Theories of Imagination

Traditionally, philosophers consider the question of whether episodic memory and imagination belong to the same kind (the (dis)continuism problem) as ultimately depending on the causality question - i.e., whether remembering requires a causal connection to the past event. In this framework, if memory is a simulation process (as claimed by simulationism) and does not require a causal connection, then it is sufficiently similar to imagination and, thus, continuism follows. On the other hand, if a causal connection is necessary for memory (...) (as defended by causalism), then there are fundamental differences between memory and imagination and, thus, discontinuism follows. In contrast with this framework, I will argue that such entanglement is due to a failure of clearly delineating issues of explanation and classification. By distinguishing these matters more explicitly, I conclude that continuism is the better alternative for classification purposes, while maintaining that causalism is still necessary for explaining how memory works. (shrink)

This paper argues against the view, proposed in Langland-Hassan (2020), that attitudinal imaginings are reducible to basic folk-psychological attitudes such as judgments, beliefs, desires, decisions, or combinations thereof. The proposed reduction fails because attitudinal imaginings, though similar to basic attitudes in certain respects, function differently than basic attitudes. I demonstrate this by exploring two types of cases: spontaneous imaginings, and imaginings that arise in response to fiction, showing that in these cases, imaginings cannot be identified with basic attitudes. I conclude (...) that imagining is a distinct attitude: it enables us to freely conjure up scenarios without being bound by the restrictions that govern basic folk-psychological attitudes. (shrink)

If we are free to imagine what we choose, this is likely because our intentions determine what we are imagining. However, in a recent article, Munro and Strohminger (2021) argue that, in some cases of imagistic imagining, our intentions do not determine what we are imagining. They offer examples where, intuitively, a person intends to imagine one thing but, due to the causal source of the image used, imagine another. This paper acknowledges the challenge posed by these cases while arguing (...) on several grounds that, when present, intentions nevertheless always suffice to determine the object of one’s imaginings. A key claim is that, while we always imagine what we intend, we do not always imagine it as we intended. I conclude by explaining how intentions could fix the objects of episodic rememberings in much the same way as they do for imaginings, thereby bolstering the case that remembering is a kind of imagining. (shrink)

I argue for the existence of imaginative beliefs: mental states that are imaginative in format and doxastic in attitude. I advance two arguments for this thesis. First, there are imaginings that play the functional roles of belief. Second, there are imaginings that play the epistemic roles of belief. These arguments supply both descriptive and normative grounds for positing imaginative beliefs. I also argue that this view fares better than alternatives that posit distinct imaginative and doxastic states to account for the (...) same phenomena. Along the way, I demonstrate the theoretical significance of imaginative beliefs by showing how they pose a challenge for standard taxonomies of the mind, clarify the sense in which imagination is occurrent and voluntary, explain the justificatory role of the imagination, and point to a deep but underappreciated symmetry between imagistic and non-imagistic thought. (shrink)

The term ‘imagination’ may seem harmless. We talk about imagination all the time. Nonetheless, I will argue that we should treat it with suspicion. More precisely, I will argue that the explanatory power of the concept of imagination can be fully captured by a scientifically more respectable and more powerful concept, namely, the concept of mental imagery.

Perception is said to have assertoric force: It inclines the perceiver to believe its content. In contrast, perceptual imagination is commonly taken to be non-assertoric: Imagining winning a piano contest does not incline the imaginer to believe they actually won. However, abundant evidence from clinical and experimental psychology shows that imagination influences attitudes and behavior in ways similar to perceptual experiences. To account for these phenomena, I propose that perceptual imaginings have implicit assertoric force and put forth a theory—the Prima (...) Facie View—as a unified explanation for the empirical findings reviewed. According to this view, mental images are treated as percepts in operations involving associative memory. Finally, I address alternative explanations that could account for the reviewed empirical evidence—such as a Spinozian model of belief formation or Gendler’s notion of alief—as well as potential objections to the Prima Facie View. (shrink)

En este texto se ofrece una interpretación de la crítica de la Modernidad de Bolívar Echeverría a partir de la noción de subsunción de la imaginación a la razón, y de un reflexión sobre la locura. Para dar significado a la noción mencionada se ofrece un breve estudio del uso del concepto de imaginación en Descartes y Kant. Para ofrecer la reflexión sobre la locura se recurre a las ideas de Foucault, Derrida y Echeverría sobre el asunto. Finalmente, se presenta (...) a la imaginación no subsumida a la razón y a la locura como elementos de crítica y resistencia a la modernidad capitalista, en el marco del planteamiento de Echeverría. (shrink)

The verb 'imagine' admits of perspectival modification: we can imagine things from above, from a distant point of view, or from the point of view of a Russian. But in such cases, there need be no person, either real or imagined, who is above or distant from what is imagined, or who has the point of view of a Russian. We call this the puzzle of perspectival displacement. This paper sets out the puzzle, shows how it does not just concern (...) language, but also states of imagining themselves, and then presents a solution. The solution draws on the idea that many reports of imagining conceal a distinctive kind of question, and such concealed questions have an extra argument place for (what we will call) an experiencer from whose perspective things are imagined. This solution has a range of advantages over other proposals in the literature, and helps to advance two debates concerning perspectival engagement with fiction. (shrink)

The paper investigates whether imaginative states about propositions can be assessed in terms of fittingness (also known as correctness, appropriateness, aptness). After characterizing propositional imaginings and explaining the idea of fittingness, I present some considerations in favour of the no conditions view: imagining seems to be the sort of action that cannot be done unfittingly, and imaginings have no external cognitive nor conative goals in light of which they could be unfitting. I then examine the local conditions view, that there (...) can be fittingness conditions on imaginings, but that these are inherited from the mental projects in which imaginings can play a role. Given that there are virtues of the imagination such as creativity and spontaneity, and given that imaginings are subject to purposive mechanisms, and given that there are cases in which it is unfitting to fail to imagine, I endorse the general conditions view, on which imaginings have a goal, and therefore fittingness conditions, even outside the context of mental projects. I then examine 4 versions of the general conditions view and argue that imaginings aim to make contents available to mental projects. (shrink)

Among the many commonalities between memory and imagination is the fact that they can both be understood as skills. In this chapter, I aim to draw out some connections between the skill of memory and the skill of imagination in an effort to learn something about the nature of these activities and the connection between them. I start by considering the ways that one might work to cultivate these skills in the hope that we could learn something about imagination training (...) by reflection on memory training and vice versa. Interestingly, however, an initial look at the empirical research on the respective training regimens does not show much potential for this kind of crossover. Though there are some commonalities that can be found across the training regimens, these commonalities are nothing special over and above the kinds of commonalities one might find in training regimens for skills of any sort. Fortunately, however, the matter does not end there. When we think more deeply about the details of some of the training regimens for memory, we discover some important connections between the skill of memory and the skill of imagination. In particular, I argue that the two skills turn out to be interestingly intertwined. (shrink)

Traditionally, imagination has been considered to be a primitive mental state type (or group of types), irreducible to other mental state types. In particular, it has been thought to be distinct from other mental states such as belief, perception, and memory, among others. Recently, however, the category of imagination has come under attack, with challenges emerging from a multitude of different directions. Some philosophers have argued that we should not recognize belief and imagination as distinct states but rather on a (...) continuum, whereas other philosophers have argued something similar with respect to belief and memory. And some philosophers have suggested that we can reduce imagination to other mental states, whether mental imagery, belief, supposition, or some combination. In this paper, I address some of these challenges in an attempt to show we need to maintain imagination as a distinct – and indeed, robust – category in our taxonomy of mind. (shrink)

It is often observed that images—including mental images—are in some sense representationally ambiguous. Some, including Jerry Fodor, have added that mental images only come to have determinate contents through the contribution of non-imagistic representations that accompany them. This paper agrees that a kind of ambiguity holds with respect to mental imagery, while arguing (pace Fodor) that this does not prevent imagery from having determinate contents in the absence of other, non-imagistic representations. Specifically, I argue that mental images can represent determinate (...) types of outlays of properties without help from any non-imagistic representations, yet can only become involved in the representation of particular objects through pairing with a non-imagistic representation of the right sort. These points are defended through reflection on the “Picture Principle,” the nature of depiction, and general principles for typing and individuating mental states. (shrink)

The conceptions of lovesickness and of its remedies that emerge in the Decameron result from a medical tradition that in previous centuries was assimilated by the Latin culture. The case of the Decameron is particularly interesting because this work was composed during the Black Death epidemic, between 1348 and 1354. Boccaccio’s Decameron seems to be situated in a tension between two diseases: the black plague, from which the brigata tries to escape, and lovesickness. It is quite significant that Boccaccio dedicated (...) his work to women who love and need the comfort of literature, thereby addressing a new ideal of noble women, not based on their wealth, but on their intelligence and sensitivity. Women are often victims of their melancholy, because they have no opportunity to distract themselves, being confined to the private space of their rooms. Boccaccio describes women as being subject to passion and illness, so that the lovesickness cases described in the Decameron strongly allude to the discrimination of women and to the oppression they had to endure. An explicative example that testifies to the preeminent role that the medical culture played is Decameron X, 7, in which Lisa, the daughter of an apothecary, strangely cannot be healed by pharmacological remedies that her father knows, and not a single physician can help to heal her lovesickness. The case of Lisa can be interpreted as an exemplum: a woman afflicted by the same sickness as Lisa could understand how to behave by means of reading of this novella. Moreover, this paper will demonstrate that a useful outline of Lisa’s symptomatology can be found in Dino del Garbo’s commentary on Guido Cavalcanti’s poem Donna me prega. (shrink)

In reply to Daniel Hutto’s “Getting Real About Pretense,“ I defend my theory of pretense against his claim that it is subject to counterexamples by clarifying wherein the value of the analysis lies. Then I argue that the central challenge still facing Hutto’s “primacy of practice” approach, as well as other 4E approaches to pretense, is to explain the link between pretense and deception.

A mythopoetic paradigm or perspective sees the world primarily as a dramatic story of competing personal intentions, rather than a system of objective impersonal laws. Asma argued that our contemporary imaginative cognition is evolutionarily conserved-it has structural and functional similarities to premodern Homo sapiens’s cognition. This article will outline the essential features of mythopoetic cognition or adaptive imagination, delineate the adaptive sociocultural advantages of mythopoetic cognition, explain the phylogenetic and ontogenetic mechanisms that give rise to human mythopoetic mind, show how (...) mythopoetic cognition challeng­es contemporary trends in cognitive science and philosophy, and recognize and outline empirical approaches for a new cognitive science of the imagination. (shrink)

This paper explores the sense in which correctness applies to belief-like imaginings. It begins by establishing that when we imagine, we ‘direct’ our imaginings at a certain imaginary world, taking the propositions we imagine to be assessed for truth in that world. It then examines the relation between belief-like imagining and positing truths in an imaginary world. Rejecting the claim that correctness, in the literal sense, is applicable to imaginings, it shows that the imaginer takes on, vis-à-vis the imaginary world, (...) the first-person perspective of a believer. Imaginings, it concludes, ‘mimic’ beliefs with respect to the property of being correct or incorrect by virtue of having true or false content. (shrink)

This article explores the relation between belief-like imaginings and the establishment of imaginary worlds (often called fictional worlds). After outlining the various assumptions my argument is premised on, I argue that belief-like imaginings, in themselves, do not render their content true in the imaginary world to which they pertain. I show that this claim applies not only to imaginative projects in which we are instructed or intend to imagine certain propositions, but also to spontaneous imaginative projects. After arguing that, like (...) guided imaginative projects, spontaneous projects involve specific imaginary truths, I conclude that imaginative projects, whether spontaneous or deliberate, comprise not only imaginings, but also mental acts of determining such truths. (shrink)

This essay unites current philosophical thinking on imagination with a burgeoning debate in the philosophy of memory over whether episodic remembering is simply a kind of imagining. So far, this debate has been hampered by a lack of clarity in the notion of imagining at issue. Several options are considered and constructive imagining is identified as the relevant kind. Next, a functionalist account of episodic remembering is defended as a means to establishing two key points: first, one need not defend (...) a factive view of remembering in order to hold that causal connections to past experiences are essential to how rememberings are typed; and, second, current theories that equate remembering with imagining are in fact consistent with a functionalist theory that includes causal connections in its account of what it is to remember. This suggests that remembering is not a kind of imagining and clarifies what it would take to establish the contrary. (shrink)

European Journal of Philosophy, Volume 30, Issue 1, Page 307-325, March 2022.

George Eliot strikingly describes one of her characters as making a mistake because he has gotten his thoughts “entangled in metaphors,” saying that we all do the same. I argue that Eliot is here giving us more than an illuminating description, but drawing our attention to a distinctive kind of mistake—a form of irrationality, in fact—of which metaphor can be an ineliminable part of the correct explanation. Her fictional case helps illuminate both a neglected function of the imagination, and a (...) pervasive way in which metaphor can affect it. The function is the creation and maintenance of what I call imaginative expectations, which are relatively stable imaginative representations of future events or experiences, analogous to latent memories. These imaginative expectations have a distinctive causal profile and distinct ways of interacting with other mental activities. I argue that their formation is subject to at least two norms—a “source” norm and an “experience” norm—and show how metaphorical framing can give rise to violations of either. (shrink)

In this essay, the focus is not on what imagination is but rather on what it is like. Rather than exploring the various accounts of imagination on offer in the philosophical literature, we will instead be exploring the various accounts of imaginative experience on offer in that literature. In particular, our focus in what follows will be on three different sorts of accounts that have played an especially prominent role in philosophical thinking about these issues: the impoverishment view (often associated (...) with Hume), the will-dependence view (often associated with Wittgenstein), and the nonexistence view (often associated with Sartre). While there are important insights to be drawn from each of these views, each seems to me to be importantly flawed in various ways. As I will suggest, close examination reveals that none of them gives us an adequate account of the character of imaginative experience. Ultimately, in the final section of this paper, I briefly explore what their failure teaches us about the project of giving an account of imaginative experience. (shrink)

We often talk of people as being more or less imaginative than one another – as being better or worse at imagining – and we also compare various feats of imagination to one another in terms of how easy or hard they are. Facts such as these might be taken to suggest that imagination is often implicitly understood as a skill. This implicit understanding, however, has rarely (if ever) been made explicit in the philosophical literature. Such is the task of (...) this chapter. I first attempt to flesh out several conditions for an activity to count as a skill. I then attempt to show how imagination can meet such conditions. The chapter concludes with an attempt to answer various worries that might be raised to the claim that imagination should be thought of as a skill. (shrink)

​Imagination will remain a mystery—we will not be able to explain imagination—until we can break it into parts we already understand. Explaining Imagination is a guidebook for doing just that, where the parts are other ordinary mental states like beliefs, desires, judgments, and decisions. In different combinations and contexts, these states constitute cases of imagining. This reductive approach to imagination is at direct odds with the current orthodoxy, according to which imagination is a sui generis mental state or process—one with (...) its own inscrutable principles of operation. Explaining Imagination upends that view, showing how, on closer inspection, the imaginings at work in hypothetical reasoning, pretense, the enjoyment of fiction, and creativity are reducible to other familiar mental states—judgments, beliefs, desires, and decisions among them. Crisscrossing contemporary philosophy of mind, cognitive science, and aesthetics, Explaining Imagination argues that a clearer understanding of imagination is already well within reach. (shrink)

Currie’s (2010) argument that “i-desires” must be posited to explain our responses to fiction is critically discussed. It is argued that beliefs and desires featuring ‘in the fiction’ operators—and not sui generis imaginings (or "i-beliefs" or "i-desires")—are the crucial states involved in generating fiction-directed affect. A defense of the “Operator Claim” is mounted, according to which ‘in the fiction’ operators would be also be required within fiction-directed sui generis imaginings (or "i-beliefs" and "i-desires"), were there such. Once we appreciate that (...) even fiction-directed sui generis imaginings would need to incorporate ‘in the fiction’ operators, the main appeal of the idea that sui generis imaginings (or "i-beliefs" or "i-desires") are at work in fiction-appreciation dissipates. [This is Chapter 10 of Explaining Imagination (OUP, 2020)]. (shrink)

Works of fiction are alleged to differ from works of nonfiction in instructing their audience to imagine their content. Indeed, works of fiction have been defined in terms of this feature: they are works that mandate us to imagine their content. This paper examines this definition of works of fiction, focusing on the nature of the activity that ensues in response to reading or watching fiction. Investigating how imaginings function in other contexts, I show, first, that they presuppose a cognitive (...) infrastructure encompassing at least one additional kind of mental state, whose role is to determine, to some degree, truth in an imaginary world. I then discuss the implications for the definition of fiction, showing that the definition should be refined to accommodate the structure that imagining presupposes: a work counts as fiction just in case it mandates us, not only to imagine, but to engage in a more complex mental activity, an activity that in addition to imagining, involves positing a backdrop for our imaginings. (shrink)

This paper argues that twentieth-century philosopher Cornelius Castoriadis’ innovative concept of imagination is closely related to his treatments of dance. More specifically, it revolves around his concept of “figure,” which thereby suggests a productive partnership with my own philosophy of dance, which I call “Figuration.” The first and second sections below review the interpretations of Castoriadis’ imagination in the two book manuscripts on him in English, Jeff Klooger’s Psyche, Society Autonomy (which supplements Castoriadis with Fichte) and Suzi Adams’ Castoriadis’ Ontology (...) (which supplements him with hermeneutics). My final section defends Castoriadis against these two critical supplements through a close reading of his magnum opus, The Imaginary Institution of Society. There I re-choreograph Castoriadis’ use of the Freudian concept of “leaning on” (Anlehnung, from the Greek anaclisis) as “bending back” (anaclasis, following Klooger’s misspelling of anaclisis). In short, the imagination is like a dancer, bending back to nature understood as “the region which resists” (to varying degrees) the social. (shrink)

Fictions evoke imagery, and their value consists partly in that achievement. This paper offers analysis of this neglected topic. Section 2 identifies relevant philosophical background. Section 3 offers a working definition of imagery. Section 4 identifies empirical work on visual imagery. Sections 5 and 6 criticize imagery essentialism, through the lens of genuine fictional narratives. This outcome, though, is not wholly critical. The expressed spirit of imagery essentialism is to encourage philosophers to ‘put the image back into the imagination’. The (...) weakened conclusion is that while an image is not essential to imagining, it should be returned to our theories of imagination. (shrink)

Imagination is necessary for scientific practice, yet there are no in vivo sociological studies on the ways that imagination is taught, thought of, or evaluated by scientists. This article begins to remedy this by presenting the results of a qualitative study performed on two systems biology laboratories. I found that the more advanced a participant was in their scientific career, the more they valued imagination. Further, positive attitudes toward imagination were primarily due to the perceived role of imagination in problem-solving. (...) But not all problem-solving episodes involved clear appeals to imagination, only maximally specific problems did. This pattern is explained by the presence of an implicit norm governing imagination use in the two labs: only use imagination on maximally specific problems, and only when all other available methods have failed. This norm was confirmed by the participants, and I argue that it has epistemological reasons in its favour. I also found that its strength varies inversely with career stage, such that more advanced scientists do (and should) occasionally bring their imaginations to bear on more general problems. A story about scientific pedagogy explains the trend away from (and back to) imagination over the course of a scientific career. Finally, some positive recommendations are given for a more imagination-friendly scientific pedagogy. (shrink)

Sometimes we learn through the use of imagination. The epistemology of imagination asks how this is possible. One barrier to progress on this question has been a lack of agreement on how to characterize imagination; for example, is imagination a mental state, ability, character trait, or cognitive process? This paper argues that we should characterize imagination as a cognitive ability, exercises of which are cognitive processes. Following dual process theories of cognition developed in cognitive science, the set of imaginative processes (...) is then divided into two kinds: one that is unconscious, uncontrolled, and effortless, and another that is conscious, controlled, and effortful. This paper outlines the different epistemological strengths and weaknesses of the two kinds of imaginative process, and argues that a dual process model of imagination helpfully resolves or clarifies issues in the epistemology of imagination and the closely related epistemology of thought experiments. (shrink)

I present a formal theory of the logic and aboutness of imagination. Aboutness is understood as the relation between meaningful items and what they concern, as per Yablo and Fine’s works on the notion. Imagination is understood as per Chalmers’ positive conceivability: the intentional state of a subject who conceives that p by imagining a situation—a configuration of objects and properties—verifying p. So far aboutness theory has been developed mainly for linguistic representation, but it is natural to extend it to (...) intentional states. The proposed framework combines a modal semantics with a mereology of contents: imagination operators are understood as variably strict quantifiers over worlds with a content-preservation constraint. (shrink)

Richard Wright gave a series of lectures in Europe from 1950 to 1956, collected in the following year in the volume, White Man, Listen! One dominant theme in all four essays is that expanding the moral imagination is centrally important in repairing our racism-benighted globe. What makes Wright’s version of this claim unique is his forthright admission that expanding the moral imagination necessarily involves pain and suffering. The best place to hear Wright in regard to the necessary pain of expanding (...) the moral imagination, I would argue, is his poetry collection, This Other World: Projections in the Haiku Manner. To wit, for Wright the necessary pain of expanding one’s moral imagination is the loneliness that results from delegating to others—in the etymological sense of “deputizing or committing”—one’s whiteness qua privilege or social capital. In conclusion, lonely delegation constitutes an imperative template from Wright regarding the painful expansion of our own moral imagination, in the service of social justice for economically oppressed communities of color across the globe. (shrink)

This volume presents ten new essays on the nature of perceptual imagination and perceptual memory, framed by an introductory overview of these topics. How do perceptual imagination and memory resemble and differ from each other and from other kinds of sensory experience? And what role does each play in perception and in the acquisition of knowledge? These are the two central questions that the contributors seek to address.

Este trabajo se divide en dos partes relacionadas pero independientes. La primera es un estudio de las percepciones y la subjetividad en el pensamiento de Hume. Del estudio mencionado se extraen elementos para una ontología de la imaginación, en particular la idea de intermitencia ontológica que se deriva del primer libro del Tratado de la naturaleza humana. En la segunda parte se estudia la epistemología de las virtudes de Ernest Sosa y se introduce el concepto de imaginación, así como la (...) idea de intermitencia extraída del pensamiento de Hume. A partir de lo anterior se pondera el valor epistémico de la imaginación y se postula la noción de paradigma de verdad. (shrink)

This book develops a theory of how the imagination functions, and how it evolved. The imagination is characterized as an embodied cognitive system. The system draws upon sensory-motor, visual, and linguistic capacities, but it is a flexible, developmental ability, typified by creative improvisation. The imagination is a voluntary simulation system that draws on perceptual, emotional, and conceptual elements, for the purpose of creating works that adaptively investigate external (environmental) and internal (psychological) resources. Beyond the adaptive useful values of this system, (...) imagination also possesses significant intrinsic value (e.g., in the joy of play, and states of wonder). The book argues that imagination is not a late arrival in the evolution of mind, but one of the earliest human abilities. (shrink)

This article will consider imagination in mathematics from a historical point of view, noting the key moments in its conception during the ancient, modern and contemporary eras.

This chapter overviews Hume’s thoughts on the nature and role of imagining and focusses primarily on three important distinctions that Hume draws among our conscious mental episodes: (i) between impressions and ideas; (ii) between ideas of the memory and ideas of the imagination; and (iii), among the ideas of the imagination, between ideas of the judgement and ideas of the fancy. In addition, the chapter considers Hume’s views on the imagination as a faculty of producing ideas, as well as on (...) the part that imagining plays in the acquisition of modal knowledge and in the comprehension of, and resistance to, false or fictional opinions. (shrink)

The paper examines the relationships between the contents of imaginative episodes and the mental images that often play a central role within them. It considers, for example, whether the presence of mental imagery is required for a mental episode to count as an imagining.

In The Imaginary Sartre offers a systematic, insightful and heterodox account of imagining in many forms. Beginning with four ‘characteristics’ he takes to capture the phenomenology of imagining, he draws on considerations both philosophical and psychological to describe the deeper nature of the state that has those features. The result is a view that remains the most potent challenge to the Humean orthodoxy that to this day dominates both philosophical and psychological thinking on the topic.

If imagination is subject to the will, in the sense that people choose the content of their own imaginings, how is it that one nevertheless can learn from what one imagines? This chapter argues for a way forward in addressing this perennial puzzle, both with respect to propositional imagination and sensory imagination. Making progress requires looking carefully at the interplay between one’s intentions and various kinds of constraints that may be operative in the generation of imaginings. Lessons are drawn from (...) the existing literature on propositional imagination and from the control theory literature concerning the prediction and comparison mechanisms (or “forward models”) involved in ordinary perception. A more general conclusion is reached that, once we have the tools to understand how some imaginings are both under willful control and helpfully guide action and inference, we will have what we need to understand the cognitive basis of imagination in general. (shrink)

This introductory chapter reviews research on future-oriented mental time travel to date (the past), provides an overview of the contents of the book (the present), and enumerates some possible research directions suggested by the latter (the future).

Where is imagination in imaginative resistance? We seek to answer this question by connecting two ongoing lines of inquiry in different subfields of philosophy. In philosophy of mind, philosophers have been trying to understand imaginative attitudes’ place in cognitive architecture. In aesthetics, philosophers have been trying to understand the phenomenon of imaginative resistance. By connecting these two lines of inquiry, we hope to find mutual illumination of an attitude (or cluster of attitudes) and a phenomenon that have vexed philosophers. Our (...) strategy is to reorient the imaginative resistance literature from the perspective of cognitive architecture. Whereas existing taxonomies of positions in the imaginative resistance literature have focused on disagreements over the source and scope of the phenomenon, our taxonomy focuses on the psychological components necessary for explaining imaginative resistance. (shrink)

The psychological mechanism of decision-making has traditionally been modeled with the help of belief-desire psychology: the agent has some desires (or other pro-attitudes) and some background beliefs and deciding between two possible actions is a matter of comparing the probability of the satisfaction of these desires given the background beliefs in the case of the performance of each action. There is a wealth of recent empirical findings about how we actually make decisions that seems to be in conflict with this (...) picture. My aim is to outline an alternative model that is consistent with these empirical findings. This alternative model emphasizes the role imagination plays in our decisions: when we decide between two possible actions, we imagine ourselves in the situation that we imagine to be the outcome of these two actions and then compare these two imaginings. (shrink)

This chapter considers the nature of imagination and belief, exploring how deeply these two states of mind differ. It first addresses a range of cognitive and motivational differences between imagination and belief which suggest that they're fundamentally different states of mind. Then it addresses imaginative immersion, delusions, and the different norms we apply to the two mental states, which some theorists regard as providing support for a more unified picture of imagination and belief.

This is a penultimate draft of a paper that will appear in Handbook of Imagination, Amy Kind (ed.). Routledge Press. Please cite only the final printed version.

It is intuitively plausible that art and imagination are intimately connected. This chapter explores attempts to explain that connection. We focus on three areas in which art and imagination might be linked: production, ontology, and appreciation. We examine views which treat imagination as a fundamental human faculty, and aim for comprehensive accounts of art and artistic practice: for example, those of Kant and Collingwood. We also discuss philosophers who argue that a specific kind of imagining may explain some particular element (...) of the artistic domain: for example, Walton's ideas about representational art, and Kivy’s about reading. (shrink)

In this paper, I describe and discuss two mental phenomena which are somewhat neglected in the philosophy of mind: focused daydreaming and mind-wandering. My aim is to show that their natures are rather distinct, despite the fact that we tend to classify both as instances of daydreaming. The first difference between the two, I argue, is that, while focused daydreaming is an instance of imaginative mental agency, mind-wandering is not—though this does not mean that mind-wandering cannot involve mental agency at (...) all. This personal-level difference in agency and purposiveness has, furthermore, the consequence that instances of mind-wandering do not constitute unified and self-contained segments of the stream of consciousness—in stark contrast to focused daydreams. Besides, the two kinds of mental phenomena differ in whether they possess a narrative structure, and in how we may make sense of the succession of mental episodes involved. (shrink)

According to a traditional view, there is no categorical difference between the phenomenology of perception and the phenomenology of imagination; the only difference is in degree (of intensity, resolution, etc.) and/or in accompanying beliefs. There is no categorical difference between what it is like to perceive a dog and what it is like to imagine a dog; the former is simply more vivid and/or is accompanied by the belief that a dog is really there. A sustained argument against this traditional (...) view is prosecuted by Sartre, who develops an alternative according to which there is a categorical difference between the two phenomenologies. This paper draws on Sartre’s work in this area to develop a similar account of perception and imagination as categorically different. (shrink)

The point of this paper is to reveal a dogma in the ordinary conception of sensory imagination, and to suggest another way forward. The dogma springs from two main sources: a too close comparison of mental imagery to perceptual experience, and a too strong division between mental imagery and the traditional propositional attitudes (such as belief and desire). The result is an unworkable conception of the correctness conditions of sensory imaginings—one lacking any link between the conditions under which an imagining (...) aids human action and inference and the conditions under which it is veridical. The proposed solution is, first, to posit a variety of imaginative attitudes—akin to the traditional propositional attitudes—which have different associated correctness (or satisfaction) conditions. The second part of the solution is to allow for imaginings with “hybrid” contents, in the sense that both mental images and representations with language-like constituent structure contribute to the content of imaginings. (shrink)

We often have affective responses to fictional events. We feel afraid for Desdemona when Othello approaches her in a murderous rage. We feel disgust toward Iago for orchestrating this tragic event. What mental architecture could explain these affective responses? In this paper I consider the claim that the best explanation of our affective responses to fiction involves imaginative desires. Some theorists argue that accounts that do not invoke imaginative desires imply that consumers of fiction have irrational desires. I argue that (...) there are serious worries about imaginative desires that warrant skepticism about the adequacy of the account. Moreover, it is quite difficult to articulate general principles of rationality for desires, and even according to the most plausible of these possible principles, desires about fiction are not irrational. (shrink)