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)

Vaidya has recently argued that while Husserl’s method for acquiring knowledge of essence through use of our imagination is subject to a vicious epistemic circle, we can still use the method to successfully attain objectual understanding of essence. In this paper, I argue that the Husserlian objectual understanding-based epistemology envisaged by Vaidya suffers from a similar epistemic circularity as its knowledge-based foil. I argue that there is a straight-forward solution to this problem, but then raise three serious problems (...) for an amended version of Vaidya’s proposal and any similar Husserlian epistemology of essence. The paper closes with some general reflections on applying the Husserlian method to the contemporary notion of essence and on the idea of refocusing the epistemology of essence on understanding instead of knowledge. (shrink)

In this entry I will offer a systematic novel taxonomy of our imaginative abilities coherent with standard treatments in cognitive science, philosophy of mind and aesthetics. In particular, I will distinguish between the non-propositional imagination and the propositional imagination, which include several further sub-varieties such as the objectual imagination, imagery, experiential imagination, supposition, make-believe and more.

Philosophers have routinely taken a pessimistic view of the account of cognition offered by David Hume in his Treatise of Human Nature, claiming that Hume's limited explanatory resources cannot capture the rich complexity of our thought, judgment, and reasoning. I provide a qualified defense of Hume's attempt to analyze a cognitive activity in terms of objectual conception, ie conceiving or imagining an object. I defend Hume from objections offered by his contemporary Thomas Reid (and echoed by various recent (...) Hume scholars), presenting an interpretation of the account that resolves these worries. (shrink)

We might think that thought experiments are at their most powerful or most interesting when they produce new knowledge. This would be a mistake; thought experiments that seek understanding are just as powerful and interesting, and perhaps even more so. A growing number of epistemologists are emphasizing the importance of understanding for epistemology, arguing that it should supplant knowledge as the central notion. In this chapter, I bring the literature on understanding in epistemology to bear on explicating the different ways (...) that thought experiments increase three important kinds of understanding: explanatory, objectual and practical. (shrink)

The objective of this paper is to raise a challenge to Ilhan Inan’s claim (2013) that an agent’s curiosity ceases when the agent is firmly certain about the object of curiosity that is of interest to him, and to supplement his account by appealing to an aspect of curiosity that Inan overlooks substantively: open-mindedness. To achieve this objective, I first provide a brief summary of Inan’s claim that an agent’s curiosity is directly proportional to his interest and uncertainty, and inversely (...) proportional to evidence and belief. Second, I discuss my objection to an aspect of Inan’s claim that firm certainty and (high) interest yields no curiosity. In ordinary enquiries or cases of propositional curiosity (e.g., whether questions), Inan’s claim that firm certainty extinguishes curiosity is convincing. However, there can be objectual curiosity cases (e.g., what questions) where Inan’s claim may not be sufficient. Moreover, in many academic enquiries, a scientist may remain motivated to expend extra epistemic and cognitive capital, despite his firm certainty about his once imaginable aspects of the object of curiosity, for the sake of unimaginable possibilities. Fueled by his continued curiosity, it is not uncommon for a scientist to take self-initiatives and reconsider propositions he was once certain about. Based on his past experiences, he might have learned that certainty is generally impermanent and does not always last forever, which could keep his curiosity and hence the possibility of discovering more truths alive. Third, I present a number of rebuttals to my objection and show how they fall short of supporting Inan’s account including the role of other feelings such as fear and anxiety about losing face, and knowing but being subjectively uncertain, which may motivate continued curiosity even when the agent is firmly certain. Fourth, I suggest an alternative view by adding open-mindedness to Inan’s curiosity formulation that could help exculpate my objection. Instead of Inan’s proposition, I suggest that one can remain curious about an objective he is interested in, despite being certain about it, when he is open-minded. (Baehr, 2012) Open-mindedness is a facilitating virtue and an activity that is a cognitive moving beyond or transcending of the person’s doxastic commitments, thus facilitating curiosity. Open-mindedness assists in keeping the agent’s interest and uncertainty alive, and helps freeing the mind beyond default beliefs and binds of certainty. (shrink)

The paper argues that an account of understanding should take the form of a Carnapian explication and acknowledge that understanding comes in degrees. An explication of objectual understanding is defended, which helps to make sense of the cognitive achievements and goals of science. The explication combines a necessary condition with three evaluative dimensions: An epistemic agent understands a subject matter by means of a theory only if the agent commits herself sufficiently to the theory of the subject matter, and (...) to the degree that the agent grasps the theory (i.e., is able to make use of it), the theory answers to the facts and the agent’s commitment to the theory is justified. The threshold for outright attributions of understanding is determined contextually. The explication has descriptive as well as normative facets and allows for the possibility of understanding by means of non-explanatory (e.g., purely classificatory) theories. (shrink)

It is commonly assumed that besides knowledge of facts or truths, there is also knowledge of things–for example, we say that we know people or know places. We could call this "objectual knowledge". In this paper, I raise doubts about the idea that there is a sui generis objectual knowledge that is distinct from knowledge of truths.

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)

Abstract: This entry elucidates causal and constitutive roles that various forms of imagining play in human action. Imagination influences more kinds of action than just pretend play. I distinguish different senses of the terms “imagining” and “imagination”: imagistic imagining, propositional imagining, and constructive imagining. Each variety of imagining makes its own characteristic contributions to action. Imagistic imagining can structure bodily movement. Propositional imagining interacts with desires to motivate pretend play and mimetic expressive (...) action. And constructive imagination generates representations of possibilities and actions on the basis of which we choose what to do. [Version archived here is a penultimate draft.]. (shrink)

Propositionalism is the view that all intentional states are propositional states, which are states with a propositional content, while objectualism is the view that at least some intentional states are objectual states, which are states with objectual contents, such as objects, properties, and kinds. This paper argues that there are two distinct ways of understanding propositionalism and objectualism: (1) as views about the deep nature of the contents of intentional states, and (2) as views about the superficial character (...) of the contents of intentional states. I argue that we should understand the views in the second way. I also argue that the propositionalism debate is fairly independent from debates over the deep nature of intentionality, and that this has implications for arguments for propositionalism and objectualism from claims about the nature of intentional content. I close with a short discussion of how related points apply to the debate over singular content. (shrink)

Analytic Philosophy, Volume 62, Issue 1, Page 33-56, March 2021.

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)

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 explore the role of episodic imagining in explaining why people both differentially report that it seems to them in experience as though time robustly passes, and why they differentially report that they believe that time does in fact robustly pass. We empirically investigate two hypotheses, the differential vividness hypothesis, and the mental time travel hypothesis. According to each of these, the degree to which people vividly episodically imagine past/future states of affairs influences their tendency to report that it (...) seems to them as though time robustly passes and to judge that time does robustly pass. According to the former, a greater degree of vividness will tend to increase the extent to which people make such reports, while according to the latter, it will tend to decrease the extent to which people make such reports. We found weak evidence in favour of the former hypothesis. We reflect on the implications of this finding for theorising about such reports. (shrink)

Recent work on the imagination has stressed the epistemic significance of imaginative experiences, notably in justifying modal beliefs. An immediate problem with this is that modal beliefs appear to admit of justification through the mere exercise of rational capacities. For instance, mastery of the concepts of square, circle, and possibility should suffice to form the justified belief that a square circle is not possible, and mastery of the concepts of pig, flying, and possibility should suffice to form a justified belief (...) that a flying pig is possible. It is thus unnecessary to try to imagine a square circle or a flying pig to justify these beliefs. In this paper, I consider three ways to defend the epistemic role of imagination in modal epistemology against this challenge. One claims that modal beliefs simply admit of justification by two separate sources: rational capacities and imaginative experience. Another holds that while beliefs about logical or conceptual modality can be justified entirely by rational capacities, beliefs about metaphysical modality require imaginative experiences. The third, which I defend, is the idea that imagination is relevant in the first instance not to modal knowledge but to modal understanding: even where imaginative experience is unnecessary for the justification of modal beliefs, it is indispensable for directly grasping certain modal propositions. (shrink)

In this essay, the focus is not on what imagination is but rather on what it is like. Rather than exploring the various accounts of imagination on offer in the philosophical literature, we will instead be exploring the various accounts of imaginative experience on offer in that literature. In particular, our focus in what follows will be on three different sorts of accounts that have played an especially prominent role in philosophical thinking about these issues: the impoverishment view (often associated (...) with Hume), the will-dependence view (often associated with Wittgenstein), and the nonexistence view (often associated with Sartre). While there are important insights to be drawn from each of these views, each seems to me to be importantly flawed in various ways. As I will suggest, close examination reveals that none of them gives us an adequate account of the character of imaginative experience. Ultimately, in the final section of this paper, I briefly explore what their failure teaches us about the project of giving an account of imaginative experience. (shrink)

Jonathan Kvanvig has argued that “objectual” understanding, i.e. the understanding we have of a large body of information, cannot be reduced to explanatory concepts. In this paper, I show that Kvanvig fails to establish this point, and then propose a framework for reducing objectual understanding to explanatory understanding.

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.

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)

Duncan Pritchard (2008, 2009, 2010, forthcoming) has argued for an elegant solution to what have been called the value problems for knowledge at the forefront of recent literature on epistemic value. As Pritchard sees it, these problems dissolve once it is recognized that that it is understanding-why, not knowledge, that bears the distinctive epistemic value often (mistakenly) attributed to knowledge. A key element of Pritchard’s revisionist argument is the claim that understanding-why always involves what he calls strong cognitive achievement—viz., cognitive (...) achievement that consists always in either (i) the overcoming of a significant obstacle or (ii) the exercise of a significant level of cognitive ability. After outlining Pritchard’s argument, we show (contra Pritchard) that understanding-why does not essentially involve strong cognitive achievement. Interestingly, in the cases in which understanding-why is distinctively valuable, it is (we argue) only because there is sufficiently rich objectual understanding in the background. If that’s right, then a plausible revisionist solution to the value problems must be sensitive to different kinds of understanding and what makes them valuable, respectively. (shrink)

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

​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)

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.

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)

We study imagination as reality-oriented mental simulation : 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)

It is intuitively plausible that art and imagination are intimately connected. This chapter explores attempts to explain that connection. We focus on three areas in which art and imagination might be linked: production, ontology, and appreciation. We examine views which treat imagination as a fundamental human faculty, and aim for comprehensive accounts of art and artistic practice: for example, those of Kant and Collingwood. We also discuss philosophers who argue that a specific kind of imagining may explain some particular (...) element of the artistic domain: for example, Walton's ideas about representational art, and Kivy’s about reading. (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)

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.

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)

In The Principles of Art, R. G. Collingwood pursues, on the one hand, a ‘definition’ of art, and, on the other, a ‘metaphysics’. The Principles is divided into three Books. Book I is devoted mostly to craft, while Book II pertains largely to metaphysics. The fact that Book II is twice the size of Book III, where the discussion of ‘art proper’ takes place, is proof enough that the metaphysical part of the Principles is not a mere excursus. Collingwood’s ontology (...) is indispensable for understanding his aesthetics, and vice versa. The crucial link is the imagination. What Collingwood calls ‘total imaginative experience’ is described in the Principles as the sine qua non of both thought and sensibility. The aim of this article is to examine the ontological import of Collingwood’s conception of the total imagination. (shrink)

According to a traditional view, there is no categorical difference between the phenomenology of perception and the phenomenology of imagination; the only difference is in degree (of intensity, resolution, etc.) and/or in accompanying beliefs. There is no categorical difference between what it is like to perceive a dog and what it is like to imagine a dog; the former is simply more vivid and/or is accompanied by the belief that a dog is really there. A sustained argument against this traditional (...) view is prosecuted by Sartre, who develops an alternative according to which there is a categorical difference between the two phenomenologies. This paper draws on Sartre’s work in this area to develop a similar account of perception and imagination as categorically different. (shrink)

The problem of imaginative resistance holds interest for aestheticians, literary theorists, ethicists, philosophers of mind, and epistemologists. We present a somewhat opinionated overview of the philosophical discussion to date. We begin by introducing the phenomenon of imaginative resistance. We then review existing responses to the problem, giving special attention to recent research directions. Finally, we consider the philosophical significance that imaginative resistance has—or, at least, is alleged to have—for issues in moral psychology, theories of cognitive architecture, and modal epistemology.

The standard cognitive theory of art claims that art can be insightful while maintaining that imagining is motivationally inert [Walton 1990] even when some epistemic advantage is claimed for it [Currie 1995]. However, if we assume art as art can be insightful, we also assume that the imagining it occasions has a lasting impact on belief. In this chapter, I argue that imagining of the kind occasioned by art can be held non-occurrently [Schellenberg 2013] without delusion and (...) can motivate behaviour [Gendler 2000, 2003, 2006a/b; Langland-Hassan 2016]. As such, certain features of imagination can be appreciated in a new light. (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)

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)

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)

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)

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)

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.

A commonly-discussed feature of perceptual experience is that it has ‘assertoric’ or ‘phenomenal’ force. We will start by discussing various descriptions of the assertoricity of perceptual experience. We will then adopt a minimal characterization of assertoricity: a perceptual experience has assertoric force just in case it inclines the perceiver to believe its content. Adducing cases that show that visual experience is not always assertoric, we will argue that what renders these visual experiences non-assertoric is that they are penetrated by belief-like (...) imaginings. Lastly, we will explain why it is that when belief-like imaginings—as opposed to beliefs (and other cognitive states)—penetrate visual experience, they render visual experiences non-assertoric. (shrink)

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

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 (...) class='Hi'>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)

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)

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)

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 (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 propose to analyze well-known cases of "imaginative resistance" from the philosophical literature (Gendler, Walton, Weatherson) as involving the inference that particular content should be attributed to either: (i) a character rather than the narrator or, (ii) an unreliable, irrational, opinionated, and/or morally deviant "first person" narrator who was originally perceived to be a typical impersonal, omniscient, "effaced" narrator. We model the latter type of attribution in terms of two independently motivated linguistic mechanisms: accommodation of a discourse referent (Lewis, Stalnaker, (...) Kamp) and 'cautious' updating as a model of non-cooperative information exchange (Eckardt). (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)

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)