Several philosophers of the late 20th century (especially Gilles Deleuze, Jean- François Lyotard and Jacques Rancière) wondered about the specific visibility of thought and the difference between thought and artistic images. How do we manage to see a thought while reading a book or listening to a lecture? What is the difference between seeing and understanding? Is there one? Can a thought be represented? I will consider whether neuroimaging, together with the productions of artificial intelligence, allows us to answer these questions in a new way. The challenges of this set of questions are at once philosophical, artistic, pedagogical, and political.

Catherine Malabou is a professor of philosophy in the Department of Comparative Literature at the University of California, Irvine. Some of her recent works are Before Tomorrow. Epigenesis and Rationality (Polity, 2016), Morphing Intelligence (Cambridge University Press, 2019), Pleasure Erased. The Clitoris Unthought (Polity, 2022), Stop Thief! Anarchism and Philosophy (Polity, 2023) and Il n’y a pas eu de Révolution. Réflexions sur la propriété privée, le pouvoir et la condition servile en France (There Was No Revolution. Reflections on Private Property, Power, and Servile Condition in France) (Payot-Rivages, 2024).

Andrea Soto Calderón has a doctorate in Philosophy and is a professor of Aesthetics and Art Theory at the Universitat Autònoma de Barcelona. She has carried out research in Valparaíso, Barcelona, Lisbon and Paris. Her research focuses on the transformations of the aesthetic experience in contemporary culture, artistic research, the study of images and the media, and the relationship between aesthetics and politics. 
She has written several academic articles, book chapters and texts for artists’ catalogues. Her publications include the books Le travail des images (The Work of Images) together with Jacques Rancière (Les presses du réel, 2019), La performatividad de las imágenes (The Performativity of Images, Metales Pesados, 2020), Imaginación material (Material Imagination, Metales Pesados, 2022) and Imágenes que resisten. La genealogía como método crítico (Images That Resist. Genealogy as a Critical Method, La Virreina, 2023).