We argue for an imaginative analog of desire from premises about imaginative engagement with fiction. There's a bit about the paradox of fiction, too.

What psychological and philosophical significance should we attach to recent efforts at computer simulations of human cognitive capacities? In answering this question, I find it useful to distinguish what I will call "strong" AI from "weak" or "cautious" AI. According to weak AI, the principal value of the computer in the study of the mind is that it gives us a very powerful tool. For example, it enables us to formulate and test hypotheses in a more rigorous and precise fashion. (...) But according to strong AI, the computer is not merely a tool in the study of the mind; rather, the appropriately programmed computer really is a mind, in the sense that computers given the right programs can be literally said to. (shrink)

Edmund Gettier is Professor Emeritus at the University of Massachusetts, Amherst. This short piece, published in 1963, seemed to many decisively to refute an otherwise attractive analysis of knowledge. It stimulated a renewed effort, still ongoing, to clarify exactly what knowledge comprises.

I lay out the framework for my theory of sensory imagination in “Imagining as a guide to possibility.” Sensory imagining involves mental imagery , and crucially, in describing the content of imagining, I distinguish between qualitative content and assigned content. Qualitative content derives from the mental image itself; for visual imaginings, it is what is “pictured.” For example, visually imagine the Philadelphia Eagles defeating the Pittsburgh Steelers to win their first Super Bowl. You picture the greenness of the field and (...) the football’s brown oblong shape. Some of what you imagine isn’t explicitly pictured, however. That it is Sunday, that it is the Super Bowl: these facts are assigned. (shrink)

Philosophical discussion of emotional responses to fiction has been dominated by work on the paradox of fiction, which is often construed as asking whether and how we can experience genuine emotions in reaction to fiction. One may also ask more generally how we ought to respond to fictional works, a question that has to do both with what we should do when reacting to fiction and with what we should and should not let happen to us. It is possible to (...) delineate any principles regarding the rationality, and more generally, the appropriateness of emotional responses to fiction? (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)

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.

Look at a red apple. Now close your eyes and visualize this apple. Your perceptual state and your imagery of the apple are very similar in some respects. They are also different in some respects. The aim of this paper is to address three questions about the relation between perception and imagination: -/- (a) How similar are perception and imagination and what explains this similarity? (b) How different are perception and imagination and what explains this difference? (c) How do perception (...) and imagination interact? (shrink)

Do fictions depend upon imagination? Derek Matravers argues against the mainstream view that they do, and offers an original account of what it is to read, listen to, or watch a narrative. He downgrades the divide between fiction and non-fiction, largely dispenses with the imagination, and in doing so illuminates a succession of related issues.

Recreative Minds develops a philosophical theory of imagination that draws upon the latest work in psychology. This theory illuminates the use of imagination in coming to terms with art, its role in enabling us to live as social beings, and the psychological consequences of disordered imagination. The authors offer a lucid exploration of a fascinating subject.

The everyday capacity to understand the mind, or 'mindreading', plays an enormous role in our ordinary lives. Shaun Nichols and Stephen Stich provide a detailed and integrated account of the intricate web of mental components underlying this fascinating and multifarious skill. The imagination, they argue, is essential to understanding others, and there are special cognitive mechanisms for understanding oneself. The account that emerges has broad implications for longstanding philosophical debates over the status of folk psychology. Mindreading is another trailblazing volume (...) in the prestigious interdisciplinary Oxford Cognitive Science series. (shrink)

In his new foreword to this edition, Hilary Putnam forcefully rejects these nativist claims.

A comprehensive introduction to the Language of Though Hypothesis (LOTH) accessible to general audiences. LOTH is an empirical thesis about thought and thinking. For their explication, it postulates a physically realized system of representations that have a combinatorial syntax (and semantics) such that operations on representations are causally sensitive only to the syntactic properties of representations. According to LOTH, thought is, roughly, the tokening of a representation that has a syntactic (constituent) structure with an appropriate semantics. Thinking thus consists in (...) syntactic operations defined over representations. Most of the arguments for LOTH derive their strength from their ability to explain certain empirical phenomena like productivity, systematicity of thought and thinking. (shrink)

It is generally accepted that there is something special about reasoning by using mental images. The question of how it is special, however, has never been satisfactorily spelled out, despite more than thirty years of research in the post-behaviorist tradition. This article considers some of the general motivation for the assumption that entertaining mental images involves inspecting a picture-like object. It sets out a distinction between phenomena attributable to the nature of mind to what is called the cognitive architecture, and (...) ones that are attributable to tacit knowledge used to simulate what would happen in a visual situation. With this distinction in mind, the paper then considers in detail the widely held assumption that in some important sense images are spatially displayed or are depictive, and that examining images uses the same mechanisms that are deployed in visual perception. I argue that the assumption of the spatial or depictive nature of images is only explanatory if taken literally, as a claim about how images are physically instantiated in the brain, and that the literal view fails for a number of empirical reasons – for example, because of the cognitive penetrability of the phenomena cited in its favor. Similarly, while it is arguably the case that imagery and vision involve some of the same mechanisms, this tells us very little about the nature of mental imagery and does not support claims about the pictorial nature of mental images. Finally, I consider whether recent neuroscience evidence clarifies the debate over the nature of mental images. I claim that when such questions as whether images are depictive or spatial are formulated more clearly, the evidence does not provide support for the picture-theory over a symbol-structure theory of mental imagery. Even if all the empirical claims were true, they do not warrant the conclusion that many people have drawn from them: that mental images are depictive or are displayed in some (possibly cortical) space. Such a conclusion is incompatible with what is known about how images function in thought. We are then left with the provisional counterintuitive conclusion that the available evidence does not support rejection of what I call the “null hypothesis”; namely, that reasoning with mental images involves the same form of representation and the same processes as that of reasoning in general, except that the content or subject matter of thoughts experienced as images includes information about how things would look. (shrink)

According to the additive view of sensory imagination, mental imagery often involves two elements. There is an image-like element, which gives the experiences qualitative phenomenal character akin to that of perception. There is also a non-image element, consisting of something like suppositions about the image's object. This accounts for extra- sensory features of imagined objects and situations: for example, it determines whether an image of a grey horse is an image of Desert Orchid, or of some other grey horse. The (...) view promises to give a simple and intuitive explanation of some puzzling features of imagination, and, further, to illuminate imagination 's relation to modal knowledge. I contend that the additive view does not fulfil these two promises. The explanation of how images come to be determinate is redundant: the content constituting the indeterminate mental images on which the view relies is sufficient to deliver determinate images too, so the extra resources offered by the view are not required.. (shrink)

A striking feature of the traditional armchair method of philosophy is the use of imaginary examples: for instance, of Gettier cases as counterexamples to the justified true belief analysis of knowledge. The use of such examples is often thought to involve some sort of a priori rational intuition, which crude rationalists regard as a virtue and crude empiricists as a vice. It is argued here that, on the contrary, what is involved is simply an application of our general cognitive capacity (...) to handle counterfactual conditionals, which is not exclusively a priori and is not usefully conceived as a form of rational intuition. It is explained how questions of metaphysical possibility and necessity are equivalent to questions about counterfactuals, and the epistemology of the former (in particular, the role of conceiving or imagining) is a special case of the epistemology of the latter. A non-imaginary Gettier case is presented in order to show how little difference it makes. (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)

In this Part II, I investigate different approaches to the question of what makes imagining different from belief. I find that the sentiment-based approach of David Hume falls short, as does the teleological approach, once advocated by David Velleman. I then consider whether the inferential properties of beliefs and imaginings may differ. Beliefs, I claim, exhibit an anti-symmetric inferential governance over imaginings: they are the background that makes inference from one imagining to the other possible; the reverse is not true, (...) and this allows us to distinguish the two attitudes. I then go on to consider the action theory of imagining and the role that imaginings play in generating emotion. (shrink)

According to the dominant computational approach in cognitive science, cognitive agents are digital computers; according to the alternative approach, they are dynamical systems. This target article attempts to articulate and support the dynamical hypothesis. The dynamical hypothesis has two major components: the nature hypothesis (cognitive agents are dynamical systems) and the knowledge hypothesis (cognitive agents can be understood dynamically). A wide range of objections to this hypothesis can be rebutted. The conclusion is that cognitive systems may well be dynamical systems, (...) and only sustained empirical research in cognitive science will determine the extent to which that is true. (shrink)

Imaginative representations are crucial to the generation of action--both pretense and plain action. But well-known theories of imagination on offer in the literature [1] fail to describe how perceptually-formatted imaginings (mental images) and motor imaginings function in the generation of action and [2] fail to recognize the important fact that spatially rich imagining can be integrated into one's perceptual manifold. In this paper, I present a theory of imagining that shows how spatially rich imagining functions in the generation of action. (...) I also describe the imaginative structures behind two under-explored forms of action: semi-pretense and pretense layering. In addition, I suggest that my theory of imagining meshes better than the competitors with current work in cognitive and affective neuroscience. (shrink)

If feeling a genuine emotion requires believing that its object actually exists, and if this is a belief we are unlikely to have about fictional entities, then how could we feel genuine emotions towards these entities? This question lies at the core of the paradox of fiction. Since its original formulation, this paradox has generated a substantial literature. Until recently, the dominant strategy had consisted in trying to solve it. Yet, it is more and more frequent for scholars to try (...) to dismiss it using data and theories coming from psychology. In opposition to this trend, the present paper argues that the paradox of fiction cannot be dissolved in the ways recommended by the recent literature. We start by showing how contemporary attempts at dissolving the paradox assume that it emerges from theoretical commitments regarding the nature of emotions. Next, we argue that the paradox of fiction rather emerges from everyday observations, the validity of which is independent from any such commitment. This is why we then go on to claim that a mere appeal to psychology in order to discredit these theoretical commitments cannot dissolve the paradox. We bring our discussion to a close on a more positive note, by exploring how the paradox could in fact be solved by an adequate theory of the emotions. (shrink)

Recently, philosophers have identified certain fictional propositions with which one does not imaginatively engage, even where one is transparently intended by their authors to do so. One approach to explaining this categorizes it as 'resistance', that is, as deliberate failure to imagine that the relevant propositions are true; the phenomenon has become generally known (misleadingly) as 'the puzzle of imaginative resistance'. I argue that this identification is incorrect, and I dismiss several other explanations. I then propose a better one, that (...) in central cases of imaginative failure, the basis for the failure is the contingent incomprehensibility of the relevant propositions. Why the phenomenon is especially commonplace with respect to moral propositions is illuminated along the way. (shrink)

According to the theory theory of folk psychology, our engagement in the folk psychological practices of prediction, interpretation and explanation draws on a rich body of knowledge about psychological matters. According to the simulation theory, in apparent contrast, a fundamental role is played by our ability to identify with another person in imagination and to replicate or re-enact aspects of the other person’s mental life. But amongst theory theorists, and amongst simulation theorists, there are significant differences of approach.

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)

Recent accounts of pretense have been underdescribed in a number of ways. In this paper, we present a much more explicit cognitive account of pretense. We begin by describing a number of real examples of pretense in children and adults. These examples bring out several features of pretense that any adequate theory of pretense must accommodate, and we use these features to develop our theory of pretense. On our theory, pretense representations are contained in a separate mental workspace, a Possible (...) World Box which is part of the basic architecture of the human mind. The representations in the Possible World Box can have the same content as beliefs. Indeed, we suggest that pretense representations are in the same representational ``code'' as beliefs and that the representations in the Possible World Box are processed by the same inference and UpDating mechanisms that operate over real beliefs. Our model also posits a Script Elaborator which is implicated in the embellishment that occurs in pretense. Finally, we claim that the behavior that is seen in pretend play is motivated not from a ``pretend desire'', but from a real desire to act in a way that ®ts the description being constructed in the Possible World Box. We maintain that this account can accommodate the central features of pretense exhibited in the examples of pretense, and we argue that the alternative accounts either can't accommodate or fail to address entirely some of the central features of pretense. q 2000 Elsevier Science B.V. All rights reserved. (shrink)

The ability to think of something not presently perceived, but spatio-temporally real. (2) The ability to think of whatever one acknowledges as possible in the spatio-temporal world. (3) The liability to think of something that the subject believes to be real, but which is not. (4) The ability to think of things that one conceives of as fictional. (5) The ability to entertain mental images. (6) The ability to think of anything at all. (7) The non-rational operations of the mind, (...) that is, those explicable in terms of causes rather than reasons. (8) The ability to form perceptual beliefs about public objects in space and time. (9) The ability to sensuously appreciate works of art or objects of natural beauty without classifying them under concepts or thinking of them as useful. (10) The ability to create works of art that encourage such sensuous appreciation. (11) The ability to appreciate things that are expressive or revelatory of the meaning of human life. (12) The ability to create works of art that express something deep about the meaning of life. (shrink)

We often have affective responses to fictional events. We feel afraid for Desdemona when Othello approaches her in a murderous rage. We feel disgust toward Iago for orchestrating this tragic event. What mental architecture could explain these affective responses? In this paper I consider the claim that the best explanation of our affective responses to fiction involves imaginative desires. Some theorists argue that accounts that do not invoke imaginative desires imply that consumers of fiction have irrational desires. I argue that (...) there are serious worries about imaginative desires that warrant skepticism about the adequacy of the account. Moreover, it is quite difficult to articulate general principles of rationality for desires, and even according to the most plausible of these possible principles, desires about fiction are not irrational. (shrink)

The propositional attitudes are attitudes such as believing and desiring, taken toward propositions such as the proposition that snow flurries are expected, or that the Prime Minister likes poutine. Collectively, our views about the propositional attitudes make up much of folk psychology, our everyday theory of how the mind works.

I argue that any account of imagination should satisfy the following three desiderata. First, imaginations induce actions only in conjunction with beliefs about the environment of the imagining subject. Second, there is a continuum between imaginations and beliefs. Recognizing this continuum is crucial to explain the phenomenon of imaginative immersion. Third, the mental states that relate to imaginations in the way that desires relate to beliefs are a special kind of desire, namely desires to make true in fiction. These desires (...) to make true in fiction do not differ from regular desires in kind, but only in content. I argue for these three desiderata in turn by critically discussing several recent accounts of imagination. (shrink)

This paper describes and defends in detail a novel account of belief, an account inspired by Ryle's dispositional characterization of belief, but emphasizing irreducibly phenomenal and cognitive dispositions as well as behavioral dispositions. Potential externalist and functionalist objections are considered, as well as concerns motivated by the inevitably ceteris paribus nature of the relevant dispositional attributions. It is argued that a dispositional account of belief is particularly well-suited to handle what might be called "in-between" cases of believing - cases in (...) which it is neither quite right to describe a person as having a particular belief nor quite right to describe her as lacking it. (shrink)

The more interest philosophers take in memory, the less agreement there is that memory exists—or more precisely, that remembering is a distinct psychological kind or mental state. Concerns about memory’s distinctiveness are triggered by observations of its similarity to imagination. The ensuing debate is cast as one between discontinuism and continuism. The landscape of debate is set such that any extensive engagement with empirical research into episodic memory places one on the side of continuism. Discontinuists concerns are portrayed as almost (...) exclusively conceptual and a priori. As philosophers of memory become increasingly interested in memory science, this pushes continuism into an apparent lead. The aim of this paper is to challenge this characterization of the continuism debate—namely, that a naturalistic approach to the philosophy of mind and memory favors continuism. My response has two components. First, I argue for weakening the alignment between naturalism and continuism. Second, I defend a naturalistically oriented, empirically-informed discontinuism between memory and imagination. I do so by introducing seeming to remember, which I argue is distinct from other mental attitudes—most importantly, from imagining. (shrink)

There was a long tradition in philosophy according to which good reasoning had to be deductively valid. However, that tradition began to be questioned in the 1960’s, and is now thoroughly discredited. What caused its downfall was the recognition that many familiar kinds of reasoning are not deductively valid, but clearly confer justification on their conclusions. Here are some simple examples.

A number of philosophers have argued in favour of the Dependency Thesis: if a subject sensorily imagines an F then he or she sensorily imagines from the inside perceptually experiencing an F in the imaginary world. They claim that it explains certain important features of imaginative experience, in brief: the fact that it is perspectival, the fact that it does not involve presentation of sensory qualities and the fact that mental images can serve a number of different imaginings. I argue (...) that the Dependency Thesis is false and that, in any event, it does not have the explanatory credentials claimed for it. Some of the features of imaginative experience are incorrectly specified, namely the absence of presentation of sensory qualities. With a more precise idea of what we need to explain, I argue that the explanation should proceed by noting that imagination and perception have phenomenally similar contents and that this is to be explained in terms of the similar kinds of representations in play. I trace the consequences of my discussion for disjunctivist theories of perception, Berkeleian Idealism and the characterisation of knowing what an experience is like. (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.

Thought experiments about the self seem to lead to deeply conflicting intuitions about the self. Cases imagined from the 3rd person perspective seem to provoke different responses than cases imagined from the 1st person perspective. This paper argues that recent cognitive theories of the imagination, coupled with standard views about indexical concepts, help explain our reactions in the 1st person cases. The explanation helps identify intuitions that should not be trusted as a guide to the metaphysics of the self.