Jung's discovery of active imagination is one of the most important milestones in his personal and professional life. Prompted by the trauma of his break up with Freud, he developed a method of self healing which later formed the basis of his analytic practice and is now regarded as the origin of non-directive psychotherapy and creative arts therapies. Jungian analyst, Joan Chodorow brings together a key selection of Jung's writings. In her introduction to this selection of his writings (...) Joan Chodorow explains clearly Jung's method of focusing the conscious mind on unconscious processes as a means of achieving self-knowledge and individuation. (shrink)

Metaphors allow us to come to terms with abstract and complex information, by comparing it to something which is structured, familiar and concrete. Although modern science is “iconoclastic”, as Gaston Bachelard phrases it, scientists are at the same time prolific producers of metaphoric images themselves. Synthetic biology is an outstanding example of a technoscientific discourse replete with metaphors, including textual metaphors such as the “Morse code” of life, the “barcode” of life and the “book” of life. This paper focuses on (...) a different type of metaphor, however, namely on the archetypal metaphor of the mandala as a symbol of restored unity and wholeness. Notably, mandala images emerge in textual materials related to one of the new “frontiers” of contemporary technoscience, namely the building of a synthetic cell: a laboratory artefact that functions like a cell and is even able to replicate itself. The mandala symbol suggests that, after living systems have been successfully reduced to the elementary building blocks and barcodes of life, the time has now come to put these fragments together again. We can only claim to understand life, synthetic cell experts argue, if we are able to technically reproduce a fully functioning cell. This holistic turn towards the cell as a meaningful whole also requires convergence at the “subject pole”: the building of a synthetic cell as a practice of the self, representing a turn towards integration, of multiple perspectives and various forms of expertise. (shrink)

A comprehensive theory of the structure and cognitive function of the human imagination, and its relationship to perceptual experience, is developed, largely through a critique of the account propounded in Colin McGinn's Mindsight. McGinn eschews the highly deflationary (and unilluminating) views of imagination common amongst analytical philosophers, but fails to develop his own account satisfactorily because (owing to a scientifically outmoded understanding of visual perception) he draws an excessively sharp, qualitative distinction between imagination and perception (following Wittgenstein, (...) Sartre, and others), and because of his fatally flawed, empirically ungrounded conception of hallucination. In fact, however, an understanding of perception informed by modern visual science will enable us to unify our accounts of perception, mental imagery, dreaming, hallucination, creativity, and other aspects of imagination within a single coherent theoretical framework. (shrink)

A theory of the structure and cognitive function of the human imagination that attempts to do justice to traditional intuitions about its psychological centrality is developed, largely through a detailed critique of the theory propounded by Colin McGinn. Like McGinn, I eschew the highly deflationary views of imagination, common amongst analytical philosophers, that treat it either as a conceptually incoherent notion, or as psychologically trivial. However, McGinn fails to develop his alternative account satisfactorily because (following Reid, Wittgenstein and (...) Sartre) he draws an excessively sharp, qualitative distinction between imagination and perception, and because of his flawed, empirically ungrounded conception of hallucination. His arguments in defense of these views are rebutted in detail, and the traditional, passive, Cartesian view of visual perception, upon which several of them implicitly rely, is criticized in the light of findings from recent cognitive science and neuroscience. It is also argued that the apparent intuitiveness of the passive view of visual perception is a result of mere historical contingency. An understanding of perception (informed by modern visual science) as an inherently active process enables us to unify our accounts of perception, mental imagery, dreaming, hallucination, creativity, and other aspects of imagination within a single coherent theoretical framework. (shrink)

Ample attention is being paid in the higher education literature to promoting active learning among students. However, critical examination of educational purposes and ends is largely lacki...

BackgroundDuring the course of a previous study, our laboratory made a serendipitous finding that just thinking about genital stimulation resulted in brain activations that overlapped with, and differed from, those generated by physical genital stimulation.ObjectiveThis study extends our previous findings by further characterizing how the brain differentially processes physical ‘touch’ stimulation and ‘imagined’ stimulation.DesignEleven healthy women participated in an fMRI study of the brain response to imagined or actual tactile stimulation of the nipple and clitoris. Two additional conditions – imagined (...) dildo self-stimulation and imagined speculum stimulation – were included to characterize the effects of erotic versus non-erotic imagery.ResultsImagined and tactile self-stimulation of the nipple and clitoris each activated the paracentral lobule and the secondary somatosensory cortex. Imagined self-stimulation of the clitoris and nipp... (shrink)

Soltis' paper contains little data on the underlying neural substrate of the discussed signal function of early infant crying – probably because there is amazingly little known about it. We here discuss the interest of functional neuroimaging as an objective measurement of brain activity in (1) early infants during crying and (2) parents hearing their offspring cry.

There remains a concern in philosophy of education circles to assert that teaching is a social practice. Its initiation occurs in a conversation between Alasdair MacIntyre and Joe Dunne which inspired a Special Issue of the Journal of Philosophy of Education. This has been recently utilised in a further Special Issue by Chris Higgins. In this article I consider two points of conflict between MacIntyre and Dunne and seek to resolve both with a more nuanced understanding of the implications of (...) applying the concept ‘social practice’ to teaching. I critique both Dunne's and Higgins' focus on schools and school teaching. It is their focus on school teaching, rather than a broader account of teaching, that leads them astray. The result is that Dunne and Higgins have not shown that teaching is a social practice. School teaching is not a complex activity, but a complex set of different activities co-located in one place and engaged in by the same agents. In a final section I offer an account of ‘school teaching’ as a multi-practice activity which is consistent with MacIntyre's approach, and argue that schoolteachers have both an institutional and an educative role. (shrink)

"A work of major importance for the interpretation of Descartes's development and for the understanding of the function of the imagination in Descartes's early works. Descartes's Imagination will be a must in Descartes and imagination studies. It is long overdue."--Eva T. H. Brann, author of The World of Imagination: Sum and Substance "A significant contribution to our understanding of the development of Descartes's philosophy."--William R. Shea, author of The Magic of Numbers and Motion: The Scientific Career (...) of Rene Descartes. (shrink)

Last Friday, in the big light of last Friday night,We drove home from Cornwall to Hartford, late.It was not a night blown at a glassworks in ViennaOr Venice, motionless, gathering time and dust.The...

Moral imagination is a process that involves a thorough consideration of the ethical elements of a decision. We sought to explore what might distinguish moral imagination from other ethical approaches within a complex business simulation. Using a three-component model of moral imagination, we sought to discover whether organization cultures with a salient ethics theme activate moral imagination. Finding an effect, we sought an answer to whether some individuals were more prone to being influenced in this way (...) by ethical cultures. We found that employees with strong moral identities are less influenced by such cultures than employees whose sense of self is not defined in moral terms. (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)

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)

We study imagination as reality-oriented mental simulation : the activity of simulating nonactual scenarios in one’s mind, to investigate what would happen if they were realized. Three connected questions concerning ROMS are: What is the logic, if there is one, of such an activity? How can we gain new knowledge via it? What is voluntary in it and what is not? We address them by building a list of core features of imagination as ROMS, drawing on research in (...) cognitive psychology and the philosophy of mind. We then provide a logic of imagination as ROMS which models such features, combining techniques from epistemic logic, action logic, and subject matter semantics. Our logic comprises a modal propositional language with non-monotonic imagination operators, a formal semantics, and an axiomatization. (shrink)

This paper puts forward an account of imaginative immersion. Elaborating on Kendall Walton’s thesis that imagining aims at the fictional truth, it first argues that imaginings are inherently rule- or norm-governed: they are ‘regulated’ by that which is presented as fictionally true. It then shows that an imaginer can follow the rule or norm mandating her to imagine the propositions presented as fictional truths either by acquiring explicit beliefs about how the rule (norm) is to be followed, or directly, without (...) acquiring such beliefs. It proceeds to argue that to the extent that an imaginer follows this rule (norm) without holding such beliefs, she is more immersed in her imaginings. The general idea is that immersion in an activity is a matter of following rules or norms that apply to that activity without explicitly thinking about how to follow them, that is, without ‘doxastic mediation.’ Lastly, the paper shows that this thesis can explain various features associated with imaginative immersion, such as the sort of attentiveness it involves, the emotional response it generates, and its relation to spoilers. (shrink)

Imaginative resistance refers to a phenomenon in which people resist engaging in particular prompted imaginative activities. On one influential diagnosis of imaginative resistance, the systematic difficulties are due to these particular propositions’ discordance with real-world norms. This essay argues that this influential diagnosis is too simple. While imagination is indeed by default constrained by real-world norms during narrative engagement, it can be freed with the power of genre conventions and expectations.

Works of fiction are alleged to differ from works of nonfiction in instructing their audience to imagine their content. Indeed, works of fiction have been defined in terms of this feature: they are works that mandate us to imagine their content. This paper examines this definition of works of fiction, focusing on the nature of the activity that ensues in response to reading or watching fiction. Investigating how imaginings function in other contexts, I show, first, that they presuppose a cognitive (...) infrastructure encompassing at least one additional kind of mental state, whose role is to determine, to some degree, truth in an imaginary world. I then discuss the implications for the definition of fiction, showing that the definition should be refined to accommodate the structure that imagining presupposes: a work counts as fiction just in case it mandates us, not only to imagine, but to engage in a more complex mental activity, an activity that in addition to imagining, involves positing a backdrop for our imaginings. (shrink)

This paper propounds a new reading of Berkeley's account of the activity of finite spirits. Against existing interpretations, the paper argues that Berkeley does not hold that we causally contribute to the movement of our bodies. In contrast, our volitions to move our bodies are but occasions for God to cause their movement. In answer to the question of wherein then consists our activity, the paper proposes that our activity consists in the dual powers to produce (1) our volitions ? (...) the acts of willing ? and (2) our ideas of imagination. (shrink)

One of the interesting aspects of Dewey’s early educational thought is his apparent hostility toward children’s imaginative pursuits, yet the question of why this antipathy exists remains unanswered. As will become clear, Dewey’s hostility towards imaginative activities stemmed from a broad variety of concerns. In some of his earliest work, Dewey adopted a set of anti-Romantic criticisms and used these concerns to attack what one might call “runaway” imaginative and emotional tendencies. Then, in his early educational writings, these earlier concerns (...) were augmented by several other factors, including problematic trends in progressive education, new developments in psychology, and Dewey’s own educational aims. This analysis explores the roots of these criticisms, and explains how they culminate in the stance on the imagination that Dewey eventually outlined in the early educational writings. Notably, these findings have some important implications for certain prominent contemporary critics of progressivism. (shrink)

Between the radical, creative capacity of our imagination and the social imaginary we are immersed in is an intermediate space philosophers have termed the imaginal, populated by images or (re)presentations that are presences in themselves. Offering a new, systematic understanding of the imaginal and its nexus with the political, Chiara Bottici brings fresh perspective to the formation of political and power relationships and the paradox of a world rich in imagery yet seemingly devoid of imagination. Bottici begins by (...) defining the difference between the imaginal and the imaginary, locating the imaginal's root meaning in the image and its ability to both characterize a public and establish a set of activities within that public. She identifies the imaginal's critical role in powering representative democracies and its amplification through globalization. She then addresses the troublesome increase in images now mediating politics and the transformation of politics into empty spectacle. The spectacularization of politics has led to its virtualization, Bottici observes, transforming images into processes with an uncertain relationship to reality, and, while new media has democratized the image in a global society of the spectacle, the cloned image no longer mediates politics but does the act for us. Bottici concludes with politics' current search for legitimacy through an invented ideal of tradition, a turn to religion, and the incorporation of human rights language. (shrink)

1996 marks the 400th anniversary of Descartes' birth, and it seems only appropriate that it should bring a reevaluation of Descartes' thought and his place in the history of philosophy. Dennis Sepper's new book on the role of the imagination offers such a rethinking, proposing that--contrary to popular rumor--Descartes' entire corpus was centrally concerned with the proper uses of imagination, a concern initially informed by medieval doctrines of the internal senses and imagination. Sepper argues that Descartes' earliest (...) work, especially the Cogitatione Privatae, places enormous confidence in the power and scope of imagination, a confidence based on a view of the cosmos as a network of resemblances and analogous relations, providing an unproblematic fit between mind and world. The role of imagination here is not to construct objects wholesale, but to allow understanding through figures, figures that stand in analogical and symbolic relations to the objects of conception so that they can be grasped under a particular aspect. Sepper calls this a "biplanar" model of understanding, whereby an object present to cognition is imaginatively configured in another "plane," allowing us both to focus and shift attention. (shrink)

What kind of mental state is episodic memory? I defend the claim that it is, in key part, imagining the past, where the imagining in question is experiential imagining. To remember a past episode is to experientially imagine how things were, in a way controlled by one’s past experience of that episode. Call this the Inclusion View. I motive this view by appeal both to patterns of compatibilities and incompatibilities between various states, and to phenomenology. The bulk of the paper (...) defends the account against four objections. Imagining and remembering seem to differ in whether they are active or passive, in the forms of singular content they involve, in their relations to observation and in their relations to belief. I argue that these differences can be accommodated, and some even explained, once we flesh out what else is involved in episodic memory, in addition to imagining the past. (shrink)

The terms "imagination'' and "imaginative'' can be readily applied to a profusion of attitudes, experiences, activities, and further phenomena. The heterogeneity of the things to which they're applied prompts the thoughts that the terms are polysemous, and that there is no single, coherent, fruitful conception of imagination to be had. Nonetheless, much recent work on imagination ascribes implicitly to a univocal way of thinking about imaginative phenomena: the imitation theory, according to which imaginative experiences imitate other experiences. (...) This approach is infelicitous. It issues in unhelpful descriptions of imaginative activities, experiences, and attitudes, and frustrates theorizing about imagination's applications and intensional characteristics. A better way of thinking about imagination is the lens theory, according to which the imagination is a set of ways to focus, refine, clarify or concentrate the matter of other experiences. This approach offers better characterizations of imaginative phenomena, and promises brighter theoretical illumination of them. (shrink)

I argue for the unity of imagination in two prima facie diverse contexts: experiences of beauty and achievements of understanding. I develop my argument in three steps. First, I begin by describing a type of aesthetic experience that is grounded in a set of imaginative activities on the part of the person having the experience. Second, I argue that the same set of imaginative activities that grounds this type of aesthetic experience also contributes to achievements of understanding. Third, I (...) show that my unified account of imagination has important implications: it sheds light on two puzzling phenomena, the aesthetic value of science and the cognitive value of art. (shrink)

In this Element, we’ll explore the nature of both imagination and creative thinking in an effort to understand the relation between them and also to understand their role in the vast array of activities in which they are typically implicated, from art, music, and literature to technology, medicine, and science. Focusing on the contemporary philosophical literature, we will take up several interrelated questions: What is imagination, and how does it fit into the cognitive architecture of the mind? What (...) is creativity? Is imagination required for creativity? Is creativity required for imagination? Is a person simply born either imaginative or not (and likewise, either creative or not), or are imagination and creativity skills that can be cultivated? And finally, are imagination and creativity uniquely human capacities, or can they be had by nonbiological entities such as AI systems? (shrink)

Manifest Activity presents and critically examines the model of human power, the will, our capacities for purposeful conduct, and the place of our agency in the natural world of one of the most important and traditionally under-appreciated philosophers of the 18th century: Thomas Reid. For Reid, contrary to the view of many of his predecessors, it is simply manifest that we are active with respect to our behaviours; it is manifest, he thinks, that our actions are not merely remote (...) products of forces that lie outside of our control. Reid holds, instead, that actions are all and only those events that spring from active power and he produces insightful and imaginative arguments for the claim that only a creature with a mind is capable of having active power. He believes that only human beings, and creatures 'above us', are capable of directing events towards ends, of endowing them with purpose or direction, the distinctive feature of action. However, he also holds that all events, and not merely human actions, are products of active power, power possessed either by human beings or by God. This collection of theses leads Reid to the view that human behaviour and the progress of nature are both essentially teleological. Patterns in nature are the products of laws of which God is the author; patterns in human conduct are the products of character and the laws that individuals set for themselves. Manifest Activity examines Reid's arguments for this view and the view's implications for the nature of character, motivation and the special kind of causation involved in the production of human behavior. (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)

This chapter explores insights concerning the relations among imagination, imagined selves, and knowledge of one’s own self that are to be found in Fernando Pessoa’s The Book of Disquiet. The insights are explored via close reading of the text and comparison with contemporaries of Pessoa. First, a tempting account of the importance of imagination in The Book of Disquiet is set out. On this reading, Pessoa is immersed in miasmatic boredom, but able to temporarily rise above it through (...) the restorative powers of escapist imagination. But, it is suggested, Pessoa neither enjoys his prolific imaginings, nor returns from them restored. It is argued that Pessoa’s disquiet owes to failures of imagination; the book presents a sharp contrast between Pessoa’s keen awareness of the importance of a successful, active imaginative life, and his failure to maintain such a thing. It is further argued that these failures point us towards a better account of imagination’s importance to Pessoa, an account that both prefigures and goes beyond Sartre’s ideas about the relations between nothingness, imagination, and self-consciousness. (shrink)

How can a realistic ethical imagination about the future of a technology take shape? This article contains a reflection which is based on the experiences of an embedded ethicist in the context of biophysical research conducive to the development of photoacoustic mammography, which is intended for the non-invasive detection of breast cancer. Imagination in this context already informs the activities of the biophysical researchers, but its role is limited: biophysical future scenarios concentrate on the technological advances that photoacoustics (...) could bring about. In this article it is argued that it is advisable to also consider the medical practice and the ways in which this practice is likely to change as an effect of the introduction of photoacoustic mammography into it. On the basis of this more encompassing imaginative endeavor it is possible to get a clearer idea about how new technologies are able to contribute to human well being, which is informative for the setting of research-goals/priorities and a responsible implementation of new technologies into the world. (shrink)

We often talk of people as being more or less imaginative than one another – as being better or worse at imagining – and we also compare various feats of imagination to one another in terms of how easy or hard they are. Facts such as these might be taken to suggest that imagination is often implicitly understood as a skill. This implicit understanding, however, has rarely (if ever) been made explicit in the philosophical literature. Such is the (...) task of this chapter. I first attempt to flesh out several conditions for an activity to count as a skill. I then attempt to show how imagination can meet such conditions. The chapter concludes with an attempt to answer various worries that might be raised to the claim that imagination should be thought of as a skill. (shrink)

Imagination has been assigned an important explanatory role in a multitude of philosophical contexts. This paper examines four such contexts: mindreading, pretense, our engagement with fiction, and modal epistemology. Close attention to each of these contexts suggests that the mental activity of imagining is considerably more heterogeneous than previously realized. In short, no single mental activity can do all the explanatory work that has been assigned to imagining.

According to recent orthodoxy, imagination is best characterised in terms of distinctive imaginative states. But this view is ill-suited to characterisation of the full range of imaginative activities—creation, fantasy, conceiving, and so on. It would be better to characterise imagination in terms of a distinctive imaginative process, with the various imaginative activities as more determinate implementations of the determinable process.

Imagination is often considered the pinnacle of representational cognition. Looking at the concrete details of imagining in context, this paper aims to contribute to the emerging literature that is challenging this representational view by offering a relational and radically situated alternative. On the basis of observing architects in the process of making an architectural art installation, we show how to consider imagination not as de-contextualized achievement by an individual but as an opening up to larger-scale “affordances,” i.e. the (...) unfolding possibilities for action. We show how the architects coordinate the enactment of multiple affordances across different timescales, from small-scale affordances of picking up a mobile phone to the large-scale affordance of making the installation that takes months to unfold. These affordances get co-determined as they are jointly enacted. It is within this determining process that imagination too finds its place. On our view it is the indeterminacy of multiple affordances unfolding in action simultaneously that can be experienced as imaginative. The indeterminate character of this coordinative process allows activities to widen and open up, letting new possibilities for action enter into them. (shrink)

Imaginative resistance refers to a phenomenon in which people resist engaging in particular prompted imaginative activities. Philosophers have primarily theorized about this phenomenon from the armchair. In this paper, we demonstrate the utility of empirical methods for investigating imaginative resistance. We present two studies that help to establish the psychological reality of imaginative resistance, and to uncover one factor that is significant for explaining this phenomenon but low in psychological salience: genre. Furthermore, our studies have the methodological upshot of showing (...) how empirical tools can complement the predominant armchair approach to philosophical aesthetics. (shrink)

The present essay grew out of an inte:rest in exploring the relationship be tween "imagination" and "reason" in the history of naturalistic thinking. The essay tries to show something of the spirit of naturalism coming to terms with the place of imagination and reason in knowing, making, and doing as activities of human experience. This spirit is discussed by taking as its point of departure the thinking of five writers: Plato, Aristotle, Giam battista Vieo, Jean-Jacques Rousseau, and John (...) Keats. Plato and Aristotle are considered as spokesmen of reason in a world which appeared to be dominated by non-reason. They found it essential for human beings to try to learn how to distinguish between the work of imagin ation and the work of reason. In trying to make such a distinction, it becomes clear that imagination has its legitimate place, along with reason, in human activity. Or we might say that determining the place which each has is a continuing problem when human beings take seriously what is involved in shaping mind and character. (shrink)

‘Radical enactivism’ (Hutto and Myin 2013, 2017) eschews representational content for all ‘basic’ mental activities. Critics have argued that this view cannot make sense of the workings of the imagination. In their recent book (2017), Hutto and Myin respond to these critics, arguing that some imaginings can be understood without attributing them any representational content. Their response relies on the claim that a system can exploit a structural isomorphism between two things without either of those things being a semantically (...) evaluable representation of the other. I argue that even if this claim is granted, there remains a problem for radically enactive accounts of imagining, namely that the active establishing and maintenance of a structural isomorphism seems to require representational content even if the exploitation of such an isomorphism, when established, does not. (shrink)

Imagining A Phenomenological Study Second Edition Edward S. Casey A classic firsthand account of the lived character of imaginative experience. "This scrupulous, lucid study is destined to become a touchstone for all future writings on imagination." —Library Journal "Casey’s work is doubly valuable—for its major substantive contribution to our understanding of a significant mental activity, as well as for its exemplary presentation of the method of phenomenological analysis." —Contemporary Psychology "... an important addition to phenomenological philosophy and to the (...) humanities generally." —Choice "... deliberately and consistently phenomenological, oriented throughout to the basically intentional character of experience and disciplined by the requirement of proceeding by way of concrete description.... [Imagining] is an exceptionally well-written work." —International Philosophical Quarterly Drawing on his own experiences of imagining, Edward S. Casey describes the essential forms that imagination assumes in everyday life. In a detailed analysis of the fundamental features of all imaginative experience, Casey shows imagining to be eidetically distinct from perceiving and defines it as a radically autonomous act, involving a characteristic freedom of mind. A new preface places Imagining within the context of current issues in philosophy and psychology. [use one Casey bio for both Imagining and Remembering] Edward S. Casey is Professor of Philosophy at the State University of New York at Stony Brook. He is author of Getting Back into Place: Toward a Renewed Understanding of the Place-World and The Fate of Place: A Philosophical History. Studies in Continental Thought—John Sallis, general editor Contents Preface to the Second Edition Introduction The Problematic Place of Imagination Part One: Preliminary Portrait Examples and First Approximations Imagining as Intentional Part Two Detailed Descriptions Spontaneity and Controlledness Self-Containedness and Self-Evidence Indeterminacy and Pure Possibility Part Three: Phenomenological Comparisons Imagining and Perceiving: Continuities Imagining and Perceiving: Discontinuities Part Four: The Autonomy of Imagining The Nature of Imaginative Autonomy The Significance of Imaginative Autonomy. (shrink)

This paper develops a mechanistic account of basic mental agency by identifying similarities between two of its major exemplars: endogenous attention and imagination. Five key similarities are identified: i) that both capacities are driven by currently prioritised goals that are either person-level or apt to become person-level. ii) that both deliver their outputs to the working memory iii) that both range across all and only conceptual contents; iv) that both proceed under the guidance of norms and/or habits; and v) (...) that both directly activate rather than inhibit content. These five features are consolidated by proposing that basic mental agency is essentially the power to call for conceptual content and hold it within our working memories. (shrink)

After a long hiatus, psychology and philosophy are returning to formal study of imagination. While excellent work is being done in the current environment, this article argues for a stronger thesis than usually adopted. Imagination is not just a peripheral feature of cognition or a domain for aesthetic research. It is instead the core operating system or cognitive capacity for humans and has epistemic and therapeutic functions that ground all our sense-making activities. A sketch of imagination as (...) embodied cognition is offered, followed by suggestions of how to organize imagination studies into a more rigorous science–humanities research area. (shrink)

Malevolence and cruelty are commonly attributed to a failure of moral reasoning or a lack of moral imagination. We present the contrasting viewpoint – immorality as an active, creative, or resourceful act. More specifically, we develop the concept of "immoral imagination" (Jacobs, 1991) and explore how it can enter into Rest's (1986) four processes of decision making: sensitivity, judgment, intention, and implementation. The literature on revenge and workplace deviance illustrates these processes.

The puzzle of imaginative desire arises from the difficulty of accounting for the surprising behaviour of desire in imaginative activities such as our engagement with fiction and our games of pretend. Several philosophers have recently attempted to solve this puzzle by introducing a class of novel mental states—what they call desire-like imaginings or i-desires. In this paper, I argue that we should reject the i-desire solution to the puzzle of imaginative desire. The introduction of i-desires is both ontologically profligate and (...) unnecessary, and, most importantly, fails to make sense of what we are doing in the imaginative contexts in question. (shrink)