Phenomenology and physiology become commensurable through a self-organizational physiology and an "enactive" view of consciousness. Self-organizing processes appropriate and replace their own needed substrata, rather than merely being caused by interacting components. Biochemists apply this notion to the living/nonliving distinction. An enactive approach sees consciousness as actively executed by an agent rather than passively reacting to stimuli. Perception does not result from mere stimulation of brain areas by sensory impulses; unless motivated organismic purposes first anticipate and "look for" emotionally relevant.stimuli, (...) brain-sensory processing is not accompanied by perceptual consciousness. To see a soccer ball requires looking for it in the right place. The sell-organizing, emotionally motivated agent instigates this looking-for activity. (shrink)

Schizophrenic hallucinations can be understood only as a function of the totality of the schizophrenic's personality, that is, only in the context of the person's entire being-in-the-world. For essential reasons, there is a predominance of auditory hallucinations in schizophrenia, and these typically take the form of human voices. This paper argues that the essential reasons here are human reasons. That is, hallucinations arise primarily on account of a human or personal deficit. We argue that the deficit in question is, most (...) fundamentally, the radical one of a disturbed relation between the subject and the world in general. The schizophrenic slackens the normal "intentional arc" that casts the subject out into a world. Our thesis is that this slackening has interpersonal roots and that hallucination can be understood as a desperate attempt to compensate for the impoverishment of being-in-the-world and, specifically, for the deficiency in human relations; hence, the "human" voices. (shrink)

This paper offers a critique of a central psychopathological concept, the notion of "poor reality-testing. "Using ideas from the philosopher Ludwig Wittgenstein, I consider the nature of delusions in schizophrenia, largely through examining Daniel Paul Schreber's famous Memoirs of My Nervous Illness. Many schizophrenic individuals do not in fact mistake their fantasies for reality, as is traditionally assumed. Rather, I argue, they engage in a solipsistic mode of experience, a felt subjectivization of the lived world that is associated with a (...) stance of passivity and hyperconsciousness. I discuss the existential conditions and consequences of this stance and show that certain anomalous or paradoxical features of schizophrenic delusion are explicable on this phenomenological account. (shrink)

This is an overview of analytic philosophy of music. It is in five sections, as follows: 1. What Is Music? 2. Musical Ontology 3. Music and the Emotions 4. Understanding Music 5. Music and Value.

In this paper I distil a concept of the imaginary with which to make good the claim that our mode of embodied subjectivity is an imaginary embodiment in an imaginary world. The concept of the imaginary employed is not one in which imaginary worlds are contrasted with the real, but one in which imagination is a condition of there being a real for us. The images and forms in terms of which our imagined bodies and worlds are constituted carry, in (...) an interdependent way, cognition and affects. Imagined configurations have a resilience which makes their displacement more than a matter of appealing to considerations of truth or falsity. It involves encounters with alternative imagined configurations which can be recognized as making both cognitive and affective sense. (shrink)

Philosophy Compass, Volume 1. Oxford: Blackwell, 2006.

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)

Prior to the twentieth century, theories of knowledge were inherently perceptual. Since then, developments in logic, statis- tics, and programming languages have inspired amodal theories that rest on principles fundamentally different from those underlying perception. In addition, perceptual approaches have become widely viewed as untenable because they are assumed to implement record- ing systems, not conceptual systems. A perceptual theory of knowledge is developed here in the context of current cognitive science and neuroscience. During perceptual experience, association areas in the (...) brain capture bottom-up patterns of activation in sensory-motor areas. Later, in a top-down manner, association areas partially reactivate sensory-motor areas to implement perceptual symbols. The stor- age and reactivation of perceptual symbols operates at the level of perceptual components – not at the level of holistic perceptual expe- riences. Through the use of selective attention, schematic representations of perceptual components are extracted from experience and stored in memory (e.g., individual memories of green, purr, hot). As memories of the same component become organized around a com- mon frame, they implement a simulator that produces limitless simulations of the component (e.g., simulations of purr). Not only do such simulators develop for aspects of sensory experience, they also develop for aspects of proprioception (e.g., lift, run) and introspec- tion (e.g., compare, memory, happy, hungry). Once established, these simulators implement a basic conceptual system that represents types, supports categorization, and produces categorical inferences. These simulators further support productivity, propositions, and ab- stract concepts, thereby implementing a fully functional conceptual system. Productivity results from integrating simulators combinato- rially and recursively to produce complex simulations. Propositions result from binding simulators to perceived individuals to represent type-token relations. Abstract concepts are grounded in complex simulations of combined physical and introspective events. Thus, a per- ceptual theory of knowledge can implement a fully functional conceptual system while avoiding problems associated with amodal sym- bol systems. Implications for cognition, neuroscience, evolution, development, and artificial intelligence are explored. (shrink)

There is a tendency to take mounted dinosaur skeletons at face value, as the raw data on which the science of paleontology is founded. But the truth is that mounted dinosaur skeletons are substantially intention-dependent—they are artifacts. More importantly, I argue, they are also substantially imagination-dependent: their production is substantially causally reliant on preparators’ creative imaginations, and their proper reception is predicated on audiences’ recreative imaginations. My main goal here is to show that dinosaur skeletal mounts are plausible candidates for (...) art-status. But, what is more, I think they are artworks—specifically, sculptures. (shrink)

Traditionally, philosophers have been skeptical that the imagination can justify beliefs about the actual world. After all, how could merely imagining something give you any reason to believe that it is true? However, within the past decade or so, a lively debate has emerged over whether the imagination can justify empirical belief and, if so, how. This paper provides a critical overview of the recent literature on the epistemology of imagination and points to avenues for future research.

An influential objection to the epistemic power of the imagination holds that it is uninformative. You cannot get more out of the imagination than you put into it, and therefore learning from the imagination is impossible. This paper argues, against this view, that the imagination is robustly informative. Moreover, it defends a novel account of how the imagination informs, according to which the imagination is informative in virtue of its analog representational format. The core idea is that analog representations represent (...) relations ‘for free,’ and this explains how the imagination can contain more information than is put into it. This account makes important contributions to both philosophy of mind, by showing how the imagination can generate new content that is not represented by a subject’s antecedent mental states, and epistemology, by showing how the imagination can generate new justification that is not conferred by a subject’s antecedent evidence. (shrink)

Eudaimonia, that is, the experience of flourishing and welfare at the center of Greek philosophical investigations, describes the qualitative experience of being able to feel well in our bodies. Reductionism in medicine as well as in philosophy would instead reduce well-being to a set of standards that the human body or its mind must meet in order to be recognized as functioning. This journal issue, dedicated to a phenomenological approach in bioethics, represents a way to overcome this dangerous constraint thanks (...) to the methodological support of the phenomenological investigations. The authors invited to write in this journal issue will tackle the problem of reductionism in bioethics through a phenomenological approach. (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)

Imagination plays a rich epistemic role in our cognitive lives. For example, if I want to learn whether my luggage will fit into the overhead compartment on a plane, I might imagine trying to fit it into the overhead compartment and form a justified belief on the basis of this imagining. But what explains the fact that imagination has the power to justify beliefs, and what is the structure of imaginative justification? In this paper, I answer these questions by arguing (...) that imaginings manifest an epistemic status: they are epistemically evaluable as justified or unjustified. This epistemic status grounds their ability to justify beliefs, and they accrue this status in virtue of being based on evidence. Thus, imaginings are best understood as justified justifiers. I argue for this view by way of showing how it offers a satisfying explanation of certain key features of imaginative justification that would otherwise be puzzling. I also argue that imaginings exhibit a number of markers of the basing relation, which further motivates the view that imaginings can be based on evidence. The arguments in this paper have theoretically fruitful implications not only for the epistemology of imagination, but for accounts of reasoning and epistemic normativity more generally. (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)

Continuists maintain that, aside from their distinct temporal orientations, episodic memory and future-oriented mental time travel (FMTT) are qualitatively continuous. Discontinuists deny this, arguing that, in addition to their distinct temporal orientations, there are qualitative metaphysical or epistemological differences between episodic memory and FMTT. This chapter defends continuism by responding both to arguments for metaphysical discontinuism, based on alleged discontinuities between episodic memory and FMTT at the causal, intentional, and phenomenological levels, and to arguments for epistemological discontinuism, based on alleged (...) discontinuities with respect to the epistemic openness of the past and future, the directness or indirectness of our knowledge of past and future, and immunity to error through misidentification. The chapter concludes by sketching a positive argument for continuism. (shrink)

Among the tools the epistemologist brings to the table ought to be, I suggest, a firm understanding of the imagination--one that is informed by philosophy of mind, cognitive psychology, and neuroscience. In my dissertation, I highlight several ways in which such an understanding of the imagination can yield insight into traditional questions in epistemology. My dissertation falls into three parts. In Part I, I argue that dreaming should be understood in imaginative terms, and that this has important implications for questions (...) about dream skepticism. In Part II, I argue that an understanding of the imagination is important for understanding important parts of philosophical methodology--particularly those involving thought experiments. I mean in Part II to be vindicating a great deal of traditional methodology. In Part III, I explore what I take to be a number of deep connections between knowledge and counterfactuals. I defend a form of contextualism in each domain, and argue that inference among imaginings, with its important structural similarities to inference in belief, plays a central role in the epistemology of counterfactuals. (shrink)

There is, to all appearances, a philosophic hostility to fashionable dress. Studying this contempt, this paper examines likely sources in philosophy's suspicion of change; anxiety about surfaces and the inessential; failures in the face of death; and the philosophic disdain for, denial of, the human body and human passivity. If there are feminist concerns about fashion, they should be radically different from those of traditional philosophy. Whatever our ineluctable worries about desire and death, whatever our appropriate anger and impatience with (...) the merely superficial, whatever our genuine need to mark off the serious from the trivial, feminism may be a corrective therapy for philosophy's bad humor and self-deception, as these manifest themselves when the subject turns to beautiful clothes. (shrink)

This paper will discuss the notion of solastalgia or climatic anxiety (Albrecht et al., 2007; Galea et al., 2005,) as a form of anxiety connected to traumatic environmental changes that generate an emotional blockage between individuals, their environment (Cloke et al., 2004,) and their place (Nancy, 1993,). I will use a phenomenological approach to explain the way in which emotions shape our constitution of reality (Husserl, 1970; Sartre, 1983, 1993, 1996; Seamon and Sowers, 2009; Shaw and Ward, 2009). The article’s (...) overall goal is to describe the relationship between environment and “climatic” emotions to understand what we can do to improve our well-being. I believe that scientistic and reductionistic ways of looking at climatic anxiety do not consider this complex dynamic and fail to propose actual solutions for the well-being of both the environment and the individuals. (shrink)

In this article, my purpose is to explore conversion in its onto-phenomenological structure. To this end, in the first section, I develop a notion of form of life as an ontological unit. That is, the totality of the possible actions of a subject according to the principle that drives him/her. In this way, the subject is the result of the actions that constitute the adopted form of life. In the second section, I hold that all conversion is precisely the passage (...) from one form of life to another triggered by a crisis, and that if this requirement is not met, neither is there a conversion. This makes it possible to reduce any type of conversion, whether religious, moral, or intellectual, to a single onto-phenomenological structure based on the form of life as an ontological unit. And it even allows for the analysis of other phenomena in terms of conversion, such as the passage from one social group to another. (shrink)

The debate concerning the ontological status of musical works is perhaps the most animated debate in contemporary analytic philosophy of music. In my view, progress requires a piecemeal approach. So in this article I hone in on one particular musical work concept – that of the classical Western art musical work; that is, the work concept that regulates classical art-musical practice. I defend a fictionalist analysis – a strategy recently suggested by Andrew Kania as potentially fruitful – and I develop (...) a version of such an analysis in line with a broad commitment to philosophical naturalism. (shrink)

The literature suggests that in sensory imagination we focus on the imagined objects, not on the imaginative states themselves, and that therefore imagination is not introspective. It is claimed that the introspection of imaginative states is an additional cognitive ability. However, there seem to be counterexamples to this claim. In many cases in which we sensorily imagine a certain object in front of us, we are aware that this object is not really where we imagine it to be. So it (...) looks as if in these cases of imagination, we are aware of the mere appearance of the imagined object, and hence introspection is a constitutive part of imagination. In this article, I address this contradictory state of affairs and argue that we should classify at least some forms of sensory imagination as introspective. For this purpose I use the appearance-reality distinction as a central notion for introspection. I also defend the thesis of introspective imagination against the objection that young children imagine without yet understanding the concept of experience. (shrink)

This paper reports on the Kuhnian revolution now occurring in neuropsychology that is finally supportive of and friendly to phenomenology – the “enactive” approach to the mind-body relation, grounded in the notion of self-organization, which is consistent with Husserl and Merleau-Ponty on virtually every point. According to the enactive approach, human minds understand the world by virtue of the ways our bodies can act relative to it, or the ways we can imagine acting. This requires that action be distinguished from (...) passivity, that the mental be approached from a first person perspective, and that the cognitive capacities of the brain be grounded in the emotional and motivational processes that guide action and anticipate action affordances. It avoids the old intractable problems inherent in the computationalist approaches of twentieth century atomism and radical empiricism, and again allows phenomenology to bridge to neuropsychology in the way Merleau-Ponty was already doing over half a century ago. (shrink)

This essay aims to explore imitation in social contexts. The argument that summarizes my claim is that the perception of other people’s behaviour conditions the agent in imitating that behaviour, as evidence from social psychology holds :893–910, 1999; Bargh and Ferguson in Psychol Bull 126:925–945, 2000; Bargh and Ferguson in Trends Cogn Sci 8:33–39, 2004), but what the agent perceives and experiences becomes potential motives for her actions only through her identification with a particular way of being and acting. Therefore, (...) although the agent’s actions are conditioned by perceptual stimuli, the latter are not the cause of the actions. The agent is the ultimate cause. That is, a convergence between perceptual stimuli and conscious will. I take this latter conclusion to suggest a compatibilist approach whereby action in a social situation would require the perceptual conditioning as much as the freedom and consciousness of the agent. (shrink)

This is an empirical phenomenological inquiry into everyday experiences of daydreaming. The theoretical literature was found to be deficient in accounting for the ambiguity inherent to the phenomenon and lacking in concrete empirical descriptions. This study's phenomenological method was implemented in response to a body of natural scientific studies utilizing methods that were found to be inadequate to the task of comprehending and understanding the lived subjective experience of the phenomenon. From five subject interviews and their subsequent analysis via the (...) phenomenological method, the researcher was able to derive a general structural description of the experience of daydreaming. It was found that daydreaming is essentially the representation/enactment of a mood, the understanding of which is inseparable from the situated biographical project of the individual. As an act of consciousness it was described as a passive movement into two, distinct subject-world relationships, sustained by a directing-spectator position that is both detached and interfused with these two world relations. Details of these findings and their implications are discussed. (shrink)

According to the two-component view of sensory imagination, imaginative states combine qualitative and assigned content. Qualitative content is the imagistic component of the imaginative state and is provided by a quasi-perceptual image; assigned content has a language-like structure. Recently, such a two-component view has been criticized by Daniel Hutto and Nicholas Wiltsher, both of whom have argued that postulating two contents is unnecessary for explaining how imagination represents. In this paper, I will defend the two-component theory by arguing that it (...) has three explanatory advantages over its competitors. First, it makes explicit a widely acknowledged distinction between engaged imagination and mere supposition. Second, it explains how imagination is constrained by objects’ perceptual appearances. Third, it explains how imaginings can be exploratory. (shrink)

Near the end of someone’s life, or when a chapter in their life closes, they may nurse regrets but no longer be able to act to change the situation they regret having caused. This paper asks what is the point of such vain regrets and contrasts them with the typical case where regret is effectual. Regret usually involves both anger at oneself for what one has done and sadness at having done it. Richard Wollheim takes regret to be an attitude (...) of hostility to oneself resulting from a fall in one’s secure sense of self as an ongoing person. His account is considered and rejected as unable to reveal the point of vain regrets. Sartre’s description of the emotions is adapted to the case of regret with its dual affective character. His idea of anger as a substitute for the suppression of another consciousness is used to show how regret involves a rejection of one’s previous way of seeing the world, by contrast with one’s present view. This enables us to see how regret, even when vain, can reinforce, rather than undermine, one’s sense of self and provide a form of self-understanding. (shrink)

Conhecer qualquer coisa sobre a realidade é fiar-se em signos, e viver a vida semioticamente é transformar a realidade através do design. De-sign é uma noção cunhada para introduzir a fusão de design e signos. No processo reiterativo de de-sign, não há separações ou limites absolutos entre o pensar e fazer como formas de conceber uma ação possível ou desenvolver ações posteriores. O livre movimento dentro de multiplicidades simultâneas, transcendendo a aparência das coisas e manipulando criativamente uma variedade de polaridades, (...) é inerente ao design thinking e à interpretação semiótica. Envolver-se no processo de de-sign é perseverar por vários paradoxos. Crenças contraditórias e antinomias desconcertantes são intrínsecas ao De-sign; elas não são apenas aceitáveis, como também bem-vindas, se pudermos desenvolver a capacidade de perseverar através deles. Paradoxos não são resultado de um erro em nosso raciocínio, mas de um defeito na nossa capacidade de lidar com uma dissonância cognitiva. Através da máxima do pragmatismo, nossos pensamentos e ações podem ser determinados e podemos avaliar quão apropriadas são suas consequências. É aqui que o pragmatismo, como método de determinar o significado do De-sign, determina a congruência entre a intenção de nossos pensamentos e a adequação de nossas ações. Como o pragmatismo é um método de experimentação que revela a eficácia do pensamento e da ação, o De-sign exige perseverança. Perseverar nos paradoxos do De-sign é estar à vontade com o que é e o que pode ou poderia ser, estar à vontade com a ambiguidade e a incerteza e ter paciência com o processo emergente daquilo-que-ainda-está-tornando-se e, assim compartilhar com a Divindade o ato agapástico da criação. (shrink)

There is, to all appearances, a philosophic hostility to fashionable dress. Studying this contempt, this paper examines likely sources in philosophy's suspicion of change; anxiety about surfaces and the inessential; failures in the face of death; and the philosophic disdain for, denial of, the human body and human passivity. If there are feminist concerns about fashion, they should be radically different from those of traditional philosophy. Whatever our ineluctable worries about desire and death, whatever our appropriate anger and impatience with (...) the merely superficial, whatever our genuine need to mark off the serious from the trivial, feminism may be a corrective therapy for philosophy's bad humor and self-deception, as these manifest themselves when the subject turns to beautiful clothes. (shrink)

Alastair Hannay wrote that there is a campaign against the mental image and a look at the philosophical literature on that topic bears him out. But there is also a campaign against dreams. Given the first campaign this is not surprising. What is surprising is that they are separate campaigns. Intuitively mental images and dreams seem to be as alike as kittens and cats, the one being merely the developed form of the other, made possible by the fading of consciousness (...) of the real world. One would think that an attack on the one is also an attack on the other, at least in the sense that an analysis of the one will, with modest modifications, also be an analysis of the other.But this seems not to be so. To say that a man who pictured his nursery was not a spectator of a resemblance of his nursery, but rather resembled a. spectator of his nursery, may have some initial plausibility because some people behave in curious ways at such times. But to say this of a person who dreamt of his nursery is simply nonsense. (shrink)