This paper focuses on the debate over two central claims regarding cinematic narration: the claim that there are implicit cinematic narrators and the thesis that when we watch movies, we imagine seeing the events and characters in the film fiction. I examine what a consideration of the indeterminate nature of fictional narration, that is, what is specified by the fiction about how we come to imagine the story events, can contribute to the debate on these issues. It is argued (...) that consideration of fictional indeterminacy can be used to show that positing an implicit cinematic narrator is not only unnecessary, but is also incompatible with appreciating the film fiction. While the opposite result is reached regarding the claim about imagined seeing: considerations of indeterminacy suggest that we can suppose, without absurdities, that audiences at the movies sometimes engage in imagined seeing. (shrink)

Paisley Livingston asks questions about the arguments Philosopher George M. Wilson offers in order to establish that the Mediated Version of his Imagined Seeing Thesis is superior to other options.

In this paper, I would like to put forward the claim that, at least in some central cases, visualising consists literally in imagining seeing. The first section of my paper is concerned with a defence of the specific argument for this claim that M. G. F. Martin presents in his paper 'The Transparency of Experience' (Martin 2002). This argument has been often misunderstood (or ignored), and it is worthwhile to discuss it in detail and to illus­trate what its precise (...) nature is and why I take it to be sound. In the second section, I present a second and independent argument for the claim that visualising is imagining seeing, which is not to be found in Martin's writings, despite some crucial similarities with his own argument ‒ notably in the focus on the subjective aspects of visual experience. The last section deals with a particular objection to the idea that imagining takes perception as its direct object and says a bit more about how best to understand this claim. (shrink)

In his paper, The Transparency of Experience, M.G.F. Martin has put forward a well- known – though not always equally well understood – argument for the disjunctivist, and against the intentional, approach to perceptual experiences. In this article, I intend to do four things: (i) to present the details of Martin’s complex argument; (ii) to defend its soundness against orthodox intentionalism; (iii) to show how Martin’s argument speaks as much in favour of experiential intentionalism as it speaks in favour of (...) disjunctivism; and (iv) to argue that there is a related reason to prefer experiential intentionalism over Martin’s version of disjunctivism. (shrink)

In his paper, The Transparency of Experience, M.G.F. Martin has put forward a well- known – though not always equally well understood – argument for the disjunctivist, and against the intentional, approach to perceptual experiences. In this article, I intend to do four things: (i) to present the details of Martin’s complex argument; (ii) to defend its soundness against orthodox intentionalism; (iii) to show how Martin’s argument speaks as much in favour of experiential intentionalism as it speaks in favour of (...) disjunctivism; and (iv) to argue that there is a related reason to prefer experiential intentionalism over Martin’s version of disjunctivism. (shrink)

This article proposes an essential interrelatedness of Vermeer’s strategies of inclusion and exclusion of an implied beholder. I will argue that such strategies mutually reinforce each other, to the extent that the plausibility of one is arguably dependent upon the possibility of the other. This is evidenced by Vermeer’s subtle manipulations of pictorial space, and the article traces a decisive shift in his familiar use of barriers from those aimed at an external presence to those oriented towards an internal beholder. (...) The feasibility of this interdependence rests upon a theory of imaginative engagement with paintings that can accommodate both an internal beholder and the felt lack of occupancy of the imagined situation’s point of view. I argue that the Dependency Thesis, as set out by M. G. F. Martin, can provide plausibility for both kinds of imaginative engagement with paintings, when sensory imagination is conceived as an instance of imagining seeing. These engagements exploit the notorious emptiness of imagination’s necessarily perspectival point of view. (shrink)

Pictures let us see what is not there. Or rather, since what pictures depict is not really there, we do not really see the things they are pictures of. Ever since Richard Wollheim introduced the notion of seeing-in into philosophical aesthetics, as part of his theory of depiction, there has been a lively debate about how, precisely, to understand this experience. However, one (alleged) feature of seeing-in that Wollheim pointed to has been almost completely absent in the subsequent (...) discussion, namely that seeing-in allows for non-localization. When looking at a picture, Wollheim says, there is not always an answer to the question of where one sees a certain thing in a picture. If Wollheim is right in this, pictures indeed let us see what is not there: we see things in pictures, but there is no ‘there’ where we see those things. In this paper I argue against Wollheim's claim that object-seeing-in allows for non-localization. But there is, I argue, a pictorial experience, which is closely tied to seeing-in and which is non-localized, namely (what I call) pictorial perceptual presence. (shrink)

The psychology and phenomenology of our knowledge of other minds is not well captured either by describing it simply as perception, nor by describing it simply as inference. A better description, I argue, is that our knowledge of other minds involves both through ‘perceptual co-presentation’, in which we experience objects as having aspects that are not revealed. This allows us to say that we perceive other minds, but perceive them as private, i.e. imperceptible, just as we routinely perceive aspects of (...) physical objects as unperceived. I discuss existing versions of this idea, particularly Joel Smith’s, on which it is taken to imply that our knowledge of other minds is, in these cases, perceptual and not inferential. Against this, I argue that perceptual co-presentation in general, and mind-perception in particular, yields knowledge that is simultaneously both perceptual and inferential. (shrink)

Michael T. Stuart (2021 and 2022) has proposed imagination as an intellectual dual‐process virtue, consisting of imagination1 (underwritten by cognitive Type 1 processing) and imagination2 (supported by Type 2 processing). This paper investigates the consequences of taking such an account seriously. It proposes that the dual‐process view of imagination allows us to incorporate recent insights from virtue epistemology, providing a fresh perspective on how imagination can be epistemically reliable. The argument centers on the distinction between General Reliability (GR) and Functional (...) System Reliability (FSR), for example in relation to Kengo Miyazono and Uko Tooming's (2023) argument for epistemic generativity. Furthermore, the paper claims that the dual‐process virtue account enables us to integrate a wide range of findings from the literature on epistemology and imagination. Moreover, it suggests a novel way to distinguish the virtues of creativity and imagination and presents a case for viewing imagination as a virtue rather than a skill. (shrink)

Research shows that people often do not intervene to stop immoral action from happening. However, limited information is available on why people fail to intervene. Two preregistered studies (Ns = 248, 131) explored this gap in the literature by staging a theft in front of participants and immediately interviewing them to inquire about their reasons for intervening or not intervening. Across both studies, most participants did not try to stop the theft or even report it to the experimenter afterward. Furthermore, (...) many participants reported confusion and inattention as precursors to nonintervention, yielding insight into what inhibits moral courage. (shrink)

In this paper I examine the frequently made claim that grasping a metaphor is a kind of ‘seeing-as’. I describe several ways in which it might be thought that metaphor-grasping is importantly similar to seeing-as, such that an extension of the latter category is though justified to include the former. For some of these similarities, I suggest they are illusory; for others, I argue that they are shared in virtue of the membership of both seeing-as and metaphor-grasping (...) in some much broader category, and so don’t obviously motivate thinking of metaphor-grasping as seeing-as. My aim is modest: not to deny that metaphor-grasping is a kind of seeing-as, but only to suggest that it should not be too quickly accepted. (shrink)

Imagination plays an important role in depiction. In this chapter, I focus on photography and I discuss the role imagination plays in photographic depiction. I suggest to follow a broadly Waltonian view, but I also depart from it in several places. I start by discussing a general feature of the relation of depiction, namely the fact that it is a ternary relation which always involves "something external." I then turn my attention to Walton's view, where this third relatum of the (...) relation of depiction is largely analyzed in terms of the role imagination plays in depiction. I consider the objection to his view that not all cases of depiction involve imagination – for instance, documentary photographs – as well as Walton's own strategy to face this objection, and I argue that it is partly adequate and partly wrong. As we will see, first, it is an unnecessary mistake to insist too heavily on the fact that photographs are produced in a mechanic way (as opposed to, say, paintings), and second, the notion of "imagining-seeing," as it is articulated by Walton, is perhaps too strong and does not entirely do justice to the external character of the role imagination plays here. I illustrate the view I want to advocate for by a series of different cases, where the nature of the role that imagination, knowledge/belief, and inference play in depiction will become apparent. (shrink)

How are we to understand the phenomenology of imagining? Attempts to answer this question often invoke descriptors concerning the “vivacity” or “vividness” of our imaginative states. Not only are particular imaginings often phenomenologically compared and contrasted with other imaginings on grounds of how vivid they are, but such imaginings are also often compared and contrasted with perceptions and memories on similar grounds. Yet however natural it may be to use “vividness” and cognate terms in discussions of imagination, it does not (...) take much reflection to see that these terms are ill understood. In this paper, I review both some relevant empirical literature as well as the philosophical literature attempt to get a handle on what it could mean, in an imaginative context, to talk of vividness. As I suggest, this notion ultimately proves to be so problematic as to be philosophically untenable. (shrink)

This paper explored the linkages among moral imagination, systems understanding, and aesthetic sensibility as related to the emergence (eventually) of wisdom. I develop a conceptual framework that links these capacities to wisdom through the capacity to “see” moral and ethical issues, which I argue is related to “the good”, to see a realistic understanding of systems in which the observer is embedded, or “the true”, and to appreciate the aesthetic qualities associated with a system or situation, or “the beautiful”. The (...) relationship between the good, the true, and the beautiful is used to argue that all three types of seeing are building blocks for achievement of wisdom. The paper then briefly explores some of the ways that these capacities can potentially be incorporated into the classroom. (shrink)

A mythopoetic paradigm or perspective sees the world primarily as a dramatic story of competing personal intentions, rather than a system of objective impersonal laws. Asma argued that our contemporary imaginative cognition is evolutionarily conserved-it has structural and functional similarities to premodern Homo sapiens’s cognition. This article will outline the essential features of mythopoetic cognition or adaptive imagination, delineate the adaptive sociocultural advantages of mythopoetic cognition, explain the phylogenetic and ontogenetic mechanisms that give rise to human mythopoetic mind, show how (...) mythopoetic cognition challeng­es contemporary trends in cognitive science and philosophy, and recognize and outline empirical approaches for a new cognitive science of the imagination. (shrink)

This paper explored the linkages among moral imagination, systems understanding, and aesthetic sensibility as related to the emergence (eventually) of wisdom. I develop a conceptual framework that links these capacities to wisdom through the capacity to “see” moral and ethical issues, which I argue is related to “the good”, to see a realistic understanding of systems in which the observer is embedded, or “the true”, and to appreciate the aesthetic qualities associated with a system or situation, or “the beautiful”. The (...) relationship between the good, the true, and the beautiful is used to argue that all three types of seeing are building blocks for achievement of wisdom. The paper then briefly explores some of the ways that these capacities can potentially be incorporated into the classroom. (shrink)

Kendall Walton explains pictures in terms of games of perceptual make-believe. Pictures or depictions are props that draw us to participate in games of make-believe where we imagine seeing what a picture depicts. Walton proposes that one imagines of one’s perceptual experience of the coloured canvas that it is a different perceptual experience. The issue is whether perception and imagination can combine the way Walton suggests. Can one imagine a perception to be different? To get a clearer understanding of (...) the unified perceptual-imaginative experience Walton posits, the paper turns to competing theories that explain perceptual experience in terms of contents, relations to objects, or both contents and relations. Walton appeals to theories of perceptual content and cognitive penetration. But it is also important to examine whether his view fits with recent theories that explain perception only in terms of relations or in terms of both contents and relations. The paper argues that Walton’s view is compatible with content theories of perception and can be defended from some objection once we look at the detail these theories offer. Walton’s view is not compatible with pure relational theories of perception but it can be explained by hybrid content-relational theories of perception that posit de re senses. (shrink)

Depiction and imagination are intimately linked. In this article, I discuss the role imagination (as well as inference and knowledge/belief) plays in depiction, with a focus on photographic depiction. I partly embrace a broadly Waltonian view, but not always, and not always for Walton's own reasons. In Walton's view, imagination plays a crucial role in depiction. I consider the objection to his view that not all cases of depiction involve imagination – for instance, documentary photographs. From this discussion, two points (...) will emerge: first, we will see that it is an unnecessary mistake to insist too heavily on the fact that photographs are produced in a mechanical way (as opposed to, say, paintings), and second, we will see that the notion of "imagining-seeing", as it is articulated by Walton, is perhaps too strong and does not entirely do justice to the external character of the role imagination plays here. Focusing mainly on photographs, I then illustrate the view I want to advocate by a series of different cases, where the nature of the role that imagination, knowledge/belief, and inference play in depiction will become apparent. (shrink)

Our ordinary conception of imagination takes it to be essentially a conscious phenomenon, and traditionally that’s how it had been treated in the philosophical literature. In fact, this claim had often been taken to be so obvious as not to need any argumentative support. But lately in the philosophical literature on imagination we see increasing support for the view that imagining need not occur consciously. In this paper, I examine the case for unconscious imagination. I’ll consider four different arguments that (...) we can find in the recent literature—three of which are based on cases and one that is based on considerations relating to action guidance. To my mind, none of these arguments is successful. I conclude that the case for postulating unconscious imagining has not yet been well motivated. (shrink)

Supposition is frequently invoked in many fields within philosophy, including aesthetics, philosophy of mind, philosophy of science and epistemology. However, there is a striking lack of consensus about the nature of supposition. What is supposition? Is supposition a sui generis type of mental state or is it reducible to some other type of mental state? These are the main questions Margherita Arcangeli explores in this book. She examines the characteristic features of supposition, along the dimensions of phenomenology and emotionality, among (...) others, in a journey through the imaginative realm. An informed answer to the question “What is supposition?” must involve an analysis of imagination, since supposition is so often defined in opposition to the latter. She assesses rival explanations of supposition putting forward a novel view, according to which the proper way of seeing supposition is as a primitive type of imaginative state. Supposition and the Imaginative Realm: A Philosophical Inquiry will be of great interest to students of philosophy of psychology, aesthetics, philosophy of mind, philosophy of science and epistemology. (shrink)

It is natural to say that when we acquire a new concept or concepts, or grasp a new theory, or master a new practice, we come to see things in a new way: we perceive phenomena that we were not previously aware of; we come to see patterns or connections that we did not previously see. That natural idea has been applied in many areas, including the philosophy of science, the philosophy of religion, and the philosophy of language. And, in (...) reflecting on the character of philosophy itself, Wittgenstein himself associates the introduction of a new concept in philosophy with the discovery of a new way of looking at things (PI §401), and says that the point of presenting us with an imagined example may be to change our way of looking at things (PI §144). The paper considers four interrelated questions about this association between seeing-as and change, novelty, or innovation. 1. Is there an important difference between the case where the change in someone’s way of seeing things involves the invention or discovery of a completely new concept, a completely new theory etc., and the case where it involves the person’s coming to understand an existing concept or theory? 2. Is there a special connection between seeing-as and conceptual or theoretical change or creativity: a connection that does not obtain between seeing-as and using or applying a familiar theory or system of concepts? 3. In cases where seeing-as is associated with novelty or creativity, is there any sense in which the fact that someone sees things in a new way can help to explain their conceptual or theoretical creativity? 4. To the extent that there is some association between seeing-as and novelty or creativity, why if at all does it matter that one experiences things in a certain way? Would someone who was aspect-blind be any worse off with respect to creativity or innovation than the rest of us? And if so, why? (shrink)

Imagination and belief are obviously different. Imagining that you have won the lottery is not quite the same as believing that you have won. But what is the difference? According to a standard view in the contemporary debate, they differ in two key functional respects. First, with respect to the cognitive inputs to which they respond: imaginings do not respond to real-world evidence as beliefs do. Second, with respect to the behavioural outputs that they produce: imaginings do not motivate us (...) to act as beliefs do. I argue that this view is mistaken in one important respect. The distinction between imagination and belief does lie at the functional level; but the relevant functional difference does not concern behavioural outputs – since, in spite of appearances, imaginings and beliefs motivate us to act in the same ways. To see the difference, we need to focus on the inputs side – and, relatedly, on the sorts of inferential relations that imaginings and beliefs bear to each other. I show that this view does not have the absurd consequences that it may prima facie seem to have; on the contrary, it has important implications for our understanding of how the mind works. (shrink)

The concepts of imagination and consciousness have, very arguably, been inextricably intertwined at least since Aristotle initiated the systematic study of human cognition (Thomas, 1998). To imagine something is ipso facto to be conscious of it (even if the wellsprings of imaginative creativity are in the unconscious), and many have held that our conscious thinking consists largely or entirely in a succession of mental images, the products of imagination (see, e.g., Damasio, 1994 -- or, come to that, see Aristotle, or (...) Hume, or almost any pre-twentieth century cognitive theorist). A venerable tradition also regards perceptual experiences, the main focus of most recent work on consciousness, as products of the imagination, whose primary function is to integrate sensory inputs and render them meaningful (Thomas, 1998, 1999). As Coleridge (1817) famously put it, primary imagination is "the living power and prime agent of all human perception." A better understanding of imagination is likely to deepen our insight into the nature of consciousness (and, probably, vice-versa). (shrink)

In works of literary fiction, it is a part of the fiction that the words of the text are being recounted by some work-internal 'voice': the literary narrator. One can ask similarly whether the story in movies is told in sights and sounds by a work-internal subjectivity that orchestrates them: a cinematic narrator. George M. Wilson argues that movies do involve a fictional recounting (an audio-visual narration ) in terms of the movie's sound and image track. Viewers are usually prompted (...) to imagine seeing the items and events in the movie's fictional world and to imagine hearing the associated fictional sounds. However, it is much less clear that the cinematic narration must be imagined as the product of some kind of 'narrator' - of a work-internal agent of the narration. Wilson goes on to examine the further question whether viewers imagine seeing the fictional world face-to-face or whether they imagine seeing it through some kind of work-internal mediation . It is a key contention of this book that only the second of these alternatives allows one to give a coherent account of what we do and do not imagine about what we are seeing on the screen. Having provided a partial account of the foundations of film narration, the final chapters explore the ways in which certain complex strategies of cinematic narration are executed in three exemplary films: David Fincher's Fight Club , von Sternberg's The Scarlet Empress , and the Coen brothers' The Man Who Wasn't There. (shrink)

The cinematic technique of point-of-view shots is meant to give spectators a film character’s point-ofview. In ‘Imagining from the Inside’, Murray Smith claims that point-of-view shots allow viewers to ‘imagine seeing as the character does’ and this imagining in turn promotes imagining the character ‘from the inside’, thereby fostering empathy with the character. I argue, against Smith, that the cinematic technique of point-of-view shots does not prompt viewers to ‘imagine seeing as the character does’ for two reasons: first, (...) such shots do not give us a character’s perspective in any literal sense, but what I call a ‘symbolic perspective’; second, the very concept of ‘imagining seeing’ is problematic in that it places us on the same ontological level as that of fictional characters. I agree with Smith that point-of-view shots promote a qualitatively different emotional engagement in spectators and that they are powerful prompts to ‘imagining from the inside’, while I show that he conflates this Waltonian notion with Currie’s ‘personal imagining’ and with the idea of empathizing with a character. (shrink)

Depiction and imagination are intimately linked. In this article, I discuss the role imagination (as well as inference and knowledge/belief) plays in depiction, with a focus on photographic depiction. I partly embrace a broadly Waltonian view, but not always, and not always for Walton's own reasons. In Walton's view, imagination plays a crucial role in depiction. I consider the objection to his view that not all cases of depiction involve imagination – for instance, documentary photographs. From this discussion, two points (...) will emerge: first, we will see that it is an unnecessary mistake to insist too heavily on the fact that photographs are produced in a mechanical way (as opposed to, say, paintings), and second, we will see that the notion of "imagining-seeing", as it is articulated by Walton, is perhaps too strong and does not entirely do justice to the external character of the role imagination plays here. Focusing mainly on photographs, I then illustrate the view I want to advocate by a series of different cases, where the nature of the role that imagination, knowledge/belief, and inference play in depiction will become apparent. (shrink)

Visualizings, the simplest imaginings which employ visual imagery, have certain characteristic features; they are perspectival, for instance. Also, it seems that some but not all of our visualizings are imaginings of seeings. But it has been forcefully argued, for example by M.G.F. Martin and Christopher Peacocke, that all visualizings are imaginings of visual sensations. I block these arguments by providing an account of visualizings which allows for their perspectival nature and other features they typically have, but which also explains how (...) we can visualize things without thereby imagining visual sensations. (shrink)

My goal is to offer a strategy for understanding the intended effect of Žižek's sociopolitical writings. Although many critics are suspicious of Žižek's lack of a positive program for action or his rejection of liberal democracy, my conviction is that these concerns miss something essential in Žižek's endeavor as an intervention: Žižek's continual insistence on the need to “reformulate” the Left, “reinvent” the political, “think” an alternative future, if we are to overcome the impasses we face today and which in (...) turn calls for the necessity of social creativity. Using this intuition as a guide, I develop an interpretation of Žižek's account of the externality of truth, the function of imagination in politics as the art of the impossible, and how both are needed to carve up the space for an authentic act. We will see that Žižek's sociopolitical writings are less of a solution than an attempt, by identifying the role of the militant with the empty position of the analyst, to cultivate a potential for an event opening. (shrink)

On A number of occasions in the Principles , Berkeley defends himself against the possible objection that ‘by the foregoing principles, all that is real and substantial in nature is banished out of the world; and instead thereof a chimerical scheme of ideas takes place. All things that exist, exist only in the mind.… What therefore becomes of the sun, moon, and stars? … Are all these but so many chimeras and illusions on the fancy ?’.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 35.4 (2002) 345-367 [Access article in PDF] Imagining in the Public Sphere Robert Asen Contemporary public sphere scholarship has been motivated significantly by a concern to overcome historical and conceptual exclusions in public spheres. Recent theory and criticism has investigated direct and indirect exclusions. Direct exclusions expressly prevent the participation of particular individuals and groups in public discussions and debates. Prohibitions against women speaking in public, (...) for example, have served historically to inhibit women's participation in various forums (see, e.g., Landes 1998). Indirect exclusions function tacitly through discursive norms and practices that prescribe particular ways of interacting in public forums. Indirect exclusions compel participants to conform to established modes of discourse that effectively negate the perspectives and contributions of previously directly excluded individuals and groups. Calls for "objective" and "dispassionate" debate, for instance, sometimes have restricted public agendas by portraying culturally specific forms of address as universally practiced (see, e.g., Warner 1993). Indirect exclusions may regulate discourse in various forums even when direct exclusions have been counteracted. Scholarship seeking to overcome these exclusions has proceeded on two levels. On one level, scholars have recounted the efforts of excluded persons to participate in public life despite restrictions by developing alternative modes of publicity (see, e.g., Ryan 1990; Zaeske 2002). On a second level, theorists have proposed more inclusive conceptual models of the public sphere that may overcome historical exclusions of the bourgeois public sphere while retaining a commitment to critical publicity (see, e.g., Asen 1999; Benhabib 1996; Hauser 1999; Mouffe 2000).Practicing democratic discourse fairly and justly depends indispensably on enabling inclusion. Proponents of deliberative democracy argue that political legitimacy arises from processes of inclusive public debate. Seyla Benhabib asserts that "legitimacy in complex societies must be [End Page 345] thought to result from the free and unconstrained public deliberation of all about matters of common concern" (1996, 68). Others regard inclusive public discourse as crucial for the formation of affirmative individual and collective identities. Craig Calhoun faults bourgeois notions of publicity for treating "identity formation as essentially private and prior to participation in the idealized public sphere of rational-critical discourse" (1993, 274). Identity formation entails mutual recognition among members of diverse cultures, yet theorists have observed that truncated discursive processes may inhibit mutual recognition. Charles Taylor writes that practicing a politics of recognition requires an openness toward other cultures—a presumption of value tested through sustained engagement so that "what we have formerly taken for granted as the background to valuation can be situated as one possibility alongside the background of the formerly unfamiliar culture" (1994, 67). Inclusiveness is also important for individuals and groups seeking to advance self-fashioned interpretations of their interests and needs against interpretations imposed by others. Nancy Fraser explains that self-fashioning is necessary because in public debates and controversies "who gets to establish authoritative thick definitions of people's needs is itself a political stake" (1989, 164).Although inclusion is indispensable, exclusion is never total. Sometimes, people force their way into public forums and agendas. For example, participation by activists in discussions of AIDS research and treatment often has been limited by researchers' assertions of expert privilege in investigating scientific matters. Valeria Fabj and Matthew J. Sobnosky (1995) detail how AIDS activists have responded by engaging in discursive acts of redefinition and translation to gain entry into previously circumscribed forums. At other times, people surreptitiously access public arenas. Prison writing is one way that those officially banished from public view nevertheless continue to participate in oppositional discourses and movements. Gerard A. Hauser (2001) considers how dissident Adam Michnik remained a vibrant voice in Polish civil society through his writings even after his imprisonment in the 1980s by an authoritarian regime. At still other times, typically excluded people may be invited to participate in public discussions. Members of the AIDS activist group ACT UP occasionally have testified in the traditional setting of the congressional committee hearing as invited witnesses. Daniel C. Brouwer (2001) maintains that politically sympathetic committee chairs facilitated ACT UP's "official" appearances before members of Congress. Whether invited or... (shrink)

Intuitively, we often see absences. For example, if someone steals your laptop at a café, you may see its absence from your table. However, absence perception presents a paradox. On prevailing models of perception, we see only present objects and scenes (Marr, Gibson, Dretske). So, we cannot literally see something that is not present. This suggests that we never literally perceive absences; instead, we come to believe that something is absent cognitively on the basis of what we perceive. But this (...) cognitive explanation does not do justice to the phenomenology. Many experiences of absence possess immediate, perceptual qualities. One may further argue that the ability to detect certain absences confers strong adaptive advantage and therefore must be as primitive and fundamental to humans as seeing positive things. I argue that we can literally see absences; in addition to representing objects, perception represents absences of objects. I present a model of seeing absence based on visual expectations and a visual matching process. The phenomenon of seeing absence can thus serve as an adequacy-test for a theory of perceptual content. If experiences of absence are possible, then we have another reason (following Siegel) to reject the view that perceptual content is restricted to colors and shapes. Furthermore, if the proposed account is correct, then we have grounds for dissociating seeing absence from other imagery-based phenomena termed “perceptual presence-in-absence” (Noë, Macpherson). (shrink)

Imagine that in entering a café, you are struck by the absence of Pierre, with whom you have an appointment. Or imagine that you realize that your keys are missing because they are not hanging from the usual ring-holder. What is the nature of these absence experiences? In this article, we discuss a recent view defended by Farennikova (2012) according to which we literally perceive absences of things in much the same way as we perceive present things. We criticize and (...) reject the perceptual interpretation of absence experiences but we also reject the cognitive view which reduces them to beliefs. We propose an intermediary, metacognitive account according to which absence experiences belong to a specific kind of affective experience, involving the feeling of surprise. (shrink)

Walton has controversially claimed that all pictures are fiction because, in seeing a picture one imagines that one is seeing the depicted content in the flesh; and that in seeing a photograph one _literally – _although indirectly – _sees_ the photographed object. Philosophers have found these claims implausible for various reasons: it is not the case that all pictures are fiction; explaining depiction does not require an imaginative engagement and seeing objects in photographs is not tantamount (...) to seeing the object. I agree with Walton’s critics in all of these claims. However, I try to give some plausibility to Walton’s view. Firstly, I claim that is a misunderstanding. Second, I try to clarify Walton’s view of depiction by contrasting pictorial experience with perceptual experience more generally. Finally, I focus on the case of photographs and I l claim that although Walton is not right in claiming that _seeing_ objects _in_ photographs is a case of literally perceiving the objects, photographs share an important feature with perceptual experience: the content of photographs, like the content of pictorial experience, is particular in character, and that explains their peculiar phenomenology. I content, however, that the experience of photographs is closer to memory than to perception. (shrink)

Visiting a museum and seeing an original artwork can be a special experience. We use a survey and a set of hypothetical questions to explore how such experience would be affected by changes in how the artwork is seen. In a first study, participants imagined that they had travelled to see a painting that they particularly like. They discover that it is impossible to directly see the original painting. Three alternatives are offered: seeing an optical reflection (using (...) a mirror), seeing a video screening (a closed-circuit camera) or seeing a reproduction. In all cases it is made clear that the size, brightness, and resolution will match that of the original. In addition, these options could be within the same room as the original, in the room next door, or in a different building. Results show that physical distance did not affect significantly the responses. However, there was an overall preference for seeing a reproduction as opposed to an optical or digital image. Contrary to the idea that the original is always superior to a copy, many people felt that a direct view of a copy is a preferable experience than an indirect view. The second study was focused directly on the comparison between a mirror and a monitor. Here we highlighted the fact that for the mirror light coming from the mirror originated from the painting. Data were collected in Britain and in China. In both cases there was a clear preference for the mirror over the monitor. (shrink)

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)

The main purpose of this dissertation is to examine critically and discuss the role of imagination in science and religion, with particular emphasis on its possible epistemic, creative, and meaning-making functions. In order to answer my research questions, I apply theories and concepts from contemporary philosophy of mind on scientific and religious practices. This framework allows me to explore the mental state of imagination, not as an isolated phenomenon but, rather, as one of many mental states that co-exist and interplay (...) in our cogntive architecture. Based on the philosophical discourse of philosophy of mind, four types of imagination are indentified and conceptualized: sensory, propositional, experiential, and creative imagination. These categories are then employed on five phenomena that can be found in scientific and religious environments: metaphors, models, thought experiments, aspect perception, and - in the religious case - rituals. In relation to the concept of religious "seeing" I consider how imaginings may influence visionary experiences and visualization, and compare these phenomena with cases of scientific visualization and eureka experiences. In regard to scientific and religious models, a distinction is made between, on the one hand, two notions of truth and, on the other hand, truth-independent meaning-making. In light of these categories, I differentiate between, and critically discuss, the use of imagination in doxastic, non-doxastic and fictionalist accounts. In light of this investigation, I formulate and defend the position of interactivism, which acknowledges a constant interplay between different attitudes and mental states. In my examination of rituals and scientific and religious thought experiments, special attention is given to the mental capacity to recreate the experiences that are entailed in an imagined scenario. At the end of the investigation, I consider the possible impact that my study might have on how we view science and religion as well as the dialogue bewteen these two fields. (shrink)

Movements like the Arab Spring, Occupy Wall Street, and the Tea Party embody some of our deepest intuitions about popular politics and 'the power of the people'. They also expose tensions and shortcomings in our understanding of these ideals. We typically see 'the people' as having a special, sovereign power. Despite the centrality of this idea in our thinking, we have little understanding of why it has such importance. Imagined Sovereignties probes the considerable force that 'the people' exercises on (...) our thought and practice. Like the imagined communities described by Benedict Anderson, popular politics is formed around shared, imaginary constructs rooted in our collective imagination. This book investigates these 'imagined sovereignties' in a genealogy traversing the French Enlightenment, the Haitian Revolution, and nineteenth-century Haitian constitutionalism. It problematizes taken-for-granted ideas about popular politics and provokes new ways of imagining the power of the people. (shrink)

In this article I address the idea that in Husserl’s eidetic ontology all possibilities are fixed ‘in advance’ so that actual objects and events—despite their contingency—can only ever unfold possibilities that are ‘permitted’ to them by their essences. I show how this view distorts Husserl’s ontology and argue that this distortion stems from a misconstrual of the relations between essences and facts, and between ideal and real possibilities. These ‘local’ misconstruals reflect, I contend, a ‘global’ misunderstanding that mistakes descriptive distinctions (...) for ‘real’ separations, and that remains indebted to a non-Husserlian understanding of the a priori–a posteriori-distinction. In support of this argument, I first lay out the relevant objection to Husserl’s eidetics as I understand it. Then, I clarify the relation between ideal and real possibilities in the context of Husserl’s eidetics as I see it. Finally, I make a general point about the status of Husserl’s ontological differentiations ‘in the midst of life,’ namely in how what they differentiate is effective and (tacitly) manifest ever only as one moment (amongst many) of the complex whole that is a concrete life of consciousness. I end with some remarks on what this might mean for future phenomenological research on the imagination. (shrink)

What is the role of imagination in a priori knowledge? Here I provide a partial answer, arguing that imagination can be used to shed light on which experiences merely enable knowledge, versus which are evidential. I reach this partial answer by considering in detail Timothy’s Williamson’s recent argument that the a priori/a posteriori distinction is insignificant. There are replies to the argument by Boghossian and Casullo that might work on their own terms, but my reply examines the assumptions that Williamson (...) makes about the role of imagination in knowledge generation. I show that Williamson’s argument does not account for important distinctions from recent discussions of imaginative content. When these distinctions are not ignored, we can see that Williamson’s argument attributes a subject knowledge on the basis of a faulty application of universal generalization. I close by connecting my positive account of the role of imagination in the a priori to a debate about the role of memory in the a priori that played out 25 years ago. (shrink)