Schlenker (Semant Pragmat 2(3):1–78, 2009; Philos Stud 151(1):115–142, 2010a; Mind 119(474):377–391, 2010b) provides an algorithm for deriving the presupposition projection properties of an expression from that expression’s classical semantics. In this paper, we consider the predictions of Schlenker’s algorithm as applied to attitude verbs. More specifically, we compare Schlenker’s theory with a prominent view which maintains that attitudes exhibit belief projection, so that presupposition triggers in their scope imply that the attitude holder believes the presupposition (Karttunen in Theor Linguist 34(1):181, (...) 1974; Heim in J Semant 9(3):183–221, 1992; Sudo in The art and craft of semantics: a festschrift for Irene Heim, MIT Press, 2014). We show that Schlenker’s theory does not predict belief projection, and discuss several consequences of this result. (shrink)

This paper is about two requirements on wish reports whose interaction motivates a novel semantics for these ascriptions. The first requirement concerns the ambiguities that arise when determiner phrases, such as definite descriptions, interact with ‘wish’. More specifically, several theorists have recently argued that attitude ascriptions featuring counterfactual attitude verbs license interpretations on which the determiner phrase is interpreted relative to the subject’s beliefs. The second requirement involves the fact that desire reports in general require decision-theoretic notions for their analysis. (...) The current study is motivated by the fact that no existing account captures both of these aspects of wishing. I develop a semantics for wish reports that makes available belief-relative readings but also allows decision-theoretic notions to play a role in shaping the truth conditions of these ascriptions. The general idea is that we can analyze wishing in terms of a two-dimensional notion of expected utility. (shrink)

Vendler’s :161–173, 1979) puzzle about imagination is that the sentences ‘Imagine swimming in that water’ and ‘Imagine yourself swimming in that water’ seem at once semantically different and semantically the same. They seem semantically different, since the first requires you to imagine ’from the inside’, while the second allows you to imagine ’from the outside.’ They seem semantically the same, since despite superficial dissimilarity, there is good reason to think that they are syntactically and lexically identical. This paper sets out (...) the puzzle and offers a novel solution. Our proposal is that, just as there is knowledge-wh, there is also imagining-wh and that the inside/outside distinction Vendler points to is properly understood as a distinction within imagining-wh. In particular, to imagine swimming from the inside is to imagine what it feels like to swim, while to imagine swimming from the outside is to imagine what it looks like to swim. We show that this proposal is well grounded in both the semantics and syntax of ‘imagine.’ We also argue it makes better sense than its rivals of the data Vendler found so puzzling. (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)

There are different ways in which imaginings can involve the first-person. I can imagine skiing down a mountain, looking down the slope, the wind whipping me in the face. I can also imagine myself skiing down a mountain from the outside, adopting the point of view of a spectator watching myself fly down the mountain. I can also imagine that I am someone else entirely, say Angela Merkel, skiing down a mountain. In this paper I develop and defend a new (...) account of the content of first-person imaginings. I first look at two existing accounts, one proposed by Francois Recanati (2007a, 2007b) and the other proposed by Dilip Ninan (2008), and I argue that they lack the resources to model the rich and distinct types of first-person imaginings that we can have. I then present and defend a new account that reconstrues the imagining from the inside vs. imagining from the outside distinction and can accommodate the various ways in which imaginings involve the first-person. (shrink)

Both perception and imagination seem to play a crucial role in our engagement with fiction films but whether they really do so, and which role they possibly play, is controversial. On the one hand, a fiction film, as film, is a depiction that invites us to perceive the events portrayed. On the other hand, as fiction, it invites us to imagine the story told. Thus, after watching the film Alien, one might say that one saw Ripley fighting the monster but (...) one might also say that one imagined Ripley fighting the monster. Are these two reports compatible? If they are, how can we combine them so to make sense of them? If, instead, they are not, which of them should we give up? (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)

In metaphysics, there are a number of distinct but related questions about the existence of “further facts”—facts that are contingent relative to the physical structure of the universe. These include further facts about qualia, personal identity, and time. In this article I provide a sequence of examples involving computer simulations, ranging from one in which the protagonist can clearly conclude such further facts exist to one that describes our own condition. This raises the question of where along the sequence the (...) protagonist stops being able to soundly conclude that further facts exist. (shrink)

It is easy to imagine being someone else from the first-person point of view. Such imaginings give rise to a puzzle. In this paper I explain what the puzzle is and then consider several existing attempts of solving the puzzle. I argue that these attempts are unsuccessful. I propose a Lewisian account of first-person imagination and make the case that this account has the potential to solve the puzzle.

The aim of this paper is to make sense of a characteristic feature of interactive fictions, such as video game fictions, adventure books and role playing games. In particular, I describe one important way consumers of interactive fiction ‘take on the role’ of a fictional character and are ‘involved’ in the story. I argue that appreciative engagement with such works requires imagining being someone else and imagining parts of the story in a self-locating manner. In short, consuming works of interactive (...) fiction involves imagining the story from the protagonist’s perspective. (shrink)

Sometimes, one can imagine, in virtue of having some experience, that one is someone else having some property. This is puzzling if imagination is a guide to possibility, since it seems impossible for one to be someone else. In this paper, I offer a way of dissolving the puzzle. When one claims that, by having some experience, one imagines that one is someone else having some property, what one imagines, I suggest, is that if the other person had the property (...) in question, then having it would be, for them, like having the relevant experience is for one. I discuss two alternative views about the content of these episodes of imagination, and argue that both of them are too weak and too strong. The proposed view avoids the two difficulties while preserving some intuitions about the phenomenology and the epistemology of imagination which are captured by the alternative views. (shrink)

The Centred View offers an account of the connection between imagination and possibility that combines the centred world framework with some allegedly appealing intuitions regarding our persistence over time. In particular, Dilip Ninan suggests that the Centred View has the theoretical advantage of respecting our intuitions about cases of personal identity in certain imaginative scenarios while also being compatible with physicalism. Unfortunately, the Centred View faces a series of serious objections and should ultimately be rejected.

As you face a life-defining change, you might ask yourself: Who will I become? This can be understood as a question about the nature and character of your future life, asked from your first person, or subjective, perspective. The nature and character of your conscious, first person, lived experience is a defining constituent of what it is like to be you. Framed this way, knowing the nature of your future lived experience is a way of knowing your future self. In (...) this paper, I explore this way of understanding one’s self and its implications for understanding life-defining changes in high-stakes contexts. My exploration of this way of understanding one’s self highlights the role of experience in grasping perceptual truths, and the importance of imagination, empathy, and testimony in self-understanding and prediction. (shrink)

In metaphysics, there are a number of distinct but related questions about the existence of “further facts”—facts that are contingent relative to the physical structure of the universe. These include further facts about qualia, personal identity, and time. In this article I provide a sequence of examples involving computer simulations, ranging from one in which the protagonist can clearly conclude such further facts exist to one that describes our own condition. This raises the question of where along the sequence the (...) protagonist stops being able to soundly conclude that further facts exist. (shrink)