Michael Tye untangles the complex web of empirical and conceptual issues of the newly revived imagery debate in psychology between those that liken mental...

Conditional sentences are among the most intriguing and puzzling features of language, and analysis of their meaning and function has important implications for, and uses in, many areas of philosophy. Jonathan Bennett, one of the world's leading experts, distils many years' work and teaching into this Philosophical Guide to Conditionals, the fullest and most authoritative treatment of the subject. An ideal introduction for undergraduates with a philosophical grounding, it also offers a rich source of illumination and stimulation for graduate students (...) and professional philosophers. (shrink)

The second volume in the _Blackwell Brown Lectures in Philosophy_, this volume offers an original and provocative take on the nature and methodology of philosophy. Based on public lectures at Brown University, given by the pre-eminent philosopher, Timothy Williamson Rejects the ideology of the 'linguistic turn', the most distinctive trend of 20th century philosophy Explains the method of philosophy as a development from non-philosophical ways of thinking Suggests new ways of understanding what contemporary and past philosophers are doing.

Mimesis as Make-Believe is important reading for everyone interested in the workings of representational art.

Eliminative materialism is the thesis that our common-sense conception of psychological phenomena constitutes a radically false theory, a theory so fundamentally defective that both the principles and the ontology of that theory will eventually be displaced, rather than smoothly reduced, by completed neuroscience. Our mutual understanding and even our introspection may then be reconstituted within the conceptual framework of completed neuroscience, a theory we may expect to be more powerful by far than the common-sense psychology it displaces, and more substantially (...) integrated within physical science generally. My purpose in this paper is to explore these projections, especially as they bear on (1) the principal elements of common-sense psychology: the propositional attitudes (beliefs, desires, etc.), and (2) the conception of rationality in which these elements figure. (shrink)

Authors have a lot of leeway with regard to what they can make true in their story. In general, if the author says that p is true in the fiction we’re reading, we believe that p is true in that fiction. And if we’re playing along with the fictional game, we imagine that, along with everything else in the story, p is true. But there are exceptions to these general principles. Many authors, most notably Kendall Walton and Tamar Szabó Gendler, (...) have discussed apparent counterexamples when p is “morally deviant”. Many other statements that are conceptually impossible also seem to be counterexamples. In this paper I do four things. I survey the range of counterexamples, or at least putative counterexamples, to the principles. Then I look to explanations of the counterexamples. I argue, following Gendler, that the explanation cannot simply be that morally deviant claims are impossible. I argue that the distinctive attitudes we have towards moral propositions cannot explain the counterexamples, since some of the examples don’t involve moral concepts. And I put forward a proposed explanation that turns on the role of ‘higher-level concepts’, concepts that if they are satisfied are satisfied in virtue of more fundamental facts about the world, in fiction, and in imagination. (shrink)

This important book provides a theory about the nature of fiction, and about the relation between the author, the reader and the fictional text. The approach is philosophical: that is to say, the author offers an account of key concepts such as fictional truth, fictional characters, and fiction itself. The book argues that the concept of fiction can be explained partly in terms of communicative intentions, partly in terms of a condition which excludes relations of counterfactual dependence between the world (...) and the text. This communicative model is then applied to the following problems: how can something be 'true in the story' without being explicitly stated in the text? In what ways does interpreting a fictional story depend upon grasping its author's intentions? Is there always a unique best interpretation of a fictional text? What is the correct semantics for fictional names? What is the nature of our emotional response to a fictional work? In answering these questions the author explores the complex interaction between author, reader, and text. This interaction requires the reader to construct a 'fictional author' - a character in the story whose personality, beliefs and emotional states must be interpreted if the reader is to grasp the meaning of the work. (shrink)

This article surveys recent developments in the epistemology of modality.

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)

John Searle's Speech Acts (1969) and Expression and Meaning (1979) developed a highly original and influential approach to the study of language. But behind both works lay the assumption that the philosophy of language is in the end a branch of the philosophy of the mind: speech acts are forms of human action and represent just one example of the mind's capacity to relate the human organism to the world. The present book is concerned with these biologically fundamental capacities, and, (...) though third in the sequence, in effect it provides the philosophical foundations for the other two. Intentionality is taken to be the crucial mental phenomenon, and its analysis involves wide-ranging discussions of perception, action, causation, meaning, and reference. In all these areas John Searle has original and stimulating views. He ends with a resolution of the 'mind-body' problem. (shrink)

John Searle's Speech Acts (1969) and Expression and Meaning (1979) developed a highly original and influential approach to the study of language. But behind both works lay the assumption that the philosophy of language is in the end a branch of the philosophy of the mind: speech acts are forms of human action and represent just one example of the mind's capacity to relate the human organism to the world. The present book is concerned with these biologically fundamental capacities, and, (...) though third in the sequence, in effect it provides the philosophical foundations for the other two. Intentionality is taken to be the crucial mental phenomenon, and its analysis involves wide-ranging discussions of perception, action, causation, meaning, and reference. In all these areas John Searle has original and stimulating views. He ends with a resolution of the 'mind-body' problem. (shrink)

Through the use of such "folk" concepts as belief, desire, intention, and expectation, Daniel Dennett asserts in this first full scale presentation of...

Are there really beliefs? Or are we learning (from neuroscience and psychology, presumably) that, strictly speaking, beliefs are figments of our imagination, items in a superceded ontology? Philosophers generally regard such ontological questions as admitting just two possible answers: either beliefs exist or they don't. There is no such state as quasi-existence; there are no stable doctrines of semi-realism. Beliefs must either be vindicated along with the viruses or banished along with the banshees. A bracing conviction prevails, then, to the (...) effect that when it comes to beliefs (and other mental items) one must be either a realist or an eliminative materialist. (shrink)

The present paper offers a philosophical discussion of phenomena which in the empirical literature have recently been subsumed under the concept of ‘mental time travel’. More precisely, the paper considers differences and similarities between two cases of ‘mental time travel’, recollective memories (‘R-memories’) of past events on the one hand, and sensory imaginations (‘S-imaginations’) of future events on the other. It develops and defends the claim that, because a subject who R-remembers a past event is experientially aware of a past (...) particular event, while a subject who S-imagines a future event could not possibly be experientially aware of a future particular event, R-memories of past events and S-imaginations of future events are ultimately mental occurrences of two different kinds. (shrink)

The publication of this book is an event in the making. All over the world scientists, psychologists, and philosophers are waiting to read Antonio Damasio's new theory of the nature of consciousness and the construction of the self. A renowned and revered scientist and clinician, Damasio has spent decades following amnesiacs down hospital corridors, waiting for comatose patients to awaken, and devising ingenious research using PET scans to piece together the great puzzle of consciousness. In his bestselling Descartes' Error, Damasio (...) revealed the critical importance of emotion in the making of reason. Building on this foundation, he now shows how consciousness is created. Consciousness is the feeling of what happens-our mind noticing the body's reaction to the world and responding to that experience. Without our bodies there can be no consciousness, which is at heart a mechanism for survival that engages body, emotion, and mind in the glorious spiral of human life. A hymn to the possibilities of human existence, a magnificent work of ingenious science, a gorgeously written book, The Feeling of What Happens is already being hailed as a classic. (shrink)

In this paper, I will analyze certain aspects of imaginative content, namely the content of the representational mental state called “imagining.” I will show that fully accounting for imaginative content requires acknowledging that, in addition to imagining, an imaginative project—the overall mental activity we engage in when we imagine—includes another infrastructural component in terms of which content should be explained. I will then show that the phenomenon of imaginative immersion can partly be explained in terms of the proposed infrastructure of (...) imaginative projects. (shrink)

Creativity is generally thought to be the production of things that are novel and valuable. Humans are unique in the extent of their creativity, which plays a central role in innovation and problem solving, as well as in the arts. But what are the cognitive sources of novelty? More particularly, what are the cognitive sources of stochasticity in creative production? I will argue that they belong to two broad categories. One is associative, enabling the selection of goal-relevant ideas that have (...) become activated by happenstance in an unrelated context. The other relies on selection processes that leverage stochastic fluctuations in neural activity. At the same time, I will address a central puzzle, which is to understand how the outputs of stochastic processes can nevertheless generally fall within task constraints. While the components appealed to in the accounts that I offer are well established, the ways in which I combine them together are new. (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)

The goal of this article is to display the attractiveness of a novel account of the place of creativity in the human mind. This is designed to supplement (and perhaps replace) the widespread assumption that creativity is thought-based, involving novel combinations of concepts to form creative thoughts, with the creativity of action being parasitic upon prior creative thinking. According to the proposed account, an additional (or perhaps alternative) locus of creativity lies in the assembly and activation of action-schemata, with creative (...) thoughts arising subsequently from the mental rehearsal of those actions, normally resulting in either visual imagery or inner speech. (shrink)

In recent years, the philosophy of art has profited enormously by applying to the study of art insights derived from the philosophies of mind and language, naturalized epistemology, psychology, evolutionary theory, and cognitive science. A case in point: the discussion of the nature of picturing and pictorial perception has obviously benefited from the influence of perceptual psychology and cognitive studies. Likewise, the theorization of art in relation to the emotions has also exploited contemporary advances in adjacent areas of inquiry.

Philosophy, scientific psychology, and common sense all distinguish perception from cognition. While there is little agreement about how the perception–cognition boundary ought to be drawn, one prominent idea is that perceptual states are dependent on a stimulus, or stimulus-dependent, in a way that cognitive states are not. This paper seeks to develop this idea in a way that can accommodate two apparent counterexamples: hallucinations, which are prima facie perceptual yet stimulus-independent; and demonstrative thoughts, which are prima facie cognitive yet stimulus-dependent. (...) The payoff is not only a specific proposal for marking the perception–cognition boundary, but also a deeper understanding of the natures of hallucination and demonstrative thought. (shrink)

The distinction between occurrent and non-occurrent mental states is frequently appealed to by contemporary philosophers, but it has never been explicated in any significant detail. In the literature, two accounts of the distinction are commonly presupposed. One is that occurrent states are conscious states. The other is that non-occurrent states are dispositional states, and thus that occurrent states are manifestations of dispositions. I argue that neither of these accounts is adequate, and therefore that another account is needed. I propose that (...) occurrent states are active states. (shrink)

Mental imagery has often been taken to be equivalent to “sensory imagination”, the perception‐like type of imagination at play when, for example, one visually imagines a flower when none is there, or auditorily imagines a music passage while wearing earplugs. I contend that the equation of mental imagery with sensory imagination stems from a confusion between two senses of mental imagery. In the first sense, mental imagery is used to refer to a psychological attitude, which is perception‐like in nature. In (...) the second sense, mental imagery refers to a mental content, which can be grasped via different attitudes. I will show that failure to acknowledge the distinction between these senses of mental imagery has muddled philosophical discussion. This distinction brings much needed clarity to debates where sensory imagination and mental imagery are invoked, shedding light on issues such as the nature of imagistic mental states, and the representational powers and limits of mental imagery. I will conclude by sketching a general attitudinal account of imagination that does justice to both senses of mental imagery, outlining a promising framework for understanding imagination. (shrink)

A popular view maintains that supposition is a kind of cognitive mental state, very similar to belief in essential respects. Call this view “cognitivism about supposition”. There are at least three grades of cognitivism, construing supposition as (i) a belief, (ii) belief-like imagination or (iii) a species of belief-like imagination. I shall argue against all three grades of cognitivism and claim that supposition is a sui generis form of imagination essentially dissimilar to belief. Since for good reasons (i) is not (...) supported in the literature, I shall dwell on (ii) and (iii). Without further explanation supposition has been very often merely postulated as being nothing but belief-like imagination—that is, (ii). I shall show that at least two considerations undermine (ii). First, supposition and belief-like imagination are governed by different norms, more precisely the former is freer than the latter and requires minimal or no mental effort. Second, contrary to belief-like imagination, supposition is “cold”, in that it is typically dissociated from emotional reactions. Proponents of (iii) face the pressure of explaining these differences between supposition and belief-like imagination too. I shall argue that they have not sufficiently motivated the claim that supposition is belief-like. In particular they fail to accommodate precisely the dimensions of supposition pertaining to its normativity and emotionality. I shall close with a sketch of a new account of supposition. (shrink)

The purpose of this note is to dispute Michael Ayers' claim that "there is no special problem of subjunctive conditionals".

It is advisable to treat some sorts of discourse about fiction with the aid of an intensional operator "in such-And-Such fiction...." the operator may appear either explicitly or tacitly. It may be analyzed in terms of similarity of worlds, As follows: "in the fiction f, A" means that a is true in those of the worlds where f is told as known fact rather than fiction that differ least from our world, Or from the belief worlds of the community in (...) which the fiction originated. (shrink)

The official model of explanation proposed by the logical empiricists, the covering law model, is subject to familiar objections. The goal of the present paper is to explore an unofficial view of explanation which logical empiricists have sometimes suggested, the view of explanation as unification. I try to show that this view can be developed so as to provide insight into major episodes in the history of science, and that it can overcome some of the most serious difficulties besetting the (...) covering law model. (shrink)

Editorial preface to the fourth edition and modified translation -- The text of the Philosophische Untersuchungen -- Philosophische untersuchungen = Philosophical investigations -- Philosophie der psychologie, ein fragment = Philosophy of psychology, a fragment.

I argue that to have an attitude is, primarily, (1.) to have a dispositional profile that matches, to an appropriate degree and in appropriate respects, a stereotype for that attitude, typically grounded in folk psychology, and secondarily, (2.) in some cases also to meet further stereotypical attitude-specific conditions. To have an attitude, on the account I will recommend here, is mainly a matter of being apt to interact with the world in patterns that ordinary people would regard as characteristic of (...) having that attitude. I contrast this view with alternative views that treat having an attitude as a matter of possessing some particular internally stored representational content or some other "deep" structural feature. (shrink)

Creativity pervades human life. It is the mark of individuality, the vehicle of self-expression, and the engine of progress in every human endeavor. It also raises a wealth of neglected and yet evocative philosophical questions: What is the role of consciousness in the creative process? How does the audience for a work for art influence its creation? How can creativity emerge through childhood pretending? Do great works of literature give us insight into human nature? Can a computer program really be (...) creative? How do we define creativity in the first place? Is it a virtue? What is the difference between creativity in science and art? Can creativity be taught? The new essays that comprise The Philosophy of Creativity take up these and other key questions and, in doing so, illustrate the value of interdisciplinary exchange. Written by leading philosophers and psychologists involved in studying creativity, the essays integrate philosophical insights with empirical research. CONTENTS I. Introduction Introducing The Philosophy of Creativity Elliot Samuel Paul and Scott Barry Kaufman II. The Concept of Creativity 1. An Experiential Account of Creativity Bence Nanay III. Aesthetics & Philosophy of Art 2. Creativity and Insight Gregory Currie 3. The Creative Audience: Some Ways in which Readers, Viewers and/or Listeners Use their Imaginations to Engage Fictional Artworks Noël Carroll 4. The Products of Musical Creativity Christopher Peacocke IV. Ethics & Value Theory 5. Performing Oneself Owen Flanagan 6. Creativity as a Virtue of Character Matthew Kieran V. Philosophy of Mind & Cognitive Science 7. Creativity and Not So Dumb Luck Simon Blackburn 8. The Role of Imagination in Creativity Dustin Stokes 9. Creativity, Consciousness, and Free Will: Evidence from Psychology Experiments Roy F. Baumeister, Brandon J. Schmeichel, and C. Nathan DeWall 10. The Origins of Creativity Elizabeth Picciuto and Peter Carruthers 11. Creativity and Artificial Intelligence: a Contradiction in Terms? Margaret Boden VI. Philosophy of Science 12. Hierarchies of Creative Domains: Disciplinary Constraints on Blind-Variation and Selective-Retention Dean Keith Simonton VII. Philosophy of Education (& Education of Philosophy) 13. Educating for Creativity Berys Gaut 14. Philosophical Heuristics Alan Hájek. (shrink)

The goal of this chapter is to provide an integrated evolutionary and developmental account of the emergence of distinctively-human creative capacities. Our main thesis is that childhood pretend play is a uniquely human adaptation that functions in part to enhance adult forms of creativity. We review evidence that is consistent with such an account, and contrast our proposal favorably with a number of alternatives.