Imagery agnosia and its phenomenology

Lack of vivid sensory imagery has recently become an active subject of research, under the name of aphantasia. Extremely vivid imagery, or hyperphantasia, is at the other end of the spectrum of individual differences. While most research has focused on visual imagery in this paper I argue that from a neuropsychological perspective this phenomenon is much more widespread, and should be categorized as imagery sensory agnosia. After over twenty years of learning to play music phenomenology of auditory imagery agnosia is described from the first-person perspective. Reflections on other forms of imagery agnosia and deficits of autobiographical memories are presented and a hypothesis about putative brain processes that can account for such phenomena is discussed. Extreme individual differences in imagery and in autobiographical memory have implications for many fields of study, from consciousness research to education.

Neural Oscillations and Networks in Processes Specific to Auditory Imagery

Auditory imagery is a cognitive process for generating sound in our mind. Despite the absence of external stimuli, neuroimaging studies have found overlapping neural activities within perception and imagery. While neuroimaging studies have revealed activities unique to auditory imagery, namely memory retrieval and mental manipulation, little is known about the functional oscillatory networks associated with these processes. Therefore, in this study, we aimed to distinguish between neural oscillations for memory retrieval and mental manipulation processes by building a novel experimental paradigm containing multiple imagery conditions with the goal of enabling the effective investigation of different oscillatory processes. We found that frontal and temporal gamma power was associated with mental manipulation, while frontotemporal delta phase coupling and delta-gamma phase-amplitude coupling were each associated with memory retrieval during auditory imagery. Moreover, we found that oscillations reflecting auditory-motor communication were associated with memory retrieval. Our results suggest the critical role of neural oscillations associated with imagery-specific processes and present evidence supporting the long-debated role of motor functions in auditory imagery. Our work thus adds dimension to the state of knowledge regarding functional networks within auditory imagery.

THE IMAGERY FOUND IN THE CLIENT

The aim of the reseach is to elaborate the use of the imagery in the novel: The Client. Starting from the definition of Imagery, the imagery found in the novel, then to find out what John Grisham’s - as the writer of the novel - intention to use imagery in his novel. The objectives of analysis is to have some knowledge deeper about the use of imagery in The Client by John Grisham and how he takes the readers into Mark Sway’s traumatic experience and how he helps the readers understand Mark Sway’s position through imagery found. This study adopts library research (Library Research) which contains an in-depth collection of material on one or several subjects (Young, 1983; p. 188). This study covers the inclusion of primary sources as well as secondary sources. There are 5 types of imagery found in The Client. They are Visual Imagery, Auditory Imagery, Internal Sensation Imagery, Olfactory Imagery and Tactile Imagery.

Anauralia: The Silent Mind and Its Association With Aphantasia

Auditory and visual imagery were studied in a sample of 128 participants, including 34 self-reported aphantasics. Auditory imagery (Bucknell Auditory Imagery Scale-Vividness, BAIS-V) and visual imagery (Vividness of Visual Imagery Questionnaire-Modified, VVIQ-M) were strongly associated, Spearman's rho = 0.83: Most self-reported aphantasics also reported weak or entirely absent auditory imagery; and participants lacking auditory imagery tended to be aphantasic. Similarly, vivid visual imagery tended to co-occur with vivid auditory imagery. Nevertheless, the aphantasic group included one individual with typical auditory imagery; and the group lacking auditory imagery (N = 29) included one individual with typical visual imagery. Hence, weak visual and auditory imagery can dissociate, albeit with low apparent incidence. Auditory representations and auditory imagery are thought to play a key role in a wide range of psychological domains, including working memory and memory rehearsal, prospective cognition, thinking, reading, planning, problem-solving, self-regulation, and music. Therefore, self-reports describing an absence of auditory imagery raise a host of important questions concerning the role of phenomenal auditory imagery in these domains. Because there is currently no English word denoting an absence of auditory imagery, we propose a new term, anauralia, for referring to this, and offer suggestions for further research.

Black Feminism Interpretation in Maya Angelo's Poems with Figurative Language and Imaginary Analysis

Poetry is one type of literary work that has characteristics and characteristics makes it different from other literary works. Currently there are many poems written using the experience of discrimination as an object due to various conditions appearing in society. Besides that, there are also many female poets who writing poetry using a feminist approach. The purpose of this study is to identify the types of figurative language and images related to Maya Angelou in black feminism in her poetry. It also analyzes the influence of Maya Angelou's black feminist thought reflected in her poetry through figurative words and images. In this qualitative study, the authors use a descriptive method through several steps, preparation, data collection, and data analysis. The focus of this research is the analysis of figurative language, types of images, and black feminism in Maya Angelo's poems. The figurative language and imagination used in the poems are diverse, such as metaphor, personification, paradox, symbol, irony, irony, visual imagery, and auditory imagery. In this analysis it can be concluded that black feminism movement are courageous, brave and outspoken.

Citraan pada Kumpulan Puisi Bertema Musim Gugur Karya Goethe

<p><strong>Imagery plays an important role in literary works, and poetry is no exception. In Goethe's poetry, the romantic era which tries to describe the beauty of nature as the main object is very strong. One of the natural beauties that are trying to be described and famous is autumn in Germany. This natural phenomenon is trying to be described through imagery, so readers need to understand the imagery in poetry to get a clear picture and understand the intent or message in the poem. This study aims to describe the meaning related to imagery and the types of imagery contained in Goethe's poems. The research method used is qualitative with the theory of Pradopo. The results showed that in the process of understanding the images or images contained in poetry, an understanding of the meaning contained in the poem as a whole was needed to get a clear picture. Meanwhile, based on the results of the analysis, found 4 types of imagery in Goethe's autumn-themed poetry, namely visual imagery, auditory imagery, tactile imagery, and motion imagery. The number of each image is 8 visual images, 2 auditory images, 2 tactile images, and 3 motion images.</strong></p><p><strong><strong><em>Keywords</em></strong>–</strong><em>Goethe, Imagery, Poetry</em><em>, Herbsgedichte</em></p>

Individual differences in mental imagery in different modalities and levels of intentionality

Mental imagery is a highly common component of everyday cognitive functioning. While substantial progress is being made in clarifying this fundamental human function, much is still unclear or unknown. A more comprehensive account of mental imagery aspects would be gained by examining individual differences in age, sex, and background experience in an activity and their association with imagery in different modalities and intentionality levels. The current online study combined multiple imagery self-report measures in a sample (n = 279) with a substantial age range (18–65 years), aiming to identify whether age, sex, or background experience in sports, music, or video games were associated with aspects of imagery in the visual, auditory, or motor stimulus modality and voluntary or involuntary intentionality level. The findings show weak positive associations between age and increased vividness of voluntary auditory imagery and decreased involuntary musical imagery frequency, weak associations between being female and more vivid visual imagery, and relations of greater music and video game experience with higher involuntary musical imagery frequency. Moreover, all imagery stimulus modalities were associated with each other, for both intentionality levels, except involuntary musical imagery frequency, which was only related to higher voluntary auditory imagery vividness. These results replicate previous research but also contribute new insights, showing that individual differences in age, sex, and background experience are associated with various aspects of imagery such as modality, intentionality, vividness, and frequency. The study’s findings can inform the growing domain of applications of mental imagery to clinical and pedagogical settings.

The socialization of hallucinations: Cultural priors, social interactions, and contextual factors in the use of psychedelics

The effects of so-called “psychedelic” or “hallucinogenic” substances are known for their strong conditionality on context. While the so-called culturalist approach to the study of hallucinations has won the favor of anthropologists, the vectors by which the features of visual and auditory imagery are structured by social context have been so far little explored. Using ethnographic data collected in a shamanic center of the Peruvian Amazon and an anthropological approach dialoguing with phenomenology and recent models of social cognition of Bayesian inspiration, I aim to shed light on the nature of these dynamics through an approach I call the “socialization of hallucinations.” Distinguishing two levels of socialization of hallucinations, I argue that cultural background and social interactions organize the relationship not only to the hallucinogenic experience, but also to its very phenomenological content. I account for the underpinnings of the socialization of hallucinations proposing such candidate factors as the education of attention, the categorization of perceptions, and the shaping of emotions and expectations. Considering psychedelic experiences in the light of their noetic properties and cognitive penetrability debates, I show that they are powerful vectors of cultural transmission. I question the ethical stakes of this claim, at a time when the use of psychedelics is becoming increasingly popular in the global North. I finally emphasize the importance of better understanding the extrapharmacological factors of the psychedelic experience and its subjective implications, and sketch out the basis for an interdisciplinary methodology in order to do so.

Rethinking Aural Skills Instruction through Cognitive Research

This essay responds to three papers appearing in this issue that relate music-cognitive research to aural skills pedagogy. Gary S. Karpinski focuses on tonic inference as support for do-based minor solfège pedagogy. My discussion supports this position, with evidence from key-profile experiments and corpus analyses. Timothy Chenette proposes a perceptually based learning sequence for aural skills instruction. He sketches a model curriculum, to which I propose a staffing solution and offer a research-based challenge: the high-voice superiority principle. Finally, Sarah Gates considers what the cognitive sciences can tell us about auditory imagery. I offer classroom strategies that take advantage of motor-area activation in the brain.

Vividness, Clarity, and Control in Auditory Imagery

Previous studies of auditory imagery have often confounded vividness and clarity, and the differences between these constructs are not clear. Additionally, it has been suggested that clarity is a more useful construct than is vividness in understanding auditory imagery. The Clarity of Auditory Imagery Scale and the Bucknell Auditory Imagery Scale were administered to participants, and ratings of the clarity, vividness, and control over auditory imagery were collected. All three measures were highly positively correlated. The magnitudes of these correlations were not influenced by participants’ sex, age, ethnic group, handedness, years of participation in a band or choir, or years of formal instruction in music, and possible reasons for the lack of individual differences are discussed. Three analogies for understanding differences between vividness in auditory imagery and clarity in auditory imagery, and suggestions for potential operational definitions of auditory vividness and auditory clarity in future studies, are provided.