I explore how considerations about psychological damage connect with moral theories.

This essay argues that there are theoretical benefits to keeping distinct—more pervasively than the literature has done so far—the psychological states of imagining that p versus believing that in-the-story p, when it comes to cognition of fiction and other forms of narrative. Positing both in the minds of a story’s audience helps explain the full range of reactions characteristic of story consumption. This distinction also has interesting conceptual and explanatory dimensions that haven’t been carefully observed, and the two mental state (...) types make distinct contributions to generating emotional responses to stories. Finally, the differences between the mental states illuminate how a given story can be both shared with others and at the same time experienced as personal. (shrink)

In this reply to James H. Fetzer’s “Minds and Machines: Limits to Simulations of Thought and Action”, I argue that computationalism should not be the view that (human) cognition is computation, but that it should be the view that cognition (simpliciter) is computable. It follows that computationalism can be true even if (human) cognition is not the result of computations in the brain. I also argue that, if semiotic systems are systems that interpret signs, then both humans and computers are (...) semiotic systems. Finally, I suggest that minds can be considered as virtual machines implemented in certain semiotic systems, primarily the brain, but also AI computers. In doing so, I take issue with Fetzer’s arguments to the contrary. (shrink)

Vor etwa einem Jahrhundert entwickelte sich im deutschsprachigen Raum imRahmen einer allgemeinen Charakterisierung unserer ästhetischen Erfahrungvon Kunst eine umfassende Debatte über die Natur und die Möglichkeit vonGefühlen über fiktionale Charaktere und Situationen. Die damalige Debatteweist große Ähnlichkeit zur heutigen analytischen Debatte über das Paradoxonder Fiktion auf. Trotz des unterschiedlichen jeweiligen historischen Kontextesfindet sich in der analytischen Debatte und in der Philosophie zu Beginn des20. Jahrhunderts fast der gleiche Lösungsansatz. Gefühle über Fiktionen seienQuasi-Gefühle, d.h. ein gefühlsartiges Phänomen mit einer Realität sui (...) generis ,dem im Unterschied zu den wirklichen Gefühlen kein Urteil über die Existenzdes Objektes zugrunde liegt und dem die Verbindung zur Motivation fehlt. Zieldieses Aufsatzes ist es, eine Untersuchung der These der Quasi-Gefühle An-fang des 20. Jahrhunderts zu unternehmen sowie die Analogien zur heutigenDebatte zu zeigen. Der Aufsatz baut sich um drei thematische Achsen herumauf. Zunächst wird eine historische Darstellung der These der Gefühle über Fiktionen bei Groos, Lipps, Lange, Geiger und Külpe unternommen. Diese bil-det den Rahmen für die Debatte über die Quasi-Gefühle in der Grazer Schule.Anschließend wird die Aufmerksamkeit auf die Diskussion über Quasi-Gefühle bei Meinong, Witasek, Saxinger und Schwarz gerichtet. Zuletzt wer-den die Berührungspunkte zur heutigen analytischen Debatte im Ausgang vonsystematischen Fragen aufgezeigt. (shrink)

The aim of this paper is to give an account of what it is to internalize a rule. I claim that internalization is the process of redistributing the burden of instruction from the teacher to the student. The process is complete when instruction is no longer needed, and the rule has reshaped perceptual classification of the circumstances in which it applies. Teaching a rule is the initiation of this process. We internalize rules by simulating instruction coming from someone else. Running (...) these simulations enables us to toggle between the perspective of the instructor and our own perspective. By doing this we coordinate our perspectives with that of the teacher. The account given here provides a deeper explanation of why internalizing a rule involves the dispositions and reactive attitudes proponents of Rule Consequentialism often say it does, why moral reflection is variably demanding, how intergenerational moral progress is made possible by our cognitive architectures, and why the adoption of a rule should be understood in terms of teaching that rule. (shrink)

In this article we study the beginnings of sociodramatic play. We examine the pretend play interactions of a Dutch girl, Peggy, and focus on her transition into sociodramatic play. Initially, Peggy interprets only some elements of her play interactions at the pretend level. At age 2;9, Peggy shows symbolic substitution for objects and actions. In the course of seven months, the features participants, roles and place gradually become substituted and specified at the pretend level in Peggy's play. In the earlier (...) play interactions, Peggy and her interaction partner keep a discourse identity and only assign new meaning to objects and to their local acts. In a later play interaction, Peggy and her playmate take roles and interpret their situated identities in the pretend layer. The use of situated identities allows for a range of possible acts and a sociodramatic story line, which increases the complexity of the pretend play. (shrink)

For philosophers, the current phase of the debate with which this volume is concerned can be taken to have begun in 1986, when Jane Heal and Robert Gordon published their seminal papers (Heal, 1986; Gordon, 1986; though see also, for example, Stich, 1981; Dennett, 1981). They raised a dissenting voice against what was becoming a philosophical orthodoxy: that our everyday, or folk, understanding of the mind should be thought of as theoretical. In opposition to this picture, Gordon and Heal argued (...) that we are not theorists but simulators. For psychologists, the debate had begun somewhat earlier when Heider (1958) produced his work on lay psychology; and in more recent times the psychological debate had continued in developmental psychology and in work on animal cognition. (shrink)

We outline a theory of one puzzling aspect of human cognition: a tendency to exaggerate the degree to which agency is manifested in the world. We call this over‐coherent thinking. We use Pylyshyn's idea of cognitive penetrability to help characterize this notion. We argue that this kind of thinking is essentially narrative in form rather than theoretical. We develop a theory of the relation between the degree of narrativity in a representation and its aptness to represent, and to express, mind. (...) We review the prospects for several theories about how over‐coherent thinking gains a purchase on motivation. We argue that progress in this difficult area may require the abandonment of a categorical belief/imagination distinction in favour of vaguely specified clusterings in a many‐dimensional cognitive space. We conclude with the idea that an error‐prone system for the retention of ideas that are low in some of the characteristics generally thought desirable in belief might emerge as a result of an arms‐race between deceivers and deceiver‐detectors. (shrink)

There is nothing in this World constant but Inconstancy. [Swift 1711: 258] In this paper I argue that two standard characterizations of colour constancy are inadequate to the phenomenon. This inadequacy matters, since, I contend, philosophical appeals to colour constancy as a way of motivating illumination-independent conceptions of colour turn crucially on the shortcomings of these characterizations. After critically reviewing the standard characterizations, I provide a novel counterfactualist understanding of colour constancy, argue that it avoids difficulties of its traditional rivals, (...) and defend it from objections. Finally, I show why, on this improved understanding, colour constancy does not have the philosophical consequences that have been claimed for it in the literature. (shrink)

In the article I demonstrate some of the possible ways by which counterfactual im⁠agination can lead people to innovation and the creation of novel and valuable solutions. I start with adopting the broad definition of counterfactuals, by which counterfactual imagination is understood as the ability to imagine alternative states of affairs which can relate to the past, present or future. I explain how counterfactual imagination differs from other sorts of imaginative and creative thoughts, pointing out that counterfactual types of thinking (...) always rely on facts and involve a change in some features of the actual world, leaving other such features unaltered. I also show that the concept of counterfactual imagination can be useful when we aim to describe the very earliest manifestations of imaginative capacities in children, which can be seen in their make-believe games. All the mentioned characteristics of counterfactual imagination are further used to examine how what if and would be sorts of thinking and imagining might influence people’s creative performance. I conclude with the suggestion that—if guided properly—counterfactual imagination could be a truly valuable mental tool for innovation. This demonstration is partly influenced by Ruth Byrne’s multi-faceted analysis of counterfactual imagination, mainly from her book, The Rational Imagination: How People Create Alternatives to Reality. (shrink)

This paper puts forward an account of imaginative immersion. Elaborating on Kendall Walton’s thesis that imagining aims at the fictional truth, it first argues that imaginings are inherently rule- or norm-governed: they are ‘regulated’ by that which is presented as fictionally true. It then shows that an imaginer can follow the rule or norm mandating her to imagine the propositions presented as fictional truths either by acquiring explicit beliefs about how the rule (norm) is to be followed, or directly, without (...) acquiring such beliefs. It proceeds to argue that to the extent that an imaginer follows this rule (norm) without holding such beliefs, she is more immersed in her imaginings. The general idea is that immersion in an activity is a matter of following rules or norms that apply to that activity without explicitly thinking about how to follow them, that is, without ‘doxastic mediation.’ Lastly, the paper shows that this thesis can explain various features associated with imaginative immersion, such as the sort of attentiveness it involves, the emotional response it generates, and its relation to spoilers. (shrink)

This paper sketches a solution to a problem which has been emphasized by Fodor. This is the problem of how to explain distinctively-human flexible cognition in modular terms. There are three aspects to the proposed account. First, it is suggested that natural language sentences might serve to integrate the outputs of a number of conceptual modules. Second, a creative sentence-generator, or supposer, is postulated. And third, it is argued that a set of principles of inference to the best explanation can (...) be constructed from already-extant aspects of linguistic testimony and discourse interpretation. Most importantly, it is suggested that the resulting architecture should be implementable in ways that are computationally tractable. (shrink)

This paper will sketch a model of the human mind according to which the mind’s structure is massively, but by no means wholly, modular. Modularity views in general will be motivated, elucidated, and defended, before the thesis of moderately massive modularity is explained and elaborated.

This paper defends two initial claims. First, it argues that essentially the same cognitive resources are shared by adult creative thinking and problem-solving, on the one hand, and by childhood pretend play, on the other—namely, capacities to generate and to reason with suppositions (or imagined possibilities). Second, it argues that the evolutionary function of childhood pretence is to practice and enhance adult forms of creativity. The paper goes on to show how these proposals can provide a smooth and evolutionarily-plausible explanation (...) of the gap between the first appearance of our species in Southern Africa some 100,000 years ago, and the ‘creative explosion’ of cultural, technological and artistic change which took place within dispersed human populations some 60,000 years later. The intention of the paper is to sketch a proposal which might serve as a guide for future interdisciplinary research. 1 Introduction 2 Creativity and Pretence 3 Language and Creativity 4 Language and Cultural Accretions 5 Language, Play and Model-Building 6 Creativity, Protean Cognition and Sexual Selection 7 The Evolution of Pretence 8 The Emergence of Supposing 9 Pretence and Motivation 10 Two Objections 11 Conclusion. (shrink)

The human imagination remains one of the last uncharted terrains of the mind. People often imagine how events might have turned out something had been different. The of reality, those aspects more readily changed, indicate that counterfactual thoughts are guided by the same principles as rational thoughts. In the past, rationality and imagination have been viewed as opposites. But research has shown that rational thought is more imaginative than cognitive scientists had supposed. In The Rational Imagination, I argue that imaginative (...) thought is more rational than scientists have imagined. People exhibit remarkable similarities in the sorts of things they change in their mental representation of reality when they imagine how the facts could have turned out differently. For example, they tend to imagine alternatives to actions rather than inactions, events within their control rather than those beyond their control, and socially unacceptable events rather than acceptable ones. Their thoughts about how an event might have turned out differently lead them to judge that a strong causal relation exists between an antecedent event and the outcome, and their thoughts about how an event might have turned out the same lead them to judge that a weaker causal relation exists. In a simple temporal sequence, people tend to imagine alternatives to the most recent event. The central claim in the book is that counterfactual thoughts are organised along the same principles as rational thought. The idea that the counterfactual imagination is rational depends on three steps: (1) humans are capable of rational thought; (2) they make inferences by thinking about possibilities; and (3) their counterfactual thoughts rely on thinking about possibilities, just as rational thoughts do. The sorts of possibilities that people envisage explain the mutability of certain aspects of mental representations and the immutability of other aspects. (shrink)

Little is known about how the minds of dead agents are represented. In the current experiment, individuals with different types of explicit afterlife beliefs were asked in an implicit interview task whether various mental state types, as well as pure biological imperatives, continue after death. The results suggest that, regardless of one's explicit reports about personal consciousness after death, those who believe in some form of life after death implicitly represent dead agents' minds in the same way: psychobiological and perceptual (...) states cease while emotional, desire, and epistemic states continue. The findings are interpreted according to simulation constraints — because it is epistemologically impossible to know what it is like to be dead, individuals will be most likely to attribute to dead agents those types of mental states that they cannot imagine being without. Such a model argues that it is natural to believe in life after death and social transmission serves principally to conceptually enrich intuitive conceptions of the afterlife. (shrink)

The theory of mind debate has reached a “hybrid consensus” concerning the status of theory-theory and simulation-theory. Extant hybrid models either specify co-dependency and implementation relations, or distribute mentalizing tasks according to folk-psychological categories. By relying on a non-developmental framework these models fail to capture the central connection between simulation and theory. I propose a “dynamic” hybrid that is informed by recent work on the nature of similarity cognition. I claim that Gentner’s model of structure-mapping allows us to understand simulation (...) as a process in which psychological representations are aligned, causing the spontaneous abstraction of theoretical generalizations about the psychological domain. (shrink)

Modularity theorists have challenged that there are, or could be, general learning mechanisms that explain theory-of-mind development. In response, supporters of the ‘scientific theory-theory’ account of theory-of-mind development have appealed to children's use of auxiliary hypotheses and probabilistic causal modeling. This article argues that these general learning mechanisms are not sufficient to meet the modularist's challenge. The article then explores an alternative domain-general learning mechanism by proposing that children grasp the concept belief through the progressive alignment of relational structure that (...) occurs as a result of structural-comparison. The article also explores the implications of the proposed account for Fodor's puzzle of conceptual learning. (shrink)

The study aims to lay the groundwork for systematically investigating children’s peer discourse at different age levels with a view to delimiting the role of peer talk for pragmatic development. An interdisciplinary stance to the study of children’s peer talk is argued for, considering it simultaneously as the arena for the co-construction of childhood cultures as well as an arena for development. We propose a four-dimensional model of discursive events, meant to capture both dimensions simultaneously. The model takes into account (...) the dynamic interplay among the type of activity children are engaged in, the overall thematic frame of the event, its internal framing by the children themselves and the genre used. The model is applied to the analysis of natural peer talk at two age levels, preschoolers and fourth graders, focusing mainly on variation along the dimension of keying. The two age groups studied are shown to share a rich repertoire of keyings and genres, but to differ in their relative salience and modes of realization by age. Our analysis suggests that peer talk offers children ample opportunities to listen in, practice and display conversational as well as academic discursive skills, and hence may very well prove a crucial site for pragmatic development. (shrink)

The main purpose of this dissertation is to examine critically and discuss the role of imagination in science and religion, with particular emphasis on its possible epistemic, creative, and meaning-making functions. In order to answer my research questions, I apply theories and concepts from contemporary philosophy of mind on scientific and religious practices. This framework allows me to explore the mental state of imagination, not as an isolated phenomenon but, rather, as one of many mental states that co-exist and interplay (...) in our cogntive architecture. Based on the philosophical discourse of philosophy of mind, four types of imagination are indentified and conceptualized: sensory, propositional, experiential, and creative imagination. These categories are then employed on five phenomena that can be found in scientific and religious environments: metaphors, models, thought experiments, aspect perception, and - in the religious case - rituals. In relation to the concept of religious "seeing" I consider how imaginings may influence visionary experiences and visualization, and compare these phenomena with cases of scientific visualization and eureka experiences. In regard to scientific and religious models, a distinction is made between, on the one hand, two notions of truth and, on the other hand, truth-independent meaning-making. In light of these categories, I differentiate between, and critically discuss, the use of imagination in doxastic, non-doxastic and fictionalist accounts. In light of this investigation, I formulate and defend the position of interactivism, which acknowledges a constant interplay between different attitudes and mental states. In my examination of rituals and scientific and religious thought experiments, special attention is given to the mental capacity to recreate the experiences that are entailed in an imagined scenario. At the end of the investigation, I consider the possible impact that my study might have on how we view science and religion as well as the dialogue bewteen these two fields. (shrink)

A widespread claim, which I call ‘the Emotionality Claim’, is that imagination but not supposition is intimately linked to emotion. In more cognitive jargon, imagination is connected to the affect system, whereas supposition is not. EC is open to several interpretations which yield very different views about the nature of supposition. The literature lacks an in-depth analysis of EC which sorts out these different readings and ways to carve supposition and imagination at their joints. The aim of this paper is (...) to fill this gap. I shall argue that existing readings of EC fail to properly account for the emotional asymmetry between imagination and supposition. The tendency is to start from narrow conceptions of both imagination and supposition. I shall argue for a novel interpretation of EC pivoting on different ways a mental state can connect to the affect system. (shrink)

A popular view maintains that supposition is a kind of cognitive mental state, very similar to belief in essential respects. Call this view “cognitivism about supposition”. There are at least three grades of cognitivism, construing supposition as (i) a belief, (ii) belief-like imagination or (iii) a species of belief-like imagination. I shall argue against all three grades of cognitivism and claim that supposition is a sui generis form of imagination essentially dissimilar to belief. Since for good reasons (i) is not (...) supported in the literature, I shall dwell on (ii) and (iii). Without further explanation supposition has been very often merely postulated as being nothing but belief-like imagination—that is, (ii). I shall show that at least two considerations undermine (ii). First, supposition and belief-like imagination are governed by different norms, more precisely the former is freer than the latter and requires minimal or no mental effort. Second, contrary to belief-like imagination, supposition is “cold”, in that it is typically dissociated from emotional reactions. Proponents of (iii) face the pressure of explaining these differences between supposition and belief-like imagination too. I shall argue that they have not sufficiently motivated the claim that supposition is belief-like. In particular they fail to accommodate precisely the dimensions of supposition pertaining to its normativity and emotionality. I shall close with a sketch of a new account of supposition. (shrink)

Donald Davidson's account of interpretation purports to be a priori , though I argue that the empirical facts about interpretation, theory of mind, and autism must be considered when examining the merits of Davidson's view. Developmental psychologists have made plausible claims about the existence of some people with autism who use language but who are unable to interpret the minds of others. This empirical claim undermines Davidson's theoretical claims that all speakers must be interpreters of other speakers and that one (...) need not be a speaker in order to be a thinker. The falsity of these theses has consequences for other parts of Davidson's world-view; for example, it undermines his argument against animal thought. (shrink)

Human beings frequently attribute anthropomorphic features, motivations and behaviors to animals, artifacts, and natural phenomena. Historically, many interpretations of this attitude have been provided within different disciplines. What most interpretations have in common is distinguishing children’s manifestations of this attitude, which are considered “natural”, from adults’ occurrences, which must be explained by resorting to particular circumstances. In this article, I argue that anthropomorphism is not grounded in specific belief systems but rather in interaction. In interaction, a nonhuman entity assumes a (...) place that generally is attributed to a human interlocutor, which means that it is independent of the beliefs that people may have about the nature and features of the entities that are anthropomorphized. This perspective allows us to explain the problems that emerge if we consider anthropomorphism as a belief: (i) adults under certain circumstances may anthropomorphize entities even if they perfectly know that these entities have no mental life; (ii) according to the situation, the same entity may be anthropomorphized or treated as an object; (iii) there is no consistency among the entities that are anthropomorphized; (iv) there is individual variability in anthropomorphization, and this variability derives from affective states rather than from different degrees of knowledge about the entity that is anthropomorphized or greater or lesser naivety of the person who anthropomorphizes. From this perspective, anthropomorphism is a basic human attitude that begins in infants and persists throughout life. The difference between adults and children is not qualitative but rather a matter of complexity. (shrink)

This paper offers a critical survey and analysis of empirical studies on creativity, with emphasis on how imagination plays a role in the creative process. It takes as a foil the romantic view that, given features like novelty, incubation, and insight, we should be skeptical about the prospects for naturalistic explanation of creativity. It rebuts this skepticism by first distinguishing stages or operations in the creative process. It then works through various behavioral and neural studies, and corresponding philosophical theorizing, that (...) concern the preparation, generation, insight, and evaluation stages of creative processes. The result is not a complete explanation of creativity, but it identifies an explanatory path towards such an explanation, including the features of creativity that motivate that skepticism. (shrink)

This article will defend the centrality of empathy and simulation for our understanding of individual agency within the conceptual framework of folk psychology. It will situate this defense in the context of recent developments in the theory of mind debate. Moreover, the article will critically discuss narrativist conceptions of social cognition that conceive of themselves as alternatives to both simulation and theory theory.

A response to a recent critique by Cem Bozşahin of the theory of syntactic semantics as it applies to Helen Keller, and some applications of the theory to the philosophy of computer science.

Jurado: Mario Gómez-Torrente (presidente), Miguel Ángel Fernández Vargas (vocal), Santiago Echeverri Saldarriaga (secretario). [Graduado con Mención Honorífica.].

Research on the specific features of daydreaming compared with mind-wandering and night dreaming is a neglected topic in the philosophy of mind and the cognitive neuroscience of spontaneous thought. The extant research either conflates daydreaming with mind-wandering (whether understood as task-unrelated thought, unguided attention, or disunified thought), characterizes daydreaming as opposed to mind-wandering (Dorsch, 2015), or takes daydreaming to encompass any and all “imagined events” (Newby-Clark & Thavendran, 2018). These dueling definitions obstruct future research on spontaneous thought, and are insufficiently (...) precise to guide empirical studies. They also fail to illuminate the phenomenal core of daydreaming, namely, its dreamlike qualities. Although daydreaming is related to both mind-wandering and narrative imagination, it is not reducible to either. We argue that daydreams are experiences of spontaneous, immersive imagination in the waking state. The main task of our investigation is to distinguish daydreaming, conceptually and phenomenologically, from mind-wandering, on the one hand, and night dreaming, on the other. Although daydream experiences can vary widely, we distinguish prototypical experiences of daydreaming from adjacent imaginative activity, including fleeting imagery and “focused daydreaming,” or crafted visualization. We consider our phenomenological analysis as preparatory work for conceptually distinguishing different spontaneous and imaginative states so that they can be investigated accordingly with questionnaires and qualitative methods. We argue that precision about the phenomenal character of daydreaming can guide neurophenomenological investigations, help delimit studies on individual variance in daydreaming features, and identify differences among daydreaming, mind-wandering, and night dreaming conceptually and phenomenologically, and possibly eventually in terms of neural correlates. (shrink)

I classify emotions in the family of regret, remorse, and so on, in such a way that it is easy to see how there can be further emotions in this family, for which we happened not to have names in English. I describe some of these emotions.

Comparatively easy questions we might ask about creativity are distinguished from the hard question of explaining transformative creativity. Many have focused on the easy questions, offering no reason to think that the imagining relied upon in creative cognition cannot be reduced to more basic folk psychological states. The relevance of associative thought processes to songwriting is then explored as a means for understanding the nature of transformative creativity. Productive artificial neural networks—known as generative antagonistic networks (GANs)—are a recent example of (...) how a system’s ability to generate novel products can both be finely tuned by prior experience and grounded in strategies that cannot be articulated by the system itself. Further, the kinds of processes exploited by GANs need not be seen as incorporating something akin to sui generis imaginative states. The chapter concludes with reflection on the added relevance of personal character to explanations of creativity. [This is Chapter 12 of the book Explaining Imagination.]. (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)

How do young children represent pretend play? One possibility is that recognizing and representing pretend play depends on children’s ability to infer the mental states of the person engaged in pretend play (mentalist account). The two dominant alternative possibilities are that children view as a distinctive form of non-representational behavior (behavioral account), and that children represent pretense by temporarily treating objects as though they have fictional or make-believe properties (flagging account). This chapter provides an overview of the debate between these (...) three accounts of pretend play, but then endorses a fourth position according to which children view pretend play as a form of communication, similar in many ways to drawing. (shrink)

Supernatural agent concepts are regarded as a defining trait of religion. The interaction of the minimally counterintuitive mnemonic effect and the hypersensitive agency detection device may be employed to explain the universal presence of concepts of gods and deities. Using the measure of free-recall, a broad model of cultural transmission investigated this pan-cultural transmission bias with a large age-representative sample in UK and China. Results were analyzed by four-way mixed ANOVA considering counterintuitiveness, familiarity, ontological category, and delay, and with age (...) as a covariate. A significant interaction of counterintuitiveness × HADD was found for both UK and China samples. These findings support assertions that supernatural agent concepts are more easily transmitted than other concepts because the present study finds that concepts similar to supernatural agents were more readily recalled. (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)

The full-text of this book chapter is not available in ORA. Citation: Williamson, T.. Knowledge of counterfactuals. In: O'Hear, A. Epistemology. Cambridge: Cambridge University Press, pp. 45-64.

Young children spend a large portion of their time pretending about non-real situations. Why? We answer this question by using the framework of Bayesian causal models to argue that pretending and counterfactual reasoning engage the same component cognitive abilities: disengaging with current reality, making inferences about an alternative representation of reality, and keeping this representation separate from reality. In turn, according to causal models accounts, counterfactual reasoning is a crucial tool that children need to plan for the future and learn (...) about the world. Both planning with causal models and learning about them require the ability to create false premises and generate conclusions from these premises. We argue that pretending allows children to practice these important cognitive skills. We also consider the prevalence of unrealistic scenarios in children's play and explain how they can be useful in learning, despite appearances to the contrary. (shrink)

In this article , I first engage in some conceptual clarification of what the words "imagine," "imagining," and "imagination" can mean. Each has a constructive sense, an attitudinal sense, and an imagistic sense. Keeping the senses straight in the course of cognitive theorizing is important for both psychology and philosophy. I then discuss the roles that perceptual memories, beliefs, and genre truth attitudes play in constructive imagination, or the capacity to generate novel representations that go well beyond what's prompted by (...) one's immediate environment. (shrink)

Mindreading, simulation, empathy and central imagining are often used interchangeably in current analytic philosophy, and typically defined as imagining what the other wants and believes – to run these states “off-line.” By imagining the other’s beliefs and desires, one will come to understand and predict his emotional and behavioural reactions. Many have suggested that films may trigger engagement in the characters’ perspectives, and one finds similar use of these terms in film theory. Imagining the characters’ states – with emphasis on (...) mental states – has for example been labelled as central imagining (Choi 2005; Smith 1995), imagining from the inside (Smith 1997), and empathetic reenactment (Currie 1995). In a similar vein, understanding the meaning of a narrative event for a character is understood as empathy (Tan 1996). These accounts all point to ways in which the spectator understands the character and the situation the character is in. Nevertheless, one also finds a different use of the term empathy in film theory, namely as a matching feeling with the character. The emphasis here is not on understanding the character and the narrative situation, but on the emotional output of the process. Often automatic, hardwired affective matching mechanisms are emphasized. This matching feeling with the character has also been discussed as empathy (Grodal 1997; Plantinga 1999; Smith 1995). While all these authors discuss what makes a spectator experience aspects of a character’s state, they point to different kinds of character engagement, and discuss it using varying terms. There also seems to be disagreement as to how film may cue the spectator to engage in these different ways. Here I offer an integrative account of empathy, where all these processes are labelled as empathic. The differences and similarities between them are explored. I argue that, broadly speaking, there are two different kinds of film, each of which elicits its own kind of empathy. Nevertheless, the common core to these kinds of engagement in a character justifies us in calling them empathy. (shrink)