I defend a view of the attitude of desire against a close rival. Both views are versions of “the guise of the good” thesis. The guise of the good says that a desire for P involves P appearing good in some respect. I defend a content-based account of value appearances against an attitude-based account. On the content view, a desire for P represents P as good while the attitude of that desire presents P’s value as true. In other words, a (...) desire for P presents it as true that P is good. The attitude view says that a desire represents P non-evaluatively while the attitude of that desire presents P as good. In other words, a desire for P presents P as good. The attitude view struggles to explain the relationship between the qualitative character of desires and appearances of value. It must either implausibly deny that there is a close relationship between the two, or explain the relationship by introducing a poorly motivated, revisionist mental ontology. In the present state of the debate between the two views, this problem tips the scales in favor of the content view. (shrink)

Provides a comprehensive overview and introduction to the Routledge Handbook of Propositions.

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)

​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)

After many years of neglect, philosophers are increasingly turning their attention to the emotions, and recently we have seen a number of different accounts of emotion. In this article, we will first consider what facts an account of emotion needs to accommodate if it is going to be acceptable. Having done that, we will then consider some of the leading accounts and see how they fare in accommodating the facts. Two things in particular will emerge. First, an adequate account of (...) emotion cannot be provided without taking into account a wide range of issues in philosophy of mind that extend beyond the emotions in particular. Secondly, the diversity of emotional phenomena makes it especially hard to provide anything like a comprehensive account of emotion; philosophers not only disagree over what are the essential properties of emotion, but also over what are central cases. (shrink)