A common objection to sense-datum theories of perception is that they cannot give an adequate account of the fact that introspection indicates that our sensory experiences are directed on, or are about, the mind-independent entities in the world around us, that our sense experience is transparent to the world. In this paper I point out that the main force of this claim is to point out an explanatory challenge to sense-datum theories.

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)

This paper considers the epistemic role that embodiment plays in imagining. We focus on two aspects of embodied cognition understood in its strong sense: explicit motoric processes related to performance, and neuronal processes rooted in bodily and action processes, and describe their role in imagining. The paper argues that these two aspects of strongly embodied cognition can play distinctive and positive roles in constraining imagining, thereby complementing Amy Kind's argument for the epistemic relevance of imagination "under constraints" and Magdalena Balcerak (...) Jackson's argument for justification by imagination. (shrink)

The aim of the article is to further assess and develop feminist standpoint theory by introducing the notion of the `situated imagination' as constituting an important part of this theory as well as that of `situated knowledge'. The article argues that the faculty of the imagination constructs as well as transforms, challenges and supersedes both existing knowledge and social reality. However, like knowledge, it is crucial to theorize the imagination as situated, that is, as shaped and conditioned (although not determined) (...) by social positioning. (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.

In this paper we explore the notion of rehearsal as a way to develop an embodied and enactive account of imagining. After reviewing the neuroscience of motor imagery, we argue, in the context of performance studies, that rehearsal includes forms of imagining that involve motor processes. We draw on Sartre’s phenomenology of imagining which also suggests that imagining involves motor processes. This research in neuroscience and phenomenology, supports the idea of an embodied and enactive account of imagination.

The present study utilized research design in which six different poems were given repeated readings by groups of persons in which there were an equal number of males and females and of introverts and extraverts as assessed by the Myers- Briggs Type Indicator (Myers, 1962). Assessments of readers’ experience of the poem were obtained immediately after an initial reading and again after repeated readings of the poem. Subjects' general descriptions of their experience of the poems were reduced to fundamental descriptions (...) (Colaizzi, 1969) by a three-step procedure (preliminary listing, grouping, and constituent definition) and then resynthesized in a fourth step that placed the constituents into a coherent general description. As understanding increased, readers experience became less personal and more closely related to that intended by the poet. The general trend was increased imagery but attenuation of emotional experience as both were experienced as a part of or derived more directly from the poem itself. (shrink)

The essay traces the double, phenomenological and psychological, background of Sartre’s theory of the imagination. Insofar as these two phenomenological and psychological currents are equally influential for Sartre’s theory of the imagination, his intellectual project is situated in an inter-disciplinary research area which combines the descriptive analyses of Edmund Husserl with the clinical reports and psychological theories of Pierre Janet. While Husserl provides the foundation for the prevailing theory of imagination as pictorial representation, Janet’s findings on obsessive behavior enrich an (...) alternative current in Sartre’s thinking about imagination as spontaneous and self-determined creativity. (shrink)

Using Buddhist thought, explores and challenges the philosophy of Jean-Paul Sartre.