The (dis)continuism debate—the debate over whether remembering is a form of imagining—is a prominent one in contemporary philosophy of memory. In recent work, Langland-Hassan (2021) has argued that this debate is best understood as a dispute over whether remembering is a form of constructive imagining. In this paper, I argue that remembering is not a form of constructive imagining because constructive processes in remembering and imagining are constrained, and hence controlled, in different ways at the level of consciousness. More specifically, (...) I argue that remembering and imagining differ in terms of the interventions we can make on the constructive processes as they unfold. If this is correct, then a form of discontinuism is vindicated: remembering and imagining are, on this view, processes of different kinds. (shrink)

Advocates of interactionism in the ethical criticism of art argue that ethical value impacts aesthetic value. The debate is concerned with “the intrinsic question”: the question of whether ethical flaws/merits in artworks’ manifested attitudes affect their aesthetic value (Gaut 2007: 9). This paper argues that the assumption that artworks have intrinsic ethical value is problematic at least in regards to a significant subset of works: fictional artworks. I argue that, insofar as their ethical value emerges only from attitudes attributable to (...) actual agents, fictional artworks only have extrinsic ethical value. I show that what is at stake for interactionism is whether ethical judgements concerning artists’ attitudes in a context, rather than manifested attitudes, are ever aesthetically relevant. I conclude that, without buying into extreme actual intentionalism, a still controversial theory of interpretation that ties artworks’ meaning to actual artists, interactionism fails to show that ethical flaws/merits are aesthetic flaws/merits. (shrink)

A legal fiction is a knowingly false assumption that is given effect in a legal proceeding and that participants are not permitted to disprove. I offer a semantic pretence theory that shows how fiction-involving legal reasoning works.

According to recent orthodoxy, imagination is best characterised in terms of distinctive imaginative states. But this view is ill-suited to characterisation of the full range of imaginative activities—creation, fantasy, conceiving, and so on. It would be better to characterise imagination in terms of a distinctive imaginative process, with the various imaginative activities as more determinate implementations of the determinable process.

Our ordinary conception of imagination takes it to be essentially a conscious phenomenon, and traditionally that’s how it had been treated in the philosophical literature. In fact, this claim had often been taken to be so obvious as not to need any argumentative support. But lately in the philosophical literature on imagination we see increasing support for the view that imagining need not occur consciously. In this paper, I examine the case for unconscious imagination. I’ll consider four different arguments that (...) we can find in the recent literature—three of which are based on cases and one that is based on considerations relating to action guidance. To my mind, none of these arguments is successful. I conclude that the case for postulating unconscious imagining has not yet been well motivated. (shrink)

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)

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)

This essay unites current philosophical thinking on imagination with a burgeoning debate in the philosophy of memory over whether episodic remembering is simply a kind of imagining. So far, this debate has been hampered by a lack of clarity in the notion of imagining at issue. Several options are considered and constructive imagining is identified as the relevant kind. Next, a functionalist account of episodic remembering is defended as a means to establishing two key points: first, one need not defend (...) a factive view of remembering in order to hold that causal connections to past experiences are essential to how rememberings are typed; and, second, current theories that equate remembering with imagining are in fact consistent with a functionalist theory that includes causal connections in its account of what it is to remember. This suggests that remembering is not a kind of imagining and clarifies what it would take to establish the contrary. (shrink)

This essay argues that there are theoretical benefits to keeping distinct—more pervasively than the literature has done so far—the psychological states of imagining that p versus believing that in-the-story p, when it comes to cognition of fiction and other forms of narrative. Positing both in the minds of a story’s audience helps explain the full range of reactions characteristic of story consumption. This distinction also has interesting conceptual and explanatory dimensions that haven’t been carefully observed, and the two mental state (...) types make distinct contributions to generating emotional responses to stories. Finally, the differences between the mental states illuminate how a given story can be both shared with others and at the same time experienced as personal. (shrink)

Some examples suggest that religious credences respond to evidence. Other examples suggest they are wildly unresponsive. So the examples taken together suggest there is a puzzle about whether descriptive religious attitudes respond to evidence or not. I argue for a solution to this puzzle according to which religious credences are characteristically not responsive to evidence; that is, they do not tend to be extinguished by contrary evidence. And when they appear to be responsive, it is because the agents with those (...) credences are playing what I call The Evidence Game, which in fundamental ways resembles the games of make-believe described by Walton's theory of make-believe. (shrink)

This is the original, longer draft for my entry on Hume in the 'The Routledge Hand- book of Philosophy of Imagination', edited by Amy Kind and published by Routledge in 2016 (see the separate entry). — Please always cite the Routledge version, unless there are passages concerned that did not make it into the Handbook for reasons of length. — -/- This chapter overviews Hume’s thoughts on the nature and the role of imagining, with an almost exclusive focus on the (...) first book of his Treatise of Human Nature. Over the course of this text, Hume draws and discusses three important distinctions among our conscious mental episodes (or what he calls ‘perceptions’): (i) between impressions (including perceptual experiences) and ideas (including recollections, imaginings and occurrent beliefs); (ii) between ideas of the memory and ideas of the imagination; and (iii), among the ideas of the imagination, between ideas of the judgement (i.e. occurrent beliefs) and ideas of the fancy (i.e. imaginings). I discuss each distinction in turn, also in connection to contemporary views on imagining. In addition, I briefly consider Hume’s views on the imagination as a faculty aimed at the production of ideas, as well as on the role that imagining plays in the wider context of our mental lives, notably in the acquisition of modal knowledge and in the comprehension of, and resistance to, stories and opinions that we take to be false or fictional. (shrink)

Imagination seems to play an epistemic role in philosophical and scientific thought experiments, mindreading, and ordinary practical deliberations insofar as it generates new knowledge of contingent facts about the world. However, it also seems that imagination is limited to creative generation of ideas. Sometimes we imagine fanciful ideas that depart freely from reality. The conjunction of these claims is what I call the puzzle of knowledge through imagination. This chapter aims to resolve this puzzle. I argue that imagination has an (...) epistemic role to play, but it is limited to the context of discovery. Imagination generates ideas, but other cognitive capacities must be employed to evaluate these ideas in order for them to count as knowledge. Consideration of the Simulation Theory's so-called "threat of collapse” provides further evidence that imagination does not, on its own, yield new knowledge of contingent facts, and it suggests a way to supplement imagination in order to get such knowledge. (shrink)

Advocates of interactionism in the ethical criticism of art argue that ethical value impacts aesthetic value. The debate is concerned with “the intrinsic question”: the question of whether ethical flaws/merits in artworks’ manifested attitudes affect their aesthetic value (Gaut 2007: 9). This paper argues that the assumption that artworks have intrinsic ethical value is problematic at least in regards to a significant subset of works: fictional artworks. I argue that, insofar as their ethical value emerges only from attitudes attributable to (...) actual agents, fictional artworks only have extrinsic ethical value. I show that what is at stake for interactionism is whether ethical judgements concerning artists’ attitudes in a context, rather than manifested attitudes, are ever aesthetically relevant. I conclude that, without buying into extreme actual intentionalism, a still controversial theory of interpretation that ties artworks’ meaning to actual artists, interactionism fails to show that ethical flaws/merits are aesthetic flaws/merits. (shrink)

People have a capacity to imaginatively recreate mental states that they themselves do not have. These recreative states are referred to as ‘I-states’. Several philosophers, such as Gregory Currie, Tyler Doggett, and Andy Egan, propose that the combination of i-desire and i-belief—two typical I-states—can motivate agents. The goal of this paper is to defend this i-desire + i-belief account. Here I consider a kind of dramatic acting—method acting—in which an actor aspires to sincere performances by experientially inhabiting the role of (...) the character, as involving I-states and that it implies that i-desires and i-beliefs can motivate agents. First, I analyze the features of method acting; second, I argue that those accounts which do not include the concept of i-desire cannot explain these features; third, I argue that the i-desire + i-belief account can do that and it therefore is the best explanation of how a method actor is motivated on stage. (shrink)

I propose a new model of implicit bias, according to which implicit biases are constituted by unconscious imaginings. I begin by endorsing a principle of parsimony when confronted with unfamiliar phenomena. I introduce implicit bias in terms congenial to what most philosophers and psychologists have said about their nature in the literature so far, before moving to a discussion of the doxastic model of implicit bias and objections to it. I then introduce unconscious imagination and argue that appeal to it (...) does not represent a departure from a standard view of imagination, before outlining my model and showing how it accommodates characteristic features of implicit bias. I argue for its advantages over the doxastic model: it does not violate the parsimony principle, it does not face any of the objections so far raised to doxasticism, and it can accommodate the heterogeneity in the category of implicit bias. Finally, I address whether my view limits our ability to hold people accountable for their biases (it does not), and whether it is consistent with what we know about intervention strategies (it is). I conclude that implicit biases are constituted by unconscious imaginings. (shrink)

Why do sports fans sometimes (often?) go crazy at sporting events and then afterwards proceed with their day as if nothing much happened? If something of genuine significance happened, something that warranted the emotional ups and downs the fan experienced during the game, why don’t its effects linger? These questions pose a version of the puzzle of sports fandom. Others have applied Kendall Walton’s theory of fiction to solve the puzzle, but Walton’s account of sports fandom fiction is unacceptably thin. (...) Recent attempts by Nathan Wildman and Joseph Moore to address this thinness problem fail. We answer the thinness objection by explaining how sports fandom is a collaboratively authored fiction, constructed by fans, sponsors, players, teams, media commentators, and more. The stories of sports fandom fiction are passed to new generations of fans in a way more reminiscent of The Iliad or The Romance of the Three Kingdoms. Sports fandom fiction is more like folklore, and less like a novel. (shrink)

This article aims to delve into the theoretical perspective on imagination in education, focusing specifically on Imaginative Education theory. The approach involves a dual objective: critically analyzing the limitations and specific potentials of Imaginative Education to stimulate contemporary discourse on imagination in education and using it as a foundation to frame current research in philosophy and psychology within an educational context. Key elements of this theoretical operation include a critical examination of philosophical taxonomies on the concept of imagination and its (...) reinterpretation in relation to Predictive Coding and Embodied Cognition theories. The fundamental goal of this conceptual clarification goes beyond the theoretical realm. The article aspires to contribute to the growing interest in imagination, fantasy, and creativity as essential elements of curriculum design and teacher education, serving both as educational objectives and resources to create meaningful learning environments and experiences. Hence, the focus on the IE theory aims to bridge the gap between theoretical reflections on imagination and learning and their practical implications in curriculum design and teacher education or professional development. (shrink)

Recent interest in phenomena of simulation, pretense, and play has given rise to new philosophical debates on the basic structure of human action and action planning. Some philosophers sought to transform Hume's desire-belief-action model by sophisticating its basic structure. For example, they introduced “hypothetical world boxes” or imaginary “i-desires” and “i-beliefs” into the standard model, in order to account for the representational and motivational structures of imaginary scripts. Others used phenomena of behavior driven by imagination to attempt a more fundamental (...) critique of the Humean tradition. This article aims to show how the pragmatist tradition could be used as a resource in reframing current debates on imagination, pretense, and simulation in the cognitive sciences. This will help determine the role of imagination in intelligent human deliberation. (shrink)

The Centred View offers an account of the connection between imagination and possibility that combines the centred world framework with some allegedly appealing intuitions regarding our persistence over time. In particular, Dilip Ninan suggests that the Centred View has the theoretical advantage of respecting our intuitions about cases of personal identity in certain imaginative scenarios while also being compatible with physicalism. Unfortunately, the Centred View faces a series of serious objections and should ultimately be rejected.