Thought experiments, models, diagrams, computer simulations, and metaphors can all be understood as tools of the imagination. While these devices are usually treated separately in philosophy of science, this paper provides a unified account according to which tools of the imagination are epistemically good insofar as they improve scientific imaginings. Improving scientific imagining is characterized in terms of epistemological consequences: more improvement means better consequences. A distinction is then drawn between tools being good in retrospect, at the time, and in (...) general. In retrospect, tools are evaluated straightforwardly in terms of the quality of their consequences. At the cutting edge, tools are evaluated positively insofar as there is reason to believe that using them will have good consequences. Lastly, tools can be generally good, insofar as their use encourages the development of epistemic virtues, which are good because they have good epistemic consequences. (shrink)

Sometimes we learn through the use of imagination. The epistemology of imagination asks how this is possible. One barrier to progress on this question has been a lack of agreement on how to characterize imagination; for example, is imagination a mental state, ability, character trait, or cognitive process? This paper argues that we should characterize imagination as a cognitive ability, exercises of which are cognitive processes. Following dual process theories of cognition developed in cognitive science, the set of imaginative processes (...) is then divided into two kinds: one that is unconscious, uncontrolled, and effortless, and another that is conscious, controlled, and effortful. This paper outlines the different epistemological strengths and weaknesses of the two kinds of imaginative process, and argues that a dual process model of imagination helpfully resolves or clarifies issues in the epistemology of imagination and the closely related epistemology of thought experiments. (shrink)

Computational systems biologists create and manipulate computational models of biological systems, but they do not always have straightforward epistemic access to the content and behavioural profile of such models because of their length, coding idiosyncrasies, and formal complexity. This creates difficulties both for modellers in their research groups and for their bioscience collaborators who rely on these models. In this paper we introduce a new kind of visualization that was developed to address just this sort of epistemic opacity. The visualization (...) is unusual in that it depicts the dynamics and structure of a computer model instead of that model’s target system, and because it is generated algorithmically. Using considerations from epistemology and aesthetics, we explore how this new kind of visualization increases scientific understanding of the content and function of computer models in systems biology to reduce epistemic opacity. (shrink)

Many thought experiments are used to probe theoretical statements. One crucial strategy for doing this, or so I will argue, is the following. A TE reveals an inconsistency in part of our previously held, sometimes empirically well-established, theoretical statements. A TEer or her critic then proposes a resolution in the form of a conjecture, a hypothesis that merits further investigation. To explore this characterisation of the epistemic function of such TEs, I clarify the nature of the inconsistencies revealed by TEs, (...) and how TEs reveal and resolve them. I argue that this can be done without settling the question of which cognitive processes are involved in performing a TE; be they propositional or non-propositional. The upshot is that TEs’ reliability, like real experiments, is to be found, in part, in their replicability by the epistemic community, not in their cognitive underpinnings. (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)

While discussions of the imagination have been limited in philosophy of science, this is beginning to change. In recent years, a vast literature on imagination in science has emerged. This paper surveys the current field, including the changing attitudes towards the scientific imagination, the fiction view of models, how the imagination can lead to knowledge and understanding, and the value of different types of imagination. It ends with a discussion of the gaps in the current literature, indicating avenues for future (...) research. (shrink)

In "Why Feynman Diagrams Represent", I argued that Feynman diagrams have two distinct functions: they are both calculational devices, developed to keep track of the long mathematical expressions of quantum electrodynamics,1 and they are pictorial representations. This challenges the common view that FDs are calculational devices alone and that it is misleading, if not an outright error, to think of them as pictorial. Following Kendall Walton's account of representation, I drew out what it means to think of FDs as pictures, (...) which in turn explained why FDs represent. However, my defence conceded an important point: not all of... (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)

What is the role of the imagination in scientific practice? Here I focus on the nature and role of invitations to imagine in certain scientific texts as represented by the example of Einstein’s Special Relativity paper from 1905. Drawing on related discussions in aesthetics, I argue, on the one hand, that this role cannot be simply subsumed under ‘supposition’ but that, on the other, concerns about the impact of genre and symbolism can be dealt with, and hence present no obstacle (...) to regarding imagination as appropriately belief-like. By applying the framework of ‘semi- propositional representations’ and ‘quasi-truth’ to this case I thereby offer a new unitary framework for understanding the epistemology of scientific imagination. (shrink)

Philosophers have recently highlighted substantial affinities between causation and grounding, which has inclined some to import the conceptual and formal resources of causal interventionism into the metaphysics of grounding. The prospect of grounding interventionism raises two important questions: exactly what are grounding interventions, and why should we think they enable knowledge of grounding? This paper will approach these questions by examining how causal interventionists have addressed (or might address) analogous questions and then comparing the available options for grounding interventionism. I (...) argue that grounding interventions must be understood in worldly terms, as adding something to or deleting something from the roster of entities, or making some fact obtain or fail to obtain. I consider three bases for counterfactual assessment: imagination, structural equation models, and background theory. I conclude that grounding interventionism requires firmer epistemological foundations, without which the interventionist's epistemology of grounding is incomplete and ineffectually rationalist. (shrink)

Speculative design is a subsidiary field of critical design practice. It generally involves developing scenarios based on a central object, often a prototype. Because it is concerned with alternative present and future states, many acknowledge the potential of speculative design for raising critical discussion and public engagement on science, technology, and society. In this article, we ask how the analogy of speculative design to thought experiments highlights or problematizes certain aspects of speculative design. Building on the work of Anthony Dunne (...) and Fiona Raby, we answer this question through a comparative conceptual analysis of speculative design and thought experimentation as they are understood in their original contexts. We go on to create a theoretical framework applied to four cases: Metamorphism; Walden, a game; The Substitute; and GoatMan. We argue that understanding speculative design by analogy to thought experiments could help design practitioners better achieve the aim of public engagement, enabling a more inclusive and nuanced discussion about the form and style of speculative design. (shrink)

According to a recent philosophical claim, “works of fiction are thought experiments” (Elgin 2007: 47), though there are relevant differences, as the role of spoilers shows—they can ruin a novel but improve the understanding we can gain through a thought experiment. In the present article I will analyze the role of spoilers and argue for a more differentiated perspective on the relation between literature and thought experiments. I will start with a short discussion of different perspectives on thought experiments and (...) argue that the mental-model view and the conception of games of make-believe are most promising for developing the present analogy. Then I will assess the similarities and differences between thought experiments and other works of fiction. I will focus on the role of spoilers and, more generally, on the foretaste context, of which they are part. This context guides readers of literary works of art to draw their attention to the literary and aesthetic quality of the text. In the case of thought experiments, on the other hand, it (i) prompts them to accept the presence of fictional elements in worldly-cognitive works and (ii) draws their attention towards cognitively relevant elements of the story. A discussion of Borges’ Pierre Menard in the last part will show that literary works of art become thought experiments if they are embedded in an appropriate foretaste context. Spoilers, thus, unveil that even works which—due to their length or plenty of detail—usually are not considered thought experiments, can perform similar cognitive functions. (shrink)

Is there a role for aesthetic judgements in science? One aspect of scientific practice, the use of thought experiments, has a clear aesthetic dimension. Thought experiments are creatively produced artefacts that are designed to engage the imagination. Comparisons have been made between scientific (and philosophical) thought experiments and other aesthetically appreciated objects. In particular, thought experiments are said to share qualities with literary fiction as they invite us to imagine a fictional scenario and often have a narrative form (Elgin 2014). (...) But philosophical discussions of aesthetics in science have focused mainly on the epistemic role of beauty and elegance when it comes to theories and mathematical proofs, and thought experiments have been widely overlooked. My aim in this chapter is to address how the aesthetic choices scientists make in the design of a thought experiment contribute to its function: to communicate, convince, or explain a theory or phenomenon. A key issue is whether any aesthetic features in science provide anything beyond catching our attention, or are at best, a mere heuristic aid. I respond to accounts that argue this way and show how formulation is important in scientific thought experiments and, similarly to literary fictions, there is more than one way of interpreting a thought experiment scenario. I end by considering which literary examples are most appropriate when making comparisons with thought experiments. As a result, the difference between representations in art and science raised in current discussions is not as stark as it has been made out to be, and science is a more heterogeneous practice than has been allowed. Part of the value of thought experiments in scientific practice includes the qualities they share with literary works. (shrink)

Thought experiments (TEs) are important tools in science, used to both undermine and support theories, and communicate and explain complex phenomena. Their interest within philosophy of science has been dominated by a narrow question: How do TEs increase knowledge? My aim is to push beyond this to consider their broader value in scientific practice. I do this through an investigation into the scientific imagination. Part one explores questions regarding TEs as “experiments in the imagination” via a debate concerning the epistemic (...) status of computer simulations in science. I outline how, against Hacking, TEs also have “a life of their own” and I argue against accounts that privilege experiments over simulations (and by extension TEs) in light of their capacity to surprise in a productive way. Part two develops a pluralist account of the nature of the imagination in science. At its core, my view is that when we attend to a number of examples of TEs and consider the context in which they are used, we see that TEs engage a variety of our imaginative capacities. Existing monistic views fail to recognise the richness of the imagination and its potential in science. Part three looks to the “beauty” of TEs which is currently overlooked in the aesthetics of science literature. I put forward a new account that demonstrates the epistemic value of aesthetic features in science by showing how an appropriate fit between form and content enhances the usability of a TE, and its effectiveness as a prompt for our imagination. This also enables a more nuanced take on the proposed similarities between TEs and literary fictions. In the concluding chapter, I outline ways in which the core features of my account can be extended beyond TEs to illuminate the significance of the imagination and aesthetic values in other areas of science. (shrink)