Comparatively easy questions we might ask about creativity are distinguished from the hard question of explaining transformative creativity. Many have focused on the easy questions, offering no reason to think that the imagining relied upon in creative cognition cannot be reduced to more basic folk psychological states. The relevance of associative thought processes to songwriting is then explored as a means for understanding the nature of transformative creativity. Productive artificial neural networks—known as generative antagonistic networks (GANs)—are a recent example of (...) how a system’s ability to generate novel products can both be finely tuned by prior experience and grounded in strategies that cannot be articulated by the system itself. Further, the kinds of processes exploited by GANs need not be seen as incorporating something akin to sui generis imaginative states. The chapter concludes with reflection on the added relevance of personal character to explanations of creativity. [This is Chapter 12 of the book Explaining Imagination.]. (shrink)

Currie’s (2010) argument that “i-desires” must be posited to explain our responses to fiction is critically discussed. It is argued that beliefs and desires featuring ‘in the fiction’ operators—and not sui generis imaginings (or "i-beliefs" or "i-desires")—are the crucial states involved in generating fiction-directed affect. A defense of the “Operator Claim” is mounted, according to which ‘in the fiction’ operators would be also be required within fiction-directed sui generis imaginings (or "i-beliefs" and "i-desires"), were there such. Once we appreciate that (...) even fiction-directed sui generis imaginings would need to incorporate ‘in the fiction’ operators, the main appeal of the idea that sui generis imaginings (or "i-beliefs" or "i-desires") are at work in fiction-appreciation dissipates. [This is Chapter 10 of Explaining Imagination (OUP, 2020)]. (shrink)

Where is imagination in imaginative resistance? We seek to answer this question by connecting two ongoing lines of inquiry in different subfields of philosophy. In philosophy of mind, philosophers have been trying to understand imaginative attitudes’ place in cognitive architecture. In aesthetics, philosophers have been trying to understand the phenomenon of imaginative resistance. By connecting these two lines of inquiry, we hope to find mutual illumination of an attitude (or cluster of attitudes) and a phenomenon that have vexed philosophers. Our (...) strategy is to reorient the imaginative resistance literature from the perspective of cognitive architecture. Whereas existing taxonomies of positions in the imaginative resistance literature have focused on disagreements over the source and scope of the phenomenon, our taxonomy focuses on the psychological components necessary for explaining imaginative resistance. (shrink)

What is the nature of the kind of behaviour English speakers call “acting”? A popular strategy is to say that acting is a kind of pretence, and onstage actors pretend to do and say what the character does and says. This paper aims to reject this “pretence theory of acting”. To do so, first, I introduce several counterexamples showing that actors do not engage in pretending but still enact their characters; second, I argue that the reasons in favour of the (...) pretence theory of acting are not persuasive; finally, I argue that the pretence theory of acting can lead to a misunderstanding about acting. (shrink)

​Imagination will remain a mystery—we will not be able to explain imagination—until we can break it into parts we already understand. Explaining Imagination is a guidebook for doing just that, where the parts are other ordinary mental states like beliefs, desires, judgments, and decisions. In different combinations and contexts, these states constitute cases of imagining. This reductive approach to imagination is at direct odds with the current orthodoxy, according to which imagination is a sui generis mental state or process—one with (...) its own inscrutable principles of operation. Explaining Imagination upends that view, showing how, on closer inspection, the imaginings at work in hypothetical reasoning, pretense, the enjoyment of fiction, and creativity are reducible to other familiar mental states—judgments, beliefs, desires, and decisions among them. Crisscrossing contemporary philosophy of mind, cognitive science, and aesthetics, Explaining Imagination argues that a clearer understanding of imagination is already well within reach. (shrink)

In this paper I want to hold, first, that one may suitably reconstruct the relevant kind of mental representational states that fiction typically involves, make-beliefs, as contextually unreal beliefs that, outside fiction, are either matched or non-matched by contextually real beliefs. Yet moreover, I want to claim that the kind of make-believe that may yield the mark of fictionality is not Kendall Walton’s invitation or prescription to imagine. Indeed, in order to appeal in terms of make-believe to a specific form (...) of imagination that fiction distinctively involves, one must move away from the realm of norms in order to attain a cognitive realm; namely, one must look at a specific form of metarepresentational state. This metarepresentational state of make-believe is a second-order representation that is about both real beliefs and make-beliefs, as the first-order representations it compares by acknowledging their contextual distinctness. (shrink)

This paper will explore one aspect of the relationship between pretence and narratives. I look at proposals about how scripts play guiding roles in our pretend play practices. I then examine the views that mental representations are needed to guide pretend play, reviewing two importantly different pictures of mental guiders: the Propositional Account and the Model Account. Both accounts are individualistic and internalistic; the former makes use of language-like representations, the latter makes use of models, maps and images. The paper (...) will discuss some worries with the notion of mental guiders, and offer some positive suggestions about what else might be playing the guiding role in pretence. I propose that environmental affordances and socially scaffolded engagements provide the basis of pretence guiders, and suggest that engagement in narrative practices further frames and allows elaborations of acts of pretend play. I take first steps in developing a new embodied, enactive and intersubjective understanding of pretence, showing why it is a viable alternative to the mental representational accounts of pretence. (shrink)

Cognitive Science, Volume 46, Issue 3, March 2022.

Imaginative immersion refers to a phenomenon in which one loses oneself in make-believe. Susanna Schellenberg says that the best explanation of imaginative immersion involves a radical revision to cognitive architecture. Instead of there being an attitude of belief and a distinct attitude of imagination, there should only be one attitude that represents a continuum between belief and imagination. -/- We argue otherwise. Although imaginative immersion is a crucial data point for theorizing about the imagination, positing a continuum between belief and (...) imagination is neither necessary nor sufficient for explaining the phenomenon. In addition, arguing against Schellenberg’s account reveals important but underappreciated lessons for theorizing about the imagination and for interpreting boxological representations of the mind. (shrink)

Whether a person is pretending, or not, is a function of their beliefs and intentions. This poses a challenge to 4E accounts of pretense, which typically seek to exclude such cognitive states from their explanations of psychological phenomena. Resulting tensions are explored within three recent accounts of imagination and pretense offered by theorists working in the 4E tradition. A path forward is then charted, through considering ways in which explanations can invoke beliefs and intentions while remaining true to 4E precepts. (...) To make real progress in explaining pretense, 4E theorists will need to grow comfortable with the idea that two agents whose outward behaviors and environments are, in the short term, the same, may be guided by quite different beliefs and intentions, in virtue of which only one is pretending. In this way, the scientific project of explaining pretense remains inseparable from the more general project of determining which beliefs and intentions are appropriate to ascribe to which kinds of entities, given which kinds of behaviors. (shrink)

In reply to Daniel Hutto’s “Getting Real About Pretense,“ I defend my theory of pretense against his claim that it is subject to counterexamples by clarifying wherein the value of the analysis lies. Then I argue that the central challenge still facing Hutto’s “primacy of practice” approach, as well as other 4E approaches to pretense, is to explain the link between pretense and deception.

This paper argues that radical enactivism (RE) offers a framework with the required nuance needed for understanding of the full range of the various forms of pretense. In particular, its multi-storey account of cognition, which holds that psychological attitudes can be both contentless and contentful, enables it to appropriately account for both the most basic and most advanced varieties of pretense. By comparison with other existing accounts of pretense, RE is shown to avoid the pitfalls of representationalist theories while also (...) allowing us to combine the best elements of the praxeological enactivist (Weichold & Rucińska, 2021 ) and Langland-Hassan’s ( 2020, 2021 ) proposals about pretense, while avoiding their key shortcomings. (shrink)

Our claim in this paper is that a theory of “pretense” (in all its crucial uses in human society and cognition) can be built only if it is grounded on the general theory of “behavioral implicit communication” (BIC), which is not to be confused with non-verbal communication (with distinct notions being frequently conflated, such as “signs” vs. “messages”, or goal as “intention” vs. goal as “function”). Pretense presupposes some BIC-based human interaction, where a normal, practical behavior is used for signifying (...) something, based on a sign that is not a conventional one. In light of BIC interaction theory, one can exploit this sign or message in a deceptive way in order to induce the other to believe that he/she is performing a given behavior or has a given mental state. -/- . (shrink)

Typically, if I understand a sentence, then it expresses a proposition that I entertain. Nonsensical sentences don’t express propositions, but there are contexts in which we talk about understanding nonsensical sentences. For example, we accept various kinds of semantically defective sentences in fiction, philosophy, and everyday life. Furthermore, it is a standard assumption that if a sentence is nonsensical, then it makes no sense to say that it implies anything or is implied by other sentences. Semantically uninterpreted sentences don’t have (...) logical characteristics. Hence, the riddle of understanding nonsense arises. We seem to use nonsensical sentences in reasoning, thinking, judging, and drawing conclusions, but they convey no propositions, which are the vehicles of their semantic properties. In this article, I propose the pretence theory of understanding nonsense to explain the riddle of understanding nonsense, and discuss alternative frameworks that are insufficient to solve it. -/- . (shrink)

Pretense is generally thought to constitutively involve imagination. We argue that this is a mistake. Although pretense often involves imagination, it need not; nor is it a kind of imagination. The core nature of pretense is closer to imitation than it is to imagination, and likely shares some of its motivation with the former. Three main strands of argument are presented. One is from the best explanation of cross‐cultural data. Another is from task‐analysis of instances of pretend play. And the (...) third concerns the different ways in which pretense (especially childhood pretense) and imagination impact one's evaluative/affective systems. (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)

Children sometimes lose themselves in make-believe games. Actors sometimes lose themselves in their roles. Readers sometimes lose themselves in their books. From people's introspective self-reports and phenomenological experiences, these immersive experiences appear to differ from ordinary experiences of simply playing a game, simply acting out a role, and simply reading a book. What explains the difference? My answer: attention. -/- [Unpublishable 2007-2017. This paper was referenced in Liao and Doggett (2014).].