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)

I argue that any account of imagination should satisfy the following three desiderata. First, imaginations induce actions only in conjunction with beliefs about the environment of the imagining subject. Second, there is a continuum between imaginations and beliefs. Recognizing this continuum is crucial to explain the phenomenon of imaginative immersion. Third, the mental states that relate to imaginations in the way that desires relate to beliefs are a special kind of desire, namely desires to make true in fiction. (...) These desires to make true in fiction do not differ from regular desires in kind, but only in content. I argue for these three desiderata in turn by critically discussing several recent accounts of imagination. (shrink)

In this paper, I will analyze certain aspects of imaginative content, namely the content of the representational mental state called “imagining.” I will show that fully accounting for imaginative content requires acknowledging that, in addition to imagining, an imaginative project—the overall mental activity we engage in when we imagine—includes another infrastructural component in terms of which content should be explained. I will then show that the phenomenon of imaginative immersion can partly be explained in terms (...) of the proposed infrastructure of imaginative projects. (shrink)

Research on the specific features of daydreaming compared with mind-wandering and night dreaming is a neglected topic in the philosophy of mind and the cognitive neuroscience of spontaneous thought. The extant research either conflates daydreaming with mind-wandering (whether understood as task-unrelated thought, unguided attention, or disunified thought), characterizes daydreaming as opposed to mind-wandering (Dorsch, 2015), or takes daydreaming to encompass any and all “imagined events” (Newby-Clark & Thavendran, 2018). These dueling definitions obstruct future research on spontaneous thought, and are insufficiently (...) precise to guide empirical studies. They also fail to illuminate the phenomenal core of daydreaming, namely, its dreamlike qualities. Although daydreaming is related to both mind-wandering and narrative imagination, it is not reducible to either. We argue that daydreams are experiences of spontaneous, immersive imagination in the waking state. The main task of our investigation is to distinguish daydreaming, conceptually and phenomenologically, from mind-wandering, on the one hand, and night dreaming, on the other. Although daydream experiences can vary widely, we distinguish prototypical experiences of daydreaming from adjacent imaginative activity, including fleeting imagery and “focused daydreaming,” or crafted visualization. We consider our phenomenological analysis as preparatory work for conceptually distinguishing different spontaneous and imaginative states so that they can be investigated accordingly with questionnaires and qualitative methods. We argue that precision about the phenomenal character of daydreaming can guide neurophenomenological investigations, help delimit studies on individual variance in daydreaming features, and identify differences among daydreaming, mind-wandering, and night dreaming conceptually and phenomenologically, and possibly eventually in terms of neural correlates. (shrink)

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)

A common view about the phenomenology of episodic remembering has it that when we remember a perceptual experience, we can relive or re-experience many of its features, but not its characteristic presence. In this paper, we challenge this common view. We first say that presence in perception divides into temporal and locative presence, with locative having two sides, an objective and a subjective one. While we agree with the common view that temporal and objective locative presence cannot be relived in (...) remembering, we argue that subjective locative presence – the feeling of being immersed in a certain scene – can be so. Our argument for this claim starts by determining independently the underpinning mechanisms of subjective locative presence in quasi-perceptual imagination. These mechanisms are self-projection, imaginative pretence, and attentional focus. We then proceed to establish that they have been found to underpin conscious states of episodic remembering too. We conclude that episodic remembering can bring us to relive the subjective locative presence characteristic of a perceptual experience, and that the common view is mistaken. Our view – ‘mnemonic immersivism’ – has important consequences regarding the relationships between memory and imagination and the phenomenology of episodic remembering. (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).].

This chapter considers the nature of imagination and belief, exploring how deeply these two states of mind differ. It first addresses a range of cognitive and motivational differences between imagination and belief which suggest that they're fundamentally different states of mind. Then it addresses imaginative immersion, delusions, and the different norms we apply to the two mental states, which some theorists regard as providing support for a more unified picture of imagination and belief.

Actors, undercover investigators, and readers of fiction sometimes report “losing themselves” in the characters they imitate or read about. They speak of “taking on” or “assuming” the beliefs, thoughts, and feelings of someone else. I offer an account of this strange but familiar phenomenon—what I call imaginative transportation.

The chapter considers the “paradox of fiction,” understood as the claim that it is in some sense irrational or inappropriate to respond emotionally to mere fictions. Several theorists have held that special features of imagination, or other “arational” mental reflexes, play a role in its resolution. I argue, to the contrary, that imagination need not enter into the solution, and that the paradox can be resolved in a way that shows our responses to fictions to be reasonable and warranted, even (...) if our emotional reactions to fiction are caused by beliefs and desires. Coming to terms with the paradox requires both properly understanding the “rug-pull” structure of the examples used to motivate it, and appreciating the specific emotional norms relevant to fiction appreciation. Related proposals by Livingston & Mele (1997) and Gilmore (2011) are discussed; their relevance to and coherence with the present account are explained. [This is Chapter 11 of Explaining Imagination.]. (shrink)

The past decades have seen a rise in religious and secular responses to inequality that seek to offer those who are relatively wealthy an opportunity to personally engage with impoverished people and places. This article examines three cases of elite white South Africans who intentionally immersed themselves in poor urban environments. In dialogue with the anthropology of ethics, I argue that immersion was seen as an experimental tool for transforming the self and cultivating virtues of empathy and responsibility towards (...) others. In this way, immersion acted as a technology of the self, linking care of the self to care of others. Yet such experimentation was not without risk. Though imagined as a tool that could promote care of the self and care of others, immersion carries with it the potential to reinforce power divides and/or solicit negative moral judgment. (shrink)

Both lay people and philosophers assume that hoping for something implies imagining it. According to contemporary philosophical accounts of hope, hope involves an element of imagination as input, part, or output of hope. However, there is no systematic view of the interaction between hope and the different processes constituting imagination. In this paper we put forward a view of (i) the kind of imaginings typically triggered by hopeful states, (ii) the nature of the interaction between hope and hopeful imaginings, and (...) (iii) the epistemic value of imagining out of hope. We argue that a paradigmatic output of hope is an immersive kind of cognitive imagination. Additionally, justified hopes constrain our immersive imaginings in such a way as to provide them with a specific epistemic value. Hopeful imaginings are not mere fantasies or wishful thinking; they constitute valuable experiences we can learn from and rely on in planning our future. (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)

What do players of videogames mean when they say they want to shoot zombies? Surely they know that the zombies are not real, and that they cannot really shoot them, but only control a fictional character who does so. Some philosophers of fiction argue that we need the concept of imaginative desires to explain situations in which people feel desires towards fictional characters or desires that motivate pretend actions. Others claim that we can explain these situations without complicating human (...) psychology with a novel mental state. Within their debates, however, these scholars exclusively focus on non-interactive fictions and children’s games of make-believe. In this paper, I argue that our experience of immersive, interactive fictions like videogames gives us cause to reappraise the concept of imaginative desires. Moreover, I describe how i-desires are a useful conceptual tool within videogame development and can shed new light on apparently immoral in-game actions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Participation and Immersion in Walton and CalvinoM. Carleton SimpsonThe novel begins in a railway station, a locomotive huffs, steam from a piston covers the opening of the chapter, a cloud of smoke hides part of the first paragraph... The pages of the book are clouded like the windows of an old train, the cloud of smoke rests on the sentences.1Part of Kendall Walton's theory of psychological participation, explicated (...) in Mimesis as Make-Believe, is that representations that display or draw attention to their fictionality discourage participation; part of our enjoyment of representational art is our psychological participation with the representation. The activity of participating comprises the game world, while the material representation comprises the work world. We play games of make-believe with representations, much as children play games with toys or other props. For Walton, the fullest psychological participation arises from the fullest immersion in the game world. Immersion means ignoring or being unaware of the materiality of the work world, attending only to the fictional reality of the work world. It is to "look past" the painted surface, or to become engrossed in the novel's narrative.To the extent that we consider the material of the work, we are distracted from participating in the game prescribed by the work: we do either the one or the other. So, Walton claims "One obvious way in which works sometimes discourage participation is by prominently declaring or displaying their fictionality, betraying their own pretense" (p. 275).2 For example, "The conspicuous brush strokes of Van Gogh's Starry Night call attention to themselves and to their record of the process by which paint was applied to the canvas, possibly intruding on the viewer's participation in his game... One can ignore the brush [End Page 321] strokes enough to lose oneself in the fictional world" (p. 277). In response to prodding by Patrick Maynard, Walton tempers this position: "Prominent brush strokes, as in many of Vincent van Gogh's paintings, can have an inhibiting effect, especially if the observer isn't used to such. Then they not only constitute a plain indication that what one is seeing is a mere painted canvas, but force this fact on the viewer's attention" (italics added).3Ernst Gombrich endorsed this position in Art and Illusion, attributing it to Kenneth Clark.4 Gombrich tells of Clark attempting to see both the brush strokes and the representation, and his failure to "observe what went on when the brush strokes and dabs of pigment on the canvas transformed themselves into a vision of transfigured reality as he stepped back" (p. 6). Walton intends his theory of psychological participation to be widely applicable to the representational arts; he argues that what holds for visual representations holds also for verbal representations. When reading a novel our ability to participate in the story is diminished to the extent the novel draws attention to its fictionality. We either immerse ourselves in the fictional world of the novel or attend to the historical production or materiality of the novel.Attending is contained in Walton's notion of appreciation. Appreciation without participation results when some representations "positively discourage participation, especially the psychological participation that would constitute the experience of being caught up in the story" (p. 274). Works like these employ a variety of strategies, "deliberately 'distancing' the appreciator from the fictional world... For if one does not imagine a proposition, it is unlikely to be fictional that one knows or believes it; and if one imagines it with minimal vivacity, one is unlikely to have the experience of fictionally being concerned or upset or relieved or frightened or overjoyed by the fact that it is true" (p. 274). Just as children imagine themselves to be participants in games of make-believe, more mature imaginings require us to imagine we are participants, not simply observers. Reflexive imagining is central to Walton's theory, and is a point he extensively develops.I argue against this disjunction of activities. My thesis is that participation need not arise from immersion at the expense of awareness. I am also critical of Walton's distinction between appreciation and participation—they are... (shrink)

A number of studies have investigated how immersion in a virtual reality environment can affect participants’ implicit biases. These studies presume associationism about implicit bias. Recently philosophers have argued that associationism is inadequate and have made a case for understanding implicit biases propositionally. However, no propositionalist has considered the empirical work on virtual reality and how to integrate it into their theories. I examine this work against a propositionalist background, in particular, looking at the belief and patchy endorsement models. (...) I argue that the results therein can only be accommodated by a model which recognizes structural heterogeneity, that is, one which allows for implicit biases being both associatively and non-associatively structured. My preferred view – that implicit biases are constituted by unconscious imaginings – allows for this, as well as for heterogeneity at the level of content (propositional and imagistic), a feature which also earn its explanatory keep in this context. I conclude that empirical work on virtual reality and implicit bias gives us a reason to prefer a pluralist model of bias, and that my unconscious imagination model, in its recognizing wide-ranging heterogeneity, is uniquely placed to accommodate the results of work on virtual reality and bias mitigation. (shrink)

Health disparities education is an integral and required part of medical professional training, and yet existing curricula often fail to effectively denaturalize injustice or empower learners to advocate for change. We discuss a novel collaborative intervention that weds the health humanities to the field of health equity. We draw from the health humanities an intentional focus retraining provider imaginations by centering patient narratives; from the field of health equity, we draw the linkage between stigmatized social identities and health disparities. We (...) describe a longitudinal health equity curriculum for the Hospice and Palliative Medicine fellowship in Memphis, Tennessee, to give trainees exposure to the concept of structural violence and how it affects clinical care. The curriculum was developed in partnership with humanities and social sciences faculty who staff a Health Equity academic program at a small liberal arts college in Memphis. This curriculum has been implemented for the past four years in support of 22 hospice and palliative medicine fellows. Group debriefs and a mixed methods survey have revealed widespread and lasting impact towards understanding health equity concepts, enhanced communication and treatment of patients, and empowerment to address the broader needs and policies affecting patients and the communities in which they live. Ultimately, we model an educational initiative that integrates equity across the full scope of healthcare practice and equips learners with skills for sustaining compassionate practices, focusing on equity-oriented, person-centered care across the full scope of healthcare practice. (shrink)

Castoriadis portrays the psyche in its originary state as a ‘psychic monad’ - an infantile psyche that experiences itself as omnipotent, omnipresent, undifferentiated and sufficient unto itself. According to Castoriadis, this totality is fragmented in a ‘triadic phase’ through the experience of desire, which brings to the fore the encounter with the Other. In contrast, Marcel Gauchet rejects the concept of the psychic monad, arguing that the unformed psyche enters the world with a primordial openness to being formed and transformed. (...) Psychic tension does not arise from the immersion of the closed monad in a hostile world, but from within the psyche itself, for the psyche must form itself and be formed by the world. Gauchet’s understanding of an inherent psychic tension provides an important corrective to Castoriadis’s theory of the monad that nevertheless remains consistent with Castoriadis’s anthropology. (shrink)

Critical thought on immersive theatres is gathering in pace with many arguments centred on explorations of audience/performer interaction and the unique relationship these theatres create. Within this paper I look beyond these debates in order to consider the implications of immersive theatres within contemporary culture, with the aim of furthering the ways in which immersive theatres are presently being framed and discussed. Theatre and science fiction have shared a somewhat limited relationship compared to their burgeoning usage within other forms of (...) entertainment. This paper focuses on how the conceits of science fiction are being staged within this theatrical setting. Primary focus is given to Punchdrunk’s… and darkness descended and The Crash of the Elysium. This is considered alongside The Republic of the Imagination’s Cerebellium, an original narrative created for the performance which has been subsequently developed over a three-year period to date. This discussion is presented and framed through my personal experience as both a performer in Cerebellium and as audience member. The particular use of dystopian narratives and alternate worlds is given consideration, with reflection on the way these works destabilize and call into question the audience’s sense of self either through their ability to survive or understand their sense of self. By making evident the spectrum of practice, I endeavour to delve further into identifying and de-mystifying immersive theatres and their differences to conventional theatre. (shrink)

Recent neuro-psychoanalytic literature has emphasized the view that our subjective identity rests on ancient subcortical neuro-psychic processes expressing unthinking forms of experience, which are “affectively intense without being known” (Solms and Panksepp, 2012). Devoid of internal representations, the emotional states of our “core-Self” (Panksepp, 1998b) are entirely “projected” towards the external world and tend to be discharged through instinctual action-patterns. However, due to the close connections between the subcortical and the cortical midline brain, the emotional drives may also find a (...) way to be reflected within an intrinsic self-referential processing, evident when the organism is not actively engaged with the external world. Thanks to such endogenous functioning, the core-Self emotional dispositions are not overtly executed, but they are organized within coherent dynamic mental structures, called “feeling-toned complexes” by C.G. Jung and “unconscious phantasies” by Melanie Klein. The intrinsic self-referential dynamism of the ‘brainmind’ originated from REM sleep arousal and then evolved in the resting-state activity of a complex of cortico-limbic midline brain structures (CMS), also called Default Mode Network (DMN). From our neuro-ethological perspective, it is sustained by an “introverted” SEEKING activity leading to the subjective exploration of internally constructed virtual scenarios. This “mind wandering” function, implicated in dreaming, fantasy processing, remembering and thinking, is the essence of the imaginative function and constitutes the first form of reflection, where intentions and drives gain a primordial form of conscious (but not self-conscious) representation. During postnatal development, this original (“archetypal”) imaginative function is slowly attuned in a relational “transitional” space and may be expressed first in non-verbal and eventually in abstract-verbal social communicative patterns. Our view has noticeable implications for psychotherapy. Instead of trying to directly modify interpersonal, extrinsic relationships (a top-down approach), dysfunctional emotional-relational patterns may be modified by a process in which the patient is helped to let-go of the perceived feeling-objects in favor of an immersion, via the actual feeling, from the superficial level of perception towards a void feeling-state, empty of images. Only starting from this “anoetic” feeling-state, the deep imaginal creative and re-structuring self-referential activity may be reactivated by a process of spontaneous imagination. (shrink)

According to contemporary philosophical accounts of hope, a hopeful emotion involves an element of imagination as input, part, or output of hope. A typical description of a hopeful episode often goes with mental imagery or immersion into the hoped-for scenario: as Ariel is hoping to win the dance competition on Saturday night, he projects himself in the scenario where he visualizes his name appearing on the screen display, quasi-hears the crowd cheering, feels proud, and starts thinking about the national (...) dance competition. This raises the question: how does hope exactly interact with the processes required to produce a mental image or even an immersive exploration of the desired reality? This is the question we tackle in our paper. Rather than putting forward a new account of the nature of hope, we explore the interactions between hope and the different kinds of imagination. (shrink)

The article investigates how the use of extended reality technologies and interactive digital interfaces have affected the design of exhibition spaces. Its main objective is to shed light on how these technologies have influenced the ways in which immersive art installations are conceived and experienced. Particular emphasis is placed on the impact of interactive technologies on how visitors experience exhibition spaces. The article examines an ensemble of immersive art cases, paying special attention to the distinction between immersion and interactivity. (...) Two concepts that are pivotal for understanding the transformations concerning the subjectivity of the exhibition visitor those of the “imagineer” and the “ultra-technologist”, which are analysed in the article. The intention is to render explicit how extended reality technologies have contributed to the design of immersive experiences, significantly influencing the interrelations between the technical, aesthetic and institutional aspects concerning exhibition design and the methods of dissemination of art. (shrink)

Echoing Beardsley's trinity of unity, complexity, and intensity, Perkins develops three interrelated criteria on which to base an evaluation of film: credibility, coherence, and significance. I assess whether Perkins criteria of credibility serves as a useful standard for film criticism. Most of the effort will be devoted to charitably reconstructing the notion of credibility by bringing together some of Perkins' particular comments. Then I will briefly examine whether Perkins has successfully achieved his goal of developing standards of judgment by holding (...) credibility up to his own criteria of successful meta-criticism: "The clarification of standards should help to develop the disciplines of criticism without seeking to lay obligations on the film-maker" (p. 59). Although I argue that Perkins fails to achieve his goal, his criterion of credibility remains a useful mechanism for evaluating artistic attempts to achieve a particular end, namely spectator immersion. A limited domain of application for his criteria might seem to leave us with little more than an idiosyncratic expression of his classicist artistic taste, but Film as Film also contains valuable insights relevant to the so called "problem of imaginative resistance.". (shrink)

For Vigen Guroian, contemporary culture is distinguished by its relentless assault on the moral imagination. In the stories it tells us, in the way it has degraded courtship and sexualized our institutions of higher education, in the ever-more-radical doctrines of human rights it propounds, and in the way it threatens to remake human nature via biotechnology, contemporary culture conspires to deprive men and women of the kind of imagination that Edmund Burke claimed allowed us to raise our perception of our (...) own human dignity, or to "cover the defects of our own naked shivering nature." In Rallying the Really Human Things, Guroian combines a theologian's keen sensitivity to the things of the spirit with his immersion in the works of Burke, Russell Kirk, G. K. Chesterton, Flannery O'Connor, St. John Chrysostom, and other exemplars of the religious humanist tradition to diagnose our cultural crisis. But he also points the way towards a culture more solicitous of the "really human things," the Chesterton phrase from which he takes his title. Guroian's wide-ranging analysis of these times provides a fresh and inimitable perspective on the practices and mores of contemporary life. (shrink)

As the editors of the series, New Literary Theory, proclaim in the preface of the book, the purpose of the series is to make more room in literary theory for playful and accessible approaches to li...

Songs that combine happy music and sad, violent, or morally disturbing lyrics raise questions about the relationship between music and lyrics in song, including the question of how such songs affect the listener, and of the ethical implications of listening – and perhaps singing along with – such songs. To explore those perplexing cases in which the affective impact of music and lyrics seem entirely incompatible, we first examine how song music – and the sympathetic musical affects it elicits – (...) can influence listener attention to lyrics. We propose that ‘happy’ music and mood in particular may discourage close attention to the semantic contents of lyrics in some cases, and impart a ‘positive glow’ to them in others. We also mine the kinds of moral questions to which emotional and imaginative immersion in fiction can give rise for their potential applicability to songs with disturbing narratives. We then explore how performance and performer may influence the understanding and interpretations of lyrics. This investigation of the complexities of such songs will use Tom Jones’ murder ballad “Delilah” as a template, taking into account both its impact and its presentation. (shrink)

“The Dignity of Imagination. Alexander Baumgarten and the Context ofthe Birth of Aesthetics”. The paper deals with the role of imagination in the disciplinaryconstitution of Aesthetics. For this purpose it is divided into three sections:the first one focuses on showing how imagination acquires a certain dignity at aspecific moment in the history of western thought; the second section shows howthis new status will allow, within the special historical context of Enlightenment,the birth of aesthetic reflection lead by Alexander Baumgarten. The third (...) sectionof this paper focuses on showing how the aesthetic perspective implies decidedlychoosing to give reflexive sensitivity a significant spot within the comprehensionthat man has of himself and of the world in which he is immersed. (shrink)

What is truth in the postmodern age? The artistic generation of the twentieth century has grown up immersed in the delirious imagination of postmodern thought, which insists upon the ultimate uncertainty of meaning and that there is no self-evident truth. This title explores the possibilities and parameters of a postmodern imagination freed from the philosophical responsibilities of fiction, fact, and replication of lived experience. Mobilizing an array of scholars and contemporary artists, this study examines postmodern thinking through the lenses of (...) identity and visual culture. Speculative, critical, and always creative in its approach, "In Praise of Nonsense" focuses on theories of disappearance, irony, and nonsense, where the pleasures of the imaginary give rise to artistic inspiration. (shrink)

The intuitive view that memories are characterized by a feeling of pastness, perceptions by a feeling of presence, while imagination lacks either faces challenges from two sides. Some researchers complain that the “feeling of pastness” is either unclear, irrelevant or isn’t a real feature. Others point out that there are cases of memory without the feeling of pastness, perception without presence, and other cross-cutting cases. Here we argue that the feeling of pastness is indeed a real, useful feature, and although (...) this feeling does not define memory ontologically, it is a characteristic marker which helps us easily categorise a mental state first-personally. We outline several cognitive features that underlie this experience, including the feeling of past accessibility, ergonomic significance, immersion, objectivity and mental strength. Our account is distinctly phenomenal, rather than doxastic, although our web of beliefs may contribute to this experience. (shrink)

The place of emotions in aesthetic response has long been a topic in contemporary philosophical theorizing. One aspect of the debate in particular seems to have become a recalcitrant problem: when experiencing fiction, we experience emotional reactions towards what we know not to exist. Is this rational? In fact, is it even possible? This article deals with the so‐called “paradox of fiction” from the viewpoint of ancient poetics. In the first section, I survey some of the main arguments proposed to (...) (dis)solve the paradox in analytic philosophy. In the second and the third sections, I address what I consider two problematic assumptions of existing analytic approaches: their prescriptive, “essentialist” attitude and their exclusive focus on matters of content. By offering a brief sketch of the ancient principles of “likelihood” and “vividness”, I argue that they provide a direct and cognitively realistic answer to the paradox insofar as they account for the neutralization of doxastic features in imaginative acts and ground affective responses to fiction in the phenomenon of “aesthetic immersion”, explained in experiential, rather than representational, terms. (shrink)

What happens when we read a text like The Name of the Rose? How may we understand what is fictional and what is true in it? By working on Eco’s Confessions of a Young Novelist, we will try to investigate the phenomenology of reading together with immersivity and our emotional involvement with fiction.

It is generally acknowledged that verbal auditory imagery, the reader's sense of hearing the words on a page, matters in the silent reading of poetry. Verbal auditory imagery (VAI) in the silent reading of narrative prose, on the other hand, is mostly neglected by literary and other theorists. This is a first attempt to provide a systematic theoretical account of the felt qualities and underlying cognitive mechanics of narrative VAI, drawing on convergent evidence from the experimental cognitive sciences, psycholinguistic theory, (...) and introspection. The central argument is that distinctions within the domain of embodied VAI also apply to higher-order meaning-making. That is, based on the imaginer's level of self-implication in their production, discrete types of VAI are associated with discrete tendencies in spontaneous literary interpretation. More generally, the aim of this paper is to isolate a new set of embodied experiences which, along with previously researched phenomena such as sensorimotor enactment or emotion, contribute to our understanding of literary narrative. (shrink)

When we are most immersed in literary reading, and when that immersion is most significant, we may experience a literary work as constitutive of a ‘world’. With reference to the phenomenological tradition, it can be shown how this world is both a novel creation and serves to disclose, not least by shifting our perspective from, the world of ordinary experience. In this light, it will be shown how the problem of mimesis poses a challenge for recent neuroscientific approaches to (...) literature. At the same time, neuroscientific findings show the insufficiency of phenomenological accounts which fail to acknowledge the physiological and cognitive processes that underlie literary imagining. I introduce the notion of the ‘mimetic dimension’ in order to clarify what accounts based on phenomenology and neuroscience can and cannot explain about literary mimesis and the experience of a literary world. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Against Ethical CriticismRichard A. PosnerOscar Wilde famously remarked that “there is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all.” He was echoed by Auden, who said in his poem in memory of William Butler Yeats that poetry makes nothing happen (though the poem as a whole qualifies this overstatement), by Croce, and by formalist critics such as (...) Cleanth Brooks, a doyen of the New Critics, who insisted that edification was the function of religion but not of poetry. 1 George Orwell, though himself a didactic novelist, was of this view as well, 2 and it is one that most critics adopt when the issue is censorship. I accept Wilde’s thesis—the creed of aestheticism, of art for art’s sake—if understood to mean that the moral content and consequences of a work of literature are irrelevant to its value as literature; or as the critic Helen Vendler has put it, that “treating fictions as moral pep-pills or moral emetics is repugnant to anyone who realizes the complex psychological and moral motives of a work of art.” 3 This is not to deny that reading can have consequences, including moral and political ones. Information affects people’s outlook and behavior, and reading is a source of information. Imaginative literature conveys ideas, opinions, and information, often with great power. Think of the role that novels by Turgenev (Fathers and Sons), Dostoevsky (The Possessed), Conrad (The Secret Agent, Under Western Eyes), Koestler (Darkness at Noon), Orwell (Animal Farm, Nineteen Eighty-Four), and, of course, Solzhenitsyn played in exposing the horrors of anarchism and communism. Of A Passage to India it has been said that “as an account of the social conditions of British India it was powerful enough to have influenced events.” 4 Upton Sinclair’s novel The Jungle is thought to have incited federal regulation of food processing; and few doubt the effect of Uncle Tom’s Cabin (1852) on the abolitionist cause. [End Page 1]At the core of the aesthetic tradition, which I shall be defending in this essay particularly against its opponents in the “law and literature” movement, are three theses. First, immersion in literature does not make us better citizens or better people. One might be able to pick out some works of literature that would have such an effect because of the information they convey or the emotional state they induce, but they would constitute a skewed sample of literary works. Second, we should not be put off by morally offensive views encountered in literature even when the author appears to share them. A work of literature is not to be considered maimed or even marred by expressing unacceptable moral views; by the same token, a mediocre work of literature is not redeemed by expressing moral views of which we approve. The proper criteria for evaluating literature are aesthetic rather than ethical. Third, authors’ moral qualities or opinions should not affect our valuations of their works.The insistence, in short, is on the separation of the moral from the aesthetic—but with two qualifications. Some literature has little interest or value apart from the didactic and for it the proper criticism is didactic. And the separation of moral from aesthetic values is not a rejection of the former. The aesthetic outlook is a moral outlook, one that stresses the values of openness, detachment, hedonism, curiosity, tolerance, the cultivation of the self, and the preservation of a private sphere—in short, the values of liberal individualism.The counter tradition in literary criticism to the aesthetic originates with Plato and insists upon the importance, in some versions to the near or even total exclusion of anything else, of the ethical or political content and effects of works of literature, and less commonly of the author’s own morality. Martha Nussbaum, for example, deems Greek tragedies and Anglo-American realistic novels a part of moral philosophy. 5 Reading novels, she argues, “develops moral capacities without which citizens will not succeed in making reality out of the normative conclusions of any moral or political theory, however excellent.” 6 Wayne Booth, disagreeing with his illustrious... (shrink)

Bodying Postqualitative Research posits the question of what happens when lived, fleshy human bodies engage in postqualitative research in education. It takes as its central concern research propositions aimed at dismantling the structures of humanism that typically govern research in education and uses postqualitative conceptions of data, methodology, and clarity in conjunction with insights from feminist science studies scholars to imagine how we might 'body' postqualitative work. This book uses the provocations offered by postqualitative research and takes these touchpoints to (...) dismantle dominant logics of research, born of neoliberalism and ongoing settler colonialism to offer alternative perspectives. Importantly, this book stays near to the body by proposing caffeine shakes, antipsychotic medications, and scars as moments to take seriously how bodies do researching practices. After each chapter, the book turns to poetry as a "fracture" or a moment of disruption to the rhythm of the text that incites readers to reconsider the previous chapter otherwise. It concludes by asking what bodying postqualitative research might mean for pedagogy and for propositions toward future inquiry. Drawing together the work of feminist science and education scholars oriented toward the biosciences and whose work has not yet been immersed into postqualitative scholarship in a sustained way, this book brings together a vein of feminist science studies theorizing that both deepens and troubles postqualitative scholarship through its focus on the politics of science and the possibilities of doing bodies with biology, culture, and life. The volume is suitable for students and scholars interested in postqualitative and embodied research methods in education, and feminist and gender studies. (shrink)

A reflection on how to teach philosophy with the help of theatrical techniques and scenic interpretation tools, building an allegorical environment for the presentation of philosophical content. Considering Plato's explanation of the allegory of the cave, where he starts from 'appears' or 'imagines' and describes his narrative, in a complete way, in a theatrical approach to use the imagination of his listeners. And thus building a scene, a representation of what he wanted to teach his interlocutors. In addition to reflecting (...) on contemporary caves, built in the rooms of young people, who are isolated, attentive only to the images produced on cell phone and computer screens, without being sure about the veracity of the information received in these 'walls' of modern caves. Also following the approaches and paths of Deleuze and Foucault in their considerations on the constructions relevant to the study of philosophy and its learning, this article aims at this reflection as a contribution to the art of theatre, the 'teatron', the place for to see. And to see how this seeing is a metaphorical perspective, something that is also a philosophical question, both in the direct and in the metaphysical sense. In addition to being a matter of experience made possible by immersion in the world of ideas and imagination, in a reflective, pragmatic way and with a view to learning and teaching philosophy. (shrink)

According to the reading offered here, Descartes' use of the meditative mode of writing was not a mere rhetorical device to win an audience accustomed to the spiritual retreat. His choice of the literary form of the spiritual exercise was consonant with, if not determined by, his theory of the mind and of the basis of human knowledge. Since Descartes' conception of knowledge implied the priority of the intellect over the senses, and indeed the priority of an intellect operating independently (...) of the senses, and since, in Descartes' view, the untutored individual was likely to be nearly wholly immersed in the senses, a procedure was needed for freeing the intellect from sensory domination so that the truth might be seen. Hence, the cognitive exercises of the Meditations, modeled not on the sense- and imagination-based exercises of Ignatius of Loyola, but on the Augustinian procedure of turning away from the senses and imagination to perceive the unpicturable with the fleshless eye of the mind. In accordance with this reading, the function of Descartes' skeptical arguments is not to introduce skepticism so that it can be defeated but to aid the meditator in withdrawing the mind from the senses in order to attend to truths of the pure intellect. These truths then offer the basis for a new natural philosophy, including a new theory of the senses. (shrink)

Some of the early‐modern changes in the social framing of science, while often believed to be essential, are shown to be contingent. They contribute to the flawed public narrative around science today, and especially to the misconceptions around science and religion. Four are examined in detail, each of which contributes to the demise of the contemplative stance that science both requires and offers. They are: (1) a turn from an immersed subject to the pretense of a pure objectivity, (2) a (...) turn from imagination as a legitimate pathway to knowledge, (3) a turn from shared and participative science to a restricted professionalism, and (4) an overprosaic reading of the metaphor of the “Book of Nature.” All four, but especially the imperative to consider reading nature as poetry, and a deeper examination of the entanglements between poetry and theoretical science, draw unavoidably on theological ideas, and contribute to a developing “theology of science.”. (shrink)

Barba non facit philosophum. L'habit ne fait pas le moine. In those proverbs, Latin and French, we find the classical opposition between appearance and reality—between the accessory (the superficial, the beard, the clothing) and the essential (the profound, the philosopher, the monk), the latter being independent from and unchanged by the former. Berliner questions this dichotomy. As an anthropologist, he reviews many situations in which humans wear masks or use other techniques to cover their identities: cosplaying, puppy play, historical reenactments, (...) live-action role-playing, and the use of pseudonyms. Cosplayers, the subject of Berliner's first case study, impersonate characters from movies or video games. On the basis of lengthy interviews, he concludes that role-players change when they wear the costumes of their favorite heroes, behaving, for instance, with more self-confidence. A little psychological experiment not cited in this book suggests the same. In 2012, Hajo Adam and Adam Galinsky asked a group of students to perform a task demanding concentration. Those given a white medical coat to wear during the experiment performed better, probably because they were more prone to adopt traits and postures attributed to doctors—postures thought to enhance concentration. Berliner believes that, in the case of more immersive games, such changes are not necessarily temporary. They can persist after the acting is done. In other words, in some contexts at least, clothes can change the man.To impersonate a historical figure such as Napoleon, another case covered in Berliner's book, the reenactor must pay attention to minute details of the figure's life, habits, and social environment. The reenactor may then experience a moment de bascule, during which he is so much absorbed in his role that he forgets he is playing a character. As such, the activity of imitating is a way of learning some particular forms of paying attention to the individual serving as model. I regret that this aspect of disguise is not discussed when Berliner approaches animal role-playing. He affirms instead that identification with animals “rests upon our imagining what an animal is.” To imitate animals, however, we must first learn about, watch, and interact with them. Imitation is never fully based on the imagination; our imaginations are opened by prior, more or less proximate interactions with the beings that serve as models. It is far from easy to imagine, out of the blue, using our bodies in the ways that imitating animals requires.Despite the book's title, Becoming Other, Gilles Deleuze is barely mentioned in it, probably because he was very critical of the concept of imitation, which is omnipresent in Berliner's thought. Still, the way in which Berliner uses the concept is Deleuzian to a degree. Deleuze is skeptical of the concept of imitation because the success of an imitation is usually judged by whether the model and the imitation correspond in appearance—the imitation, in that case, does not bring any novelty to the world. In contrast to Deleuze, who proposes to abandon the concept of imitation, Berliner invites us to study it in new ways. Indeed, his book teaches us how creative imitation can be. What counts is not whether an imitation is successful but whether it is fruitful, and that we measure by whether it transforms us. The imitator does not become an alter ego of the model impersonated but a superego, an ego more aware of all its capacities. Even if it is never made explicit, the contrast between successful and fruitful—a contrast dear to Vinciane Despret—structures Berliner's analyses, which are a valuable contribution not only to anthropology but also to philosophy. (shrink)

This text discusses the impact of immersive technologies on our identity and relationship to digital and analogue modalities in a non-normative way. It references the work of Joseph Beuys, specifically his iconic performance of being confined with a coyote in a gallery space for three days, to construct connections between borders, edges, limits and identity, face presentation, representation and projection towards ourselves and our audiences. We reference the works of Marcel Duchamp and George Orwell and compare the immersive devices of (...) the nineteenth century to current technology. Various works of art and literature are used to illustrate the impact of technology on society and the individual’s relationship to the collective imagination. The text raises questions about the limits or nonlimits of exposure of identity through machinic and technological devices or processes in the context of privacy of expression in a contemporary networked world. (shrink)

What’s presented in our normal waking perceptual visual experiences feels present to us, while what we “see” in pictures and imagine does not. What about dreams? Does what we “see” in a dream feel present? Jennifer Windt has argued for an affirmative answer, for all dreams. But the dreams which flow from the brain’s registration of myoclonic twitches present a challenge to this answer. During these dreams motion-guiding vision is shut off, and, as Mohan Matthen has argued, motion-guiding vision seems (...) to be a key mechanism underlying the feeling of presence. I propose that the feeling of presence in fact involves two components: the feeling of immersion, and the feeling of availability for action. I suggest that only the feeling of availability for action derives from motion-guiding vision, and, hence, hypothesize that body-driven dreams lack this component to the feeling of presence. Finally, the distinction between these two varieties of presence has implications for measures of presence in virtual environments, as these measures can diverge over which of the two varieties they track. (shrink)

Artificial Intelligence as a buzzword and a technological development is presently cast as the ultimate ‘game changer’ for economy and society; a technology of which we cannot be the master, but which nonetheless will have a pervasive influence on human life. The fast pace with which the multi-billion dollar AI industry advances toward the creation of human-level intelligence is accompanied by an increasingly exaggerated chorus of the ‘incredible miracle’, or the ‘incredible horror’, intelligent machines will constitute for humanity, as the (...) human is gradually replaced by a technologically superior proxy, destined to be configured as a functional component at best, a relic at worst. More than half a century ago, Günther Anders sketched out this path toward technological obsolescence, and his work on ‘Promethean shame’ and ‘Promethean discrepancy’ provides an invaluable means with which to recognise and understand the relationship of the modern human to his/her technological products. In this article, I draw on Anders’s writings to unpack and unsettle contemporary narratives of our relation to AI, with a view toward refocusing attention on the responsibilities we bear in producing such immersive technologies. With Anders, I suggest that we must exercise and develop moral imagination so that the human capacity for moral responsibility does not atrophy in our technologically mediated future. (shrink)

The experiences of 90 individuals who self-identify as “excessive” or “maladaptive” fantasizers are summarized in this report. Our sample consisted of 75 female and 15 male participants, ranging in age from 18 to 63 who responded to online announcements. Participants completed a 14-question emailed survey requesting descriptions of their fantasy habits and causes of potential distress regarding fantasy. Results demonstrated that participants shared a number of remarkably specific behaviors and concerns regarding their engagement in extensive periods of highly-structured, immersive (...) class='Hi'>imaginative experiences, including the use of kinesthetic activity which accompanies the fantasies of 79% of participants. Participants reported distress stemming from three factors: difficulty in controlling the need or desire to engage in fantasizing; concern that the quantity of fantasizing interfered with actual relationships and endeavors; and intense shame and exhaustive efforts to keep this behavior hidden from others. It is hoped that this report will encourage interest in this elusive syndrome. (shrink)

According to the reading offered here, Descartes' use of the meditative mode of writing was not a mere rhetorical device to win an audience accustomed to the spiritual retreat. His choice of the literary form of the spiritual exercise was consonant with, if not determined by, his theory of the mind and of the basis of human knowledge. Since Descartes' conception of knowledge implied the priority of the intellect over the senses, and indeed the priority of an intellect operating independently (...) of the senses, and since, in Descartes' view, the untutored individual was likely to be nearly wholly immersed in the senses, a procedure was needed for freeing the intellect from sensory domination so that the truth might be seen. Hence, the cognitive exercises of the Meditations, modeled not on the sense- and imagination-based exercises of Ignatius of Loyola, but on the Augustinian procedure of turning away from the senses and imagination to perceive the unpicturable with the fleshless eye of the mind. (shrink)

Divination has been practiced as a way of knowing and communicating for millennia. Diviners are experts who embrace the notion of moving from a boundless to a bounded realm of existence in their practice. They excel in insight, imagination, fluency in language, and knowledge of cultural traditions and human psychology. During a divination, they construct usable knowledge from oracular messages of various sorts. To do so, they link diverse domains of representational information and symbolism with emotional or presentational experience. Their (...) divinatory acts involve complementary modes of cognition associated with these rather different symbolic forms. In representational symbolism, intentional reference, within a relatively controlled inductive reality, is paramount, while in presentational symbolism, implicit experiential immersion, within a free-flowing context, is grasped intuitively. Wherever a theory of divination has been elicited from diviners, there is a clear recognition of the overlapping of inductive, intuitive, and interpretive techniques and ways of knowing. In order to arrive at a theory of practice for divination, as a form of practical consciousness or knowledge within different modes of cognition, one must take what diviners say and do seriously. Recent scientific studies reveal that consciousness is connected both to electrical information in the brain and nervous system and to electronic semi-conduction in body tissues. Brain consciousness is embedded in body consciousness and coupled to it. This validates the experience of mind-body consciousness diviners have used for millennia in their performances. (shrink)

This article engages with the fabrication of experiences in first-person shooter video games. On one hand, it explores the forms of affective and cognitive engagement this novel type of immersive imagery demands of the player. On the other hand, the article speculates on how video games images resonate and coincide with other key practices and imaginations defining the political reality of life today. What (at least according to some accounts) matters most in the politics of life today is a particular (...) locus of mediation – the brain. The ways we imagine ourselves are today characterized by a figure of the ‘cerebral subject’. The article presents an attempt to chart video games imagery in relation to this key contemporary image of who we are, and to consider how the rhythms of the console screen might be seen as emblematic of a more general anthropology of subjectivity today. (shrink)