Can theories of mental imagery, conscious mental contents, developed within cognitive science throw light on the obscure (but culturally very significant) concept of imagination? Three extant views of mental imagery are considered: quasi‐pictorial, description, and perceptual activity theories. The first two face serious theoretical and empirical difficulties. The third is (for historically contingent reasons) little known, theoretically underdeveloped, and empirically untried, but has real explanatory potential. It rejects the “traditional” symbolic computational view of mental contents, but is compatible with recentsituated (...) cognition and active visionapproaches in robotics. This theory is developed and elucidated. Three related key aspects of imagination (non‐discursiveness, creativity, and seeing as) raise difficulties for the other theories. Perceptual activity theory presents imagery as non‐discursive and relates it closely to seeing as. It is thus well placed to be the basis for a general theory of imagination and its role in creative thought. (shrink)

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

Examining tensions between the past and present uses of scientific concepts can help clarify their contributions as tools in experimental practices. This point can be illustrated by considering the concepts of mental imagery and hallucinations: despite debates over their respective referential reliabilities remaining unresolved within their interdependent histories, both are used as independently stable concepts in neuroimaging experiments. Building on an account of how these concepts function as tools structured for pursuit of diverging goals in experiments, this paper explores this (...) tension by re-examining the continued reliance of each concept on inverse characterisations inherited from the nominally-discarded ‘mediator-view’ of sensory-like mental phenomena (SLMP). In doing so, I seek to demonstrate how examining unresolved tensions can help highlight that entrenched associations can remain both integral to, and obscured by, the uses of concepts as goal-directed tools within experimental practices. (shrink)

In many of his writings, Castoriadis argues that ‘the discovery of the imagination’ occurs in the works of Aristotle, Kant, Fichte, Freud, Heidegger and Merleau-Ponty. Although he has systematically encountered and interrogated the works of Aristotle, Kant, Freud, and Merleau-Ponty, the work of Fichte remains an enigmatic absence within the orbit of Castoriadis' work. This study is an attempt to address this enigma through a close reading of Fichte’s The Science of Knowledge.

Resumen El concepto de “quiasmo” es fundamental en la filosofía del “último” Merleau-Ponty. Me interesa retomar este concepto para mostrar que, en la nueva ontología esbozada en Le visible et l’invisible y en las notas de la misma época, su función guarda correspondencia con la tarea que, a lo largo de la historia de la filosofía, ha desempeñado la imaginación. En este sentido, una ontología del quiasmo supone por necesidad pensar una ontología de la imaginación. Además, este concepto permite arrojar (...) una luz nueva sobre el problema de la subjetividad.The concept of “chiasm” is central to the philosophy of the “late” Merleau-Ponty. My aim is to retrieve this concept in order to show that, within the framework of the new ontology outlined in Le visible et l’invisible and the notes written during the same period, its function corresponds to the function that imagination has performed throughout the history of philosophy. Thus, an ontology of chiasm necessarily involves reflecting upon an ontology of imagination. Furthermore, the concept of chiasm enables us to shed new light on the problem of subjectivity. (shrink)

The past 25 years have seen a rapid growth of knowledge about brain mechanisms involved in visual mental imagery. These advances have largely been made independently of the long history of philosophical – and even psychological – reckoning with imagery and its parent concept ‘imagination’. We suggest that the view from these empirical findings can be widened by an appreciation of imagination’s intellectual history, and we seek to show how that history both created the conditions for – and presents challenges (...) to – the scientific endeavor. We focus on the neuroscientific literature’s most commonly used task – imagining a concrete object – and, after sketching what is known of the neurobiological mechanisms involved, we examine the same basic act of imagining from the perspective of several key positions in the history of philosophy and psychology. We present positions that, firstly, contextualize and inform the neuroscientific account, and secondly, pose conceptual and methodological challenges to the scientific analysis of imagery. We conclude by reflecting on the intellectual history of visualization in the light of contemporary science, and the extent to which such science may resolve long-standing theoretical debates. (shrink)

I argue that the imagination was a crucial concept for the understanding of marvellous phenomena, divination and magic in general. Exploring a debate on prophecy at the turn of the seventeenth century, I show that four explanatory categories were consistently evoked and I elucidate the role of the imagination in each of them. I introduce the term ‘floating concept’ to conceptualise the different ways in which the imagination and the related ‘animal spirits’ were understood in diverse discourses. My argument is (...) underpinned with a general discussion of the imagination, after which I focus on a unorthodox tradition which attributed special powers to this internal faculty. Many physicians had explained psychosomatic phenomena by referring to the influence of the imagination on the human body; but some philosophers held that the imagination could also exert power over external objects. During the renaissance these theories acquired negative associations and became linked with illicit magic. Furthermore, I show that the relation between both animal spirits and imagination, and the power of the latter over external bodies, points to the importance of a ‘history of vapours’; and this suggests an adjustment to Keith Hutchison’s argument on occult qualities in mechanical philosophy. The accompanying paper gives more evidence of these claims and elaborates on the relation between the natural and the moral. (shrink)

Deploying the methods of epideictic rhetoric, the Bolognese biographer Carlo Cesare Malvasia compared the Carracci's dedication to their art, even to the point of putting at risk their own well-bei...

The aim of this article is to reassess the conceptual link between politics and our capacity to create images. Although a lot has been written on what we can call the ‘politics of imagination’, much less has been done to critically assess the conceptual link between the two in a systematic way. This paper introduces the concept of imaginal, understood simply as what is made of images, to go beyond the current impasse of the opposition between theories of imagination as (...) an individual faculty, on the one hand, and theories of the imaginary as a social context, on the other. As such, I also argue that the concept of imaginal is the theoretical tool most adapted to capture the nature of the conceptual link between politics and our capacity to produce images. This analysis is finally applied to contemporary politics and it is shown to be able to bring light to many of its paradoxes, including that of a political world full of images, but deprived of imagination. (shrink)

The principal aim of my thesis is to provide a unified theory of imagining, that is, a theory which aspires to capture the common nature of all central forms of imagining and to distinguish them from all paradigm instances of non-imaginative phenomena. The theory which I intend to put forward is a version of what I call the Agency Account of imagining and, accordingly, treats imaginings as mental actions of a certain kind. More precisely, it maintains that imaginings are mental (...) actions that aim at the formation of episodic representations, the content of which is directly determined by what we want them to represent. My defence of this version of the Agency Account happens in two stages. On the one hand, I try to show that it is both extensionally adequate and explanatorily illuminating with respect to those mental states or projects which are clear instances of either imaginative or non- imaginative phenomena. And on the other hand, I seek to demonstrate that the most plausible alternative to the Agency Account - namely the Cognitive Account according to which it is distinctive of imaginings that they are non-cognitive phenomena and thus to be contrasted with perceptions, judgements, and so on - is bound to fail as a unified theory of imagining. The dissertation contains five main parts. In the first, I specify in more detail what a unified account of imagining has to achieve and, in particular, which phenomena it is supposed to capture. The second part presents the Cognitive Account, thereby focussing on Brian O'Shaughnessy's sophisticated version of it while the third part is reserved for the evaluation and rejection of the Cognitive Account. In the fourth part, I develop my version of the Agency Account of imagining. And the fifth and last part is concerned with the accommodation of potential counterexamples to it. (shrink)

A brief historical and conceptual account of the concept of imagination.