Visual imagery is a form of sensory imagination, involving subjective experiences typically described as similar to perception, but which occur in the absence of corresponding external stimuli. We used the Activation Likelihood Estimation algorithm (ALE) to identify regions consistently activated by visual imagery across 40 neuroimaging studies, the first such meta-analysis. We also employed a recently developed multi-modal parcellation of the human brain to attribute stereotactic co-ordinates to one of 180 anatomical regions, the first time this approach has been combined (...) with the ALE algorithm. We identified a total 634 foci, based on measurements from 464 participants. Our overall comparison identified activation in the superior parietal lobule, particularly in the left hemisphere, consistent with the proposed ‘top-down’ role for this brain region in imagery. Inferior premotor areas and the inferior frontal sulcus were reliably activated, a finding consistent with the prominent semantic demands made by many visual imagery tasks. We observed bilateral activation in several areas associated with the integration of eye movements and visual information, including the supplementary and cingulate eye fields (SCEFs) and the frontal eye fields (FEFs), suggesting that enactive processes are important in visual imagery. V1 was typically activated during visual imagery, even when participants have their eyes closed, consistent with influential depictive theories of visual imagery. Temporal lobe activation was restricted to area PH and regions of the fusiform gyrus, adjacent to the fusiform face complex (FFC). These results provide a secure foundation for future work to characterise in greater detail the functional contributions of specific areas to visual imagery. (shrink)

Recently, the term ‘aphantasia’ has become current in scientific and public discourse to denote the absence of mental imagery. However, new terms for aphantasia or its subgroups have recently been proposed, e.g. ‘dysikonesia’ or ‘anauralia’, which complicates the literature, research communication and understanding for the general public. Before further terms emerge, we advocate the consistent use of the term ‘aphantasia’ as it can be used flexibly and precisely, and is already widely known in the scientific community and among the general (...) public. (shrink)

A fascinating exploration of the nature of consciousness This engaging and readable book provides an introduction to consciousness that does justice both to the science and to the philosophy of consciousness, that is, the mechanics of the mind and the experience of awareness. The book opens with a general discussion of the brain and of consciousness itself. Then, exploring the areas of brain science most likely to illuminate the basis of awareness, Zeman focuses on the science of sleep and waking (...) and on the science of vision. He describes healthy states and disorders--epilepsy, narcolepsy, blindsight and hallucinations after stroke--that provide insights into the capacity for consciousness and into its contents. And he tracks the evolution of the brain, the human species, and human culture and surveys the main current scientific theories of awareness, pioneering attempts to explain how the brain gives rise to experience. Zeman concludes by examining philosophical arguments about the nature of consciousness. A practicing neurologist, he animates his text with examples from the behavioral and neurological disorders of his patients and from the expanding mental worlds of young children, including his own. His book is an accessible and enlightening explanation of why we are conscious. (shrink)

The past 25 years have seen a rapid growth of knowledge about brain mechanisms involved in visual mental imagery. These advances have largely been made independently of the long history of philosophical – and even psychological – reckoning with imagery and its parent concept ‘imagination’. We suggest that the view from these empirical findings can be widened by an appreciation of imagination’s intellectual history, and we seek to show how that history both created the conditions for – and presents challenges (...) to – the scientific endeavor. We focus on the neuroscientific literature’s most commonly used task – imagining a concrete object – and, after sketching what is known of the neurobiological mechanisms involved, we examine the same basic act of imagining from the perspective of several key positions in the history of philosophy and psychology. We present positions that, firstly, contextualize and inform the neuroscientific account, and secondly, pose conceptual and methodological challenges to the scientific analysis of imagery. We conclude by reflecting on the intellectual history of visualization in the light of contemporary science, and the extent to which such science may resolve long-standing theoretical debates. (shrink)

The experience of reading varies markedly between differing texts which may be, for example, primarily informative, musical, or moving.We asked whether these differences would correspond to widespread contrasts in brain activity. Using fMRI, we examined brain activation in expert participants reading passages of prose and poetry. Both prose and poetry activated previously identified reading areas. Their emotional power was related to activity in regions linked to the emotional response to music. 'Literariness'was related to activity in a predominantly left-sided set of (...) regions. Self-selected poetry activated the classical reading areas weakly, the inferior parietal lobes strongly, probably because these passages were known 'by heart'. Experimenter- chosen poetry activated brain regions that have recently been associated with introspection. The experience of reading contrasting texts is associated with differing patterns of brain activation, the emotional response to literature shares ground with the response to music, and regions of the right hemisphere are engaged by poetry. (shrink)

language="EN"> The eighth annual meeting of the ASSC took place between June 25th and 28th in Antwerp, an extremely beautiful Belgian city, a major European port and the home of the Peter Paul Rubens, 'the prince of painters and painter of princes'. The meeting was held in a University building at the edge of the old town. This part of the city is remarkable both for the elegance of its architecture and for its innumerable short, interlocking, streets with oddly indistinguishable (...) names. The demands on spatial memory were high and some delegates may still be hunting for the conference dinner which took place, magnificently but improbably, in a hotel - the Elzenveld - inside a hospital. (shrink)