Imagination is necessary for scientific practice, yet there are no in vivo sociological studies on the ways that imagination is taught, thought of, or evaluated by scientists. This article begins to remedy this by presenting the results of a qualitative study performed on two systems biology laboratories. I found that the more advanced a participant was in their scientific career, the more they valued imagination. Further, positive attitudes toward imagination were primarily due to the (...) perceived role of imagination in problem-solving. But not all problem-solving episodes involved clear appeals to imagination, only maximally specific problems did. This pattern is explained by the presence of an implicit norm governing imagination use in the two labs: only use imagination on maximally specific problems, and only when all other available methods have failed. This norm was confirmed by the participants, and I argue that it has epistemological reasons in its favour. I also found that its strength varies inversely with career stage, such that more advanced scientists do (and should) occasionally bring their imaginations to bear on more general problems. A story about scientific pedagogy explains the trend away from (and back to) imagination over the course of a scientific career. Finally, some positive recommendations are given for a more imagination-friendly scientific pedagogy. (shrink)

Theoretical models are widely held as sources of knowledge of reality. Imagination is vital to their development and to the generation of plausible hypotheses about reality. But how can imagination, which is typically held to be completely free, effectively instruct us about reality? In this paper I argue that the key to answering this question is in constrained uses of imagination. More specifically, I identify make-believe as the right notion of imagination at work in modelling. I (...) propose the first overarching taxonomy of types of constraints on scientific imagination that enables knowledge of reality. And I identify two main kinds of knowledge enabled by models, knowledge of the imaginary scenario specified by models and knowledge of reality. (shrink)

Modeling is central to scientific inquiry. It also depends heavily upon the imagination. In modeling, scientists seem to turn their attention away from the complexity of the real world to imagine a realm of perfect spheres, frictionless planes and perfect rational agents. Modeling poses many questions. What are models? How do they relate to the real world? Recently, a number of philosophers have addressed these questions by focusing on the role of the imagination in modeling. Some have (...) also drawn parallels between models and fiction. This chapter examines these approaches to scientific modeling and considers the challenges they face. (shrink)

Models as Make-Believe offers a new approach to scientific modelling by looking to an unlikely source of inspiration: the dolls and toy trucks of children's games of make-believe.

Historically left to the margins, the topics of imagination and creativity have gained prominence in philosophy of science, challenging the once dominant distinction between ‘context of discovery’ and ‘context of justification’. The aim of this chapter is to explore imagination and creativity starting from issues within contemporary philosophy of science, making connections to these topics in other domains along the way. It discusses the recent literature on the role of imagination in models and thought experiments, and their (...) comparison with fictions. It then turns to the importance of constraints on imaginings in the scientific domain, as well as whether constraints can hinder creativity. The second part of the paper focuses on the social dimensions of science. It considers imagination and creativity of scientific communities, asks whether the institution of science promotes creativity (and whether we want it to) or if it encourages conservativeness, and ends with a reflection on the politics of imagination and creativity in science. (shrink)

Just before the Scientific Revolution, there was a "Mathematical Revolution", heavily based on geometrical and machine diagrams. The "faculty of imagination" (now called scientific visualization) was developed to allow 3D understanding of planetary motion, human anatomy and the workings of machines. 1543 saw the publication of the heavily geometrical work of Copernicus and Vesalius, as well as the first Italian translation of Euclid.

When philosophers discuss the possibility of machines making scientific discoveries, they typically focus on discoveries in physics, biology, chemistry and mathematics. Observing the rapid increase of computer-use in science, however, it becomes natural to ask whether there are any scientific domains out of reach for machine discovery. For example, could machines also make discoveries in qualitative social science? Is there something about humans that makes us uniquely suited to studying humans? Is there something about machines that would bar (...) them from such activity? A close look at the methodology of interpretive social science reveals several abilities necessary to make a social scientific discovery, and one capacity necessary to possess any of them is imagination. For machines to make discoveries in social science, therefore, they must possess imagination algorithms. (shrink)

Metaphors allow us to come to terms with abstract and complex information, by comparing it to something which is structured, familiar and concrete. Although modern science is “iconoclastic”, as Gaston Bachelard phrases it, scientists are at the same time prolific producers of metaphoric images themselves. Synthetic biology is an outstanding example of a technoscientific discourse replete with metaphors, including textual metaphors such as the “Morse code” of life, the “barcode” of life and the “book” of life. This paper focuses on (...) a different type of metaphor, however, namely on the archetypal metaphor of the mandala as a symbol of restored unity and wholeness. Notably, mandala images emerge in textual materials related to one of the new “frontiers” of contemporary technoscience, namely the building of a synthetic cell: a laboratory artefact that functions like a cell and is even able to replicate itself. The mandala symbol suggests that, after living systems have been successfully reduced to the elementary building blocks and barcodes of life, the time has now come to put these fragments together again. We can only claim to understand life, synthetic cell experts argue, if we are able to technically reproduce a fully functioning cell. This holistic turn towards the cell as a meaningful whole also requires convergence at the “subject pole”: the building of a synthetic cell as a practice of the self, representing a turn towards integration, of multiple perspectives and various forms of expertise. (shrink)

One of the greatest achievements of modern physics is the discovery of spacetime by Hermann Minkowski. Still, talking about the ”discovery” of spacetime cannot be done without further questioning its ontological status. Did Minkowski discover a real physical substrate? What is the creative role of his scientific imagination in the process of discovery? To what extent the explanatory power of spacetime supports the conclusion that it is a true description of the physical world? I consider those questions in (...) that paper, and I claim that for Minkowski’s discovery of spacetime, imagination and explanation work together in a fictionalist strategy. I explain why there is no reason to doubt the veracity of the discovery of spacetime and its physical reality. (shrink)

I distinguish among a range of distinct representational devices, which I call "frames", all of which have the function of providing a perspective on a subject: an overarching intuitive principle or for noticing, explaining, and responding to it. Starting with Max Black's metaphor of metaphor as etched lines on smoked glass, I explain what makes frames in general powerful cognitive tools. I distinguish metaphor from some of its close cousins, especially telling details, just-so stories, and analogies, in ordinary cognition and (...) communication. And I use these distinctions to illustrate different sorts of gaps that frames or models can open up between representation and reality. (shrink)

This paper presents an artifactual approach to models that also addresses their fictional features. It discusses first the imaginary accounts of models and fiction that set model descriptions apart from imagined-objects, concentrating on the latter :251–268, 2010; Frigg and Nguyen in The Monist 99:225–242, 2016; Godfrey-Smith in Biol Philos 21:725–740, 2006; Philos Stud 143:101–116, 2009). While the imaginary approaches accommodate surrogative reasoning as an important characteristic of scientific modeling, they simultaneously raise difficult questions concerning how the imagined entities are (...) related to actual representational tools, and coordinated among different scientists, and with real-world phenomena. The artifactual account focuses, in contrast, on the culturally established external representational tools that enable, embody, and extend scientific imagination and reasoning. While there are commonalities between models and fictions, it is argued that the focus should be on the fictional uses of models rather than considering models as fictions. (shrink)

يناقش الكتاب دور النماذج الفكرية والمادية في اكتساب وتشكيل كافة أنماط المعارف الإنسانية، بداية من المعرفة العادية التي يسعى بها عامة الناس إلى فهم ما يدور حولهم من أمور الحياة، ومرورًا بالمعارف الفلسفية والدينية والفنية التي تحكم توجهات الإنسان العقلانية والوجدانية، ووصولاً إلى المعرفة العلمية الرامية إلى فهم ظواهر الكون وترويضها وفقًا لقوانين حاكمة. ويطرح الكتاب فرضًا أساسيًا مؤداه أن ما يتلفظ به العلماء من كلمات مثل «الفرض» و«القانون» و«النظرية» ما هي إلا أسماء مترادفة لشيء واحد يصب في خانة «النموذج»، (...) وإذا كان ثمة فرق بين ما نعنيه بهذه الكلمات، فهو في الحقيقة فرقٌ في الدرجة لا في النوع، أو هو فرق بين نموذج أولي في مرحلة الفرض، وبين ذات النموذج في مرحلة القانون أو النظرية، وعلى هذا فمن الأجدر بنا ألا نتحدث عن فرض أو قانون أو نظرية، وإنما عن «نموذج علمي» يمر بمراحل متعددة حتى يتم تأكيده وقبوله، وهو في الوقت ذاته عُرضة لأن يحل محله نموذج آخر إذا اتسعت دائرة البحث لتشمل وقائع أخرى لا يحتويها النموذج أو يعجز عن تفسيرها. (shrink)

What role does the imagination play in scientific progress? After examining several studies in cognitive science, I argue that one thing the imagination does is help to increase scientific understanding, which is itself indispensable for scientific progress. Then, I sketch a transcendental justification of the role of imagination in this process.

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)

This paper surveys historical and recent philosophical discussions of the relations between imagination and creativity. In the first two sections, it covers two insufficiently studied analyses of the creative imagination, that of Kant and Sartre, respectively. The next section discusses imagination and its role in scientific discovery, with particular emphasis on the writings of Michael Polanyi, and on thought experiments and experimental design. The final section offers a brief discussion of some very recent work done on (...) conceptual relations between imagination and creativity. (shrink)

Many philosophers have drawn parallels between scientific models and fictions. In this paper I will be concerned with a recent version of the analogy, which compares models to the imagined characters of fictional literature. Though versions of the position differ, the shared idea is that modeling essentially involves imagining concrete systems analogously to the way that we imagine characters and events in response to works of fiction. Advocates of this view argue that imagining concrete systems plays an ineliminable role (...) in the practice of modeling that cannot be captured by other accounts. The approach thus leaves open what we should say about the ontological status of model-systems, and here advocates differ among themselves, defending a variety of realist or anti-realist positions. I argue that this debate over the ontological status of model-systems is misguided. If model-systems are the kinds of objects fictional realists posit, they can play no role in explaining the epistemology of modeling for an advocate of this approach. So they are at best superfluous. Defenders of the approach should focus on developing an account of the epistemological role of imagining model-systems. (shrink)

The term ‘imagination’ may seem harmless. We talk about imagination all the time. Nonetheless, I will argue that we should treat it with suspicion. More precisely, I will argue that the explanatory power of the concept of imagination can be fully captured by a scientifically more respectable and more powerful concept, namely, the concept of mental imagery.

Neurath’s scientific utopianism is the proposal that the social sciences should engage in the elaboration, development, and comparison of counterfactual scenarios, the ‘utopias’. Such scenarios can be understood as centerpieces of scientific thought experiments, that is, in exercises of imagination that not only promote conceptual revision, but also stimulate creativity to deal with experienced problems, as utopias are efforts to imagine what the future could look like. Moreover, utopian thought experiments can offer scientific knowledge to inform (...) political debates and decisions, contributing to the shaping of society. This essay reconstructs a historical event as an example of Neurath’s utopianist methodology. In the late 1970s and early 1980s, a scientific and political commission appointed by the Western German Parliament devised and compared four scenarios for future energetic-economic policies. Conclusions of the commission informed political decisions that put Western (later reunified) Germany in a route towards becoming a green industrial power. A fundamental part of the commission’s work involved an appeal to imagination, allowing for the characterization under Neurath’s methodology. (shrink)

Sometimes we learn through the use of imagination. The epistemology of imagination asks how this is possible. One barrier to progress on this question has been a lack of agreement on how to characterize imagination; for example, is imagination a mental state, ability, character trait, or cognitive process? This paper argues that we should characterize imagination as a cognitive ability, exercises of which are cognitive processes. Following dual process theories of cognition developed in cognitive science, (...) the set of imaginative processes is then divided into two kinds: one that is unconscious, uncontrolled, and effortless, and another that is conscious, controlled, and effortful. This paper outlines the different epistemological strengths and weaknesses of the two kinds of imaginative process, and argues that a dual process model of imagination helpfully resolves or clarifies issues in the epistemology of imagination and the closely related epistemology of thought experiments. (shrink)

Artificial intelligence (AI) and machine learning (ML) models have undoubtedly become useful tools in science. In general, scientists and ML developers are optimistic – perhaps rightfully so – about the potential that these models have in facilitating scientific progress. The philosophy of AI literature carries a different mood. The attention of philosophers remains on potential epistemological issues that stem from the so-called “black box” features of ML models. For instance, Eamon Duede (2023) argues that opacity in deep learning models (...) (DLMs) is epistemically problematic in the context of justification, though not in the context of discovery. -/- In this paper, I aim to show that a similar epistemological concern is echoed in the epistemology of imagination literature. It is traditionally held that, given its black box features, reliance on the imagination is epistemically problematic in the context of justification, though not in the context of discovery. The constraints-based approach to the imagination answers the epistemological concern by providing an account of how we can rely on the imagination in the context of justification by way of constraints. I argue by analogy that a similar approach can be applied to the opaque DLM case. Ultimately, my goal is to explore just how far this analogy extends, and whether a constraints-based approach to opaque DLMs can answer the epistemological concern surrounding their black box features in the context of justification. -/- (Note that this paper is IN PROGRESS and UNPUBLISHED). (shrink)

The highly enjoyable experiences associated with drinking good wines have been widely misunderstood. It is common to regard wine appreciation as an analytical or quasi-scientific kind of activity, in which wine experts carefully distinguish the precise sensory qualities of each wine, and then pass on their accumulated factual knowledge to less experienced wine enthusiasts. However, this model of wine appreciation is seriously defective. One good way to show its defects is to provide a better and more fundamental scientific (...) account of what is involved in wine appreciation. In order to do so, I outline a novel, evolutionarily based theory of perceptual consciousness that explains why there must be imaginative as well as analytical kinds of experiences of wines. In addition, imaginative wine experiences, unlike typical imaginative artistic experiences, may be shown to involve highly individualistic, improvisatory elements that help to give wine drinking a unique place among the recreational arts. (shrink)

What has fiction to do with science? At first glance, the two activities seem to have entirely different aims and products. Science aims at truth, while fiction can deviate wildly from it. Science produces theories, which we are asked to believe. Fiction produces stories, which we are asked to imagine. Given these differences, associating science and fiction might seem like a serious mistake, or even a threat to science. And yet many authors have tried to understand science by looking to (...) fiction. This article will consider three strands of thought on the topic: Hans Vaihinger’s classic work on fictions; fictionalist views, especially van Fraassen’s constructive empiricism; and recent work on models and fiction. As we will see, none of these strands pose a threat to science. Instead, each tries to understand the nature of scientific knowledge by drawing on fiction in different ways, and for different theoretical purposes. (shrink)

Interest in imagination dates back to Plato and Aristotle, but full-length works have been devoted to it only relatively recently by Sartre, McKellar, Furlong, Casey, Johnson, Warnock, Brann, and others. Despite their length and variety, however, these current theories take overly narrow views of this complex phenomenon. Their definitions of “imagination” neglect the multiplicity of its meanings and tend to focus narrowly on the power of imaging alone. But imagination in the fullest, most encompassing sense centers instead (...) on creativity, which involves both imaging and reasoning powers. Current accounts of the operations of imagination narrowly construe it in fixed, immutable terms. But it’s instead a dynamic, evolving synergy of its psychological roots and sociobiological roots. This synergy has transformed the roles of images and symbols in imagination. For example, in the shift from mytheopic to scientific imagination, literacy and formal education fostered abstract symbolic thinking, which differs from mytheopic thinking based on richly concrete associations. The result was “more than cool reason”, but experimental studies show that it’s also more than just dreamy imagery. It’s a dynamic synergy of the two that has transformed both. Current evaluations of imagination’s potentials are also narrow. They tend to focus on its role in mental life while ignoring social and political life. Also, they tend to follow romantic and existentialist customs of extolling imagination’s virtues without soberly critiquing its limitations. Again, they ignore the synergy of psychological, sociological and biological forces that shape mental and social evolution, and promote and constrain imagination in complex ways. For example, Sartre surreally asks us to choose our own nature with an imagination emancipated from institutional and instinctual strictures. Yet making intelligible choices depends on these strictures. In conclusion, current theories define imagination narrowly in terms of imaging, they describe its operations in fixed and immutable terms, and they evaluate its potentials without examining the full interplay of forces shaping it. These shortcomings are remedied by a broader perspective that defines imagination more adequately and comprehensively, and that recognizes it’s complex roots, dynamic operations, and evolving potentials. This paper is based on my 1994 work, The Roots of Imagination, which can be downloaded in full here in PhilPapers. (shrink)

A key dispute in environmental aesthetics concerns the role of scientific knowledge in our aesthetic appreciation of the natural environment. In this article, I will explore this debate by focusing on the aesthetic experience of forests. I intend to question reductive forms of the scientific approach and support the role of imagination and stories in nature appreciation.

Gaston Bachelard occupies a unique position in the history of European thinking. As a philosopher of science, he developed a profound interest in genres of the imagination, notably poetry and novels. While emphatically acknowledging the strength, precision and reliability of scientific knowledge compared to every-day experience, he saw literary phantasies as important supplementary sources of insight. Although he significantly influenced authors such as Lacan, Althusser, Foucault and others, while some of his key concepts are still widely used, his (...) oeuvre tends to be overlooked. And yet, as I will argue, Bachelard’s extended series of books opens up an intriguing perspective on contemporary science. First, I will point to a remarkable duality that runs through Bachelard’s oeuvre. His philosophy of science consists of two sub-oeuvres: a psychoanalysis of technoscience, complemented by a poetics of elementary imagination. I will point out how these two branches deal with complementary themes: technoscientific artefacts and literary fictions, two realms of human experience separated by an epistemological rupture. Whereas Bachelard’s work initially entails a panegyric in praise of scientific practice, he becomes increasingly intrigued by the imaginary and its basic images, such as the Mother Earth archetype. (shrink)

The main purpose of this dissertation is to examine critically and discuss the role of imagination in science and religion, with particular emphasis on its possible epistemic, creative, and meaning-making functions. In order to answer my research questions, I apply theories and concepts from contemporary philosophy of mind on scientific and religious practices. This framework allows me to explore the mental state of imagination, not as an isolated phenomenon but, rather, as one of many mental states that (...) co-exist and interplay in our cogntive architecture. Based on the philosophical discourse of philosophy of mind, four types of imagination are indentified and conceptualized: sensory, propositional, experiential, and creative imagination. These categories are then employed on five phenomena that can be found in scientific and religious environments: metaphors, models, thought experiments, aspect perception, and - in the religious case - rituals. In relation to the concept of religious "seeing" I consider how imaginings may influence visionary experiences and visualization, and compare these phenomena with cases of scientific visualization and eureka experiences. In regard to scientific and religious models, a distinction is made between, on the one hand, two notions of truth and, on the other hand, truth-independent meaning-making. In light of these categories, I differentiate between, and critically discuss, the use of imagination in doxastic, non-doxastic and fictionalist accounts. In light of this investigation, I formulate and defend the position of interactivism, which acknowledges a constant interplay between different attitudes and mental states. In my examination of rituals and scientific and religious thought experiments, special attention is given to the mental capacity to recreate the experiences that are entailed in an imagined scenario. At the end of the investigation, I consider the possible impact that my study might have on how we view science and religion as well as the dialogue bewteen these two fields. (shrink)

Science and fiction seem to lie at opposite ends of the cognitive-epistemic spectrum. The former is typically seen as the study of hard, real-world facts in a rigorous manner. The latter is treated as an instrument of play and recreation, dealing in figments of the imagination. Initial appearances notwithstanding, several central features of scientific modeling in fact suggest a close connection with the imagination and recent philosophers have developed detailed accounts of models that treat them, in one (...) way or another, as akin to fictions. This chapter will critically discuss the fictions approach as an epistemology of scientific modeling. (shrink)

Husserl’s extensive analyses of image consciousness (Bildbewusstsein) and of the imagination (Phantasie) offer insightful and detailed structural explications. However, despite this careful work, Husserl’s discussions fail to overcome the need to rely on a most problematic concept: mental images. The epistemological conundrums triggered by the conceptual framework of mental images are well known—we have only to remember the questions regarding knowledge acquisition that plagued British empiricism. Beyond these problems, however, a plethora of important questions arise from claiming that mental (...) images are structural moments of imaging and imagining. Any attempt to clarify the structure and conditions for the possibility of aesthetic experience must first provide an unambiguous account of pictorial depiction—a task unattainable through the mental images discourse. Similarly, exposing the import of the imagination for theoretical scientific inquiries (be they positive or eidetic) requires an initial explication of the structure of this consciousness; this explication, however, must address our ability to imagine non-spatially determined objects—something the conceptual framework of mental images utterly fails to accomplish. In this paper I argue against Husserl’s reliance on mental images in his phenomenological analyses of imaging and imagining and propose an alternative structural account for both. This account is free of this reliance and able to steer clear of its insidious implications for epistemology, aesthetics, and methodological reflections. By closely following the development of Husserl’s account I suggest alternative descriptions while building on Husserl’s important work. (shrink)

Through discussing scientific whaling, the paper brings the necessity of retrieving natural philosophy. The paper’s arguments favor an expanded vision of human encounter with nature, through the lens of natural philosophy, with a priority focus of expanding our imaginations to embrace the vast natural world. -/- There is no doubt that both the philosophy and science, two of the three significant areas of cultural and intellectual engagement (the other one is religion), have gone through changes over time. It is (...) also conspicuous that the modern natural science marginalized and suppressed specific concerns which were previously an indefeasible part of natural philosophy. -/- Bringing both historical and critical discussion of natural philosophy, the paper explores prospective retrieval of natural philosophy in contemporary modern science. Emphasizing the significance of natural philosophy’s imperatives both in the intellectual and field application of modern science, the paper reiterates commentary of Nicholas Maxwell, who advocates to correct three loopholes (Maxwell 2017): change the nature of social inquiry; opt aim-oriented rationality methods; and generalize the progress achieving methods of science. (shrink)

We examine that both science and religion were original products of the human imagination. However, the approaches taken to develop these two explanations of life, were entirely different. The precepts of evolution are well established through the scientific method. This approach has led to the accumulation of immense amounts of evidence for biological evolution, and much scientific progress has been made to understand the pathways taken for the appearance of organisms and their macromolecular constituents. The existence of (...) spiritual beings has not and presumably cannot be documented via a scientific approach, no more than a fairy tale or a myth. However, science, education and knowledge coupled to proper actions are exactly what are needed to make the correct decisions so as to preserve and improve our common, shared biosphere which is currently confronted with two immense problems: human population growth and climate change. (shrink)

Computational systems biologists create and manipulate computational models of biological systems, but they do not always have straightforward epistemic access to the content and behavioural profile of such models because of their length, coding idiosyncrasies, and formal complexity. This creates difficulties both for modellers in their research groups and for their bioscience collaborators who rely on these models. In this paper we introduce a new kind of visualization that was developed to address just this sort of epistemic opacity. The visualization (...) is unusual in that it depicts the dynamics and structure of a computer model instead of that model’s target system, and because it is generated algorithmically. Using considerations from epistemology and aesthetics, we explore how this new kind of visualization increases scientific understanding of the content and function of computer models in systems biology to reduce epistemic opacity. (shrink)

Philosophy has long either dismissed or paid only minimal attention to creativity, and even with the rise of research on imagination, the creative imagination has largely been ignored as well. The aim of this volume is to correct this neglect. By bringing together existing research in various sub-disciplines, we also aim to open up new avenues of research. The chapters in Part I provide some framing and history on the philosophical study of imagination and creativity, along with (...) an overview of the empirical literature. Part II explores imagination and creativity as they manifest in, and in turn shape, the individual. Part III surveys the role of imagination and creativity across a wide variety of artistic domains, and the chapters of Part IV turn to societal domains. Part V focuses on the interplay of imagination and creativity with regard to particular features of creative subjects and different kinds of creative subjects. *** -/- Part I: Theories and Approaches 1. Theories of Imagination (Peter Kung) 2. Theories of Creativity (Julia Langkau) 3. Historical Treatments of Imagination in the Western Tradition (Lucia Oliveri) 4. Historical Treatments of Creativity in the Western Tradition (Elliot Paul) 5. Non-Western Treatments of Imagination (Reza Hadisi and Jing Iris Hu) 6. Non-Western Treatments of Creativity (Nicolas B. Verger and Vlad Glăveanu) 7. Empirical Treatments of Imagination and Creativity (Dustin Stokes) 8. Experimental Philosophy of Imagination and Creativity (Michael T. Stuart) 9. The Relationship between Imagination and Creativity (Margherita Arcangeli) -/- Part II: Imagination and Creativity in Mind and Action 10. Imagination, Creativity, and Skill (Amy Kind) 11. Imagination, Creativity, and Attention (Bence Nanay) 12. Imagination, Creativity, and Agency (Caterina Moruzzi) 13. Imagination, Creativity, and Emotion (Julien Deonna and Fabrice Teroni) 14. Imagination, Creativity, and Embodiment (Adriana Clavel-Vázquez and María Jimena Clavel Vázquez) 15. Imagination, Creativity, and Gender (Luke Roelofs) 16. Imagination, Creativity, and Race (Nicholas Whittaker) 17. Imagination, Creativity, and Child Development (Thalia Goldstein, Anna Sofia Caruso, Darian Stapleton, and Lamin Fatty) -/- Part III: Imagination and Creativity in the Arts 18. Imagination, Creativity, and the Visual Arts (Claire Anscomb) 19. Imagination, Creativity, and Music (Matteo Ravasio) 20. Imagination, Creativity, and Fiction (Hannah H. Kim) 21. Imagination, Creativity, and Dance (David Davies and Anna Pakes) 22. Imagination, Creativity, and the Culinary Arts (Patrik Engisch) 23. Imagination, Creativity, and Film (Murray Smith) 24. Imagination, Creativity, and Acting (Tzachi Zamir) 25. Imagination, creativity, and fashion (Laura T. Di Summa) -/- Part IV: Imagination and Creativity in Society 26. Imagination and Creativity in the Scientific Realm (Alice Murphy) 27. Imagination and Creativity in the Moral Realm (Tim Mulgan) 28. Imagination and Creativity in the Political Realm (Avshalom Schwartz) 29. Imagination and Creativity in the Law (Maksymilian Del Mar) 30. Imagination and Creativity in the Religious Realm (Neil Van Leeuwen) 31. Imagination and Creativity in Business (Eric Peterson) 32. Imagination and Creativity in Times of Crisis (Jennifer Fraser and Noah Stemeroff) Part V: Emerging Issues in Imagination and Creativity Research 33. Imagination, Creativity, and Aphantasia (Andrea Blomkvist) 34. Imagination, Creativity, and Neurodivergence (Sofia Ortiz-Hinojosa) 35. Imagination, Creativity, and Non-Human Animals (Henry Shevlin) 36. Imagination, Creativity, and Artificial Intelligence (Peter Langland-Hassan) 37. Collective Imagination and Collective Creativity (Nick Wiltsher) . (shrink)

Individual realism asserts that our best scientific theories are (approximately) true. In contrast, selective realism asserts that only the stable posits of our best scientific theories are true. Hence, individual realism recommends that we accept more of what our best scientific theories say about the world than selective realism does. The more scientists believe what their theories say about the world, the more they are motivated to exercise their imaginations and think up new theories and experiments. Therefore, (...) individual realism better fosters scientific creativity than selective realism. (shrink)

We analyse Peirce's original idea concerning abduction from the perspective of a critical philosophy, the same philosophy in Peirce's background. Peirce's realism is directly related to reason and experience and has ties with the idea of abstraction. We show how the philosophical environment of science abruptly changed, specially for physics, in the last period of the XIX century and the initial period of the XX century, when science was divided in disciplines and set free from the control of philosophy. The (...) phenotype of the physicist changed from abstract into imaginative thinker. Further, abstraction was linked to metaphysics and attacked as such. Elements of phantasy and dogmatism entered the scene in place of abstraction alongside ideas taken from the observable world. We provide evidence that the scientists of the newer kind had problems understanding those of the older school. As a consequence of the problems arisen in conciliating the idea of science grounded in experience and reason with the science actually practised, the former conceptualisation was abandoned. Abduction was then expelled from science. In the late part of the XX century and the early part of our century abduction re-emerged but without its scientific attributes. -/- Influenced by a constructivist, Piagetian, perspective of science, we propose and discuss a small number of conditions that we identify as characteristics of rational abduction: rules for the rational construction of theories. We show how a classical example of belief that satisfies today's most common definition of abduction does not match the standards of scientific retroduction. We further show how the same rules indicate the detachment of Special Relativity from the observable world, a fact actually known to Einstein. Finally, the same rules indicate the initial point in the path to re-conciliate Electromagnetism with the classical view of spatial relations, a matter not possible for the imaginative scientist but not extremely difficult for the abstract scientist. We close arguing that there is an urgent need to develop a critical epistemology, and to give room in science for the abstract scientist. (shrink)

Declaring a cosmopolitan right to scientific progress risks perpetuating many of the inequities it aims to overcome. This calls for a re-imagination of science that directly responds to science’s links to violent nationalist projects and the harms of capitalism.

Is there a role for aesthetic judgements in science? One aspect of scientific practice, the use of thought experiments, has a clear aesthetic dimension. Thought experiments are creatively produced artefacts that are designed to engage the imagination. Comparisons have been made between scientific (and philosophical) thought experiments and other aesthetically appreciated objects. In particular, thought experiments are said to share qualities with literary fiction as they invite us to imagine a fictional scenario and often have a narrative (...) form (Elgin 2014). But philosophical discussions of aesthetics in science have focused mainly on the epistemic role of beauty and elegance when it comes to theories and mathematical proofs, and thought experiments have been widely overlooked. My aim in this chapter is to address how the aesthetic choices scientists make in the design of a thought experiment contribute to its function: to communicate, convince, or explain a theory or phenomenon. A key issue is whether any aesthetic features in science provide anything beyond catching our attention, or are at best, a mere heuristic aid. I respond to accounts that argue this way and show how formulation is important in scientific thought experiments and, similarly to literary fictions, there is more than one way of interpreting a thought experiment scenario. I end by considering which literary examples are most appropriate when making comparisons with thought experiments. As a result, the difference between representations in art and science raised in current discussions is not as stark as it has been made out to be, and science is a more heterogeneous practice than has been allowed. Part of the value of thought experiments in scientific practice includes the qualities they share with literary works. (shrink)

Working from within the Lakatosian framework of scientific change, this paper seeks to gain a deeper understanding of the Jesuits’ role in the scientific revolution during the years of Galileo’s trials and the subsequent century. Their received research program was Aristotelian cosmology. Their efforts to construct protective belts to shield the core principles were fueled not only by the basic instinct to conserve but also by the impact of official prohibitions from the side of Church authorities. The paper (...) illustrates how these Church restrictions were not as paralyzing for Jesuit intellectuals as has often been thought. They left considerable space for maneuvering. The paper shows how, within this space, Jesuits were engaged mainly in the indispensable task of exhausting all the potential of Aristotelian cosmology. They did this primarily by trying to build intellectual bridges to ensure coherence between three realms of the cosmological imagination of the time: the received Aristotelian view, the new empirical data, and the realm of everyday experience. (shrink)

Kant argues in the Critique of Judgment (CJ) that there are two distinct modes of the sublime. This essay will concentrate on the mathematical mode. It is helpful to begin an examination of the mathematical sublime by elucidating the difference between logical estimation and aesthetic estimation; it is aesthetic estimation under strain, so Kant argues, that instigates the moment of the sublime. Logical estimation forms the cognitive basis of scientific calculations. He argues that scientific enquiry only requires an (...) understanding of the logical relationship of numbers and so does not require an aesthetic experience of those numbers. (shrink)

This paper analyses the technoscientific objective of building a synthetic cell from a Jungian perspective. After decades of fragmentation and specialisation, the synthetic cell symbolises a turn towards restored wholeness, both at the object pole and at the subject pole. From a Jungian perspective, it is no coincidence that visual representations of synthetic cells often reflect an archetypal, mandala-like structure. As a symbol of restored unity, the synthetic cell mandala compensates for technoscientific fragmentation via active imagination, providing a visual (...) aid for the technoscientific turn towards reintegration. Although the biotechnological desire to reconstruct life in vitro has been compared to alchemy before, a Jungian analysis allows us to make this comparison more specific and precise. The problem of archetypal images, however, is that alluring prospects of reintegration may underestimate and obfuscate the deficiencies and tensions at work in the current situation. As a projection of a future wholeness, it fosters optimism, but may also function as a misleading façade, covering up collisions and complexities. This can be averted by the conscious employment of the mandala as a symbolic scaffold fostering processes of individuation and working through. (shrink)

As soon as you believe an imagination to be nonfictional, this imagination becomes your ontological theory of the reality. Your ontological theory (of the reality) can describe a system as the reality. However, actually this system is only a theory/conceptual-space/imagination/visual-imagery of yours, not the actual reality (i.e., the thing-in-itself). An ontological theory (of the reality) actually only describes your (subjective/mental) imagination/visual-imagery/conceptual-space. An ontological theory of the reality, is being described as a situation model (SM). There is (...) no way to prove/disprove that there is only one reality, or there are two realities (i.e., “subjective reality” and “objective reality”). So, every ontology talk/theory/imagination about the two realities is only a talk/theory/imagination – we will never know whether it is true or not. The conventionally-called “physical/objective reality/world” around my conventionally-called “physical/objective body” is actually a geometric mathematical model (being generated/mathematically-modeled by my brain) – it's actually a subset/component/part/element of my brain’s mind/consciousness/manifest-image. Our cosmos is an autonomous objective parallel computing automaton (aka state machine) which evolves by itself automatically/unintentionally – wave-particle duality and Heisenberg’s uncertainty principle can be explained under this SM of my brain. Each elementary particle (as a building block of our cosmos) is an autonomous mathematical entity itself (i.e., a thing in itself). Our cosmos has the same nature as a Game of Life system – both are autonomous objective parallel-computing automata. Cosmos (as a state machine) is indistinguishable from a digital simulation – my consciousness (as something nonphysical) is not cosmos (as a state machine). If we are happy to accept randomness/stochasticity, then it is obviously possible that all other worlds in the many-worlds interpretation (MWI) actually do not exist (objectively). As one metaphysical option, we can treat all other worlds as subjective only (even if they are actually objective). Under the context of this metaphysical option, we are only living in one world (i.e., the world we are currently living in; this world) – we are not living in many worlds at the same time parallelly. Under the context of this metaphysical option, there is only one possible future. The relationship among any number of elementary particles, is governed/described by Schrodinger equation. If (in theory) Schrodinger equation can’t be used to reliably forecast whether I will go to McDonald for dinner in this world (based on the current state of all elementary particles of the cosmos), then what can Schrodinger equation do? The conventionally-called “space” does not exist objectively. “Time” and “matter” are not physical. Consciousness is the subjective-form (aka quale) of the mathematical models (of the objective cosmos) which are intracorporeally/subjectively used by the control logic of a Turing machine’s program fatedly. A Turing machine’s mind/consciousness/manifest-image or deliberate decisions/choices should not be able to actually/objectively change/control/drive the (autonomous or fated) worldline of any elementary particle within this world (i.e., the world we are currently living in, under the context of MWI). Besides the Schrodinger equation (or another mathematical equation/function which is yet to be discovered) which is a valid/correct/factual causality of our cosmos/state-machine, every other causality (of our cosmos/state-machine) is either invalid/incorrect/counterfactual or can be proved by deductive inference based on the Schrodinger equation (or the aforementioned yet-to-be-discovered mathematical equation/function) only. Closed causality entails no causality. Consciousness plays no causal role (“epiphenomenalism”), or in other words, any cognitive/behavioural activity can in principle be carried out without consciousness (“conscious inessentialism”). If the “loop quantum gravity” theory is correct, then time/space does not actually/objectively exist in the objective-evolution of the objective cosmos, or in other words, we should not use the subjective/mental concept of “time”, “state” or “space” to describe/imagine the objective-evolution of our cosmos. (shrink)

Anti-cognitivism is best understood as a challenge to explain how works of fictional narrative can add to our worldly knowledge. One way to respond to this challenge is to argue that works of fictional narrative add to our knowledge by inviting us to explore, in the imagination, the perspectives or points of view of others. In the present paper, I distinguish two readings of this thesis that reflect two very different conceptions of “perspective”: a first understanding focuses on what (...) the world looks like from a subjective point of view. Within this framework, we can distinguish approaches that focus on the subjective character of experience from others that explore the nature of subjectivity. I will argue that both strands can be successful only if they acknowledge the de se character of imagining. The second conception understands perspective as a method of representing. To illustrate it, I will look back to the invention of linear perspective in Renaissance painting. I will argue that the definition of perspective as a rule-guided method or technique can shed new light on the thesis that works of narrative fiction are particularly suited to display other perspectives. (shrink)

Upholders of fictionalism about scientific models have not yet successfully explained how scientists can learn about the real world by making comparisons between models and the real phenomena they stand for. In this paper I develop an account of model-world comparisons in terms of what I take to be the best antirealist analyses of comparative claims that emerge from the current debate on fiction.

This paper continues the defense of a version of scientific realism, Tautological Scientific Realism, that rests on the claim that, excluding some areas of fundamental physics about which doubts are entirely justified, many areas of contemporary science cannot be coherently imagined to be false other than via postulation of radically skeptical scenarios, which are not relevant to the realism debate in philosophy of science. In this paper we discuss, specifically, the threats of meaning change and reference failure associated (...) with the Kuhnian tradition, which depend on a descriptivist approach to meaning, and we argue that descriptivism is not the right account of the meaning and reference of theoretical terms. We suggest that an account along the lines of the causal-historical theory of reference provides a more faithful picture of how terms for unobservable theoretical entities and properties come to refer; we argue that this picture works particularly well for TSR. In the last section we discuss how our account raises concerns specifically for perspectival forms of scientific realism. (shrink)

Imagine a world where everyone is healthy, intelligent, long living and happy. Intuitively this seems wonderful, albeit unrealistic. However, recent scientific developments in genetic engineering, namely CRISPR/Cas bring the question into public discourse, how the genetic enhancement of humans should be evaluated morally.

Recent philosophy of science has seen a number of attempts to understand scientific models by looking to theories of fiction. In previous work, I have offered an account of models that draws on Kendall Walton’s ‘make-believe’ theory of art. According to this account, models function as ‘props’ in games of make-believe, like children’s dolls or toy trucks. In this paper, I assess the make-believe view through an empirical study of molecular models. I suggest that the view gains support when (...) we look at the way that these models are used and the attitude that users take towards them. Users’ interaction with molecular models suggests that they do imagine the models to be molecules, in much the same way that children imagine a doll to be a baby. Furthermore, I argue, users of molecular models imagine themselves viewing and manipulating molecules, just as children playing with a doll might imagine themselves looking at a baby or feeding it. Recognising this ‘participation’ in modelling, I suggest, points towards a new account of how models are used to learn about the world, and helps us to understand the value that scientists sometimes place on three-dimensional, physical models over other forms of representation. (shrink)

In this essay it is shown that the imaginative art of scientific theorizing – at its technical best – animates Quine's philosophy as importantly as the more Spartan norms honored in his present pantheon of virtues. By drawing a contrast between the standing of theories in philosophy and theories in science, it will be shown that the speculative reaches of philosophy, along with developments in semantic theory, now oblige an internal revision of Quine's stance against meaning as it was (...) announced in “Two Dogmas of Empiricism.” So, corollary to this proposed revision, I argue that in natural philosophy, the muse of the “art of science” deserves an address along with the more Spartan norms in Quine's present philosophical pantheon. As semantic theory and analyticity thus gain a measure of philosophical tenability, Quine's holism emerges as the more central doctrine of his mature vision. (shrink)

Global climate change has been characterised as the crisis of reason (Val Plumwood), imagination (Amitav Ghosh) and language (Elizabeth Rush), to mention some. The ‘everything change’, as Margaret Atwood calls it, arguably also impacts on how we aesthetically perceive, interpret and appreciate nature. This article looks at philosophical theories of nature appreciation against global environmental change. The article examines how human-induced global climate change affects the ‘scientific’ approaches to nature appreciation which base aesthetic judgment on scientific knowledge (...) and the competing ‘non-scientific’ approaches which emphasise the role of emotions, imagination and stories in the aesthetic understanding of environment. The author claims that both approaches are threatened by global climate change and cannot continue as usual. In particular, he explores aesthetic imagination in contemporary times when our visions about environment are thoroughly coloured by worry and uncertainty and there seems to be little room for awe and wonder, which have traditionally characterised the aesthetic experience of nature. Finally, he proposes that art could stimulate environmental imagining in this age of uncertainty. (shrink)