"To say that a thing is imaginary is not to dispose of it in the realm of mind, for the imagination, or the image making faculty, is a very important part of our mental functioning. An image formed by the imagination is a reality from the point of view of psychology; it is quite true that it has no physical existence, but are we going to limit reality to that which is material? We shall be far out of our reckoning if we do, for mental images are potent things, and although they do not actually exist on the physical plane, they influence it far more than most people suspect." --Dion Fortune, Spiritualism and Occultism
Dion Fortune
Berkeley’s argument consists of two parts. On the one hand, he argues that we do not perceive material things, but only colours, sounds, etc., and that these are “mental” or “in the mind.” His reasoning is completely cogent as to the first point, but as to the second it suffers from the absence of any definition of the word “mental.” He relics, in fact, upon the received view that everything must be either material or mental, and that nothing is both.
George Berkely
FACULTY PSYCHOLOGY is getting to be respectable again after centuries of hanging around with phrenologists and other dubious types. By faculty psychology I mean, roughly , the view that many fundamentally different kinds of psychological mechanisms must be postulated in order to explain the facts of mental life . Faculty psychology takes seriously the apparent heterogeneity of the mental and is impressed by such prima facie differences as between, say, sensation and perception, volition and cognition, learning and remembering, or language and thought.
Jerry Fodor
We know that under the image revealed there is another which is truer to reality and under this image still another and yet again still another under this last one, right down to the true image of that reality, absolute, mysterious, which no one will ever see or perhaps right down to the decomposition of any image, of any reality.
Michelangelo Antonioni
"The true nature of the gods is that of magical images shaped out of the astral plane by mankind's thought, and influenced by the mind." -- Dion Fortune, The Mystical Qabalah
Dion Fortune
Iconography becomes even more revealing when processes or concepts, rather than objects, must be depicted—for the constraint of a definite “thing” cedes directly to the imagination. How can we draw “evolution” or “social organization,” not to mention the more mundane “digestion” or “self-interest,” without portraying more of a mental structure than a physical reality? If we wish to trace the history of ideas, iconography becomes a candid camera trained upon the scholar's mind.
Stephen Jay Gould
Fortune, Dion
Fortuyn, Pim
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