Human beings have the ability to ‘augment’ reality by superimposing mental imagery on the visually perceived scene. For example, when deciding how to arrange furniture in a new home, one might project the image of an armchair into an empty corner or the image of a painting onto a wall. The experience of noticing a constellation in the sky at night is also perceptual-imaginative amalgam: it involves both seeing the stars in the constellation and imagining the lines that (...) connect them at the same time. I here refer to such hybrid experiences – involving both a bottom-up, externally generated component and a top-down, internally generated component – as make-perceive (Briscoe 2008, 2011). My discussion in this paper has two parts. In the first part, I show that make-perceive enables human beings to solve certain problems and pursue certain projects more effectively than bottom-up perceiving or top-down visualization alone. To this end, the skillful use of projected mental imagery is surveyed in a variety of contexts, including action planning, the interpretation of static mechanical diagrams, and non-instrumental navigation. In the second part, I address the question of whether make-perceive may help to account for the “phenomenal presence” of occluded or otherwise hidden features of perceived objects. I argue that phenomenal presence is not well explained by the hypothesis that hidden features are represented using projected mental images. In defending this position, I point to important phenomenological and functional differences between the way hidden object features are represented respectively in mental imagery and amodal completion. (shrink)

Historically, mental imagery has been defined as an experiential state - as something necessarily conscious. But most behavioural or neuroimaging experiments on mental imagery - including the most famous ones - don’t actually take the conscious experience of the subject into consideration. Further, recent research highlights that there are very few behavioural or neural differences between conscious and unconscious mental imagery. I argue that treating mental imagery as not necessarily conscious (as potentially (...) unconscious) would bring much needed explanatory unification to mental imagery research. It would also help us to reassess some of the recent aphantasia findings inasmuch as at least some subjects with aphantasia would be best described as having unconscious mental imagery. (shrink)

Recent research in psycholinguistics suggests that language processing frequently involves mental imagery. This paper focuses on visual imagery and discusses two issues regarding the processing of polysemous words (i.e. words with multiple related meanings or senses) – co-predication and sense-relatedness. It aims to show how mental imagery can illuminate these two issues.

The problem of amodal perception is the problem of how we represent features of perceived objects that are occluded or otherwise hidden from us. Bence Nanay (2010) has recently proposed that we amodally perceive an object's occluded features by imaginatively projecting them into the relevant regions of visual egocentric space. In this paper, I argue that amodal perception is not a single, unitary capacity. Drawing appropriate distinctions reveals amodal perception to be characterized not only by mental imagery, as (...) Nanay suggests, but also by genuinely visual representations as well as beliefs. I conclude with some brief remarks on the role of object-directed bodily action in conferring a sense of unseen presence on an object's occluded features. (shrink)

Poetry evokes mental imagery in its readers. But how is mental imagery precisely related to poetry? This article provides a systematic treatment. It clarifies two roles of mental imagery in relation to poetry—as an effect generated by poetry and as an efficient means for understanding and appreciating poetry. The article also relates mental imagery to the discussion on the ‘heresy of paraphrase’. It argues against the orthodox view that the imagistic effects of (...) poetry cannot be captured by prosaic paraphrase, but points to features of poetry that can shape aspects of mental imagery that are liable to be lost in paraphrase. (shrink)

What is the relationship between perception and mental imagery? I aim to eliminate an answer that I call perceptualism about mental imagery. Strong perceptualism, defended by Bence Nanay, predictive processing theorists, and several others, claims that imagery is a kind of perceptual state. Weak perceptualism, defended by M. G. F. Martin and Matthew Soteriou, claims that mental imagery is a representation of a perceptual state, a view sometimes called The Dependency Thesis. Strong perceptualism (...) is to be rejected since it misclassifies imagery disorders and abnormalities as perceptual disorders and abnormalities. Weak Perceptualism is to be rejected since it gets wrong the aim and accuracy conditions of a whole class of mental imagery–projected mental imagery–and relies on an impoverished concept of perceptual states, ignoring certain of their structural features. Whatever the relationship between perception and imagery, the perceptualist has it wrong. (shrink)

This paper introduces a novel conceptualisation of mental imagery; namely, that is grease for the mind’s gears (MGT). MGT is not just a metaphor. Rather, it describes an important and overlooked higher-order function of mental imagery: that it aids various mental faculties discharge their characteristic functional roles. MGT is motivated by reflection on converging evidence from clinical, experimental and social psychology and solves at least two neglected conceptual puzzles about mental imagery. The first (...) puzzle concerns imagery’s architectural promiscuity; that is, its ability to assist diverse mental faculties and perform many different functions when doing so. The second puzzle concerns how to square imagery’s architectural promiscuity with its psychopathological relevance; that is, its being a maintaining cause, and possibly even a partial constituent, of several psychological disorders, including post-traumatic stress disorder, bipolar disorder and major depressive disorder. Mental imagery helps and harms human psychology to extreme degrees and this is something that calls for elucidation. MGT says that instead of facing perplexing heterogeneities here, we instead face a significant unity. On this score, MGT is argued to be superior to the currently dominant conception of imagery in the philosophical literature; namely, as a perception-like state of mind. (shrink)

Fictions evoke imagery, and their value consists partly in that achievement. This paper offers analysis of this neglected topic. Section 2 identifies relevant philosophical background. Section 3 offers a working definition of imagery. Section 4 identifies empirical work on visual imagery. Sections 5 and 6 criticize imagery essentialism, through the lens of genuine fictional narratives. This outcome, though, is not wholly critical. The expressed spirit of imagery essentialism is to encourage philosophers to ‘put the image (...) back into the imagination’. The weakened conclusion is that while an image is not essential to imagining, it should be returned to our theories of imagination. (shrink)

Mental imagery often occurs during testimonial belief transmission: a testifier often episodically remembers or imagines a scene while describing it, while a listener often imagines that scene as it’s described to her. I argue that getting clear on imagery’s psychological roles in testimonial belief transmission has implications for some fundamental issues in the epistemology of testimony. I first appeal to imagery cases to argue against a widespread “internalist” approach to the epistemology of testimony. I then appeal (...) to the same sort of case to argue for an alternative, externalist view. (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)

Defined as vicarious sensorimotor experiencing, mental imagery is a powerful source of aesthetic enjoyment in everyday life and, reportedly, one of the commonest things readers remember about literary narratives in the long term. Furthermore, it is positively correlated with other dimensions of reader response, most notably with emotion. Until recent decades, however, the phenomenon of mental imagery has been largely overlooked by modern literary scholarship. As an attempt to strengthen the status of mental imagery (...) within the literary and, more generally, aesthetic discipline, this dissertation proposes an analysis positioned at a confluence of literary theory and the cognitive sciences, especially the emergent research framework of embodied cognition. Questions asked throughout the dissertation include the following: a) What are the basic varieties of mental imagery in the reading of literary narrative? b) By what contents or narrative strategies are they most likely to be prompted? c) What is it like to experience a mental image of a particular variety? d) What are its psychophysiological underpinnings? e) How does a mental image of a particular variety relate to perception? f) How does it relate to higher-order meaning-making? Four prototypical imagery varieties are distinguished on the basis of two variables with two values each (referential vs. verbal domain; inner vs. outer stance). Gradual transitions and in-between imagery varieties are acknowledged. The imagery typology and related hypotheses are grounded in introspection but carefully supported with indirect empirical evidence and, whenever possible, formulated so as to facilitate direct validation. (shrink)

What is the mental representation that is responsible for implicit bias? What is this representation that mediates between the trigger and the biased behavior? My claim is that this representation is neither a propositional attitude nor a mere association. Rather, it is mental imagery: perceptual processing that is not directly triggered by sensory input. I argue that this view captures the advantages of the two standard accounts without inheriting their disadvantages. Further, this view also explains why manipulating (...) mental imagery is among the most efficient ways of counteracting implicit bias. (shrink)

The paper examines the relationships between the contents of imaginative episodes and the mental images that often play a central role within them. It considers, for example, whether the presence of mental imagery is required for a mental episode to count as an imagining.

The objective of this article is twofold. In the first part, I discuss two issues central to any theoretical inquiry into mental imagery: embodiment and consciousness. I do so against the backdrop of second-generation cognitive science, more specifically the increasingly popular research framework of embodied cognition, and I consider two caveats attached to its current exploitation in narrative theory. In the second part, I attempt to cast new light on readerly mental imagery by offering a typology (...) of what I propose to be its four basic varieties. The typology is grounded in the framework of embodied cognition and it is largely compatible with key neuroscientific and other experimental evidence produced within the framework. For each imagery variety, I make some elementary suggestions as to how it may typically be cued by distinct narrative strategies. (shrink)

Hallucination is a big deal in contemporary philosophy of perception. The main reason for this is that the way hallucination is treated marks an important stance in one of the most hotly contested debates in this subdiscipline: the debate between 'relationalists' and 'representationalists'. I argue that if we take hallucinations to be a form of mental imagery, then we have a very straightforward way of arguing against disjunctivism: if hallucination is a form of mental imagery and (...) if mental imagery and perception have some substantive common denominator, then a fortiori, perception and hallucination will also have a substantive common denominator. (shrink)

Mental images, or envisioning things with your "mind's eye," are now studied via multiple levels of observation and involve computational neuroscience, robotics and many disciplines that complement philosophy and form integral parts of cognitive science. MENTAL IMAGERY AND CREATIVITY offers an historical analysis of the use of "mental images" in science. This book also gives many useful illustrations, depicting roles of imagery with 21st century technology, including the usage of imagery, fMRIs and internet connections, (...) allowing people to control virtual avatars or robots at remote distances. Imagery formations and brain imaging techniques allow non-communicative patients, who appear to be in vegetative states, to communicate effectively, despite brain damage. Notwithstanding many 21st century developments of imagery combined with technology and science, many speculative accounts of imagery arose in the 20th century. Philosophic developments, regarding the relation between mental imagery and creativity, are provided in order to compare and contrast speculative and rational foundations. Creativity is defined in relation to problem-solving, inventiveness, art, discovery and cognitive formations of ranges of possibilities, arising before and after realizations (i.e., when one recognizes real and unreal events or solutions), involving images of events, solutions and alternatives. (shrink)

It has been repeatedly suggested that synesthesia is intricately connected with unusual ways of exercising one’s mental imagery, although it is not always entirely clear what the exact connection is. My aim is to show that all forms of synesthesia are forms of (often very different kinds of) mental imagery and, further, if we consider synesthesia to be a form of mental imagery, we get significant explanatory benefits, especially concerning less central cases of synesthesia (...) where the inducer is not sensory stimulation. (shrink)

Mental imagery is early perceptual processing that is not triggered by corresponding sensory stimulation in the relevant sense modality. Multimodal mental imagery is early perceptual processing that is triggered by sensory stimulation in a different sense modality. For example, when early visual or tactile processing is triggered by auditory sensory stimulation, this amounts to multimodal mental imagery. Pulling together philosophy, psychology and neuroscience, I will argue in this paper that multimodal mental imagery (...) plays a crucial role in our engagement with musical works. Engagement with musical works is normally a multimodal phenomenon, where we get input from a number of sense modalities. But even if we screen out any input that is not auditory, multimodal mental imagery will still play an important role that musicians and composers often actively rely on. (shrink)

When we see an object, we also represent those parts of it that are not visible. The question is how we represent them: this is the problem of amodal perception. I will consider three possible accounts: (a) we see them, (b) we have non-perceptual beliefs about them and (c) we have immediate perceptual access to them, and point out that all of these views face both empirical and conceptual objections. I suggest and defend a fourth account, according to which we (...) represent the occluded parts of perceived objects by means of mental imagery. This conclusion could be thought of as a (weak) version of the Strawsonian dictum, according to which “imagination is a necessary ingredient of perception itself”. (shrink)

In this paper, I oppose the common assumption that visual descriptions in prose fiction are imageable by virtue of perceptual mimesis. Based on introspection as well as convergent support from cognitive science and other disciplines, I argue that visual description (and the mental imagery it elicits), unlike narrative (and the mental imagery it elicits), often stands in no positive relation to perceptual mimesis because it lacks a structural counterpart in perceptual experience. I present an alternative way (...) of defining the kind of mental imagery elicited by visual descriptions, and propose a number of text variables underlying the imageability or non-imageability of any such description. (shrink)

The aim of this paper is to argue that the phenomenal similarity between perceiving and visualizing can be explained by the similarity between the structure of the content of these two different mental states. And this puts important constraints on how we should think about perceptual content and the content of mental imagery.

Action-based theories of cognition place primary emphasis upon the role that agent-environment coupling plays in the emergence of psychological states. Prima facie, mental imagery seems to present a problem for some of these theories because it is understood to be stimulus-absent and thus thought to be decoupled from the environment. However, mental imagery is much more multifaceted than this “naïve” view suggests. Focusing on a particular kind of imagery, comparative mental imagery generation, this (...) paper demonstrates that although such imagery is stimulus-absent, it is also stimulus-sensitive. Exhibiting stimulus-sensitivity is sufficient for a process to qualify as coupled to the environment. The notion of variant coupling is explicated as the coupling of a cognizer’s perceptual system to variant environmental information. By demarcating the categories of stimulus-absent and stimulus-sensitive cognition, and variant and invariant coupling, this paper expands the conceptual apparatus of action-based theories, suggesting not only a way to address the problem that comparative mental imagery generation presents, but perhaps a way to account for other forms of imagery too. (shrink)

Nanay (2017) argues for unconscious mental imagery, inter alia based on the assumption that successful performance in imagery tasks requires the manipulation of mental imagery. I challenge this assumption with the help of results presented in Shepard and Metzler (1971), Zeman et al. (2010), and Keogh and Pearson (2018). The studies suggest that imagery tasks can be successfully performed by means of cognitive/propositional strategies which do not rely on imagery.

The scientific concepts of mental imagery and hallucinations are each used independently of the other; uses that simultaneously evoke and obscure their historical connections. In this paper, I aim to illustrate the relevance of examining one of these historical connections for studying the current uses of these two concepts in neuroimaging experiments. To this end, I will highlight interdependent associations within the histories of each of the concepts that continue to contribute to their independent uses.That mental (...) class='Hi'>imagery and hallucinations are used independently of each other is evident in the way that each concept influences investigations in isolation of the other. Within the neurosciences, mental imagery is... (shrink)

Sensations can occur in the absence of perception and yet be experienced ‘as if’ seen, heard, tasted, or otherwise perceived. Two concepts used to investigate types of these sensory-like mental phenomena (SLMP) are mental imagery and hallucinations. Mental imagery is used as a concept for investigating those SLMP that merely resemble perception in some way. Meanwhile, the concept of hallucinations is used to investigate those SLMP that are, in some sense, compellingly like perception. This may (...) be a difference of degree. Attempts to reliably differentiate between instances of each type of SLMP remain unresolved. Despite this, the concepts of mental imagery and hallucinations are each routinely used independently of the other. These uses are especially interesting in those published accounts of experiments where equivalent findings about the neuroanatomical correlates of SLMP are reported in support of diverging knowledge-claims about the role of SLMP in neurocognitive processes. This practice presents a puzzle. To examine one aspect of this puzzle, I compare the uses of these two scientific concepts in three ways: examining their roles in differentiating between types of SLMP; exploring how their respective historical developments intersect; and analysing their contributions in neuroimaging experiments. In presenting this series of comparative analyses, I will draw on three themes from historical, philosophical, and social studies of scientific practices: interest in material contributions to knowledge; accounts of how concepts are used in experiments; and explorations of the historical conditions within which current practices emerge. Building on this literature, my comparative analyses supports five related claims. My first claim is that the concepts of mental imagery and hallucinations are each used as independent tools in neuroimaging experiments. My second claim is that, as experimental tools, the concepts of mental imagery and hallucinations are each used for investigating discrete epistemic goals. My third claim is that there are implicit interdependent associations that structure the uses of these two concepts as tools for independently investigating these discrete epistemic goals in neuroimaging experiments. This third claim rests on my analyses of both past and present uses of each concept. Firstly, as seen in their intersecting histories, there are disciplined performances of using the concepts of mental imagery and hallucinations that carry-along shared associations about the mediating role of SLMP in thought. Secondly, these interdependent ‘mediator-view’ associations continue to structure the independent uses of each concept as a tool for investigating SLMP in pursuit of specific goals. Taking this further, my fourth claim is that recognising the structured uses of the concepts of mental imagery and hallucinations can help to account for how equivalent SLMP-neuro-correlates are generated in support of diverging knowledge-claims. Finally, my fifth claim is that the structured uses of these concepts as tools can contribute to experiments in ways analogous to, yet not equivalent with, the active contributions of material instruments. Bringing these claims together, I argue that the concepts of mental imagery and hallucinations operate as structured tools that can actively contribute to the knowledge generated by neuroimaging experiments. In presenting this argument I seek to demonstrate that examining the structured uses of concepts as tools can complement existing approaches to studying how the heterogeneous dynamics of experimental practices can come to contribute to scientific knowledge in unintended ways. (shrink)

If the sight of cortically blind people were restored, could they visually recognize a cube or a sphere? This is Molyneux’s question. I argue that the answer to this question depends on the specificities of the mental setup of these cortically blind people. Some cortically blind people have (sometimes quite vivid) visual imagery. Others don’t. The answer to Molyneux’s question depends on whether the blind subjects have had visual imagery before their sight was restored. If they did, (...) the answer to Molyneux’s question is yes, if they didn’t, the answer is no. There is no generic answer to Molyneux’s question. (shrink)

Recently, the term ‘aphantasia’ has become current in scientific and public discourse to denote the absence of mental imagery. However, new terms for aphantasia or its subgroups have recently been proposed, e.g. ‘dysikonesia’ or ‘anauralia’, which complicates the literature, research communication and understanding for the general public. Before further terms emerge, we advocate the consistent use of the term ‘aphantasia’ as it can be used flexibly and precisely, and is already widely known in the scientific community and among (...) the general public. (shrink)

Previous research has suggested that bodily signals from internal organs are associated with diverse cortical and subcortical processes involved in sensory-motor functions, beyond homeostatic reflexes. For instance, a recent study demonstrated that the preparation and execution of voluntary actions, as well as its underlying neural activity, are coupled with the breathing cycle. In the current study, we investigated whether such breathing-action coupling is limited to voluntary motor action or whether it is also present for mental actions not involving any (...) overt bodily movement. To answer this question, we recorded electroencephalography (EEG), electromyography (EMG), and respiratory signals while participants were conducting a voluntary action paradigm including self-initiated motor execution (ME), motor imagery (MI), and visual imagery (VI) tasks. We observed that the voluntary initiation of ME, MI, and VI are similarly coupled with the respiration phase. In addition, EEG analysis revealed the existence of readiness potential (RP) waveforms in all three tasks (i.e., ME, MI, VI), as well as a coupling between the RP amplitude and the respiratory phase. Our findings show that the voluntary initiation of both imagined and overt action is coupled with respiration, and further suggest that the breathing system is involved in preparatory processes of voluntary action by contributing to the temporal decision of when to initiate the action plan, regardless of whether this culminates in overt movements. -/- . (shrink)

Unconscious logical inference seems to rely on the syntactic structures of mental representations (Quilty-Dunn & Mandelbaum 2018). Other transitions, such as transitions using iconic representations and associative transitions, are harder to assimilate to syntax-based theories. Here we tackle these difficulties head on in the interest of a fuller taxonomy of mental transitions. Along the way we discuss how icons can be compositional without having constituent structure, and expand and defend the “symmetry condition” on Associationism (the idea that associative (...) links and transitions are perfectly symmetric). In the end, we show how a BIT (“bare inferential transition”) theory can cohabitate with these other non-inferential mental transitions. (shrink)

It is often observed that images—including mental images—are in some sense representationally ambiguous. Some, including Jerry Fodor, have added that mental images only come to have determinate contents through the contribution of non-imagistic representations that accompany them. This paper agrees that a kind of ambiguity holds with respect to mental imagery, while arguing (pace Fodor) that this does not prevent imagery from having determinate contents in the absence of other, non-imagistic representations. Specifically, I argue that (...) mental images can represent determinate types of outlays of properties without help from any non-imagistic representations, yet can only become involved in the representation of particular objects through pairing with a non-imagistic representation of the right sort. These points are defended through reflection on the “Picture Principle,” the nature of depiction, and general principles for typing and individuating mental states. (shrink)

We often ascribe possibility to the scenes that are displayed by mental or nonmental sensory images. The paper presents a novel argument for thinking that we are prima facie justified in ascribing metaphysical possibility to what is displayed by suitable visual images, and it argues that many of our imagery‐based ascriptions of metaphysical possibility are therefore prima facie justified. Some potential objections to the arguments are discussed, and some potential extensions of them, to cover nonvisual forms of (...) class='Hi'>imagery and nonmetaphysical forms of possibility, are endorsed. (shrink)

Aesthetic evaluations of human bodies have important implications for moral recognition and for individuals’ access to social and material goods. Unfortunately, there is a widespread aesthetic disregard for non-white bodies. Aesthetic evaluations depend on the aesthetic properties we regard objects as having. And it is widely agreed that aesthetic properties are directly accessed in our experience of aesthetic objects. How, then, might we explain aesthetic evaluations that systematically favour features associated with white identity? Critical race philosophers, like Alia Al-Saji, Mariana (...) Ortega, Paul C. Taylor, and George Yancy, argue that this is because the perception of racialized bodies is affected by the social structures in which they are appreciated. The aim of this paper is to propose how social structures can affect aesthetic perception. I argue that mental imagery acquired through the interaction with aesthetic phenomena structures the perception of non-aesthetic properties of bodies, so that aesthetic properties consistent with racist stereotypes are attributed to individuals. (shrink)

Aphantasia is a condition characterised by a deficit of mental imagery. Since several psychopathologies are partially maintained by mental imagery, it may be illuminating to consider the condition against the background of psychological disorder. After outlining current findings and hypotheses regarding aphantasia and psychopathology, this paper suggests that some support for defining aphantasia as a lack of voluntary imagery may be found here. The paper then outlines potentially fruitful directions for future research into aphantasia in (...) general and its relation to psychopathology in particular, including rethinking use of the SUIS to measure involuntary imagery, whether aphantasia offers protection against addiction, and whether hyperphantasia is a potential risk factor for maladaptive daydreaming, among others. (shrink)

What triggers the execution of actions? What happens in that moment when an action is triggered? What mental state is there at the moment of action-execution that was not there a second before? My aim is to highlight the importance of a thus far largely ignored kind of mental state in the discussion of these old and much-debated questions: motor imagery. While there have been a fair amount of research in psychology and neuroscience on motor imagery (...) in the last 30 years or so, it is only recently that we start to understand the important role motor imagery plays in action initiation. And if, as these findings suggest, motor imagery plays an important role in action initiation, we can make progress not only in understanding action initiation in general but also in understanding what goes wrong in akratic actions and in relapse actions. Finally, this new picture of action-initiation also has far-reaching consequences for the relation between motivation and causation in naturalistic action-explanations. (shrink)

Do frogs have lips? In thinking of an answer to this question, many people form a mental image of a frog and scrutinise it to find the answer. But what are they doing when they do this? The imagery debate that Michael Tye addresses in this book is between two kinds of answer to this question: the "pictorialist" answer that images are in important ways like pictures, and the "descriptionalist" answer that they are more like descriptions. Versions of (...) these views have been held both by philosophers and psychologists. Tye's book aims to disentangle the various claims made by pictorialists and descriptionalists and to defend a theory which incorporates elements from the description and picture theories. (shrink)

One distinct interest in self-knowledge concerns whether one can know about one’s own mental states and processes, how much, and by what methods. One broad distinction is between accounts that centrally claim that we look inward for self-knowledge (introspective methods) and those that claim that we look outward for self-knowledge (transparency methods). It is here argued that neither method is sufficient, and that we see this as soon as we move beyond questions about knowledge of one’s beliefs, focusing instead (...) on how one distinguishes, for oneself, one’s veridical visual memories from mere (non-veridical) visual images. Given robust psychological and phenomenal similarities between episodic memories and mere imagery, the following is a genuine question that one might pose to oneself: “Do I actually remember that happening, or am I just imagining it?” After critical analysis of the transparency method (advocated by Byrne 2010, following Evans 1982) to this latter epistemological question, a brief sketch is offered of a more holistic and inferential method for acquisition of broader self-knowledge (broadly following the interpretive-sensory access account of Carruthers 2011). In a slogan, knowing more of the mind requires using more of the mind. (shrink)

Our pains can be more or less intense, our mental imagery can be more or less vivid, our perceptual experiences can be more or less striking. These degrees of intensity of conscious experiences are all manifestations of a phenomenal property I call mental strength. In this article, I argue that mental strength is a domain-general phenomenal magnitude; in other words, it is a phenomenal quantity shared by all conscious experiences that explains their degree of felt intensity. (...) Mental strength has been largely overlooked in favor of mental states’ type, representational contents, domain-specific phenomenology, or processes such as attention. Considering mental strength in our reflections about the mind illuminates debates about the relation of representational contents and phenomenal character, and it also helps address questions about the structure and functions of consciousness. Mental strength provides a unifying construct to model what is shared in the phenomenology of different types of conscious experiences. (shrink)

The relationship between perceptual experience and memory can seem to pose a chal- lenge for conceptualism, the thesis that perceptual experiences require the actualization of conceptual capacities. Since subjects can recall features of past experiences for which they lacked corresponding concepts at the time of the original experience, it would seem that a subject’s conceptual capacities do not impose a limit on what he or she can experience perceptually. But this conclusion ignores the fact that concepts can be composed of (...) other simpler concepts that a subject possessed earlier, and that de- monstrative capacities can explain how a subject can experience a particular feature of her environment, even when she lacks a fully general concept for that feature. Using these resources, conceptualism can explain the relation between perceptual experience and memory. Nevertheless, a puzzle remains for the defender of conceptualism. A cer- tain view about the relation between perceptual experience and mental imagery in epi- sodic memory – that imagery in recall matches the experience retained in it – can make it difficult to understand how conceptualism could be true. For if a subject’s conceptual capacities determine what the phenomenology of an experience (or memory of it) is like, then one would expect a perceptual experience and its recall in memory to differ in phenomenology if they involve different concepts. In this essay, I solve this puzzle for conceptualism by undermining the assumption that there is a match between im- agery in episodic memory and the phenomenal character of experience. (shrink)

My topic is a certain view about mental images: namely, the ‘Multiple Use Thesis’. On this view, at least some mental image-types, individuated in terms of the sum total of their representational content, are potentially multifunctional: a given mental image-type, individuated as indicated, can serve in a variety of imaginative-event-types. As such, the presence of an image is insufficient to individuate the content of those imagination-events in which it may feature. This picture is argued for, or (more (...) usually) just assumed to be true, by Christopher Peacocke, Michael Martin, Paul Noordhof, Bernard Williams, Alan White, and Tyler Burge. It is also presupposed by more recent authors on imagination such as Amy Kind, Peter Kung and Neil Van Leeuwen. I reject various arguments for the Multiple Use Thesis, and conclude that instead we should endorse SINGLE: a single image-type, individuated in terms of the sum total of its intrinsic representational content, can serve in only one imagination event-type, whose content coincides exactly with its own, and is wholly determined by it. Plausibility aside, the interest of this thesis is also in its iconoclasm, as well as the challenge it poses for the diverse theories that rest on the truth of the Multiple Use Thesis. (shrink)

Many philosophers and psychologists have attempted to elucidate the nature of mental representation by appealing to notions like isomorphism or abstract structural resemblance. The ‘structural representations’ that these theorists champion are said to count as representations by virtue of functioning as internal models of distal systems. In his 2007 book, Representation Reconsidered, William Ramsey endorses the structural conception of mental representation, but uses it to develop a novel argument against representationalism, the widespread view that cognition essentially involves the (...) manipulation of mental representations. Ramsey argues that although theories within the ‘classical’ tradition of cognitive science once posited structural representations, these theories are being superseded by newer theories, within the tradition of connectionism and cognitive neuroscience, which rarely if ever appeal to structural representations. Instead, these theories seem to be explaining cognition by invoking so-called ‘receptor representations’, which, Ramsey claims, aren’t genuine representations at all—despite being called representations, these mechanisms function more as triggers or causal relays than as genuine stand-ins for distal systems. I argue that when the notions of structural and receptor representation are properly explicated, there turns out to be no distinction between them. There only appears to be a distinction between receptor and structural representations because the latter are tacitly conflated with the ‘mental models’ ostensibly involved in offline cognitive processes such as episodic memory and mental imagery. While structural representations might count as genuine representations, they aren’t distinctively mental representations, for they can be found in all sorts of non-intentional systems such as plants. Thus to explain the kinds of offline cognitive capacities that have motivated talk of mental models, we must develop richer conceptions of mental representation than those provided by the notions of structural and receptor representation. (shrink)

First described by Galton in 1880 and then remaining unnoticed for a century, recent investigations in neuroscience have shown that a condition called aphantasia appears in certain individuals, which causes them to be unable to experience visual mental imagery. Comparing aphantasia to hyperphantasia – i.e., photo-like memory – and considering the neurological basis of perceptual phenomena, we are revisiting Hume's division of perceptions into impressions and ideas. By showing different vivacities of mental phenomena and comparing them to (...) neurological research, we are stating that not only impressions and ideas differ "in the degrees of force and liveliness", but ideas and impressions amongst themselves as well. Such a gradual range of perceptions and mental images bears significant consequences for not only representational theory and historical interpretations, but linguistics and semiotics as well. (shrink)

The influence of imagery on perception depends on the content of the mental image. Sixty-three students responded to the location of the 2 hands of a clock while visualizing the correct or an incorrect clock. Reaction time was shorter with valid cueing. Could this have resulted from visual acquisition strategies such as planning visual saccades or shifting covert attention? No. in this study, a crucial control condition made participants look at rather than visualize the cue. Acquisition strategies should (...) have affected equally both types of cueing, but we observed that the effect of the visual cue was smaller and limited to a particular subcase in which one expects visual acquisition strategies. Thus, what matters is the similarity of the content of the mental image with the visual scene. In addition, an interaction involving the hand used for responding supports the notion that composite imagery is lateralized. (shrink)

It is generally acknowledged that verbal auditory imagery, the reader's sense of hearing the words on a page, matters in the silent reading of poetry. Verbal auditory imagery (VAI) in the silent reading of narrative prose, on the other hand, is mostly neglected by literary and other theorists. This is a first attempt to provide a systematic theoretical account of the felt qualities and underlying cognitive mechanics of narrative VAI, drawing on convergent evidence from the experimental cognitive sciences, (...) psycholinguistic theory, and introspection. The central argument is that distinctions within the domain of embodied VAI also apply to higher-order meaning-making. That is, based on the imaginer's level of self-implication in their production, discrete types of VAI are associated with discrete tendencies in spontaneous literary interpretation. More generally, the aim of this paper is to isolate a new set of embodied experiences which, along with previously researched phenomena such as sensorimotor enactment or emotion, contribute to our understanding of literary narrative. (shrink)

The mental rotation ability is an essential spatial reasoning skill in human cognition and has proven to be an essential predictor of mathematical and STEM skills, critical and computational thinking. Despite its importance, little is known about when and how mental rotation processes are activated in games explicitly targeting spatial reasoning tasks. In particular, the relationship between spatial abilities and TetrisTM has been analysed several times in the literature. However, these analyses have shown contrasting results between the effectiveness (...) of Tetris-based training activities to improve mental rotation skills. In this work, we studied whether, and under what conditions, such ability is used in the TetrisTM game by explicitly modelling mental rotation via an ACT-R based cognitive model controlling a virtual agent. The obtained results show meaningful insights into the activation of mental rotation during game dynamics. The study suggests the necessity to adapt game dynamics in order to force the activation of this process and, therefore, can be of inspiration to design learning activities based on TetrisTM or re-design the game itself to improve its educational effectiveness. (shrink)

The aim of this paper is to draw the attention of those conducting research on imagery to the different kinds of visual information deployed by expert drawers compared to non-expert drawers. To demonstrate this difference I draw upon the cognitive science literature on vision and imagery to distinguish between three different ways that visual phenomena can be represented in memory: structural descriptions, denotative descriptions, and configural descriptions. Research suggests that perception and imagery deploy the same mental (...) processes and that the drawing of one's imagery would require the simultaneous deployment of these very processes. I reason that drawing a picture of one's imagery is not possible. I hypothesize that when required to draw a picture from memory, both expert and non-expert drawers access their denotative description of the object rather than their imagery. I then suggest how my hypothesis could be tested and if accurate, how this finding would impact upon the design and interpretation of experiments on imagery when drawing is involved. I also suggest why the constraints that perception places upon the simultaneous deployment of imagery appear not to cause the same constraints in autistic savant drawers and visual agnosia patients. (shrink)

A number of researchers have focused on the distinction between upward counterfactuals that simulate a better reality and downward counterfactuals that simulate a worse reality. In this chapter the authors will discuss the important aspects of a model (Markman and McMullen 2003) that attempts to explain how the very same counterfactual can engender dramatically different affective reactions. According to the model, the consequences of simulation direction are moderated by what we have termed simulation mode--relatively stronger tendencies to engage in reflective (...) versus evaluative processing. In turn, the authors will describe how the interaction between simulation direction and mode produces important consequences for affect, motivation, and behavior. (shrink)

It has long been recognized that we have a great deal of freedom to imagine what we choose. This paper explores a thesis—what we call “intentionalism (about the imagination)”—that provides a way of making this evident (if vague) truism precise. According to intentionalism, the contents of your imaginings are simply determined by whatever contents you intend to imagine. Thus, for example, when you visualize a building and intend it to be of King’s College rather than a replica of the college (...) you have imagined the former rather than the latter because you intended to imagine King’s College. This is so even if the visual image you conjure up equally resembles either. This paper proposes two kinds of counterexamples to intentionalism and discusses their significance. In particular, it sketches a positive account of how many sensory imaginings get to be about what they are about, which explains how the causal history of our mental imagery can prevent us from succeeding in imagining what we intended. (shrink)

The vividness of mental imagery is epistemically relevant. Intuitively, vivid and intense memories are epistemically better than weak and hazy memories, and using a clear and precise mental image in the service of spatial reasoning is epistemically better than using a blurry and imprecise mental image. But how is vividness epistemically relevant? I argue that vividness is higher-order evidence about one’s epistemic state, rather than first-order evidence about the world. More specifically, the vividness of a (...) class='Hi'>mental image is higher-order evidence about the amount of first-order information one has about its subject matter. When vividness is sufficiently low, it can give one reason to doubt the epistemic basis of the mental image and thereby act as a defeater. This account has important implications for theorizing about the epistemic roles of memory, imagination, mental imagery, and phenomenal consciousness. (shrink)