Imagination and Imagery

Stich & Ravenscroft (1994) have argued that (contrary to most people's initial assumptions) a simulation account of folk psychology may be consistent with eliminative materialism, but they fail to bring out the full complexity or the potential significance of the relationship. Contemporary eliminativism (particularly in the Churchland version) makes two major claims: the first is a rejection of the orthodox assumption that realistically construed propositional attitudes are fundamental to human cognition; the second is the suggestion that with the advancement of (...) scientific understanding of the mind it will be possible to entirely eliminate the mentalistic and intentional from our ontology, thus dissolving the mind-body problem. The first claim (which has been argued in detail) supplies the principal grounds for accepting the second, much more ambitious and significant, claim. Robert Gordon's (1995, 1996, 2000) radical simulation theory of "folk psychology", proposed initially (Gordon, 1986) as an alternative to "theory theory" accounts of self and interpersonal understanding, but subsequently developing into a quite general challenge to symbolic computational accounts of mind, is not merely consistent with, but actually provides considerable additional support for, the first eliminativist claim. However, although radical simulationism has no use for reified propositional attitudes, it relies on another family of mentalistic and intentional notions, including perspective taking, "seeing as", pretending, imagery, and, most centrally, imagination. It is thus inconsistent with eliminativist metaphysical ambitions. Nevertheless, from this perspective the mind-body problem is transformed. Its solution no longer depends on accounting directly for the intentionality of the attitudes, but rather on accounting for the intentionality of imagination. Although standard accounts of imagination derive its intentionality from that of the attitudes, the recently proposed "perceptual activity" theory of imagery and imagination (Thomas, 1999) can provide a direct account of the intentionality of imagination that is consistent with physicalism.. (shrink)

The aim of this intervention is to briefly advance an interpretation of the post- COVID19 digitalisation processes as to be recognised within the philosophical framework of Vorstellung Metaphysik, “metaphysics of representation”. I would maintain that the formula, firstly indicated by Martin Heidegger, can provide us with a tool to interpret contemporary culture as founded on an “iteration” of individual and collective consciousness into non-existent digital realities. Moreover, I will argue that these concepts are philosophically relatable to those of alienation and (...) reification that come from Marxist traditions. Ultimately, the analysis will try to use the above mentioned tools to delve into an interpretation of remote working and education as potential carriers of alienation. (shrink)

A summary of Explaining Imagination (OUP, 2020) for the author/critics symposium in Analysis.

Author replies to commentaries from Christopher Hill, Hannah Kim, Emine Hande Tuna, and Neil Van Leeuwen on Explaining Imagination (OUP, 2020) by Peter Langland-Hassan.

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)

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)

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 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)

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

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

This entry surveys recent developments in the epistemology of imagination, examining different views on the circumstances in which the imagination can function as a source of evidence, alongside more standard sources such as perception and inference.

This chapter presents and contextualizes empirical work done by philosophers on imagination and creativity. It also suggests new directions for future empirical research. It is argued that empirical work on these (and other topics) is not just beneficial but necessary for philosophy of imagination and creativity. Further, it is argued that this work must sometimes be done by philosophers, and it is also often best done by philosophers. Topics discussed include imaginative resistance, counterfactual imagination, scientific imagination, distinguishing imagination from other (...) mental states (e.g., supposition, memory), vividness of imagination, AI imagination, creativity and praiseworthiness, creativity as a virtue, and AI and creativity. (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)

Perception is said to have assertoric force: It inclines the perceiver to believe its content. In contrast, perceptual imagination is commonly taken to be non-assertoric: Imagining winning a piano contest does not incline the imaginer to believe they actually won. However, abundant evidence from clinical and experimental psychology shows that imagination influences attitudes and behavior in ways similar to perceptual experiences. To account for these phenomena, I propose that perceptual imaginings have implicit assertoric force and put forth a theory—the Prima (...) Facie View—as a unified explanation for the empirical findings reviewed. According to this view, mental images are treated as percepts in operations involving associative memory. Finally, I address alternative explanations that could account for the reviewed empirical evidence—such as a Spinozian model of belief formation or Gendler’s notion of alief—as well as potential objections to the Prima Facie View. (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)

This chapter explores a noteworthy, as-yet-unanalysed normative aspect of imagining. It begins by examining cases where imaginings are deemed erroneous, showing that imaginings can “go wrong” not only by failing to represent that which the imaginer intends to imagine, or is asked to imagine by an external source (e.g. a work of fiction), but also when imaginings arise unbidden. That unintended, non-deliberate imaginings can be erroneous shows that there must be a norm or commitment that is inherent to imagining, a (...) norm or commitment that, if violated, renders imaginings erroneous. Invoking Kendall Walton’s thesis about the normativity of imagining, I adduce a first-pass account of this normative aspect; the account pivots on the idea that imagining aims at, or is committed to representing, that which is fictionally true. After showing that this account is inadequate, I revise Walton’s thesis, arguing that in imagining, we are not committed to representing the fictional truth. Rather, taking on a quasi-doxastic role vis-à-vis the fictional world, we are committed to representing that which is (merely) presented as fictionally true. I proceed to explain the error in question in terms of this thesis, showing that when the quasi-doxastic role we take on in our capacity as imaginers is not carried out properly, our imaginings are rendered erroneous. (shrink)

A number of authors have asked what it takes for a course of mental imagery to be epistemically or practically useful. This paper addresses a prior question, namely, the difference between courses of imagination that are realistic and those that are fantastic. One approach, suggested by recent literature concerning the utility of imagery, holds that a course of imagination represents realistically if and only if the course of events represented conforms to certain accepted constraints. Against this it will be argued (...) that the constraints cannot be both permissive enough and restrictive enough. An alternative approach adds as a necessary condition that realistic courses of imagination are constructed in accordance with certain procedures on the basis of remembered perceptions. (shrink)

Over the last two years, the third wave of artificial intelligence (AI) has emerged powerful tools for both artistic expression and scientific research. In design, image generators display an equivalent disruption to text generators, while the medium of text creates the new scope of writing prompts. This contribution discusses the ambivalences between text and image generators via two main theses: first about the potential of prompting and generated images as a medium of discourse; second, it examines the reasoning behind their (...) tendency to be mystified. Prompts can be automated through text generators and used to generate images on a wider scale, making it a praxis in which precise wording becomes crucial for generating anything. Generated images practice a form of mimesis. With Generative Adversial Networks (GANs) producing non-referential images, the discourse of illustration is concerning the obsolescence of authorship. AI is observed to manifest a dual character, serving as both tool and author, even though AI does not own the classification of a person and is not an author in legal terms. The utilization of text and image generators is intertwined with a mythicized notion due to their non-verifiable mode of operation. The myth of AI is a product of its indeterminacy. (shrink)

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

The problem of dream skepticism – i.e., the problem of what can justify one’s belief that they are not dreaming – is one of the most famous problems in philosophy. I propose a way of responding to the problem which is available if one subscribes to the theory that the sensory experiences that we have in dreams consist of images (as opposed to false percepts). The response exploits a particular feature of imagination, viz., that it is not possible to simultaneously (...) have two separate imagistic experiences in the same modality. (shrink)

[Open Access.] Perceptual experiences have presentational phenomenology: we seem to encounter real situations in the course of visual experiences, for instance. The current paper articulates and defends the claim that the contents of at least some perceptual experiences are inherently presentational. On this view, perceptual contents are not always forceless in the way that, say, the propositional content that 2 + 2 = 4 is generally taken to be, as a content that may be asserted or denied or merely supposed; (...) rather, there are perceptual contents such that any mental state or episode which has the relevant content must be one in which things seem to the given subject to be a certain way. Intuitive motivation for the view is presented and an explanatory line of argument in support of it is developed: it is argued that the recognition of inherently presentational perceptual contents allows us to explain certain representational limitations to which ordinary visualizations and other forms of perceptual mental imagery are subject. Some potential objections to the position are explored, leading to further elaboration of it. (shrink)

Ignace Haaz endeavors to thoughtfully confront the intricate phenomenon of embellishing knowledge, which lies at the delicate boundary between aesthetic values and the ethics of knowledge, or intellectual ethics. This boundary should not be pompously perceived as the social status of some armchair academics but rather understood very practically through the noble profession of the editor. In a meticulously curated collection of essays, he addresses the third set of challenges among three sets of problems surrounding aesthetic values, ethics, and education. (...) These challenges are: -The profound nature and intricate problem of aesthetic values, including the role of grace and beauty in fostering ethical values versus art as a playful masking of some key values. -The issue of art as “showbusiness” driven by passion-based attitudes, and the consequences arising from these two initial lines of argument. -A focus on art and research integrity, aiming to find artistic responses to the unexpected problems encountered in art-based learning. Ultimately, this contribution poignantly reminds us of the perennial value of irony in addressing ethical dilemmas with others and poses the question of whether laughter, which transcends mere spiritual humor, could also function therapeutically in restoring the confidence between author and publisher in the process of addressing integrity issues. (shrink)

What is sensory imagining and what role does it play in our lives? How does visualizing a castle, running through a tune in one's head, or imagining the taste of fish ice cream relate to perceiving such things, or to remembering them? What are the connections between imagining and agency, and how does it relate to emotion and other affect? The Profile of Imagining offers a theory that answers these and many other questions. It argues that sensory imagining involves the (...) redeployment of resources central to perception, though in a radically different context and to very different effect. The result is a view that explains central features of imagining's phenomenology and functional role, including its capacity to capture what it would be like to perceive its objects, while acknowledging the many and striking differences between imagining and sensing. Hopkins shows how the view can be extended to imagining in other forms, especially the imagining of affect; and uses it to argue for some surprising conclusions: that imagining something is not a way to engage with its aesthetic character; and that imagining provokes real feeling much less often than is usually assumed. -/- Table of contents: Introduction; Ch.1 Imagining and agency; Ch.2 To be given as a representation; Ch.3 Knowledge of sensory profiles; Ch.4 Profiles in imagination; Ch.5 Observation, overflow and attention; Ch.6 Episodic memory; Ch.7 Learning from imagining; Ch.8 Aesthetic engagement, imagining and the draw of the real; Ch.9 Reacting to imagining?; Conclusion. (shrink)

We do not normally speak of seeing experiences. Yet it is common to say that we have imagined an experience. Why the difference here? The deep affinities between sense perception and sensory imagination might have led one to expect that the limits of what we can sensorily imagine, using visual imagery, would align with what we can, in the right circumstances, see. We face a decision: either abandon this alignment of sensory imagination with perception, or conclude that we cannot, literally, (...) imagine experiences. This chapter pursues the second path: experiences are no more imaginable than they are visible. There are three components to the argument. First, it is argued that the implicit dilemma is not a false dilemma: we have strong reason to preserve an alignment between the objects of vision and the objects of visual-imagery-involving imagination. Second, the arguments of some—including Peacocke (1985) and Martin (2002)—that all sensory imagination in fact requires the imagining of an experience are challenged. Third, a framework for understanding the contents of visual imagination is provided and defended. This framework preserves an alignment between the contents of perception and the contents of imagination, while allowing us to appreciate the merely derivative, non-literal sense in which we can imagine experiences. Implications for perennial puzzles about consciousness are explored. (shrink)

If we are free to imagine what we choose, this is likely because our intentions determine what we are imagining. However, in a recent article, Munro and Strohminger (2021) argue that, in some cases of imagistic imagining, our intentions do not determine what we are imagining. They offer examples where, intuitively, a person intends to imagine one thing but, due to the causal source of the image used, imagine another. This paper acknowledges the challenge posed by these cases while arguing (...) on several grounds that, when present, intentions nevertheless always suffice to determine the object of one’s imaginings. I conclude by explaining how intentions could fix the objects of episodic rememberings in much the same way as they do for imaginings, thereby bolstering the case that remembering is a kind of imagining. (shrink)

Research on the specific features of daydreaming compared with mind-wandering and night dreaming is a neglected topic in the philosophy of mind and the cognitive neuroscience of spontaneous thought. The extant research either conflates daydreaming with mind-wandering (whether understood as task-unrelated thought, unguided attention, or disunified thought), characterizes daydreaming as opposed to mind-wandering (Dorsch, 2015), or takes daydreaming to encompass any and all “imagined events” (Newby-Clark & Thavendran, 2018). These dueling definitions obstruct future research on spontaneous thought, and are insufficiently (...) precise to guide empirical studies. They also fail to illuminate the phenomenal core of daydreaming, namely, its dreamlike qualities. Although daydreaming is related to both mind-wandering and narrative imagination, it is not reducible to either. We argue that daydreams are experiences of spontaneous, immersive imagination in the waking state. The main task of our investigation is to distinguish daydreaming, conceptually and phenomenologically, from mind-wandering, on the one hand, and night dreaming, on the other. Although daydream experiences can vary widely, we distinguish prototypical experiences of daydreaming from adjacent imaginative activity, including fleeting imagery and “focused daydreaming,” or crafted visualization. We consider our phenomenological analysis as preparatory work for conceptually distinguishing different spontaneous and imaginative states so that they can be investigated accordingly with questionnaires and qualitative methods. We argue that precision about the phenomenal character of daydreaming can guide neurophenomenological investigations, help delimit studies on individual variance in daydreaming features, and identify differences among daydreaming, mind-wandering, and night dreaming conceptually and phenomenologically, and possibly eventually in terms of neural correlates. (shrink)

I argue that dreams can contain perceptual elements in multifarious, heretofore unthought-of ways. I also explain the difference between dreams that contain perceptual elements, perceptual experiences that contain dream elements, and having a dream and a perceptual experience simultaneously. I then discuss two applications of the resulting view. First, I explain how my taxonomy of perception in dreams will allow “dream engineers”—who try to alter the content of people’s dreams—to accurately classify different dreams and explore creating new forms of perception (...) in dreams. Second, I consider the consequences of the view for the role of memory in dreaming and imagination. I argue that not every element of dreams or sensory imaginations must rely on memory. The resultant view of sensory imagination provides a counterexample to Hume’s account of sensory imagination, according to which sensory imagination must be built up from faint copies of sensory impressions stored in memory. (shrink)

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

When we dream, we feel emotions in response to objects and events that exist only in the dream. One key question is whether these emotions can be said to be “essentially unfitting”, that is, always inappropriate to the evoking scenario. However, how we evaluate dream emotions for fittingness may depend on the model of dreams we adopt: the imagination or the hallucination model. If fittingness requires a match between emotion and evaluative properties of objects or events, it is prima facie (...) plausible that dream emotions could fail to fit under the imagination model because it is unfitting to have an emotion toward an object we do not believe to be real. Under the hallucination model, dream emotions could be unfitting because their objects do not exist but we believe them to be real. More nuance, however, is required. By comparing dream emotions with the emotions we experience while imagining, engaging with fiction, and hallucinating, we conclude that although there are compelling arguments in support of the claim that dream emotions are essentially unfitting, these arguments are not entirely convincing, and it is more plausible that particular dream emotions can be assessed for fittingness under either model of dreaming. (shrink)

Aphantasia, namely the inability to voluntarily form visual mental imagery, does not, counterintuitively, impair the affected from successfully performing mental imagery tasks. One way of explaining this finding is to posit that aphantasics, despite their claim to the contrary, can form visual imagery, a position here referred to as aphantasia skepticism. This article outlines and rejects two types of aphantasia skepticism and argues that the position results from what is coined the visualizer’s fallacy, namely the false belief that visual mental (...) imagery is necessary to carry out mental imagery tasks. Furthermore, it is argued that the visualizer’s fallacy and the resulting aphantasia skepticism are not only potentially harmful to aphantasics but may also lead to an impoverished view of the dynamics of cognition in general. -/- . (shrink)

It is a commonplace that imagination is heterogeneous: we need to draw a series of cross-cutting distinctions even to begin any serious general discussion of the range of activities we take to be typical instances. The nature of the heterogeneity being exhibited is usually left unclear, however, and thus so are its consequences both for our understanding of imagination and for assessing certain challenges such as reductionism. Here it is argued that we can accept heterogeneity while recognizing important forms of (...) unity among the various kinds of imaginative activity. Four distinct but compatible strategies are considered, three of which have historical precedents in Aristotle’s and Hegel’s work. These proposals yield an interesting and plausible answer to the problem raised by heterogeneity, and have consequences for how we should respond to it. They share a plausible framework for thinking about the relationships among the various activities contemporary thinkers take to involve imagination. However, there are some ways in which deploying them is not straightforward, given some differences between modern approaches and older ones, and they conflict with a common thought about the epistemic status of imagination. (shrink)

Diese Arbeit wird wesentliche Fragen über das kollektive Imaginär und seine Beziehungen zur Realität und Wahrheit ansprechen. Zunächst sollten wir dieses Thema in einem konzeptionellen Rahmen ansprechen, gefolgt von der entsprechenden Tatsachenanalyse demonstrierbarer Verhaltensrealitäten. Wir werden nicht nur die Methodik, sondern vor allem die Prinzipien und Sätze der analytischen Philosophie annehmen. Die vorliegende Arbeit beruht analytischer Reflexion. Wir werden so umfassend und tief wie möglich spekulieren und die Ergebnisse unserer Gedanken ausdrücken. Trotz des multidisziplinären Charakters des Themas und der methodischen (...) Offenheit für die Annahme. Beiträge aus jedem Bereich der Wissenschaft, diese Arbeit gehört zu Psychologie und Ontologie oder, mit anderen Worten, soziale und ontologische Psychologie. Die freie Methodik, die solche Reflexionen leitet, umfasst und betrachtet alles, was sich der Kohärenz mit der philosophischen und psychologischen Epistemologie nähert. Diese Methodik verfolgt keine Beweise, sondern sucht nach der Wechselbeziehung zwischen bestehenden Beweisen jeglicher Art und Größe, die eine kohärente Bedeutung zu den realen Dingen ableiten. Der Hauptbereich dieses Titels besteht darin, zu beobachten, wie einige der wesentlichen evolutionären Attribute der Menschheit, wie Kreativität, Fantasie und Assoziation, zu einer gefährlichen Krankheit werden können, die in den Nebelschatten der Intelligenz versteckt ist. (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)

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)

The sensory constraint on conscious thought says that if a thought is phenomenally conscious, its phenomenal properties must be reducible to some sensory phenomenal character. I argue that the burgeoning psychological literature on aphantasia, an impoverishment in the ability to generate mental imagery, provides a counterexample to the sensory constraint. The best explanation of aphantasics’ introspective reports, neuroimaging, and task performance is that some aphantasics have conscious thoughts without sensory mental imagery. This argument against the sensory constraint supports the existence (...) of a non-sensory phenomenology of thought. Moreover, this argument can be extended to show that this non-sensory phenomenology determines a thought content. Finally, it can potentially diagnose the disagreement over cognitive phenomenology in the philosophy of mind, as such disagreement may turn on interpersonal variation in mental imagery. (shrink)

According to the guise of the good, a desire for P represents P as good in some respect. ‘Perceptualism’ further claims that desires involve an awareness of value analogous to perception. Perceptualism explains why desires justify actions and how desires can end the regress of practical justification. However, perception paradigmatically represents the actual environment, while desires paradigmatically represent prospective states. An experience E is an awareness of O when the nature of E depends on the nature of O. How could (...) desires depend on the merely possible? Extant perceptualist accounts have not adequately addressed this question. I propose a novel account of how desires can be an awareness of value. An awareness of value involves the successful exercise of a capacity to discriminate value out of non-evaluative representations. The resulting content and phenomenology of such a desire depends in the right way on the value properties of the desired state. An agent requires the right view of the non-evaluative features of a state to discriminate its evaluative features. I argue that imaginings are uniquely able to provide such a view, and so enable value discriminations. My account retains the epistemological attractions of perceptualism despite the disanalogy between desire and perception. (shrink)

Those who wish to defend the role of aesthetic values in science face a dilemma: Either aesthetic language is used metaphorically for what are ultimately epistemic features, or aesthetic language is used literally but it is difficult to see the importance of such values in science. I introduce a new account that gets around this problem by looking to an overlooked source of aesthetic value in science: the relation between form and content. I argue that a fit between the content (...) of a thought experiment, and the way in which that content is formulated, can have important epistemic pay offs through contributing to scientific understanding. (shrink)

The imagination is ubiquitous in our cognitive lives. You might imagine rotating a puzzle piece to determine whether it fits in an open space, or imagine what things are like from another person's perspective to figure out how they are feeling, or imagine a new rug in your living room to determine whether it matches the color of your sofa. These examples are mundane, but they point to a deep philosophical puzzle: how could merely imagining something give you any reason (...) to believe that it is true? After all, you can imagine anything you want to, from the fictional to the fantastical. This has led many philosophers to be deeply skeptical of the epistemic value of the imagination. When imagination is accorded a justificatory role, it is typically limited to beliefs about what is metaphysically possible. More recently, some philosophers have begun to push back against this orthodoxy by arguing that the imagination can justify empirical beliefs about the actual world. But even then, most contemporary discussions focus on whether the imagination can justify empirical belief, rather than on how the imagination justifies empirical belief, thereby leaving many central questions about the epistemology of the imagination unanswered. This dissertation attempts to fill this lacuna by canvassing the theoretical landscape of this exciting new literature and developing an account of the epistemic structure of the imagination. The first chapter sets the stage for the rest of the dissertation by reviewing extant arguments for and against the view that the imagination can justify empirical belief before posing a new argument in its favor. The second chapter argues that imaginative justification is mediate but non-inferential; it depends on one’s prior justification without depending on an inference from one’s prior beliefs. The third chapter argues that the imagination is informative—it can represent new content and generate new justification—in virtue of its analog representational format. The fourth and final chapter argues that some imaginings just are beliefs, and that this grounds their justificatory force. Together, the arguments of this dissertation suggest that the imagination is a distinctive kind of ampliative reasoning, and that it plays this cognitive and epistemic role by combining the analog representational format of imagery with the evidence-sensitive function of belief. (shrink)

Perceptual processes differ from cognitive, this paper argues, in functioning to be causally controlled by proximal stimuli, and being modular, at least in a modest sense that excludes their being isotropic in Jerry Fodor's sense. This claim agrees with such theorists as Jacob Beck and Ben Phillips that a function of stimulus-control is needed for perceptual status. In support of this necessity claim, I argue, inter alia, that E.J. Green's recent architectural account misclassifies processes deploying knowledge of grammar as perceptual. (...) _Pace_ Beck and Phillips, however, I argue a function of stimulus-control is insufficient for perceptual as opposed to cognitive status. One consideration in favour of such insufficiency, noted but (I argue) not convincingly rebutted by these theorists, concerns perpetually grounded demonstrative thought. Two other considerations trade on the fact that a function of stimulus-control can arise not from blind nature but intentional design or social institutions, where so-functioning processes may but need not be perceptual. I offer two cases where such processes are cognitive, viz. skilful play-by-play announcing of ongoing events, and voluntary visualizing of ongoing events under the guidance of apt play-by-play announcements, dubbed announcement-driven visualizing (ADV). The cognitive status of these three diverse phenomena cannot be explained by an absence of a perception-like representational format or content (for ADV has such) or by a presence of personal-level mental states causally mediating between stimuli and outputs (for perception has such). A bettter explanation invokes, I argue, the non-modular character of the generating process. (shrink)

The method of phenomenal contrast (in perception) invokes the phenomenal character of perceptual experience as a means to discover its contents. The method implicitly takes for granted that ‘what it is like’ to have a perceptual experience e is the same as ‘what it is like’ to imagine or recall it; accordingly, in its various proposed implementations, the method treats imaginations and/or recollections as interchangeable with real experiences. The method thus always contrasts a pair of experiences, at least one of (...) which is imagined or remembered rather than occurrent. Surveying all eighteen forms of implementing the method, I argue that in all of the proposed pairings, the substitution of imagination or recollection for perceptual experience in the method, is either inconceivable or impermissible. I identify four reasons why I think imagination cannot be substituted for real experience, and three reasons why recollection cannot be substituted for real experience. If my argument works, there is no form of implementing the method that is useful for discovering the contents of experience, and thus the method is not a well‐functioning tool to study the contents of perception. (shrink)

Aphantasia, i.e., the inability to voluntarily form visual mental images, affects approximately 2 to 5 percent of the population and plays an important role in a more general debate revolving around the role of imagery for our cognition. This thesis investigates aphantasia by means of an interdisciplinary approach, combining insights from contemporary neuroscientific research with historical philosophical arguments, with a specific focus on the later philosophy of Ludwig Wittgenstein. A new theoretical concept, meta-imagination, is developed and it is argued that (...) the concept can explain why aphantasics perform successfully on a wide range of visual imagery tasks, thus providing important implications for the more general debate about the connection between imagery and cognition. (shrink)

This Discussion Piece is a response to Mark Windsor's Discussion Piece (2023) 'Photographic Registers are Latent Images', which is a response to my article, (2021) 'Invisible Images and Indeterminacy: Why we need a Multi-stage Account of Photography' JAAC 79(2) 161-174.. -/- I argue that a photosensitive surface does not produce invisible pictorial features when it is exposed to light, and conclude, contra Windsor, that a photographic register is not a latent image. I argue that Windsor does not succeed in defending (...) a single-stage account of photography and I reconfirm that a multi-stage account is correct. (shrink)

What is objectionable about “blacking up” or other comparable acts of imagining involving unethical attitudes? Can such imaginings be wrong, even if there are no harmful consequences and imaginers are not meant to apply these attitudes beyond the fiction? In this article, we argue that blackface—and imagining in general—can be ethically flawed in virtue of being oppressive, in virtue of either its content or what imaginers do with it, where both depend on how the imagined attitudes interact with the imagining’s (...) context. We explain and demonstrate this using speech act theory alongside a detailed case study of blackface. (shrink)

The paper aims to give a phenomenological account of the way in which the experience of violence is modified in the aesthetic images. The phenomenological framework in which I place my analysis is primarily given by Edmund Husserl’s conception. The investigation starts from the curious fact that violence cannot be aesthetically experienced when it is presented in person, but it can be aesthetically experienced in images. I claim that the reason for this asymmetry lies in the structure of image-consciousness, that (...) is, in the differences between the physical thing, the depicting object and the depicted subject. Given that the image-consciousness presupposes the background of the physical thing, which is constantly and implicitly aimed by the consciousness, it is possible to focus only on the manner in which the depicted violence appears. In this way, we can aesthetically contemplate a violent scene without being disturbed by it. To show this, I bring forth a brief presentation of the a priori structure of (i) image-consciousness and (ii) aesthetic attitude, as they have been theorised by Husserl. After (iii) providing a minimal concept of violence and explaining some of the modifications that violence undergoes in image-consciousness, (iv) I show how violence is modified in aesthetic images. (shrink)

Underlying much current work in philosophy of imagination is the assumption that imagination is a skill. This assumption seems to entail not only that facility with imagining will vary from one person to another, but also that people can improve their own imaginative capacities and learn to be better imaginers. This paper takes up this issue. After showing why this is properly understood as a philosophical question, I discuss what it means to say that one imagining is better than another (...) and then discuss the kinds of imagination training and techniques that might be employed in an effort to get better at imagining. The discussion of these techniques draws insight from consideration of other skills-based activities, as well as from consideration of the creation of art and our engagement with literature and poetry. Over the course of this discussion, we also gain further insight into the nature of imagination. (shrink)

Contribution for the Nordic Journal of Aesthetics' Special Issue no. 30 on "The Changing Ontology of the Image". The image’s power is a power of appearing without fully being what it allows to appear. In its strange relationship to what is lacking, the image also and simultaneously displays a remarkable excess—a phenomenal excess.

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

: In Imagined and delusional pain Jennifer Radden aims to show that experiences of pain – and in particular, the pain associated with depression – cannot be merely delusional. Her reasoning relies crucially on the claim that the feeling of pain is imaginatively beyond our reach. Though she thinks that there are many ways that one can imagine scenarios involving oneself being in pain, she argues that one cannot imagine the feeling of pain itself. In this commentary, I target this (...) claim in an attempt to show that Radden is mistaken. My argument relies on facts about individual differences involving imagination. To my mind, arguments like Radden’s involve an unfortunate slide from an “I can’t imagine…” claim to an “It can’t be imagined claim…” To support my argument, I also call upon empirical findings concerning pain imagination. As I conclude, we have no reason to think that the feeling of pain is something that is, in principle, unimaginable. Keywords: Pain; Imagination; Feeling of Pain; Delusion La possibilità di immaginare il dolore Riassunto: In Imagined and delusional pain Jennifer Radden intende mostrare che le esperienze di dolore – e, in particolare, il dolore associato alla depressione – non possono essere semplicemente illusorie. Il cuore del suo argomento fa leva sull’affermazione per cui provare dolore è immaginativamente al di là della nostra portata. Sebbene ritenga che si possano immaginare scenari nei quali proviamo dolore, Radden afferma che non si possa immaginare l’avvertire dolore di per sé. In questo commento mi concentrerò su questa affermazione nel tentative di mostrare che Radden si sbaglia. Il mio argomento poggia su fatti relativi alle differenze individuali che riguardano l’immaginazione. Dal mio punto di vista argomenti come quelli di Radden implicano un infelice slittamento da una affermazione come “io non posso immaginare…” a una affermazione come “non si può immaginare …”. A sostegno della mia tesi porterò evidenze empiriche relative all’immaginazione del dolore. Come giungerò a sostenere, non abbiamo ragioni per pensare che il provare dolore sia qualcosa in via di principio inimmaginabile. Parole chiave: Dolore; Immaginazione; Sensazioni di dolore; Illusione. (shrink)