In this paper, I describe and discuss two mental phenomena which are somewhat neglected in the philosophy of mind: focused daydreaming and mind-wandering. My aim is to show that their natures are rather distinct, despite the fact that we tend to classify both as instances of daydreaming. The first difference between the two, I argue, is that, while focused daydreaming is an instance of imaginative mental agency, mind-wandering is not—though this does not mean that mind-wandering cannot involve mental agency at (...) all. This personal-level difference in agency and purposiveness has, furthermore, the consequence that instances of mind-wandering do not constitute unified and self-contained segments of the stream of consciousness—in stark contrast to focused daydreams. Besides, the two kinds of mental phenomena differ in whether they possess a narrative structure, and in how we may make sense of the succession of mental episodes involved. (shrink)

Philosophers have long been fascinated by the stream of consciousness – thoughts, images, and bits of inner speech that dance across the inner stage. Yet for centuries, such ‘mind‐wandering' was deemed private and thus resistant to empirical investigation. Recent developments in psychology and neuroscience have reinvigorated scientific interest in the stream of thought. Despite this flurry of progress, scientists have stressed that mind‐wandering research requires firmer philosophical foundations. The time is therefore ripe for the philosophy of mind‐wandering. Our review begins (...) with a foundational question: What is mind‐wandering? We then investigate the significance of mind‐wandering for general philosophical topics, namely, mental action, introspection, and the norms of thinking and attention. (shrink)

ABSTRACTThe early Chinese idea of non-action refers not to spontaneity, as has been argued, but to a relation between agency and spontaneity. Non-action needs to be seen in connection with the idea...

Creativity is generally thought to be the production of things that are novel and valuable. Humans are unique in the extent of their creativity, which plays a central role in innovation and problem solving, as well as in the arts. But what are the cognitive sources of novelty? More particularly, what are the cognitive sources of stochasticity in creative production? I will argue that they belong to two broad categories. One is associative, enabling the selection of goal-relevant ideas that have (...) become activated by happenstance in an unrelated context. The other relies on selection processes that leverage stochastic fluctuations in neural activity. At the same time, I will address a central puzzle, which is to understand how the outputs of stochastic processes can nevertheless generally fall within task constraints. While the components appealed to in the accounts that I offer are well established, the ways in which I combine them together are new. (shrink)

Although task-unrelated thinking has been increasingly investigated in recent years, the content and correlates of everyday off-task thought in clinical d...