Imagination, in modern philosophy

2018 ◽  
Author(s):  
Jonathan Cottrell
Keyword(s):  
Eighteenth Century ◽  
Modern Philosophy ◽  
Crucial Role ◽  
Human Mind ◽  
Mental Images ◽  
Standard View ◽  
The Aesthetic ◽  
The Relationship ◽  
The Brain

In the modern philosophical period, the imagination (sometimes called the ‘fancy’) is standardly seen as a faculty for having mental images, and for making non-rational, associative transitions among such images. This standard view forms a common core of many modern philosophers’ theories of the imagination. Different philosophers elaborate upon it in different ways: for example, some add that there is a close connection between the imagination and the brain; some, that the imagination interacts with the passions in important ways; and some, that the imagination plays a crucial role in explaining how we create artworks and how we appreciate the aesthetic properties of things. The modern period saw several important controversies among philosophers who share the standard view of the imagination. Perhaps most importantly, Descartes, Arnauld and Nicole, Spinoza, and Leibniz argue that in addition to the faculty of the imagination, we have a faculty of pure intellect or pure understanding, while Hobbes, Gassendi, and Hume deny this. Other important controversies concern the relationship between imagination and reasoning, and the role of the imagination – if any – as a source of modal knowledge, that is, knowledge of what is possible rather than merely actual. Late in the eighteenth century, Reid and Kant criticized the standard view. Reid claims to disagree with his predecessors about the association of ideas and about the nature of mental images. (However, it is unclear whether he interprets his predecessors correctly; some of his objections may miss their mark.) For his part, Kant agrees with the standard view that the imagination is a faculty for having and associating mental images. But he argues that these reproductive functions of the imagination take place in the human mind thanks to different, productive functions of the imagination that earlier philosophers did not recognize. His account of these productive functions of the imagination plays a central role in his epistemology and aesthetics.

Idleness and Freedom in Michel de Montaigne’s “Essays”

2019 ◽  
Vol 29 (1) ◽  
pp. 189-202
Keyword(s):  
Intellectual History ◽  
Ancient Rome ◽  
Spiritual Quest ◽  
Guiding Principle ◽  
Sextus Empiricus ◽  
History Of ◽  
Self Knowledge ◽  
The Aesthetic ◽  
The Relationship

The article advances a hypothesis about the composition of Michel de Montaigne’s Essays. Specialists in the intellectual history of the Renaissance have long considered the relationship among Montaigne’s thematically heterogeneous thoughts, which unfold unpredictably and often seen to contradict each other. The waywardness of those reflections over the years was a way for Montaigne to construct a self-portrait. Spontaneity of thought is the essence of the person depicted and an experimental literary technique that was unprecedented in its time and has still not been surpassed. Montaigne often writes about freedom of reflection and regards it as an extremely important topic. There have been many attempts to interpret the haphazardness of the Essays as the guiding principle in their composition. According to one such interpretation, the spontaneous digressions and readiness to take up very different philosophical notions is a form of of varietas and distinguo, which Montaigne understood in the context of Renaissance philosophy. Another interpretation argues that the Essays employ the rhetorical techniques of Renaissance legal commentary. A third opinion regards the Essays as an example of sprezzatura, a calculated negligence that calls attention to the aesthetic character of Montaigne’s writing. The author of the article argues for a different interpretation that is based on the concept of idleness to which Montaigne assigned great significance. He had a keen appreciation of the role of otium in the culture of ancient Rome and regarded leisure as an inner spiritual quest for self-knowledge. According to Montaigne, idleness permits self-directedness, and it is an ideal form in which to practice the freedom of thought that brings about consistency in writing, living and reality, in all of which Montaigne finds one general property - complete inconstancy. Socratic self-knowledge, a skepticism derived from Pyrrho of Elis and Sextus Empiricus, and a rejection of the conventions of traditional rhetoric that was similar to Seneca’s critique of it were all brought to bear on the concept of idleness and made Montaigne’s intellectual and literary experimentation in the Essays possible.

Musical and Literary Portraiture

2017 ◽  
Author(s):  
Joshua S. Walden
Keyword(s):  
Crucial Role ◽  
Gertrude Stein ◽  
Literary Portraits ◽  
The Relationship ◽  
Poetry And Music

The first chapter examines musical portraits of literary figures. It first explores Virgil Thomson’s multiple works in the genre including his portrait of Gertrude Stein, to interpret the influence of Stein’s modernist literary portraits on Thomson’s compositions. It then turns to Pierre Boulez’s orchestral portrait Pli selon pli: portrait de Mallarmé. Analyzing Boulez’s incorporation of elements of Stéphane Mallarmé’s poetry as well as the complex and idiosyncratic theories regarding the relationship between poetry and music that Mallarmé developed in his essays. Through the discussion of these portraits, the chapter addresses the crucial role of language in the musical representation of identity.

Subjectivity as a sentient perspective and the role of interoception

2018 ◽  
Author(s):  
Helena De Preester
Keyword(s):  
Crucial Role ◽  
Point Of View ◽  
Basic Form ◽  
Bodily States ◽  
The Brain ◽  
Phenomenological Point

This chapter argues that the most basic form of subjectivity is different from and more fundamental than having a self, and forwards a hypothesis about the origin of subjectivity in terms of interoception. None of those topics are new, and a consensus concerning the homeostatic-interoceptive origin of subjectivity is rapidly growing in the domains of the neurosciences and psychology. This chapter critically explores that growing consensus, and it argues that the idea that the brain topographically represents bodily states is unfit for thinking about the coming about of subjectivity. In the first part, four inherent characteristics of subjectivity are discussed from a philosophical phenomenological point of view. The second part explores whether a model of subjectivity in which interoception maintains its crucial role is possible without relying on topographical representations of the in-depth body, and giving due to the inherent characteristics of subjectivity.

Revisiting the relationship between art and industry in nineteenth-century Britain from the manufacturer’s perspective

2021 ◽  
Vol 30 (1) ◽  
pp. 31-52
Author(s):  
Ann Compton
Keyword(s):  
Nineteenth Century ◽  
Industrial Sector ◽  
Critical Discourse ◽  
Drawing Board ◽  
Public Exposure ◽  
Production Practices ◽  
The Aesthetic ◽  
The Relationship ◽  
Two Sectors

The mid-nineteenth century critical discourse compartmentalized art and industry by crediting each with specific powers. Manufacturing was identified with the development of technologically advanced processes, materials and products, while fine artists were given authority over the aesthetic aspects of industrial design. The idea that the two sectors had separate areas of responsibility has proved extremely enduring, and continues to influence our perceptions of Victorian manufacturing. This article contributes to the wider task of re-evaluating the relationship between art and industry in nineteenth-century Britain by examining the role of design in potteries and art metalworking firms from the manufacturer’s perspective. It shows that contrary to the picture painted by Victorian critics, design was central to the ambitions and commercial operations of manufacturing businesses. Crucially, decisions about the recruitment of design staff were shaped by the close connection between the creation of new products at the drawing board, and their fabrication in the workshop. Since each branch of manufacturing had its distinctive characteristics, there were significant practical, aesthetic and commercial advantages for manufacturers in employing experienced designers who knew the trade, and were fully conversant with production practices. Unless a professional sculptor joined a firm, they were unlikely to have this inside knowledge, which made commissioning one-off designs from artists a riskier proposition. Manufacturers found that one of the best ways to get around this was to make reductions of sculptures, and initial demand for statuettes in Parian suggested they would be profitable for all concerned. In the end, the market did not live up to its early promise, but the publicity given to Parian statuettes compensated manufacturers and sculptors. Overall, it was this increased public exposure for art manufactures that was the prime benefit of the mid-nineteenth century critical discourse for the industrial sector.

Derrida and the Legacy of Psychoanalysis

2021 ◽  
Author(s):  
Paul Earlie
Keyword(s):  
Digital Technology ◽  
Crucial Role ◽  
Scientific Discourse ◽  
Detailed Account ◽  
The Political ◽  
Critical Thought ◽  
The Status ◽  
The Relationship ◽  
Key Questions

This book offers a detailed account of the importance of psychoanalysis in Derrida’s thought. Based on close readings of texts from the whole of his career, including less well-known and previously unpublished material, it sheds new light on the crucial role of psychoanalysis in shaping Derrida’s response to a number of key questions. These questions range from the psyche’s relationship to technology to the role of fiction and metaphor in scientific discourse, from the relationship between memory and the archive to the status of the political in deconstruction. Focusing on Freud but proposing new readings of texts by Lacan, Torok, and Abraham, Laplanche and Pontalis, amongst other seminal figures in contemporary French thought, the book argues that Derrida’s writings on psychoanalysis can also provide an important bridge between deconstruction and the recent materialist turn in the humanities. Challenging a still prevalent ‘textualist’ reading of Derrida’s work, it explores the ongoing contribution of deconstruction and psychoanalysis to pressing issues in critical thought today, from the localizing models of the neurosciences and the omnipresence of digital technology to the politics of affect in an age of terror.

Beyond Rhetoric

2021 ◽  
pp. 322-364
Author(s):  
Danuta Mirka
Keyword(s):  
Eighteenth Century ◽  
Case Studies ◽  
String Quartets ◽  
Musical Form ◽  
The Aesthetic ◽  
Multiple Agency

The chapter starts with the discussion of the aesthetic category of “humorous music,” which emerged in the last decade of the eighteenth century, and links it to the theory of multiple agency, proposed by Edward Klorman (2016). There follow two case studies of hypermetric manipulations in the first movements of Haydn’s string quartets Op. 50 No. 3 and Op. 64 No. 1. These analyses reveal how such manipulations act in concert with ingenious deployment of musical topics and contrapuntal-harmonic schemata, and how they affect musical form. The chapter closes with remarks about the role of the first violinist in Haydn’s string quartets.

Tetens, Johann Nicolaus (1736–1807)

2018 ◽  
Author(s):  
Gunter Zoller
Keyword(s):  
Eighteenth Century ◽  
Human Mind ◽  
Second Career ◽  
Moses Mendelssohn ◽  
Descriptive Account ◽  
German School ◽  
German Philosopher ◽  
School Philosophy ◽  
The Mind

Tetens was a German philosopher, mathematician and physicist, with a second career as a Danish government official, who was active in Northern Germany and Denmark during the second half of the eighteenth century. Together with Johann Heinrich Lambert and Moses Mendelssohn, Tetens forms the transition from the German school philosophy of Leibniz, Wolff and Crusius to the new, critical philosophy of Kant. Tetens’ philosophical work reflects the combined influence of contemporary German, British and French philosophical currents. His main contribution to philosophy is a detailed descriptive account of the principal operations of the human mind that combines psychological, epistemological and metaphysical considerations. While showing a strong empiricist leaning, Tetens rejected the associationist and materialist accounts of the mind, favoured in Britain and France, and insisted on the active, spontaneous role of the mind in the formation and processing of mental contents.

Unveiling the Cognitive Mechanisms of Eyes

2014 ◽  
Vol 8 (1) ◽  
pp. 36-50 ◽  
Author(s):  
Yingxu Wang
Keyword(s):  
Eye Movements ◽  
Knowledge Base ◽  
Crucial Role ◽  
Cognitive Mechanisms ◽  
Brain Science ◽  
Internal Memory ◽  
Cognitive Knowledge ◽  
The Mind ◽  
The Brain

Eyes as the unique organ possess intensively direct connections to the brain and dynamically perceptual accessibility to the mind. This paper analyzes the cognitive mechanisms of eyes not only as the sensory of vision, but also the browser of internal memory in thinking and perception. The browse function of eyes is created by abstract conditioning of the eye's tracking pathway for accessing internal memories, which enables eye movements to function as the driver of the perceptive thinking engine of the brain. The dual mechanisms of the eyes as both the external sensor of the brain and the internal browser of the mind are explained based on evidences and cognitive experiences in cognitive informatics, neuropsychology, cognitive science, and brain science. The finding on the experiment's internal browsing mechanism of eyes reveals a crucial role of eyes interacting with the brain for accessing internal memory and the cognitive knowledge base in thinking, perception, attention, consciousness, learning, memorization, and inference.

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