Recent work on the imagination has stressed the epistemic significance of imaginative experiences, notably in justifying modal beliefs. An immediate problem with this is that modal beliefs appear to admit of justification through the mere exercise of rational capacities. For instance, mastery of the concepts of square, circle, and possibility should suffice to form the justified belief that a square circle is not possible, and mastery of the concepts of pig, flying, and possibility should suffice to form a justified belief (...) that a flying pig is possible. It is thus unnecessary to try to imagine a square circle or a flying pig to justify these beliefs. In this paper, I consider three ways to defend the epistemic role of imagination in modal epistemology against this challenge. One claims that modal beliefs simply admit of justification by two separate sources: rational capacities and imaginative experience. Another holds that while beliefs about logical or conceptual modality can be justified entirely by rational capacities, beliefs about metaphysical modality require imaginative experiences. The third, which I defend, is the idea that imagination is relevant in the first instance not to modal knowledge but to modal understanding: even where imaginative experience is unnecessary for the justification of modal beliefs, it is indispensable for directly grasping certain modal propositions. (shrink)

This paper offers a critical survey and analysis of empirical studies on creativity, with emphasis on how imagination plays a role in the creative process. It takes as a foil the romantic view that, given features like novelty, incubation, and insight, we should be skeptical about the prospects for naturalistic explanation of creativity. It rebuts this skepticism by first distinguishing stages or operations in the creative process. It then works through various behavioral and neural studies, and corresponding philosophical theorizing, that (...) concern the preparation, generation, insight, and evaluation stages of creative processes. The result is not a complete explanation of creativity, but it identifies an explanatory path towards such an explanation, including the features of creativity that motivate that skepticism. (shrink)

Historically left to the margins, the topics of imagination and creativity have gained prominence in philosophy of science, challenging the once dominant distinction between ‘context of discovery’ and ‘context of justification’. The aim of this chapter is to explore imagination and creativity starting from issues within contemporary philosophy of science, making connections to these topics in other domains along the way. It discusses the recent literature on the role of imagination in models and thought experiments, and their comparison with fictions. (...) It then turns to the importance of constraints on imaginings in the scientific domain, as well as whether constraints can hinder creativity. The second part of the paper focuses on the social dimensions of science. It considers imagination and creativity of scientific communities, asks whether the institution of science promotes creativity (and whether we want it to) or if it encourages conservativeness, and ends with a reflection on the politics of imagination and creativity in science. (shrink)

My aim in this paper is to sketch, with a broad brush and in bare outlines, an approach to modal epistemology that is characterized by three distinctive features. First, the approach is agency-based: it locates the roots of our modal thought and knowledge in our experience of our own agency. Second, the approach is ambitious in that it takes the experience of certain modal properties in agency to be the sole distinctive feature of specifically modal thought and knowledge; everything that (...) we know about modality beyond the experience of agency is a matter of applying standard methods of inquiry such as deduction, induction and abductive methods for choosing between theories. Third, the account holds that modal thought and knowledge is, first and foremost, about modal properties that are sufficiently like those encountered in agency. (shrink)

Sometimes we learn through the use of imagination. The epistemology of imagination asks how this is possible. One barrier to progress on this question has been a lack of agreement on how to characterize imagination; for example, is imagination a mental state, ability, character trait, or cognitive process? This paper argues that we should characterize imagination as a cognitive ability, exercises of which are cognitive processes. Following dual process theories of cognition developed in cognitive science, the set of imaginative processes (...) is then divided into two kinds: one that is unconscious, uncontrolled, and effortless, and another that is conscious, controlled, and effortful. This paper outlines the different epistemological strengths and weaknesses of the two kinds of imaginative process, and argues that a dual process model of imagination helpfully resolves or clarifies issues in the epistemology of imagination and the closely related epistemology of thought experiments. (shrink)

This paper deals with the issue of self-determination and agency in moral action. On the one hand, it seems that where possible, the moral agent should use their practical reason to identify what it is right for them to do, and act accordingly; on the other hand, this seems to leave little room for the agent to decide for themselves how to act, where this is often said to be a marker of freedom and how the will is exercised. In (...) response to this difficulty, Ruth Chang has argued recently that at least some reasons themselves need to be seen as being created through an act of will. Looking at the work of Iris Murdoch, it is argued that this response is problematic. At the same time, it is also argued that Murdoch can provide a fruitful way of dealing with this problem through her account of the imagination. This gives a role to the will of the agent, not in creating reasons, but in attuning us to those reasons, thereby locating the will within practical reasoning itself and showing how the authority of the good can be made compatible with human freedom. (shrink)

George Eliot strikingly describes one of her characters as making a mistake because he has gotten his thoughts “entangled in metaphors,” saying that we all do the same. I argue that Eliot is here giving us more than an illuminating description, but drawing our attention to a distinctive kind of mistake—a form of irrationality, in fact—of which metaphor can be an ineliminable part of the correct explanation. Her fictional case helps illuminate both a neglected function of the imagination, and a (...) pervasive way in which metaphor can affect it. The function is the creation and maintenance of what I call imaginative expectations, which are relatively stable imaginative representations of future events or experiences, analogous to latent memories. These imaginative expectations have a distinctive causal profile and distinct ways of interacting with other mental activities. I argue that their formation is subject to at least two norms—a “source” norm and an “experience” norm—and show how metaphorical framing can give rise to violations of either. (shrink)

In recent years, more and more people have become attracted by the idea that the imagination should play a central role in explaining our knowledge of what is possible and necessary and what would be the case if things were different from how they actually are. The biggest challenge for this account is to explain how the imagination can be restricted in such a way that it can play this epistemic role, for there are certainly also unrestricted uses of the (...) imagination in which it fails to yield the requisite knowledge. In this paper, I inquire how Kant’s account of the imagination could inspire the contemporary debate at this point. I first give an overview about Kant’s account of the imagination and its different roles for our cognition of the real world. I then show that some recent attempts to separate the epistemically valuable uses of the imagination from the epistemically worthless ones bear some striking similarities to Kant’s ideas about how the imagination helps us to get insight into metaphysical possibility. By discussing what Kant says about the method of a priori imaginative construction in the case of concepts such as that of matter and that of disembodied minds, I also point to those aspects of his view which make his views really distinct from all contemporary accounts, but which he himself thought bear the greatest potential of making the imagination a source of modal knowledge. (shrink)

I explore the view that metaphysics is essentially imaginative. I argue that the central goal of metaphysics on this view is understanding, not truth. Metaphysics-as-essentially-imaginative provides novel answers to challenges to both the value and epistemic status of metaphysics.

I discuss several problems for Williamson’s counterfactual-theory of modal knowledge and argue that they have a common source, in that the theory neglects to elucidate the proper constraints on modal reasoning. Williamson puts forward an empirical hypothesis that rests on the role of counterfactual reasoning for modal knowledge. But he overlooks central questions of normative modal epistemology. In order for counterfactual reasoning to yield correct beliefs about modality, it needs to be suitably constrained. I argue that what is needed is, (...) specifically, information concerning the nature or essence of things. By integrating this information, essentialist deduction arguably provides a better account of our knowledge of modality. Furthermore, I argue that essences have distinctive causal and explanatory powers—indeed, essences are superexplanatory for how things are. Compared to Williamson’s counterfactual-theory, superexplanatory essentialism clarifies what the proper constraints on modal reasoning are, and why they have such a special status. (shrink)

The fourteen papers in this collection offer a variety of original contributions to the epistemology of modality. In seeking to explain how we might account for our knowledge of possibility and necessity, they raise some novel questions, develop some unfamiliar theoretical perspectives, and make some intriguing proposals. Collectively, they advance our understanding of the field. In Part I of this Introduction, I give some general background about the contemporary literature in the area, by sketching a timeline of the main tendencies (...) of the past twenty-five years or so, up to the present debates. Next, I focus on four features that largely characterize the latest literature, and the papers in the present collection in particular: (i) an endorsement of the importance of essentialism; (ii) a shift to a “metaphysics-first” approach to modal epistemology; (iii) a focus on metaphysical modality as opposed to other kinds of modality; and (iv) a preference for non-uniform modal epistemology. In Part II, I present the individual papers in the volume. These are organized around the following four chapters, based on their topic: (A) Skepticism & Deflationism; (B) Essentialism; (C) Non-Essentialist Accounts; (D) Applications. -/- LIST OF CONTRIBUTORS: Francesco Berto; Stephen Biggs & Jessica Wilson; Justin Clark-Doane; Philip Goff; Bob Hale; Frank Jackson; Mark Jago; Boris Kment; Antonella Mallozzi; Graham Priest; Gabriel Rabin; Amie Thomasson; Anand Vaidya & Michael Wallner; Jennifer Wang. -/- The volume is dedicated to the memory of Bob Hale. -/- . (shrink)

Counterfactuals abound in science, especially when reasoning about and with models. This often requires entertaining counterfactual conditionals with nomologically or metaphysically impossible antecedents, namely, counternomics or counterpossibles. In this paper I defend the make-believe view of scientific counterfactuals, a naturalised fiction-based account of counterfactuals in science which provides a means to evaluate their meanings independently of the possibility of the states of affairs their antecedents describe, and under which they have non-trivial truth-values. Fiction is here understood as imagination (in contrast (...) with its most typical association with falsity), characterised as a propositional attitude of pretense or ‘make-believe’ (Walton 1990). The application of this theory to scientific counterfactuals makes their evaluation a game of make-believe: a counterfactual is (fictionally) true iff its antecedent and the rules of the game prescribe the imagining of its consequent (Kimpton-Nye 2020). The result is a practice-based account of counterfactuals and counterfactual reasoning in science which incorporates insights from theoretical and experimental analytic philosophy as well as cognitive science. This way, the make-believe view of scientific counterfactuals shows that the evaluation of scientific counterfactuals is none other than a question of scientific representation in disguise. (shrink)

Imagination has received a great deal of attention in different fields such as psychology, philosophy and the cognitive sciences, in which some works provide a detailed account of the mechanisms involved in the creation and elaboration of imaginary worlds. Although imagination has also been formalized using different logical systems, none of them captures those dynamic mechanisms. In this work, we take inspiration from the Common Frame for Imagination Acts, that identifies the different processes involved in the creation of imaginary worlds, (...) and we use it to define a dynamic formal system called the Logic of Imagination Acts. We build our logic by using a possible-worlds semantics, together with a new set of static and dynamic modal operators. The role of the new dynamic operators is to call different algorithms that encode how the formal model is expanded in order to capture the different mechanisms involved in the creation and development of imaginary worlds. We provide the definitions of the language, the semantics and the algorithms, together with an example that shows how the model is expanded. By the end, we discuss some interesting features of our system, and we point out to possible lines of future work. (shrink)

Imagination has received a great deal of attention in different fields such as psychology, philosophy and the cognitive sciences, in which some works provide a detailed account of the mechanisms involved in the creation and elaboration of imaginary worlds. Although imagination has also been formalized using different logical systems, none of them captures those dynamic mechanisms. In this work, we take inspiration from the Common Frame for Imagination Acts, that identifies the different processes involved in the creation of imaginary worlds, (...) and we use it to define a dynamic formal system called the Logic of Imagination Acts. We build our logic by using a possible-worlds semantics, together with a new set of static and dynamic modal operators. The role of the new dynamic operators is to call different algorithms that encode how the formal model is expanded in order to capture the different mechanisms involved in the creation and development of imaginary worlds. We provide the definitions of the language, the semantics and the algorithms, together with an example that shows how the model is expanded. By the end, we discuss some interesting features of our system, and we point out to possible lines of future work. (shrink)

We study imagination as reality-oriented mental simulation : the activity of simulating nonactual scenarios in one’s mind, to investigate what would happen if they were realized. Three connected questions concerning ROMS are: What is the logic, if there is one, of such an activity? How can we gain new knowledge via it? What is voluntary in it and what is not? We address them by building a list of core features of imagination as ROMS, drawing on research in cognitive psychology (...) and the philosophy of mind. We then provide a logic of imagination as ROMS which models such features, combining techniques from epistemic logic, action logic, and subject matter semantics. Our logic comprises a modal propositional language with non-monotonic imagination operators, a formal semantics, and an axiomatization. (shrink)

This research is published within the project ‘The Logic of Conceivability’, funded by the European Research Council, Grant Number 681404.

There is some consensus on the claim that imagination as suppositional thinking can have epistemic value insofar as it’s constrained by a principle of minimal alteration of how we know or believe reality to be – compatibly with the need to accommodate the supposition initiating the imaginative exercise. But in the philosophy of imagination there is no formally precise account of how exactly such minimal alteration is to work. I propose one. I focus on counterfactual imagination, arguing that this can (...) be modeled as simulated belief revision governed by Laplacian imaging. So understood, it can be rationally justified by accuracy considerations: it minimizes expected belief inaccuracy, as measured by the Brier score. (shrink)

The Humean view that conceivability entails possibility can be criticized via input from cognitive psychology. A mainstream view here has it that there are two candidate codings for mental representations (one of them being, according to some, reducible to the other): the linguistic and the pictorial, the difference between the two consisting in the degree of arbitrariness of the representation relation. If the conceivability of P at issue for Humeans involves the having of a linguistic mental representation, then it is (...) easy to show that we can conceive the impossible, for impossibilities can be represented by meaningful bits of language. If the conceivability of P amounts to the pictorial imaginability of a situation verifying P, then the question is whether the imagination at issue works purely qualitatively, that is, only by phenomenological resemblance with the imagined scenario. If so, the range of situations imaginable in this way is too limited to have a significant role in modal epistemology. If not, imagination will involve some arbitrary labeling component, which turns out to be sufficient for imagining the impossible. And if the relevant imagination is neither linguistic nor pictorial, Humeans will appear to resort to some representational magic, until they come up with a theory of a ‘third code’ for mental representations. (shrink)

What role does the imagination play in scientific progress? After examining several studies in cognitive science, I argue that one thing the imagination does is help to increase scientific understanding, which is itself indispensable for scientific progress. Then, I sketch a transcendental justification of the role of imagination in this process.

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)

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)

Is imagination a source of knowledge? Timothy Williamson has recently argued that our imaginative capacities can yield knowledge of a variety of matters, spanning from everyday practical matters to logic and set theory. Furthermore, imagination for Williamson plays a similar epistemic role in cognitive processes that we would traditionally classify as either a priori or a posteriori, which he takes to indicate that the distinction itself is shallow and epistemologically fruitless. In this chapter, I aim to defend the a priori-a (...) posteriori distinction from Williamson’s challenge by questioning his account of imagination. I distinguish two notions of imagination at play in Williamson’s account – sensory vs. belief-like imagination – and show that both face empirical and normative issues. Sensory imagination seems neither necessary nor sufficient for knowledge. Whereas, belief-like imagination isn’t adequately disentangled from inference. Additionally, Williamson’s examples are ad hoc and don’t generalize. I conclude that Williamson’s case against the a priori-a posteriori distinction is unconvincing, and so is the thesis that imagination is an epistemic source. (shrink)

A planetary panic and almost deserted cities, fear of food shortages, and the growing threat of an invisible virus that does more damage day by day. In the time of the COVID-19 pandemic, many believe that science fiction has now been overtaken by reality. In these times of adversity, what does it take to survive when the world comes crashing down? How do humans stay resilient, manage their growing stress, and somehow navigate through the crisis? More specifically, how do humans (...) cope with isolation and loneliness in the light of a global outbreak? What does science fiction have to tell us about this? For the bewildered population, science fiction has been recognized as an ingredient to understand an unexpected reality. In this article I explain, through the philosophical eye of Francis Lawrence’s movie I Am Legend (2007), how a coping skill such as imagination, in the age of pandemics and social distancing, can mutate into a “Second Reality” that fills the gap left by the former (pre-outbreak) reality. (shrink)