The paper is a response to recent criticisms of agatheism, a new pluralistic interpretation of religious belief put forward by Janusz Salamon with the aim of accommodating the epistemological challenge of religious diversity. Agatheism is an axiologically grounded religious belief which identifies God, the Absolute or the ultimate reality religiously conceived with the ultimate good as the ultimate end of all human agency and thus an explanation of its irreducibly teleological character and a source of its meaning. Janusz Salamon argues (...) that this grounding of religious belief in the human axiological consciousness makes it immune to falsification by any future science. Replying to the concerns of the critics about about irrationality of doxastic commitment to a particular religious tradition, Janusz Salamon argues that to the extent the fundamental agatheistic religious belief is presupposed in such tradition as its doxastic core, its belief system - if internally coherent and aligned with a worldview that is consistent with undisputed scientific findings - may be considered rational, despite there being a plurality of such belief systems. (shrink)

What is the epistemic function of imagination? Traditionally, philosophers have claimed that the epistemic function of imagination is exhausted by its ability to provide justification for modal beliefs, or that it is epistemically irrelevant. However, in recent years a number of philosophers have broken with the tradition by arguing that imagination can generate justification or knowledge about contingent empirical facts. This paper argues against this view by developing a new dilemma. The upshot of the argument is that (...) although imagination does have an important epistemic function that has evaded the traditional view, it cannot give rise to new empirical justification or knowledge. (shrink)

​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)

Safe-by-Design (SBD) frameworks for the development of emerging technologies have become an ever more popular means by which scholars argue that transformative emerging technologies can safely incorporate human values. One such popular SBD methodology is called Value Sensitive Design (VSD). A central tenet of this design methodology is to investigate stakeholder values and design those values into technologies during early stage research and development (R&D). To accomplish this, the VSD framework mandates that designers consult the philosophical and ethical literature to (...) best determine how to weigh moral trade-offs. However, the VSD framework also concedes the universalism of moral values, particularly the values of freedom, autonomy, equality trust and privacy justice. This paper argues that the VSD methodology, particularly applied to nano-bio-info-cogno (NBIC) technologies, has an insufficient grounding for the determination of moral values. As such, an exploration of the value-investigations of VSD are deconstructed to illustrate both its strengths and weaknesses. This paper also provides possible modalities for the strengthening of the VSD methodology, particularly through the application of moral imagination and how moral imagination exceed the boundaries of moral intuitions in the development of novel technologies. (shrink)

Imaginative immersion refers to a phenomenon in which one loses oneself in make-believe. Susanna Schellenberg says that the best explanation of imaginative immersion involves a radical revision to cognitive architecture. Instead of there being an attitude of belief and a distinct attitude of imagination, there should only be one attitude that represents a continuum between belief and imagination. -/- We argue otherwise. Although imaginative immersion is a crucial data point for theorizing about the imagination, positing a continuum (...) between belief and imagination is neither necessary nor sufficient for explaining the phenomenon. In addition, arguing against Schellenberg’s account reveals important but underappreciated lessons for theorizing about the imagination and for interpreting boxological representations of the mind. (shrink)

I provide a novel, non-reductive, action-first skill-based account of active imagining. I call it the Skillful Action Account of Imagining (the skillful action account for short). According to this account, to actively imagine something is to form a representation of that thing, where the agent’s forming that representation and selecting its content together constitute a means to the completion of some imaginative project. Completing imaginative projects stands to the active formation of the relevant representations as an end. The account thus (...) bakes in the means-end order that some in action theory take to be definitional of intentional action. Moreover, in the spirit of this conception of intentional action, I hold that a central feature of the means-end order exhibited in active imagining is the agent’s direct non-observational knowledge both of her act of imagining and of its having this order. The agent knows that she’s actively imagining (that-)p and knows why she actively imagines this–to carry on the pretense, engage in the fiction, predict another’s behavior, reason about possibility or necessity, reason about contingent matters of fact, just imagine for its own sake, and so on. I show that the account accounts for the possibility of misimagining while holding onto the idea that we imagine what we intend to imagine. I likewise show that the account unifies imagining across types of imaginative project like those just listed in a way that tolerates conflict in the roles that imagining plays in the mental economy across those projects. Finally, I show that the account can accommodate passive imagining like involuntary and automatic imagining as well as mind wandering. -/- Acknowledgments: I'd like to thank Amy Kind, Robert Brandom, Colin Allen, Peter Langland-Hassan, Alison Springle, Daniel Munro, Nick Wiltsher, and Andrew Rubner for excellent comments on earlier drafts from which this paper greatly benefited. I'd also like to thank two anonymous reviewers for extremely helpful comments. And I'd like to thank participants of the 2022 Simulationism Conference hosted by the Centre for Philosophy of Memory and the 4th Annual Conference [Online/Virtual] for Imagination Domination (COVID) hosted by Amy Kind for excellent feedback on earlier versions of the paper. (shrink)

Imaginative representations are crucial to the generation of action--both pretense and plain action. But well-known theories of imagination on offer in the literature [1] fail to describe how perceptually-formatted imaginings (mental images) and motor imaginings function in the generation of action and [2] fail to recognize the important fact that spatially rich imagining can be integrated into one's perceptual manifold. In this paper, I present a theory of imagining that shows how spatially rich imagining functions in the generation of (...) action. I also describe the imaginative structures behind two under-explored forms of action: semi-pretense and pretense layering. In addition, I suggest that my theory of imagining meshes better than the competitors with current work in cognitive and affective neuroscience. (shrink)

Is imagination a source of knowledge? Timothy Williamson has recently argued that our imaginative capacities can yield knowledge of a variety of matters, spanning from everyday practical matters to logic and set theory. Furthermore, imagination for Williamson plays a similar epistemic role in cognitive processes that we would traditionally classify as either a priori or a posteriori, which he takes to indicate that the distinction itself is shallow and epistemologically fruitless. In this chapter, I aim to defend the (...) a priori-a posteriori distinction from Williamson’s challenge by questioning his account of imagination. I distinguish two notions of imagination at play in Williamson’s account – sensory vs. belief-like imagination – and show that both face empirical and normative issues. Sensory imagination seems neither necessary nor sufficient for knowledge. Whereas, belief-like imagination isn’t adequately disentangled from inference. Additionally, Williamson’s examples are ad hoc and don’t generalize. I conclude that Williamson’s case against the a priori-a posteriori distinction is unconvincing, and so is the thesis that imagination is an epistemic source. (shrink)

This paper puts forward an account of imaginative immersion. Elaborating on Kendall Walton’s thesis that imagining aims at the fictional truth, it first argues that imaginings are inherently rule- or norm-governed: they are ‘regulated’ by that which is presented as fictionally true. It then shows that an imaginer can follow the rule or norm mandating her to imagine the propositions presented as fictional truths either by acquiring explicit beliefs about how the rule (norm) is to be followed, or directly, without (...) acquiring such beliefs. It proceeds to argue that to the extent that an imaginer follows this rule (norm) without holding such beliefs, she is more immersed in her imaginings. The general idea is that immersion in an activity is a matter of following rules or norms that apply to that activity without explicitly thinking about how to follow them, that is, without ‘doxastic mediation.’ Lastly, the paper shows that this thesis can explain various features associated with imaginative immersion, such as the sort of attentiveness it involves, the emotional response it generates, and its relation to spoilers. (shrink)

This article will consider imagination in mathematics from a historical point of view, noting the key moments in its conception during the ancient, modern and contemporary eras.

This volume presents ten new essays on the nature of perceptual imagination and perceptual memory, framed by an introductory overview of these topics. How do perceptual imagination and memory resemble and differ from each other and from other kinds of sensory experience? And what role does each play in perception and in the acquisition of knowledge? These are the two central questions that the contributors seek to address.

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)

Using path-breaking discoveries of cognitive science, Mark Johnson argues that humans are fundamentally imaginative moral animals, challenging the view that morality is simply a system of universal laws dictated by reason. According to the Western moral tradition, we make ethical decisions by applying universal laws to concrete situations. But Johnson shows how research in cognitive science undermines this view and reveals that imagination has an essential role in ethical deliberation. Expanding his innovative studies of human reason in Metaphors We (...) Live By and The Body in the Mind, Johnson provides the tools for more practical, realistic, and constructive moral reflection. (shrink)

Imagination contributes to human agency in ways that haven't been well understood. I argue here that pathways from imagistic imagining to emotional engagement support three important agential capacities: 1. bodily preparedness for potential events in one's nearby environment; 2. evaluation of potential future action; and 3. empathy-based moral appraisal. Importantly, however, the kind of pathway in question (I-C-E-C: imagining-categorization-emotion-conceptualization) also enables engagement with fiction. So human enchantment with fiction is a consequence of imaginative pathways that make us the kind (...) of agents we are. Finally, I use this approach to address imaginative resistance and the paradox of fiction. [The version archived here is a penultimate draft. Please email me at [email protected] to receive a pdf of the final in accordance with fair use.]. (shrink)

We study imagination as reality-oriented mental simulation (ROMS): the activity of simulating nonactual scenarios in one’s mind, to investigate what would happen if they were realized. Three connected questions concerning ROMS are: What is the logic, if there is one, of such an activity? How can we gain new knowledge via it? What is voluntary in it and what is not? We address them by building a list of core features of imagination as ROMS, drawing on research in (...) cognitive psychology and the philosophy of mind. We then provide a logic of imagination as ROMS which models such features, combining techniques from epistemic logic, action logic, and subject matter semantics. Our logic comprises a modal propositional language with non-monotonic imagination operators, a formal semantics, and an axiomatization. (shrink)

This essay argues that there are theoretical benefits to keeping distinct—more pervasively than the literature has done so far—the psychological states of imagining that p versus believing that in-the-story p, when it comes to cognition of fiction and other forms of narrative. Positing both in the minds of a story’s audience helps explain the full range of reactions characteristic of story consumption. This distinction also has interesting conceptual and explanatory dimensions that haven’t been carefully observed, and the two mental state (...) types make distinct contributions to generating emotional responses to stories. Finally, the differences between the mental states illuminate how a given story can be both shared with others and at the same time experienced as personal. (shrink)

The principal aim of my thesis is to provide a unified theory of imagining, that is, a theory which aspires to capture the common nature of all central forms of imagining and to distinguish them from all paradigm instances of non-imaginative phenomena. The theory which I intend to put forward is a version of what I call the Agency Account of imagining and, accordingly, treats imaginings as mental actions of a certain kind. More precisely, it maintains that imaginings are mental (...) actions that aim at the formation of episodic representations, the content of which is directly determined by what we want them to represent. My defence of this version of the Agency Account happens in two stages. On the one hand, I try to show that it is both extensionally adequate and explanatorily illuminating with respect to those mental states or projects which are clear instances of either imaginative or non- imaginative phenomena. And on the other hand, I seek to demonstrate that the most plausible alternative to the Agency Account - namely the Cognitive Account according to which it is distinctive of imaginings that they are non-cognitive phenomena and thus to be contrasted with perceptions, judgements, and so on - is bound to fail as a unified theory of imagining. The dissertation contains five main parts. In the first, I specify in more detail what a unified account of imagining has to achieve and, in particular, which phenomena it is supposed to capture. The second part presents the Cognitive Account, thereby focussing on Brian O'Shaughnessy's sophisticated version of it while the third part is reserved for the evaluation and rejection of the Cognitive Account. In the fourth part, I develop my version of the Agency Account of imagining. And the fifth and last part is concerned with the accommodation of potential counterexamples to it. (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.

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.

Some objects we value because they afford a felt connection with people, events, or places connected with their past. Visiting Canterbury cathedral, you encounter the place where, in 1170, Archbishop Thomas Becket was murdered by four knights of Henry II. Knowing that you are standing in the very place where Becket’s blood was spilled gives the past event a sense of tangible reality. One feels ‘in touch with’ the past; history seems to ‘come alive’. In this paper, I propose an (...) explanation for the phenomenology of such experiences in terms of an imaginative activity that represents what an object is historically connected with as part of the object in the present. One imagines of the site of Becket’s murder Becket being murdered. According to my account, objects that embody their histories are representations in Kendall Walton’s sense: they have the function of serving as props in games of make-believe. (shrink)

The verb 'imagine' admits of perspectival modification: we can imagine things from above, from a distant point of view, or from the point of view of a Russian. But in such cases, there need be no person, either real or imagined, who is above or distant from what is imagined, or who has the point of view of a Russian. We call this the puzzle of perspectival displacement. This paper sets out the puzzle, shows how it does not just concern (...) language, but also states of imagining themselves, and then presents a solution. The solution draws on the idea that many reports of imagining conceal a distinctive kind of question, and such concealed questions have an extra argument place for (what we will call) an experiencer from whose perspective things are imagined. This solution has a range of advantages over other proposals in the literature, and helps to advance two debates concerning perspectival engagement with fiction. (shrink)

The point of this paper is to reveal a dogma in the ordinary conception of sensory imagination, and to suggest another way forward. The dogma springs from two main sources: a too close comparison of mental imagery to perceptual experience, and a too strong division between mental imagery and the traditional propositional attitudes (such as belief and desire). The result is an unworkable conception of the correctness conditions of sensory imaginings—one lacking any link between the conditions under which an (...) imagining aids human action and inference and the conditions under which it is veridical. The proposed solution is, first, to posit a variety of imaginative attitudes—akin to the traditional propositional attitudes—which have different associated correctness (or satisfaction) conditions. The second part of the solution is to allow for imaginings with “hybrid” contents, in the sense that both mental images and representations with language-like constituent structure contribute to the content of imaginings. (shrink)

I develop a psychological account for how it is that we use imagination to metaphysically modalize, i.e., to reach conclusions about metaphysical modality. Specifically, I argue that Nichols and Stich’s (2003) cognitive theory of imagination can be extended to metaphysical modalizing. I then use the extension to explicate philosophical disagreements about whether a scenario is metaphysically possible. Thereafter, I address Nichols’ (2006) objection that psychologizing imagination makes it clear that imagination is unreliable when used to metaphysically (...) modalize. The end result is a naturalistic account for how imagination enables us to metaphysically modalize. (shrink)

According to the Ability Hypothesis, knowing what it is like to have experience E is just having the ability to imagine or recognize or remember having experience E. I examine various versions of the Ability Hypothesis and point out that they all face serious objections. Then I propose a new version that is not vulnerable to these objections: knowing what it is like to experience E is having the ability to discriminate imagining or having experience E from imagining or having (...) any other experience. I argue that if we replace the ability to imagine or recognize with the ability to discriminate, the Ability Hypothesis can be salvaged. (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)

Imagination comes with varying degrees of sensory accompaniment. Sometimes imagining is phenomenologically lean (cognitive imagining); at other times, imagining involves or requires sensory presentation such as mental imagery (sensory imagining). Philosophers debate whether contradictions can obtain in fiction and whether cognitive imagining is robust enough to explain our engagement with fiction. In this paper, I defend the Principle of Poetic License by arguing for the Permissive View of fictional truth: we can have fictions in which a contradiction is true, (...) everything is true, or nothing is true. I show that imagination-based worries about impossible, unlimited, and empty fictions can be shown to be about sensory imagination and that sensory imagination isn’t necessary for fictional truth. (shrink)

In this paper I return to the question of whether intuition is object-dependent. Kant’s account of the imagination appears to suggest that intuition is not object-dependent. On a recent proposal, however, the imagination is a faculty of merely inner intuition, the inner objects of which exist and are present in the way demanded by object-dependence views, such as Lucy Allais’s relational account. I argue against this proposal on both textual and philosophical grounds. It is inconsistent with what Kant (...) says about how the imagination functions and is ultimately incompatible with the relational account it is supposed to support. Kant’s account of the imagination remains a serious obstacle for the view that intuition is object-dependent. (shrink)

David Lewis has argued that “having an experience is the best way or perhaps the only way, of coming to know what that experience is like”; when an experience is of a sufficiently new sort, mere science lessons are not enough. Developing this Lewisian line, L.A. Paul has suggested that some experiences are epistemically transformative. Until an individual has such an experience it remains epistemically inaccessible to her. No amount of stories and theories and testimony from others can teach her (...) what it is like to have it, nor is she able to achieve this knowledge by way of imaginative projection. It’s this last claim that is the focus of this paper. In particular, I explore the case for the claim that some experiences are in principle imaginatively inaccessible to someone who has not undergone the experience itself or one relevantly similar. As I will suggest, this case is not as strong as is often thought. Close attention to the mechanisms of imagination, and in particular, to cases of skilled imaginers, suggests how techniques of imaginative scaffolding can sometimes be used to give us epistemic access to experiences we have not had, even ones that are radically different from any that we have had before. As a result, considerably fewer experiences remain imaginatively out of reach than proponents of transformative experience would have us believe. Experience may well be the best teacher, but this paper aims to show that imagination comes in a close second. (shrink)

I argue for the existence of imaginative beliefs: mental states that are imaginative in format and doxastic in attitude. I advance two arguments for this thesis. First, there are imaginings that play the functional roles of belief. Second, there are imaginings that play the epistemic roles of belief. These arguments supply both descriptive and normative grounds for positing imaginative beliefs. I also argue that this view fares better than alternatives that posit distinct imaginative and doxastic states to account for the (...) same phenomena. Along the way, I demonstrate the theoretical significance of imaginative beliefs by showing how they pose a challenge for standard taxonomies of the mind, clarify the sense in which imagination is occurrent and voluntary, explain the justificatory role of the imagination, and point to a deep but underappreciated symmetry between imagistic and non-imagistic thought. (shrink)

An influential objection to the epistemic power of the imagination holds that it is uninformative. You cannot get more out of the imagination than you put into it, and therefore learning from the imagination is impossible. This paper argues, against this view, that the imagination is robustly informative. Moreover, it defends a novel account of how the imagination informs, according to which the imagination is informative in virtue of its analog representational format. The core (...) idea is that analog representations represent relations ‘for free,’ and this explains how the imagination can contain more information than is put into it. This account makes important contributions to both philosophy of mind, by showing how the imagination can generate new content that is not represented by a subject’s antecedent mental states, and epistemology, by showing how the imagination can generate new justification that is not conferred by a subject’s antecedent evidence. (shrink)

The (dis)continuism debate in the philosophy and cognitive science of memory concerns whether remembering is continuous with episodic future thought and episodic counterfactual thought in being a form of constructive imagining. I argue that settling that dispute will hinge on whether the memory traces (or “engrams”) that support remembering impose arational, perception-like constraints that are too strong for remembering to constitute a kind of constructive imagining. In exploring that question, I articulate two conceptions of memory traces—the replay theory and the (...) prop theory—that return conflicting answers to whether remembering is constructive imagining. The prop theory’s vision of traces is suggestive of continuism, while the replay theory’s is a natural fit for discontinuism. Which view of traces is in fact correct remains undetermined by current empirical work. Nevertheless, it may already be possible to reach a compromise in the (dis)continuism debate, through the development of a conciliatory continuist causal theory. This view—only outlined here—accepts the continuism-friendly prop theory of traces, while still requiring that genuine remembering fulfills an appropriate causation condition, as required by the kinds of causal theories of remembering typically favored by discontinuists. (shrink)

We experience resistance when we are engaging with fictional works which present certain (for example, morally objectionable) claims. But in virtue of what properties do sentences trigger this ‘imaginative resistance’? I argue that while most accounts of imaginative resistance have looked for semantic properties in virtue of which sentences trigger it, this is unlikely to give us a coherent account, because imaginative resistance is a pragmatic phenomenon. It works in a way very similar to Paul Grice's widely analysed ‘conversational implicature’.

Actors, undercover investigators, and readers of fiction sometimes report “losing themselves” in the characters they imitate or read about. They speak of “taking on” or “assuming” the beliefs, thoughts, and feelings of someone else. I offer an account of this strange but familiar phenomenon—what I call imaginative transportation.

Reflecting on our engagement with fiction has compelled some theorists to expand the domain of the mental. They have posited a novel conative state, so-called “i-desire”. The central thesis of this approach is that i-desire relates to imagination in the same way as desire relates to belief. We formulate principles which are plausible consequences of this thesis. We then put pressure on these principles by focusing on desire concepts such as hoping, and show that the imaginative analogues of these (...) concepts—if such there be—do not satisfy the principles. We conclude by considering what our result suggests about the relationship between i-desire and propositional attitude psychology. (shrink)

A popular view has it that the mental representations underlying human pretense are not beliefs, but are “belief-like” in important ways. This view typically posits a distinctive cognitive attitude (a “DCA”) called “imagination” that is taken toward the propositions entertained during pretense, along with correspondingly distinct elements of cognitive architecture. This paper argues that the characteristics of pretense motivating such views of imagination can be explained without positing a DCA, or other cognitive architectural features beyond those regulating normal (...) belief and desire. On the present “Single Attitude” account of imagination, propositional imagining just is a form of believing. The Single Attitude account is also distinguished from “metarepresentational” accounts of pretense, which hold that both pretending and recognizing pretense in others require one to have concepts of mental states. It is argued, to the contrary, that pretending and recognizing pretense require neither a DCA nor possession of mental state concepts. (shrink)

A standard view in the epistemology of imagination is that imaginings can either provide justification for modal beliefs about what is possible (and perhaps counterfactual conditionals too), or no justification at all. However, in a couple of recent articles, Kind (2016; Forthcoming) argues that imaginings can justify empirical belief about what the world actually is like. In this article, I respond to her argument, showing that imagination doesn't provide the right sort of information to justify empirical belief. Nevertheless, (...) it can help us take advantage of justification that we already have, thereby enabling us to form new doxastically justified beliefs. More specifically, according to the view I advocate, imagination can contribute to one's satisfaction of the proper basing condition – which turns propositional justification into doxastic justification – but without conferring any new justification that the subject isn't already in possession of upon their beliefs. Very little attention has been devoted to the distinction between propositional and doxastic justification in the literature on imagination, and the view I here argue for takes up a yet-to-be occupied position. (shrink)

Traditionally, philosophers have been skeptical that the imagination can justify beliefs about the actual world. After all, how could merely imagining something give you any reason to believe that it is true? However, within the past decade or so, a lively debate has emerged over whether the imagination can justify empirical belief and, if so, how. This paper provides a critical overview of the recent literature on the epistemology of imagination and points to avenues for future research.

What kind of mental state is episodic memory? I defend the claim that it is, in key part, imagining the past, where the imagining in question is experiential imagining. To remember a past episode is to experientially imagine how things were, in a way controlled by one’s past experience of that episode. Call this the Inclusion View. I motive this view by appeal both to patterns of compatibilities and incompatibilities between various states, and to phenomenology. The bulk of the paper (...) defends the account against four objections. Imagining and remembering seem to differ in whether they are active or passive, in the forms of singular content they involve, in their relations to observation and in their relations to belief. I argue that these differences can be accommodated, and some even explained, once we flesh out what else is involved in episodic memory, in addition to imagining the past. (shrink)

How are we to understand the phenomenology of imagining? Attempts to answer this question often invoke descriptors concerning the “vivacity” or “vividness” of our imaginative states. Not only are particular imaginings often phenomenologically compared and contrasted with other imaginings on grounds of how vivid they are, but such imaginings are also often compared and contrasted with perceptions and memories on similar grounds. Yet however natural it may be to use “vividness” and cognate terms in discussions of imagination, it does (...) not take much reflection to see that these terms are ill understood. In this paper, I review both some relevant empirical literature as well as the philosophical literature attempt to get a handle on what it could mean, in an imaginative context, to talk of vividness. As I suggest, this notion ultimately proves to be so problematic as to be philosophically untenable. (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)

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)

Our ordinary conception of imagination takes it to be essentially a conscious phenomenon, and traditionally that’s how it had been treated in the philosophical literature. In fact, this claim had often been taken to be so obvious as not to need any argumentative support. But lately in the philosophical literature on imagination we see increasing support for the view that imagining need not occur consciously. In this paper, I examine the case for unconscious imagination. I’ll consider four (...) different arguments that we can find in the recent literature—three of which are based on cases and one that is based on considerations relating to action guidance. To my mind, none of these arguments is successful. I conclude that the case for postulating unconscious imagining has not yet been well motivated. (shrink)

According to sentimental perceptualism, affect grounds evaluative or normative knowledge in a similar way to the way perception grounds much of descriptive knowledge. In this paper, we present a novel challenge to sentimental perceptualism. At the centre of the challenge is the assumption that if affect is to ground knowledge in the same way as perception does, it should have a function to accurately represent evaluative properties, and if it has that function, it should also have it in its future-directed (...) imaginative use. As the data on affective forecasting errors indicates, however, the affect system does not have that function. As a result, it is doubtful if affect can do the kind of knowledge-grounding work that sentimental perceptualism assumes it does. (shrink)

The aim of this article is to present the disagreement between Moran and Walton on the nature of our affective responses to fiction and to defend a view on the issue which is opposed to Moran’s account and improves on Walton’s. Moran takes imagination-based affective responses to be instances of genuine emotion and treats them as episodes with an emotional attitude towards their contents. I argue against the existence of such attitudes, and that the affective element of such responses (...) should rather be taken to be part of what is imagined. In this respect, I follow Walton; and I also agree with the latter that our affective responses to fiction are, as a consequence, not instances of real emotion. However, this gives rise to the challenge to be more specific about the nature of our responses and explain how they can still involve a phenomenologically salient affective element, given that propositionally imagining that one feels a certain emotion is ruled out because it may be done in a dispassionate way. The answer —already suggested, but not properly spelled out by Walton— is that affectively responding to some fictional element consists in imaginatively re-presenting an experience of emotional feeling towards it. The central thought is that the conscious and imaginative representation of the affective character of an instance of genuine emotion itself involves the respective phenomenologically salient affective element, despite not instantiating it. (shrink)

There is a tendency to take mounted dinosaur skeletons at face value, as the raw data on which the science of paleontology is founded. But the truth is that mounted dinosaur skeletons are substantially intention-dependent—they are artifacts. More importantly, I argue, they are also substantially imagination-dependent: their production is substantially causally reliant on preparators’ creative imaginations, and their proper reception is predicated on audiences’ recreative imaginations. My main goal here is to show that dinosaur skeletal mounts are plausible candidates (...) for art-status. But, what is more, I think they are artworks—specifically, sculptures. (shrink)

We often have affective responses to fictional events. We feel afraid for Desdemona when Othello approaches her in a murderous rage. We feel disgust toward Iago for orchestrating this tragic event. What mental architecture could explain these affective responses? In this paper I consider the claim that the best explanation of our affective responses to fiction involves imaginative desires. Some theorists argue that accounts that do not invoke imaginative desires imply that consumers of fiction have irrational desires. I argue that (...) there are serious worries about imaginative desires that warrant skepticism about the adequacy of the account. Moreover, it is quite difficult to articulate general principles of rationality for desires, and even according to the most plausible of these possible principles, desires about fiction are not irrational. (shrink)

Traditionally, philosophers have appealed to the phenomenological similarity between visual experience and visual imagery to support the hypothesis that there is significant overlap between the perceptual and imaginative domains. The current evidence, however, is inconclusive: while evidence from transcranial brain stimulation seems to support this conclusion, neurophysiological evidence from brain lesion studies (e.g., from patients with brain lesions resulting in a loss of mental imagery but not a corresponding loss of perception and vice versa) indicates that there are functional and (...) anatomical dissociations between mental imagery and perception. Assuming that the mental imagery and perception do not overlap, at least, to the extent traditionally assumed, then the question arises as to what exactly mental imagery is and whether it parallels perception by proceeding via several functionally distinct mechanisms. In this review, we argue that even though there may not be a shared mechanism underlying vision for perception and conscious imagery, there is an overlap between the mechanisms underlying vision for action and unconscious visual imagery. On the basis of these findings, we propose a modification of Kosslyn’s model of imagery that accommodates unconscious imagination and explore possible explanations of the quasi-pictorial phenomenology of conscious visual imagery in light of the fact that its underlying neural substrates and mechanisms typically are distinct from those of visual experience. (shrink)

It is widely believed, among philosophers of literature, that imagining contradictions is as easy as telling or reading a story with contradictory content. Italo Calvino’s The Nonexistent Knight, for instance, concerns a knight who performs many brave deeds, but who does not exist. Anything at all, they argue, can be true in a story, including contradictions and other impossibilia. While most will readily concede that we cannot objectually imagine contradictions, they nevertheless insist that we can propositionally imagine them, and regularly (...) do, simply by entertaining a text which prompts us to do so. I argue that this narrative does not bear scrutiny for two main reasons. First, because propositional imagining is beside the point, where truth in fiction is concerned; evaluating truth in fiction engages the cognitive architecture in ways that prohibit the mobilization of merely propositional imagination to that end. And second, because it is not obvious, given the strategies usually suggested, that we ever propositionally imagine contradictions in the first place—in fact, it seems we go out of our way to avoid directly imagining them. (shrink)