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)

I introduce and argue for the importance of a cognitive state that I call alief. An alief is, to a reasonable approximation, an innate or habitual propensity to respond to an apparent stimulus in a particular way. Recognizing the role that alief plays in our cognitive repertoire provides a framework for understanding reactions that are governed by nonconscious or automatic mechanisms, which in turn brings into proper relief the role played by reactions that are subject to conscious regulation and deliberate (...) control. (shrink)

In this article , I first engage in some conceptual clarification of what the words "imagine," "imagining," and "imagination" can mean. Each has a constructive sense, an attitudinal sense, and an imagistic sense. Keeping the senses straight in the course of cognitive theorizing is important for both psychology and philosophy. I then discuss the roles that perceptual memories, beliefs, and genre truth attitudes play in constructive imagination, or the capacity to generate novel representations that go well beyond what's prompted by (...) one's immediate environment. (shrink)

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)

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)

The point of this paper is to reveal a dogma in the ordinary conception of sensory imagination, and to suggest another way forward. The dogma springs from two main sources: a too close comparison of mental imagery to perceptual experience, and a too strong division between mental imagery and the traditional propositional attitudes (such as belief and desire). The result is an unworkable conception of the correctness conditions of sensory imaginings—one lacking any link between the conditions under which an imagining (...) aids human action and inference and the conditions under which it is veridical. The proposed solution is, first, to posit a variety of imaginative attitudes—akin to the traditional propositional attitudes—which have different associated correctness (or satisfaction) conditions. The second part of the solution is to allow for imaginings with “hybrid” contents, in the sense that both mental images and representations with language-like constituent structure contribute to the content of imaginings. (shrink)

I take up three puzzles about our emotional and evaluative responses to fiction. First, how can we even have emotional responses to characters and events that we know not to exist, if emotions are as intimately connected to belief and action as they seem to be? One solution to this puzzle claims that we merely imagine having such emotional responses. But this raises the puzzle of why we would ever refuse to follow an author’s instructions to imagine such responses, since (...) we happily imagine many other implausible things. A natural response to this second puzzle is that our responses to fiction are real, and so can’t just be conjured up in response to an author’s demands. However, this simple response is inadequate, because we often respond differently to people and events in fiction than we would if we encountered them in real life. Solving these three puzzles in a consistent way requires the notion of a “perspective” on a fictional world. I sketch an account of this intuitive but frustratingly amorphous notion: perspectives are tools for organizing our thinking, which can in turn alter our emotional and evaluative responses. Cultivating a perspective can be illuminating, entertaining, or corrupting — or all three at once. (shrink)

A popular view has it that the mental representations underlying human pretense are not beliefs, but are “belief-like” in important ways. This view typically posits a distinctive cognitive attitude (a “DCA”) called “imagination” that is taken toward the propositions entertained during pretense, along with correspondingly distinct elements of cognitive architecture. This paper argues that the characteristics of pretense motivating such views of imagination can be explained without positing a DCA, or other cognitive architectural features beyond those regulating normal belief and (...) desire. On the present “Single Attitude” account of imagination, propositional imagining just is a form of believing. The Single Attitude account is also distinguished from “metarepresentational” accounts of pretense, which hold that both pretending and recognizing pretense in others require one to have concepts of mental states. It is argued, to the contrary, that pretending and recognizing pretense require neither a DCA nor possession of mental state concepts. (shrink)

I introduce and argue for the importance of a cognitive state that I call alief. An alief is, to a reasonable approximation, an innate or habitual propensity to respond to an apparent stimulus in a particular way. Recognizing the role that alief plays in our cognitive repertoire provides a framework for understanding reactions that are governed by non‐conscious or automatic mechanisms, which in turn brings into proper relief the role played by reactions that are subject to conscious regulation and deliberate (...) control. (shrink)

In the past decade, experimental philosophy---the attempt at making progress on philosophical problems using empirical methods---has thrived in a wide range of domains. However, only in recent years has aesthetics succeeded in drawing the attention of experimental philosophers. The present paper constitutes the first survey of these works and of the nascent field of 'experimental philosophy of aesthetics'. We present both recent experimental works by philosophers on topics such as the ontology of aesthetics, aesthetic epistemology, aesthetic concepts, and imagination, as (...) well as research from other disciplines that not only are relevant to philosophy of aesthetics but also open new avenues of research for experimental philosophy of aesthetics. Overall, we conclude that the birth of an experimental philosophy of aesthetics is good news not only for aesthetics but also for experimental philosophy itself, as it contributes to broaden the scope of experimental philosophy. (shrink)

I propose that paradigmatic cases of self-deception satisfy the following conditions: (a) the person who is self-deceived about not-P pretends (in the sense of makes-believe or imagines or fantasizes) that not-P is the case, often while believing that P is the case and not believing that not-P is the case; (b) the pretense that not-P largely plays the role normally played by belief in terms of (i) introspective vivacity and (ii) motivation of action in a wide range of circumstances. Understanding (...) self-deception in this way is highly natural. And it provides a non-paradoxical characterization of the phenomenon that explains both its distinctive patterns of instability and its ordinary association with irrationality. Why, then, has this diagnosis been overlooked? I suggest that the oversight is due to a failure to recognize the philosophical significance of a crucial fact about the human mind, namely, the degree to which attitudes other than belief often play a central role in our mental and practical lives, both by "influenc[ing our]... passions and imagination," and by "governing.. .our actions.". (shrink)

Actors, undercover investigators, and readers of fiction sometimes report “losing themselves” in the characters they imitate or read about. They speak of “taking on” or “assuming” the beliefs, thoughts, and feelings of someone else. I offer an account of this strange but familiar phenomenon—what I call imaginative transportation.

Disagreeing with others about how to interpret a social interaction is a common occurrence. We often find ourselves offering divergent interpretations of others’ motives, intentions, beliefs, and emotions. Remarkably, philosophical accounts of how we understand others do not explain, or even attempt to explain such disagreements. I argue these disparities in social interpretation stem, in large part, from the effect of social categorization and our goals in social interactions, phenomena long studied by social psychologists. I argue we ought to expand (...) our accounts of how we understand others in order to accommodate these data and explain how such profound disagreements arise amongst informed, rational, well-meaning individuals. (shrink)

Recent cognitive accounts of the imagination propose that imagining and believing are in the same “code”. According to the single code hypothesis, cognitive mechanisms that can take input from both imagining and from believing will process imagination-based inputs (“pretense representations”) and isomorphic beliefs in much the same way. In this paper, I argue that the single code hypothesis provides a unified and independently motivated explanation for a wide range of puzzles surrounding fiction.

Many of our beliefs behave irrationally: this is hardly news to anyone. Although beliefs’ irrational tendencies need to be taken into account, this paper argues that beliefs necessarily preserve at least a minimal level of rationality. This view offers a plausible picture of what makes belief unique and will help us to set beliefs apart from other cognitive attitudes.

Psychopathological delusions have a number of features that are curiously difficult to explain. Delusions are resistant to counterevidence and impervious to counterargument. Delusions are theoretically, affectively, and behaviorally circumscribed: delusional individuals often do not act on their delusions and often do not update beliefs on the basis of their delusions. Delusional individuals are occasionally able to distinguish their delusions from other beliefs, sometimes speaking of their “delusional reality.” To explain these features, I offer a model according to which, contrary to (...) appearances, delusions are not beliefs at all. Delusions are acceptances that are generated by pathologically powerful cognitive feelings. This model has implications for the way that we should think about non-pathological doxastic states and emotions. (shrink)

How do we know what's (metaphysically) possible and impossible? Arguments from Kripke and Putnam suggest that possibility is not merely a matter of (coherent) conceivability/imaginability. For example, we can coherently imagine that Hesperus and Phosphorus are distinct objects even though they are not possibly distinct. Despite this apparent problem, we suggest, nevertheless, that imagination plays an important role in an adequate modal epistemology. When we discover what is possible or what is impossible, we generally exploit important connections between what is (...) possible and what we can coherently imagine. We can often come to knowledge of metaphysical modality a priori. (shrink)

This paper surveys historical and recent philosophical discussions of the relations between imagination and creativity. In the first two sections, it covers two insufficiently studied analyses of the creative imagination, that of Kant and Sartre, respectively. The next section discusses imagination and its role in scientific discovery, with particular emphasis on the writings of Michael Polanyi, and on thought experiments and experimental design. The final section offers a brief discussion of some very recent work done on conceptual relations between imagination (...) and creativity. (shrink)

Fictions evoke imagery, and their value consists partly in that achievement. This paper offers analysis of this neglected topic. Section 2 identifies relevant philosophical background. Section 3 offers a working definition of imagery. Section 4 identifies empirical work on visual imagery. Sections 5 and 6 criticize imagery essentialism, through the lens of genuine fictional narratives. This outcome, though, is not wholly critical. The expressed spirit of imagery essentialism is to encourage philosophers to ‘put the image back into the imagination’. The (...) weakened conclusion is that while an image is not essential to imagining, it should be returned to our theories of imagination. (shrink)

This chapter considers the nature of imagination and belief, exploring how deeply these two states of mind differ. It first addresses a range of cognitive and motivational differences between imagination and belief which suggest that they're fundamentally different states of mind. Then it addresses imaginative immersion, delusions, and the different norms we apply to the two mental states, which some theorists regard as providing support for a more unified picture of imagination and belief.

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)

According to many, joint intentional action must be understood in terms of joint intentions. Most accounts of joint intention appeal to a set of sophisticated individual intentional states. The author argues that standard accounts of joint intention exclude the possibility of joint action in young children because they presuppose that the participants have a robust theory of mind, something young children lack. But young children do engage in joint action. The author offers a revision of Michael Bratman’s analysis of joint (...) intention that reflects the socio-cognitive abilities young children do have. This revision makes sense of joint action among young children and equally well explains simple joint actions involving adults. Key Words: collective intentionality • joint action • child’s theory of mind • joint attention. (shrink)

Pretense is a topic of keen interest to philosophers and psychologists. But what is it, really, to pretend? What features qualify an act as pretense? Surprisingly little has been said on this foundational question. Here I defend an account of what it is to pretend, distinguishing pretense from a variety of related but distinct phenomena, such as (mere) copying and practicing. I show how we can distinguish pretense from sincerity by sole appeal to a person's beliefs, desires, and intentions – (...) and without circular recourse to an ‘intention to pretend’ or to a sui generis mental state of ‘imagining.’. (shrink)

In recent years, scientists have increasingly taken to investigate the predictive nature of cognition. We argue that prediction relies on abstraction, and thus theories of predictive cognition need an explicit theory of abstract representation. We propose such a theory of the abstract representational capacities that allow humans to transcend the “here-and-now.” Consistent with the predictive cognition literature, we suggest that the representational substrates of the mind are built as ahierarchy, ranging from the concrete to the abstract; however, we argue that (...) there are qualitative differences between elements along this hierarchy, generating meaningful, often unacknowledged,diversity.Echoing views from philosophy, we suggest that the representational hierarchy can be parsed into:modality-specificrepresentations, instantiated on perceptual similarity;multimodalrepresentations, instantiated primarily on the discovery of spatiotemporal contiguity; andcategoricalrepresentations, instantiated primarily on social interaction. These elements serve as the building blocks ofcomplex structures discussed in cognitive psychology (e.g., episodes, scripts) and are the inputs for mental representations that behave like functions, typically discussed in linguistics (i.e.,predicators). We support our argument for representational diversity by explaining how the elements in our ontology are all required to account for humans’ predictive cognition (e.g., in subserving logic-based prediction; in optimizing the trade-off between accurate and detailed predictions) and by examining how the neuroscientific evidence coheres with our account. In doing so, we provide a testable model of the neural bases of conceptual cognition and highlight several important implications to research on self-projection, reinforcement learning, and predictive-processing models of psychopathology. (shrink)

One version of the Humean Theory of Motivation holds that all actions can be causally explained by reference to a belief–desire pair. Some have argued that pretense presents counter-examples to this principle, as pretense is instead causally explained by a belief-like imagining and a desire-like imagining. We argue against this claim by denying imagination the power of motivation. Still, we allow imagination a role in guiding action as a script . We generalize the script concept to show how things besides (...) imagination can occupy this same role in both pretense and non-pretense actions. The Humean Theory of Motivation should then be modified to cover this script role. (shrink)

Based on the belief that computational modeling (thinking in terms of representation and computations) can help to clarify controversial issues in emotion theory, this article examines emotional experience from the perspective of the Computational Belief–Desire Theory of Emotion (CBDTE), a computational explication of the belief–desire theory of emotion. It is argued that CBDTE provides plausible answers to central explanatory challenges posed by emotional experience, including: the phenomenal quality,intensity and object-directedness of emotional experience, the function of emotional experience and its relation (...) to cognition and motivation, and the relation between emotional experience and emotion. In addition, CBDTE avoids most objections that have been raised against cognitive theories of emotion. A remaining objection, that beliefs are not necessary for the emotions covered by CBDTE, is rejected as empirically unsupported. (shrink)

According to recent accounts of the imagination, mental mechanisms that can take input from both imagining and from believing will process imagination‐based inputs (pretense representations) and isomorphic beliefs in much the same way. That is, such a mechanism should produce similar outputs whether its input is the belief that p or the pretense representation that p. Unfortunately, there seem to be clear counterexamples to this hypothesis, for in many cases, imagining that p and believing that p have quite different psychological (...) consequences. This paper sets out some central problem cases and argues that the cases might be accommodated by adverting to the role of desires concerning real and imaginary situations. (shrink)

The aim of this article is to expand the diet of examples considered in philosophical discussions of imagination and pretense, and to offer some preliminary observations about what we might learn about the nature of imagination as a result. The article presents a number of cases involving imaginative contagion: cases where merely imagining or pretending that P has effects that we would expect only perceiving or believing that P to have. Examples are offered that involve visual imagery, motor imagery, fictional (...) emotions, and social priming. It is suggested that imaginative contagion is a more prevalent phenomenon than has typically been recognized. (shrink)

Many philosophical accounts of the emotions conceive of them as susceptible to assessments of rationality, fittingness, or some other notion of aptness. Analogous assumptions apply in cases of emotions directed at what are taken to be only fictional or only imagined. My question is whether the criteria governing the aptness of emotions we have toward what we take to be real things apply invariantly to those emotions we have toward what we take to be only fictional or imagined. I argue (...) that what counts as a reason justifying an emotion can differ across real, fictional, and imagined domains. (shrink)

The ability to engage in and recognize pretend play begins around 18 months. A major challenge for theories of pretense is explaining how children are able to engage in pretense, and how they are able to recognize pretense in others. According to one major account, the metarepresentational theory, young children possess both production and recognition abilities because they possess the mental state concept, PRETEND. According to a more recent rival account, the Behavioral theory, young children are behaviorists about pretense, and (...) only produce and recognize pretense as a sort of behavior--namely, behaving 'as-if'. We review both the metarepresentational and Behavioral accounts and argue that the Behavioral theory fails to characterize very young children's abilities to produce and to recognize pretense. Among other problems, the Behavioral theory implies that children should frequently mis-recognize regular behavior as pretense, while certain regular forms of pretend play should neither be produced nor recognized. Like other mental states, pretense eludes purely behavioral description. The metarepresentational theory does not suffer these problems and provides a better account of children's pretense. 2016 APA, all rights reserved). (shrink)

A fiction may prescribe imagining that a pig can talk or tell the future. A fiction may prescribe imagining that torturing innocent persons is a good thing. We generally comply with imaginative prescriptions like the former, but not always with prescriptions like the latter: we imagine non-evaluative fictions without difficulty but sometimes resist imagining value-rich fictions. Thus arises the puzzle of imaginative resistance. Most analyses of the phenomenon focus on the content of the relevant imaginings. The present analysis focuses instead (...) on the character of certain kinds of imaginings, arguing that we resist in such cases given the rich evaluative character of the imaginings prescribed, and the agent-dependent constraints on imagining in such ways. (shrink)

This paper presents pretending as an enacted and fundamentally social activity. First, it demonstrates why we should think of pretense as inherently social. Then, it shows how that fact affects our theory in terms of what is needed in order to pretend. Standardly, pretense is seen as requiring a mechanism that allows one to bypass the “obvious” re- sponse to the environment in order to opt for a symbolic response; that mechanism is im- aginative and representational. This paper shows that (...) the Enactive Account of Pretense reconsiders the idea that one needs to respond to an absent environment when pretending, proposing instead that socially con- stituted perceptual affordances for play allow for non-obvious ways of responding to the present environment. The enactive account of pretense suggests that one need not posit special cognitive pretense mechanisms and mental scripts in order to account for pretend- ing, as available capacities for active perception and re-enactment of routines suffice. This paper concludes with suggestions for the kinds of cognitive skills that should be sought out to explain pretense. (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)

Whether a person is pretending, or not, is a function of their beliefs and intentions. This poses a challenge to 4E accounts of pretense, which typically seek to exclude such cognitive states from their explanations of psychological phenomena. Resulting tensions are explored within three recent accounts of imagination and pretense offered by theorists working in the 4E tradition. A path forward is then charted, through considering ways in which explanations can invoke beliefs and intentions while remaining true to 4E precepts. (...) To make real progress in explaining pretense, 4E theorists will need to grow comfortable with the idea that two agents whose outward behaviors and environments are, in the short term, the same, may be guided by quite different beliefs and intentions, in virtue of which only one is pretending. In this way, the scientific project of explaining pretense remains inseparable from the more general project of determining which beliefs and intentions are appropriate to ascribe to which kinds of entities, given which kinds of behaviors. (shrink)

This paper will explore one aspect of the relationship between pretence and narratives. I look at proposals about how scripts play guiding roles in our pretend play practices. I then examine the views that mental representations are needed to guide pretend play, reviewing two importantly different pictures of mental guiders: the Propositional Account and the Model Account. Both accounts are individualistic and internalistic; the former makes use of language-like representations, the latter makes use of models, maps and images. The paper (...) will discuss some worries with the notion of mental guiders, and offer some positive suggestions about what else might be playing the guiding role in pretence. I propose that environmental affordances and socially scaffolded engagements provide the basis of pretence guiders, and suggest that engagement in narrative practices further frames and allows elaborations of acts of pretend play. I take first steps in developing a new embodied, enactive and intersubjective understanding of pretence, showing why it is a viable alternative to the mental representational accounts of pretence. (shrink)

Imagination and belief are obviously different. Imagining that you have won the lottery is not quite the same as believing that you have won. But what is the difference? According to a standard view in the contemporary debate, they differ in two key functional respects. First, with respect to the cognitive inputs to which they respond: imaginings do not respond to real-world evidence as beliefs do. Second, with respect to the behavioural outputs that they produce: imaginings do not motivate us (...) to act as beliefs do. I argue that this view is mistaken in one important respect. The distinction between imagination and belief does lie at the functional level; but the relevant functional difference does not concern behavioural outputs – since, in spite of appearances, imaginings and beliefs motivate us to act in the same ways. To see the difference, we need to focus on the inputs side – and, relatedly, on the sorts of inferential relations that imaginings and beliefs bear to each other. I show that this view does not have the absurd consequences that it may prima facie seem to have; on the contrary, it has important implications for our understanding of how the mind works. (shrink)

This paper argues that radical enactivism (RE) offers a framework with the required nuance needed for understanding of the full range of the various forms of pretense. In particular, its multi-storey account of cognition, which holds that psychological attitudes can be both contentless and contentful, enables it to appropriately account for both the most basic and most advanced varieties of pretense. By comparison with other existing accounts of pretense, RE is shown to avoid the pitfalls of representationalist theories while also (...) allowing us to combine the best elements of the praxeological enactivist (Weichold & Rucińska, 2021 ) and Langland-Hassan’s ( 2020, 2021 ) proposals about pretense, while avoiding their key shortcomings. (shrink)

It is widely believed, among philosophers of literature, that imagining contradictions is as easy as telling or reading a story with contradictory content. Italo Calvino’s The Nonexistent Knight, for instance, concerns a knight who performs many brave deeds, but who does not exist. Anything at all, they argue, can be true in a story, including contradictions and other impossibilia. While most will readily concede that we cannot objectually imagine contradictions, they nevertheless insist that we can propositionally imagine them, and regularly (...) do, simply by entertaining a text which prompts us to do so. I argue that this narrative does not bear scrutiny for two main reasons. First, because propositional imagining is beside the point, where truth in fiction is concerned; evaluating truth in fiction engages the cognitive architecture in ways that prohibit the mobilization of merely propositional imagination to that end. And second, because it is not obvious, given the strategies usually suggested, that we ever propositionally imagine contradictions in the first place—in fact, it seems we go out of our way to avoid directly imagining them. (shrink)

This paper defends two initial claims. First, it argues that essentially the same cognitive resources are shared by adult creative thinking and problem-solving, on the one hand, and by childhood pretend play, on the other—namely, capacities to generate and to reason with suppositions (or imagined possibilities). Second, it argues that the evolutionary function of childhood pretence is to practice and enhance adult forms of creativity. The paper goes on to show how these proposals can provide a smooth and evolutionarily-plausible explanation (...) of the gap between the first appearance of our species in Southern Africa some 100,000 years ago, and the ‘creative explosion’ of cultural, technological and artistic change which took place within dispersed human populations some 60,000 years later. The intention of the paper is to sketch a proposal which might serve as a guide for future interdisciplinary research. 1 Introduction 2 Creativity and Pretence 3 Language and Creativity 4 Language and Cultural Accretions 5 Language, Play and Model-Building 6 Creativity, Protean Cognition and Sexual Selection 7 The Evolution of Pretence 8 The Emergence of Supposing 9 Pretence and Motivation 10 Two Objections 11 Conclusion. (shrink)

In this paper I defend the claim that the act of writing a work of fiction consists in the performance of a sui generis speech act, and propose a dynamic treatment for acts of fiction-making. Recently, speech act theories of fiction have become targets of the uniformity argument. According to it, in order to account for the myriad of speech acts present in works of fiction, speech act theories of fiction need to propose a similar amount of fiction-related illocutionary forces. (...) When uttered in the same context, these illocutionary forces give rise to the same relations raised by their non-fictional counterparts. While not a knock-down argument, this warrants an explanation. In order to defend speech act theories of fiction, I argue that the claim that speech act theories of fiction need more than one fiction-related sui generis illocutionary force is misguided and rests on an erroneous account of the content of an act of fiction-making. I take that the content of an act of fiction-making is more akin to a speech report than to a regular assertion. Following, I propose a dynamic treatment to the speech act of fiction-making. Concluding, I explore some related topics in order to distinguish my proposal from pretenseapproaches to fictional discourse. (shrink)

We can understand implicit bias as a person’s disposition to evaluate members of a social group in a less favorable light than members of another social group, without intending to do so. If we understand it this way, we should not presuppose a one-size-fits-all answer to the question of how implicit cognitive states lead to skewed evaluations of other people. The focus of this paper is on implicit bias in considered decisions. It is argued that we have good reasons to (...) assume that imagination plays a vital role in decision making. If this assumption is correct, it offers an explanation for implicit bias in many considered decisions: Human beings who have been frequently exposed to stereotypes have stereotype-congruent expectations as part of their background knowledge. They feed into their imagination, sometimes without their awareness. This model would allow us to explain the key characteristics of implicit bias without recurring to any unconscious attitudes over and above such background knowledge. (shrink)

The placebo effect is now generally defined widely as an individual’s response to the psychosocial context of a clinical treatment, as distinct from the treatment’s characteristic physiological effects. Some researchers, however, argue that such a wide definition leads to confusion and misleading implications. In response, they propose a narrow definition restricted to the therapeutic effects of deliberate placebo treatments. Within the framework of modern medicine, such a scope currently leaves one viable placebo treatment paradigm: the non-deceptive and non-concealed administration of (...) “placebo pills” or open-label placebo (OLP) treatment. In this paper, I consider how the placebo effect occurs in OLP. I argue that a traditional, belief-based account of OLP is paradoxical. Instead, I propose an account based on the non-doxastic attitude of pretence, understood within a fictionalist framework. (shrink)

This paper sketches a solution to a problem which has been emphasized by Fodor. This is the problem of how to explain distinctively-human flexible cognition in modular terms. There are three aspects to the proposed account. First, it is suggested that natural language sentences might serve to integrate the outputs of a number of conceptual modules. Second, a creative sentence-generator, or supposer, is postulated. And third, it is argued that a set of principles of inference to the best explanation can (...) be constructed from already-extant aspects of linguistic testimony and discourse interpretation. Most importantly, it is suggested that the resulting architecture should be implementable in ways that are computationally tractable. (shrink)

Visual imagination (or visualization) is peculiar in being both free, in that what we imagine is up to us, and useful to a wide variety of practical reasoning tasks. How can we rely upon our visualizations in practical reasoning if what we imagine is subject to our whims? The key to answering this puzzle, I argue, is to provide an account of what constrains the sequence in which the representations featured in visualization unfold—an account that is consistent with its freedom. (...) Three different proposals are outlined, building on theories that link visualization to sensorimotor predictive mechanisms (e.g., efference copies, forward models ). Each sees visualization as a kind of reasoning, where its freedom consists in our ability to choose the topic of the reasoning. Of the three options, I argue that the approach many will find most attractive—that visualization is a kind of off-line perception, and is therefore in some sense misrepresentational—should be rejected. The two remaining proposals both conceive of visualization as a form of sensorimotor reasoning that is constitutive of one’s commitments concerning the way certain kinds of visuomotor scenarios unfold. According to the first, these commitments impinge on one’s web of belief from without, in the manner of normal perceptual experience; according to the second, these commitments just are one’s (occurrent) beliefs about such generalizations. I conclude that, despite being initially counterintuitive, the view of visualization as a kind of occurrent belief is the most promising. (shrink)

Rationalization in the sense of biased self-justification is very familiar. It's not cheating because everyone else is doing it too. I didn't report the abuse because it wasn't my place. I understated my income this year because I paid too much in tax last year. I'm only a social smoker, so I won't get cancer. The mental mechanisms subserving rationalization have been studied closely by psychologists. However, when viewed against the backdrop of philosophical accounts of the regulative role of truth (...) in doxastic deliberation , rationalization can look very puzzling. Almost all contemporary philosophers endorse a version of the thesis of deliberative exclusivity—a thinker cannot in full consciousness decide whether to believe that p in a way that issues directly in forming a belief by adducing anything other than considerations that he or she regards as relevant to the truth of p. But, as I argue, rationalization involves the weighing of considerations that the thinker kn.. (shrink)

The term “uncanny valley” goes back to an article of the Japanese roboticist Masahiro Mori. He put forward the hypothesis that humanlike objects like certain kinds of robots elicit emotional responses similar to real humans proportionate to their degree of human likeness. Yet, if a certain degree of similarity is reached emotional responses become all of a sudden very repulsive. The corresponding recess in the supposed function is called the uncanny valley. The present paper wants to propose a philosophical explanation (...) why we feel empathy with inanimate objects in the first place, and why the uncanny valley occurs when these objects become very humanlike. The core of this explanation—which is informed by the recently developing empirical research on the matter—will be a form of empathy involving a kind of imaginative perception. However, as will be shown, imaginative perception fails in cases of very humanlike objects. (shrink)