Theories of Imagination

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

When we are invited to imagine an unacceptable moral proposition to be true in fiction, we feel resistance when we try to imagine it. Despite this, it is nonetheless possible to suppose that the proposition is true. In this paper, I argue that existing accounts of imaginative resistance are unable to explain why only attempts to imagine the truth of moral propositions cause resistance. My suggestion is that imagination, unlike supposition, involves mental imagery and imaginative resistance arises when imagery that (...) one has formed does not match unacceptable propositions. (shrink)

Three thoughts strongly influence recent work on sensory imagination, often without explicit articulation. The image thought says that all mental states involving a mental image are imaginative. The attitude thought says that, if there is a distinctive imaginative attitude, it is a single, monolithic attitude. The function thought says that the functions of sensory imagination are identical or akin to functions of other mental states such as judgment or belief. Taken together, these thoughts create a theoretical context within which eliminativism (...) appears attractive. Eliminativism is the idea that we needn’t refer to a distinctive attitude in order to characterize sensory imagination: the attitudes involved in other states provide all the resources we need. Peter Langland-Hassan’s account of sensory imagination provides an example of such eliminativism. Via close examination of this account, I make manifest the three thoughts and their collective tendency to support eliminativism. I argue that all three are dubious, and that we should reject eliminativism; we need a distinctive imaginative attitude if we are to adequately explicate sensory imagination. (shrink)

With the advent of the digital age and new mediums of communication, it is becoming increasingly important for those interested in the interpretation of religious text to look beyond traditional ideas of text and textuality to find the sacred in unlikely places. Paul Ricoeur’s phenomenological reorientation of classical hermeneutics from romanticized notions of authorial intent and psychological divinations to a serious engagement with the “science of the text” is a hermeneutical tool that opens up an important dialogue between the interpreter, (...) the world of the text, and the contemporary world in front of the text. This article examines three significant insights that Paul Ricoeur contributes to our expanding understanding of text. First under scrutiny will be Ricoeur’s de-regionalization of classic hermeneutics culminating in his understanding of Dasein (Being) as “being-in-the-world,” allowing mean-ing to transcend the physical boundaries of the text. Next, Ricoeur’s three-fold under-standing of traditionality/Traditions/tradition as the “chain of interpretations” through which religious language transcends the tem-poral boundary of historicity will be explored. The final section will focus on Ricoeur’s understanding of the productive imagination and metaphoric truth as the under-appreciated yet key insight around which Ricoeur’s philosophical investigation into the metaphoric transfer from text to life revolves. (shrink)

I present a formal theory of the logic and aboutness of imagination. Aboutness is understood as the relation between meaningful items and what they concern, as per Yablo and Fine’s works on the notion. Imagination is understood as per Chalmers’ positive conceivability: the intentional state of a subject who conceives that p by imagining a situation—a configuration of objects and properties—verifying p. So far aboutness theory has been developed mainly for linguistic representation, but it is natural to extend it to (...) intentional states. The proposed framework combines a modal semantics with a mereology of contents: imagination operators are understood as variably strict quantifiers over worlds with a content-preservation constraint. (shrink)

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

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

Fictions evoke imagery, and their value consists partly in that achievement. This paper offers analysis of this neglected topic. Section I identifies relevant philosophical background. II offers a working definition of imagery. III identifies empirical work on visual imagery. IV and V criticize imagery essentialism, through the lens of genuine fictional narratives. This outcome, though, is not wholly critical. The expressed spirit of imagery essentialism is to encourage philosophers to "put the image back into the imagination." The weakened conclusion is (...) that while an image is not essential to imagining, it should be returned to our theories of imagination. (shrink)

The distinct-attitude view of fictional narratives is a standard position in contemporary aesthetics. This is the view that cognitive attitudes formed in response to fictions are a distinct kind of mental state from beliefs formed in response to non-fictional scenarios, such as pretend or imaginary states. In this paper we argue that the balance of functional, behavioral, and neuroscientific evidence best supports the genuine-attitude view of belief. According to the genuine-attitude view, cognitive responses to fictions are genuine beliefs that are (...) not a distinct kind of mental state from the beliefs that we form in response to non-fictional scenarios. We consider the implications of the genuine-attitude view for debates at the intersection of epistemology, cognitive science, and philosophy of mind. (shrink)

This book develops a theory of how the imagination functions, and how it evolved. The imagination is characterized as an embodied cognitive system. The system draws upon sensory-motor, visual, and linguistic capacities, but it is a flexible, developmental ability, typified by creative improvisation. The imagination is a voluntary simulation system that draws on perceptual, emotional, and conceptual elements, for the purpose of creating works that adaptively investigate external (environmental) and internal (psychological) resources. Beyond the adaptive useful values of this system, (...) imagination also possesses significant intrinsic value (e.g., in the joy of play, and states of wonder). The book argues that imagination is not a late arrival in the evolution of mind, but one of the earliest human abilities. (shrink)

In this paper, I describe and discuss two mental phenomena which are somewhat neglected in the philosophy of mind: focused daydreaming and mind-wandering. My aim is to show that their natures are rather distinct, despite the fact that we tend to classify both as instances of daydreaming. The first difference between the two, I argue, is that, while focused daydreaming is an instance of imaginative mental agency, mind-wandering is not—though this does not mean that mind-wandering cannot involve mental agency at (...) all. This personal-level difference in agency and purposiveness has, furthermore, the consequence that instances of mind-wandering do not constitute unified and self-contained segments of the stream of consciousness—in stark contrast to focused daydreams. Besides, the two kinds of mental phenomena differ in whether they possess a narrative structure, and in how we may make sense of the succession of mental episodes involved. (shrink)

If a work of literary fiction prescribes us to imagine that the Devil made a bet with God and transformed into a poodle, then that claim is true in the fiction and we imagine accordingly. Generally, we cooperate imaginatively with literary fictions, however bizarre, and the things authors write into their stories become true in the fiction. But for some claims, such as moral falsehoods, this seems not to be straightforwardly the case, which raises the question: Why not? The puzzles (...) such cases raise are sometimes grouped under the heading “imaginative resistance”. In this paper, I argue against what I take to be the best attempts to dismiss the puzzles and solve them. I also tease out subtleties not sufficiently addressed in the existing literature and end by defending a unified solution of my own. According to this solution, the puzzling phenomena occur when literary works offer inadequate and exhaustive grounds for claims. The solution’s novelty lies in its giving a normative rather than psychological or alethic explanation for the puzzling phenomena, the relevant norms being those of proper artistic appreciation. (shrink)

The aim of this article is to present the disagreement between Moran and Walton on the nature of our affective responses to fiction and to defend a view on the issue which is opposed to Moran’s account and improves on Walton’s. Moran takes imagination-based affective responses to be instances of genuine emotion and treats them as episodes with an emotional attitude towards their contents. I argue against the existence of such attitudes, and that the affective element of such responses should (...) rather be taken to be part of what is imagined. In this respect, I follow Walton; and I also agree with the latter that our affective responses to fiction are, as a consequence, not instances of real emotion. However, this gives rise to the challenge to be more specific about the nature of our responses and explain how they can still involve a phenomenologically salient affective element, given that propositionally imagining that one feels a certain emotion is ruled out because it may be done in a dispassionate way. The answer —already suggested, but not properly spelled out by Walton— is that affectively responding to some fictional element consists in imaginatively re-presenting an experience of emotional feeling towards it. The central thought is that the conscious and imaginative representation of the affective character of an instance of genuine emotion itself involves the respective phenomenologically salient affective element, despite not instantiating it. (shrink)

Two particular approaches to the imagination as a recreative capacity have recently gained prominence: neo-Humeanism and simulationatism. According to neo-Humeanism, imaginings have cognitions as a constitutive part of their representational contents; while simulationalists maintain that, in imagining, we essentially simulate the occurrence of certain cognitive states. Two other kinds of constitutive dependence, that figure regularly in the debate, concern the necessity of cogni­tions for, respectively, the causation and the semantic power of imaginings. In what follows, I dis­cuss each of these (...) kinds of dependence and assess how useful they are for spelling out the concep­tion of imaginings as recreations of cognitions. A particular focus will thereby be on the details of Hume's original conception of imaginings as causal reproductions (or ‘copies’) of cog­nitions, as well as on the influence of his view on contemporary approaches to the topic which replace Hume's causal understanding of the representational link between imaginings and cognitions with either an intentional or a relational understanding. My conclusion will be that, if imaginings should be taken to be recreations at all, then they should be taken to be representational recreations. That is, neo-Humeanism turns out to be the most plausible way of understanding imaginings as re­creations of cognitions. (shrink)

This chapter overviews Hume’s thoughts on the nature and role of imagining and focusses primarily on three important distinctions that Hume draws among our conscious mental episodes: (i) between impressions and ideas; (ii) between ideas of the memory and ideas of the imagination; and (iii), among the ideas of the imagination, between ideas of the judgement and ideas of the fancy. In addition, the chapter considers Hume’s views on the imagination as a faculty of producing ideas, as well as on (...) the part that imagining plays in the acquisition of modal knowledge and in the comprehension of, and resistance to, false or fictional opinions. (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)

This article will consider imagination in mathematics from a historical point of view, noting the key moments in its conception during the ancient, modern and contemporary eras.

Imagination occupies a central place in philosophy, going back to Aristotle. However, following a period of relative neglect there has been an explosion of interest in imagination in the past two decades as philosophers examine the role of imagination in debates about the mind and cognition, aesthetics and ethics, as well as epistemology, science and mathematics. This outstanding _Handbook_ contains over thirty specially commissioned chapters by leading philosophers organised into six clear sections examining the most important aspects of the philosophy (...) of imagination, including: Imagination in historical context: Aristotle, Descartes, Hume, Kant, Husserl, and Sartre What is imagination? The relation between imagination and mental imagery; imagination contrasted with perception, memory, and dreaming Imagination in aesthetics: imagination and our engagement with music, art, and fiction; the problems of fictional emotions and ‘imaginative resistance’ Imagination in philosophy of mind and cognitive science: imagination and creativity, the self, action, child development, and animal cognition Imagination in ethics and political philosophy, including the concept of 'moral imagination' and empathy Imagination in epistemology and philosophy of science, including learning, thought experiments, scientific modelling, and mathematics. The Routledge Handbook of Philosophy _of Imagination_ is essential reading for students and researchers in philosophy of mind and psychology, aesthetics, and ethics. It will also be a valuable resource for those in related disciplines such as psychology and art. (shrink)

This introductory chapter reviews research on future-oriented mental time travel to date (the past), provides an overview of the contents of the book (the present), and enumerates some possible research directions suggested by the latter (the future).

According to a traditional view, there is no categorical difference between the phenomenology of perception and the phenomenology of imagination; the only difference is in degree (of intensity, resolution, etc.) and/or in accompanying beliefs. There is no categorical difference between what it is like to perceive a dog and what it is like to imagine a dog; the former is simply more vivid and/or is accompanied by the belief that a dog is really there. A sustained argument against this traditional (...) view is prosecuted by Sartre, who develops an alternative according to which there is a categorical difference between the two phenomenologies. This paper draws on Sartre’s work in this area to develop a similar account of perception and imagination as categorically different. (shrink)

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

We often have affective responses to fictional events. We feel afraid for Desdemona when Othello approaches her in a murderous rage. We feel disgust toward Iago for orchestrating this tragic event. What mental architecture could explain these affective responses? In this paper I consider the claim that the best explanation of our affective responses to fiction involves imaginative desires. Some theorists argue that accounts that do not invoke imaginative desires imply that consumers of fiction have irrational desires. I argue that (...) there are serious worries about imaginative desires that warrant skepticism about the adequacy of the account. Moreover, it is quite difficult to articulate general principles of rationality for desires, and even according to the most plausible of these possible principles, desires about fiction are not irrational. (shrink)

It is intuitively plausible that art and imagination are intimately connected. This chapter explores attempts to explain that connection. We focus on three areas in which art and imagination might be linked: production, ontology, and appreciation. We examine views which treat imagination as a fundamental human faculty, and aim for comprehensive accounts of art and artistic practice: for example, those of Kant and Collingwood. We also discuss philosophers who argue that a specific kind of imagining may explain some particular element (...) of the artistic domain: for example, Walton's ideas about representational art, and Kivy’s about reading. (shrink)

Where is imagination in imaginative resistance? We seek to answer this question by connecting two ongoing lines of inquiry in different subfields of philosophy. In philosophy of mind, philosophers have been trying to understand imaginative attitudes’ place in cognitive architecture. In aesthetics, philosophers have been trying to understand the phenomenon of imaginative resistance. By connecting these two lines of inquiry, we hope to find mutual illumination of an attitude (or cluster of attitudes) and a phenomenon that have vexed philosophers. Our (...) strategy is to reorient the imaginative resistance literature from the perspective of cognitive architecture. Whereas existing taxonomies of positions in the imaginative resistance literature have focused on disagreements over the source and scope of the phenomenon, our taxonomy focuses on the psychological components necessary for explaining imaginative resistance. (shrink)

In The Imaginary Sartre offers a systematic, insightful and heterodox account of imagining in many forms. Beginning with four ‘characteristics’ he takes to capture the phenomenology of imagining, he draws on considerations both philosophical and psychological to describe the deeper nature of the state that has those features. The result is a view that remains the most potent challenge to the Humean orthodoxy that to this day dominates both philosophical and psychological thinking on the topic.

This is a penultimate draft of a paper that will appear in Handbook of Imagination, Amy Kind (ed.). Routledge Press. Please cite only the final printed version.

Imagination is celebrated as our vehicle for escape from the mundane here and now. It transports us to distant lands of magic and make-believe, and provides us with diversions during boring meetings or long bus rides. Yet the focus on imagination as a means of escape from the real world minimizes the fact that imagination seems also to furnish us with knowledge about it. Imagination seems an essential component in our endeavor to learn about the world in which we live--whether (...) we're planning for the future, aiming to understand other people, or figuring out whether two puzzle pieces fit together. But how can the same mental power that allows us to escape the world as it currently is also inform us about the world as it currently is? Ten original essays grapple with this neglected question; in doing so, they present a diverse array of positions ranging from cautious optimism to deep-seated pessimism. Blending perspectives from philosophy of mind, cognitive science, epistemology, aesthetics, and ethics, Knowledge Through Imagination sheds new light on the epistemic role of imagination. (shrink)

The psychological mechanism of decision-making has traditionally been modeled with the help of belief-desire psychology: the agent has some desires (or other pro-attitudes) and some background beliefs and deciding between two possible actions is a matter of comparing the probability of the satisfaction of these desires given the background beliefs in the case of the performance of each action. There is a wealth of recent empirical findings about how we actually make decisions that seems to be in conflict with this (...) picture. My aim is to outline an alternative model that is consistent with these empirical findings. This alternative model emphasizes the role imagination plays in our decisions: when we decide between two possible actions, we imagine ourselves in the situation that we imagine to be the outcome of these two actions and then compare these two imaginings. (shrink)

In this entry I will offer a systematic novel taxonomy of our imaginative abilities coherent with standard treatments in cognitive science, philosophy of mind and aesthetics. In particular, I will distinguish between the non-propositional imagination and the propositional imagination, which include several further sub-varieties such as the objectual imagination, imagery, experiential imagination, supposition, make-believe and more.

The problem of amodal perception is the problem of how we represent features of perceived objects that are occluded or otherwise hidden from us. Bence Nanay (2010) has recently proposed that we amodally perceive an object's occluded features by imaginatively projecting them into the relevant regions of visual egocentric space. In this paper, I argue that amodal perception is not a single, unitary capacity. Drawing appropriate distinctions reveals amodal perception to be characterized not only by mental imagery, as Nanay suggests, (...) but also by genuinely visual representations as well as beliefs. I conclude with some brief remarks on the role of object-directed bodily action in conferring a sense of unseen presence on an object's occluded features. (shrink)

Pretense is a topic of keen interest to philosophers and psychologists. But what is it, really, to pretend? What features qualify an act as pretense? Surprisingly little has been said on this foundational question. Here I defend an account of what it is to pretend, distinguishing pretense from a variety of related but distinct phenomena, such as (mere) copying and practicing. I show how we can distinguish pretense from sincerity by sole appeal to a person's beliefs, desires, and intentions – (...) and without circular recourse to an ‘intention to pretend’ or to a sui generis mental state of ‘imagining.’. (shrink)

Environmental thinkers recognize that ecological thinking has a vital role to play in many wise choices and policies; yet, little theoretical attention has been given to developing an adequate philosophical psychology of the imaginative nature of such thinking. Ecological imagination is an outgrowth of our more general deliberative capacity to perceive, in light of possibilities for thinking and acting, the relationships that constitute any object. Such imagination is of a specifically ecological sort when key metaphors, images, symbols, and the like (...) used in the ecologies shape the mental simulations we use to deliberate—i.e., when these interpretive structures shape what John Dewey calls our “dramatic rehearsals.” There is an urgent practical need to cultivate ecological imagination, and an equally practical need to make theoretical sense of the imaginative dimension of ecological reflection. (shrink)

Gaston Bachelard's thought remains a continual source of inspiration for a phenomenological psychology that takes human habitation as a fundamental given and as an abiding mystery of the human condition. the following essay explores the ideas Bachelard developed in the course of his study of poetry. It examines in particular his vision of imagination as a unique passage way by means of which we reach an inhabitable, intersubjective and fully human world. Within that perspective, our lives are constantly renewed by (...) the appearance of a revealing image or a telling metaphor. Each time that we are awakened by this appeal we commemorate the birth and rebirth of a human world. (shrink)

This article is an attempt to situate imagination within consciousness complete with its own pre-cognitive, cognitive, and meta-cognitive domains. In the first sections we briefly review traditional philosophical and psychological conceptions of the imagination. The majority have viewed perception and imagination as separate faculties, performing distinct functions. A return to a phenomenological account of the imagination suggests that divisions between perception and imagination are transcended by precognitive factors of sense of reality and non-reality where perception and imagination play an indivisible (...) role. In fact, both imagination and perception define sense of reality jointly according to what is possible and not possible. Absorption in a possible world depends on the strengths of alternative possibilities, and the relationship between core and marginal consciousness. The model may offer a parsimonious account of different states and levels of imaginal consciousness, and of how “believed-in imaginings” develop and become under some circumstances “lived-in experiences.”. (shrink)

In this paper I trace Husserl’s transformation of his notion of phantasy from its strong leanings towards empiricism into a transcendental phenomenology of imagination. Rejecting the view that this account is only more incompatible with contemporary neuroscientific research, I instead claim that the transcendental suspension of naturalistic (or scientific) pretensions precisely enables cooperation between the two distinct realms of phenomenology and science. In particular, a transcendental account of phantasy can disclose the specific accomplishments of imagination without prematurely deciding upon a (...) particular scientific paradigm for its experimental investigation; a decision that is best left to the sciences themselves. (shrink)

This work presents a new theory of imagination which tries to overcome the overly narrow perpectives that current theories take upon this enigmatic, multi-faceted phenomenon. Current theories are narrowly preoccupied with images and imagery. This creates problems in explaining (1) what imagination is, (2) how it works, and (3) what its strengths and limitations are. (1) Ordinary language identifies imagination with both imaging (image-making) and creativity, but most current theories identify imagination narrowly with imaging while neglecting creativity. Yet imaging is (...) a narrow power, while creativity is a broad power whose roots include imaging. Imagination in its fullest sense is thus creativity. Current theories are just about imaging, not imagination in its fullest sense. (2) This preoccupation with imagery leads current theories to ignore imagination’s transformation into more rational forms (as in the shift from myth and imagery to philosophy and reason). They see imagination in static, invariable terms, while it’s actually a dynamic, creative synergy with various roots and with an evolving history. (3) Current theories extol imagination’s powers but neglect its limitations, though both are essential to effectively use and understand imagination. Again, a culprit is the narrow preoccupation with imagery: these theories neglect the more rational forms of imagination that best reveal its full powers and perils. This work tries to remedy these shortcomings. Its aim is to more fully understand imagination by focusing not just upon imagery, but more broadly upon the evolving synergies between all of its various roots – biological, psychological and sociological – from which all its various structures, powers and limitations derive. Only with a comprehensive perspective such as this can we begin to adequately understand what imagination is, how it works, and what it can and cannot do. The overall findings of this work in these three areas are fully summarized in its final chapter. To download this work successfully, persist with options if error message appears (or contact me at [email protected]). (shrink)

In this Part II, I investigate different approaches to the question of what makes imagining different from belief. I find that the sentiment-based approach of David Hume falls short, as does the teleological approach, once advocated by David Velleman. I then consider whether the inferential properties of beliefs and imaginings may differ. Beliefs, I claim, exhibit an anti-symmetric inferential governance over imaginings: they are the background that makes inference from one imagining to the other possible; the reverse is not true, (...) and this allows us to distinguish the two attitudes. I then go on to consider the action theory of imagining and the role that imaginings play in generating emotion. (shrink)

The point of this paper is to reveal a dogma in the ordinary conception of sensory imagination, and to suggest another way forward. The dogma springs from two main sources: a too close comparison of mental imagery to perceptual experience, and a too strong division between mental imagery and the traditional propositional attitudes (such as belief and desire). The result is an unworkable conception of the correctness conditions of sensory imaginings—one lacking any link between the conditions under which an imagining (...) aids human action and inference and the conditions under which it is veridical. The proposed solution is, first, to posit a variety of imaginative attitudes—akin to the traditional propositional attitudes—which have different associated correctness (or satisfaction) conditions. The second part of the solution is to allow for imaginings with “hybrid” contents, in the sense that both mental images and representations with language-like constituent structure contribute to the content of imaginings. (shrink)

If imagination is subject to the will, in the sense that people choose the content of their own imaginings, how is it that one nevertheless can learn from what one imagines? This chapter argues for a way forward in addressing this perennial puzzle, both with respect to propositional imagination and sensory imagination. Making progress requires looking carefully at the interplay between one’s intentions and various kinds of constraints that may be operative in the generation of imaginings. Lessons are drawn from (...) the existing literature on propositional imagination and from the control theory literature concerning the prediction and comparison mechanisms (or “forward models”) involved in ordinary perception. A more general conclusion is reached that, once we have the tools to understand how some imaginings are both under willful control and helpfully guide action and inference, we will have what we need to understand the cognitive basis of imagination in general. (shrink)