Is a pear sweeter than a peach? Which of Mona Lisa’s hands is crossed over the other? What would the Moonlight Sonata sound like played by a brass band? Although these are questions that appeal to mental imagery in a variety of sensory modalities, mental imagery research has been dominated by visual imagery. With the emergence of a well-established multisensory research community, however, it is time to look at mental imagery in a wider sensory context. Part I of this book provides overviews of unisensory imagery in each sensory modality, including motor imagery, together with discussions of multisensory and cross-modal interactions, synesthesia, imagery in the blind and following brain damage, and methodological considerations. Part II reviews the application of mental imagery research in a range of settings including individual differences, skilled performance such as sports and surgical training, psychopathology and therapy, through to stroke rehabilitation. This combination of comprehensive coverage of the senses with reviews from both theoretical and applied perspectives not only complements the growing multisensory literature but also responds to recent calls for translational research in the multisensory field.

Drawing on the explosion of academic and public interest in cognitive science in the past two decades, this volume features articles that combine literary and cultural analysis with insights from neuroscience, cognitive evolutionary psychology and anthropology, and cognitive linguistics. Lisa Zunshine’s introduction provides a broad overview of the field. The essays that follow are organized into four parts that explore developments in literary universals, cognitive historicism, cognitive narratology, and cognitive approaches in dialogue with other theoretical approaches, such as postcolonial studies, ecocriticism, aesthetics, and poststructuralism. Introduction to Cognitive Cultural Studies provides readers with grounding in several major areas of cognitive science, applies insights from cognitive science to cultural representations, and recognizes the cognitive approach’s commitment to seeking common ground with existing literary-theoretical paradigms. This book is ideal for graduate courses and seminars devoted to cognitive approaches to cultural studies and literary criticism. Contributors: Mary Thomas Crane, Nancy Easterlin, David Herman, Patrick Colm Hogan, Bruce McConachie, Alan Palmer, Alan Richardson, Ellen Spolsky, G. Gabrielle Starr, Blakey Vermeule, Lisa Zunshine

This volume responds to calls in visual and material cultural studies to move beyond the visual and to explore the multi-sensory impact of the image, across a wide range of cultural and historical contexts. What does it mean to practise art history after the material and sensory turns? What is an image, if not a purely visual phenomenon, and how does it prompt non-visual sensory experiences? The multi-sensoriality of the image was a less challenging concept before the ocularcentric modern age, and so this volume brings together a global array of scholars from multiple disciplines to ask these questions of imagery in premodern or non-western contexts, ranging from Minoan palace frescoes, to Roman statues, early church sermons, tombs of Byzantine saints, museum displays of Islamic artefacts of scent, medieval depictions of the voice, and Stuart court masques. Each chapter presents a means of appreciating images beyond the visual, demonstrating the new information and understanding that consequently can be gleaned from their material. As a collection, these chapters offer the student and scholar of art history and visual culture an array of exciting new approaches that can be applied to appreciate the multi-sensoriality of images in any context, as well as prompts for reflection on future directions in the study of imagery. The Multi-Sensory Image thus illustrates that it is not only possible to explore the non-visual impact of images, but imperative.

"The treatment in this book helps to ease the suffering of people with social anxiety disorder by helping them to abandon the psychological factors that maintain their constant expectation of social catastrophe, while allowing them to retain the wonderful personal qualities they have that facilitate genuine and fulfilling relationships. Cognitive behavior therapy has been shown to be very helpful for SAD over many research trials with severe and complex clients. Imagery-based CBT "enhances" traditional approaches by emphasizing the benefits of facilitating cognitive and emotional change via the imagery mode. Multisensory imagery is highly emotionally evocative. Clients are encouraged to incorporate vivid, multisensory imagery into every aspect of the treatment in this book"--

Multisensory Perception: From Laboratory to Clinic surveys the current state of knowledge on multisensory processes, synthesizing information from diverse streams of research and defining hypotheses and questions to direct future work. Reflecting the nature of the field, the book is interdisciplinary, comprising the findings and views of writers with diverse backgrounds and varied methods, including psychophysical, neuroanatomical, neurophysiological and neuroimaging approaches. Sections cover basic principles, specific interactions between the senses, the topic of crossmodal correspondences between particular sensory attributes, the related topic of synesthesia, and the clinic. - Offers a comprehensive, up-to-date overview of the current state of knowledge on multisensory processes - Coverage includes basic principles, specific interactions between the senses, crossmodal correspondences and the clinical aspects of multisensory processes - Includes psychophysical, neuroanatomical, neurophysiological and neuroimaging approaches

Richly illustrated with clinical material, this book presents specific techniques for working with multisensory imagery in cognitive-behavioral therapy (CBT). Leading researcher-clinician Lusia Stopa explores how mental images--similarly to verbal cognitions--can trigger distress and drive maladaptive behavior. She guides the therapist to assess imagery and help clients to recognize and explore it. A range of interventions are described, including imaginal exposure, imaginal reliving, rescripting, working with self-images, and using positive imagery to improve well-being. Extensive sample dialogues and a chapter-length case example demonstrate the techniques in action with clients with a range of frequently encountered psychological problems.

What does it mean to think with images? There is a well-established tradition of studying thought processes through the nature of language, and we know much more about thinking with language than about thinking with images. Piotr Kozak takes an important step towards rectifying this position. Presenting a unified theory of different types of images, such as diagrams, maps, technical drawings and photographs, Kozak argues that images provide a genuine and autonomous form of content and knowledge. In contrast to the propositional view of thinking and resemblance-based accounts, he puts forward a measurement-theoretic account of images as operations that exemplify measures, revealing the outcomes of measurement operations performed on a depicted situation. Bringing together insights from philosophy of science, picture-theory, cognitive science and cognitive psychology, this book demonstrates that we can only understand what an image is if we truly understand the role they play in our thought processes, challenging the prevailing view that the utility of images is only instrumental and cognitively inferior.

The human imagination manifests in countless different forms. We imagine the possible and the impossible. How do we do this so effortlessly? Why did the capacity for imagination evolve and manifest with undeniably manifold complexity uniquely in human beings? This handbook reflects on such questions by collecting perspectives on imagination from leading experts. It showcases a rich and detailed analysis on how the imagination is understood across several disciplines of study, including anthropology, archaeology, medicine, neuroscience, psychology, philosophy, and the arts. An integrated theoretical-empirical-applied picture of the field is presented, which stands to inform researchers, students, and practitioners about the issues of relevance across the board when considering the imagination. With each chapter, the nature of human imagination is examined – what it entails, how it evolved, and why it singularly defines us as a species.

We live in a rich multisensory environment, in which we experience a continuous stream of sensory information coming from different sensory modalities, such as vision, sound, smell, touch, and taste. Our brains constantly encode, filter, and integrate that sensory information, and generate a unified perception of the world. However, how the brain processes and binds those sensory inputs are still unknown. Crossmodal correspondence refers to the tendency for normal observers to match distinct features or dimensions of experience across different sensory modalities (e.g., “bouba-kiki” effect). There has been a rapid growth of research interest in crossmodal correspondence over the last two decades. More and more crossmodal correspondences, within-modal correspondences, associations between sensory dimensions and concepts, and experiences have been identified. The congruency effect of crossmodal correspondences on facilitating sensory processing has also been highlighted.

Recently, scholars in a variety of disciplines—including philosophy, film and media studies, and literary studies—have become interested in the aesthetics, definition, and ontology of the screenplay. To this end, this volume addresses the fundamental philosophical questions about the nature of the screenplay: What is a screenplay? Is the screenplay art—more specifically, literature? What kind of a thing is a screenplay? Nannicelli argues that the screenplay is a kind of artefact; as such, its boundaries are determined collectively by screenwriters, and its ontological nature is determined collectively by both writers and readers of screenplays. Any plausible philosophical account of the screenplay must be strictly constrained by our collective creative and appreciative practices, and must recognize that those practices indicate that at least some screenplays are artworks.