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 (...) imagery disorders and abnormalities as perceptual disorders and abnormalities. Weak Perceptualism is to be rejected since it gets wrong the aim and accuracy conditions of a whole class of mental imagery–projected mental imagery–and relies on an impoverished concept of perceptual states, ignoring certain of their structural features. Whatever the relationship between perception and imagery, the perceptualist has it wrong. (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)

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)

​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 point of this paper is to reveal a dogma in the ordinary conception of sensory imagination, and to suggest another way forward. The dogma springs from two main sources: a too close comparison of mental imagery to perceptual experience, and a too strong division between mental imagery and the traditional propositional attitudes (such as belief and desire). The result is an unworkable conception of the correctness conditions of sensory imaginings—one lacking any link between the conditions under which an imagining (...) aids human action and inference and the conditions under which it is veridical. The proposed solution is, first, to posit a variety of imaginative attitudes—akin to the traditional propositional attitudes—which have different associated correctness (or satisfaction) conditions. The second part of the solution is to allow for imaginings with “hybrid” contents, in the sense that both mental images and representations with language-like constituent structure contribute to the content of imaginings. (shrink)

I discuss the meaning of 'There's something e is like', in the context of a reply to Eric Lormand's 'The explanatory stopgap'. I argue that Lormand is wrong to think it has a specially perceptual meaning. Rather, it has one of at least four candidate meanings: e is some way as regards its subject; e is some way and e's being that way is in the possession of its subject; e is some way in the awareness of its subject; e's (...) subject is the "experiencer" of e. I provide additional argumentation for the view in this paper that in the context, 'like this' functions as a predicate variable. (shrink)

Recently representationalists have cited a phenomenon known as the transparency of experience in arguments against the qualia theory. Representationalists take transparency to support their theory and to work against the qualia theory. In this paper I argue that representationalist assessment of the philosophical importance of transparency is incorrect. The true beneficiary of transparency is another theory, naïve realism. Transparency militates against qualia and the representationalist theory of experience. I describe the transparency phenomenon, and I use my description to argue for (...) naïve realism and against representationalism and the qualia theory. I also examine the relationship between phenomenological study and phenomenal character, and discuss the results in connection with the argument from hallucination. (shrink)

In this paper, I intend to justify a positive approach to social neuroscience that takes into consideration restrictive philosophical arguments about our—common and scientific—use of mental concepts. I will start with a clarification of the philosophical point of view, which holds that it is impossible to identify others’ mental states as neural states because the language we use to speak about others’ mental states—and our own, too—is a public language. Second, I will show the gap between explanations of social linguistic (...) communication of intentions and reasons for acting and neurological explanations of the human mind. Third, I will use M. D. Lieberman’s Internal/External Reference dichotomy to question whether recent findings in the social neurosciences confirm that many folk psychological concepts refer to external social events rather than internal states. If this is the case, neuroscientific findings show that part of the psychological language use is fundamentally behavioristic, i.e., not about neural states, but about social actions. These actions obviously include bodily and neurological processes, but they are not defined by these. Therefore, if all this is true, neuroscientists are right to be confident that neuroscience can help us to investigate social interactions, but certainly not in a reductive manner¾that is, not by reducing socially used concepts, such as the concept of “intending” to do something, to neural activities; instead, neuroscience can help to establish new and more precise classifications of social behaviors, that have, among their parts, scientifically identifiable flexible neural processes. (shrink)

I argue that intentionalist theories of perceptual experience are unable to explain the phenomenal character of perceptual experience. I begin by describing what is involved in explaining phenomenal character, and why it is a task of philosophical theories of perceptual experience to explain it. I argue that reductionist versions of intentionalism are unable to explain the phenomenal character of perceptual experience because they mischaracterize its nature; in particular, they fail to recognize the sensory nature of experience’s phenomenal character. I argue (...) that nonreductionist versions of intentionalism are unable to explain the phenomenal character of perceptual experience because, although they recognize its sensory nature, they mislocate it. (shrink)