Many animals display a capacity to regenerate tissues or even a complete body. One of the main goals of regenerative biology is to identify the genes and genetic networks necessary for this process. Drosophila offers an ideal model system for such studies. The wide range of genetic and genomic approaches available for use in flies has helped in initiating the deciphering of the mechanisms underlying regeneration, and the results may be applicable to other organisms, including mammals. Moreover, most models of (...) regeneration require experimental manipulation, whereas in Drosophila discrete domains can be ablated by genetically induced methods. Here, we present a summary of current research into imaginal disc regeneration and discuss the power of this tissue as a tool for understanding the genetics of regeneration. (shrink)

The imaginal discs of Drosophila melanogaster, which form the adult epidermal structures, are a good experimental model for studying morphogenesis. The genital disc forms the terminalia, which are the most sexually dimorphic structures of the fly. Both sexes of Drosophila have a single genital disc formed by three primordia. The female genital primordium is derived from 8th abdominal segment and is located anteriorly, the anal primordium (10 and 11th abdominal segments) is located posteriorly, and the male genital primordium (...) from the 9th abdominal segment lies between them. In both sexes, only two of these three primordia develop to form the adult terminalia. The anal primordium develops in both sexes but, depending on the genetic sex, will form either male or female analia. However, only one of the genital primordia develops in each sex, forming either the male or the female genitalia. This depends on the genetic sex of the fly. Therefore, the genital disc is a very good experimental model of how the sex‐determination and homeotic genes — which determine cell identity — interact to direct the development of a population of cells into male or female terminalia. It has been proposed that the sexually dimorphic development of the genital disc is the result of an integrated genetic input, made up by the sex‐determination gene doublesex and the homeotic gene Abdominal‐B. This input acts by modulating the response to Hedgehog, Wingless, and Decapentaplegic morphogenetic signals. BioEssays 23:698–707, 2001. © 2001 John Wiley & Sons, Inc. (shrink)

The rotating discs argument against perdurantism has been mostly discussed by metaphysicians, though the argument of course appeals to ideas from classical mechanics, especially about rotation. In contrast, I assess the RDA from the perspective of the philosophy of physics. I argue for three main conclusions. The first conclusion is that the RDA can be formulated more strongly than is usually recognized: it is not necessary to ‘imagine away’ the dynamical effects of rotation. The second is that in general (...) relativity, the RDA fails because of frame-dragging. The third conclusion is that even setting aside general relativity, the strong formulation of the RDA can after all be defeated, namely, by the perdurantist taking objects in classical mechanics to have only temporally extended temporal parts, which immediately blocks the RDA. Admittedly, this version of perdurantism defines persistence in a weaker sense of ‘definition’ than pointilliste versions that aim to define persistence assuming only instantaneous temporal parts. But I argue that temporally extended temporal parts can do the jobs within the endurantism– perdurantism debate that the perdurantist wants temporal parts to do and are supported by both classical and quantum mechanics. Introduction The story so far 2.1 The RDA 2.2 Intrinsic properties and the idea of velocity 2.2.1 The intrinsic–extrinsic distinction 2.2.2 Velocity to the rescue? 2.3 ‘Naturalism’ 2.4 The accompaniments of rotation 2.5 Two kinds of reply: against the consensus Describing rotation 3.1 Rotation is kinematic 3.2 Beware of rigidity 3.3 An improved RDA: allowing the actual accompaniments 3.4 The RDA fails in general relativity Perdurantism without tears: the classical case 4.1 Rejecting instantaneous temporal parts 4.2 Replying to the RDA 4.2.1 ‘Kinematics’ 4.2.2 ‘Dynamics’ 4.2.3 An ‘anti-pointilliste’ objection and reply 4.3 Intrinsic properties of non-instantaneous temporal parts 4.3.1 Can the perdurantist appeal to them? 4.3.2 Temporal intrinsicality at an instant is rare 4.3.3 A better reason for temporal intrinsicality 4.4 Non-instantaneous parts can do the jobs 4.4.1 Humean supervenience revisited 4.4.2 The problem of change 4.4.3 Puzzles of coincidence 4.5 Instantaneous velocity is hardly extrinsic Support from decoherence in quantum theory 5.1 Classical and quantum: relativizing the intrinsic–extrinsic distinction 5.1.1 Unitarity: momentum as temporally intrinsic 5.2 Position and existence as nomically extrinsic. (shrink)

Drosophila imaginal discs (appendage primordia) have proved invaluable for deciphering cellular and molecular mechanisms of animal development. By combining the accessibility of the discs with the genetic tractability of the fruit fly, researchers have discovered key mechanisms of growth control, pattern formation and long‐range signaling. One of the principal experimental attractions of discs is their anatomical simplicity — they have long been considered to be cellular monolayers. During larval stages, however, the growing discs are 2‐sided (...) sacs composed of a columnar epithelium on one side and a squamous ‘peripodial’ epithelium on the other. Recent studies suggest important roles for peripodial epithelia in processes previously assumed to be confined to columnar cell monolayers. BioEssays 23:691–697, 2001. © 2001 John Wiley & Sons, Inc. (shrink)

Molecular and developmental studies of limb pattern formation have recently gained widespread attention. The fact that vertebrate limbs are amenable to both genetic and embryological manipulations has established this model system as a valuable paradigm for studying vertebrate development. Limb buds are polarised along all three major axes and the establishment of the dorso‐ventral (DV) polarity is dependent upon cues localised in the trunk, where a DV ectodermal interface is produced by confrontation of dorsal and ventral identities. By analogy to (...) Drosophila imaginal disc development, this interface has been proposed to determine and position an ectodermal organising centre, the Apical Ectodermal Ridge (AER), controlling limb bud outgrowth. Recent fate mapping studies(1) and studies of genes regulating DV limb polarity(2‐6), AER formation(7,8) and differentiation(9) suggest, however, that DV patterning and AER induction, though coordinately regulated during limb bud outgrowth, may early on be more dissociated than expected. (shrink)

The link between oncogenesis and normal development is well illustrated by the study of the Wnt family of proteins. The first Wnt gene (int‐1) was identified over a decade ago as a proto‐oncogene, activated in response to proviral insertion of a mouse mammary tumor virus. Subsequently, the discovery that Drosophila wingless, a developmentally important gene, is homologous to int‐1 supported the notion that int‐1 may have a role in normal development. In the last few years it has been recognized that (...) int‐1 and Wingless belong to a large family of related glyco‐proteins found in vertebrates and invertebrates. In recognition of this, members of this family have been renamed Wnts, an amalgam of int and Wingless. Investigation of Wnt genes in Xenopus and mouse indicates that Wnts have a role in cell proliferation, differentiation and body axis formation. Further analysis in Drosophila has revealed that Wingless function is required in several developmental processes in the embryo and imaginal discs. In addition, a genetic approach has identified some of the molecules required for the transmission and reception of the Wingless signal. We will review recent data which have contributed to our growing understanding of the function and mechanism of Drosophila Wingless signaling in cell fate determination, growth and specification of pattern. (shrink)

The appendages of Drosophila develop from the imaginal discs. During the extensive growth of these discs cell lineages are for the most part unfixed, suggesting a strong role for cell‐cell interactions in controlling the final pattern of differentiation. However, during early and middle stages of development, discs are subdivided by strict lineage restrictions into a small number of spatially distinct compartments. These compartments appear to be maintained by stably inheriting states of gene expression; the compartmentspecific expression (...) of two such ‘selector’ ‐ like genes, engrailed and apterous, are critical for anterior‐posterior and dorso‐ventral compartmentalization, respectively. Recent work suggests that one purpose of compartmentalization is to establish regions of specialized cells near compartment boundaries via intercompartmental induction, using molecules like the hedgehog protein. Thus, compartments can act as organizing centers for patterning within compartments. Evidence for non‐compartmental patterning mechanisms will also be discussed. (shrink)

The Drosophila compound eye is an excellent experimental system for analysing fate induction of identifiable single cells. Each ommatidium, a unit eye, contains eight photoreceptors (R1‐R8), and the differentiation of these photoreceptors occurs in the larval eye imaginal disc in discrete steps: first R8 is determined, then R2/R5, R3/R4, R1/R6 and finally R7. Induction of R7, in particular, has been extensively studied at the molecular level. The R8 photoreceptor presents on its surface a ligand, Bride of Sevenless, that binds (...) and activates Sevenless receptor tyrosine kinase in the R7 precursor. Autophosphorylated Sevenless initiates a Ras1‐mediated cascade, which eventually activates transcription factors in the nucleus via Raf1 and MAP kinases, resulting in R7 development. However, recent studies indicate that Sevenless (Sev) functions just to neuralize the cell and has no role in R7 fate determination per se. It appears that the R7 fate may represent the lowest rung of a ‘neuronal ground state’, which is attained without any specific inductive cue. It is plausible that the R7 precursor is actively prevented from taking on the neuronal fate and this inhibition is removed by activation of Sev. (shrink)

Determination of cell fate in the developing eye of Drosophila depends on a precise sequence of cellular interactions which generate the stereotypic array of ommatidia. In the eye imaginal disc, an initially unpatterned epithelial sheath of cells, the first step in this process may be the specification of R8 photoreceptor cells at regular intervals. Genes such as Notch and scabrous, known to be involved in bristle development, alos participate in this process, suggesting that the specification of ommatidial founder cells (...) and the formation of sensory organs in the adult epidermis may involve a similar mechanism, that of lateral inhibition. The subsequent steps of ommatidial assembly, following R8 assignment, involve a different mechanism: Undetermined cells read their position based on the contacts they make with neighbors that have already begun to differentiate. The development of the R7 photoreceptor cell, one of the eight photoreceptor cells in the ommatidium, is best understood. An important role seems to be played by sevenless, a receptor tyrosine kinase on the surface of the R7 precursor. It transmits the positional information– most likely encoded by the boss protein on the neighboring R8 cell membrane – into the cell via its tyrosine kinase, which activates a signal transduction cascade. Constitutive activation of the sevenless kinase by overexpression of an N‐terminally truncated form results in the diversion of other ommatidial cells into the R7 pathway suggesting that activation of the sevenless signalling pathway is sufficient to specify R7 development. Genetic dissection of this pathway should therefore identify components of a signalling cascade activated by a tyrosine kinase. (shrink)

Recent studies of gene expression in the developing fruitfly leg support a model – Meinhardt's Boundary Model – which seems to contradict the prevailing paradigm for pattern formation in the imaginal discs of Drosophila – the Polar Coordinate Model. Reasoning from geometric first principles, this article examines the strengths and weaknesses of these hypotheses, plus some baffling phenomena that neither model can comfortably explain. The deeper question at issue is: how does the fly's genome encode the three‐dimensional anatomy (...) of the adult? Does it demarcate territories and boundaries (as in a geopolitical map) and then use those boundaries and their points of intersection as a scaffolding on which to erect the anatomy (the Boundary Model)? Or does it assign cellular fates within a relatively seamless coordinate system (the Polar Coordinate Model)? The existence of hybrid Cartesian‐polar models shows that the alternatives may not be so clear‐cut: a single organ might utilize different systems that are spatially superimposed or temporally sequential. (shrink)

This paper examines a doctrine which David Lewis has called 'Humean Supervenience' (hereafter 'HS'), and a problem which certain imaginary cases seem to generate for HS. They include rotating perfect spheres or discs, and flowing rivers, imagined as composed of matter which is perfectly homogeneous right down to the individual points. Before considering these examples, I shall introduce the doctrine they seem to challenge.

Some recent philosophical debate about persistence has focussed on an argument against perdurantism that discusses rotating perfectly homogeneous discs. The argument has been mostly discussed by metaphysicians, though it appeals to ideas from classical mechanics, especially about rotation. In contrast, I assess the RDA from the perspective of the philosophy of physics. After introducing the argument and emphasizing the relevance of physics, I review some metaphysicians' replies to the argument, especially those by Callender, Lewis, Robinson and Sider. Thereafter, I (...) argue for three main conclusions. They all arise from the fact, emphasized in Section 2, that classical mechanics is both more subtle, and more problematic, than philosophers generally realize. The first conclusion is that the RDA can be formulated more strongly than is usually recognized: it is not necessary to ``imagine away'' the dynamical effects of rotation. The second is that in general relativity, the RDA fails because of frame-dragging. The third is that even setting aside general relativity, the strong formulation of the RDA can after all be defeated. Namely, by the perdurantist taking objects in classical mechanics to have only temporally extended, i.e. non-instantaneous, temporal parts: which immediately blocks the RDA. Admittedly, this version of perdurantism defines persistence in a weaker sense of `definition' than pointilliste versions that aim to define persistence assuming only instantaneous temporal parts. But I argue that temporally extended temporal parts: can do the jobs within the endurantism- perdurantism debate that the perdurantist wants temporal parts to do; and are supported by both classical and quantum mechanics. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Kandinsky, Kant, and a Modern MandalaKenneth BerryWhat gods are there, what gods have there ever been, that were not from man's imagination?—Joseph Campbell, "The Way of the Myth"Michele Roberts has written of the "joy of the human imagination, without which we would be unable to understand one another, and would thus wither and perish."1 This is the baseline for my discursive analysis of imagination and beauty in art as (...) it relates to the work of Kant and Kandinsky. While both accepted the forward movement of cognition in art and aesthetics, my concern is that some cognitively minded individuals neglect the part played by imaginative intuition in the creative process. Much recent art is lacking in both imagination and beauty. Although it may be rich in concept, according to Kant creative intuition is also necessary. Postmodernists' focused emphasis on the oblique, fleeting, transient, and ephemeral—short-lived, fugitive fashions or superficial trends in art and aesthetics—confuses the fleeting and moving present, rushing us forward into the future when we might do better to look back historically and constructively at the more enduring influence of Kant and Kandinsky. Of course, it might in one sense be in the "apparently unremarkable and evanescent that our lives sometimes find their greatest meaning,"2 but this does not imply that we cannot also learn from the past.Imaginative Representation in Kant and KandinskyIn his painting of 1926, Several Circles, Kandinsky depicts a group of overlapping, partially transparent discs that appear to drift freely against a black background. Will Grohmann has described this abstract scenario as a "cosmic metaphor" that points symbolically to a "limited infinite."3 Clearly, Kandinsky is concerned here with some transcendent meaning. Jung has remarked on the poetic association of the avian contour at the lower left of the painting—perhaps this is a metaphor for flight or spiritual freedom.4 The picture, he says, seems to represent a state of universalized equilibrium and harmony. This picture constitutes, to my mind, the expression, in a Kantian sense, of aesthetic ideas,5 mediating as it does between concepts and intuitions [End Page 105] and concerned as it is with the expression of artistic ideas in an imaginative, aesthetically harmonious form. On this topic Kandinsky has said: "If your imagination is not powerful enough to develop visions which are truly your own, and which, reduced to the state of ideas, can be translated into images, then go back to the study of nature"6Nature, we are told, Kant elevated above fine art in the sense that the beauty of nature's handiwork is the sole basis of the immediate interest that is taken in it7—it is untainted by desire or any concept of perfection or use (the merely agreeable), it is pleasurably imbued with "purposiveness without purpose" in the teleological implication of the "kingdom of ends." The dynamical and morally sublime, however, implied genius. Had Kant been living in our modern age, though he still might not have been a great art lover as such, he would surely not have dismissed Kandinsky's abstract compositions—as El Lissitzky did—as being mere wallpaper patterning, decorative arabesques, and the like; Kant would surely have recognized the symbolic power of these images as art!The Gestalt TheoryAccording to Immanuel Kant (1724-1804), aesthetic ideas are representations of the imagination. Following Rudolf Arnheim, a "representation" may be understood as either a man-made image or external figuration or, in another sense, as a "mental image."8 These ideas suggest that representation, through art, involves both the internal and the external. Representation in science is the means by which we generate images of the object "out there"—the basis of an objectivist epistemology. A scientific "representation" of the Giant's Causeway, supposedly built by Finn MacCool, might involve a computer simulation of columnar polygonal fractures in topographical detail. Kant, however, was concerned with representations of ideas, specifically aesthetic ideas as distinct from rational ideas. These were based on the animating principle of the soul, or Geist. In at least one language, Icelandic, which is an aesthetically pleasing language and very visual in language terms—abstract words... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Aspiration to the Condition of TouchChristopher Perricone"The Dance," written by William Carlos Williams in 1944 is one of my favorite poems: I return to it regularly. 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 isn't 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 and re-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. As always, it's best to let the poem speak for itself:In 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 [End Page 229] 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.The visual, musical, and literary arts do much to educate our senses, especially our senses of sight and hearing. The well-formed visual and auditory sensations we gain from the arts are, as it were, the melody of those experiences. They are the images we store away, the tunes we whistle. However, here, I want to draw attention to an overlooked, although not entirely disregarded, sense, i.e., touch. I want to argue that touch is the bass line to the melody of sight and hearing in the arts, i.e., that touch keeps the work of art coherent and grounded.This is an old idea. Bernhard Berenson had the idea when he was examining the painters of the Italian renaissance. Berenson argued that great painting stimulates touch, which inspires, our "tactile imagination," which produces our "tactile values." Here lay, according to Berenson the genius of Giotto. Tactile imagination and values enchance the "material significance" of a work; they act as a "test of reality." Berenson was on to something not only about painting but about the arts in general. However, in the late nineteenth and early twentieth centuries he lacked the scientific evidence about touch and its role in human relationships to develop his idea of tactile values to any great extent.1Although Berenson had keen intuitions, he didn't know about the biological/psychological nuts and bolts of touch. Thus, he never knew about the detailed nature and extent of our physical contact with other physical things in the world. He didn't know about Merkel's discs, Ruffini and Pacinian corpuscles. He didn't know about hierarchical and parallel levels of brain processing. Berenson didn't know that more brain space in the somatosensory cortex is given to the hand than to any other part of the body, that your fingers especially have a high density of touch receptors compared to other body areas. Today, all this information is standard textbook fare.2 Many neuroscientific details need to be worked. However, a general picture based on hard evidence has begun to emerge.This information adds significant substance to Berenson's ideas. Berenson's "third dimension" is essentially a sense of temperature, pressure, vibration, and texture. And chances are the tactile imagination is inspired most by what is touched by... (shrink)

From immemorial time, many Tyrrhenian places of ancient Sicily and Italy were identified with the main stages of the return of Ulysses. Some Hellenistic critics assumed that it was from the various ancient and pre-Homeric myths that Homer drew inspiration, in the same way that he did with the myth of the Trojan War, which certainly occurred before him. Thus, the voyage of Ulysses, after his losing the course because of the storm at Cape Malea, had to be located in (...) those sites. But how can one explain the fact that Homer places the voyage from Circe to the Hades over the Ocean? Is it only a pseudogeographic poetic touch, aimed to magnify the exploit? Crates of Mallus did not think so: in his opinion, only some of the numerous adventures had taken place in the Tyrrhenian Sea, whereas Homer had purposefully placed some other exactly on the Atlantic Ocean, beyond the Pillars of Hercules. Whichever of the two models one chooses, the route of Ulysses seems to be completely unlikely, both from the point of view of objective reality and from the point of view of poetic imagination. It appears to be a senseless coming and going that takes the shape of some sort of a labyrinth. Furthermore, the navigation times suggested by the text do not accord at all with the distances among the real sites. For this reason, Eratosthenes held that, from Cape Malea onwards, Ulysses switched from the real world to that of fantasy, or better still to the world of some narrative fable that does not heed geography at all. The modern critics are inclined to agree with him and this thesis is nowadays the most popular one. Yet, a very serious objection can be raised here: the myth and the epos, are strictly linked to the geography and the topography as well – they are radically refractory to a narrative fable that totally contradicts the then realities of time and space. Why should Ulysses plunge from Cape Malea onwards straight into the Neverland kingdom? If we combine Odyssey’s data with those we can reconstruct for the earliest form of the Argonautic saga, then we get the solution that neither the ancient nor the modern critics have guessed correctly: up to around the middle of the 8th century B.C., the Greeks thought the Ocean to flow just after the Sicily Channel, essentially coinciding with the so-called Tyrrhenian Sea, still completely unknown at that time. This new perspective can well justify the objective disorder of Ulysses’ route. Above all, it also bears a deeper poetic sense: the Hero had the chance to know and to experience not only some far and exotic countries in general terms, but he also met the very boundaries of the surfacing lands and the rushing waters which encircle the terrestrial disc, bordering the external cosmic abyss. Ulysses came back home alive. He was able to tell the stories about the lands where no human being could ever sail. This borderline that geographically is clearly located marks at the same time the insurmountable chasm between the physical and the meta-physical world. (shrink)

The phenomenological term “imaginal” was coined and introduced into the French language by Henry Corbin (1903-1978). Throughout his work, Corbin used the “imaginal” as his fundamental concept, as the very foundation of a Weltanschauung. Etymolo-gically, this new term was derived from the Latin phrase mundus imaginalis. As for its meaning, it is synonymous with several Persian and Arabic technical terms, such as alam al-mithal (the world of images, archetypical ideas), malakut (the subtle world of the souls), barzakh (interworld), (...) hurqalya (the world of the celestial Earth, of celestial corporeality), na-koja-abad (the land of nowhere). These technical terms taken from theosophical literature have a meaning very close to that of the term “imaginal.” They translate contemplative experience arising from the theophanic imagination or agent imagination (imaginatio vera). From the point of view of location, they designate the qualitative space of this imagination (mundus imaginalis). (shrink)

Estudo teórico-conceitual que procura desenvolver uma análise contemporânea da cultura e das relações sociais a partir de imagens. Com motivo das mudanças nas sociedades capitalistas, interessa-nos refletir sobre as inter-relações entre essas transformações e o surgimento de novas práticas culturais que produzem novos exercícios do visual, da estética e do imaginal. Em suma, propomos um exercício teórico que tenta produzir novos conceitos para pensar e refletir criticamente sobre a estética e a produção visual das imagens no mundo social. Palavras-chave: (...) Visualidade; Consumo; Identidades. (shrink)

The ability to judge spatial relations from perspectives that differ from one's current body orientation and location is important for many everyday activities. Despite considerable research on imaginal perspective taking, however, detailed computational accounts of the processes involved in this ability are missing. In this contribution, I introduce Smart (Spatial Memory Access by Reference Frame SelecTion) as a computational cognitive model of imaginal perspective taking processes. In assuming that imaginal perspective taking is governed by reference frame selection (...) for memory access and subsequent motor activation, Smart is able to explain and simulate key findings on human imaginal perspective taking. In addition to providing novel insight into the mechanisms underlying imaginal perspective taking, Smart also has several implications for our view on spatial memory, more generally. In particular, Smart supports the idea that enduring spatial representations are essentially orientation-free and that spatial representations are best viewed as flexible combinations of representation structures and reference frames. (shrink)

Lo scopo fondamentale di questo saggio è affrontare il nesso tra politica e immaginazione per mezzo del concetto di immaginale, inteso come ciò che è fatto di immagini. La strategia è quella di aggredire l’intreccio di politica e immaginale attraverso un duplice movimento, dal con­cetto di immaginale a quello di politica e viceversa, per poi passare a un’analisi delle sue tra­sfor­mazioni nell’epoca globale.The aim of this article is to tackle the nexus of politics and imagination through the concept of (...) class='Hi'>imaginal, understood as simply what is made of ima­ges. The main strategy consists then in tackling such a nexus through a double movement, from the concept of imaginal to that of politics and vice versa. In conclusion, I also analyse their transformations. (shrink)

Imagination has always been a mysterious issue for modern philosophy and psychology. In this paper, however, I will not deal with modern theories of imagination; instead, I will suggest an alternative notion of imaginal power by stepping back toward Persian illuminative thought within which we may glimpse a hint of a transcendent concept of imagination as the source of human subjectivity and its power to create the object and the world. My objective here is to extend some noetic aspects (...) of this concept and extract further conclusions theoretically. To this end, I will first introduce a brief account of the noetic characteristic of the Illuminationist perspective of the imagination, then I outline aspects of its efficiency which may shed some light on the modern debate on the subject and its relation to the object. (shrink)

Watson reported moderate correlations between the Iowa Sleep Experience Survey and self-report measures of dissociation and schizotypy. Subsequent investigations reported similar, although somewhat more modest, correlations between the ISES and measures of dissociation and schizotypy, as well as with measures of absorption and negative affect. The present study tested subjects in conditions in which the measures of sleep experiences were administered with other measures in either the same or a different test context. We determined that sleep experiences were associated with (...) measures of dissociation, absorption, and schizotypy. We closely replicated Watson and found that the ISES correlations with other measures were not affected by the test context. We suggest that Watson’s hypothesized common domain of unusual cognitive and perceptual experiences may be underpinned by common ties to imaginative experiences. (shrink)

The Hollywood fiction places the spectators in an imaginal world, allows to actualize the mythologies which crossed the ages and to approach the representation of the dreams. The cinematographic device puts the spectators in an intermediary position between the sensible and the intelligible and creates, from this in-between, a new vector of fiction. Hollywood brings the public back to an original world where the moving image of reality pushes the creation of a mythological and dreamlike narrative. Thanks to psychoanalysis (...) and cinema, mythology and dreams, which are fundamental properties of the human mind, have been revisited and their representation has taken new forms. Hollywood has made an aesthetic adaptation of them by inscribing them in a new form of fictional narration that adds a space of communication between men outside the senses and the word in an attempt to approach and circumscribe what could constitute the inexpressible dimension of the human condition. (shrink)

En este trabajo, concebido como breves ejercicios, intentamos pensar la importancia de la Metafísica, desde los conceptos de Espacio Imaginal, del fenomenólogo de la religión, Corbin y de Espacio Interior, del matemático Thom, pensando que tal reflexión nos ayudaría a comprender la realidad del asiento del Imaginario, del Ideario y de la Memoria Colectiva de las Sociedades, ya que cada una de esas dimensiones actúa según la lógica espacial. Thinking Metaphysics from "Imaginal Space" and "Inner Space" Short exercises.This (...) paper, conceived as short exercises, is intended to think about the importance of metaphysics, from the notions of Imaginal Space of the phenomenologist of religion, Henry Corbin and Inner Space, of the mathematician René Thom. Thinking that such reflection would help us understand the reality of the place of the Imaginary, Ideology and Collective Memory of Societies, as each of these dimensions acts as the spatial logic. (shrink)

Open peer commentary on the article “Cybernetics, Reflexivity and Second-Order Science” by Louis H. Kauffman. Upshot: This commentary reflects broadly on the concept of eigenform and reflexive domains, focusing on the idea that second-order science is neither the same as nor completely distinct from ordinary living.

Right brain-damaged patients with unilateral neglect, who ignore left-sided visual events, may also omit left-sided details when describing known places from memory. Modulating the orienting of visual attention may ameliorate imaginal neglect. A first step toward explaining these phenomena might be to postulate that space-related imagery is a cognitive activity involving attentional and intentional aspects.

This article explores the effect that communications technology has on hegemonic power. The first section establishes a theoretical framework combining Foucault’s carceral archipelago theory with Chiara Bottici’s concept of the social imaginal describing the medium through which inter- and trans-subjective imagination occurs. The remainder employs this framework to examine how four technological innovations (print media, radio, television and Internet) impact the (re)production of discursive hegemonic ideology, integrating a variety of historical and contemporary theories on public discourse and ideological dominance. (...) I conclude by arguing that each case demonstrates a dialectic pattern that explains the techno-social evolution of the carceral archipelago. (shrink)