The current dispute between causalists and simulationists in philosophy of memory has led to opposing attempts to characterize the relationship between memory and imagination. In a recent overview of this debate, Perrin and Michaelian have suggested that the dispute over the continuity between memory and imagination boils down to the question of whether a causal connection to a past event is necessary for remembering. By developing an argument based on an analogy to perception, I argue that this dispute should instead (...) be viewed as a dispute about the nature of the attitudes involved in remembering and imagining. The focus on attitudes, rather than on causal connections, suggests a new way of conceiving of the relationship between memory and imagination that has been overlooked in recent philosophy of memory. (shrink)

In Memory: A Self-Referential Account, Fernández offers a functionalist account of the metaphysics of memory, which is portrayed as presenting significant advantages over causal and narrative theories of memory. In this paper, I present a series of challenges for Fernández’s functionalism. There are issues with both the particulars of the account and the use of functionalism more generally. First, in characterizing the mnemonic role of episodic remembering, Fernández fails to make clear how the mental image type that plays this role (...) should be identified. Second, I argue that a functionalist approach, which appeals to the overall structure of the memory system and tendencies of mental state types, is ill-suited to the metaphysical question about episodic remembering that is of interest to the causal and narrative theorists with which Fernandez engages. Fernández’s self-referential account of memory has many other virtues, but functionalism is a poor fit for episodic remembering. (shrink)

Mental imagery (varieties of which are sometimes colloquially refered to as “visualizing,” “seeing in the mind's eye,” “hearing in the head,” “imagining the feel of,” etc.) is quasi-perceptual experience; it resembles perceptual experience, but occurs in the absence of the appropriate external stimuli. It is also generally understood to bear intentionality (i.e., mental images are always images of something or other), and thereby to function as a form of mental representation. Traditionally, visual mental imagery, the most discussed variety, was thought (...) to be caused by the presence of picturelike representations (mental images) in the mind, soul, or brain, but this is no longer universally accepted. (shrink)

Imagination is widely thought to come in two varieties: perception-like and belief-like imagination. What precisely sets them apart, however, is not settled. More needs to be said about the features that make one variety perception-like and the other belief-like. One common, although typically implicit, view is that they mimic their counterparts along the conceptuality dimension: while the content of belief-like imagination is fully conceptual, the content of perception-like imagination is fully non-conceptual. Such a view, however, is not sufficiently motivated in (...) the literature. I will show that there are good reasons to reject it and I will argue that both varieties of imagination involve fully conceptual contents. I will suggest an alternative way to draw the distinction between perception-like and belief-like imagination along the conceptuality dimension, according to which only perception-like imagination requires observational concepts. (shrink)

Nostalgia and food are intertwined universals in human experience. All of us have experienced nostalgia centered on food, and all of us have experienced food infused with nostalgia. To explore the links between nostalgia and food, I start with a rough taxonomy of nostalgic foods, and illustrate it with examples. Despite their diversity, I argue that there is a psychological commonality to experiencing nostalgic foods of all kinds: imagination. On my account, imagination is the key to understanding the cognitive, conative, (...) affective, and perceptual aspects of experiencing nostalgic foods. In turn, the recognition of imagination’s centrality in experiencing nostalgic foods reveals how food can produce aesthetic experiences comparable to those produced by literature and painting. (shrink)

In the philosophy of memory, singularism is the view that episodic memories are singular mental states about unique personally experienced past events. In this paper, I present an empirical challenge to singularism. I examine three distinct lines of evidence from the psychology of memory, concerning general event memories, the transformation of memory traces and the minimized role temporal information plays in major psychological theories of episodic memory. I argue that singularist views will have a hard time accommodating this evidence, facing (...) a problem of transitional gradation. I then look at some potential consequences for the larger debate, highlighting the way in which singularism has featured in three important recent arguments in the philosophy of memory. (shrink)

Re-encountering certain kinds of artworks in the present (re-listening to music, re- reading novels) can often occasion a kind of recollection akin to episodic recollection, but which may be better cast as ‘phasic’, at least insofar as one can be said to remember ‘what it was like’ to be oneself at some earlier stage or phase in one’s personal history. The kinds of works that prompt such recollection, I call ‘still lives’ - they are limited wholes whose formal properties are (...) stable over time. In the first part of the paper, I spell out a way of making sense of the peculiar power that certain artworks have to occasion such recollection – it is, as I explain, a power or ductus that derives from the form of the artwork, though possession of such a power is not limited to art. I then detail three dimensions along which episodic recollection and phasic recollection as occasioned by re-encountering ‘still lives’ differ: metaphysical, phenomenological, and descriptive. In the second half, I explore a challenge for my account of phasic recollection, which in turn helps make more vivid my proposal as well as the spectral analogy at the heart of it: Just as one can see regions behind one by looking in the direction of a mirror located in the same space in which one is, sometimes by re-encountering certain kinds of artworks now, past intervals or phases ‘behind one’ can be ‘made present’ in a way that the paper aims to make plain. I also explain to what extent phasic recollection might be understood as a form of mental time travel, and what the attendant phenomenology of ‘transportation’ involves. (shrink)

I describe and discuss one particular dimension of disagreement in the philosophical literature on episodic memory. One way of putting the disagreement is in terms of the question as to whether or not there is a difference in kind between remembering seeing x and remembering what x looks like. I argue against accounts of episodic memory that either deny that there is a clear difference between these two forms of remembering, or downplay the difference by in effect suggesting that the (...) former contains an additional ingredient not present in the latter, but otherwise treating them as the same thing. I also show that a recent ‘minimalist’ approach to episodic memory (Clayton & Russell in Neuropsychologia 47 (11): 2,330–2,340, 2009; Russell & Hanna in Mind & Language 27 (1): 29–54, 2012) fails to give a satisfactory explanatory account of the difference between the two types of remembering. I finish by sketching an alternative approach to episodic memory, which turns on the idea that episodic recollection recruits a specific form of causal reasoning that provides for a concrete sense in which remembered events are remembered as belonging to the past. (shrink)

Episodic memory is sometimes described as mental time travel. This suggests three ideas: that episodic memory offers us access to the past that is quasi-experiential, that it is a source of knowledge of the past, and that it is, at root, passive. I offer an account of episodic memory that rejects all three ideas. The account claims that remembering is a matter of representing the past to oneself, in a way suitably responsive to how one experienced the remembered episode to (...) be. I argue that episodic memory is active, in the way this view suggests. I clarify the idea that it is, as the view also implies, not a source of knowledge but an expression of knowledge the subject already has. And I suggest the view need not limit memories to states that are in any way experience-like. This position offers a way to articulate the relations between episodic memory and related phenomena: factual memory, generic memory, remembering-how and anticipation. And it allows us to explain how we know which aspects of our episodic memory states to take seriously and which (such as the shift to an observer perspective on the remembered events) to treat as merely incidental. (shrink)

Remembering is one of the most characteristic and most puzzling of human activities. Personal memory, in particular - the ability mentally to travel back into the past, as leading psychologist Endel Tulving puts it - often has intense emotional or moral significance: it is perhaps the most striking manifestation of the peculiar way human beings are embedded in time, and of our limited but genuine freedom from our present environment and our immediate needs. Memory has been significant in the history (...) of philosophy as much in relation to ethics and to epistemology as in theories of psyche, mind, and self. (shrink)

To imagine is to form a mental representation that does not aim at things as they actually, presently, and subjectively are. One can use imagination to represent possibilities other than the actual, to represent times other than the present, and to represent perspectives other than one’s own. Unlike perceiving and believing, imagining something does not require one to consider that something to be the case. Unlike desiring or anticipating, imagining something does not require one to wish or expect that something (...) to be the case. // -/- Imagination is involved in a wide variety of human activities, and has been explored from a wide range of philosophical perspectives. Philosophers of mind have examined imagination’s role in mindreading and in pretense. Philosophical aestheticians have examined imagination’s role in creating and in engaging with different types of artworks. Epistemologists have examined imagination’s role in theoretical thought experiments and in practical decision-making. Philosophers of language have examined imagination’s role in irony and metaphor. // -/- Because of the breadth of the topic, this entry focuses exclusively on contemporary discussions of imagination in the Anglo-American philosophical tradition. (shrink)