Research on the specific features of daydreaming compared with mind-wandering and night dreaming is a neglected topic in the philosophy of mind and the cognitive neuroscience of spontaneous thought. The extant research either conflates daydreaming with mind-wandering (whether understood as task-unrelated thought, unguided attention, or disunified thought), characterizes daydreaming as opposed to mind-wandering (Dorsch, 2015), or takes daydreaming to encompass any and all “imagined events” (Newby-Clark & Thavendran, 2018). These dueling definitions obstruct future research on spontaneous thought, and (...) are insufficiently precise to guide empirical studies. They also fail to illuminate the phenomenal core of daydreaming, namely, its dreamlike qualities. Although daydreaming is related to both mind-wandering and narrative imagination, it is not reducible to either. We argue that daydreams are experiences of spontaneous, immersive imagination in the waking state. The main task of our investigation is to distinguish daydreaming, conceptually and phenomenologically, from mind-wandering, on the one hand, and night dreaming, on the other. Although daydream experiences can vary widely, we distinguish prototypical experiences of daydreaming from adjacent imaginative activity, including fleeting imagery and “focused daydreaming,” or crafted visualization. We consider our phenomenological analysis as preparatory work for conceptually distinguishing different spontaneous and imaginative states so that they can be investigated accordingly with questionnaires and qualitative methods. We argue that precision about the phenomenal character of daydreaming can guide neurophenomenological investigations, help delimit studies on individual variance in daydreaming features, and identify differences among daydreaming, mind-wandering, and night dreaming conceptually and phenomenologically, and possibly eventually in terms of neural correlates. (shrink)

Drawing on his own experiences of imagining, Edward S. Casey describes the essential forms that imagination assumes in everyday life. In a detailed analysis of the fundamental features of all imaginative experience, Casey shows imagining to be eidetically distinct from perceiving and defines it as a radically autonomous act, involving a characteristic freedom of mind. A new preface places Imagining within the context of current issues in philosophy and psychology.

This article explores the relation between belief-like imaginings and the establishment of imaginary worlds (often called fictional worlds). After outlining the various assumptions my argument is premised on, I argue that belief-like imaginings, in themselves, do not render their content true in the imaginary world to which they pertain. I show that this claim applies not only to imaginative projects in which we are instructed or intend to imagine certain propositions, but also to spontaneous imaginative projects. After arguing that, (...) like guided imaginative projects, spontaneous projects involve specific imaginary truths, I conclude that imaginative projects, whether spontaneous or deliberate, comprise not only imaginings, but also mental acts of determining such truths. (shrink)

The emotions pose many philosophical questions. We don't choose them; they come over us spontaneously. Sometimes emotions seem to get it wrong: we experience wrongdoing but do not feel anger, feel fear but recognise there is no danger. Yet often we expect emotions to be reasonable, intelligible and appropriate responses to certain situations. How do we explain these apparent contradictions? Emotion, Imagination, and the Limits of Reason presents a bold new picture of the emotions that challenges prevailing philosophical orthodoxy. Talia (...) Morag argues that too much emphasis has been placed on the "reasonableness" of emotions and far too little on two neglected areas: the imagination and the unconscious. She uses these to propose a new philosophical and psychoanalytic conception of the emotions that challenges the perceived rationality of emotions; views the emotions as fundamental to determining one's self-image; and bases therapy on the ability to "listen" to one’s emotional episode as it occurs. Emotion, Imagination, and the Limits of Reason is one of the first books to connect philosophical research on the emotions to psychoanalysis. It will be essential reading for those studying ethics, the emotions, moral psychology and philosophy of psychology as well as those interested in psychoanalysis. (shrink)

This paper argues against the view, proposed in Langland-Hassan (2020), that attitudinal imaginings are reducible to basic folk-psychological attitudes such as judgments, beliefs, desires, decisions, or combinations thereof. The proposed reduction fails because attitudinal imaginings, though similar to basic attitudes in certain respects, function differently than basic attitudes. I demonstrate this by exploring two types of cases: spontaneous imaginings, and imaginings that arise in response to fiction, showing that in these cases, imaginings cannot be identified with basic attitudes. I (...) conclude that imagining is a distinct attitude: it enables us to freely conjure up scenarios without being bound by the restrictions that govern basic folk-psychological attitudes. (shrink)

Kant’s concept of autonomy promises to solve the problem of the actuality of freedom. The latter has actuality as a practical capacity insofar as the will is objectively determined through the form of law. In later writings, however, Kant situates the actuality of freedom in the “absolute spontaneity” of choice, and connects the reality of autonomy itself to the condition of a “radical” act of free choice. The reason for this resides in the fact that his first solution is marked (...) by a certain defect: it does not contain a sufficient concept of the actuality of a practical capacity. This essay elaborates a revised account of Kant’s concept of freedom in light of this insight. The argument is that we need to distinguish force and faculty in order to understand the actuality of a capacity. Only on this basis can we introduce the idea of imagination as a pre-reflexive force of practical reason and the idea of reflective judgment as a power of practical judgment in order to realize how free choice is capable of generating a maxim that has the form of a law spontaneously and of its own accord. In this way, we see that the actuality of freedom necessarily includes the spontaneity of choice, and that human freedom manifests a certain paradoxicality: the university of the will is bound to a subjective ground of determination, to a pre-reflexive act of "radical" choice. (shrink)

Kant’s concept of autonomy promises to solve the problem of the actuality of freedom. The latter has actuality as a practical capacity insofar as the will is objectively determined through the form of law. In later writings, however, Kant situates the actuality of freedom in the “absolute spontaneity” of choice, and connects the reality of autonomy itself to the condition of a “radical” act of free choice. The reason for this resides in the fact that his first solution is marked (...) by a certain defect: it does not contain a sufficient concept of the actuality of a practical capacity. This essay elaborates a revised account of Kant’s concept of freedom in light of this insight. The argument is that we need to distinguish force and faculty in order to understand the actuality of a capacity. Only on this basis can we introduce the idea of imagination as a pre-reflexive force of practical reason and the idea of reflective judgment as a power of practical judgment in order to realize how free choice is capable of generating a maxim that has the form of a law spontaneously and of its own accord. In this way, we see that the actuality of freedom necessarily includes the spontaneity of choice, and that human freedom manifests a certain paradoxicality: the university of the will is bound to a subjective ground of determination, to a pre-reflexive act of "radical" choice. (shrink)

The paper investigates whether imaginative states about propositions can be assessed in terms of fittingness (also known as correctness, appropriateness, aptness). After characterizing propositional imaginings and explaining the idea of fittingness, I present some considerations in favour of the no conditions view: imagining seems to be the sort of action that cannot be done unfittingly, and imaginings have no external cognitive nor conative goals in light of which they could be unfitting. I then examine the local conditions view, that (...) there can be fittingness conditions on imaginings, but that these are inherited from the mental projects in which imaginings can play a role. Given that there are virtues of the imagination such as creativity and spontaneity, and given that imaginings are subject to purposive mechanisms, and given that there are cases in which it is unfitting to fail to imagine, I endorse the general conditions view, on which imaginings have a goal, and therefore fittingness conditions, even outside the context of mental projects. I then examine 4 versions of the general conditions view and argue that imaginings aim to make contents available to mental projects. (shrink)

The essay traces the double, phenomenological and psychological, background of Sartre’s theory of the imagination. Insofar as these two phenomenological and psychological currents are equally influential for Sartre’s theory of the imagination, his intellectual project is situated in an inter-disciplinary research area which combines the descriptive analyses of Edmund Husserl with the clinical reports and psychological theories of Pierre Janet. While Husserl provides the foundation for the prevailing theory of imagination as pictorial representation, Janet’s findings on obsessive behavior enrich an (...) alternative current in Sartre’s thinking about imagination as spontaneous and self-determined creativity. (shrink)

The principal aim of my thesis is to provide a unified theory of imagining, that is, a theory which aspires to capture the common nature of all central forms of imagining and to distinguish them from all paradigm instances of non-imaginative phenomena. The theory which I intend to put forward is a version of what I call the Agency Account of imagining and, accordingly, treats imaginings as mental actions of a certain kind. More precisely, it maintains that (...) imaginings are mental actions that aim at the formation of episodic representations, the content of which is directly determined by what we want them to represent. My defence of this version of the Agency Account happens in two stages. On the one hand, I try to show that it is both extensionally adequate and explanatorily illuminating with respect to those mental states or projects which are clear instances of either imaginative or non- imaginative phenomena. And on the other hand, I seek to demonstrate that the most plausible alternative to the Agency Account - namely the Cognitive Account according to which it is distinctive of imaginings that they are non-cognitive phenomena and thus to be contrasted with perceptions, judgements, and so on - is bound to fail as a unified theory of imagining. The dissertation contains five main parts. In the first, I specify in more detail what a unified account of imagining has to achieve and, in particular, which phenomena it is supposed to capture. The second part presents the Cognitive Account, thereby focussing on Brian O'Shaughnessy's sophisticated version of it while the third part is reserved for the evaluation and rejection of the Cognitive Account. In the fourth part, I develop my version of the Agency Account of imagining. And the fifth and last part is concerned with the accommodation of potential counterexamples to it. (shrink)

Images are double agents. They receive information from the world, while also projecting visual imagination onto the world. As a result, mind and world tug our thinking about images, or particular kinds of images, in contrary directions. On one common division, world traces itself mechanically in photographs, whereas mind expresses itself through painting.1 Scholars of photography disavow such crude distinctions: much recent writing attends in detail to the materials and processes of photography, the agency of photographic artists, and the social (...) determinants of the production and reception of photographs. As such writing makes plain, photographs cannot be reduced to mechanical traces.2 Yet background conceptions of photography as trace or index persist almost by default, as no framework of comparable explanatory power has yet emerged to replace them. A conception of photography adequate to developments in recent scholarship is long overdue. Rather than constructing such a conception top-down, as philosophers are wont to do, this paper articulates it by examining selected works by James Welling.3 There are several reasons for this: Welling’s practice persistently explores the resources and possibilities of photography, the effect of these explorations is to express a particular metaphysics of the mind’s relation to its world, and appreciating why this metaphysics is aptly expressed by exploring photography requires a revised conception of what photography is. In as much as it provides a framework for a richer interpretation of Welling, the new conception is also capable of underwriting a wide range of critical and historical approaches to photography. (shrink)

My contribution seeks to unfold an ontology of the imagination based on the history of the productive imagination in its relation to common sense and recent developments of the notion of the social imaginary, while making use of ideas found in both Western and Japanese thinkers. Kyoto School philosopher Miki Kiyoshi shows a connection between the imagination he inherits from Kant and a certain form-formlessness dynamic he inherits from Nishida Kitarō’s notion of a self-forming formlessness. The source of the imagination’s (...) creativity is in that formlessness that lies both within the interior depths of the psyche and outside in the environing nature. Post-war Japanese philosopher Nakamura Yūjirō—taking off from Miki’s attempts to concretize Nishida’s theory of place in terms of the imagination—in turn points to a connection between imagination and place and explicates this via his development of the Aristotelian notion of common sense (koinē aisthēsis, sensus communis). Common sense in itself has a long history within the West that involves a variety of meanings starting with the Aristotelian faculty for integrating the various senses (as koinē aisthēsis) that was closely associated with the imagination, and ending with two contrasting notions of a communal or social sensibility (as sensus communis)—the vulgar “commonplace” notion of common sense as habituated custom and the healthy sense of common sense as prudential, contextual, ethical judgment explicated by thinkers like Hannah Arendt. Both are found in Kant’s Critique of Judgment but the imagination’s creativity expressed in genius comes into tension with the latter communal sense of common sense that attempts to fetter that creativity of genius with the judgment of taste. The contemporary notion of the social imaginary, for example in Cornelius Castoriadis, seems to encompass both the vulgar and the healthy senses of common sense, and also recalls the close connection between the imagination and common sense in Aristotle. Contrary to what Kant sought, however, this underscores the temporal contingency or historicity and non-transcendental status of common sense, even in its healthy sense, and its communal judgments. At the same time, the form-formlessness dynamic found in Miki and the tension between unbounded creativity and communal responsibility found in Kant’s third Critique in a certain sense also reappears in Castoriadis’ ontology (of magmas) whereby chaos is the source of the imagination’s creativity not only for the individual psyche but for the social-historical or social imaginary significations as well, that is, in the social imaginary’s inner tension between the instituting and the instituted. Recalling the fact that Nishida was inspired by the Greek notion of chōra in developing his theory of place, I then suggest that the linking of the imagination with the process of the forming of the formless as well as with place may allow us in turn to understand the creative imagination ontologically in the Greek terms of chōrismos—etymologically related to chōra—as the difference that brings order to chaos by allotting beings, each to its own place. Imagination as Ein-bildung might then be viewed as the ontological formation that, through differentiation, gives shape, form, to place. This then leads to the issue of autonomy—To whom does the spontaneity of the creative imagination belong when the chaos or formlessness, indeed “freedom,” at the root of its creativity exceeds the boundaries of subjectivity or reason? Heidegger in his later works, albeit in only a few places, suggests such a sense of the imagination as no longer a faculty of the human subject, no longer a doing of man. (shrink)

In the Critique of Pure Reason, Kant refers often and with no apparent hesitation or sense of ambiguity to the mind. He does so not only in his justly famous destruction of rationalist proofs of immaterialism, but throughout his own, positive, ‘transcendental’ account in the Transcendental Aesthetic and Transcendental Analytic. In the first edition of the Critique, he even proposed what he adventurously called a ‘transcendental psychology’ and, although this strange discipline seemed to disappear in the second edition, he left (...) in that edition all his frequent references to forms ‘lying in the mind,’ and to the mind, or the self, or the subject of experience, or the ego, doing this or that. Curiously, though, despite an extensive secondary literature, there is in that literature relatively little discussion of what these expressions, in a proper, strictly Kantian sense, are supposed to refer to. There are two imaginative, extremely suggestive articles by Sellars, some hints at connections with eighteenth century psychology offered by Weldon, a tenebrous book by Heidemann, and some recent attention to the general issue of ‘Kant's theory of mind’ by Ameriks and Kitcher. (shrink)

Recent neuro-psychoanalytic literature has emphasized the view that our subjective identity rests on ancient subcortical neuro-psychic processes expressing unthinking forms of experience, which are “affectively intense without being known” (Solms and Panksepp, 2012). Devoid of internal representations, the emotional states of our “core-Self” (Panksepp, 1998b) are entirely “projected” towards the external world and tend to be discharged through instinctual action-patterns. However, due to the close connections between the subcortical and the cortical midline brain, the emotional drives may also find a (...) way to be reflected within an intrinsic self-referential processing, evident when the organism is not actively engaged with the external world. Thanks to such endogenous functioning, the core-Self emotional dispositions are not overtly executed, but they are organized within coherent dynamic mental structures, called “feeling-toned complexes” by C.G. Jung and “unconscious phantasies” by Melanie Klein. The intrinsic self-referential dynamism of the ‘brainmind’ originated from REM sleep arousal and then evolved in the resting-state activity of a complex of cortico-limbic midline brain structures (CMS), also called Default Mode Network (DMN). From our neuro-ethological perspective, it is sustained by an “introverted” SEEKING activity leading to the subjective exploration of internally constructed virtual scenarios. This “mind wandering” function, implicated in dreaming, fantasy processing, remembering and thinking, is the essence of the imaginative function and constitutes the first form of reflection, where intentions and drives gain a primordial form of conscious (but not self-conscious) representation. During postnatal development, this original (“archetypal”) imaginative function is slowly attuned in a relational “transitional” space and may be expressed first in non-verbal and eventually in abstract-verbal social communicative patterns. Our view has noticeable implications for psychotherapy. Instead of trying to directly modify interpersonal, extrinsic relationships (a top-down approach), dysfunctional emotional-relational patterns may be modified by a process in which the patient is helped to let-go of the perceived feeling-objects in favor of an immersion, via the actual feeling, from the superficial level of perception towards a void feeling-state, empty of images. Only starting from this “anoetic” feeling-state, the deep imaginal creative and re-structuring self-referential activity may be reactivated by a process of spontaneous imagination. (shrink)

Imagining A Phenomenological Study Second Edition Edward S. Casey A classic firsthand account of the lived character of imaginative experience. "This scrupulous, lucid study is destined to become a touchstone for all future writings on imagination." —Library Journal "Casey’s work is doubly valuable—for its major substantive contribution to our understanding of a significant mental activity, as well as for its exemplary presentation of the method of phenomenological analysis." —Contemporary Psychology "... an important addition to phenomenological philosophy and to the (...) humanities generally." —Choice "... deliberately and consistently phenomenological, oriented throughout to the basically intentional character of experience and disciplined by the requirement of proceeding by way of concrete description.... [Imagining] is an exceptionally well-written work." —International Philosophical Quarterly Drawing on his own experiences of imagining, Edward S. Casey describes the essential forms that imagination assumes in everyday life. In a detailed analysis of the fundamental features of all imaginative experience, Casey shows imagining to be eidetically distinct from perceiving and defines it as a radically autonomous act, involving a characteristic freedom of mind. A new preface places Imagining within the context of current issues in philosophy and psychology. [use one Casey bio for both Imagining and Remembering] Edward S. Casey is Professor of Philosophy at the State University of New York at Stony Brook. He is author of Getting Back into Place: Toward a Renewed Understanding of the Place-World and The Fate of Place: A Philosophical History. Studies in Continental Thought—John Sallis, general editor Contents Preface to the Second Edition Introduction The Problematic Place of Imagination Part One: Preliminary Portrait Examples and First Approximations Imagining as Intentional Part Two Detailed Descriptions Spontaneity and Controlledness Self-Containedness and Self-Evidence Indeterminacy and Pure Possibility Part Three: Phenomenological Comparisons Imagining and Perceiving: Continuities Imagining and Perceiving: Discontinuities Part Four: The Autonomy of Imagining The Nature of Imaginative Autonomy The Significance of Imaginative Autonomy. (shrink)

The paper investigates whether imaginative states about propositions can be assessed in terms of fittingness (also known as correctness, appropriateness, aptness). After characterizing propositional imaginings and explaining the idea of fittingness, I present some considerations in favour of the no conditions view: imagining seems to be the sort of action that cannot be done unfittingly, and imaginings have no external cognitive nor conative goals in light of which they could be unfitting. I then examine the local conditions view, that (...) there can be fittingness conditions on imaginings, but that these are inherited from the mental projects in which imaginings can play a role. Given that there are virtues of the imagination such as creativity and spontaneity, and given that imaginings are subject to purposive mechanisms, and given that there are cases in which it is unfitting to fail to imagine, I endorse the general conditions view, on which imaginings have a goal, and therefore fittingness conditions, even outside the context of mental projects. I then examine 4 versions of the general conditions view and argue that imaginings aim to make contents available to mental projects. (shrink)

This paper concerns Hegel's early treatment of the productive imagination in his 1803–1804 Faith and Knowledge. I show how he articulates that activity in terms of a pair of speculative unities, which solve lingering problems of self-knowledge and self-constitution from Kant's B-deduction. On the one hand, I argue that the familiar unity of spontaneity and receptivity makes possible knowledge of the moment of self-positing. On the other hand, I contend that Hegel's talk of imagination as both an “organic idea” and (...) an “intuitive intellect” refers to a self-constituting capacity that intellects like ours possess. I show that self-constitution is possible, for Hegel, only in so far as intellects like ours possess a capacity to unify possibility and actuality in thought, or to think themselves into being. (shrink)

It is well known that at the heart of Kant’s Critical philosophy is the claim that the mind possesses an essentially spontaneous power or capacity. It is also sometimes maintained that Kant’s appeals to this spontaneous power are intimately tied to his recognition of there being a fundamental and irreducible normative dimension to judgement. However, I attempt to complicate this picture by way of appeal to some less appreciated influences upon the development of Kant’s epistemology. A different conception (...) of the role of spontaneity in judgement has clear precedents, I claim, in the works of Cudworth and Rousseau. There the imagined role for the active power of the mind is not to identify criteria that might serve as norms for epistemically responsible judgement. Rather the spontaneous power of the mind is cited as the source of representational contents that secure the truth conditions of our everyday claims to empirical knowledge. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Imagination in Inquiry by A. Pablo IannoneAmy KindIANNONE, A. Pablo. Imagination in Inquiry. Lanham, Md.: Lexington Books, 2022. xxvi + 254 pp. Cloth, $110.00; eBook $45.00Though imagination is often associated with the fanciful and the fictional, over the course of the last decade philosophers have begun to devote considerable attention to more practical uses of imagination. Philosophers of imagination have increasingly focused on ways in which imagination can (...) play an important epistemic role in activities such as decision-making, planning, and scientific discovery; more generally, there has been attention to a variety of ways in which imagination can teach us about the world in which we live. Iannone’s discussion in Imagination in Inquiry can be seen as part of this general trend—even if his discussion is not itself situated directly within contemporary philosophy of imagination but, rather, in a broader interdisciplinary approach.Iannone works with an expansive conception of what imagination is. In his view, we should not limit our understanding of imagination simply to the ability to generate images. Rather, imagination is a diverse set of different abilities that aim “at figuring out cognitively, emotively, or practically, alternatives for dealing with actual, probable, plausible, foreseeable, or merely possible challenges or problems, abstract or concrete, theoretical or practical being faced, or notions being considered, and determining or deciding which is (are) preferable in the circumstances, and acting accordingly.” Moreover, this set of abilities should not be seen as operating in isolation; rather, imagination functions as part of an ecology of human abilities. Iannone refers to his view of imagination as the “homeostatic model,” so called because he sees imaginative processes as maintaining stability by way of a system of self-correcting feedback and methods for incorporating and adjusting to any new information received.Iannone also operates with an expansive conception of what counts as practical use of imagination. In his view, imagination is put to practical use in a wide range of circumstances, for example, when a dancer imagines the next steps of a dance in the process of spontaneous improvising, when a combatant imagines how to block an expected blow from an opponent, and when an environmental activist imagines a new set of corrective policies to address pollution. All these uses fall under the activity of what Iannone calls “inquiry,” that is, the activity of finding a solution to a problem or challenge. The problems and challenges that might prompt the use of imagination can be both personal and interpersonal, and the imaginative processes used will involve strategies such as discovery, creation, and anticipation.In the first part of the book, Iannone develops his basic conceptual apparatus. In the next part of the book, he puts this apparatus to work in the context of philosophy, that is, he shows how imagination plays a role in philosophical inquiry. In the third part of the book, he looks at the role of imagination in other disciplines such as sociology and psychology. Here, the interdisciplinary nature of his discussion is especially on display. In the fourth part of the book, he applies his model of imagination to a number of different contexts; in particular, he discusses the role of [End Page 354] imagination in language, in humor, in vision (both at the personal and the societal level), and in morality. Finally, the last part of the book offers a variety of case studies involving dance, technology, and artificial intelligence. Of the four chapters in this part of the book, three are written by other authors: two by Alejandra Iannone, a scholar and practitioner of dance and theater (and the author’s daughter), and one by Rocci Luppicini, an expert in technology studies. In light of the explosive pace with which new AI technologies are being developed, the book’s discussion of whether and how such technologies present challenges for our capacity for imagination is especially timely and important.In addition to affirming the practical importance of imagination, Iannone also affirms the practical importance of nurturing imagination—something he repeats at several points throughout the book. But how do we do this? One natural way that imagination is nurtured is simply by its regular use... (shrink)

_The Poetry of the Possible _challenges the conventional image of modernism as a socially phobic formation, arguing that modernism’s abstractions and difficulties are ways of imagining unrealized powers of collective self-organization. Establishing a conceptual continuum between modernism and contemporary theorists such as Paulo Virno, Michael Hardt, Antonio Negri, and Alain Badiou, Joel Nickels rediscovers modernism’s attempts to document the creative _potenza_ of the multitude. By examining scenes of collective life in works by William Carlos Williams, Wyndham Lewis, Laura Riding, (...) and Wallace Stevens, Nickels resurrects modernism’s obsession with _constituent power_: the raw, indeterminate capacity for reciprocal counsel that continually constitutes and reconstitutes established political regimes. In doing so, he reminds us that our own attempts to imagine leaderless networks of collective initiative are not so much breaks with modernist forms of knowledge as restagings of some of modernism’s most radical moments of political speculation. Setting modernism’s individual and collective models of spontaneity in dialogue with theorists of political spontaneity such as Antonio Gramsci, Herbert Marcuse, and Theodor Adorno, Nickels retells the story of modernism as the struggle to represent powers of collective self-organization that lie outside established regimes of political representation. (shrink)

It is sometimes said that reasoning, thought and judgment essentially involve action. It is sometimes said that they involve spontaneity, where spontaneity is taken to be connected in some constitutive way with action—intentional, voluntary and indeed free action. There is, however, a fundamental respect in which reason, thought and judgment neither are nor can be a matter of action. Any spontaneity that reason, thought and judgment involve can be connected with freedom only when the word 'freedom' is used in the (...) Spinozan-Kantian sense according to which freedom is a matter of 'rational necessitation', determination by reason. (shrink)

The philosophy of mind concerns much about how novelty occurs in the world. The very recent progress in this field inspired by quantum mechanics indicates that symmetry restoration occurs in the mind at the moment when new creative thought arises. Symmetry restoration denotes the moment when one’s cognition leaves ordinary internalized mental schemes such as conceptual categories, heuristics, subjective theories, conventional thinking, or expectations. At this moment, fundamentally new, original thought may arise. We also predict that in older age, symmetry (...) restoration is less likely to occur as internalized mental schemes become more rigid in the elderly. Furthermore, the present study demonstrates that symmetry restoration may occur not only individually, in one’s mind, but also collectively, during collaborative creative activities, e.g. during small-group brainstorming sessions or creative improvisational performances. The possibility of collective symmetry restoration interacts well with the ideas in the field of relational ontology. Relational ontology highlights an important ontological role of relations. The ontological primacy is not given to individual entities, as in traditional metaphysics, but to relational structures and transformative relational processes (interactions). When accepting this assumption, we cannot imagine the situation when the actor’s mind could act absolutely independently and leave all of its relations as assumed in the compatibilist theory of free will. We argue that creative free action can be performed even in the case when the actor is entangled within their material, environmental, and social relational structures. (shrink)

The study is carried out in five chapters, with the first two offering a reconsideration of the function of the imagination in the Transcendental Deduction and Schematism of the first Critique. The last three follow the order of topics discussed by Kant in the third Critique in regard to judgments of taste, the sublime, and teleology; they conclude with an interpretation of "productive imagination" as a "model for the ideal of intellectual intuition". The comparison between "human and divine spontaneity" is (...) introduced in the first chapter, where Gibbons notes that while we have "Kant's explicit and repeated emphasis on the difference" between these, "in considering the similarity of these types of spontaneity," she wishes "to correct a possible imbalance in Kant's exposition": there are, she suggests, "formal similarities between these types of spontaneity". The main thrust of the first chapter is to respond to a particular reading of Kant—namely, to those unsympathetic interpreters who see in the Deductions an "imaginary subject of transcendental psychology" and also to those who give a "sympathetic reading" but do so in terms of an identification of "all aspects of synthesis with concept application," thereby reducing the "role of the transcendental synthesis of the imagination to that of unifying a manifold of intuition under a concept". Gibbons holds instead that the "theory of synthesis... focuses on the nature of human cognition and what is required for us to know anything about objects" and, further, that it presupposes "the broader function of the imagination as grounding the possibility of concept-application in the first place". (shrink)

This paper explores the elusive dialectic between concentration and forgetfulness, consciousness and unconsciousness in spontaneous artistic creation favoured by artists and advocated by critics in Chinese art history, by examining texts on painting and tracing back to ancient Daoist philosophical ideas, in a comparison with Kantian and post-Kantian aesthetics. Although artistic spontaneity in classical Chinese aesthetics seems to share similarities with Kant’s account of spontaneity in the art of genius, the emphasis on unconsciousness is valued by classical Chinese artists (...) and critics inspired by the Daoist idea of ‘Wu Wei’ (acting without conscious intention or effort). As the Qing painter Wang Yuanqi (1642–1715) claimed when admitting his failure to copy the Yuan master Ni Zan (1301–1374), Ni Zan’s success in natural and untrammelled expression lies ‘in between having an intention and not having one’. A similar idea about the dialectic of consciousness and unconsciousness in artistic spontaneity was suggested by Heinrich von Kleist’s On the Marionette Theatre (1880), which demonstrated that while self-consciousness might disturb and hinder the naturalness of artistic expression and thus encourage affectation, it does not mean that there is no role for consciousness. Although the views on unconsciousness in art and the co-play of consciousness and unconscious in artistic creation by Schelling, Schiller, Goethe, and even Nietzsche might get inspirations from Kant’s hidden view of the unconscious, Kant’s emphasis on the harmonious cooperation between imagination and understanding disguises his inexplicit idea of the unconscious. This paper will demonstrate that while in both Classical Chinese and European cultural contexts, artists, critics and philosophers talk about the same elusive relation, the philosophical explanations of the same phenomenon are essentially distinctive. (shrink)

I examine the role of the imagination (Einbildung) for Martin Heidegger after his Kant-reading of 1929. In 1929 he broadens the imagination to the openness of Dasein. But after 1930 Heidegger either disparages it as a representational faculty belonging to modernity; or further develops and clarifies its ontological broadening as the clearing or poiesis. If the hylo-morphic duality implied by Kantian imagination requires a prior unity, that underlying power unfolding beings in aletheic formations (poiesis) of being (the happening of being, (...) the opening of the world) would have to ultimately be in excess to any spontaneous power of subjectivity. (shrink)

This essay is a defense of Jean-Paul Sartre’s The Imaginary as a text which changes the direction of philosophical thinking regarding the image. Historically depreciated as a mere “copy” or “appearance” of a “reality” grasped through perception, the image is reconceived in Sartre’s text, which culminates in a revaluation of imagination as the condition of possibility for a human consciousness that always already transcends its situation towards something entirely other – what he calls “the imaginary.” Despite the metaphysical bias that (...) clearly operates on Sartre’s thinking throughout The Imaginary and leads him to privilege perception over imagination, his work ultimately succeeds in nihilating the traditional thing-image binary. In effect, he imagines something other than his situatedness within the philosophical reality of his time, ushering in a thought of the imaginary through a creative encounter with nothingness. This thought could only occur spontaneously, for the advent of the imaginary is not produced in an act of will. Accordingly, this essay attempts to trace the movements of Sartre’s project in its transformative process. (shrink)

FEATURED IN EVENTAL AESTHETICS RETROSPECTIVE 1. LOOKING BACK AT 10 ISSUES OF EVENTAL AESTHETICS. This essay is a defense of Jean-Paul Sartre’s The Imaginary as a text which changes the direction of philosophical thinking regarding the image. Historically depreciated as a mere “copy” or “appearance” of a “reality” grasped through perception, the image is reconceived in Sartre’s text, which culminates in a revaluation of imagination as the condition of possibility for a human consciousness that always already transcends its situation towards (...) something entirely other – what he calls “the imaginary.” Despite the metaphysical bias that clearly operates on Sartre’s thinking throughout The Imaginary and leads him to privilege perception over imagination, his work ultimately succeeds in nihilating the traditional thing-image binary. In effect, he imagines something other than his situatedness within the philosophical reality of his time, ushering in a thought of the imaginary through a creative encounter with nothingness. This thought could only occur spontaneously, for the advent of the imaginary is not produced in an act of will. Accordingly, this essay attempts to trace the movements of Sartre’s project in its transformative process. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Weeds: Cultivating the Imagination in Medieval Arabic Political PhilosophyMichael S. KochinAny reader of Plato’s dialogues in their entirety feels the constant tug of two very different solar motions. In the Laws the young field-legates (agronomoi) of the city move in a twelve-month cycle through each of the divisions of the city’s territory (Laws 760) in obedience to the law and the gods of the city. Socrates, too, moves through (...) the city, questioning each citizen about the beliefs concerning the virtues implanted by the city’s laws and myths. Socrates, like the field-legates, moves in “obedience” to the command of the sun-god Apollo, a command that Socrates claims to have received through the god’s oracle at Delphi.1 To live in the light of the sun of reason is only possible within a city totally ordered in imitation of heavenly order—so speaks the Laws.2 To follow the sun is to move in opposition to the shadows of artificial light that dominate all actual and even possible cities—so speaks the Apology and, more explicitly, the Republic.Our learned prejudices about these two solar motions lead us to divide Plato’s thought into periods of composition. Socratic heliotropy belongs to the dialogues of Plato’s earlier period, especially the earliest, the Apology, scholars believe; the city itself in seasonal motion belongs to the dialogues of Plato’s later period, and especially the latest, his Laws. The Republic, which describes the best city as an artificially lighted cave, whose inhabitants ought nonetheless to be ruled by the philosopher-king who has, at least momentarily, seen the sun, belongs to Plato’s middle period. [End Page 399]Whatever the merits of this family of readings as interpretations of Plato, 3 they use a scholar’s device to avoid coming to terms with a genuine tension. The two modes of solar motion represent two different modes of relating philosophy to politics, even under their modern guises of theory and practice. Either the philosopher is to bring the political into rational order, or he is to bring his own life into rational order against the disorders and deliberate confusions of the political. Either the philosopher is to weed the fields of the city of disorderly weeds, or he himself is a weed or, more politely, a wildflower, pushing up toward the sun through the broken asphalt of politics.Plato himself seems to resolve this tension by distinguishing between the philosopher’s duties in the best city and in other cities. As Socrates says in the Republic:Observe, then, Glaucon, that we won’t be doing injustice to the philosophers who grow up among us, but we will say just things to them, when we compel them to care and guard for the others. For we will say that those who are of their sort who grow up in the other cities fittingly do not share in the labors therein. For they grew in them spontaneously though the regime in each did not intend it, and the spontaneously grown has a just claim not to be eager to repay the cost of its nurture to anybody, since it owes [its] nurture to nobody. But you we reared up, just as in hives, as leaders and kings for yourselves and the rest of the city, and you have been educated better and more perfectly than those and are more able to have a share of both [philosophy and rule]. Each of you must then go down in turn to the common dwelling of the others and accustom yourself to the shadows there. For when you are accustomed, you will see in a myriad ways better than those there, and you will know the images, that they are images and of what they are images, on account of your having seen the true things that concern the beautiful, the just and the good. 4Yet Plato’s Socrates availed himself only partially of the just claim of the philosopher in an actual city that contributed nothing to his nurture. While Socrates took only a minimal part in the official business of the city, he never hesitated to [End... (shrink)

La place qu'occupe l'imagination dans la philosophie berkeleyenne semble ne pas poser de problème et n'être en rien originale, consistant en une simple reprise de la position lockéenne. Pourtant, en attribuant une spontanéité créatrice à l'imagination, qui en fait une faculté tout à fait particulière, et en insistant sur la puissance et les limites de cette même faculté, Berkeley réintroduit subrepticement un principe de différenciation au plan épistémologique, que l'on peut retrouver mutatis mutandis au plan moral à travers son opposition (...) à la libre pensée. It may seem that Berkeley's treatment of imagination is neither problematic, nor original, in so far as he simply seems to repeat what Locke has said on this subject. However, Berkeley attributes to imagination a creative spontaneity that makes it a very special faculty, and he insists on the power (and limits) of this faculty in a very particular way. In so doing, he surreptitiously reintroduces a principle of differentiation at the epistemological level, one that can also, mutatis mutandis, be found at the moral level in his opposition to the free thinkers. (shrink)

Upshot: This interdisciplinary work draws on phenomenology, Indian philosophy, Tibetan Buddhism, cognitive neurosciences and a variety of personal and literary examples of conscious phenomena. Thompson proposes a view of consciousness and self as dynamic embodied processes, co-dependent with the world. According to this view, dreaming is a process of spontaneous imagination and not a delusional hallucination. This work aims at laying the ground for systematic neurophenomenological investigation of first-person experience.

Sarah Gibbons's book is part of a growing literature that sees in Kant's third Critique an attempt to humanize and embody the interests of reason. As her title indicates, Gibbons approaches the problem by providing a theory of imagination that bridges gaps, including those "between concepts and intuitions, thought and sensibility, spontaneity and passivity, subject and object, and, somewhat more indirectly, nature and freedom". These gaps stem from the fact that we are finite discursive knowers that construct part, but not (...) all, of our knowledge. This creates a problem, because, as Kant states, "reason can have insight only into that which it produces after a plan of its own". How can reason gain insight into the part that it does not contribute? In other words, concepts of reason, or categories, must be applied to intuitions that only contingently harmonize with those concepts. There must be additional subjective conditions for this harmony. These conditions cannot be supplied by further concepts without threatening a vicious regress: there cannot be rules for rule-following, because we would need further rules to apply these rules. The conditions for applying concepts to intuitions in acts of judgment require a nonconceptual order. Imagination expresses this order. However, because reason has insight only into that which it produces, imagination produces this order in cooperation with reason--not with reason's categories, but with indeterminate ideas of reason. (shrink)

In this book, Françoise Mirguet traces the appropriation and reinterpretation of pity by Greek-speaking Jewish communities of Late Antiquity. Pity and compassion, in this corpus, comprised a hybrid of Hebrew, Greek, and Roman constructions; depending on the texts, they were a spontaneous feeling, a practice, a virtue, or a precept of the Mosaic law. The requirement to feel for those who suffer sustained the identity of the Jewish minority, both creating continuity with its traditions and emulating dominant discourses. Mirguet's (...) book will be of interest to scholars of early Judaism and Christianity for its sensitivity to the role of feelings and imagination in the shaping of identity. An important contribution to the history of emotions, it explores the role of the emotional imagination within the context of Roman imperialism. It also contributes to understanding how compassion has come to be so highly valued in Western cultures. (shrink)

The essays in this book respond to Anna-Teresa Tymieniecka’s recent call to explore the relationship between the evolution of the universe and the process of self-individuation in the ontopoietic unfolding of life. The essays approach the sensory manifold in a number of ways. They show that theories of modern science become a strategy for the phenomenological study of works of art, and vice versa. Works of phenomenology and of the arts examine how individual spontaneity connects with the design of the (...) logos – of the whole and of the particulars – while the design rest not on some human concept, but on life itself. Life’s pliable matrices allow us to consider the expansiveness of contemporary science, and to help create a contemporary phenomenological sense of cosmos. (shrink)

Part of the ingenious quality of LEGO is that it is a system of play, fundamentally based on interconnecting sets of parts and open‐endedness. Nowadays, themed and specialized LEGO playsets far outnumber the more free‐form building oriented sets we might see on store shelves. Everything from the themed LEGO Space and LEGO City to extensions of the imaginary franchise universes of Star Wars, Harry Potter, and The Simpsons suggest a kind of play experience where purely imagination‐driven building becomes secondary to (...) the kinds of storytelling and narrative play that LEGO playsets encourage. The different kinds of play—LEGO playset building compared to LEGO video game playing—can be thought of as ludus (more structured, goal‐oriented play) and paidia (exuberant, spontaneous free play). LEGO in many ways serves as a helpful analogy for how philosophical thinking can lead people toward new connections between their thoughts and ideas. LEGO and philosophy invite them to question the nature of play. (shrink)

Counterfactual thinking involves the imagination of non-factual alternatives to reality. We investigated the spontaneous generation of both upward counterfactuals, which improve on reality, and downward counterfactuals, which worsen reality. All subjects gained $5 playing a computer-simulated blackjack game. However, this outcome was framed to be perceived as either a win, a neutral event, or a loss. "Loss" frames produced more upward and fewer downward counterfactuals than did either "win" or "neutral" frames, but the overall prevalence of counterfactual thinking did (...) not vary with outcome valence. In addition, subjects who expected to play the game again made more upward counterfactuals and were less satisfied with the outcome than were subjects who did not expect to play again. However, once subjects saw the cards from which they could have selected had they "hit" again (two winning cards and two losing cards), all subjects generated primarily upward counterfactuals and showed a corresponding decrease in satisfaction. These results implicate both cognitive and motivational factors in the generation of counterfactuals and tell us something about the functional value of counterfactual thinking: downward counterfactuals provide comfort; upward counterfactuals prepare one for the future. (shrink)

William Wood’s study, Blaise Pascal on duplicity, sin, and the fall, is an in-depth exploration of Pascal’s views of sin, human fallenness, and self-deception. While Wood is a tutorial fellow in Theology at Oriel College, Oxford University, his book engages work in analytic philosophy, as well as historical theology. Concisely put, according to Pascal, sin is a kind of idolatry, with some created thing replacing God as the sinner’s highest good. This replacement involves a turning away from the truth, as (...) God is the source of truth or even identical with it. As sin involves choosing a lesser good over the greatest good, it involves self-deception on the part of the sinner. One deceives herself in choosing the lessor good, and so sin is a fall into duplicity and an on-going adoption of a false self-image. Presenting this false self-image to others, one deceives other people and even oneself. As Woods puts it:... having spontaneously imagined a false, but alluring, interpretation of his m .. (shrink)

Like Alice following the white rabbit into a topsy-turvy world where the laws of logic don't apply, subversive thinking unearths the mysteries behind the mundane. Tracking the White Rabbit is a fascinating, original work that invites us to use depth psychology to challenge our deepest assumptions about world politics, theology, social norms, everyday speech, and usual ideas of sex and emotion. Raised in an environment of McCarthyism and rock-and-roll, Jungian analyst Lyn Cowan shows readers-through provocative essays on memory and homosexuality, (...) music and the art of cursing-that we can flip our ingrained attitudes on their heads and achieve a better understanding of our cultural landscape. America has been plagued by a flattening of its psychic life, Cowan argues, exhibited in the escalating need for external stimulation and the distrust of intense emotion. With humor and insight, she confronts the "isms" that entrap our imaginations (capitalism, fundamentalism, feminism, sexism, antisemitism, communism) in order to unearth a more soul-serving culture. Encouraging us to mine the creativity of spontaneous imagination, this psychology brings dramatic new ideas and themes into focus, breaking down barriers and yielding fresh perspectives on some of the more pressing individual dilemmas of our time: abortion, gender, language, homosexuality, and victimization. (shrink)

Controlled elicitation of linguistic and psycholinguistic experimental data facilitate strong inferences about phonological, syntactic, semantic and pragmatic structures and functions, yet neglect the ecological validity of responses. Ecological validity in this paper refers to whether data gathered under controlled conditions are commensurate with routine problem solving and language use in natural settings. All methods produce "white room" effects that compromise data gathering and analysis. Unexamined folk knowledge and experiences also guide the investigator s interpretation of data from field research, laboratories, (...) testing sessions, and target sentences. Story recall data from children in a combined second-third grade classroom and their narrative responses to cartoons without sound are used to illustrate ecological validity issues. The child's spontaneous, imaginative narratives about the story and cartoons resemble adult folk theory, and their semantic content reveal sociocultural knowledge essential for understanding subjects ' reasoning and information processing skills. (shrink)

Desire is commonly understood as a mental state in relation to which we are passive. Since it seems to arise in us spontaneously, without antecedent deliberation, it also seems to constitute a paradigmatic type of mental state which is not up to us. In this paper, I will contest this idea. I will defend a view according to which we can actively shape our desires by controlling the way in which we imagine their contents. This view is supported both by (...) behavioral and neural data which indicate that imagining can either strengthen or weaken our existing desires. Arguably, this influence is made possible by our capacity to imaginatively elaborate on the content of our desires. This gives a reason to think that what we desire is partially under our control. It is under our control only partially because we can influence our desires insofar as their content appears appealing to us in imagination. (shrink)

Imagine a scenario where you are cooking and suddenly, the contents of the pot start to come out, and the oven bell rings. You would have to stop what you are doing and start responding to the changing demands, switching between different objects, operations and mental sets. This ability is known as cognitive flexibility. Now, add to this scenario a strong emotional atmosphere that invades you as you spontaneously recall a difficult situation you had that morning. How would you behave? (...) Recent studies suggest that emotional states do modulate cognitive flexibility, but these findings are still controversial. Moreover, there is a lack of evidence regarding the underlying brain processes. The purpose of the present study was, therefore, to examine such interaction while monitoring changes in ongoing cortical activity using EEG. In order to answer this question, we used two musical stimuli to induce emotional states (positive/high arousal/open stance and negative/high arousal/closed stance). Twenty-nine participants performed two blocks of the Madrid Card Sorting Task (MCST) in a neutral silence condition and then four blocks while listening to the counterbalanced musical stimuli. To explore this interaction, we used a combination of first-person (micro-phenomenological interview) and third-person (behavior and EEG) approaches. Our results show that compared to the positive stimuli and silence condition, negative stimuli decrease reaction times (RTs) for the shift signal. Our data show that the valance of the first emotional block is determinant in the RTs of the subsequent blocks. Additionally, the analysis of the micro-phenomenological interview and the integration of first- and third-person data show that the emotional disposition generated by the music could facilitate task performance for some participants or hamper it for others, independently of its emotional valence. When the emotional disposition hampered task execution, RTs were slower, and the P300 potential showed a reduced amplitude compared to the facilitated condition. These findings show that the interaction between emotion and cognitive flexibility is more complex than previously thought and points to a new way of understanding the underlying mechanisms by incorporating an in-depth analysis of individual subjective experience. (shrink)

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)

In this article, I focus on the reading of Heidegger's Kant that Derrida offers in his recently published 1978-9 seminar Donner le temps II (§§12–3). Here Derrida tracks across Heidegger's text the auto-affective or auto-dative structure (namely, the originary synthesis of spontaneity and receptivity) in which the Kantian conceptions of the experience of time and of transcendental imagination converge, and which is seen as scandalously underpinning the conception of respect. In particular, I draw attention to the moment in which Derrida (...) originally accounts for the structure of the Kantian respect as the movement of abandonment or delivery over to the event which he also ascribes to other figures of freedom (or unconditionality without sovereignty) explored in his later writings. My hypothesis is that, in doing so, Derrida may be building a bridge between two thoughts of imagination: on the one hand, imagination as a figure of his early differance, and, on the other hand, imagination as the non-sovereign freedom that undergirds his late work on sovereignty. (shrink)

Time’s arrow is necessary for progress from a past that has already happened to a future that is only potential until creatively determined in the present. But time’s arrow is unnecessary in Einstein’s so-called block universe, so there is no creative unfolding in an actual present. How can there be an actual present when there is no universal moment of simultaneity? Events in various places will have different presents according to the position, velocity, and nature of the perceiver. Standing against (...) this view is traditional common sense since we normally experience time’s arrow as reality and the present as our place in the stream of consciousness, but we err to imagine we are living in the actual present. The present of our daily experience is actually a specious present, according to E. Robert Kelly (later popularized by William James), or duration, according to Henri Bergson, an habitus, as elucidated by Kerby (1991), or, simply, the psychological present (Adams, 2010) – all terms indicating that our experienced present so consists of the past overlapping into the future that any potential for acting from the creative moment is crowded out. Yet, for philosophers of process from Herakleitos onward, it is the philosophies of change or process that treat time’s arrow and the creative fire of the actual present as realities. In this essay, I examine the most well known but possibly least understood process cosmology of Alfred North Whitehead to seek out this elusive but actual present. In doing so, I will also ask if process philosophy is itself an example of the creative imagination and if this relates to doing science. I conclude Whitehead's process philosophy falls short of allowing for the actual creative spontaneity of a dynamic (eternal) present. (shrink)

"In thinking about music it is difficult to avoid representing any concrete instance as if it were a stable and essentially pre-formed entity composed of fully determinate and ultimately static objects or relations. Certainly, in the actual performance of music there is no escaping the contingency and indeterminacy that inhere in every temporal act. When we attempt to analyze the musical event, however, it is most convenient to imagine that the intricate web of relationships that comes into play on such (...) an occasion has already been woven in a prior compositional act or in a determinate and determining order of values and beliefs. We can, for example, point to the score as a fixed set of instructions for the recreation of an essentially self-same work or as a repository wherein the traces of a composer's thought lie encoded awaiting faithful decoding by a receptive performer/listener. Or, with even greater abstraction, we can point to the presence of an underlying tonal system, the governing rules of a style or "common practice," the reflection of a set of existing social relations, or the role of hardened ideologies in music's production and reception. It must be said that there is some truth in the variety of determinacies that intellectual analysis would ascribe to music (if little truth in the claims of any one perspective to speak for the whole). But it must also be said that, to the extent the abstractions of analysis deny or suppress the creativity, spontaneity, and novelty of actual musical experience, analysis will have misrepresented music's inescapably temporal nature. The challenge of taking this temporal nature into account lies in finding ways of speaking of music's very evanescence and thus of developing concepts that would capture both the determinacy and the indeterminacy of events in passage. Stated in this way, such an enterprise appears to be loaded with paradox. However, much of the paradox disappears if we can shift our attention from objects or products to process and from static being to dynamic becoming. Indeed, such a shift might provide a perspective from which the great variety of determinacies we ascribe to music could be seen as inseparable components of musical communication. ". (shrink)

Summary In 1915 the Danish psychologist Edgar Rubin describes in his famous work on figure-ground perception, the phenomenon that when you look attentively at a picture, a second, virtual ego arises, breaking away from the viewer-ego to wander around in the picture along the contours of the depicted. In 1982, German Gestalt psychologist Edwin Rausch expanded this observation of the emergence of a second phenomenal ego to the conclusion that not only does a second phenomenal ego emerge, but with it (...) a second phenomenal total field, ie a second phenomenal world with its own phenomenal ego and an own phenomenal environment of this ego. Several years ago, I proposed a multi-field-approach in psychotherapy building on this research. This approach involves three levels: First, the level of phenomenological observation and psychological analysis of the conditions that determine the formation of such a second total field (and even further total fields), regardless of whether this occurs spontaneously or intentionally or as a result of external influences. Second, the level of explanation of various psychic processes, which in the field of psychotherapy have been explained so far mainly on the basis of depth psychology, and the conceptualization of the therapeutic situation and therapeutic processes from a Gestalt psychological perspective. Third, finally, the level of practical application of such insights on the development of appropriate procedures and interventions that can promote or defer the emergence of such second or multiple fields in psychotherapy. The present article introduces the multi-field approach, especially at the first level, and refers to research and discussion on mind wandering, imagining, daydreaming and dissociation. (shrink)

This book has a wonderful introduction and afterword by Marjorie Hewitt Suchocki. From beginning to end, this tri-authored work offers an integrated treatment of process theology, pneumology, and ecclesiology for the benefit of local Christian congregations.Among the three voices at work in this book, John Cobb provides an important primer on Whitehead's views of possibilities, experience, and relationships. Opening each of the book's three parts, Cobb both lays the groundwork and provides a strong framing for pneumology on the basis of (...) Whiteheadian thought. The frame for the Spirit is a broad one, calling for diversity and spontaneity. Lest the spiritual become too ethereal, Cobb reminds us of Whitehead's emphasis on experience and responsiveness to the world around us. Our freedom involves a self-determination that actualizes our own happiness and our contribution to others (111). Cobb's sections build a frame for the sections written by Epperly and Nancarrow, and they also encourage continued reading of Whitehead. (However, the book's lack of an index or a resource page for this kind of growth is a shortcoming.)Epperly offers in each of the book's three sections efforts at honing the concept of spirituality. As a concept, spirituality is in danger of a vacuousness that has no leverage in the life experience of the practitioner. Epperly does not succumb. He explicates important conduits of the spirit: embodiment, imagination, affirmative awareness, and compassion. Epperly provides a definition of spirituality as an adventurous journey of compassion. Spirituality is less a state of being and more of an exploration or a becoming as one relates to the surrounding world. He works the definition of spirituality with a prism-like beauty over the course of the three sections, integrating important persons from various cultures and inviting the reader to imagine their own spiritual past and potential future contributions.In each of the three sections, Nancarrow brings ecclesiology into the mix, thus making the book an essential for pastors who care about the pragmatics of process in the community of a local congregation. Nancarrow's chapters might be best characterized as how-to chapters helping church folk revisit the routines of liturgy, small groups, and the sacrament of communion. He encourages specific practices to engage liturgy, freshen perception, and potentially awaken hearts that can grow dull in rote practices of worship. Discernment and group work receives step-by-step attention. It is not lost on the reader that Nancarrow means to connect the care of facilitation in groups to the group's experience of the Spirit's call. Quite deftly, he closes the book with attention to the sacrament of communion in which “imagination, intellect, will, memory, emotion, sensation, and physicality are all engaged” (137).In short, The Call of the Spirit does more than talk about the Spirit. The book provides a philosophy and theology for practicing into the Spirit and helping others do the same. The authors believe in the readers’ intellect, deep-seated compassion, and commitment to the communities from which the adventure might play out in the most profound ways. (shrink)

This is a reply to Jesse Prinz and Paul Bloom’s skepticism about the moral importance of empathy. It concedes that empathy is spontaneously biased to individuals who are spatio-temporally close, as well as discriminatory in other ways, and incapable of accommodating large numbers of individuals. But it is argued that we could partly correct these shortcomings of empathy by a guidance of reason because empathy for others consists in imagining what they feel, and, importantly, such acts of imagination can (...) be voluntary – and, thus, under the influence of reflection – as well as automatic. Since empathizing with others motivates concern for their welfare, a reflectively justified empathy will lead to a likewise justified altruistic concern. In addition, we argue that such concern supports another central moral attitude, namely a sense of justice or fairness. (shrink)