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Infusing perception with imagination

In Fiona Macpherson & Fabian Dorsch (eds.), Perceptual Imagination and Perceptual Memory. Oxford: Oxford University Press. pp. 133-160 (2018)

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  1. Mental imagery: pulling the plug on perceptualism.Dan Cavedon-Taylor - 2021 - Philosophical Studies 178 (12):3847-3868.
    What is the relationship between perception and mental imagery? I aim to eliminate an answer that I call perceptualism about mental imagery. Strong perceptualism, defended by Bence Nanay, predictive processing theorists, and several others, claims that imagery is a kind of perceptual state. Weak perceptualism, defended by M. G. F. Martin and Matthew Soteriou, claims that mental imagery is a representation of a perceptual state, a view sometimes called The Dependency Thesis. Strong perceptualism is to be rejected since it misclassifies (...)
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  • Mental Imagery: Greasing the Mind's Gears.Dan Cavedon-Taylor - 2023 - Philosophers' Imprint 23.
    This paper introduces a novel conceptualisation of mental imagery; namely, that is grease for the mind’s gears (MGT). MGT is not just a metaphor. Rather, it describes an important and overlooked higher-order function of mental imagery: that it aids various mental faculties discharge their characteristic functional roles. MGT is motivated by reflection on converging evidence from clinical, experimental and social psychology and solves at least two neglected conceptual puzzles about mental imagery. The first puzzle concerns imagery’s architectural promiscuity; that is, (...)
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  • II—Ambition, Love, And Happiness.Glen Pettigrove - 2020 - Proceedings of the Aristotelian Society 120 (1):21-45.
    What is the relationship between ambition and love? While discussions of happiness often mention romances, friendships, aspirations, and achievements, the relationship between these features is seldom discussed. This paper aims to fill that gap. It begins with a suggestive remark made by La Rochefoucauld and repeated by Adam Smith: ‘Love often leads on to ambition, but seldom does one return from ambition to love.’ To explain what accounts for such a pattern, I introduce a distinction between stage-setting emotions and master (...)
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