Creativity is typically defined as a disposition to produce valuable ideas. We argue that this is a mistake and defend a new definition of creativity in terms of the imagination. It follows that creativity has instrumental value at most and then only in the right circumstances. We consider the role of tradition and judgment in worthwhile creativity and argue that there is frequently a tension between greater creativity and the production of value.

This book demonstrates how children's imagination makes a continuing contribution to their cognitive and emotional development.

The prevalence of colourful metaphors and figurative language in critics’ descriptions of artworks has long attracted attention. Talk of ‘liquid melodies’, ‘purple prose’, ‘soaring arches’, and the use of still more elaborate figurative descriptions, is not uncommon. My aim in this paper is to explain why metaphor is so prevalent in critical description. Many have taken the prevalence of art-critical metaphors to reveal something important about aesthetic experience and aesthetic properties. My focus is different. I attempt to determine what metaphor (...) enables critics to achieve and why it is so well suited to helping them achieve it. I begin by outlining my account of what metaphors communicate and defend it against objections to the effect that it does not apply to art-critical metaphors. I then distinguish between two kinds of art-critical metaphor. This distinction is not normally drawn, but drawing it is essential to understanding why critics use metaphor. I then explain why each kind of metaphor is so common in criticism. (shrink)

In the second half of the twentieth-century, the traditional problem of other minds was re-focused on special problems with propositional attitudes and how we attribute them to others. How do ordinary people, with no education in scientific psychology, understand and ascribe such complex, unobservable states? In different terminology, how do they go about "interpreting" their peers?

The aim of this paper is to study interpretation, specifically, to work toward an account of interpretation that seems descriptively and explanatorily correct. No account of interpretation can be philosophically helpful, I submit, if it is incompatible with a correct account of what people actually do when they interpret others. My question, then, is: how does the (naive) interpreter arrive at his/her judgments about the mental attitudes of others? Philosophers who have addressed this question have not, in my view, been (...) sufficiently psychological, or cognitivist, even those who are otherwise psychologically inclined. I shall defend some proposals about the activity of interpretation that are, I believe, psychologically more realistic than their chief competitors. (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)

Contemplating imaginary scenarios that evoke certain sorts of quasi‐sensory intuitions may bring us to new beliefs about contingent features of the natural world. These beliefs may be produced quasi‐observationally; the presence of a mental image may play a crucial cognitive role in the formation of the belief in question. And this albeit fallible quasi‐observational belief‐forming mechanism may, in certain contexts, be sufficiently reliable to count as a source of justification. This sheds light on the central puzzle surrounding scientific thought experiment, (...) which is how contemplation of an imaginary scenario can lead to new knowledge about contingent features of the natural world. (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)

The capacity to represent things to ourselves as possible plays a crucial role both in everyday thinking and in philosophical reasoning; this volume offers much-needed philosophical illumination of conceivability, possibility, and the relations between them.

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)

Forthcoming, Journal of Philosophy [pdf manuscript].

This paper surveys some of the central issues in the philosophy of creativity and argues that an adequate treatment of them requires attention to the rich psychological literature on creativity. It also shows that the range of interesting philosophical questions to be raised about creativity is much wider than concerns its role in art. Issues covered include the definition of ‘creativity’; the relation of creativity to imagination; whether the creative process is rational; whether it is teleological; the relation of creativity (...) to knowledge; whether creativity can be explained; computational and Darwinian theories of creativity; whether creativity is a virtue; the relation of creativity to tradition; the aesthetic value of creativity; and whether creative activity is different in science and art. (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)

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)

In this book, Eva Brann sets out no less a task than to assess the meaning of imagination in its multifarious expressions throughout western history. The result is one of those rare achievements that will make The World of the Imagination a standard reference.

Idioms – expressions like kick the bucket and let the cat out of the bag – are strange. They behave in ways that ordinary multi-word expressions do not. One distinctive and troublesome feature of idioms is their unpredictability: The meanings of sentences in which idiomatic phrases occur are not the ones that we would get by applying the usual compositional rules to the usual meanings of their (apparent) constituents. This sort of behavior requires an explanation. I will argue that the (...) right explanation is that the sentences are being interpreted through a pretense. (What this means, exactly, will be explained in what follows.) This is a surprising claim, for two reasons. On the one hand, it seems that adopting a pretense account is overkill—it’s a far more radical move than is required to account for the phenomena. On the other hand, it seems that a pretense account is hopeless—that there is a fatal overgeneration problem for pretense accounts of idiom that causes them to fail, as Jason Stanley charges, “as badly as it is possible for an account of idiom to fail.” So I will have some work to do. (shrink)

What is it to remember an episode from one’s past? How does episodic memory give us knowledge of the personal past? What explains the emergence of the apparently uniquely human ability to relive the past? Drawing on current research on mental time travel, this book proposes an integrated set of answers to these questions, arguing that remembering is a matter of simulating past episodes, that we can identify metacognitive mechanisms enabling episodic simulation to meet standards of reliability sufficient for knowledge, (...) and that the subjective experience of reliving the past is a precondition for the reliability of simulational remembering. The resulting account of memory, memory knowledge, and their evolution will be of interest both to philosophers interested in empirically-informed approaches to memory and to psychologists interested in the philosophical implications of empirical memory research. (shrink)

Iris Murdoch once observed: 'philosophy is often a matter of finding occasions on which to say the obvious'. What was obvious to Murdoch, and to all those who read her work, is that Good transcends everything - even God. Throughout her distinguished and prolific writing career, she explored questions of Good and Bad, myth and morality. The framework for Murdoch's questions - and her own conclusions - can be found here.

_Contemporary Debates in Aesthetics and the Philosophy of Art _features pairs of newly commissioned essays by some of the leading theorists working in the field today. Brings together fresh debates on eleven of the most controversial issues in aesthetics and the philosophy of art Topics addressed include the nature of beauty, aesthetic experience, artistic value, and the nature of our emotional responses to art. Each question is treated by a pair of opposing essays written by eminent scholars, and especially commissioned (...) for the volume. Lively debate format sharply defines the issues, and paves the way for further discussion. Will serve as an accessible introduction to the major topics in aesthetics, while also capturing the imagination of professional philosophers. (shrink)

In addition to his poetry, Coleridge also wrote influential piece of literary criticism, Biographia Literaria, a collection of his thoughts and opinions on literature. The work delivered both biographical explanations of the author's life as well as his impressions on literature. The collection also contained an analysis of a broad range of philosophical principles of literature ranging from Aristotle to Immanuel Kant and Schelling and applied them to the poetry of peers such as William Wordsworth. Coleridge's explanations of metaphysical principles (...) were popular topics of discourse in academic communities throughout the 19th and 20th centuries, and T.S. Eliot stated that he believed that Coleridge was "perhaps the greatest of English critics, and in a sense the last." In Biographia Literaria and his poetry, symbols are not merely "objective correlatives" to Coleridge, but instruments for making the universe and personal experience intelligible and spiritually covalent. Samuel Taylor Coleridge (1772 - 1834) was an English poet, literary critic and philosopher who, with his friend William Wordsworth, was a founder of the Romantic Movement in England and a member of the Lake Poets. He wrote the poems The Rime of the Ancient Mariner and Kubla Khan, as well as the major prose work Biographia Literaria. His critical work, especially on Shakespeare, was highly influential, and he helped introduce German idealist philosophy to English-speaking culture. He coined many familiar words and phrases, including suspension of disbelief. He was a major influence on Emerson, and American transcendentalism. (shrink)

How do hearers manage to understand speakers? And how do speakers manage to shape hearers' understanding? Lepore and Stone show that standard views about the workings of semantics and pragmatics are unsatisfactory. They advance an alternative view which better captures what is going on in linguistic communication.

What mediates between sensory input and motor output? What makes it possible to act on what you perceive? Bence Nanay argues that pragmatic representations provide the perceptual guidance for performing actions. They play a key role in our mental lives, and help explain why the majority of our mental processes are very similar to those of animals.

Engagement with fiction often inspires emotional responses. We may pity Sethe while feeling ambivalent about her actions (in Beloved), fear for Ellen Ripley as she battles monstrous creatures (in Alien), get angry at Okonkwo for killing Ikemefuna (in Things Fall Apart), and hope that Kiyoaki and Satoko find love (in Spring Snow). Familiar as they are, these reactions are puzzling. Why do I respond emotionally if I do not believe that these individuals exist or that the events occurred? If I (...) merely imagine that my best friend has betrayed me, I do not become angry with him; if I did, I would be considered irrational. Yet although beliefs seem to be necessary for emotions in other contexts, we respond to fiction without the relevant beliefs. These observations prompt two questions about our emotional responses to fiction (henceforth: fictional emotions). The first is descriptive: Should fictional emotions be classified as the same kind of emotions we experience in other contexts? The second is normative: Are fictional emotions irrational or otherwise inappropriate? I take each of these debates in turn. (shrink)

Imagination is celebrated as our vehicle for escape from the mundane here and now. It transports us to distant lands of magic and make-believe, and provides us with diversions during boring meetings or long bus rides. Yet the focus on imagination as a means of escape from the real world minimizes the fact that imagination seems also to furnish us with knowledge about it. Imagination seems an essential component in our endeavor to learn about the world in which we live--whether (...) we're planning for the future, aiming to understand other people, or figuring out whether two puzzle pieces fit together. But how can the same mental power that allows us to escape the world as it currently is also inform us about the world as it currently is? Ten original essays grapple with this neglected question; in doing so, they present a diverse array of positions ranging from cautious optimism to deep-seated pessimism. Blending perspectives from philosophy of mind, cognitive science, epistemology, aesthetics, and ethics, Knowledge Through Imagination sheds new light on the epistemic role of imagination. (shrink)

A leading scholar in the psychology of thinking and reasoning argues that the counterfactual imagination—the creation of "if only" alternatives to ...

A model of writing in cognitive development, Understanding the Representational Mind synthesizes the burgeoning literature on the child’s theory of mind to provide an integrated account of children’s understanding of representational and mental processes, which is crucial in their acquisition of our commonsense psychology. Perner describes experimental work on children’s acquisition of a theory of mind and representation, offers a theoretical account of this acquisition, and gives examples of how the increased sophistication in children’s theory of mind improves their understanding (...) of social interaction and how, in the case of autistic children, an impairment results in social ineptitude. He analyzes the concepts of representation and metarepresentation as they appear in current discussion in the philosophy of cognitive science and explains how the unfolding of mental representation enables infants to comprehend change over time, engage in pretence, and use representational systems like pictures and language. Perner goes on to show that around age four children become able to understand the representational nature of pictures and language and to distinguish appearance from reality. Introducing basic distinctions in philosophy of mind for characterizing the mental, Perner discusses differences in how commonsense and cognitive psychology view the mind. Tracing the onset of a commonsense psychology in the social and emotional awareness of early infancy, he reveals how the child begins to take a cognitive, representational view of the mind with repercussions for children’s episodic memory, self control, and their ability to engage in deception. Perner concludes by describing the observed developmental changes as a case of theory change And contrasts his thesis with competing proposals. Josef Perner is Lecturer in Experimental Psychology at Sussex University, Brighton, England. (shrink)

This volume presents new essays on the propositional imagination by leading researchers. The propositional imagination---the mental capacity we exploit when we imagine that everyone is colour-blind or that Hamlet is a procrastinator---plays an essential role in philosophical theorizing, engaging with fiction, and indeed in everyday life. Yet only recently has there been a systematic attempt to give a cognitive account of the propositional imagination. These thirteen essays, specially written for the volume, capitalize on this recent work, extending the theoretical picture (...) of the imagination and exploring the philosophical implications of cognitive accounts of the imagination. The book also investigates broader philosophical issues surrounding the propositional imagination. The first section addresses the nature of the imagination, its role in emotion production, and its sophistication manifestation in childhood. The essays in the second section focus on the nature of pretence and how pretence is implicated in adult communication. The third section addresses the problem of 'imaginative resistance', the striking fact that when we encounter morally repugnant assertions in fiction, we seem to resist imagining them and accepting them as fictionally true. In the final section, contributors explore the relation between imagining, conceiving, and judgements of possibility and impossibility. The Architecture of the Imagination will be an essential resource for the growing number of philosophers and psychologists studying the nature of the imagination and on its role in philosophy, aesthetics, and everyday life. (shrink)

Matravers examines how emotions form the bridge between our experience of art and of life. We often find that a particular poem, painting, or piece of music carries an emotional charge; and we may experience emotions toward, or on behalf of, a particular fictional character. Matravers shows that what these experiences have in common, and what links them to the expression of emotion in non-artistic cases, is the role played by feeling. He carries out a critical survey of various accounts (...) of the nature of fiction, attacks contemporary cognitivist accounts of expression, and offers an uncompromising defense of a controversial view about musical expression: that music works by expressing the emotions it causes its listeners to feel. (shrink)

People are minded creatures; we have thoughts, feelings and emotions. More intriguingly, we grasp our own mental states, and conduct the business of ascribing them to ourselves and others without instruction in formal psychology. How do we do this? And what are the dimensions of our grasp of the mental realm? In this book, Alvin I. Goldman explores these questions with the tools of philosophy, developmental psychology, social psychology and cognitive neuroscience. He refines an approach called simulation theory, which starts (...) from the familiar idea that we understand others by putting ourselves in their mental shoes. Can this intuitive idea be rendered precise in a philosophically respectable manner, without allowing simulation to collapse into theorizing? Given a suitable definition, do empirical results support the notion that minds literally create surrogates of other peoples mental states in the process of mindreading? Goldman amasses a surprising array of evidence from psychology and neuroscience that supports this hypothesis. (shrink)

CHAPTER Simulation theory and mental concepts Alvin I. Goldman Rutgers University. Folk psychology and the TT-ST debate The study of folk psychology, ...

Many philosophers and psychologists argue that normal adult human beings possess a primitive or 'folk' psychological theory. Recently, however, this theory has come under challenge from the simulation alternative. This alternative view says that human bings are able to predict and explain each others' actions by using the resources of their own minds to simuate the psychological etiology of the actions of others. The thirteen essays in this volume present the foundations of theory of mind debate, and are accompanied by (...) an extensive introduction. (shrink)

Theories of Theories of Mind brings together contributions by a distinguished international team of philosophers, psychologists, and primatologists, who between them address such questions as: what is it to understand the thoughts, feelings, and intentions of other people? How does such an understanding develop in the normal child? Why, unusually, does it fail to develop? And is any such mentalistic understanding shared by members of other species? The volume's four parts together offer a state of the art survey of the (...) major topics in the theory-theory/simulationism debate within philosophy of mind, developmental psychology, the aetiology of autism and primatology. The volume will be of great interest to researchers and students in all areas interested in the 'theory of mind' debate. (shrink)

There is a long tradition in philosophy of using a priori methods to draw conclusions about what is possible and what is necessary, and often in turn to draw conclusions about matters of substantive metaphysics. Arguments like this typically have three steps: first an epistemic claim , from there to a modal claim , and from there to a metaphysical claim.

Subjects with delusions profess to believe some extremely peculiar things. Patients with Capgras delusion sincerely assert that, for example, their spouses have been replaced by impostors. Patients with Cotard’s delusion sincerely assert that they are dead. Many philosophers and psychologists are hesitant to say that delusional subjects genuinely believe the contents of their delusions.2 One way to reinterpret delusional subjects is to say that we’ve misidentified the content of the problematic belief. So for example, rather than believing that his wife (...) is has been replaced by an impostor, we might say that the victim of Capgras delusion believes that it is, in some respects, as if his wife has been replaced by an impostor. Another is to say that we’ve misidentified the attitude that the delusional subject bears to the content of their delusion. So for example, Gregory Currie and co-authors have suggested that rather than believing that his wife has been replaced by an impostor, we should say that the victim of Capgras delusion merely imagines that his wife has been replaced by an impostor.3. (shrink)

As Hume famously claimed, we are nowhere more free than in our imagination. While this feature of imagination suggests that imagination has a crucial role to play in modal epistemology, it also suggests that imagining cannot provide us with any non-modal knowledge about the world in which we live. This chapter rejects this latter suggestion. Instead it offers an account of “imagining under constraints,” providing a framework for showing when and how an imaginative project can play a justificatory role with (...) respect to our beliefs about the world. That we can be free in our imaginings does not show that they must proceed unfettered; as is argued, our ability to constrain our imaginings in light of facts about the world enables us to learn from them. The important upshot is that imagination has considerably more epistemic significance than previously thought. (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)

Issues of pretense and imagination are of central interest to philosophers, psychologists, and researchers in allied fields. In this entry, we provide a roadmap of some of the central themes around which discussion has been focused. We begin with an overview of pretense, imagination, and the relationship between them. We then shift our attention to the four specific topics where the disciplines' research programs have intersected or where additional interactions could prove mutually beneficial: the psychological underpinnings of performing pretense and (...) of recognizing pretense, the cognitive capacities involved in imaginative engagement with fictions, and the real-world impact of make-believe. In the final section, we discuss more briefly a number of other mental activities that arguably involve imagining, including counterfactual reasoning, delusions, and dreaming. (shrink)