistic theory of decision-making, image theory. The implications of using RCT and image theory to model decision making are discussed with reference to three ethical systems. RCT is shown to be (...) consistent with Utilitarian ethics, but not with Kantian or Virtue-based ethics. Image theory is shown to be consistent with each. The paper identifies a number of implications following from this analysis. (shrink)

These phenomenological studies on the philosophy of the image review contemporary image theory while defending the fundamental insight that images alone make the artificial presence of things possible.

Joseph D. Anderson & Barbara Fisher Anderson Moving Image Theory: Ecological ConsiderationsCarbondale: Southern Illinois University Press.ISBN 0 8093 2599 3253pp.Pat Brereton Hollywood Utopia: Ecology in Contemporary American CinemaBristol: Intellect.ISBN 1 84150117 4270pp.

Multiple accounts of how theories of human psychology and of image-making influenced each other in a decisive period in the history of philosophy and art.

Lambert Wiesing's The Philosophy of Perception challenges current theories of perception. Instead of attempting to understand how a subject perceives the world, Wiesing starts by taking perception to be real. He then asks what this reality means for a subject. In his original approach, the question of how human perception is possible is displaced by questions about what perception obliges us to be and do. He argues that perception requires us to be embodied, to be visible, and to continually participate (...) in the public and physical world we perceive. Only in looking at images, he proposes, can we achieve something like a break in participation, a temporary respite from this, one of perception's relentless demands. Wiesing's methods chart a markedly new path in contemporary perception theory. In addition to identifying common ground among diverse philosophical positions, he identifies how his own, phenomenological approach differs from those of many other philosophers, past and present. As part of the argument, he provides a succinct but comprehensive survey of the philosophy of images His original critical exposition presents scholars of phenomenology, perception and aesthetics with a new, important understanding of the old phenomenon, the human being in the world. (shrink)

Moral Images of Freedom resurrects the Kantian project of affirmative political philosophy and traces its oft-forgotten influences found in thinkers like Martin Heidegger, Ernst Cassirer, Frantz Fanon, and Walter Benjamin. As a whole the book attempts to respond to nihilistic claims about the empty purpose of critical theory in a world so utterly captured by violence in all of its worst forms: economic, social, political, and cultural. Instead, this book draws together a sweeping thread of hope in the varied (...) symbolic forms of freedom persistent throughout the work of a broader range of critical theorists and addresses the burning challenge for such work to respond seriously to the need for a decolonization of critical theory itself and a sustained commitment to the possible future of socialism. (shrink)

These collected studies on the philosophy of the image offer the fundamental insight that images alone make the artificial presence of things possible. Images present things as exclusively visible, released from the laws of physics. Taking this idea as his point of departure, Wiesing provides an overview of the fundamental positions in contemporary image studies. He describes the use of images as signs from a phenomenological perspective, reconstructs Plato's concept of mimesis by way of the canon of images (...) it presupposes, and demonstrates the special relevance of extreme types of images— virtual reality, desktop windows, or abstract photography—for the philosophical labor of the concept of the image. (shrink)

My aim in this paper is to offer a systematic analysis of a feature of Kant’s theory of perception that tends to be overlooked, viz., his account of how the imagination forms images in perception. Although Kant emphasizes the centrality of this feature of perception, indeed, calling it a ‘necessary ingredient’ of perception, commentators have instead focused primarily on his account of sensibility and intuitions on the one hand, and understanding and concepts on the other. However, I show that (...) careful attention to what he says about the nature of images, their connection to the imagination, and their role in perception in his Metaphysics Lectures, as well as in the Deduction and Schematism chapters of the first Critique reveals that Kant is working with a richer, more nuanced framework for perception than is often attributed to him. I contend that it is only once we have a revised framework for Kant’s theory of perception in place that we will be able to make further headway in debates, e.g., about whether or not he is a conceptualist about perception. (shrink)

A unifying theory of general anesthetic-induced unconsciousness must explain the common mechanism through which various anesthetic agents produce unconsciousness. Functional-brain-imaging data obtained from 11 volunteers during general anesthesia showed specific suppression of regional thalamic and midbrain reticular formation activity across two different commonly used volatile agents. These findings are discussed in relation to findings from sleep neurophysiology and the implications of this work for consciousness research. It is hypothesized that the essential common neurophysiologic mechanism underlying anesthetic-induced unconsciousness is, as (...) with sleep-induced unconsciousness, a hyperpolarization block of thalamocortical neurons. A model of anesthetic-induced unconsciousness is introduced to explain how the plethora of effects anesthetics have on cellular functioning ultimately all converge on a single neuroanatomic/neurophysiologic system, thus providing for a unitary physiologic theory of narcosis related to consciousness. (shrink)

We propose a new relational direction in higher education that acknowledges external and internal images as integrated in thinking and learning. We expand educational theory and practice that commonly rely on discrete conceptual developments that exclude images. Our argument epistemologically relies on certain semiotic views that consider the role of iconic signs and iconicity (meaning making by the virtue of similarity) as significant in relation to knowledge and learning. The analogical and imaginative work required to discover similarity between external (...) pictures and any educational concept is a form of iconic mind work that opens a space for transformational thinking and creative solutions. The novelty of our argument lies in the schematic philosophy of mind by C.S. Peirce, and specifically, an adaptation of Peirce’s triadic sign diagram for learning, exemplified via an ‘inquiry graphic’ sign and reflective method. This outlook seeks connections in diversity, arguing for an education that acknowledges and teaches intrinsic human relatedness to other humans, beings and things in the environment, thus challenging any notions of anthropocentrism and superiority. It calls for a reaction in international higher education to acknowledge the iconicity of concepts and thinking and embrace integrated image-concept signs for deep and critical teaching-learning, towards a modest educational contribution to counteracting social and environmental crises. (shrink)

There are excellent research papers in the field of visual studies that examine the relationship between war and images. This paper has other and additional aims. The first is to examine not so much how war is transferred from the ground to image production, but how war, as intrusion of the real, forces a general reflection on image techniques. The second is to examine whether there is an instance of art that is somehow different from the instance of (...) the mere image, which is always related to something that manifests itself in war, and which, especially on the occasion of a war, invites a broader reflection on existence, judgement and the world. The paths taken for these investigations are rooted in the idea that a (political) theory of art cannot be reduced to an internal classification of image theory, since it investigates aspects that go beyond the definition of the image itself. (shrink)

images. But clearly, it only begs the deeper questions.

Without doubt, there is a great diversity of scientific images both with regard to their appearances and their functions. Diagrams, photographs, drawings, etc. serve as evidence in publications, as eye-catchers in presentations, as surrogates for the research object in scientific reasoning. This fact has been highlighted by Stephen M. Downes who takes this diversity as a reason to argue against a unifying representation-based account of how visualisations play their epistemic role in science. In the following paper, I will suggest an (...) alternative explanation of the diversity of scientific images. This account refers to processes which are caused by the social setting of science. What exactly is meant by this, I will spell out with the aid of Ludwik Fleck’s theory of the social mechanisms of scientific communication. (shrink)

In Augustinian fashion, James B. Ashbrook and Carol Rausch Albright develop a neurotheology that finds evolutionarily based correlations between the functions of the human mind‐brain and the roles God plays in human life. I argue that their assumptions of anthropomorphism, that the human mind‐brain must conceptualize its environment in human terms, and realism, that anthropomorphism is correct, are evolutionarily unlikely. I conclude that the image of God (imago dei) the authors find reflected in the human mind‐brain appears to derive (...) from their Christian religious commitments rather than from evolutionary theory. (shrink)

“Image metaphor” is defined in Conceptual Metaphor Theory as a mapping of visual structure from one entity onto another based on the mental images they evoke. It is considered an exceptional, one-off phenomenon that can be distinguished clearly from prototypical conceptual metaphors. However, according to Perceptual Simulation Theory, all language, both literal and nonliteral, is understood partially by simulating in our minds what it would be like to actually perceive the things that are being described, which suggests (...) that visualization is not unique to image metaphor. As I argue in this article, the mental imagery invited by image metaphors is nevertheless likely to be particularly vivid, detailed, and complex, as well as involving more conscious and deliberate thought processes. Since it is hard to consider visualization in abstract terms, pictorial equivalents of image metaphors are used to support my claims. (shrink)

Economic theory teaches that it is in every country’s interest to trade. Trade is a voluntary activity among consenting parties. On this view, considerations of justice have little bearing on trade, and political philosophers concerned with global justice should stay largely silent on trade. According to a very different view that has recently gained prominence, international trade can only occur before the background of an international market reliance practice shaped by states. Trade is a shared activity among states, and (...) all participating states have in principle equal claims to gains from trade. Trade then becomes a central topic for political philosophers. Both views are problematic. A third view about the role of trade in a theory of global justice is then presented, which gives pride of place to a notion of exploitation. The other two views should be abandoned. (shrink)

Social theory draws energy not just from the concepts it articulates but also from the images it invokes. This article explores the image of the veil in social theory. Unlike the mask, which suggests a binary account of human conduct (what is covered can be uncovered), the veil summons a wide range of human experiences. Of special importance is the veil’s association with religion. In radical social thought, some writers ironize this association by “unveiling” religion as fraudulent (...) (a move indistinguishable from unmasking it.) Baron d’Holbach and Marx offer classic examples of this stratagem. But other writers, notably Du Bois and Fanon, take a more nuanced and more theoretically productive approach to both religion and the veil. Refusing to debunk religion, these authors treat the veil—symbol and material culture—as a resource to theorize about social conflict. Proceeding in three stages, I, first, contrast the meanings of mask and unmasking with more supple veil imagery; second, identify anti-religious unveiling that is tantamount to unmasking; and, third, examine social theories of the veil that clarify the stakes of social adversity and political struggle. Du Bois’s and Fanon’s contributions to veil imagery receive special attention. (shrink)

Theory of the Image offers a new and systematic philosophy of art and aesthetics from the perspective of movement.

On the path from myth to logos Greek culture, which grasped the meaning of this path, formulated the concepts of episteme and theoria, which are connected today with the image of science. They contain many connotations that they partly lost later on . Becoming a term of both ordinary and specialized scientific-philosophical language, theoria preserved also the wider, more general cultural meaning that emphasizes the complexity and contradictoriness of the cognitive process and the problematical character as well as the (...) great value of knowledge in general. Theory, which was first embodied in ancient astronomy, expressed, among other things, the essence of man, which lies in man's mediating position between the heavens and the earth: standing on Earth, he raises his eyes to the heavens. (shrink)

"A book well worth reading as its expose of postmoderism has a clarity others would do well to imitate." --Tim Gay in NATFHE Journal Blue Velvet, sex, lies and videotape, Do the Right Thing, and Wall Street are just some of the provocative films that Denzin explores for their portrayal of the postmodern self. He examines the basic thesis that members of the contemporary world are voyeurs who, adrift in a sea of symbols, recognize and anchor themselves through cinema and (...) television. He skillfully weaves this idea back and forth between two kinds of texts: social theory, including poststructuralism, postmodernism, feminism, and marxism; and cinematic representations of life in modern America. The result is a solid assertion that postmodernism has shaped a dramaturgical society where the image has tragically replaced reality. Denzin offers a powerful reading of postmodern American society and the cinematic selves, however distorted, that inhabit this fantasy world. At the same time, he outlines the main contours of postmodern sociology and a postmodern sociological imagination that is responsive to the current historical moment. Images of Postmodern Society will play a key role in understanding the powerful relationship between postmodernism and the cinema for upper level graduates, gradate students, and contemporary scholars of cultural studies, communications, political science, anthropology, sociology, education, history, literary and cinema studies. "The book could be usefully incorporated into undergraduate sociology courses, particularly those that consider media and society, where it might serve as a basis for further discussion and examination of some important issues." --Journal of Communication "Images of Postmodern Society is a good book on two different levels. First, Denzin advances his own theory of postmodernism and, more specifically, of what he calls the "postmodern self," that is interesting and provocative. Second, this is one of the few books on postmodernity that is truly practical, in the sense that the book would be quite a good text to use in courses on the subject, whether they be in philosophy, sociology, film and media studies, cultural studies, and perhaps even anthropology. . . . I would certainly like to use the book for this purpose myself, and I would recommend the book for that purpose to colleagues in the departments mentioned." --Bill Martin, Philosophy Department, DePaul University "Denzin uncovers a profoundly important tension in postmodern culture . . . His work, then, demonstrates that the 'abundance of meaning' found in these films lies in the collision of modernist and postmodernist depictions of cultural practice." --Contemporary Sociology "Norman Denzin, one of the most interesting theorists and ethnographers in American sociology, has turned his critical eye to postmodern theory and contemporary American culture and society. Revitalizing Mills' sociological imagination, Denzin addresses the relations between Hollywood films of the 1980s, their constructions of self, and the structures of lived experience. He offers a postmodern sociology which addresses the increasingly conservative basis of postmodern ideologies of race, class, and gender. It offers an original postmodern critique of the postmodern. Images of Postmodern Society should be and will be widely read and discussed." --Larry Grossberg, University of Illinois. (shrink)

The contention in this paper is that the theological-political disputes Spinoza was concerned with 350 years ago are similar to the conspiratorial disputes we experience today. The world in Spinoza’s Tractatus theologico-politicus, a political intervention in his time, serves as a “mirror image”, that is to say, it deals with the same problem we face today albeit in a different mode. Understanding our contemporary condition under the auspices of a Spinozist perspective, problems in countermeasures to the conspiratorial disputes come (...) to light. Scholarly work and practice focus on the epistemological dimension of conspiracy theories, tying in the extent to which they are problematic to the degree in which they deal in untruth. However, the lesson from Spinoza’s analysis of the theological-political disputes is that such theories do not deal in truth, but, in affect, they do not spring from a lack of education but a lack of certainty. The work of Spinoza opens up a different approach, and if our aim is like that of the TTP, to defend political life against the threat of civil war, such a different approach is in order. (shrink)

Review of: Theory of the Image, Thomas Nail (2019)New York: Oxford University, 432 pp.,ISBN 978-0-19005-008-5, p/bk, £19.99.

Images of mindis an exciting book, well-written and wellorganized, but many of the connections the authors draw between PET scan results and more general psychological issues are somewhat strained.

"Co-published simulaneously as Journal of spirituality in mental health, vol. 9, issue 3/4, 2007.".

This chapter provides an overview of cognitive theory of the moving image, considering it as an approach rather than a methodology. It traces the history and institutional affiliations of cognitive theory, then focuses on the kinds of experiences the moving image media afford viewers, and the design elements that foster those experiences. It distinguishes between “cold” and “hot” cognition and discusses the sense in which cognitive theory can be said to be naturalistic. The chapter goes (...) on to discuss narrative comprehension, cognition and embodiment, character engagement, mood and emotion, and finishes with a discussion of new directions for cognitive theory. Along the way, the chapter also discusses objections to the approach. (shrink)

Charles S. Peirce's epistemological theory of mental diagrams forms the theoretical basis of his attempt to analyze diagrammatic reasoning. Two examples, one from science and another from art, are examined to test the scope of this theory. While the first example shows how scientific diagrams form part of translation processes, similar processes are demonstrated in how paintings are received. The article attempts to connect Peirce and A. J. Greimas's theory of narrative. Relating the two proves useful in (...) allowing Peirce's theory of the connection between the three normative sciences to be discussed on a new basis. (shrink)

We show that in the language of {≤}, the Π₃-fragment of the first order theory of the $\Sigma _{2}^{0}$-enumeration degrees is undecidable. We then extend this result to show that the Π₃-theory of any substructure of the enumeration degrees which contains the $\Delta _{2}^{0}$-degrees is undecidable.

Destination image is essential to tourists' loyalty and has been discussed in length among researchers and marketers in the tourism industry for decades. Based on a literature review, the destination image model, including cognitive image, affective image, and conative image, has been firmly established as an acceptable means to gain an understanding of tourists' behavior toward revisiting and recommendations. The understanding of the moderating role of cultural constructs is still unclear, especially in cross-cultural travel behavior. (...) Therefore, this conceptual paper proposes an integrated model of cognitive-affective-conative image that includes the constructs of individualism and uncertainty avoidance. Based on the underpinning theories and empirical studies, this paper proposes affective image potentially mediates the correlation between cognitive image and conative image. This model also incorporated individualism and uncertainty as potential moderating effects between affective image and conative image. By integrating individualism and uncertainty avoidance into the theoretical model from the perspective of tourism, this paper contributes to a more comprehensive understanding of the influence of travel behavior on emerging tourism marketing. (shrink)

Charles Taylor argues that recognition begins with the politics of "self-image," as groups represented in the past by others in ways harmful to their own identity replace negative historical self-images with positive ones of their own making. Given the centrality of "self image" to his politics of recognition, it is striking that Taylor, himself, represents disabled people in language that is both limiting and depreciating. The author argues such negative self-images are not unique to Taylor but endemic to (...) modern political thought from John Locke to John Rawls, as the disabled are constituted in direct opposition to the rational person and/or citizen. Using contemporary social theories of disability, as articulated by disabled scholars and advocates, the author concludes that such negative self-images must be purged from political theory and replaced with an alternative theory of personhood/citizenship rooted in the image of interdependency. (shrink)

Thoughtful Images: Philosophy Illustrated is the first systematic investigation of how artists throughout the ages have illustrated philosophical texts, ideas, concepts, and theories. The book begins by developing a theory of visual illustrations of philosophical texts and undermining what the author calls "the denigration of illustration." The book then takes a more historical approach, beginning in Ancient Greece and Rome and proceeding through Medieval illuminations and printed broadsides to the frontispieces of philosophical texts. Throughout, attention is paid to how (...) technological developments enable different means for illustrating philosophy. (shrink)

The paper aims to clarify Ratnākaraśānti?s epistemological theory that mental images in a cognition are false (*alīkākāravāda) in comparison with Śāntarakṣita?s criticism of the Yogācāra position. Although Ratnākaraśānti frequently uses the neither-one-nor-many argument for explaining his Yogācāra position, the argument, unlike Śāntarakṣita?s original one, does not function for refuting the existence of awareness itself as the basis of mental images. This point is examined in the first two sections of this paper by analyzing Ratnākaraśānti?s proof of the selflessness of (...) entities (dharmanairātmya) and his application of the neither-one-nor-many argument for demonstrating the falsehood of mental images. On the other hand, the last section investigates into his defense of the alīkākāravāda against Śāntarakṣita?s severe criticism of it. Here, too, we can find his tactical usage of the neither-one-nor-many argument, or more precisely, one of its variants: the neither-identical-nor-different argument. Through the above procedure, we can see how Yogācāra philosophy survived in the late period of Indian Buddhism by blending the Madhyamaka opponent?s argument with its own thought. (shrink)

베르그손이 1896년의 두 번째 주저 『물질과 기억』 1장에서 제시한 순수 지각 및 이미지 이론은 이 책이 출간된 이래 다양한 해석과 논쟁의 대상이 되어 왔다. 그럼에도 이 이론의 명확한 의미에 대해서는 여전히 해명되지 않은 바가 많다. 베르그손 스스로가 이 책의 7판 서문에서 이미지 개념과 자신의 순수 지각 이론에 대해 추가적인 해명을 시도하고 있을 정도이다. 우리는 이미지 개념 및 순수 지각 개념과 관련한 다음의 세 가지 명제를 증명함으로써 보다 명확한 해석을 제시하고자 한다. 그 세 가지 명제들은 다음과 같다. 1) 순수 지각은 실재적이다. (...) 2) 물질 자체에 내재한 순수 지각, 물질적 지각은 실재하지 않는다. 3) 『물질과 기억』 1장의 순수 지각 및 이미지 이론은 4장의 물질적 지속 이론과 충돌한다. 이 명제들에 대한 논증은 『물질과 기억』을 구성하는 상반된 두 가지 방향성을 드러내는 데 이를 것이다. (shrink)

I propose to sketch and compare the "picture theories" of Hermann von Helmholtz and Heinrich Hertz. These semiotic conceptions of scientific knowledge are forerunners of the now prevailing semantic views of scientific theories in philosophy of science, and my intent is to bring out the respective main features that either proved to be influential or, as such, retained in contemporary formal approaches to the semantics of physical theories. For our purposes, "picture theories" can be characterized as conceptions that take as (...) a departure the fact that scientific theories are embodied in a system of signs and involve a systematic treatment of the relation that obtains between the semiotic system and the world. Essentially, such a theory will have in its core an answer to the question: "What does it take for a picture to be a picture of something?" In concludion, I outline a filiation between Helmholtz, Hertz and Carnap pertaining to the question of monomorphism or categoricity in the general semantics of physical theories. (shrink)

Galton and subsequent investigators find wide divergences in people's subjective reports of mental imagery. Such individual differences might be taken to explain the peculiarly irreconcilable disputes over the nature and cognitive significance of imagery which have periodically broken out among psychologists and philosophers. However, to so explain these disputes is itself to take a substantive and questionable position on the cognitive role of imagery. This article distinguishes three separable issues over which people can be "for" or "against" mental images. Conflation (...) of these issues can lead to theoretical differences being mistaken for experiential differences, even by theorists themselves. This is applied to the case of John B. Watson, who inaugurated a half-century of neglect of image psychology. Watson originally claimed to have vivid imagery; by 1913 he was denying the existence of images. This strange reversal, which made his behaviorism possible, is explicable as a "creative misconstrual" of Dunlap's "motor" theory of imagination. (shrink)

Brought together for the first time, these writings by visual artist and writer Yve Lomax are united by a common thread: they place writing itself--the written image--into the repertoire of visual art. The book both proposes and demonstrates this development. It also has a twofold purpose and function: it can be read and enjoyed as performance, often resembling poetry, thick with ideas, images and metaphors. It is also an original contribution to theoretical writing on the visual, particularly relating to (...) the image and difference, celebrating and referring to the work of Michel Serres, Gilles Deleuze, Luce Irigaray and others in pursuit of its own strategy of introducing the written image into the theoretical text. (shrink)