Imagination

According to recent orthodoxy, imagination is best characterised in terms of distinctive imaginative states. But this view is ill-suited to characterisation of the full range of imaginative activities—creation, fantasy, conceiving, and so on. It would be better to characterise imagination in terms of a distinctive imaginative process, with the various imaginative activities as more determinate implementations of the determinable process.

In his book Wojciech Sady attempts to reconstruct the structure of the fundamental transformations that can be described as the relativistic and quantum revolution. Referring to rich historical material and Ludwik Fleck’s reflections on the development of scientific knowledge, the author tries to explain how it is possible that “scientists began to think differently than they had been taught.” Sady’s work, although not devoid of somewhat weaker points, is a brave and thought-provoking attempt to propose his own explanation of the (...) mechanisms of the aforementioned transformations. (shrink)

The Southern Journal of Philosophy, EarlyView.

In the years 1675-84, Leibniz sought to disprove Descartes’s account of clear and distinct perception by implementing a three-step argumentative strategy. The first part of the paper reconstructs the argument and highlights what aspects of Descartes’s epistemology it addresses. The reconstruction shows that the argument is based on conceivability errors. These are a kind of symbolic cognition that prove Descartes’s clear and distinct perception as introspectively indistinguishable from Leibniz’s symbolic cognition. The second part of the paper explores the epistemic implication (...) of the indistinguishability between clear and distinct perception and symbolic cognition: the mind constitutively depends on products of the imagination. My conclusion addresses the role of the imagination in symbolization. Symbolization does not exceed imagination; it rather is an idealized use of cognitive surrogates, like characters, to submit to the imagination what is not subject to it. (shrink)

In this paper, I discuss Kant’s concept-less schematism in the third Critique1 and make three claims: 1) concept-less schematism is entirely consistent with the schematism in the first Critique; 2) concept-less schematism is schematism with no empirical concept as an outcome; and 3) in accordance with 1) and 2), the imagination is free to synthesize the given manifold and leads to judgements of taste without this meaning either that the categories play no role at all or that these judgements are (...) full-fledged cognitive determining judgements. While most commentators read the freedom of the imagination as its independence from the understanding, I argue that the freedom of the imagination is based on a non-determining employment of the pure concepts of the understanding. The freedom of the aesthetic imagination consists in the temporal schematization of the categories without any complementary determination of the empirical concept. (shrink)

Littlejohn, M.E... Imagination now: A Richard Kearney reader. Rowman & Littlefield. This is a review of a new collection of writings by Richard Kearney, from 1988 to 2019. The volume is organized around the overarching theme of the role of imagination in hermeneutics and ethics. It has four thematic sections, focusing on poetics and culture, carnal hermeneutics, religion, and politics, followed by a recent interview with Kearney. The review is written from a viewpoint of applied hermeneutics. It is a rich (...) and complex collection from which I highlight threads of narrative imagination, self and other, discernment, and the relationship between phenomenology and hermeneutics. Two examples pertinent to nursing practice are explored in relation to themes in the book as a way of showing its potential for contributing to applied hermeneutics and the concerns of those in practice professions. Keywords Hermeneutics, phenomenology, narrative, imagination, ethics, Richard Kearney. (shrink)

The Renaissance’s sources of Descartes’ method are discussed in this article. Main attention is paid to the cabbalistic principles of Ramon Lull’s "Short Art" and Brunian and Ramist art of memory. Descartes knew Lull’s art to which he reffered to in very derogatory terms. The same logical, Pythagorean, and cabbalistic principles of Lullism, however, became the basis for the art of memory of the Renaissance and for the natural magic of the Renaissance, which Descartes knew. The occult art of memory (...) of the Renaissance is also considered. J. Bruno was a great follower of occult art of memory and of the system of Lullism. The art of Peter Ramus arises to counterpose the official Catholic system of memory and the occult art of memory in the Protestant countries. The chief aim of the Ramist movement for the reform and simplification of education was to provide a new and better way of memorizing the subject. This was to be done using a new method, whereby every subject was to be arranged in a "dialectical order." Descartes exercised his great mind on the art of memory and how it might be reformed. The mnemonic author who gave rise to his reflections was Lambert Schenkel. Descartes interpreted the traditional sacral Medieval art of memory and Renaissance occult art of memory as "corporeal memory" and "outside of us" as compared with "intellectual memory", which is within us and incapable of increase or decrease. There is a hypothesis that the art of memory, radical doubt, and some ideas of the Protestant movement were the sources of Descartes’ scientific method. (shrink)

When Wittgenstein claims that "the expression of a change of aspect is the expression of a new perception and at the same time of the perception's being unchanged" (Wittgenstein 1953: 196), he expresses a paradox that Gombrich (Gombrich 1960) modifies in this way: (a 1) the observer x perceives a picture P under a new aspect; (b 1) if x perceives P under a new aspect then x's perception of P has changed; (c 1) but x's perception of P has (...) not actually changed. I argue that the Gombrich's version of the paradox has become the core of the problem of the pictorial representation. As I will explain, different approaches to depiction solve the paradox by denying one among (a 1)-(c 1). Gombrich rejects (c 1). Wollheim rejects (a 1). The so-called psychological theories of depiction also reject (a 1). Every theory of depiction should face what I call the Fictional Issue (FI) and the Representational Issue (RI). Attempting to solve FI and RI, I shall explore an alternative, Wittgensteinian solution, which implies to reject (b 1). To do this, we have to interpret the seeing-as as made of two kinds of perception: a simple perception and a representational perception. (shrink)

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

What are theoretical models and how do they contribute to a scientific understanding of reality? In this chapter, I will argue that models are akin to fictional stories in that they are human-made artifacts created through the imaginative activities of scientists. And I will suggest that the sort of imagination involved in modeling is make-believe and that this is constrained in three main ways which, together, enable knowledge of reality. I will conclude by addressing recent criticisms against the fiction view (...) of models and the relevance of scientific imagination in modeling put forward by Weisberg and Knuuttila. (shrink)

The present paper proposes a route to modal claims that allows us to infer to certain possibilities even if they are sensorily unimaginable and beyond the evidential capacity of stipulative imagining. After a brief introduction, Sect. 2 discusses imaginative resistance to help carve a niche for the kinds of inferences about which this essay is chiefly concerned. Section 3 provides three classic examples, along with a discussion of their similarities and differences. Section 4 recasts the notion of potential explanation in (...) Lipton’s (Inference to the best explanation, Routledge, Abingdon, 2004) in order to accommodate inferences to possibility claims; Sect. 5 then attempts to characterise a principle underlying such inferences. Section 6 concludes by discussing how the proposal relates to other modal epistemologies, with emphasis on the potential of such inferences to produce genuinely new ideas. (shrink)

Our contemporary politics faces the paradoxical problem that while we are inundated with images on our screens, we nevertheless seem to lack creative political imagination to conceive of solutions to our global problems. One account for this paradox is Chiara Bottici’s suggestion that the constant stream of virtual images produced qualitatively alters them to such an extent that they become ends in themselves: thus, spectacularizing our politics. My claim, against Bottici’s, is that it is not the case that the increase (...) in images created causes a qualitative change; rather, the increase in images created results from an already occurred qualitative change that images are created for their own sake instead of as a response to the particular situation’s determining conditions. The concept of the imaginal, insofar as it is unhinged from these local conditions, is itself the precondition for the very problem of political spectacularization that we face. To support my claim, I utilize Aristotle’s concepts of imagination, desire, and practical truth to show that without truth conditions determined by the particular, the political imaginal ends up operating under the motive of image for its own sake—which is, at bottom, desire for its own sake—thus feeding into the creation of more images devoid of concrete solutions. (shrink)

Anthropology of Consciousness, EarlyView.

One of the challenges facing complex democratic societies marked by deep normative disagreements and differences along lines of race, gender, sexuality, culture and religion is how the perspectives of diverse individuals and social groups can be made effectively present in the deliberative process. In response to this challenge, a number of political theorists have argued that empathetic perspective-taking is critical for just democratic deliberation, and that a well-functioning democracy requires the cultivation in citizens of empathetic skills and virtues. In this (...) paper, we begin by distinguishing several kinds of imaginative projection and corresponding kinds of empathy. On the basis of this analysis, we suggest that genuine empathetic perspective-taking, especially across gendered, racial and embodied differences, is more challenging than is often assumed in the literature. This poses a dilemma for theorists who place great store on the role of empathetic imagination to overcome the challenges of democratic deliberation. On the one hand, placing responsibilities for empathetic perspective-taking primarily on the socially privileged raises risks of inaccurate and inappropriate projection. On the other hand, mitigating the risks of projection by calling on the socially marginalised to articulate their experiences and feelings in a way that can engage the imagination of the socially privileged, risks perpetuating epistemic injustice. We suggest that while this dilemma may be difficult to overcome, its effects can nevertheless be mitigated through both the cultivation of individual deliberative virtues and pragmatic institutional responses. (shrink)

In this essay, I study the departure performed in The Imaginary from the Husserlian position spanning from the Logical Investigations and the 1904/1905 lectures on the imagination. In Sartre’s conception, the imagination in its two forms is never intuitive. Moreover, in an act of imagination we can never find immanent sensible contents. In Husserl, the imagination in its two forms, is a sensible intuition, like perception. Furthermore, every act of imagination apprehends immanent sensible contents.

This paper maintains that Sartre’s concept of magic has to be considered as a full-fledged and quite technical phenomenological concept. Such concept describes a very specific way in which one is able to be conscious-of-something and reveals some structural features of consciousness and its mode of existence. Moreover the “magical” cluster emotions-imagination-language also appears to be the existential matrix, as it were, from which fictions are generated: starting from the most original fiction of all, namely the constitutive fiction upon which (...) each individual existence is built, i.e. the fiction of one’s own essence. (shrink)

Anthropology of Consciousness, EarlyView.

Nietzsche's On the Genealogy of Morality includes several cases of agents who are, prima facie, self-deceived. Recent work has linked these cases to deflationary accounts on the one hand and intentionalist Sartrean accounts on the other. But neither is fully satisfactory. I suggest a new account that gives a central role to focused daydreaming and imagination, especially as related to affective content that threatens to destabilize self-deception. This approach, not neatly categorizable, builds upon both deflationary and intentionalist accounts, emphasizing links (...) between vengefulness and forgiveness in Nietzsche's psychology. (shrink)

For the later Foucault, as for the early Foucault, the dream represents a privileged disclosure of the ethics of the self, and the relation to truth. What, then, is the function of the dream in the...

Despite the evident importance of imagination in both ethical decision-making and entrepreneurship, significant gaps remain in our understanding of its actual role in these processes. As a result, scholars have called for a deeper understanding of how imagination impacts value creation in society and how this critical human faculty might more profoundly connect our theories of ethics and business decision-making. In this paper, we attempt to fill one of these gaps by scrutinizing the underlying philosophical foundations of imagination and applying (...) them to the challenges facing entrepreneurs attempting to create new value in an increasingly unpredictable and kaleidic world. Accordingly, we apply a view of imagination developed by the pragmatist philosopher John Dewey to the radically subjective economic philosophy of G.L.S Shackle. As a result, we develop a concept of imagination which we believe can be both significant and hopeful for research at the intersection of business ethics and new value creation. (shrink)

This paper presents a reconstruction and interpretation of the process of change in Adam Smith’s philosophy basing on the example of changes in fashion. I shall focus on the role of imagination, as well as on the role of the wealthy in the process. I shall analyse how sympathy, respect and cognitive errors result in looking up to and mimicking the great. Something introduced by a small number of people becomes fashionable, as others follow. However, the processes of change will (...) be regarded as an effect of individual behaviour and decisions that affect the society. (shrink)

This paper maintains that empathy with fictional characters, aka fictional empathy, is morally valuable insofar as it can provide the empathizer with knowledge of values. More precisely, the paper argues that fictional empathy enables the empathizer to become imaginatively acquainted with the other’s values, even if these values are very different from one’s own. After motivating the topic in the introduction (section 1), the paper presents some thoughts about the epistemology of value and empathy, establishing a distinction between direct and (...) imaginative acquaintance with values (section 2). Next, it argues that empathy can lead the empathizer to co-experience the other’s values and, in so doing, make her directly or imaginatively acquainted with them (section 3). The paper discusses a possible challenge concerning the epistemic function of the imagination and explores different ways in which we can become imaginatively acquainted with values (section 4). It then examines features of fiction that explain why fictional empathy might be better suited than empathy for real others in pursuing this task (section 5). The paper closes by providing some reasons why we should regard the imaginative acquaintance with value attained through fictional empathy as morally valuable (section 6). (shrink)

In this contribution we explore revisionists and anti-revisionists conceptions of the historical imagination. The focus will be on how these conceptions of the historical imagination determine how one ought to answer the question of whether or not it is in principle possible to know the past in its own terms rather than from the perspective of the present. The contrast that we are seeking to draw is that between a conception of the historical imagination which is revisionist in the sense (...) that it is committed to the claim that knowledge of the past is in principle impossible, and one which is anti-revisionist in the sense that it regards knowledge of the past in its own terms to be in principle possible. Revisionism, as we understand it here, is not the contingent claim that in some cases (where, for example, new evidence which was previously unavailable comes to light) the historical understanding of the past may be revised; rather, it represents an a priori claim about the impossibility of knowing the past in its own terms in all cases, and not just in some. Likewise, anti-revisionism, as we understand it here, is the view that historical knowledge is in principle possible; it is not the claim that it is always achieved as a matter of fact. The debate between revisionist and anti-revisionist conceptions of the historical imagination is therefore a second-order debate about the nature of historical knowing, about whether it is possible, and if so, about what its conditions of possibility are. It is not a first order debate about whether or not such knowledge has been achieved in any given case. (shrink)

Through the reconstruction of Leibniz's theory of the degrees of knowledge, this e-book investigates and explores the intrinsic relationship of imagination with space and time. The inquiry into this relationship defines the logic of imagination that characterizes both human and non-human animals, albeit differently, making them two different species of imaginative animals. -/- Lucia Oliveri explains how the emergence of language in human animals goes hand in hand with the emergence of thought and a different form of rationality constituted by (...) logical inferences based on identity and contradiction, principles that are out of reach of the imagination. The e-book concludes that the presence of innate principles in human animals transforms the way in which they sense-perceive the world, thereby constantly increasing the distinction between human and non-human animals. -/- Keywords: human and non-human animals, Leibniz and Locke on ideas, Leibniz on bodies, Leibniz on conceivability, Leibniz on degrees of knowledge, Leibniz on degrees of perception, Leibniz on innate ideas, Leibniz on modality, Leibniz on similarity and congruence, Leibniz on space and time, Leibniz’s philosophy of language, theory of types. (shrink)

It is not uncommon to think that having a desire involves taking its object to be good in some sense. This idea has been developed in two directions: either toward a view that understands the positive evaluation in terms of a judgment or belief or a view according to which the relevant evaluation is perception-like. In this article, I defend a novel proposal that takes the positive evaluation of the object of desire to be a kind of imagining.

Different notions of objectivity support different notions of what is required for a moral value or obligation to be experienced as objective. If the objectivity of a property requires that it can exist even when we fail to notice its existence, then experiencing a property as objective will require that we imagine it appearing in some way that is not presently available to us. Explaining what that imagining involves is the central task of this paper. Defending the epistemic value of (...) such imagining is a secondary aim. (shrink)

During the last decade Castoriadis’ questioning has become a reference point in contemporary social theory. In this article I examine some of the key notions in Castoriadis’ work and explore how he strives to develop a theory on the irreducible creativity in the radical imagination of the individual and in the institution of the social-historical sphere. Firstly, I briefly discuss his conception of modem capitalism as bureaucratic capitalism, a view initiated by his criticism of the USSR regime. The following break (...) up with Marxist theory and his psychoanalytic interests empowered him to criticize Lacan and read Freud in an imaginative, though unorthodox, fashion. I argue that this criticai enterprise assisted greatly Castoriadis in his conception of the radical imaginary and in his unveiling of the political aspects of psychoanalysis. On the issue of the radical imaginary and its methodological repercussions, I’m focusing mainly on the radical imagination o f the subject and its importance in the transition from the “psychic” to the “subject”. Taking up the notion of “Being” as a starting point, I examine the notion of autonomy, seeking its roots in the ancient Greek world. By looking at notions such as “praxis”, “doing”, “project” and “elucidation”, I show how Castoriadis sought to redefine revolution as a means for social and individual autonomy. Finally I attempt to clarify the meaning of “democracy” and “democratic society” in the context of the social imaginary and its creations, the social imaginary significations. (shrink)