Human thinking depends not only on words but also on visual imagery. Visual argumentation directly exploits the logic of the pictorial, while verbal arguments, too, draw on figurative language, and thus ultimately on images. In the centuries of handwritten documents and the printed book, our educational culture has been a predominantly verbal one. Today the challenge of the pictorial is explicit and conspicuous. In the digital world, we are experiencing an unprecedented wealth of images, animations and videos. But how should visual content be combined with traditional texts? This volume strives to present a broad humanities background showing how going beyond the word was always an issue in, and by now has become an inevitable challenge to, pedagogy and philosophy.

There is an intrinsic connection between the notions of image and time. Visual images can strike us as incomplete, as ambiguous, unless they are moving ones, happening in time. However, time cannot be conceptualized except by metaphors, and so ultimately by images, of movement in space. The philosophy of images and the philosophy of time are interdependent. This book argues for the reality of time and for visual images as natural carriers of meaning. The experience of the passage of time, of the reality of time, is embodied and made visible in the bodily gestures of time, and indeed in all our gestures. Meaning, both emotional and cognitive, is grounded in the motor dimension. By implication, no meaningful philosophy of time can neglect the aspect of motor imagery.

We think primarily in images, and only secondarily in words, while both the image and the word are preceded by the bodily, the visceral, the muscular. This holds even for mathematical thinking. It is the entire motor system, including facial expressions and bodily gestures, that underlies not just emotions but also abstract thought. Communication, too, is a primordially visual task, spoken and written language only gradually supplementing and even supplanting the pictorial. Writing liberates, but also enslaves; after centuries of a dominantly verbal culture, today the ease of producing and accessing digital images amounts to a homecoming of the visual, with the almost limitless online availability of our textual heritage completing the educational revolution of the 21st century.