Twelve years after his famous Essay on Some Problems Concerning the Normal and the Pathological (1943), the philosopher Georges Canguilhem (1904–1995) published a book-length study on the history of a single biological concept. Within France, his Formation of the Reflex Concept in the Seventeenth and Eighteenth Centuries (1955) contributed significantly to defining the “French style” of writing on the history of science. Outside of France, the book passed largely unnoticed. This paper re-reads Canguilhem’s study of the reflex concept with respect (...) to its historiographical and epistemological implications. Canguilhem defines concepts as complex and dynamic entities combining terms, definitions, and phenomena. As a consequence, the historiography of science becomes a rather complex task. It has to take into account textual and contextual aspects that develop independently of individual authors. In addition, Canguilhem stresses the connection between conceptual activities and other functions of organic individuals in their respective environments. As a result, biological concepts become tied to a biology of conceptual thinking, analogical reasoning, and technological practice. The paper argues that this seemingly circular structure is a major feature in Canguilhem’s philosophical approach to the history of the biological sciences. (shrink)

The concept of mechanism in biology has three distinct meanings. It may refer to a philosophical thesis about the nature of life and biology (‘mechanicism’), to the internal workings of a machine-like structure (‘machine mechanism’), or to the causal explanation of a particular phenomenon (‘causal mechanism’). In this paper I trace the conceptual evolution of ‘mechanism’ in the history of biology, and I examine how the three meanings of this term have come to be featured in the philosophy of biology, (...) situating the new ‘mechanismic program’ in this context. I argue that the leading advocates of the mechanismic program (i.e., Craver, Darden, Bechtel, etc.) inadvertently conflate the different senses of ‘mechanism’. Specifically, they all inappropriately endow causal mechanisms with the ontic status of machine mechanisms, and this invariably results in problematic accounts of the role played by mechanism-talk in scientific practice. I suggest that for effective analyses of the concept of mechanism, causal mechanisms need to be distinguished from machine mechanisms, and the new mechanismic program in the philosophy of biology needs to be demarcated from the traditional concerns of mechanistic biology. (shrink)

The concept of mechanism is analyzed in terms of entities and activities, organized such that they are productive of regular changes. Examples show how mechanisms work in neurobiology and molecular biology. Thinking in terms of mechanisms provides a new framework for addressing many traditional philosophical issues: causality, laws, explanation, reduction, and scientific change.

The past 25 years have seen a rapid growth of knowledge about brain mechanisms involved in visual mental imagery. These advances have largely been made independently of the long history of philosophical – and even psychological – reckoning with imagery and its parent concept ‘imagination’. We suggest that the view from these empirical findings can be widened by an appreciation of imagination’s intellectual history, and we seek to show how that history both created the conditions for – and presents challenges (...) to – the scientific endeavor. We focus on the neuroscientific literature’s most commonly used task – imagining a concrete object – and, after sketching what is known of the neurobiological mechanisms involved, we examine the same basic act of imagining from the perspective of several key positions in the history of philosophy and psychology. We present positions that, firstly, contextualize and inform the neuroscientific account, and secondly, pose conceptual and methodological challenges to the scientific analysis of imagery. We conclude by reflecting on the intellectual history of visualization in the light of contemporary science, and the extent to which such science may resolve long-standing theoretical debates. (shrink)

Despite their intuitive appeal and a long philosophical history, imagery-based accounts of the imagination have fallen into disfavor in contemporary discussions. The philosophical pressure to reject such accounts seems to derive from two distinct sources. First, the fact that mental images have proved difficult to accommodate within a scientific conception of mind has led to numerous attempts to explain away their existence, and this in turn has led to attempts to explain the phenomenon of imagining without reference to such ontologically (...) dubious entities as mental images. Second, even those philosophers who accept mental images in their ontology have worried about what seem to be fairly obvious examples of imaginings that occur without imagery. In this paper, I aim to relieve both these points of philosophical pressure and, in the process, develop a new imagery-based account of the imagination: the imagery model. (shrink)

Many writers have paid tribute to its power: Shakespeare urged his audiences to use it to create a setting; Hobbes asserted that "imagination and memory are but one thing; " for Wordsworth it was "the mightiest leveler known to moral world; " and to Baudelaire it represented "the queen of truth. " Imagination as artistic, poetic, and cultural predicate remains one of the most influential ideas in the history of Western thought. It has been simultaneously feared as a dangerous, uncontrollable (...) force, and revered as the supreme visionary power. The questions of its origins, nature, function, and effects have absorbed writers, theologians, and philosophers alike. J. M. Cocking's Imagination shows how these questions have recurred, through the ages and in various cultures. Exploring this theme, from antiquity to the Renaissance, it opens with a discussion of the treatment of imagination in the writings of Aristotle and Plato. Tracing its development in the Middle Ages, Cocking pays particular attention to the parallel tradition in Islamic thought of the period. The book pursues the concept through the theories of Dante and the neo-Platonists, concluding with the High Renaissance. (shrink)

Hume said that to have a memory image of some individual, x, is to perceive a ‘faint copy’ of some prior perception of x. This classical view of memory images includes three distinct claims: Images and percepts are mental entities which serve as objects for a ‘direct’ or ‘non-inferential’ perception. A memory image of some individual, x, shares numerous properties with some prior perception of x.

In this paper, I summarize an emerging debate in the cognitive sciences over the right taxonomy for understanding cognition – the right theory of and vocabulary for describing the structure of the mind – and the proper role of neuroscientific evidence in specifying this taxonomy. In part because the discussion clearly entails a deep reconsideration of the supposed autonomy of psychology from neuroscience, this is a debate in which philosophers should be interested, with which they should be familiar, and to (...) which they should contribute. Here, I outline some of the positions being advocated, and reflect on some of the possible implications of this work both for scientific and folk psychology. (shrink)

This ambitious book by one of the most original and provocative thinkers in science studies offers a sophisticated new understanding of the nature of scientific, mathematical, and engineering practice and the production of scientific knowledge. Andrew Pickering offers a new approach to the unpredictable nature of change in science, taking into account the extraordinary number of factors—social, technological, conceptual, and natural—that interact to affect the creation of scientific knowledge. In his view, machines, instruments, facts, theories, conceptual and mathematical structures, disciplined (...) practices, and human beings are in constantly shifting relationships with one another—"mangled" together in unforeseeable ways that are shaped by the contingencies of culture, time, and place. Situating material as well as human agency in their larger cultural context, Pickering uses case studies to show how this picture of the open, changeable nature of science advances a richer understanding of scientific work both past and present. Pickering examines in detail the building of the bubble chamber in particle physics, the search for the quark, the construction of the quarternion system in mathematics, and the introduction of computer-controlled machine tools in industry. He uses these examples to address the most basic elements of scientific practice—the development of experimental apparatus, the production of facts, the development of theory, and the interrelation of machines and social organization. (shrink)

Sensations can occur in the absence of perception and yet be experienced ‘as if’ seen, heard, tasted, or otherwise perceived. Two concepts used to investigate types of these sensory-like mental phenomena (SLMP) are mental imagery and hallucinations. Mental imagery is used as a concept for investigating those SLMP that merely resemble perception in some way. Meanwhile, the concept of hallucinations is used to investigate those SLMP that are, in some sense, compellingly like perception. This may be a difference of degree. (...) Attempts to reliably differentiate between instances of each type of SLMP remain unresolved. Despite this, the concepts of mental imagery and hallucinations are each routinely used independently of the other. These uses are especially interesting in those published accounts of experiments where equivalent findings about the neuroanatomical correlates of SLMP are reported in support of diverging knowledge-claims about the role of SLMP in neurocognitive processes. This practice presents a puzzle. To examine one aspect of this puzzle, I compare the uses of these two scientific concepts in three ways: examining their roles in differentiating between types of SLMP; exploring how their respective historical developments intersect; and analysing their contributions in neuroimaging experiments. In presenting this series of comparative analyses, I will draw on three themes from historical, philosophical, and social studies of scientific practices: interest in material contributions to knowledge; accounts of how concepts are used in experiments; and explorations of the historical conditions within which current practices emerge. Building on this literature, my comparative analyses supports five related claims. My first claim is that the concepts of mental imagery and hallucinations are each used as independent tools in neuroimaging experiments. My second claim is that, as experimental tools, the concepts of mental imagery and hallucinations are each used for investigating discrete epistemic goals. My third claim is that there are implicit interdependent associations that structure the uses of these two concepts as tools for independently investigating these discrete epistemic goals in neuroimaging experiments. This third claim rests on my analyses of both past and present uses of each concept. Firstly, as seen in their intersecting histories, there are disciplined performances of using the concepts of mental imagery and hallucinations that carry-along shared associations about the mediating role of SLMP in thought. Secondly, these interdependent ‘mediator-view’ associations continue to structure the independent uses of each concept as a tool for investigating SLMP in pursuit of specific goals. Taking this further, my fourth claim is that recognising the structured uses of the concepts of mental imagery and hallucinations can help to account for how equivalent SLMP-neuro-correlates are generated in support of diverging knowledge-claims. Finally, my fifth claim is that the structured uses of these concepts as tools can contribute to experiments in ways analogous to, yet not equivalent with, the active contributions of material instruments. Bringing these claims together, I argue that the concepts of mental imagery and hallucinations operate as structured tools that can actively contribute to the knowledge generated by neuroimaging experiments. In presenting this argument I seek to demonstrate that examining the structured uses of concepts as tools can complement existing approaches to studying how the heterogeneous dynamics of experimental practices can come to contribute to scientific knowledge in unintended ways. (shrink)