The most salient aspect of memory is its role in preserving previously acquired information so as to make it available for further activities. Anna realizes that something is amiss in a book on Roman history because she learned and remembers that Caesar was murdered. Max turned up at the party and distinctively remembers where he was seated, so he easily gets his hands on his lost cell phone. The fact that information is not gained anew distinguishes memory from perception. The (...) fact that information is preserved distinguishes memory from imagination. But how do acquisition and retrieval of information contribute to the phenomenology of memory?The exclusive aim of this chapter is to sketch a map of the phenomenology of memory. It is structured as follows. In section 1, I introduce the contrast between content (what is remembered) and psychological attitude (remembering). This distinction will be helpful in disentangling issues in the phenomenology of memory. Section 2 is devoted to the contribution of memory content to phenomenology, section 3 to the contribution of the attitude of remembering. (shrink)

This collection brings together a selection of my recently published or forthcoming articles. What unites them is their common concern with one of the central ambitions of philosophy, namely to get clearer about our first-personal perspective onto the world and our minds. Three aspects of that perspective are of particular importance: consciousness, intentionality, and rationality. The collected essays address metaphysical and epistemological questions both concerning the nature of each of these aspects and concerning the various connections among them. More generally, (...) given that intentionality and ratio- nality are both normative phenomena, the main theme of the articles is the relationship between consciousness and normativity and the centrality of this relationship to our first-personal perspective. -/- This focus culminates in the defense of two specific views, experiential rationalism and experiential intentionalism. The first is, very roughly, the view that how our mental episodes are given in consciousness reflects their rational role in our mental lives: it is part of what our mental episodes subjectively are like that we phenomenally experience them as providing and/or responding to certain kinds of reasons. The central claim of the second view, on the other hand, is that the intentionality of our mental episodes is essentially linked to consciousness and involves a token-reflexive element: they intentionally present not only the world, but also themselves as being a certain way. -/- Some of the essays also deal with the contrast between our first- and our third-personal perspectives and the — to some extent related — division of labour between philosophy and the empirical sciences. Both perspectives have their limitations and sometimes conflict with each other, raising the question of what the consequences are for accounts of our first-personal knowledge and its internal or external objects. (shrink)

In his paper, The Transparency of Experience, M.G.F. Martin has put forward a well- known – though not always equally well understood – argument for the disjunctivist, and against the intentional, approach to perceptual experiences. In this article, I intend to do four things: (i) to present the details of Martin’s complex argument; (ii) to defend its soundness against orthodox intentionalism; (iii) to show how Martin’s argument speaks as much in favour of experiential intentionalism as it speaks in favour of (...) disjunctivism; and (iv) to argue that there is a related reason to prefer experiential intentionalism over Martin’s version of disjunctivism. (shrink)

According to the additive view of sensory imagination, mental imagery often involves two elements. There is an image-like element, which gives the experiences qualitative phenomenal character akin to that of perception. There is also a non-image element, consisting of something like suppositions about the image's object. This accounts for extra- sensory features of imagined objects and situations: for example, it determines whether an image of a grey horse is an image of Desert Orchid, or of some other grey horse. The (...) view promises to give a simple and intuitive explanation of some puzzling features of imagination, and, further, to illuminate imagination 's relation to modal knowledge. I contend that the additive view does not fulfil these two promises. The explanation of how images come to be determinate is redundant: the content constituting the indeterminate mental images on which the view relies is sufficient to deliver determinate images too, so the extra resources offered by the view are not required.. (shrink)

How do we know when we have imagined something? How do we distinguish our imaginings from other kinds of mental states we might have? These questions present serious, if often overlooked, challenges for theories of introspection and self-knowledge. This paper looks specifically at the difficulties imagination creates for Neo-Expressivist, outward-looking, and inner sense theories of self-knowledge. A path forward is then charted, by considering the connection between the kinds of situations in which we can reliably say that another person is (...) imagining, and those in which we can say the same about ourselves. This view is a variation on the outward-looking approach, and preserves much of the spirit of Neo-Expressivism. (shrink)

The aim of this paper is to argue that the phenomenal similarity between perceiving and visualizing can be explained by the similarity between the structure of the content of these two different mental states. And this puts important constraints on how we should think about perceptual content and the content of mental imagery.

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)

Why do we tend to ascribe possibility to what we can imagine? One strategy for answering that question involves the thought that, just as sensory episodes often involve its seeming to us as though the world is certain ways, so imaginings involve its seeming to us that what we have imagined is possible. This chapter argues that while some imaginings do feature appearances of possibility, very many others do not; and it explores the broader relevance of its conclusions for modal (...) epistemology. (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)

I lay out the framework for my theory of sensory imagination in “Imagining as a guide to possibility.” Sensory imagining involves mental imagery , and crucially, in describing the content of imagining, I distinguish between qualitative content and assigned content. Qualitative content derives from the mental image itself; for visual imaginings, it is what is “pictured.” For example, visually imagine the Philadelphia Eagles defeating the Pittsburgh Steelers to win their first Super Bowl. You picture the greenness of the field and (...) the football’s brown oblong shape. Some of what you imagine isn’t explicitly pictured, however. That it is Sunday, that it is the Super Bowl: these facts are assigned. (shrink)

In his paper, The Transparency of Experience, M.G.F. Martin has put forward a well- known – though not always equally well understood – argument for the disjunctivist, and against the intentional, approach to perceptual experiences. In this article, I intend to do four things: (i) to present the details of Martin’s complex argument; (ii) to defend its soundness against orthodox intentionalism; (iii) to show how Martin’s argument speaks as much in favour of experiential intentionalism as it speaks in favour of (...) disjunctivism; and (iv) to argue that there is a related reason to prefer experiential intentionalism over Martin’s version of disjunctivism. (shrink)

The following paper considers one important feature of our experiential or ‘recollective’ memories, namely their spatial perspectival characteristics. I begin by considering the ‘Past-Dependency-Claim’, which states that every recollective memory (or ‘R-memory’) has its spatial perspectival characteristics in virtue of the subject’s present awareness of the spatial perspectival characteristics of a relevant past perceptual experience. Although the Past-Dependency-Claim might for various reasons seem particularly attractive, I show that it is false. I then proceed to develop and defend the ‘Present-Dependency-Claim’, namely (...) the claim that the spatial perspectival characteristics of an R-memory depend on the spatial perspectival characteristics of perceptual experiences that the subject has at the time at which the R-memory occurs. Lastly, I discuss the phenomenon of so-called ‘observer-memories’, which presents a special challenge for any attempt to account for the spatial perspectival characteristics of R-memories. I argue that we have no good reason to deny that the relevant experiences should count as memories, and I show that we can account for the spatial perspectival characteristics of observer-memories with the help of the ‘Present-Dependency-Claim’. More generally, the paper shows that certain events that occur in a subject’s mental life (namely, a subject’s R-memories) are necessarily dependent on other events that occur in the relevant subject’s mental life (namely, on certain perceptual experiences). This more general conclusion in turn should be relevant for any attempt to develop an appropriate account of a subject’s mental life as a whole. (shrink)

If we are free to imagine what we choose, this is likely because our intentions determine what we are imagining. However, in a recent article, Munro and Strohminger (2021) argue that, in some cases of imagistic imagining, our intentions do not determine what we are imagining. They offer examples where, intuitively, a person intends to imagine one thing but, due to the causal source of the image used, imagine another. This paper acknowledges the challenge posed by these cases while arguing (...) on several grounds that, when present, intentions nevertheless always suffice to determine the object of one’s imaginings. I conclude by explaining how intentions could fix the objects of episodic rememberings in much the same way as they do for imaginings, thereby bolstering the case that remembering is a kind of imagining. (shrink)

It is often observed that images—including mental images—are in some sense representationally ambiguous. Some, including Jerry Fodor, have added that mental images only come to have determinate contents through the contribution of non-imagistic representations that accompany them. This paper agrees that a kind of ambiguity holds with respect to mental imagery, while arguing (pace Fodor) that this does not prevent imagery from having determinate contents in the absence of other, non-imagistic representations. Specifically, I argue that mental images can represent determinate (...) types of outlays of properties without help from any non-imagistic representations, yet can only become involved in the representation of particular objects through pairing with a non-imagistic representation of the right sort. These points are defended through reflection on the “Picture Principle,” the nature of depiction, and general principles for typing and individuating mental states. (shrink)

Mohan Matthen holds that visual perceptual content is divided into descriptive and referential elements. Descriptive content is our awareness of sensory features belonging to objects located in the visual field. Matthen conceives of this in terms of an image. The referential element is a demonstrative form of content, by which we pick out those objects as particulars and assert their physical presence. Matthen terms this ‘the feeling of presence’. Together, they make up the ‘assembled message’ that visual states present to (...) the perceiver in perceptual experience. I argue that the two elements cannot play together as Matthen envisages. Beginning with the referential element, I show that the feeling of presence is unable to both provide demonstrative reference and assert that the visual state reflects how things are. Turning to the descriptive element, I argue that Matthen is committed to a view on which descriptive (or image) content is a mental entity, a reified image. This is a common element across perceptual experience, episodic memory and visual imagination. The mental entity proves a defective ingredient in assembling perceptual content that purports to present reality. There are problems integrating the depicted viewpoint with the subject’s actual viewpoint, and problems maintaining a coherent notion of assertion. I argue that the project of assembling perceptual experience from descriptive and referential elements is unworkable. (shrink)

Naïve realists hold that the phenomenology of veridical perceptual experience is in part constituted by environmental objects that the subject is perceiving. Although naïve realism is well-motivated by considering the cognitive and epistemic roles of the phenomenology of veridical perceptual experience, it is considered difficult to explain hallucinatory and imaginative experiences. This paper provides three arguments to address these explanatory problems systematically on behalf of naïve realism. First, I argue that the imagination view of hallucination (IH), which states that hallucinations (...) are involuntary sensory imagination, can be applied to total and neutrally matching hallucinations. Second, I argue for the conjunction of IH and the representational view of imagination (RI), according to which sensory imagination (including hallucination) is representational (shortly RIH). Third, I argue that naïve realism can coherently be integrated with RIH. I finally present an integrative model of perception, imagination and hallucination from the perspective of the combination of naïve realism and RIH. (shrink)

This paper makes and defends four interrelated claims. First: most conscious experiences are complex in the sense that they have discernible constituent structure with discernible parts that can feature as parts of other experiences, and might occur as standalone experiences. Second: complex experiences have simple constituents that have no further discernible parts. Third: the phenomenal quality of having a complex experience is jointly determined by the phenomenal quality of its simple constituents plus the phenomenal structure simple constituents are organised into. (...) And fourth: physical descriptions can convey all the relevant information about the discernible phenomenal structure of conscious experiences. The combination of these four claims tells us that there is no further explanatory gap related to the phenomenal quality of complex experiences given that one is familiar with the phenomenal qualities of the simple parts constituting the complex experience in question, and that it is possible to acquire knowledge about the phenomenal quality of yet unexperienced complex experiences on the basis of previous acquaintances with constituent parts plus structural information. That is, the paper argues for a ‘summation’ model of phenomenal qualities. (shrink)

The present work explores various ways in which contingent evidence can impact metaphysics, while advocating that, just as a scientific realist allows for ampliative inferences to the unobservable, ampliative inferences from possible evidence can warrant possibility claims that lie beyond the reach of sensorial imagination. In slogan form: possible evidence is a guide to possibility. Drawing on Shoemaker’s (1969) argument for the possibility of time without change, I advocate the following principle: If there is a possible world at which the (...) observable facts make it objectively reasonable to conclude that p, then we should conclude that p is possibly true. This provides a route to contingentism in metaphysics, for, if one considers that there are worlds in which the observable facts make it objectively reasonable to conclude that p, and worlds in which the observable facts make it objectively reasonable to conclude that not-p, then my principle tells us that we should conclude that possibly-p and possibly not-p, i.e. that p is contingent. This contingency in what is reasonable to conclude, I suggest, occurs most saliently in debates where evidence of phenomenal experience and empirical science are marshalled to support one theory over another. I also explore some consequences of taking possible evidence to be a guide to possibility in this way, among them being an interesting modal analogue of the lottery paradox. (shrink)

Conscious recollection, of the kind characterised by sensory mental imagery, is often thought to involve ‘episodically’ recalling experienced events in one’s personal past. One might wonder whether this overlooks distinctive ways in which we sometimes recall ordinary, persisting objects. Of course, one can recall an object by remembering an event in which one encountered it. But are there acts of recall which are distinctively objectual in that they are not about objects in this mediated way (i.e., by way of being (...) about events in which they featured)? This question has broad implications, not least for understanding the nature and role of imagery in remembering, the requirements of memory-based singular thought about objects, and the sense in which remembering involves ‘mental time travel’ through which one ‘relives’ past events. In this paper, I argue that we sometimes do recall objects from our past without remembering events in which they featured. The positive view of such cases I go on to propose draws on a wide body of empirical work in its support and accommodates a more nuanced picture of the role of imagery in remembering. In a slogan: remembering might essentially involve a kind of ‘re-experiencing’, but it need not involve ‘reliving’. (shrink)

Cats and dogs are the same kind of thing in being mammals, even if cats are not a kind of dog. In the same way, remembering and imagining might be the same kind of mental state, even if remembering is not a kind of imagining. This chapter explores whether episodic remembering, on the one hand, and future and counter-factual directed imagistic imagining, on the other, may be the same kind of mental state in being instances of the same cognitive attitude. (...) I outline a continuist position where all three involve the same judgment-like attitude and compare its advantages to a discontinuist alternative where remembering requires use of its own distinctive attitude. Reasons are given for favoring a version of the continuist position, though this chapter’s focus is on the metatheoretical questions of how to go about understanding remembering in terms of a content and attitude pair, and which considerations are relevant when deciding among competing content/attitude pairs. (shrink)

It is not uncommon to think that having a desire involves taking its object to be good in some sense. This idea has been developed in two directions: either toward a view that understands the positive evaluation in terms of a judgment or belief or a view according to which the relevant evaluation is perception-like. In this article, I defend a novel proposal that takes the positive evaluation of the object of desire to be a kind of imagining.

It has long been recognized that we have a great deal of freedom to imagine what we choose. This paper explores a thesis—what we call “intentionalism (about the imagination)”—that provides a way of making this evident (if vague) truism precise. According to intentionalism, the contents of your imaginings are simply determined by whatever contents you intend to imagine. Thus, for example, when you visualize a building and intend it to be of King’s College rather than a replica of the college (...) you have imagined the former rather than the latter because you intended to imagine King’s College. This is so even if the visual image you conjure up equally resembles either. This paper proposes two kinds of counterexamples to intentionalism and discusses their significance. In particular, it sketches a positive account of how many sensory imaginings get to be about what they are about, which explains how the causal history of our mental imagery can prevent us from succeeding in imagining what we intended. (shrink)

Aphantasia is a recently discovered disorder characterised by the total incapacity to generate visual forms of mental imagery. This paper proposes that aphantasia raises important theoretical concerns for the ongoing debate in the philosophy and science of consciousness over the nature of dreams. Recent studies of aphantasia and its neurobehavioral correlates reveal that the majority of aphantasics, whilst unable to produce visual imagery while awake, nevertheless retain the capacity to experience rich visual dreams. This finding constitutes a novel explanandum for (...) theories of dreaming. Specifically, I argue that the recent dream reports of aphantasics constitute an empirical challenge to the emerging family of views which claim that dreams are essentially imaginative experiences, constitutively involving the kinds of mental imagery which aphantasics, ex-hypothesi, lack. After presenting this challenge in the context of Jonathan Ichikawa’s recent arguments for this view, I argue that this empirical challenge may be overcome if the imagination theorist abandons Ichikawa’s account of dreaming in favour of a modified version. This involves the claim that dreams are essentially inactive and constitutively involve non voluntary forms of imagination. I conclude with a suggestion for further research which can test the viability of this alternative hypothesis, and move the debate forward. (shrink)

How tight is the conceptual connection between imagination and perception? A number of philosophers, from the early moderns to present-day predictive processing theorists, tie the knot as tightly as they can, claiming that states of the imagination, i.e. mental imagery, are a proper subset of perceptual experience. This paper labels such a view ‘perceptualism’ about the imagination and supplies new arguments against it. The arguments are based on high-level perceptual content and, distinctly, cognitive penetration. The paper also defuses a recent, (...) influential argument for perceptualism based on the ‘discovery’ that visual perception and mental imagery share a significant neural substrate: circuitry in V1, the brain’s primary visual cortex. Current neuropsychology is shown to be equivocal at best on this matter. While experiments conducted on healthy, neurotypical subjects indicate substantial neural overlap, there is extensive clinical evidence of dissociations between imagery and perception in the brain, most notably in the case of aphantasia. (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)

In social and political theory, the imagination is often used in accounting both for creativity, innovation, and change and for sociopolitical stagnation and the inability to promote innovation and change. To what extent, however, can we attribute such seemingly contradictory outcomes to the same mental faculty? To address this question, this paper develops a comprehensive account of the political imagination, one that explains the various roles played by imagination in politics and thus accounts for the promises and limits of the (...) political imagination. This conceptualization of the political imagination allows us to account for the simultaneous presence of its seemingly contradictory roles—such as promoting stability and order on the one hand while generating creativity and critical innovation on the other. (shrink)

It is widely believed, among philosophers of literature, that imagining contradictions is as easy as telling or reading a story with contradictory content. Italo Calvino’s The Nonexistent Knight, for instance, concerns a knight who performs many brave deeds, but who does not exist. Anything at all, they argue, can be true in a story, including contradictions and other impossibilia. While most will readily concede that we cannot objectually imagine contradictions, they nevertheless insist that we can propositionally imagine them, and regularly (...) do, simply by entertaining a text which prompts us to do so. I argue that this narrative does not bear scrutiny for two main reasons. First, because propositional imagining is beside the point, where truth in fiction is concerned; evaluating truth in fiction engages the cognitive architecture in ways that prohibit the mobilization of merely propositional imagination to that end. And second, because it is not obvious, given the strategies usually suggested, that we ever propositionally imagine contradictions in the first place—in fact, it seems we go out of our way to avoid directly imagining them. (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)

This essay unites current philosophical thinking on imagination with a burgeoning debate in the philosophy of memory over whether episodic remembering is simply a kind of imagining. So far, this debate has been hampered by a lack of clarity in the notion of imagining at issue. Several options are considered and constructive imagining is identified as the relevant kind. Next, a functionalist account of episodic remembering is defended as a means to establishing two key points: first, one need not defend (...) a factive view of remembering in order to hold that causal connections to past experiences are essential to how rememberings are typed; and, second, current theories that equate remembering with imagining are in fact consistent with a functionalist theory that includes causal connections in its account of what it is to remember. This suggests that remembering is not a kind of imagining and clarifies what it would take to establish the contrary. (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)

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)

My topic is a certain view about mental images: namely, the ‘Multiple Use Thesis’. On this view, at least some mental image-types, individuated in terms of the sum total of their representational content, are potentially multifunctional: a given mental image-type, individuated as indicated, can serve in a variety of imaginative-event-types. As such, the presence of an image is insufficient to individuate the content of those imagination-events in which it may feature. This picture is argued for, or (more usually) just assumed (...) to be true, by Christopher Peacocke, Michael Martin, Paul Noordhof, Bernard Williams, Alan White, and Tyler Burge. It is also presupposed by more recent authors on imagination such as Amy Kind, Peter Kung and Neil Van Leeuwen. I reject various arguments for the Multiple Use Thesis, and conclude that instead we should endorse SINGLE: a single image-type, individuated in terms of the sum total of its intrinsic representational content, can serve in only one imagination event-type, whose content coincides exactly with its own, and is wholly determined by it. Plausibility aside, the interest of this thesis is also in its iconoclasm, as well as the challenge it poses for the diverse theories that rest on the truth of the Multiple Use Thesis. (shrink)

In this paper, I survey in some depth three issues arising from the connection between imagination and fiction: (i) whether fiction can be defined as such in terms of its prescribing imagining; (ii) whether imagining in response to fiction is de se, or de re, or both; (iii) the phenomenon of ‘imaginative resistance’ and various explanations for it. Along the way I survey, more briefly, several other prominent issues in this area too.

Common wisdom tells us that we have five senses: sight, hearing, smell, taste and touch. These senses provide us with a means of gaining information concerning objects in the world around us, including our own bodies. But in addition to these five senses, each of us is aware of our own body in way in which we are aware of no other thing. These ways include our awareness of the position, orientation, movement, and size of our limbs (proprioception and kinaesthesia), (...) our sense of balance, and our awareness of bodily sensations such as pains, tickles, and sensations of pressure or temperature. We can group these together under the title. (shrink)

It is often observed that images—including mental images—are in some sense representationally ambiguous. Some, including Jerry Fodor, have added that mental images only come to have determinate contents through the contribution of non-imagistic representations that accompany them. This paper agrees that a kind of ambiguity holds with respect to mental imagery, while arguing (pace Fodor) that this does not prevent imagery from having determinate contents in the absence of other, non-imagistic representations. Specifically, I argue that mental images can represent determinate (...) types of outlays of properties without help from any non-imagistic representations, yet can only become involved in the representation of particular objects through pairing with a non-imagistic representation of the right sort. These points are defended through reflection on the “Picture Principle,” the nature of depiction, and general principles for typing and individuating mental states. (shrink)

In this paper, I defend a tripartite metaphysics of intentional mental states, according to which mental states are divided into subject, content, and attitude, against recent attempts at eliminating the attitude component (e.g., Montague, Oxford studies in philosophy of mind, 2022, 2, Oxford University Press). I suggest that a metaphysics composed of only subject and content cannot account for (a) multisensory perceptual experiences and (b) phenomenological differences between episodes of perception and imagination. Finally, I suggest that some of the motivations (...) behind the rejection of the attitude component can be accommodated within the tripartite framework. (shrink)

The past 25 years have seen a rapid growth of knowledge about brain mechanisms involved in visual mental imagery. These advances have largely been made independently of the long history of philosophical – and even psychological – reckoning with imagery and its parent concept ‘imagination’. We suggest that the view from these empirical findings can be widened by an appreciation of imagination’s intellectual history, and we seek to show how that history both created the conditions for – and presents challenges (...) to – the scientific endeavor. We focus on the neuroscientific literature’s most commonly used task – imagining a concrete object – and, after sketching what is known of the neurobiological mechanisms involved, we examine the same basic act of imagining from the perspective of several key positions in the history of philosophy and psychology. We present positions that, firstly, contextualize and inform the neuroscientific account, and secondly, pose conceptual and methodological challenges to the scientific analysis of imagery. We conclude by reflecting on the intellectual history of visualization in the light of contemporary science, and the extent to which such science may resolve long-standing theoretical debates. (shrink)

: Jennifer Radden argues that it is impossible to imagine sensuously pain and explains this by noting that pains are sensory qualities for which there is no distinction between appearance and reality. By contrast, I argue that only basic sensuous imaginings of pain from the first person perspective are, with some qualifications, impossible. Non-basic sensuous imaginings of pain from the first person perspective are possible. I explain the extent to which imagining pain is impossible in terms of the conditions required (...) for representing the painfulness of pain. I outline some difficulties with Radden’s favoured explanation and note how imagining pains may have a role in depression and, to that extent, keep open the option that it may have a partly delusional character. Keywords: Imagination; Pain; Depression; Action; Delusion Spiegare l'impossibilità e la possibilità di immaginare il dolore Riassunto: Jennifer Radden sostiene come l’immaginazione sensoriale del dolore non sia possibile e lo motiva facendo notare come i dolori siano qualità sensoriali per cui non c’è distinzione tra apparenza e realtà. Per converso io sostengo come sia impossibile solo l’immaginazione sensibile di base del dolore dalla prospettiva della prima persona, con alcune specificazioni. L’immaginazione sensibile non di base del dolore dalla prospettiva della prima persona è possibile. Illustro fino a che punto l’immaginare il dolore è impossibile in termini di condizioni richieste per rappresentare la dolorosità del dolore. Sottolineo alcune difficoltà della spiegazione proposta da Radden e faccio notare come l’immaginare il dolore può aver un ruolo nella depressione e come, per questo, resti aperta l’opzione che il dolore possa avere in parte carattere illusorio. Parole chiave: Immaginazione; Dolore; Depressione; Azione; Illusione. (shrink)

Mental Imagery, whereby we experience aspect of a perceptual scene or perceptual object in the absence of direct sensory stimulation is ubiquitous. Often the existence of mental imagery is demonstrated by asking one’s reader to volitionally generate a visual object, such as closing ones eyes and imagining an apple. However, mental imagery also arises in auditory, tactile, interoceptive, and olfactory cases. A number of influential philosophical theories have attempted to explain mental imagery in terms of belief-based forms of representation using (...) the Dependence Thesis, dependence upon means of access, such as enactivism, or in terms of the similarity of content with perceptual processing. The focus of this paper concerns the later approach and in particular assessing if Nanay’s promissory note that his theory is applicable to modalities other than vision, such as smell, seems likely to be of theoretical tender. The thesis argued for in this paper is that olfactory imagery exists and is best accounted for by considering it as a type of perceptual processing with a unique representational format relative to the olfactory perceptual modality. The paper concludes by summarizing the applicability of Nanay’s theory of mental imagery for olfaction and suggests some further issues that arise when transitioning to multi-modal mental imagery. (shrink)

Prediction draws on both simulation and theory. I ask how simulation is defined, and what the roles of simulation and theory are, respectively. Simulation is flexible in structure and resources. Often simulation and theory are combined in prediction. The function of simulation consists of representing a situation that is relevantly like the target situation with regards to the feature predicted.

Mental imagery has often been taken to be equivalent to “sensory imagination”, the perception‐like type of imagination at play when, for example, one visually imagines a flower when none is there, or auditorily imagines a music passage while wearing earplugs. I contend that the equation of mental imagery with sensory imagination stems from a confusion between two senses of mental imagery. In the first sense, mental imagery is used to refer to a psychological attitude, which is perception‐like in nature. In (...) the second sense, mental imagery refers to a mental content, which can be grasped via different attitudes. I will show that failure to acknowledge the distinction between these senses of mental imagery has muddled philosophical discussion. This distinction brings much needed clarity to debates where sensory imagination and mental imagery are invoked, shedding light on issues such as the nature of imagistic mental states, and the representational powers and limits of mental imagery. I will conclude by sketching a general attitudinal account of imagination that does justice to both senses of mental imagery, outlining a promising framework for understanding imagination. (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)

I argue that our experience of expressive properties (such as the joyfulness or sadness of a piece of music) essentially involves the sensuous imagination (through simulation) of an emotion-guided process which would result in the production of the properties which constitute the realisation of the expressive properties experienced. I compare this proposal with arousal theories, Wollheim’s Freudian account, and other more closely related theories appealing to imagination such as Kendall Walton’s. I explain why the proposal is most naturally developed in (...) terms of simulation and briefly comment upon the impact of work on cross-cultural perception of facial expression, modularity and autism for the proposal. (shrink)

Relationalism claims that the phenomenal character of perception is constituted by the obtaining of a non-representational psychological relation to mind-independent objects. Although relationalism provides what seems to be the most straightforward and intuitive account of how experience strikes us introspectively, it is very often believed that the argument from hallucination shows that the view is untenable. The aim of this thesis is to defend relationalism against the argument from hallucination. The argument claims that the phenomenal character of hallucination and perception (...) deserves the same account, and that relationalism cannot be true for hallucinations, therefore relationalism must be rejected. This argument relies on the Indiscriminability Principle, the claim that two experiences that are introspectively indiscriminable from each other have the same phenomenal character. Before assessing the plausibility of this principle, I first consider and dismiss versions of the argument which wouldn’t depend on IND. Although widely accepted, no satisfactory support for IND has been presented yet. In this thesis I argue that defending IND requires that we understand the notion of ‘indiscriminability’ employed in IND in an impersonal sense. I then identify what underwrites IND: the intuition that, in virtue of its superficiality, the nature of a phenomenal character must be accessible through introspection, together with the claim that it is not possible to deny IND without denying the superficiality of phenomenal characters too. I argue that the relationalist can deny IND while preserving the superficiality of phenomenal characters. This can be done by adopting a negative view of hallucination and an account of introspection whereby the phenomenal character doesn’t exist independently of one’s introspective awareness of it and where having introspective access to our experience depends on our perceptual access to the world. (shrink)

Philosophers have long been interested in the various similarities and differences between perception and imagination. One of the most interesting purported differences is the relationship that attention bears to each. Colin McGinn (2004), especially, has provided a comprehensive discussion of these relations, pointing out that imagery, unlike perceptual experiences (percepts), essentially requires attention, presents no equivalent of the visual field for attention to explore, lacks saturation, and cannot provide new information about what is imagined. Moreover, McGinn and others have also (...) maintained that images, like percepts, are transparent. In this paper I will examine all of these claims, arguing first that there are few good reasons to accept the differences between imagery and perceptual experiences in respect of the role that attention is supposed to play in each, and secondly, that in any case the transparency claim is in tension with the other claims made about imagery. I conclude that the most salient difference between imagination and perception consists in the non-attributive phenomenology of the former. Finally, I turn briefly to some implications of this characteristic of imagining for the nature of pictorial depiction, arguing against the plausibility of accounts that attempt to explain it by appealing to the imagination. (shrink)