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)

The paper begins with a clarification of the notions of intuition (and, in particular, modal intuition), modal error, conceivability, metaphysical possibility, and epistemic possibility. It is argued that two-dimensionalism is the wrong framework for modal epistemology and that a certain nonreductionist approach to the theory of concepts and propositions is required instead. Finally, there is an examination of moderate rationalism’s impact on modal arguments in the philosophy of mind -- for example, Yablo’s disembodiment argument and Chalmers’s zombie argument. A less (...) vulnerable style of modal argument is defended, which nevertheless wins the same anti-materialist conclusions sought by these other arguments. (shrink)

Knowledge and its Limits presents a systematic new conception of knowledge as a kind of mental stage sensitive to the knower's environment. It makes a major contribution to the debate between externalist and internalist philosophies of mind, and breaks radically with the epistemological tradition of analyzing knowledge in terms of true belief. The theory casts new light on such philosophical problems as scepticism, evidence, probability and assertion, realism and anti-realism, and the limits of what can be known. The arguments are (...) illustrated by rigorous models based on epistemic logic and probability theory. The result is a new way of doing epistemology and a notable contribution to the philosophy of mind. (shrink)

am going to discuss some issues inspired by a well-known paper ofKeith Donnellan, "Reference and Definite Descriptions,”2 but the interest—to me—of the contrast mentioned in my title goes beyond Donnellan's paper: I think it is of considerable constructive as well as critical importance to the philosophy oflanguage. These applications, however, and even everything I might want to say relative to Donnellan’s paper, cannot be discussed in full here because of problems of length. Moreover, although I have a considerable interest in (...) the substantive issues raised by Donnellan’s paper, and by related literature, my own conclusions will be methodological, not substantive. I can put the matter this way: Donnellan’s paper claims to give decisive objections both to Russell’s theory of definite descriptions (taken as a theory about English) and to Strawson’s. My concem is not primarily with the question; is Donnellan right, or is Russell (or Strawson)? Rather, it is with the question: do the considerations in Donneilarfs paper refute Russell’s theory (or Strawson’s)? For definiteness, I will concentrate on Donnellan versus Russell, leaving Strawson aside. And about this issue I will draw a definite conclusion, one which I think will illuminate a few methodological maxims about language. Namely, I will conclude that the considerations in Donnellan’s paper, by themselves, do not refute Russell’s theory. Any conclusions about Russell’s views per se, or Donnellan’s, must be tentative, IfI were to be asked for a tentative stab about Russell, I would say that although his theory does a far better job of handling ordinary discourse than many have thought, and although many popular arguments against it are inconclusive, probably it ultimately fails. The considerations I have in mind have to do with the existence of “improper” definite descriptions, such as “the table," where uniquely specifying conditions are not contained in the description itself.. (shrink)

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)

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)

One common response to the knowledge argument is the ability hypothesis. Proponents of the ability hypothesis accept that Mary learns what seeing red is like when she exits her black-and-white room, but they deny that the kind of knowledge she gains is propositional in nature. Rather, she acquires a cluster of abilities that she previously lacked, in particular, the abilities to recognize, remember, and imagine the color red. For proponents of the ability hypothesis, knowing what an experience is like simply (...) consists in the possession of these abilities. Criticisms of the ability hypothesis tend to focus on this last claim. Such critics tend to accept that Mary gains these abilities when she leaves the room, but they deny that such abilities constitute knowledge of what an experience is like. To my mind, however, this critical strategy grants too much. Focusing specifically on imaginative ability, I argue that Mary does not gain this ability when she leaves the room for she already had the ability to imagine red while she was inside it. Moreover, despite what some have thought, the ability hypothesis cannot be easily rescued by recasting it in terms of a more restrictive imaginative ability. My purpose here is not to take sides in the debate about physicalism, i.e., my criticism of the ability hypothesis is not offered in an attempt to defend the anti-physicalist conclusion of the knowledge argument. Rather, my purpose is to redeem the imagination from the misleading picture of it that discussion of the knowledge argument has fostered. (shrink)

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.

​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)

These works, as the sub-title makes clear, are unfinished sketches for Philosophical Investigations, possibly the most important and influential philosophical work of modern times. The 'Blue Book' is a set of notes dictated to Witgenstein's Cambridge students in 1933-1934: the 'Brown Book' was a draft for what eventually became the growth of the first part of Philosophical Investigations. This book reveals the germination and growth of the ideas which found their final expression in Witgenstein's later work. It is indispensable therefore (...) to students of Witgenstein's thought and to all those who wish to study at first-hand the mental processes of a thinker who fundamentally changed the course of modern philosophy. (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)

Many important metaphysical arguments validly deduce an actuality from a possibility. For example: Because it is possible for me to exist in the absence of anything material, I am not my body. I argue that there is no reason to suppose that our capacity for modal judgment is equal to the task of determining whether the "possibility" premise of any of these arguments is true. I connect this thesis with Stephen Yablo's recent work on the epistemology of modal statements.

Inquiry into the metaphysics of essence tends to be pursued in a realist and model-theoretic spirit, in the sense that metaphysical vocabulary is used in a metalanguage to model truth conditions for the object-language use of essentialist vocabulary. This essay adapts recent developments in proof-theoretic semantics to provide a nominalist analysis for a variety of essentialist vocabularies. A metalanguage employing explanatory inferences is used to individuate introduction and elimination rules for atomic sentences. The object-language assertions of sentences concerning essences are (...) then interpreted as devices for marking off structural features of the explanatory inferences that, under a given interpretation, constitute the contents of the atoms of the language. On this proposal, object-language essentialist vocabulary is mentioned in a proof-theoretic metalanguage that uses a vocabulary of explanation. The result is a nominalist interpretation of essence as a modality, understood in the grammatical sense as a modification of the copula, and a view of metaphysical inquiry that is closely connected to the explanatory commitments present in first-order inquiry into things like sets, chemicals, and organisms. This result illustrates that some of the presuppositions that have animated analytic metaphysics over the last few decades can be profitably substituted with more practice-oriented conceptions of the forms of reasoning at work in different domains of human knowledge. (shrink)

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)

ABSTRACTThe notion of immunity to error through misidentification has played a central role in discussions of first-person thought. It seems like a way of making precise the idea of thinking about oneself ‘as subject’. Asking whether bodily first-person judgments can be IEM is a way of asking whether one can think about oneself simultaneously as a subject and as a bodily thing. The majority view is that one cannot. I rebut that view, arguing that on all the notions of IEM (...) that have so far been successfully defined, bodily first-person judgments can be IEM. (shrink)

The guiding thread of this book is the distinction Colin McGinn draws between perception and imagination.

A common objection to sense-datum theories of perception is that they cannot give an adequate account of the fact that introspection indicates that our sensory experiences are directed on, or are about, the mind-independent entities in the world around us, that our sense experience is transparent to the world. In this paper I point out that the main force of this claim is to point out an explanatory challenge to sense-datum theories.

Despite their intuitive appeal and a long philosophical history, imagery-based accounts of the imagination have fallen into disfavor in contemporary discussions. The philosophical pressure to reject such accounts seems to derive from two distinct sources. First, the fact that mental images have proved difficult to accommodate within a scientific conception of mind has led to numerous attempts to explain away their existence, and this in turn has led to attempts to explain the phenomenon of imagining without reference to such ontologically (...) dubious entities as mental images. Second, even those philosophers who accept mental images in their ontology have worried about what seem to be fairly obvious examples of imaginings that occur without imagery. In this paper, I aim to relieve both these points of philosophical pressure and, in the process, develop a new imagery-based account of the imagination: the imagery model. (shrink)

Although mind-wandering occupies up to half of our waking thoughts, it is seldom discussed in philosophy. My paper brings these neglected thoughts into focus. I propose that mind-wandering is unguided attention. Guidance in my sense concerns how attention is monitored and regulated as it unfolds over time. Roughly speaking, someone’s attention is guided if she would feel pulled back, were she distracted from her current focus. Because our wandering thoughts drift unchecked from topic to topic, they are unguided. One motivation (...) for my theory is what I call the “Puzzle of the Purposeful Wanderer”. On the one hand, mind-wandering seems essentially purposeless; almost by definition, it contrasts with goal-directed cognition. On the other hand, empirical evidence suggests that our minds frequently wander to our goals. My solution to the puzzle is this: mind-wandering is purposeless in one way—it is unguided—but purposeful in another—it is frequently caused, and thus motivated, by our goals. Another motivation for my theory is to distinguish mind-wandering from two antithetical forms of cognition: absorption and rumination. Surprisingly, previous theories cannot capture these distinctions. I can: on my view, absorption and rumination are guided, whereas mind-wandering is not. My paper has four parts. Section 1 spells out the puzzle. Sections 2 and 3 explicate two extant views of mind-wandering—the first held by most cognitive scientists, the second by Thomas Metzinger. Section 4 uses the limitations of these theories to motivate my own: mind-wandering is unguided attention. (shrink)

What is it like to dream? On an orthodox view, dreams involve misleading sensations and false beliefs. I argue, on philosophical, psychological, and neurophysiological grounds, that orthodoxy about dreaming should be rejected in favor of an imagination model of dreaming. I am thus in partial agreement with Colin McGinn, who has argued that we do not have misleading sensory experiences while dreaming, and partially in agreement with Ernest Sosa, who has argued that we do not form false beliefs while dreaming. (...) Rather, on my view, dreams involve mental imagery and propositional imagination. I defend the imagination model of dreaming from objections. (shrink)

“The longer you work, the more the mystery deepens of what appearance is, or how what is called appearance can be made in another medium."—Francis Bacon, painter This, in a nutshell, is the central problem in the theory of art. It has fascinated philosophers from Plato to Wittgenstein. And it fascinates artists and art historians, who have always drawn extensively on philosophical ideas about language and representation, and on ideas about vision and the visible world that have deep philosophical roots. (...) John Hyman’s _The Objective Eye_ is a radical treatment of this problem, deeply informed by the history of philosophy and science, but entirely fresh. The questions tackled here are fundamental ones: Is our experience of color an illusion? How does the metaphysical status of colors differ from that of shapes? What is the difference between a picture and a written text? Why are some pictures said to be more realistic than others? Is it because they are especially truthful or, on the contrary, because they deceive the eye? _The Objective Eye_ explores the fundamental concepts we use constantly in our most innocent thoughts and conversations about art, as well as in the most sophisticated art theory. The book progresses from pure philosophy to applied philosophy and ranges from the metaphysics of color to Renaissance perspective, from anatomy in ancient Greece to impressionism in nineteenth-century France. Philosophers, art historians, and students of the arts will find _The Objective Eye_ challenging and absorbing. (shrink)

Please send me an email ([email protected]) if you wish to receive a copy of the book. — 'In this highly ambitious, wide ranging, immensely impressive and ground-breaking work Fabian Dorsch surveys just about every account of the imagination that has ever been proposed. He identifies five central types of imagining that any unifying theory must accommodate and sets himself the task of determining whether any theory of what imagining consists in covers these five paradigms. Focussing on what he takes to (...) be the three main theories, and giving them each equal consideration, he faults the first two and embraces the third, which argues that imagining is a special form of mental agency. The scholarship is immaculate, the writing crystal clear and the argumentation always powerful.' (Malcolm Budd). (shrink)

Definite descriptions, I shall argue, have two possible functions. 1] They are used to refer to what a speaker wishes to talk about, but they are also used quite differently. Moreover, a definite description occurring in one and the same sentence may, on different occasions of its use, function in either way. The failure to deal with this duality of function obscures the genuine referring use of definite descriptions. The best known theories of definite descriptions, those of Russell and Strawson, (...) I shall suggest, are both guilty of this. Before discussing this distinction in use, I will mention some features of these theories to which it is especially relevant. (shrink)

First published in 1972. Routledge is an imprint of Taylor & Francis, an informa company.

First published in 1972. Routledge is an imprint of Taylor & Francis, an informa company.

Philosophical perplexity about intention begins with its appearance in three guises: intention for the future, as when I intend to complete this entry by the end of the month; the intention with which someone acts, as I am typing with the further intention of writing an introductory sentence; and intentional action, as in the fact that I am typing these words intentionally. As Elizabeth Anscombe wrote in a similar context, ‘it is implausible to say that the word is equivocal as (...) it occurs in these different cases’ and from the fact that ‘we are tempted to speak of “different senses” of a word which is clearly not equivocal, we may infer that we are pretty much in the dark about the character of the concept which it represents’ (Anscombe 1963, p. 1). (shrink)

If imagination is subject to the will, in the sense that people choose the content of their own imaginings, how is it that one nevertheless can learn from what one imagines? This chapter argues for a way forward in addressing this perennial puzzle, both with respect to propositional imagination and sensory imagination. Making progress requires looking carefully at the interplay between one’s intentions and various kinds of constraints that may be operative in the generation of imaginings. Lessons are drawn from (...) the existing literature on propositional imagination and from the control theory literature concerning the prediction and comparison mechanisms (or “forward models”) involved in ordinary perception. A more general conclusion is reached that, once we have the tools to understand how some imaginings are both under willful control and helpfully guide action and inference, we will have what we need to understand the cognitive basis of imagination in general. (shrink)

This paper investigates a capacity I call actuality-oriented imagining, by which we use sensory imagination in a way that's directed at representing the actual world. I argue that this kind of imagining is distinct from other, similar mental states in virtue of its distinctive content determination and success conditions. Actuality-oriented imagining is thus a distinctive cognitive capacity in its own right. Thinking about this capacity reveals that we should resist an intuitive tendency to think of the imagination’s primary function or (...) default mode as representing the non-actual or the fictional. Instead, the imagination is a cognitive faculty that often puts us in touch with the way things are in reality. (shrink)

Not all imaginings are successful; sometimes when an imaginer sets out to imagine some target, her imagining involves some kind of mistake. The error can be diagnosed in two ways: the imaginer imagines her target in a way that mischaracterizes it, or the imaginer fails to imagine her target at all and rather imagines something else that is similar in some ways to that target. In ordinary day-to-day imaginings, explanations of type seem most natural, but in discussions of philosophical imaginings, (...) philosophers tend to adopt explanations of type. This paper argues against this tendency. (shrink)