Similarity and difference, patterns of variation, consistency and coherence: these are the reference points of the philosopher. Understanding experience, exploring ideas through particular instantiations, novel and innovative thinking: these are the reference points of the artist. However, at certain points in the proceedings of our Symposium titled, Next to Nothing: Art as Performance, this characterisation of philosopher and artist respectively might have been construed the other way around. The commentator/philosophers referenced their philosophical interests through the particular examples/instantiations created by the (...) artist and in virtue of which they were then able to engage with novel and innovative thinking. From the artists’ presentations, on the other hand, emerged a series of contrasts within which philosophical and artistic ideas resonated. This interface of philosopher-artist bore witness to the fact that just as art approaches philosophy in providing its own analysis, philosophy approaches art in being a co-creator of art’s meaning. In what follows, we discuss the conception of philosophy-art that emerged from the Symposium, and the methodological minimalism which we employed in order to achieve it. We conclude by drawing out an implication of the Symposium’s achievement which is that a counterpoint to Institutional theories of art may well be the point from which future directions will take hold, if philosophy-art gains traction. (shrink)

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)

According to David Chalmers, the hard problem of consciousness consists of explaining how and why qualitative experience arises from physical states. Moreover, Chalmers argues that materialist and reductive explanations of mentality are incapable of addressing the hard problem. In this chapter, I suggest that Chalmers’ hard problem can be usefully distinguished into a ‘how question’ and ‘why question,’ and I argue that evolutionary biology has the resources to address the question of why qualitative experience arises from brain states. From this (...) perspective, I discuss the different kinds of evolutionary explanations (e.g., adaptationist, exaptationist, spandrel) that can explain the origins of the qualitative aspects of various conscious states. This argument is intended to clarify which parts of Chalmers’ hard problem are amenable to scientific analysis. (shrink)

A popular view has it that the mental representations underlying human pretense are not beliefs, but are “belief-like” in important ways. This view typically posits a distinctive cognitive attitude (a “DCA”) called “imagination” that is taken toward the propositions entertained during pretense, along with correspondingly distinct elements of cognitive architecture. This paper argues that the characteristics of pretense motivating such views of imagination can be explained without positing a DCA, or other cognitive architectural features beyond those regulating normal belief and (...) desire. On the present “Single Attitude” account of imagination, propositional imagining just is a form of believing. The Single Attitude account is also distinguished from “metarepresentational” accounts of pretense, which hold that both pretending and recognizing pretense in others require one to have concepts of mental states. It is argued, to the contrary, that pretending and recognizing pretense require neither a DCA nor possession of mental state concepts. (shrink)

Recently, a view I refer to as “hypothetical continuism” has garnered some favour among philosophers, based largely on empirical research showing substantial neurocognitive overlaps between episodic memory and imagination. According to this view, episodically remembering past events is the same kind of cognitive process as sensorily imagining future and counterfactual events. In this paper, I first argue that hypothetical continuism is false, on the basis of substantive epistemic asymmetries between episodic memory and the relevant kinds of imagination. However, I then (...) propose and defend an alternative form of continuism, according to which episodic memory is continuous with a capacity I call “actuality-oriented imagination.” Because of the deep epistemic affinities between episodic memory and actuality-oriented imagination, it makes sense to think of them as cognitive processes of the same kind. (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)