The project of this paper is to synthesize enactivist cognitive science and practice theory in order to develop a new account of pretend play. Pretend play is usually conceived of as a representationalist phenomenon where a pretender projects a fictional mental representation onto reality. It thus seems that pretense can only be explained in representationalist terms. In this paper, we oppose this usual approach. We instead propose not only new explanatory tools for pretend play, but also a fundamental reconceptualization of (...) the phenomena of pretend play, that is, of the very explanandum of theories of pretense. To do so, we suggest combining the turn to action and embodiment in the cognitive sciences with the practice turn in the humanities. From our point of view, pretend play has to be seen in its role in human life as a whole, which is to help children to learn to master the complex sociocultural contingencies of the manifold social practices that make up social reality. Pretend play should therefore be conceived as alternative sense-making that is always related, in varying ways, to ordinary social practices. Pretenders do not need to project mental representations onto reality, but make sense of their surroundings in different ways than encultured adults in ordinary practices. In the paper, we spell out this view and show how it enables an enactivist reconceptualization of imagination, intentions and knowledge, which are usually thought of as being available only to representationalist accounts of pretense. (shrink)

Experiential imagination consists in an imaginative projection that aims at simulating the experiences one would undergo in different circumstances. It has been traditionally thought to play a role in how we build our lives, engage with other agents, and appreciate art. Although some philosophers have recently expressed doubts over the capacity of experiential imagination to offer insight into the perspective of someone other than our present-selves, experiential imagination remains a much sought-after tool. This paper substantiates pessimism about the epistemological value (...) of these uses of experiential imagination by developing an embodied approach. Our thesis is that experiential imagination is _robustly embodied_ because the _sociohistorically situated_ body makes an irreducible contribution to the imaginative project, and that, as such, it is constrained by who we are as _concrete_ agents. We argue that experiential imagination is an embodied, virtual exploration of imagined scenarios that depends on our situated history of sensorimotor and affective interactions. We conclude that experiential imagination is much more limited than commonly acknowledged, as it can hardly be divorced from who we are and where we have been. (shrink)

In this paper we explore the notion of rehearsal as a way to develop an embodied and enactive account of imagining. After reviewing the neuroscience of motor imagery, we argue, in the context of performance studies, that rehearsal includes forms of imagining that involve motor processes. We draw on Sartre’s phenomenology of imagining which also suggests that imagining involves motor processes. This research in neuroscience and phenomenology, supports the idea of an embodied and enactive account of imagination.