Imaginative resistance refers to a phenomenon in which people resist engaging in particular prompted imaginative activities. On one influential diagnosis of imaginative resistance, the systematic difficulties are due to these particular propositions’ discordance with real-world norms. This essay argues that this influential diagnosis is too simple. While imagination is indeed by default constrained by real-world norms during narrative engagement, it can be freed with the power of genre conventions and expectations.

Where is imagination in imaginative resistance? We seek to answer this question by connecting two ongoing lines of inquiry in different subfields of philosophy. In philosophy of mind, philosophers have been trying to understand imaginative attitudes’ place in cognitive architecture. In aesthetics, philosophers have been trying to understand the phenomenon of imaginative resistance. By connecting these two lines of inquiry, we hope to find mutual illumination of an attitude (or cluster of attitudes) and a phenomenon that have vexed philosophers. Our (...) strategy is to reorient the imaginative resistance literature from the perspective of cognitive architecture. Whereas existing taxonomies of positions in the imaginative resistance literature have focused on disagreements over the source and scope of the phenomenon, our taxonomy focuses on the psychological components necessary for explaining imaginative resistance. (shrink)

Imaginative resistance refers to a phenomenon in which people resist engaging in particular prompted imaginative activities. Philosophers have primarily theorized about this phenomenon from the armchair. In this paper, we demonstrate the utility of empirical methods for investigating imaginative resistance. We present two studies that help to establish the psychological reality of imaginative resistance, and to uncover one factor that is significant for explaining this phenomenon but low in psychological salience: genre. Furthermore, our studies have the methodological upshot of showing (...) how empirical tools can complement the predominant armchair approach to philosophical aesthetics. (shrink)

It seems undeniable that we have many items of modal knowledge. Tradition has it that conceivability is the evidence for possibility that gets us to this modal knowledge. But "conceive" cannot mean think, understand, entertain, suppose, or find believable, because none of these are suited to serve as evidence for possibility, and if it is none of these, it is mysterious what conceivability is, and why it is evidence for possibility. I argue that sensory imagination is the most promising candidate (...) for a source of modal evidence. A theory of imaginative content is developed in Chapter One, one which allows what seems undeniable: that we do imagine the impossible. This raises a challenge to explain why, in the face of our ability to imagine the impossible, we should accept imagination as modal evidence. The predominant response, developed by Saul Kripke, limits the scope of imagination to preserve the link between imagination and what is possible. In Chapter Two I argue that the Kripkean theory is best thought of as an error theory: when we take ourselves to imagine, e.g., water without H2O, or Mark Twain and Sam Clemens in a fistfight, we are mistaken. I articulate and defend an alternative modal epistemology, one that exploits the crucial difference between assigned and basic content of imagining. The evidential value of some imaginings is undermined by independent considerations about the connection between assigned content and ignorance. Instances in which we imagine the impossible are all cases where these independent considerations give us reason to doubt the imagining's value as modal evidence. The conclusions about assigned content are applied in Chapter Three to the first-person imaginings thought to be crucial in philosophy of mind: the imaginability of zombies, and the imaginability of being a disembodied soul. It is argued that such imaginings offer no evidence favoring dualism over materialism. Finally, alternatives to imagination as the source for modal evidence are discussed in Chapter Four. I explore both direct intuition and a priori-based accounts, and conclude that neither offers a genuine alternative to the imagination. (shrink)