This study examines the theology of the fourth-century bishop, Hilary of Poitiers, concentrating particularly on two commentaries written at different times in his life. The main focus of the study is on Hilary's anthropological theology.

How do pictures represent? In this book Robert Hopkins casts new light on an ancient question by connecting it to issues in the philosophies of mind and perception. He starts by describing several striking features of picturing that demand explanation. These features strongly suggest that our experience of pictures is central to the way they represent, and Hopkins characterizes that experience as one of resemblance in a particular respect. He deals convincingly with the objections traditionally assumed to be fatal to (...) resemblance views, and shows how his own account is uniquely well placed to explain picturing's key features. His discussion engages in detail with issues concerning perception in general, including how to describe phenomena that have long puzzled philosophers and psychologists, and the book concludes with an attempt to see what a proper understanding of picturing can tell us about that deeply mysterious phenomenon, the visual imagination. (shrink)

This book collects some of the most exciting pioneering work in perceptual and cognitive psychology. The authors' quantitative approach to the study of mental images and their representation is clearly depicted in this invaluable volume of research which presents, interprets, evaluates, and extends their work. The selections are preceded by a thorough review of the history of their experiments, and all of the articles have been updated with reviews of the current literature. The book's first part focuses on mental rotation; (...) the second includes other, more complex transformations and sequences of transformations. A third part describes work on rotational transformations in the context of the perceptual illusion of &"apparent motion.&" Roger N. Shepard is Professor of Psychology, Stanford University. Lynn A. Cooper is Professor of Psychology, University of Arizona. A Bradford Book. (shrink)

Image in the Making examines the ways in which digital technology changes our understanding of and engagement with the visual arts. At the current stage of development in digital technology, we cannot always tell, just by looking, that an image was made with digital - versus analog - tools. But a case can be made for fully appreciating an image only in terms of its underlying digital structure and technology.

This is the first English translation of Husserliana XXIII, the volume in the critical edition of Edmund Husserl's works that gathers together a rich array of posthumous texts on representational consciousness. The lectures and sketches comprising this work make available the most profound and comprehensive Husserlian account of image consciousness. They explore phantasy in depth, and furnish nuanced accounts of perception and memory.

The nature of representation is a central topic in philosophy. This is the first book to connect problems with understanding representational artifacts, like pictures, diagrams, and inscriptions, to the philosophies of science, mind, and art. Can images be a source of knowledge? Are images merely conventional signs, like words? What is the relationship between the observer and the observed? In this clear and stimulating introduction to the problem John V. Kulvicki explores these questions and more. He discusses: the nature of (...) pictorial experience and "seeing in" recognition, resemblance, pretense, and structural theories of depiction images as aids to scientific discovery and understanding mental imagery and the nature of perceptual content photographs as visual prostheses. In so doing he assesses central problems in the philosophy of images, such as how objects we make come to represent other things, and how we distinguish kinds of representation - pictures, diagrams, graphs - from one another. Essential reading for students and professional philosophers alike, the book also contains chapter summaries, annotated further reading, and a glossary. (shrink)

Generative AI has gained a lot of attention in society, business, and science. This trend has increased since 2018, and the big breakthrough came in 2022. In particular, AI-based text and image generators are now widely used. This raises a variety of ethical issues. The present paper first gives an introduction to generative AI and then to applied ethics in this context. Three specific image generators are presented: DALL-E 2, Stable Diffusion, and Midjourney. The author goes into technical (...) details and basic principles, and compares their similarities and differences. This is followed by an ethical discussion. The paper addresses not only risks, but opportunities for generative AI. A summary with an outlook rounds off the article. (shrink)

This paper argues that the AI ethics has generally neglected the issues related to the science communication of AI. In particular, the article focuses on visual communication about AI and, more specifically, on the use of certain stock images in science communication about AI — in particular, those characterized by an excessive use of blue color and recurrent subjects, such as androgyne faces, half-flesh and half-circuit brains, and variations on Michelangelo’s The Creation of Adam. In the first section, the author (...) refers to a “referentialist” ethics of science communication for an ethical assessment of these images. From this perspective, these images are unethical. While the ethics of science communication generally promotes virtues like modesty and humility, similar images are arrogant and overconfident. In the second section, the author uses French philosopher Jacques Rancière’s concepts of “distribution of the sensible,” “disagreement,” and “pensive image.” Rancière’s thought paves the way to a deeper critique of these images of AI. The problem with similar images is not their lack of reference to the “things themselves.” It rather lies in the way they stifle any possible forms of disagreement about AI. However, the author argues that stock images and other popular images of AI are not a problem per se, and they can also be a resource. This depends on the real possibility for these images to support forms of pensiveness. In the conclusion, the question is asked whether the kind of ethics or politics of AI images proposed in this article can be applied to AI ethics tout court. (shrink)

Body image and body schema refer to two different yet closely related systems. Whereas BI can be defined as a system of perceptions, attitudes, and beliefs pertaining to one's own body, BS is a system of sensory-motor capacities that functions without awareness or the necessity of perceptual monitoring. Studies have demonstrated that applying the concepts of BI and BS enables us to conceptualize complex pathological phenomena such as anorexia, schizophrenia, and depersonalization. Likewise, it has further been argued that these (...) concepts play a crucial role in our ability to grasp our bodily experiences in the socio-cultural world according to various factors, such as gender, social class, and ethnicity. Referring to the insights of Frantz Fanon, the author of Black Skin, White Masks, this paper suggests that under certain conditions the BI can take over and reshape the BS. Based on an examination of Fanon’s writings, the paper suggests that not only the BI can truly remold the BS but that the gaze of the other can directly influence the BI. (shrink)

Some have suggested that images can be arguments. Images can certainly bolster the acceptability of individual premises. We worry, though, that the static nature of images prevents them from ever playing a genuinely argumentative role. To show this, we call attention to a dilemma. The conclusion of a visual argument will either be explicit or implicit. If a visual argument includes its conclusion, then that conclusion must be demarcated from the premise or otherwise the argument will beg the question. If (...) a visual argument does not include its conclusion, then the premises on display must license that specific conclusion and not its opposite, in accordance with some demonstrable rationale. We show how major examples from the literature fail to escape this dilemma. Drawing inspiration from the graphical logic of C. S. Peirce, we suggest instead that images can be manipulated in a way that overcomes the dilemma. Diagrammatic reasoning can take one stepwise from an initial visual layout to a conclusion—thereby providing a principled rationale that bars opposite conclusions—and the visual inscription of this correct conclusion can come afterward in time—thereby distinguishing the conclusion from the premises. Even though this practical application of Peirce’s logical ideas to informal contexts requires that one make adjustments, we believe it points to a dynamic conception of visual argumentation that will prove more fertile in the long run. (shrink)

The barest awareness of the ubiquity and influence of the media today provides proof enough that our fate is in the hands of the image. But when and how was this fate sealed? _Image, Icon, Economy_ considers this question and recounts an essential thread in the conceptualization of visual images within the Western tradition. This book argues that the extraordinary force of the image in contemporary life—the contemporary imaginary—can be traced back to the Byzantine iconoclastic controversy of the (...) eighth and ninth centuries. It was during this period that the church was compelled to produce an account of the theological status of the religious image that would nevertheless not be open to even the slightest suspicion of idolatry. The solution arrived at was the dual doctrine of the _image_, _invisible_ (and thus beyond the charge of idolatry) and the _icon_, _visible_, and thus perfectly fitted to be placed at the center of a pedagogical and political strategy serving the temporal power of the church. The foundations of this immense philosophical enterprise were laid in no less than the multifarious, interwoven strands of the divine _economy_, God's overall plan for the salvation of humanity. (shrink)

This paper synthesizes the central argument of our forthcoming book ‘Tantric Instructions of Insight’ (2026) within a broader scholarly context, drawing on the contributions of Giuseppe Tucci, David and Janice Jackson, Robert Beer, Yael Bentor, David Germano, and Janet Gyatso. The shared discovery across these diverse approaches is that Tibetan tantric imagery is operative rather than merely representational. A thangka does not illustrate awakening from outside; it functions as a living instrument of presence, visualization, and inner transformation. The paper situates (...) this claim within the author’s own practice-based framework, the Yoga of the Inner Light, and argues that the thangka belongs to a wider contemplative phenomenology in which image, body, subtle perception, and primordial awareness become interwoven. Particular attention is given to the Samantabhadra Peaceful-Wrathful Mandala, to the doctrine of bardo recognition, and to the role of wrathful imagery as fierce compassion. The paper concludes that the thangka’s deepest function is initiatory: it trains consciousness to recognize its own luminous ground in the act of seeing. (shrink)

A photographic image is said to provide evidence of a photographed scene because it is a causal imprint of reflected light, an indexical trace of real objects and events. Though widely established in the history, theory, and philosophy of photography, this traditional imprinting model must be rejected because it relies on a “single-stage” misconception of the photographic process: the idea that a photographic image comes into existence at the time of exposure. In its place, a “multistage” account properly (...) articulates different production stages, such as registering and rendering, that are relevant to understanding the relation between a photographic image and the photographed scene. By denying that any photographic image is a causal imprint, the multistage approach proposes a more demanding evaluation of photographic evidence. This has implications for documentary film and photojournalism, along with specialized applications such as forensics, surveillance, and face-recognition technology. (shrink)

The research examines the views of J. A. Condorcet, one of the most prominent representatives of the galaxy of European enlighteners. The detailed development and substantiation by the French thinker of the idea of social progress, the main driving force of which is the human mind, still arouses research interest today, more than 230 years later. The current radical change in philosophical views on human improvement and human nature in general is associated with the spread of transhumanist ideas. Attempts to (...) establish a new world order are accompanied by the development of an image of the “desired future” in the form of a social model of the transhumanist concept. Its popularization and the desire to move from the host of philosophical ideas to the practical sphere are facilitated, first of all, by reliance on a modern scientific and technological foundation, the increased capabilities of nano-, bio-, info- and cognitive sciences. The authors of the research focus on the question: are today’s ideas about human improvement a reconstruction of intentions based on the ideas of the 18th century enlighteners, taking into account the achievements of modern scientific and technological progress and transformed to meet the “demands of the time”? Or is the movement towards a bright future, the pursuit of happiness as the main goal of humanity seen by thinkers of the past and today’s transhumanists in completely different ways? The authors turn to the scientific heritage of J.A. Condorcet, containing ideas of progress that served as a certain guideline in the course of subsequent social transformations. The representative of the French Enlightenment saw the potential for human improvement in the development of intelligence, morality, science, art, literature, believing that the main guarantee of achieving success in this field is ensuring the availability of universal education. Condorcet sets a high standard for the future, an example of the proper attitude of the state to the education and upbringing of its citizens, not leaving aside the importance of such material driving forces of progress as the development of industry, agriculture, etc. The work emphasizes that, despite all the utopian views of the enlighteners, their ideas about the power of reason have not lost their significance today, since they represent strategic guidelines for the elevation of each person, his spiritual growth due to a decent education and upbringing, familiarization with new knowledge, the disclosure of creative abilities, i.e. through personal and cultural improvement. (shrink)

This article is concerned with the relationship between body, image and affect within consumer culture. Body image is generally understood as a mental image of the body as it appears to others. It is often assumed in consumer culture that people attend to their body image in an instrumental manner, as status and social acceptability depend on how a person looks. This view is based on popular physiognomic assumptions that the body, especially the face, is a (...) reflection of the self: that a person’s inner character or personality will shine through the outer appearance. The modification and cosmetic enhancement of the body through a range of regimes and technologies can be used to construct a beautiful appearance and thereby a beautiful self. The article begins by examining body images in consumer culture and their relation to photography and moving images. This is followed by an examination of the consumer culture transformative process through a discussion of cosmetic surgery. The article then questions the over-simplistic logic that assumes that transformative techniques will automatically result in a more positive and acceptable body image. The new body and face may encourage people to look at the transformed person in a new way. But the moving body, the body without image, which communicates through proprioceptive senses and intensities of affect, can override the perception of the transformed appearance. A discussion of the affective body follows, via a closer examination of the body without image, the opening of the body to greater affect and indeterminacy. The affective body image and its potential greater visibility through new media technologies are then discussed through some examples taken from digital video art. The article concludes by examining some of the implications of these shifts within consumer culture and new media technologies. (shrink)

ABSTRACT This article argues for a unique role of imagination and mental images in the moral education of students. Imagination is rendered here as a capacity oriented toward realizable and salient goals; mental images are understood as particular future-oriented self-representations (FOSRs) devised by and held in imagination. FOSRs have four moral attributes: they are 1) expressive of us as moral agents, 2) shape our moral identity, 3) serve as moral pointers, and 4) help devise mitigating strategies. FOSRs can be created (...) and utilized in educational settings to further the goals of moral education by i) fostering sensitivity to moral situations among students, ii) motivating learners to act morally, iii) facilitating environments supportive of moral practice and moral habituation, and iv) helping strengthen cross-situational consistency of moral action. The four moral attributes of future-oriented self-representations (FOSRs) (1–4) that are to be engaged in moral education to further its goals (i–iv) are correlated with four elements of moral education, namely: a) moral awareness; b) moral competency; c) moral motivation; and d) moral capacity. To argue for the special role of imagination and mental images in moral education this paper integrates philosophical research and conceptual and empirical studies in psychology and education on the morality of imagination and mental images. (shrink)

How can one ‘see’ the operationalization of contemporary visual culture, given the imperceptibility and apparent automation of so many processes and dimensions of visuality? Seeing – as a position from a singular mode of observation – has become problematic since many visual elements, techniques, and forms of observing are highly distributed through data practices of collection, analysis and prediction. Such practices are subtended by visual cultural techniques that are grounded in the development of image collections, image formatting and (...) hardware design. In this article, we analyze recent transformations in forms of prediction and data analytics associated with spectacular performances of computation. We analyze how transformations in the collection and accumulation of images as ensembles by platforms have a qualitative and material effect on the emergent sociotechnicality of platform ‘life’ and ‘perception’. Reconstructing the visual transformations that allow artificial intelligence assemblages to operate allows some sense of their heteronomous materiality and contingency. (shrink)

My aim in this paper is to offer a systematic analysis of a feature of Kant’s theory of perception that tends to be overlooked, viz., his account of how the imagination forms images in perception. Although Kant emphasizes the centrality of this feature of perception, indeed, calling it a ‘necessary ingredient’ of perception, commentators have instead focused primarily on his account of sensibility and intuitions on the one hand, and understanding and concepts on the other. However, I show that careful (...) attention to what he says about the nature of images, their connection to the imagination, and their role in perception in his Metaphysics Lectures, as well as in the Deduction and Schematism chapters of the first Critique reveals that Kant is working with a richer, more nuanced framework for perception than is often attributed to him. I contend that it is only once we have a revised framework for Kant’s theory of perception in place that we will be able to make further headway in debates, e.g., about whether or not he is a conceptualist about perception. (shrink)

The senses present their content in the form of images, three-dimensional arrays of located sense features. Peacocke’s “scenario content” is one attempt to capture image content; here, a richer notion is presented, sensory images include located objects and features predicated of them. It is argued that our grasp of the meaning of these images implies that they have propositional content. Two problems concerning image content are explored. The first is that even on an enriched conception, image content (...) has certain expressive limitations. In particular, it cannot express absolute location and time (as opposed to spatiotemporal relations) or logical complexity. Yet, perceptual experience does seem to express certain absolute locations—namely, here and now. How can it do so? Secondly, image content cannot exhaust the significance of perceptual states. This is proved by noting that perception, memory, and anticipation can have the same image content. Yet they have different significance. These problems show that some of the significance of sensory states comes from outside the image. (shrink)

This article explores the relationality between women’s bodies and selfies on NSFW (Not Safe For Work) tumblr blogs. We consider the way selfie practices engage with normative, ageist and sexist assumptions of the wider culture in order to understand how specific ways of looking become possible. Women’s experiences of their bodies change through interactions, sense of community and taking and sharing selfies. This article provides an empirical elaboration on what sexy selfies are and do by analysing interviews, selfies and blog (...) content of nine women in the NSFW self-shooters community on tumblr. For our participants, self-shooting is an engaged, self-affirmative and awareness raising pursuit, where their body, through critically self-aware self-care, emerges as agentic, sexual and distinctly female. Thus, this is a reading of selfies as a practice of freedom. (shrink)

The inspectability of after-images has been denied. A typical claim is Ilham Dilman's: ‘I cannot say my apprehension of the after-image I see has changed but not the after-image itself’, for, he says, appearance and reality are one as regards the after-image. His reason is that this is a logical consequence of the fact that other people have no possible basis for correcting what I say about the after-image I see.

The present text aims to discuss a certain kind of internet meme, construed here as an image macro, in the context of Conceptual Blending Theory (Fauconnier and Turner 2002). Image-based memes (image macros) that contain a verbal layer appear to be the most popular form of such memes. Their concise form demonstrates a creative potential: memes are packed with meaning, reflected in various conceptual packets integrated into their verbal and visual semiosis. Blending theory thus seems an appropriate (...) framework for a discussion of the cognitive mechanisms of memes and the relation between the verbal and the visual, as well as for tracing how the analogy between given domains/input spaces contributes to the effectiveness of a message. (shrink)

Operating from the assumption that a primary dynamic of contemporary public argument involves the use of visual images the authors explore the argumentative possibilities of the `image events' (staged protests designed for media dissemination) employed by radical ecology groups. In contextualizing their discussion, the authors offer an analysis of the contemporary conditions for argumentation by describing the character and operation of public communication, social problem creation, and public opinion formation in a mass-mediated public sphere. The authors argue that (...) class='Hi'>image events are a form of postmodern argumentative practice, a kind of oppositional argument that creates social controversy, and animates and widens possibilities for debate. They further suggest that image events are a postmodern form of argument involving acts of protest which deliver images as argumentative fragments. Employing the tools of traditional argument theory the authors describe how images are capable of offering unstated propositions and advancing indirect and incomplete claims in ways that function to block enthymemes and advance alternatives. In concluding, the authors discuss the implications of image events for our understanding of the public sphere and the possibilities for argumentation in a postmodern age. (shrink)

This study investigated the mediating roles of self-acceptance and self-esteem in the relationship between body image dissatisfaction and impulse buying, and tested the moderating effect of gender on the relationships. A sample of 374 college students and graduate students participated in the study. Results revealed that body image dissatisfaction positively associated with impulse buying; self-esteem plays a mediating role between body image dissatisfaction and impulsive buying; a serial indirect pathway emerged; the mediation path from self-acceptance to self-esteem (...) was stronger for female than that from male. The results underscore the importance of identifying the mechanisms that moderate the mediated path between body image dissatisfaction and impulse buying among students. These findings point to the potential implications about how to reduce impulse buying through improving body image satisfaction. (shrink)

Is seeing a matter of nature? Does perspective show things as they really are? Can we read an image in the same way as a text? This book draws together essays that attempt to answer these questions but in a variety of ways and from the different theoretical positions offered by psychoanalysis, semiotics, poststructuralism and postmodernism. The anthology opens up a dialogue between seeing and the seen, text and image, theory and practice. By discussing a range of visual (...) material, from advertising and architecture to painting and photography, it crosses generic and disciplinary boundaries and suggests ways in which vision and visuality are related to questions of textuality, subjectivity, race, and gender. (shrink)

Crisis jargon has become endemic in modernity. Whether in radical or in affirmative versions, the idea that ‘crisis’ offers ‘opportunity’, in accordance with the meaning of crisis as ‘decision’, is widespread. This paper questions the relationship between modernity and crisis, first by highlighting the ways in which modernity itself has been cast as ‘crisis’: first as crisis of tradition, then as crisis of modernity itself. The main part of this paper then consists of a reading of modernity-as-crisis inspired by Walter (...) Benjamin, most notably by his Passagen-Werk. It consists of an attempt to consider ‘crisis’ as what Benjamin calls a ‘wish image’, an image that contains hidden utopian ideals. In invoking ‘crisis’, I argue, a conception of modernity as shock, raised to the level of the collective, becomes apparent. Crisis jargon thereby remains wedded to what Benjamin calls a mythical conception of history. The paper ends with a discussion of the political consequences that follow from this that are grounded in the relation between messianism and profane politics in Benjamin. (shrink)

The body image with respect to physical disability has long been a woefully under-theorized area of scholarship. The literature that does attend to the body image in cases of physical abnormality or functional impairment regularly offer poorly articulated or problematic definitions of the concept, effectively undermining its historic analytic scope and depth. Here, I revisit the epistemic roots of the body image while also engaging the rich contemporary literature from a body studies perspective in order to situate (...) the narratives of amputees about the relationship between dismemberment, prosthetization, phantom limb syndrome, and body image. Stories about living with artificial, fleshy, phantomed, and residual limbs unquestionably reveal a number of peculiarities unique to amputees. However, they also offer a distinctively productive ingress into the analytic utility of a ‘re-visioned’ conceptualization of the body image more broadly speaking. Indeed, the body image can function as a robust investigative tool for exploring the intersubjective, processual, and relational features of embodiment and corporeality. (shrink)

The success of the London 2012 Paralympic Games not only revealed new public possibilities for the disabled, but also thrust the debates on the relationship between elite Paralympians and advanced prosthetic technology into the spotlight. One of the Paralympic stars, Oscar Pistorius, in particular became celebrated as ‘the Paralympian cyborg’. Also prominent has been Aimee Mullins, a former Paralympian, who became a globally successful fashion model by seeking to establish a new bodily aesthetic utilizing non-organic body parts. This article examines (...) how the modern discourse of prostheses has shifted from the made-up and camouflaged body to the empowered and exhibited body to create a new cultural sensitivity in terms of body image – prosthetic aesthetics. Prosthetic aesthetics oscillates between two polarized sensitivities: attractiveness/‘coolness’, which derive from the image of a perfect human-machine synthetic body, and from abjection/the uncanny, which is evoked by the actual materiality of the lived body incorporating a lifeless human-made body part. (shrink)

Slagging-off is an important preprocessing operation of steel-making to improve the purity of iron. Current manual-operated slag removal schemes are inefficient and labor-intensive. Automatic slagging-off is desirable but challenging as the reliable recognition of iron and slag is difficult. This work focuses on realizing an efficient and accurate recognition algorithm of iron and slag, which is conducive to realize automatic slagging-off operation. Motivated by the recent success of deep learning techniques in smart manufacturing, we introduce deep learning methods to this (...) field for the first time. The monotonous gray value of industry images, poor image quality, and nonrigid feature of iron and slag challenge the existing fully convolutional networks. To this end, we propose a novel spatial and feature graph convolutional network module. SFGCN module can be easily inserted in FCNs to improve the reasoning ability of global contextual information, which is helpful to enhance the segmentation accuracy of small objects and isolated areas. To verify the validity of the SFGCN module, we create an industrial dataset and conduct extensive experiments. Finally, the results show that our SFGCN module brings a consistent performance boost for a wide range of FCNs. Moreover, by adopting a lightweight network as backbone, our method achieves real-time iron and slag segmentation. In the future work, we will dedicate our efforts to the weakly supervised learning for quick annotation of big data stream to improve the generalization ability of current models. (shrink)

This paper focuses on the work to which the concept of image is put by Heidegger in his retrieval of the schematism in Kant and the Problem of Metaphysics. Whereas the schematic role of the image is never fully developed by Kant, Heidegger pays it much more attention, investing it with properties that have the potential to make the schema an active component in his own ontology. However, the motifs he uses to characterize the image depart from (...) the conventional notion of an image as the representation of an object or scene, and are puzzling, if not to say mysterious. I show how the motifs acquire new relevance when they are considered in relation to (a) Boehm’s ‘indeterminacy’ theory of the image, and (b) the novel, ontological concept of time that Heidegger introduces. With these perspectives in mind, the motifs allow us to ‘image’ or imagine aspects of continuity that are central to Heidegger’s concept of primordial time, and therefore confirm the schema as a coherent element in his system. I also suggest how this clarified schema-image might act as a bridge between Heidegger’s philosophy before and after the turn. (shrink)

Adaptive optics play a crucial role in acquiring high-quality images in ground-based telescopes. The primary challenge lies in mitigating the impact of atmospheric turbulence on captured light, which induces aberrations in the wavefront, resulting in distorted images. Over the past decade, several studies have been carried out exploring the application of predictive models to this technology, aiming to increase the efficiency of the process, reduce costs as well as improve the response time of the system. In particular, neural networks have (...) been proven to be a powerful tool toward this end. This study assesses the potential of novel training and data processing techniques, while also evaluating the influence of specific parameters such as input data length and system frequency. In this study, the ideal training parameters are first analyzed through several low-complexity models, followed by the integration of more sophisticated neural networks. The feasibility of predicting slopes from sensor images has been demonstrated, validating the use of image-based sensor data. These results also open the path for exploring multi-scale sensors, like pyramid sensors, which could further improve predictions by capturing data at different spatial resolutions. (shrink)

Given the existing diverse range of modeling techniques, this essay examines the epistemic role of images in design development. I argue that design images – used broadly to refer to all those image-related artifacts that act directly as proxies in the course of devising and adjusting a design: sketches, drawings, plans, diagrams, photorealistic images – make it possible to develop future artifacts and to guarantee the rightness of the emerging design knowledge. Their generative operativity facilitates a media-based reflexivity and (...) in turn makes the images epistemically highly effective. By way of an empirical example, the essay draws on the development of a building façade by architectural firm J. Mayer H. Architects, examining the different image-based techniques used. A brief study of the forms of sketching, rendering, projecting, notating, and scaling reveals a range of image-based epistemic strategies. These strategies enable conclusions to be drawn and insights to be sought in the course of the design process. Analyzing these strategies in greater detail from an image theory perspective offers an important foundation for those sciences in which knowledge has to be generated on the basis of image-based proxies alone. (shrink)

Most research on image schema examined the meaning configuration of words connotation. However, previous studies of adjectives are meaningful in cognitive linguistics because they provide insight into how those adjectives are involved with psychological movement. In this sense, from the perspective of cognitive linguistics, one’s conceptualization and cognition are closely associated with their bodily experience and surroundings; adjectives are no exception. The varieties of transformations of image schemas lay the foundation for the conception and perception. Accordingly, this study (...) is an investigation into the perception of adjectives and psychological activities associated with image schema. Data in this study come from adjectives in the novel The Great Gatsby, which were tagged and calculated with the help of software Python and the NLTK package. The results demonstrate that a significant amount of adjectives were used in the novel. Moreover, Nick’s psychological activities changed significantly from the SOURCE to the DESTINATION schematic stage, which is uncovered by his expression of adjectives. Finally, the results further suggest that transformations of image schema as BALANCE, CONTAINER, and PATH work together to motivate one’s linguistic expression of adjectives. The present findings have several implications for research on lexicons and literacy interpretation from cognitive linguistics. (shrink)

Although research on the corporate social responsibility (CSR) dimension of corporate image has notably increased in recent years, the definition and measurement of the concept for academic purposes still concern researchers. In this article, literature regarding the measurement of CSR image from a customer viewpoint is revised and areas of improvement are identified. A multistage method is implemented to develop and to validate a reliable scale based on stakeholder theory. Results demonstrate the reliability and validity of this new (...) scale for measuring customer perceptions regarding the CSR performance of their service providers. With regard to this, CSR includes corporate responsibilities towards customers, shareholders, employees and society. The scale is consistent among diverse customer cohorts with different gender, age and level of education. Furthermore, results also confirm the applicability of this new scale to structural equation modelling. (shrink)

The use of periodic boundary conditions for modelling crystal dislocations is predicated on one's ability to handle the inevitable image effects. This communication deals with an often overlooked mathematical subtlety involved in dealing with the periodic dislocation arrays, that is conditional convergence of the lattice sums of image fields. By analysing the origin of conditional convergence and the numerical artefacts associated with it, we establish a mathematically consistent and numerically efficient procedure for regularization of the lattice sums and (...) the corresponding image fields. The regularized solutions are free from the artefacts caused by conditional convergence and regain periodicity and translational invariance of the periodic supercells. Unlike the other existing methods, our approach is applicable to general anisotropic elasticity and arbitrary dislocation arrangements. The capabilities of this general methodology are demonstrated by application to a variety of situations encountered in atomistic and continuum modelling of crystal dislocations. The applications include introduction of dislocations in the periodic supercell for subsequent atomistic simulations, atomistic calculations of the core energies and the Peierls stress and continuum dislocation dynamics simulations in three dimensions. (shrink)

The poor denoising effect for noisy grayscale images with traditional processing methods would be obtained under strong noise condition, and some image details would be lost. In this paper, a parallel array model of Fitzhugh–Nagumo neurons was proposed, which can restore noisy grayscale images well with low peak signal-to-noise ratio conditions and the image details are better preserved. Firstly, the row-column scanning method was used to convert the 2D grayscale image into a 1D signal, and then the (...) 1D signal was converted into a binary pulse amplitude modulation signal by signal modulation. The modulated signal was input to an FHN parallel array for stochastic resonance. Finally, the array output signal was restored to a 2D gray image, and the image restoration effect was analyzed based on the PSNR and Structural SIMilarity index. It is shown that the SR effect can be exhibited in an array of FHN neuron nonlinearities by increasing the array size, and the image restoration effect is significantly better than the traditional image restoration method, and larger PSNR and SSIM can be obtained. It provides a new idea for grayscale image restoration in a low PSNR environment. (shrink)

Art history on the edge : iconology, media, and visual culture -- Four fundamental concepts of image science -- Image science -- Image X text -- Realism and the digital image -- Migrating images : totemism, fetishism, idolatry -- The future of the image : Rancière's road not taken -- World pictures : globalization and visual culture -- Media aesthetics -- There are no visual media -- Back to the drawing board : architecture, sculpture, and (...) the digital image -- Foundational sites and occupied spaces -- Border wars : translation and convergence in politics and media -- Art X environment -- The historical uncanny : phantoms, doubles, and repetition in the war on terror -- The spectacle today : a response to retort -- Coda : for a sweet science of images. (shrink)

Real-time image classification plays a pivotal role in applications such as autonomous driving, medical imaging, and surveillance, where both high accuracy and low-latency are critical. This study presents a performance-centric optimization framework for real-time image classification using TensorFlow, aiming to balance inference speed and model accuracy. The proposed approach integrates model pruning, quantization, and GPU acceleration to optimize Convolutional Neural Networks (CNNs) for deployment in resource-constrained environments. Experimental results on the ImageNet dataset demonstrate that the optimized model achieves (...) 92% accuracy while reducing inference time to 45 milliseconds per image, outperforming both baseline CNN and MobileNetV2 models. Additionally, a 30% reduction in memory usage is observed, highlighting the efficiency of the optimization techniques. These results underscore the feasibility of deploying deep learning models in real-time applications, offering a viable solution for sectors where rapid decision-making and high classification performance are essential. -/- . (shrink)

In this paper, my aim is to offer an approach to the practical meaning of the concept of image in Fichte’s Doctrine of the State of 1813. The word “image” (Bild) plays an important role within Fichte’s philosophical terminology, especially during the last period of his intellectual production and his academic life, after leaving the University of Jena. Even a superficial reading of the several different versions of the Doctrine of Science allows one to recognize that the above-mentioned (...) term is used by Fichte more frequently during his years in Berlin (1800–1814). Despite this, the determination of the concrete meaning of the term “image” represents a difficult interpretative challenge for readers of Fichte’s philosophy. From my point of view, Fichte uses the term “image” not only at the level of theoretical or methodological reflection, but also at that of praxis. For this reason, Fichte’s transcendental reflection in the Doctrine of the State contains not only an analysis of the negative relationship between image and being, but also, necessarily, an analysis of the positive relationship between image and freedom (Freiheit). Although his Doctrine of the State is based on a theological-religious conception, which could be questioned from the perspective of a secularized rationality, Fichte maintains a consistent conception of knowledge as an image of a world ordered by the moral law. Definitively, this image plays a central role as an original model for the action of every rational being in the sensible world. (shrink)

Films typically provide an experience that is very much like the experience of ordinary motion. It is for this reason that they are commonly known as moving pictures or, slightly more broadly, moving images. Our focus in this chapter is on making sense of that experience. We begin our chapter by exploring the centrality of the experience of movement to film. We turn then to various explanations of that experience. Perhaps film images are transparent and allow us to indirectly see (...) the movement of the objects they depict. Or perhaps certain theories of depiction can make sense of the experience of motion in cinema. In the final section, we address a range of ontological issues raised by the question of cinematic movement. Is the motion of images real movement or merely illusory? What is a cinematic image? (shrink)

[Pre-peer review draft available to download.] Our imaginative capacities shape the making of images, while the making of images has the ability to shape our imaginative capacities. What are the connections between vision and mental visual images that allow for this traffic between the contents of our minds and external images? And how are image-makers able to exploit the distinctive powers of imagery, to extend the modes of representation that are available to us, and hence also to extend the (...) resources upon which our imaginations can draw? The chapter explores various aspects of those issues. It starts by exploring “visual imagery” as a general category; and it identifies one very striking range of cases that encompasses both suitable mental and nonmental visual images. It develops a philosophical account of what is distinctive about the range of visual images thus identified. Subsequent sections then use the resulting ideas to investigate some of the ways in which various strategies for creating visual images exploit in remarkably inventive ways possibilities that are latent within the general phenomenon of imagistic representation. (shrink)

ObjectiveHead and neck cancer treatments are known to significantly affect functionality and appearance, leading to an increased risk for body image disturbances. Yet, few longitudinal studies exist to examine body image in these patients. Based on a conceptual model, the current study aimed to determine, in patients newly diagnosed with HNC: the prevalence, level, and course of body image concerns; correlates of upon cancer diagnosis body image concerns; predictors of immediate post-treatment body image concerns; and (...) association between body image concerns and levels of anxiety, depression, suicidal ideation, support, and alcohol and drug misuse.MethodsTwo hundred and twenty-three, newly diagnosed with a primary HNC were assessed using structured clinical interviews and psychometric measures at three, and 6 months after diagnosis. Primary outcome was 3-month, as it was most salient to body image disturbance. Multiple linear regression analyses were conducted on the potential body image predictors, based on the model.ResultsSixty-eight percent of patients with HNC presented some level of body image concerns. Body image concerns at baseline and post-treatment were significantly related and significantly increased from pre- to post-treatment. Immediately post-treatment, 89% presented some level of body image concerns. Correlates of body image concerns in patients with HNC at baseline included: physical symptom burden, difficulties with communication and eating, coping with the cancer diagnosis using denial, suicidal ideation, and having had a past anxiety diagnosis. When controlling for sociodemographic and medical variables, body image concerns in patients with HNC in the immediate post-treatment were predicted by: baseline body image, physical symptom burden, and neuroticism.ConclusionThis longitudinal study helps identify patients more susceptible to experience body image disturbance following head and neck cancer. Clinicians ought to pay special attention to body image concerns upon cancer diagnosis, physical symptom burden, and neuroticism, and may want to target these factors in future preventive interventions. (shrink)

Neo-Kantianism is traditionally seen as a philosophy that was formed to develop and actualise Kant’s philosophy and Kantian transcendental methodology. However, Kant was the determining, but by no means the only, influence on the emergence of the neo-Kantian tradition. Neo-Kantianism was strongly influenced by the entire German post-Kantian philosophy, especially by Fichte and Hegel, although neo-Kantians have repeatedly tried to dissociate themselves from the great idealists. In many ways neo-Kantianism was cultivated by the Fichtean reading of Kant, which enabled succeeding (...) philosophers, notably H.-G. Gadamer, to consider neo-Kantianism to be “hidden neo-Fichteanism”. The main goal of this study is a historical-philosophical reconstruction of the image of Fichtean philosophy formed within German neo-Kantianism. To achieve this aim I have analysed the key projects of the German neo-Kantians in which the influence of Fichte’s philosophy, in particular his interpretation of the Kantian doctrine of the primacy of practical reason, is most clearly manifested. I show that the theory of values of the Southwest neo-Kantians and the ethics of pure will of the Marburg neo-Kantians are associated with the Fichtean revision of Kant’s doctrine of the primacy of practical reason. The following, in my opinion, are the main features of the image of Fichte’s philosophy: it is close to neo-Kantians precisely because it strives to combine theoretical and practical reason; it is in ethics that Fiche’s ideas are most manifest in neo-Kantianism; neo-Kantian original theories contain the ideas of self-consciousness “in the spirit” of Fichte. The conclusion is drawn that the growth of the metaphysical component in neo-Kantian doctrines may be connected with the influence of Fichte’s philosophy. (shrink)

Typical accounts of imagistic content have focused on the apparent analog character or continuous variability of images. In contrast, I consider the distinctive features of digital images, those composed of finite sets of discrete pixels. A rich source of evidence on digital imagistic content is found in the content-preserving algorithms that resize and reproduce digital images on computer screens and printers. I argue that these algorithms reveal a distinctive structural feature: digital images are always compositional (their parts contribute systematically to (...) overall content), but never inverse compositional (atomic parts may be replaced nonsynonymously without changing content). This indicates a sharp contrast with linguistic representations, which may or may not be compositional, and may or may not be inverse compositional. I argue this result sheds new light on the claim that imagistic content is inherently perspectival. (shrink)

Given that many imaging technologies in biology and medicine are non-optical and generate data that is essentially numerical, it is a striking feature of these technologies that the data generated using them are most frequently displayed in the form of semi-naturalistic, photograph-like images. In this paper, I claim that three factors underlie this: (1) historical preferences, (2) the rhetorical power of images, and (3) the cognitive accessibility of data presented in the form of images. The third of these can be (...) argued to provide an epistemic advantage to images, but I will further argue that this is often misleading and that images can in many cases be less informative than the corresponding mathematical data. (shrink)

Mathematical images occur in lectures, books, notes and posters, and on the internet. We extend Kennedy's proposal for classifying these images. In doing so we distinguish three uses of images in mathematics: iconic images; incidental images; and integral images. An iconic image is one that so captures the essence of a concept or proof that it serves for a community of mathematicians as a motto or a meme for an area or a result. A system such as Euclid's can (...) combine such apprehensions with other forms of logical inference and an image that is built into a system of exposition is called an integral image. An incidental image is an image used by a mathematician to reason with a particular concept. In addition to this thematic characterization, we also explore one concept, infinity, in some depth by comparing representations of the infinite by mathematicians and artists. (shrink)

Boundary Images investigates the political, material, and visual work that images do to cross and blur the boundaries between the technological and biological and between humans, machines, and nature. Exploring the limits of the visual and beyond what can be seen, Boundary Images posits these boundaries as starting points for the production of new and radically different ways of knowing about the world.