Conscious experiences are characterized by mental qualities, such as those involved in seeing red, feeling pain, or smelling cinnamon. The standard framework for modeling mental qualities represents them via points in geometrical spaces, where distances between points inversely correspond to degrees of phenomenal similarity. This paper argues that the standard framework is structurally inadequate and develops a new framework that is more powerful and flexible. The core problem for the standard framework is that it cannot capture precision structure: for example, (...) consider the phenomenal contrast between seeing an object as crimson in foveal vision versus merely as red in peripheral vision. The solution I favor is to model mental qualities using regions, rather than points. I explain how this seemingly simple formal innovation not only provides a natural way of modeling precision, but also yields a variety of further theoretical fruits: it enables us to formulate novel hypotheses about the space and structures of mental qualities, formally differentiate two dimensions of phenomenal similarity, generate a quantitative model of the phenomenal sorites, and define a measure of discriminatory grain. A noteworthy consequence is that the structure of the mental qualities of conscious experiences is fundamentally different from the structure of the perceptible qualities of external objects. (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)

Is the capacity to experience hope central to our ability to entertain desirable future possibilities in thought? The ability to project oneself forward in time, or to entertain vivid positive episodic future thoughts, is impaired in patients with clinical depression. In this article, I consider the causal relation between, on the one hand, the loss of the affective experience of hope in depressed patients, and on the other hand, the reduced ability to generate and entertain positive episodic future thinking. I (...) suggest that findings in the philosophy of emotion may shed light on this causal relation. (shrink)

The intuitive view that memories are characterized by a feeling of pastness, perceptions by a feeling of presence, while imagination lacks either faces challenges from two sides. Some researchers complain that the “feeling of pastness” is either unclear, irrelevant or isn’t a real feature. Others point out that there are cases of memory without the feeling of pastness, perception without presence, and other cross-cutting cases. Here we argue that the feeling of pastness is indeed a real, useful feature, and although (...) this feeling does not define memory ontologically, it is a characteristic marker which helps us easily categorise a mental state first-personally. We outline several cognitive features that underlie this experience, including the feeling of past accessibility, ergonomic significance, immersion, objectivity and mental strength. Our account is distinctly phenomenal, rather than doxastic, although our web of beliefs may contribute to this experience. (shrink)

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

Introspection is a fundamental part of our mental lives. Nevertheless, its reliability and its underlying cognitive architecture have been widely disputed. Here, I propose a principled way to model introspection. By using time-tested principles from signal detection theory (SDT) and extrapolating them from perception to introspection, I offer a new framework for an introspective signal detection theory (iSDT). In SDT, the reliability of perceptual judgments is a function of the strength of an internal perceptual response (signal- to-noise ratio) which is, (...) to a large extent, driven by the intensity of the stimulus. In parallel to perception, iSDT models the reliability of introspective judgments as a function of the strength of an internal introspective response (signal-to-noise ratio) which is, to a large extent, driven by the intensity of conscious experiences. Thus, by modelling introspection after perception, iSDT can calibrate introspection’s reliability across a whole range of contexts. iSDT offers a novel, illuminating way of thinking about introspection and the cognitive processes that support it. (shrink)

This paper argues that we should distinguish two different kinds of imaginative vividness: vividness of mental images and vividness of imaginative experiences. Philosophy has focussed on mental images, but distinguishing more complex vivid imaginative experiences from vivid mental images can help us understand our intuitions concerning the notion as well as the explanatory power of vividness. In particular, it can help us understand the epistemic role imagination can play on the one hand and our emotional engagement with literary fiction on (...) the other hand. (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)

[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)

The notion of subjective vividness plays a fundamental role in comparing different conscious experiences, yet it is poorly understood and lacks proper definition. Philosophical reflection on this topic is especially scarce. This article proposes a novel account of vividness arguing that its standard operationalisation in psychology conflates two major modality‐general dimensions along which experiences vary—subjective intensity and subjective specificity—which themselves are determined by further modality‐specific factors. The article identifies the neural underpinnings of these factors in the visual domain, demonstrates the (...) unificatory power of the account, and argues that vividness is part of the content of perception. (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)

To imagine is to form a mental representation that does not aim at things as they actually, presently, and subjectively are. One can use imagination to represent possibilities other than the actual, to represent times other than the present, and to represent perspectives other than one’s own. Unlike perceiving and believing, imagining something does not require one to consider that something to be the case. Unlike desiring or anticipating, imagining something does not require one to wish or expect that something (...) to be the case. // -/- Imagination is involved in a wide variety of human activities, and has been explored from a wide range of philosophical perspectives. Philosophers of mind have examined imagination’s role in mindreading and in pretense. Philosophical aestheticians have examined imagination’s role in creating and in engaging with different types of artworks. Epistemologists have examined imagination’s role in theoretical thought experiments and in practical decision-making. Philosophers of language have examined imagination’s role in irony and metaphor. // -/- Because of the breadth of the topic, this entry focuses exclusively on contemporary discussions of imagination in the Anglo-American philosophical tradition. (shrink)