I do not think that the world or the sciences would ever have suggested to me any philosophical problems. What has suggested philosophical problems to me is things which other philosophers have said about the world or the sciences. (G.E. Moore, 1942, p. 14).

Recentemente, una nuova proposta sulla natura delle allucinazioni ha scosso il consolidato dibattito in filosofia della percezione tra teorie disgiuntiviste e teorie del genere comune. Secondo alcuni autori (Nanay 2015, 2016; Allen 2015; Pagondiotis 2013), dovremmo considerare le allucinazioni come appartenenti allo stesso genere mentale delle immagini mentali. In questo articolo valuto la solidità di questa proposta e argomento in favore della tesi che essa, per come è stata delineata finora, non è accettabile. In ogni caso, suggerisco che le allucinazioni (...) potrebbero essere eventi che appartengono a diversi generi mentali. In particolare, potrebbero esistere allucinazioni derivanti dal sistema delle esperienze percettive e allucinazioni derivanti dal sistema delle immagini mentali. (shrink)

In this entry I will offer a systematic novel taxonomy of our imaginative abilities coherent with standard treatments in cognitive science, philosophy of mind and aesthetics. In particular, I will distinguish between the non-propositional imagination and the propositional imagination, which include several further sub-varieties such as the objectual imagination, imagery, experiential imagination, supposition, make-believe and more.

Nesta entrada irei apresentar uma nova taxonomia sistemática das nossas capacidades imaginativas, coerente com os tratamentos convencionais em ciência cognitiva, filosofia da mente e estética. Em particular, irei distinguir entre a imaginação não-proposicional e a imaginação proposicional, o que inclui ainda outras subvariedades, como a imaginação objectual, a imagética, a imaginação experiencial, a suposição, o faz-de-conta e outras.

Naturalistic thinking and knowing, the tacit, experiential, and intuitive reasoning of everyday interaction, have long been regarded as inferior to formal reason and labeled primitive, fallible, subjective, superstitious, and in some cases ineffable. But, naturalistic thinking is more rational and definable than it appears. It is also relevant to design. Inquiry into the mechanisms of naturalistic thinking and knowledge can bring its resources into focus and enable designers to create better, human-centered designs for use in real-world settings. This article makes (...) a case for the explicit, formal study of implicit, naturalistic thinking within the fields of design. It develops a framework for defining and studying naturalistic thinking and knowledge, for integrating them into design research and practice, and for developing a more integrated, consistent theory of knowledge in design. It will (a) outline historical definitions of knowledge, attitudes toward formal and naturalistic thinking, and the difficulties presented by the co-presence of formal and naturalistic thinking in design, (b) define and contrast formal and naturalistic thinking as two distinct human cognitive systems, (c) demonstrate the importance of naturalistic cognition in formal thinking and real-world judgment, (d) demonstrate methods for researching naturalistic thinking that can be of use in design, and (e) briefly discuss the impact on design theory of admitting naturalistic thinking as valid, systematic, and knowable. (shrink)

In this paper I will analyse the relationship between metaphor and imagination. This issue has been recently studied by cognitive linguists who appreciate its importance, while other semantic perspectives neglect it. I will analyse the thesis which affirms that metaphors are based on cognitive components which are not logical-propositional but imaginative: the “image schemata” are recurrent models of corporeal experiences, centres of knowledge organization which structure – in a non-propositional form – an amount of salient information. This information emerges from (...) the sensorimotor activities such as: manipulation of objects, spatial orientation and focusing perceptive attention on different goals. According to this theory, imagination is the drive of the entire cognitive experience and, through metaphorical projection, it activates and coordinates the schemata from which the very linguistic activity originates. Starting with empirical studies about the cognitive and neurobiological plausibility of image schemata, I will assert the function of imagination as the trait d’union between experience and cognitive use of the metaphor, through the use of sensory and synesthetic metaphors as mediators among perceptive, physical and linguistic dimensions. I hope future research will concentrate on the relationship between synesthesia and image schemata because of their strong connection with human perceptive, cognitive and neural structures. (shrink)

A theory of the structure and cognitive function of the human imagination that attempts to do justice to traditional intuitions about its psychological centrality is developed, largely through a detailed critique of the theory propounded by Colin McGinn. Like McGinn, I eschew the highly deflationary views of imagination, common amongst analytical philosophers, that treat it either as a conceptually incoherent notion, or as psychologically trivial. However, McGinn fails to develop his alternative account satisfactorily because (following Reid, Wittgenstein and Sartre) he (...) draws an excessively sharp, qualitative distinction between imagination and perception, and because of his flawed, empirically ungrounded conception of hallucination. His arguments in defense of these views are rebutted in detail, and the traditional, passive, Cartesian view of visual perception, upon which several of them implicitly rely, is criticized in the light of findings from recent cognitive science and neuroscience. It is also argued that the apparent intuitiveness of the passive view of visual perception is a result of mere historical contingency. An understanding of perception (informed by modern visual science) as an inherently active process enables us to unify our accounts of perception, mental imagery, dreaming, hallucination, creativity, and other aspects of imagination within a single coherent theoretical framework. (shrink)

Philosophers tend to assume that we have excellent knowledge of our own current conscious experience or 'phenomenology'. I argue that our knowledge of one aspect of our experience, the experience of visual imagery, is actually rather poor. Precedent for this position is found among the introspective psychologists of the late nineteenth and early twentieth centuries. Two main arguments are advanced toward the conclusion that our knowledge of our own imagery is poor. First, the reader is asked to form a visual (...) image, and it is expected that answering questions about certain basic features of that experience will be difficult. If so, it seems reasonable to suppose that people could be mistaken about those basic features of their own imagery. Second, it is observed that although people give widely variable reports about their own experiences of visual imagery, differences in report do not systematically correlate with differences on tests of skills that psychologists have often supposed to require visual imagery, such as mental rotation, visual creativity, and visual memory. (shrink)

Questions concerning the nature of representation and what representations are about have been a staple of Western philosophy since Aristotle. Recently, these same questions have begun to concern neuroscientists, who have developed new techniques and theories for understanding how the locus of neurobiological representation, the brain, operates. My dissertation draws on philosophy and neuroscience to develop a novel theory of representational content.