How can we best describe the processes by which we visually perceive our environment? Contemporary perceptual theory still lacks a coherent theoretical position that encompasses both the limitations on the information that can be retained from a single eye fixation and the abundant phenomenal and behavioral evidence for the perception of an extended and coherent world. As a result, many leading theorists and researchers in visual perception are turning with new or renewed interest to the work of Julian Hochberg. For over 50 years, in his own experimental research, in his detailed consideration of examples drawn from a wide range of visual experiences and activities, and most of all in his brilliant and sophisticated theoretical analyses, Hochberg has persistently engaged with the myriad problems inherent in working out the kind of coherent theoretical position the field currently lacks. The complexity of his thought and the wide range of areas into which Hochberg has pursued the solution to this central problem have, however, limited both the accessibility of his work and the appreciation of his accomplishment. In this volume we seek to bring the full range of Hochberg's work to the attention of a wider audience by offering a selection of his key works, many taken from out-of-print or relatively inaccessible sources. To facilitate the understanding of his accomplishment, and of what his work has to offer to contemporary researchers and theorists in visual perception, we include commentaries on salient aspects of his work by 20 noted researchers. In the Mind's Eye will be of interest to researchers working on topics such as perceptual organization, visual attention, space perception, motion perception, visual cognition, the relationship between perception and action, picture perception, and film, who are striving to obtain a deeper understanding of their own fields, and who want to integrate this understanding into a broader, unified view of visual perceptual processing.

Ian Robertson has always been fascinated by how the mind makes images, for that awesome power directly and deeply affects our lives. All of us "visualize" the world differently, and how we do so dictates the way we feel, remember, and think--and therefore our health, memory, and creativity. In this lively, accessible and fascinating book, Robertson explains that most of us employ language as a basis for visualization. In effect, we think in words more than in images. The result is an imbalance between the logical and the intuitive, between imagery-based thought and language-based thought. Opening the Mind's Eye is both an enlightening and stimulating explanation of how we "see," and a compelling argument for extending the mind's powers to improve the quality of our lives. Like Daniel Goleman's Emotional Intelligence, it combines insight and application.

Judging by the more than 2 million web pages dealing with past lives and past life regression (PLR), people aren't only - seeing dead people, - they're interested in finding out whether or not they were some of those dead people in a previous life. Going way beyond a belief in reincarnation and karma, 'regressionists' want to know who they were and what their lives were like - and reputable psychiatrists are using hypnosis to reveal the past life issues that are keeping their patients from living better lives today. In CIG to Past Life Regression, a board-certified past life regression therapist reveals the ins and outs of PLR. Is past life regression for real? Are children really closer to their past lives than adults? Can I be hypnotized - and can I trust the hypnotist and what he/she tells me? What will a session be like? Is one session enough? And what about self-hypnosis? How can knowledge of past lives make my life better today?

If one poet can be said to be the Canadian poet, that poet is Al Purdy (1918–2000). Numerous eminent scholars and writers have attested to this pre-eminent status. George Bowering described him as “the world’s most Canadian poet” (1970), while Sam Solecki titled his book-length study of Purdy The Last Canadian Poet (1999). In The Ivory Thought: Essays on Al Purdy, a group of seventeen scholars, critics, writers, and educators appraise and reappraise Purdy’s contribution to English literature. They explore Purdy’s continuing significance to contemporary writers; the life he dedicated to literature and the persona he crafted; the influences acting on his development as a poet; the ongoing scholarly projects of editing and publishing his writing; particular poems and individual books of poetry, fiction, and non-fiction; and the larger themes in his work, such as the Canadian North and the predominant importance of place. In addition, two contemporary poets pay tribute with original poems.

The ability to navigate across town, comprehend an animated display of the functioning of the human heart, view complex multivariate data on a company's website, or to read an architectural blueprint and form a three-dimensional mental picture of a house are all tasks involving visuospatial thinking. The field of visuospatial thinking is a relatively diverse interdisciplinary research enterprise. An understanding of visuospatial thinking, and in particular, how people represent and process visual and spatial information, is relevant not only to cognitive psychology but also education, geography, architecture, medicine, design computer science/artificial intelligence, semiotics and animal cognition. The goal of this book, first published in 2005, is to present a broad overview of research on visuospatial thinking that can be used by researchers as well as students interested in this topic in both basic research and applied/naturalistic contexts.

The guiding thread of this book is the distinction McGinn draws a distinction between perception and imagination, showing what the differences are, arguing that imagination is a sui generis mental faculty. His overall claim is that imagination pervades our mental life, obeys its own distinctive principles, and merits much more attention.

This book offers a model for concepts and their dynamics. A basic assumptionis that concepts are composed of specified components, which are representedby large binary patterns whose psychological meaning is governed by the interaction between conceptual modules and other functional modules. A recurrent connectionist model is developed in which some inputs are attracted faster than others by an attractor, where convergence times can beinterpreted as decision latencies. The learning rule proposed is extracted from psychological experiments. The rule has the property that that whena context becomes more familiar, the associations between the concepts of the context spontaneously evolve from loose associations to a more taxonomicorganization.

The Mind's Eye focuses on the relationships among art, theology, exegesis, and literature--issues long central to the study of medieval art, yet ripe for reconsideration. Essays by leading scholars from many fields examine the illustration of theological commentaries, the use of images to expound or disseminate doctrine, the role of images within theological discourse, the development of doctrine in response to images, and the place of vision and the visual in theological thought. At issue are the ways in which theologians responded to the images that we call art and in which images entered into dialogue with theological discourse. In what ways could medieval art be construed as argumentative in structure as well as in function? Are any of the modes of representation in medieval art analogous to those found in texts? In what ways did images function as vehicles, not merely vessels, of meaning and signification? To what extent can exegesis and other genres of theological discourse shed light on the form, as well as the content and function, of medieval images? These are only some of the challenging questions posed by this unprecedented and interdisciplinary collection, which provides a historical framework within which to reconsider the relationship between seeing and thinking, perception and the imagination in the Middle Ages.