Resumen En este artículo se propone una reflexión sobre los requerimientos -éticos y teóricos- para la factible superación de situaciones violentas. Situaciones en las que la realidad se impone de manera indefectible y agresiva, bajo las que difícilmente se pueden generar espacios de justicia, dado que en ellos prevalece la desigualdad y marginación social. La persistencia de injusticias constituye el caldo de cultivo para la violencia. El caso específico de este tipo de circunstancias es la matanza de 43 estudiantes de (...) la Escuela Normal Rural en Ayotzinapa el 26 de noviembre de 2014. En estos contextos, para formular alternativas en que la paz sea un horizonte viable, se parte de la reflexión sobre la injusticia real, principalmente, desde la teoría de Luis Villoro. A partir del reconocimiento de esta condición se posibilita la imaginación colectiva de alternativas en pro de la superación de la violencia y el alcance de la paz.This article proposes to reconsider the feasibility of overcoming violent situations. Situations in which reality imposes itself in an indefectible and aggressive manner and in which it is hard to generate spaces of justice, since in them, social inequality and marginalization prevail. The persistence of injustice is the breeding ground for violence. An explicit case of such conditions was the massacre of 43 students of the Rural Teachers' College in Ayotzinapa on November 26, 2014. Under these circumstances, and, in order to formulate alternatives where peace becomes a viable horizon, this paper assumes the perspective about real injustice developed by Luis Villoro. Based on the recognition of this condition, the collective imagination of alternatives for overcoming violence and achieving peace becomes possible. (shrink)

In his Critique of Pure Reason, Kant famously includes immortality as one of the three “ideas” that give rise to “unavoidable problems of reason” (KrV, B7)1 and thereby constitute the basic subject-matter of metaphysics. Interpreters have paid a great deal of attention to the other two ideas, God and freedom; yet very few studies of Kantian immortality have ever been undertaken. This should come as no surprise, once we realize that Kant himself used the word “immortality” and its cognates only (...) 40 times in all three of his great Critiques. (By comparison, forms of the words “God” and “free(dom)” appear 119 and 509 times, respectively, in the three Critiques.) Kant’s theory of immortality – if he can be said to have one – is therefore exceedingly difficult to understand. For example, he says at one point (KrV, B395n): “Metaphysics has only three ideas as the proper purpose of its investigation: God, freedom, and immortality – and in such a way that the second concept, when combined with the first, is to lead to the third as a necessary conclusion.” How are we to understand this claim ? Does Kant really mean that combining the concept of freedom with the concept of God somehow gives rise to immortality as a necessary inference? In any case, why does Kant say so little about immortality, even though he portrays it as one of three ideas that constitute the “final aim” of all metaphysical speculation ? These and other puzzles raised by Kant’s occasional comments on immortality will be the focus of this paper. (shrink)

Saskia Sassen today and Jane Adams more than 100 years ago are both social scientists and public philosophers of reconstruction. Both offer defining contributions to a philosophical tradition that will be identified here as “radical pragmatism”. Sassen’s theoretical stance “before method” serves as a key to understand Addams’s locally embedded urban activist projects as a form of social scientific inquiry. Sassen introduces the concept of “territory making” as a spark of hope against rampant and destructive global trends of “expulsions”, (...) which her approach reveals. In this article this concept of “territory making” will be explored in various contexts and with particular attention to Addams’s Hull house project. It will be shown how a pragmatist brand of human imagination is critical in “territory making”. This leads to reconsidering the role of art in social transformation projects. (shrink)

Today, the US pursues the global capture of data (understood as a significant engine of growth) by way of bi- and plurilateral trade agreements. However, the project of securing the global free flow of data has been pursued ever since the dawn of digital telecommunication in the 1960s and the US has made significant legal efforts to institutionalise it. These efforts have two phases: In the first 1970s and 80s “freedom of information” phase, the legal justification (and contestation) of the (...) global free flow of data hinged on imagining data as information, and its exchange as a practice of liberty. The second phase began in the late 1990s and continues today. In this phase, the free flow of data is aligned with a free-trade agenda in the context of first e-commerce and, starting in the 2000s, through attempts at creating a global public domain of personal data for the platform economy. The global free flow of data is an intrinsic aspect of informational capitalism. Assuming a constitutive, but not commanding role for law in informational capitalism, we conclude that the US attempt at ensuring free flow for its informational corporations is neither an entirely contingent nor a necessary outcome. It is a product of legal imagination. (shrink)

The notions of other peoples, cultures, and natural conditions have always been determined by the epistemology of imagination and fantasy, providing much freedom and creativity, and yet have also created much fear, anxiety, and horror. In this regard, the pre-modern world demonstrates striking parallels with our own insofar as the projections of alterity might be different by degrees, but they are fundamentally the same by content. Dreams, illusions, projections, concepts, hopes, utopias/dystopias, desires, and emotional attachments are as specific and impactful (...) as the physical environment. This volume thus sheds important light on the various lenses used by people in the Middle Ages and the early modern age as to how they came to terms with their perceptions, images, and notions. Previous scholarship focused heavily on the history of mentality and history of emotions, whereas here the history of pre-modern imagination, and fantasy assumes center position. Imaginary things are taken seriously because medieval and early modern writers and artists clearly reveal their great significance in their works and their daily lives. This approach facilitates a new deep-structure analysis of pre-modern culture. (shrink)

The article discusses the technical image, a central concept in Vilém Flusser’s later main work Into the Universe of Technical Images (1985a). After identifying its various dimensions, the analysis frames the concept as an amalgamation of disciplines, theories, and artistic practices the cultural philosopher Flusser explored during the 1960s and especially the 1970s. In particular, the field of information aesthetics developed by Max Bense and Abraham A. Moles, among others, as well as artistic video practices in France and the United (...) States played an important role in both Flusser’s biography and the formation of his technical image concept. At the same time, in Flusser’s cultural philosophy the technical image is the condition and result of a new kind of human imagination, which in this paper is specified as ‘projective imagination’. (shrink)

David Lewis has argued that “having an experience is the best way or perhaps the only way, of coming to know what that experience is like”; when an experience is of a sufficiently new sort, mere science lessons are not enough. Developing this Lewisian line, L.A. Paul has suggested that some experiences are epistemically transformative. Until an individual has such an experience it remains epistemically inaccessible to her. No amount of stories and theories and testimony from others can teach her (...) what it is like to have it, nor is she able to achieve this knowledge by way of imaginative projection. It’s this last claim that is the focus of this paper. In particular, I explore the case for the claim that some experiences are in principle imaginatively inaccessible to someone who has not undergone the experience itself or one relevantly similar. As I will suggest, this case is not as strong as is often thought. Close attention to the mechanisms of imagination, and in particular, to cases of skilled imaginers, suggests how techniques of imaginative scaffolding can sometimes be used to give us epistemic access to experiences we have not had, even ones that are radically different from any that we have had before. As a result, considerably fewer experiences remain imaginatively out of reach than proponents of transformative experience would have us believe. Experience may well be the best teacher, but this paper aims to show that imagination comes in a close second. (shrink)

I provide a novel, non-reductive, action-first skill-based account of active imagining. I call it the Skillful Action Account of Imagining (the skillful action account for short). According to this account, to actively imagine something is to form a representation of that thing, where the agent’s forming that representation and selecting its content together constitute a means to the completion of some imaginative project. Completing imaginative projects stands to the active formation of the relevant representations as an end. (...) The account thus bakes in the means-end order that some in action theory take to be definitional of intentional action. Moreover, in the spirit of this conception of intentional action, I hold that a central feature of the means-end order exhibited in active imagining is the agent’s direct non-observational knowledge both of her act of imagining and of its having this order. The agent knows that she’s actively imagining (that-)p and knows why she actively imagines this–to carry on the pretense, engage in the fiction, predict another’s behavior, reason about possibility or necessity, reason about contingent matters of fact, just imagine for its own sake, and so on. I show that the account accounts for the possibility of misimagining while holding onto the idea that we imagine what we intend to imagine. I likewise show that the account unifies imagining across types of imaginative project like those just listed in a way that tolerates conflict in the roles that imagining plays in the mental economy across those projects. Finally, I show that the account can accommodate passive imagining like involuntary and automatic imagining as well as mind wandering. (shrink)

_An examination of how two fundamental concepts of order influence our ideas about sovereignty, citizenship, law, and history_ Western accounts of natural and political order have deployed two basic ideas: project and system. In a project, order is produced by the intentional act of a subject; in a system, order is immanent in the world. In the former, order is made; in the latter, discovered. Paul W. Kahn shows how project and system have long been at work in our theological (...) and philosophical tradition. Against this background, Kahn explains the development of the modern legal imagination in the nineteenth century as a movement from project to system. Americans began the century imagining the constitutional order as their common project: a deliberate construction of We the People. They ended the century imagining that order is continuous with the common law: an immanent development of the principles of civilization. This imaginative shift affected ideas of legal text, sovereignty, citizenship, interpretation, history, and science. (shrink)

As Hume famously claimed, we are nowhere more free than in our imagination. While this feature of imagination suggests that imagination has a crucial role to play in modal epistemology, it also suggests that imagining cannot provide us with any non-modal knowledge about the world in which we live. This chapter rejects this latter suggestion. Instead it offers an account of “imagining under constraints,” providing a framework for showing when and how an imaginative project can play a justificatory role (...) with respect to our beliefs about the world. That we can be free in our imaginings does not show that they must proceed unfettered; as is argued, our ability to constrain our imaginings in light of facts about the world enables us to learn from them. The important upshot is that imagination has considerably more epistemic significance than previously thought. (shrink)

I argue that our experience of expressive properties (such as the joyfulness or sadness of a piece of music) essentially involves the sensuous imagination (through simulation) of an emotion-guided process which would result in the production of the properties which constitute the realisation of the expressive properties experienced. I compare this proposal with arousal theories, Wollheim’s Freudian account, and other more closely related theories appealing to imagination such as Kendall Walton’s. I explain why the proposal is most naturally developed in (...) terms of simulation and briefly comment upon the impact of work on cross-cultural perception of facial expression, modularity and autism for the proposal. (shrink)

How do we perdure when we and everything around us are caught up in incessant change? But the course of this change does not seem to be haphazard and we may seek the modalities of its Logos in the transformations in which it occurs. The classic term "Metamorphosis" focuses upon the proportions between the transformed and the retained, the principles of sameness and otherness. Applied to life and its becoming, metamorphosis pinpoints the proportions between the vital and the aesthetic significance (...) of life. Where could this metaphysical in-between territory come better to light than in the Fine Arts? In this collection are investigated the various proportions between the vital significance of the constructivism of life and a specifically human contribution made by the creative imagination to the transformatory search for beauty and aesthetic values. Papers by: Lawrence Kimmel, Mark L. Brack, Sheryl Tucker de Vazquez, William Roberts, Jadwiga Smith, Victor Gerald Rivas, Max Statkiewicz, Matti Itkonen, George R. Tibbetts, Linda Stratford, Jorella Andrews, Ingeborg M. Rocker, Stephen J. Goldberg, Leah Durner, Donnalee Dox, Catherine Schear, Samantha Henriette Krukowski, Gary Maciag, Kelly Dennis, Wanda Strukus, Magda Romanska, Patricia Trutty-Coohill, Ellen Burns, Tessa Morrison, Sabine Coelsch-Foisner, Gary Backhaus, Daniel M. Unger, Howard Pearce. (shrink)

Review of Fuller’s New Sociological Imagination.

A showcase of IPFW's successful mobile cohort and examples of creative faculty projects utilizing mobile technology.

In his new book Origins of Order: Project and System in the American Legal Imagination, Paul Kahn uses a conceptual array that consists of two concepts: system and project. These two concepts are c...

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)

This chapter looks for a new understanding of the picture of a “projection”; and indeed the example of river names suggests a new way of speaking of projections. The considerations Wittgenstein discusses here indicate that the imagination (projection) is intertwined with calculation and that this should be considered a characteristic feature of natural languages: agreement about the success of the ongoing shared activities demands at every step the ability to project, to transfer – it demands creative imagination. Theoretically, an insight (...) into the workings of our language is all too often denied us because it is blocked by traditional pictures and prejudices. That is why philosophy plays such a decisive, critical role in its apparently quite conservative “mere description”: because it must point out how to distinguish those cases in which language “works properly” from those in which it leads us astray by “going on holiday”. (shrink)

Readers of fictions sometimes resist taking certain kinds of claims to be true according to those fictions, even when they appear explicitly or follow from applying ordinary principles of interpretation. This "imaginative resistance" is often taken to be significant for a range of philosophical projects outside aesthetics, including giving us evidence about what is possible and what is impossible, as well as the limits of conceivability, or readers' normative commitments. I will argue that this phenomenon cannot do the (...) theoretical work that has been asked of it. Resistance to taking things to be fictional is often best explained by unfamiliarity with kinds of fictions than any representational, normative, or cognitive limits. With training and experience, any understandable proposition can be made fictional and be taken to be fictional by readers. This requires a new understanding both of imaginative resistance, and what it might be able to tell us about topics like conceivability or the bounds of possibility. (shrink)

(1998). Staging the self by performing the other: Global fantasies and the migration of the projective imagination 1. Cultural Values: Vol. 2, No. 2-3, pp. 288-304.

The principal aim of my thesis is to provide a unified theory of imagining, that is, a theory which aspires to capture the common nature of all central forms of imagining and to distinguish them from all paradigm instances of non-imaginative phenomena. The theory which I intend to put forward is a version of what I call the Agency Account of imagining and, accordingly, treats imaginings as mental actions of a certain kind. More precisely, it maintains that imaginings are (...) mental actions that aim at the formation of episodic representations, the content of which is directly determined by what we want them to represent. My defence of this version of the Agency Account happens in two stages. On the one hand, I try to show that it is both extensionally adequate and explanatorily illuminating with respect to those mental states or projects which are clear instances of either imaginative or non- imaginative phenomena. And on the other hand, I seek to demonstrate that the most plausible alternative to the Agency Account - namely the Cognitive Account according to which it is distinctive of imaginings that they are non-cognitive phenomena and thus to be contrasted with perceptions, judgements, and so on - is bound to fail as a unified theory of imagining. The dissertation contains five main parts. In the first, I specify in more detail what a unified account of imagining has to achieve and, in particular, which phenomena it is supposed to capture. The second part presents the Cognitive Account, thereby focussing on Brian O'Shaughnessy's sophisticated version of it while the third part is reserved for the evaluation and rejection of the Cognitive Account. In the fourth part, I develop my version of the Agency Account of imagining. And the fifth and last part is concerned with the accommodation of potential counterexamples to it. (shrink)

In Imagining Europe, Chiara Bottici and Benoît Challand explore the formation of modern European identity. Europe has not always been there, although we have been imagining it for quite some time. Even after the birth of a polity called the European Union, the meaning of Europe remained a very much contested topic. What is Europe? What are its boundaries? Is there a specific European identity or is the EU just the name for a group of institutions? This book answers these (...) questions, showing that in Europe's formation, myth and memory, although distinct, are often merged in a common attempt to construct an identity for its present and its future. In a time when Europe is facing an existential crisis, when its meaning is being questioned, Imagining Europe explores a vital and often unacknowledged aspect of the European project. (shrink)

In his recent book Reflective Democracy, Robert Goodin argues that 'external-collaborative' models of democratic deliberation procedures need to be supplemented by 'internal-reflective' deliberation. The exercise of the moral imagination plays a central role in Goodin's account of 'democratic deliberation within'. By imaginatively putting ourselves in the place of a range of others, he argues, including those who maybe not be able to represent their own interests, we can make their points of view 'communicatively present' in deliberation. Goodin's argument emphasizes the (...) role of art and other forms of cultural representation in helping to bring about this expansion of moral imagination. Drawing on debates in philosophy of mind concerning the scope and limits of our capacities to simulate other minds, I argue that Goodin's analysis of 'democratic deliberation within' conflates different kinds of imaginative project. In doing so, it underestimates both the difficulties of imaginatively putting ourselves in the place of others and the political risks in doing so. I argue, alternatively, that moral engagement with others involves the capacity for sympathy and that art and other forms of cultural representation can enlarge the scope of our sympathies, by assisting us to overcome imaginative resistance to alien points of view. In developing this argument, I provide a qualified defense of Iris Young's claim that respect for others involves 'asymmetrical reciprocity'. (shrink)

Proceeding from a distinction between imagining oneself in another person’s situation and imagining oneself being someone else, this article attempts to elucidate what the latter type of imagining consists in. Previous attempts at spelling out the phenomenon fail to properly account for the role of the self, or rather every individual’s unique point of view. An alternative view is presented, where the concept of imagining oneself being someone else is explained in terms of a distinction between and a co-running of (...) the imaginer’s own perspective and that of the target individual. It is further argued that while we can imagine about an individual without imagining her having any of her actual properties, to meaningfully imagine oneself being someone else the imaginer needs to ascribe at least some qualitative property to the target individual for the imaginative project to get off the ground. Finally, the concept of empathy is used to illustrate the analysis provided, and the imagining oneself being someone else is in turn used to cast light on what is to be understood as genuine empathy. (shrink)

In this essay, the focus is not on what imagination is but rather on what it is like. Rather than exploring the various accounts of imagination on offer in the philosophical literature, we will instead be exploring the various accounts of imaginative experience on offer in that literature. In particular, our focus in what follows will be on three different sorts of accounts that have played an especially prominent role in philosophical thinking about these issues: the impoverishment view (often (...) associated with Hume), the will-dependence view (often associated with Wittgenstein), and the nonexistence view (often associated with Sartre). While there are important insights to be drawn from each of these views, each seems to me to be importantly flawed in various ways. As I will suggest, close examination reveals that none of them gives us an adequate account of the character of imaginative experience. Ultimately, in the final section of this paper, I briefly explore what their failure teaches us about the project of giving an account of imaginative experience. (shrink)

Please send me an email ([email protected]) if you wish to receive a copy of the book. — 'In this highly ambitious, wide ranging, immensely impressive and ground-breaking work Fabian Dorsch surveys just about every account of the imagination that has ever been proposed. He identifies five central types of imagining that any unifying theory must accommodate and sets himself the task of determining whether any theory of what imagining consists in covers these five paradigms. Focussing on what he takes to (...) be the three main theories, and giving them each equal consideration, he faults the first two and embraces the third, which argues that imagining is a special form of mental agency. The scholarship is immaculate, the writing crystal clear and the argumentation always powerful.' (Malcolm Budd). (shrink)

In this paper we intend to show that in Memory, History, Forgetting, Paul Ricœur articulates memory and history through imagination. This philosopher distinguishes two main functions of imagination: a poetical one, associated with interpretation and discourse, and a practical and projective one that clarifies and guides our actions. In Memory, History, Forgetting, both functions of imagination are present, but are associated with different aspects of memory. The first one is present especially in the phenomenology of the cognitive dimension of memory; (...) the second one is developed in the analysis of the abuses of artificial memory, while their convergence is described in the section on the abuses of natural memory. Besides the similarities in the way these functions of imagination operate in Oneself as Another and in Memory, History, Forgetting, we will show some important differences between these two works and we will propose reasons for these differences. Keywords: Poetical Imagination, Practical Imagination, Abused Memory, Ideology, Utopy. Résumé Dans cet article nous souhaiterions montrer que, dans La mémoire, l’histoire, l’oubli, l’imagination productrice est ce qui permet d’articuler la mémoire et l´histoire. Ricœur distingue deux principales fonctions de l’imagination: l’une, poétique, associée à l’interprétation et au discours ; l’autre pratique et projective, qui éclaire et oriente nos actions. Dans La mémoire, l’histoire, l’oubli, ces deux fonctions de l’imagination sont présentes mais elles sont associées à des aspects différents de la mémoire. La première est surtout présente dans la phénoménologie de la dimension cognitive de la mémoire, la seconde apparaît dans l’analyse des abus de la mémoire artificielle, et l’articulation entre ces deux fonctions se trouve enfin décrite dans la section concernant l’abus de la mémoire naturelle. Outre les similitudes dans la façon dont ces fonctions de l’imagination opèrent dans Soi-même comme un autre et dans La mémoire, l’histoire, l’oubli, nous essaierons de montrer qu’il existe cependant certaines différences importantes entre ces deux œuvres en tentant d’en expliciter les raisons. Mots-clés: Imagination poétique, imagination pratique, mémoire abusée, idéologie, utopie. (shrink)

(1998). Staging the self by performing the other: Global fantasies and the migration of the projective imagination 1. Cultural Values: Vol. 2, No. 2-3, pp. 288-304.

Articulates an imaginationist solution to the question of how purely instrumental music can be perceived by a listener as having emotional content. Both musicians and laypersons can perceive purely instrumental music without words or an associated story or program as expressing emotions such as happiness and sadness. But how? In this book, Saam Trivedi discusses and critiques the leading philosophical approaches to this question, including formalism, metaphorism, expression theories, arousalism, resemblance theories, and persona theories. Finding these to be inadequate, he (...) advocates an “imaginationist” solution, by which absolute music is not really or literally sad but is only imagined to be so in a variety of ways. In particular, he argues that we as listeners animate the music ourselves, imaginatively projecting life and mental states onto it. Bolstering his argument with empirical data from studies in neuroscience, psychology, and cognitive science, Trivedi also addresses and explores larger philosophical questions such as the nature of emotions, metaphors, and imagination. Saam Trivedi is Associate Professor of Philosophy at Brooklyn College, City University of New York. (shrink)

What does imagination do for our perception of the world? Why should reality be broken off from our imagining of it? It was not always thus, and in these essays, Tim Ingold sets out to heal the break between reality and imagination at the heart of modern thought and science. Imagining for Real joins with a lifeworld ever in creation, attending to its formative processes, corresponding with the lives of its human and nonhuman inhabitants. Building on his two previous essay (...) collections, The Perception of the Environment and Being Alive, this book rounds off the extraordinary intellectual project of one of the world's most renowned anthropologists. Offering hope in troubled times, these essays speak to coming generations in a language that surpasses disciplinary divisions. They will be essential reading not only to for anthropologists but also for students in fields ranging from art, aesthetics, architecture and archaeology to philosophy, psychology, human geography, comparative literature and theology. (shrink)

Philosophy, theology and engineering are each characterised by striking, yet similar, low participation rates by female academics. While these disciplines seem very different, and so the diagnosis of the causes of this under-representation might likewise be expected to differ, we show a commonality of analysis in the diagnoses of, and responses to, women's under-representation. In each, we find a shared argument that concepts and methodologies central to that discipline are gendered male. We also find a shared response which urges engagement (...) in projects of critical re-imagination. We conclude with a case study of critical re-imagination in philosophy and draw some lessons from its successes and failures for the potential of gendered innovations to transform male dominated disciplines. While critical re-imagination of key concepts, presuppositions, and methodologies in these disciplines may be a necessary condition for improving participation rates by women, it is by no means sufficient. (shrink)

The claim of this paper is that there is a common form of reflection in Anselm’s prayers and the Proslogion and Monologion. The practice of meditation, of rumination and introspection, is the crucial link between these works, mostly thought of as philosophy or speculative theology, and as opposed to Anselm’s monastic practices of meditative prayer and thoughtful examination of self and scripture. The philosophical meditations are, like the prayers, the product of an imaginative project, in this case of reasoning (...) as if he did not already believe and as if reason alone were his only resource. I show that Anselm’s arguments are solutions to the aporetic paradoxes toward which he pushes reason. Like the sinner’s realization of his own inability to extricate himself, grasping these paradoxes is for Anselm the only way of moving toward a sense of the metaphysically unique being of God. (shrink)

Suppose you’re imagining that it’s raining hard. You then proceed to imagine, as part of the same imaginative project, that you believe that it isn’t raining. Such an imaginative project is possible if the two imaginings arise in succession. But what about simultaneously imagining that it’s raining and that you believe that it isn’t raining? I will argue that, under certain conditions, such an imagining is impossible. After discussing these conditions, I will suggest an explanation of this impossibility. (...) Elaborating on the view outlined in Walton (1990), I will argue that the impossibility follows from the fact that imaginings ‘mimic’ beliefs in aiming at the fictionally true, just as beliefs aim at the true. (shrink)

Experiential imagination consists in an imaginative projection that aims at simulating the experiences one would undergo in different circumstances. It has been traditionally thought to play a role in how we build our lives, engage with other agents, and appreciate art. Although some philosophers have recently expressed doubts over the capacity of experiential imagination to offer insight into the perspective of someone other than our present-selves, experiential imagination remains a much sought-after tool. This paper substantiates pessimism about the epistemological (...) value of these uses of experiential imagination by developing an embodied approach. Our thesis is that experiential imagination is _robustly embodied_ because the _sociohistorically situated_ body makes an irreducible contribution to the imaginative project, and that, as such, it is constrained by who we are as _concrete_ agents. We argue that experiential imagination is an embodied, virtual exploration of imagined scenarios that depends on our situated history of sensorimotor and affective interactions. We conclude that experiential imagination is much more limited than commonly acknowledged, as it can hardly be divorced from who we are and where we have been. (shrink)

In Force of Imagination, John Sallis develops an original systematic philosophical project from the vantage-point of philosophy at the limit, the point at which the classical distinction between the intelligible and the sensible is inverted ...

Tarot use has become increasingly popular in contemporary society. However, unlike the position afforded divination in some cultures, it is not culturally consecrated as a legitimate way of knowing in the so‐called Modern West—in large part, due to the attempted disenchantment of the world by the colonial project of modernity. This paper posits that engagement with tarot divination can be a decolonizing methodology. I explore how divination's dependence on chance, the imagination, and engagement with spirits can heal the Cartesian mental (...) models that underly modernity's hold on our society. Academic writing on divination has, until recently, largely been authored by people who are not also practitioners of divination themselves. Writing as both a scholar and practitioner of tarot, I use the cards as a form of “imaginal research” to directly assist in the creation of this paper—allowing the tarot itself to speak (as much as me speak about it). (shrink)

This article explores the relation between belief-like imaginings and the establishment of imaginary worlds (often called fictional worlds). After outlining the various assumptions my argument is premised on, I argue that belief-like imaginings, in themselves, do not render their content true in the imaginary world to which they pertain. I show that this claim applies not only to imaginative projects in which we are instructed or intend to imagine certain propositions, but also to spontaneous imaginative projects. (...) After arguing that, like guided imaginative projects, spontaneous projects involve specific imaginary truths, I conclude that imaginative projects, whether spontaneous or deliberate, comprise not only imaginings, but also mental acts of determining such truths. (shrink)

The paper investigates whether imaginative states about propositions can be assessed in terms of fittingness (also known as correctness, appropriateness, aptness). After characterizing propositional imaginings and explaining the idea of fittingness, I present some considerations in favour of the no conditions view: imagining seems to be the sort of action that cannot be done unfittingly, and imaginings have no external cognitive nor conative goals in light of which they could be unfitting. I then examine the local conditions view, that (...) there can be fittingness conditions on imaginings, but that these are inherited from the mental projects in which imaginings can play a role. Given that there are virtues of the imagination such as creativity and spontaneity, and given that imaginings are subject to purposive mechanisms, and given that there are cases in which it is unfitting to fail to imagine, I endorse the general conditions view, on which imaginings have a goal, and therefore fittingness conditions, even outside the context of mental projects. I then examine 4 versions of the general conditions view and argue that imaginings aim to make contents available to mental projects. (shrink)

This paper argues that early phenomenologists used the concept of empathy not only to refer to the direct perception of the other’s experiences – as underscored by contemporary proponents of the Direct Perception Theory – but also to describe – in a sense close to Lipps’s theory and contemporary Simulation Theory – how, by virtue of imagining, we “feel into” animate and inanimate objects. Focusing on this second usage of the term, two kinds of imagination-based accounts of empathy in early (...) phenomenology are identified. According to “radical imaginationists”, empathy can be explained in terms of the series of imaginative processes entailed in the idea of “feeling into”, such as projecting oneself into the target, “imitating” its feelings, and resonating with it. Voigtländer’s account of empathizing with one’s own self in Vom Selbstgefühl (1910) and Geiger’s account of empathy with atmospheres in “Zum Problem der Stimmungseinfühlung” (1911) can in this sense be regarded as radical imaginationist theories. According to “moderate imaginationists”, empathy might (but need not) entail imagining. Stein’s account of empathy with others in On the Problem of Empathy (Zum Problem der Einfühlung) (1917/1989) as a three-step process which can involve imagination-like states is a good example of a moderate imaginationist account. (shrink)

The essay traces the double, phenomenological and psychological, background of Sartre’s theory of the imagination. Insofar as these two phenomenological and psychological currents are equally influential for Sartre’s theory of the imagination, his intellectual project is situated in an inter-disciplinary research area which combines the descriptive analyses of Edmund Husserl with the clinical reports and psychological theories of Pierre Janet. While Husserl provides the foundation for the prevailing theory of imagination as pictorial representation, Janet’s findings on obsessive behavior enrich an (...) alternative current in Sartre’s thinking about imagination as spontaneous and self-determined creativity. (shrink)

Il n’est pas inhabituel de considérer l’imagination comme une conscience d’objets non réels, ayant la forme d’images internes ou de représentations privées de toute incarnation spatiale. Dans cet article j’interroge la phénoménologie de l’imagination de Husserl à partir de deux questions : l’imagination est-elle un type de conscience d’image ? L’imagination, est-elle privée de toute incarnation spatiale ? Après avoir reconstruit la distinction nette opérée par Husserl entre imagination et conscience d’image (l’imaginaire n’est pas une image mentale interne), j’explore la (...) thèse de Husserl, fort suggestive, selon laquelle toute imagination implique la projection du corps vécu. Loin d’être entièrement dépourvu de spatialité, l’imaginaire exhibe des caractéristiques quasi-spatiales, et il est fondé sur ce qui est « le plus propre » de mon corps vécu – cela même que, pour ainsi dire, j’amène toujours avec moi, même dans les envols les plus éloignés de mon imagination. (shrink)

John Dewey’s lifelong labor to articulate an alternative account of logic from -/- the ‘abstract thought’ predominant in discussions of logic culminates in his 1938 Logic: the -/- theory of inquiry. In this text Dewey argues that all inquiry involves the instantiation of a general -/- pattern of inquiry. Articulating the role of imagination in the general pattern of inquiry is crucial -/- to illuminating the practical character and theoretical scope of this activity. Specifically, the -/- agency of the inquirer (...) as a future-directed, project-oriented organism highlights the imaginative -/- dimension to problem solving. In addition, Dewey’s theory of concepts as hypotheses whose -/- meaning is practically and experimentally tested and reconstructed is deeply indebted to -/- imagination. This is due to the fact that ideas, concepts, and meanings are not understood from -/- the perspective of speculative or theoretical reason, but rather circumscribed within the practical -/- problem solving context, what Dewey calls ‘the situation’ , in which all activity of human -/- being takes place. The meaning of our concepts and scientific achievements is then constantly -/- available for revision. This revision is a practical affair, giving the pragmatic version of ‘the -/- primacy of practical reason’ an overarching scope to intellectual activity. -/- This paper extends these insights regarding the general pattern of inquiry -/- into Dewey’s comments on social science in the penultimate chapter of the 1938 Logic, ‘Social -/- Inquiry’. The result is that Dewey’s pragmatic reconstruction of imagination is fundamental -/- to inquiry, agency, and understanding human agency. The consequences for a pragmatic -/- philosophy of social science will be sketched briefly in conclusion. (shrink)

Être vu, nu, par un chat ; essayer de savoir quel effet cela fait d’être une chauve-souris ; penser les modes de cohabitation et de compagnonnage que nous formons avec les animaux, en dépit de toutes les violences que nous leur faisons subir, constituent autant d’expériences de pensée limites qui ont ponctué le discours philosophique sur l’animalité au xxe siècle. Il n’est pas étonnant que Cora Diamond fasse un cas de toutes ces expériences : ce qu’elle nomme « une difficulté (...) de la réalité », c’est-à-dire un point d’achoppement entre la pensée et ce qu’elle essaye de saisir, le réel, qui est susceptible de nous faire perdre nos concepts. Je me propose dans ce texte d’explorer les voies de cette difficulté, qui sont souvent des voies contournées ou des déviations. L’idée est aussi de réfléchir aux moyens dont la philosophie dispose pour affronter cette difficulté, sans dénégation et sans déviation. (shrink)

Il n’est pas inhabituel de considérer l’imagination comme une conscience d’objets non réels, ayant la forme d’images internes ou de représentations privées de toute incarnation spatiale. Dans cet article j’interroge la phénoménologie de l’imagination de Husserl à partir de deux questions : l’imagination est-elle un type de conscience d’image? L’imagination, est-elle privée de toute incarnation spatiale? Après avoir reconstruit la distinction nette opérée par Husserl entre imagination et conscience d’image (l’imaginaire n’est pas une image mentale interne), j’explore la thèse de (...) Husserl, fort suggestive, selon laquelle toute imagination implique la projection du corps vécu. Loin d’être entièrement dépourvu de spatialité, l’imaginaire exhibe des caractéristiques quasi-spatiales, et il est fondé sur ce qui est « le plus propre » de mon corps vécu – cela même que, pour ainsi dire, j’amène toujours avec moi, même dans les envols les plus éloignés de mon imagination. (shrink)

Il n’est pas inhabituel de considérer l’imagination comme une conscience d’objets non réels, ayant la forme d’images internes ou de représentations privées de toute incarnation spatiale. Dans cet article j’interroge la phénoménologie de l’imagination de Husserl à partir de deux questions : l’imagination est-elle un type de conscience d’image? L’imagination, est-elle privée de toute incarnation spatiale? Après avoir reconstruit la distinction nette opérée par Husserl entre imagination et conscience d’image (l’imaginaire n’est pas une image mentale interne), j’explore la thèse de (...) Husserl, fort suggestive, selon laquelle toute imagination implique la projection du corps vécu. Loin d’être entièrement dépourvu de spatialité, l’imaginaire exhibe des caractéristiques quasi-spatiales, et il est fondé sur ce qui est « le plus propre » de mon corps vécu – cela même que, pour ainsi dire, j’amène toujours avec moi, même dans les envols les plus éloignés de mon imagination. (shrink)

This transdisciplinary project represents the most comprehensive study of imagination to date. The eclectic group of international scholars who comprise _Imagination and Art_ propose bold and innovative theoretical frameworks for conceptualizing imagination in all of its divergent forms.

Imagination and Chance illuminates the different philosophical projects that animate Ricoeur’s hermeneutics and Derrida’s deconstruction. Basic concepts in Ricouer such as discourse, metaphor and symbol, and tradition are examined, and texts by Derrida including “White Mythology,” Introduction to Husserl’s The Origin of Geometry, and “The Double Session” are analyzed. The book also includes a previously untranslated round table discussion between Ricoeur and Derrida.

Climatologists have recently introduced a distinction between projections as scenario-based model results on the one hand and predictions on the other hand. The interpretation and usage of both terms is, however, not univocal. It is stated that the ambiguities of the interpretations may cause problems in the communication of climate science within the scientific community and to the public realm. This paper suggests an account of scenarios as props in games of make-belive. With this account, we explain the difference between (...) projections that should be make-believed and other model results that should be believed. (shrink)

Projections of Memory is an exploration of a body of innovative cinematic works that utilize their extraordinary scope to construct monuments to the imagination that promise profound transformations of vision, selfhood, and experience. This form of cinema acts as a nexus through which currents from the other arts can interpenetrate. By examining the strategies of these projects in relation to one another and to the larger historical forces that shape them--tracing the shifts and permutations of their forms and aspirations--Projections (...) of Memory remaps film history around some of its most ambitious achievements and helps to clarify the stakes of cinema as a twentieth-century art form. (shrink)