Visual Imagery and Imagination

Self-recognition is an intimate act performed by people. Inspired by Paul Ricoeur, we reflect upon the action of self-recognition, especially when data visualization represents the observer itself. Along the article, the reader is invited to think about this specific relationship through concepts like the personal identity stored in information systems, the truthfulness at the core of self-recognition, and the mutual-recognition among community members. In the context of highly interdisciplinary research, we unveil two protagonists in data visualization: the designer and the (...) observer - the designer as the creator and the observer as the viewer of a visualization. This article deals with some theoretical aspects behind data visualization, a discipline more complex than normally expected. We believe that data visualization deserves a conceptual framework, and this investigation pursues this intention. For this reason, we look at the designer as not just a technician in the visualization production, but as a contemporary ethnologist - the designer as a professional working in a social environment to comprehend the context and formulate a specific inquiry with the help of appropriate visual languages. (shrink)

Over the past 50 years, philosophers and psychologists have perennially argued for the existence of analog mental representations of one type or another. This study critically reviews a number of these arguments as they pertain to three different types of mental representation: perceptual representations, imagery representations, and numerosity representations. Along the way, careful consideration is given to the meaning of “analog” presupposed by these arguments for analog mental representation, and to open avenues for future research.

We focus on Timothy Williamson’s recent attack on the epistemological significance of the a priori–a posteriori distinction, and offer an explanation of why, fundamentally, it does not succeed. We begin by setting out Williamson’s core argument, and some of the background to it and move to consider two lines of conciliatory response to it—conciliatory in that neither questions the central analogy on which Williamson's argument depends. We claim, setting aside a methodological challenge to which Williamson owes an answer, that no (...) satisfactory such reconciliation is in prospect. Rather, as we then argue, —and it is on this that we base our overall negative assessment of his argument—Williamson’s core analogy is flawed by an oversight. We conclude with some brief reflections on Williamson’s ideas about the imagination as a source of knowledge. Our principal conclusion is only that Williamson’s argument fails to perform as advertised. A constructive case for confidence, to the contrary, that the intuitive contrast between a priori and a posteriori reflects something of fundamental epistemological significance is prefigured in our final section, but will not be elaborated here. (shrink)

I argue for the existence of imaginative beliefs: mental states that are imaginative in format and doxastic in attitude. I advance two arguments for this thesis. First, there are imaginings that play the functional roles of belief. Second, there are imaginings that play the epistemic roles of belief. These arguments supply both descriptive and normative grounds for positing imaginative beliefs. I also argue that this view fares better than alternatives that posit distinct imaginative and doxastic states to account for the (...) same phenomena. Along the way, I demonstrate the theoretical significance of imaginative beliefs by showing how they pose a challenge for standard taxonomies of the mind, clarify the sense in which imagination is occurrent and voluntary, explain the justificatory role of the imagination, and point to a deep but underappreciated symmetry between imagistic and non-imagistic thought. (shrink)

The vividness of mental imagery is epistemically relevant. Intuitively, vivid and intense memories are epistemically better than weak and hazy memories, and using a clear and precise mental image in the service of spatial reasoning is epistemically better than using a blurry and imprecise mental image. But how is vividness epistemically relevant? I argue that vividness is higher-order evidence about one’s epistemic state, rather than first-order evidence about the world. More specifically, the vividness of a mental image is higher-order evidence (...) about the amount of first-order information one has about its subject matter. When vividness is sufficiently low, it can give one reason to doubt the epistemic basis of the mental image and thereby act as a defeater. This account has important implications for theorizing about the epistemic roles of memory, imagination, mental imagery, and phenomenal consciousness. (shrink)

The term ‘imagination’ may seem harmless. We talk about imagination all the time. Nonetheless, I will argue that we should treat it with suspicion. More precisely, I will argue that the explanatory power of the concept of imagination can be fully captured by a scientifically more respectable and more powerful concept, namely, the concept of mental imagery.

The term ‘imagination’ may seem harmless. We talk about imagination all the time. Nonetheless, I will argue that we should treat it with suspicion. More precisely, I will argue that the explanatory power of the concept of imagination can be fully captured by a scientifically more respectable and more powerful concept, namely, the concept of mental imagery.

Both traditional and recent accounts of the beneficial and therapeutic effects of psychedelic experiences tie these effects to specifically epistemic changes, for example the enabling of spiritual or psychological insight, or disruption of problematic beliefs or thought patterns. While these alleged benefits have sometimes been thought to be facilitated by false or even delusional beliefs (e.g. Pollan 2015), recent philosophical discussion strikes a more optimistic tone, arguing that the epistemic risks involved with psychedelic drug use tend to be relatively benign (...) and outweighed by epistemic benefits (Letheby 2021). In this paper, we seek to nuance this picture by drawing attention to the crucial role played by social factors in determining the epistemic effects of psychedelic experiences. We argue that the very openness of mind and heightened sense of clarity and certainty that is often thought to facilitate the epistemic benefits of psychedelic drug use, also make the user more vulnerable to adverse epistemic influence from the social environment, to a degree not acknowledged in the current literature. Examining the epistemic influences of the social environment is thus important for understanding the necessary precautions of informed consent and overall safe drug use. (shrink)

Emotions can be insensitive to certain attributes of a situation: Fear of flying is not always reduced by remembering air crash probabilities. A large body of evidence shows that information on probabilities, large numerical counts, and intentions is frequently disregarded in the elicitation and regulation of emotions. To date, no existing theory comprehensively accounts for the features that tend to be overlooked by emotion. In this paper, I call attention to the common denominator of such features: they do not contribute (...) to the iconic representation of events. For instance, the exceedingly low probability of a plane crash does not affect its imagistic representation (i.e., the iconic representation of the event is silent about the event’s probability). This paper introduces the Iconic Prioritization Hypothesis, positing that the prioritization of input in the iconic format by emotions can explain the neglect of information that is representationally silent in this format. Delving into the causes of this format prioritization, I argue that emotion might favour iconicity as it is the format of immediate information about our surroundings (perception) and of stored first-hand evidence (episodic memory). Lastly, the hypothesis's compatibility with philosophical theories of emotion causation and its implications for experimental research are examined. (shrink)

Perception is said to have assertoric force: It inclines the perceiver to believe its content. In contrast, perceptual imagination is commonly taken to be non-assertoric: Imagining winning a piano contest does not incline the imaginer to believe they actually won. However, abundant evidence from clinical and experimental psychology shows that imagination influences attitudes and behavior in ways similar to perceptual experiences. To account for these phenomena, I propose that perceptual imaginings have implicit assertoric force and put forth a theory—the Prima (...) Facie View—as a unified explanation for the empirical findings reviewed. According to this view, mental images are treated as percepts in operations involving associative memory. Finally, I address alternative explanations that could account for the reviewed empirical evidence—such as a Spinozian model of belief formation or Gendler’s notion of alief—as well as potential objections to the Prima Facie View. (shrink)

This chapter presents and contextualizes empirical work done by philosophers on imagination and creativity. It also suggests new directions for future empirical research. It is argued that empirical work on these (and other topics) is not just beneficial but necessary for philosophy of imagination and creativity. Further, it is argued that this work must sometimes be done by philosophers, and it is also often best done by philosophers. Topics discussed include imaginative resistance, counterfactual imagination, scientific imagination, distinguishing imagination from other (...) mental states (e.g., supposition, memory), vividness of imagination, AI imagination, creativity and praiseworthiness, creativity as a virtue, and AI and creativity. (shrink)

In this paper we argue that object perception may be affected by what we call “perceptual frames.” Perceptual frames are adaptations of the perceptual system that guide how perceptual objects are singled out from a sensory environment. These adaptations are caused by perceptual learning and realized through bottom-up functional processes such that sensory information is organized in a subject-dependent way leading to idiosyncratic perceptual object representations. Through domain-specific training, perceptual learning, and the acquisition of object-knowledge, it is possible to modulate (...) the adaptive perceptual system such that its ability to represent becomes bespoke. Different perceivers with different perceptual frames may, therefore, receive the same sensory information and perceive different perceptual objects due to the effects of framing. Consequently, we demonstrate the plausibility of this account by surveying empirical data concerning the functions of (1) multisensory integration, (2) amodal completion, and (3) predictive anticipation. Regarding (1), we argue that the perceptual system’s optimization processes employ perceptual frames to facilitate multisensory feature binding. Regarding (2), we argue that amodal completion can occur with or without the help of mental imagery, yet either instance of amodal completion requires perceptual frames. Regarding (3), we demonstrate that perceptually anticipating an object’s motion involves the implementation of perceptual frames. We conclude that framing effects are a matter of perceptual diversity and highlight the need to accommodate unique perspectives in the philosophy and science of perception. (shrink)

An influential objection to the epistemic power of the imagination holds that it is uninformative. You cannot get more out of the imagination than you put into it, and therefore learning from the imagination is impossible. This paper argues, against this view, that the imagination is robustly informative. Moreover, it defends a novel account of how the imagination informs, according to which the imagination is informative in virtue of its analog representational format. The core idea is that analog representations represent (...) relations ‘for free,’ and this explains how the imagination can contain more information than is put into it. This account makes important contributions to both philosophy of mind, by showing how the imagination can generate new content that is not represented by a subject’s antecedent mental states, and epistemology, by showing how the imagination can generate new justification that is not conferred by a subject’s antecedent evidence. (shrink)

This chapter explores a noteworthy, as-yet-unanalysed normative aspect of imagining. It begins by examining cases where imaginings are deemed erroneous, showing that imaginings can “go wrong” not only by failing to represent that which the imaginer intends to imagine, or is asked to imagine by an external source (e.g. a work of fiction), but also when imaginings arise unbidden. That unintended, non-deliberate imaginings can be erroneous shows that there must be a norm or commitment that is inherent to imagining, a (...) norm or commitment that, if violated, renders imaginings erroneous. Invoking Kendall Walton’s thesis about the normativity of imagining, I adduce a first-pass account of this normative aspect; the account pivots on the idea that imagining aims at, or is committed to representing, that which is fictionally true. After showing that this account is inadequate, I revise Walton’s thesis, arguing that in imagining, we are not committed to representing the fictional truth. Rather, taking on a quasi-doxastic role vis-à-vis the fictional world, we are committed to representing that which is (merely) presented as fictionally true. I proceed to explain the error in question in terms of this thesis, showing that when the quasi-doxastic role we take on in our capacity as imaginers is not carried out properly, our imaginings are rendered erroneous. (shrink)

Cinema and Machine Vision unfolds the aesthetic, epistemic, and ideological dimensions of machine-seeing films and television using computers. With its critical-technical approach, this book presents to the reader key new problems that arise as AI becomes integral to visual culture. The book theorises machine vision through a selection of aesthetics, film theory, and applied machine learning research, dispelling widely held assumptions about computer systems designed to watch and make images on our behalf. -/- At its heart, Cinema and Machine Vision (...) is an invitation for film and media scholars to critically engage with AI at a technical level, a prompt for scientists and engineers working with images and cultural data to critically reflect on where their assumptions about vision come from, and a joint recognition of the fruitful problems of working together to understand the algorithmic governance of the visual. (shrink)

What is sensory imagining and what role does it play in our lives? How does visualizing a castle, running through a tune in one's head, or imagining the taste of fish ice cream relate to perceiving such things, or to remembering them? What are the connections between imagining and agency, and how does it relate to emotion and other affect? The Profile of Imagining offers a theory that answers these and many other questions. It argues that sensory imagining involves the (...) redeployment of resources central to perception, though in a radically different context and to very different effect. The result is a view that explains central features of imagining's phenomenology and functional role, including its capacity to capture what it would be like to perceive its objects, while acknowledging the many and striking differences between imagining and sensing. Hopkins shows how the view can be extended to imagining in other forms, especially the imagining of affect; and uses it to argue for some surprising conclusions: that imagining something is not a way to engage with its aesthetic character; and that imagining provokes real feeling much less often than is usually assumed. -/- Table of contents: Introduction; Ch.1 Imagining and agency; Ch.2 To be given as a representation; Ch.3 Knowledge of sensory profiles; Ch.4 Profiles in imagination; Ch.5 Observation, overflow and attention; Ch.6 Episodic memory; Ch.7 Learning from imagining; Ch.8 Aesthetic engagement, imagining and the draw of the real; Ch.9 Reacting to imagining?; Conclusion. (shrink)

It is commonly assumed that images, whether in the world or in the head, do not have a privileged analysis into constituent parts. They are thought to lack the sort of syntactic structure necessary for representing complex contents and entering into sophisticated patterns of inference. I reject this assumption. “Image grammars” are models in computer vision that articulate systematic principles governing the form and content of images. These models are empirically credible and can be construed as literal grammars for images. (...) Images can have rich syntactic structure, though of a markedly different form than sentences in language. (shrink)

We do not normally speak of seeing experiences. Yet it is common to say that we have imagined an experience. Why the difference here? The deep affinities between sense perception and sensory imagination might have led one to expect that the limits of what we can sensorily imagine, using visual imagery, would align with what we can, in the right circumstances, see. We face a decision: either abandon this alignment of sensory imagination with perception, or conclude that we cannot, literally, (...) imagine experiences. This chapter pursues the second path: experiences are no more imaginable than they are visible. There are three components to the argument. First, it is argued that the implicit dilemma is not a false dilemma: we have strong reason to preserve an alignment between the objects of vision and the objects of visual-imagery-involving imagination. Second, the arguments of some—including Peacocke (1985) and Martin (2002)—that all sensory imagination in fact requires the imagining of an experience are challenged. Third, a framework for understanding the contents of visual imagination is provided and defended. This framework preserves an alignment between the contents of perception and the contents of imagination, while allowing us to appreciate the merely derivative, non-literal sense in which we can imagine experiences. Implications for perennial puzzles about consciousness are explored. (shrink)

This chapter considers the potential of artificial intelligence (AI) to exhibit creativity and imagination, in light of recent advances in generative AI and the use of deep neural networks (DNNs). Reasons for doubting that AI exhibits genuine creativity or imagination are considered, including the claim that the creativity of an algorithm lies in its developer, that generative AI merely reproduces patterns in its training data, and that AI is lacking in a necessary feature for creativity or imagination, such as consciousness, (...) agency, metacognitive awareness, or the use of mental imagery. In each case, a counterargument is provided that AI already has or soon will overcome the apparent barrier. In some instances, this is because the critical features deemed lacking in AI may not be necessary for human creativity and imagination either. In others, it is because important developmental and structural similarities between humans and generative AI have been insufficiently appreciated. (shrink)

It is often observed that images—including mental images—are in some sense representationally ambiguous. Some, including Jerry Fodor, have added that mental images only come to have determinate contents through the contribution of non-imagistic representations that accompany them. This paper agrees that a kind of ambiguity holds with respect to mental imagery, while arguing (pace Fodor) that this does not prevent imagery from having determinate contents in the absence of other, non-imagistic representations. Specifically, I argue that mental images can represent determinate (...) types of outlays of properties without help from any non-imagistic representations, yet can only become involved in the representation of particular objects through pairing with a non-imagistic representation of the right sort. These points are defended through reflection on the “Picture Principle,” the nature of depiction, and general principles for typing and individuating mental states. (shrink)

Traditionally, philosophers have been skeptical that the imagination can justify beliefs about the actual world. After all, how could merely imagining something give you any reason to believe that it is true? However, within the past decade or so, a lively debate has emerged over whether the imagination can justify empirical belief and, if so, how. This paper provides a critical overview of the recent literature on the epistemology of imagination and points to avenues for future research.

Aphantasia, namely the inability to voluntarily form visual mental imagery, does not, counterintuitively, impair the affected from successfully performing mental imagery tasks. One way of explaining this finding is to posit that aphantasics, despite their claim to the contrary, can form visual imagery, a position here referred to as aphantasia skepticism. This article outlines and rejects two types of aphantasia skepticism and argues that the position results from what is coined the visualizer’s fallacy, namely the false belief that visual mental (...) imagery is necessary to carry out mental imagery tasks. Furthermore, it is argued that the visualizer’s fallacy and the resulting aphantasia skepticism are not only potentially harmful to aphantasics but may also lead to an impoverished view of the dynamics of cognition in general. -/- . (shrink)

Experiences of urges, impulses, or inclinations are among the most basic elements in the practical life of conscious agents. This article develops a theory of urges and their epistemology. The article motivates a tripartite framework that distinguishes urges, conscious experiences of urges, and exercises of capacities that agents have to control their urges. The article elaborates the elements of the tripartite framework, in particular, the phenomenological contribution of motor imagery. It argues that experiences of urges and exercises of control over (...) urges play coordinate roles in enabling an agent’s awareness of their impulses. (shrink)

Combining perspectives from both continental and analytic philosophy, this timely volume explores how imagination today both shapes and is shaped by technology, art and ethics. Imagination is one of the most significant and broadly examined concepts in contemporary philosophy and is frequently understood as a basic human faculty that enables complex activities. This book shows, however, that imagination is more than a mere enabler. Whilst imagination shapes our experiences, it is at the same time shaped by our environments. Some of (...) the most creative manifestations of imagination are the result of its two-way interaction with art or technology, or both. In short, imagination co-shapes us. Beyond the traditional perspectives of Kant and Heidegger, The Philosophy of Imagination: Technology, Art and Ethics examines our dynamic relationship with imagination, from contemporary technological advancements such as AI that transform the whole ecosystem to imagination in the context of videogames and literary fiction. Analysing societal imagination, it addresses the relationship between the racial imaginary and white ignorance, as well as the effects that societal mechanisms such as lockdowns can have on our imagination. Taking its cue from the here and now, this volume brings together leading international scholars to investigate how the concept of co-shaping allows us to see imagination and its crucial role in society in new and productive ways. (shrink)

Some philosophers, most notably David Hume, think that you can imagine colours that you’ve never seen before. Other philosophers, among them David Lewis, L.A. Paul, and Hume again, think that you can’t imagine sensory qualities that lie outwith your past experience. An easy way to reconcile these views is to say that you can imagine colours and other qualities sufficiently similar to those you’ve experienced before: a missing shade of blue, but not totally novel properties. Hence the widespread intuition that (...) someone raised in a monochrome environment could not imagine colours. However, this reconciliation merely raises the questions of why, and how, past experience can facilitate some imaginings and not others. Through consideration of hallucinations, imprisoned colour scientists, flavour design, and the Wagner tuba, this chapter argues against the view that past experience furnishes qualitative material for imaginative blending, and in favour of the Lewisian view that past experience develops the know-how required to imaginatively blend: put somewhat abstractly, it develops the ability to conceive of the experiential space within which novel qualitative appearances might be manifested. The chapter ends by considering extensions of this view from imaginings of novel sensory properties to imaginings of novel sensory and qualitative experiences in the broadest sense. (shrink)

It is all the rage today to speak about the “power" of images. Yet while it seems hardly disputable that images generate fascination or repulsion and that they provoke laughter, tears or delight, it is by no means clear what it entails to grant them an agency of their own. The article sets out to chart the current literature on the topic, and to indicate why it is not the same to ask what it means for images to do things (...) to us and what it means do things with images. While the former question often leads, under a disguise of object-oriented thinking, to reintroduce mentalism, the latter gets caught up in inextricable problems that Austin’s speech act theory already had to struggle with. In the last section, at alternative account is proposed: the performance of image is not an event of causation, it is a process of visualization that lets appear what can only appear in images. (shrink)

This paper introduces a novel conceptualisation of mental imagery; namely, that is grease for the mind’s gears (MGT). MGT is not just a metaphor. Rather, it describes an important and overlooked higher-order function of mental imagery: that it aids various mental faculties discharge their characteristic functional roles. MGT is motivated by reflection on converging evidence from clinical, experimental and social psychology and solves at least two neglected conceptual puzzles about mental imagery. The first puzzle concerns imagery’s architectural promiscuity; that is, (...) its ability to assist diverse mental faculties and perform many different functions when doing so. The second puzzle concerns how to square imagery’s architectural promiscuity with its psychopathological relevance; that is, its being a maintaining cause, and possibly even a partial constituent, of several psychological disorders, including post-traumatic stress disorder, bipolar disorder and major depressive disorder. Mental imagery helps and harms human psychology to extreme degrees and this is something that calls for elucidation. MGT says that instead of facing perplexing heterogeneities here, we instead face a significant unity. On this score, MGT is argued to be superior to the currently dominant conception of imagery in the philosophical literature; namely, as a perception-like state of mind. (shrink)

One of the dominant behavioral markers of visual-expert search strategy, Holistic Visual Processing (HVP), suggests that experts process information from a larger region of space in conjunction with a more focused gaze pattern in order to improve search speed and accuracy. To date, extant literature suggests that visual search expertise is domain specific, including HVP and its associated behaviors. The current study is the first to use eye tracking to directly measure the HVP strategies of two expert groups, radiologists and (...) architects, in comparison to one another and a novice control. In doing so, we replicated and extended this prior research: visual expertise is domain specific. However, our eye tracking data indicate that contrary to this prior work, HVP strategies are transferable across domains. Yet, despite the transfer of HVP strategies, there is neither reduced search time nor greater accuracy in visual search outside of an expert’s domain. Therefore, our data suggest that HVP behaviors are a particular form of visual search mechanism that, outside of an expert’s native search-ecology, are not necessarily conducive to more general visual search success. It is in addition to explicit knowledge of an expert’s domain, how to search, and where to search, that HVP strategies are their most effective for visual search success. (shrink)

It is often observed that images—including mental images—are in some sense representationally ambiguous. Some, including Jerry Fodor, have added that mental images only come to have determinate contents through the contribution of non-imagistic representations that accompany them. This paper agrees that a kind of ambiguity holds with respect to mental imagery, while arguing (pace Fodor) that this does not prevent imagery from having determinate contents in the absence of other, non-imagistic representations. Specifically, I argue that mental images can represent determinate (...) types of outlays of properties without help from any non-imagistic representations, yet can only become involved in the representation of particular objects through pairing with a non-imagistic representation of the right sort. These points are defended through reflection on the “Picture Principle,” the nature of depiction, and general principles for typing and individuating mental states. (shrink)

The sensory constraint on conscious thought says that if a thought is phenomenally conscious, its phenomenal properties must be reducible to some sensory phenomenal character. I argue that the burgeoning psychological literature on aphantasia, an impoverishment in the ability to generate mental imagery, provides a counterexample to the sensory constraint. The best explanation of aphantasics’ introspective reports, neuroimaging, and task performance is that some aphantasics have conscious thoughts without sensory mental imagery. This argument against the sensory constraint supports the existence (...) of a non-sensory phenomenology of thought. Moreover, this argument can be extended to show that this non-sensory phenomenology determines a thought content. Finally, it can potentially diagnose the disagreement over cognitive phenomenology in the philosophy of mind, as such disagreement may turn on interpersonal variation in mental imagery. (shrink)

The imagination is ubiquitous in our cognitive lives. You might imagine rotating a puzzle piece to determine whether it fits in an open space, or imagine what things are like from another person's perspective to figure out how they are feeling, or imagine a new rug in your living room to determine whether it matches the color of your sofa. These examples are mundane, but they point to a deep philosophical puzzle: how could merely imagining something give you any reason (...) to believe that it is true? After all, you can imagine anything you want to, from the fictional to the fantastical. This has led many philosophers to be deeply skeptical of the epistemic value of the imagination. When imagination is accorded a justificatory role, it is typically limited to beliefs about what is metaphysically possible. More recently, some philosophers have begun to push back against this orthodoxy by arguing that the imagination can justify empirical beliefs about the actual world. But even then, most contemporary discussions focus on whether the imagination can justify empirical belief, rather than on how the imagination justifies empirical belief, thereby leaving many central questions about the epistemology of the imagination unanswered. This dissertation attempts to fill this lacuna by canvassing the theoretical landscape of this exciting new literature and developing an account of the epistemic structure of the imagination. The first chapter sets the stage for the rest of the dissertation by reviewing extant arguments for and against the view that the imagination can justify empirical belief before posing a new argument in its favor. The second chapter argues that imaginative justification is mediate but non-inferential; it depends on one’s prior justification without depending on an inference from one’s prior beliefs. The third chapter argues that the imagination is informative—it can represent new content and generate new justification—in virtue of its analog representational format. The fourth and final chapter argues that some imaginings just are beliefs, and that this grounds their justificatory force. Together, the arguments of this dissertation suggest that the imagination is a distinctive kind of ampliative reasoning, and that it plays this cognitive and epistemic role by combining the analog representational format of imagery with the evidence-sensitive function of belief. (shrink)

How do the pictures Wittgenstein and his relatives took during his life relate to his philosophical work? The exhibition at the Leopold Museum in Vienna in 2021 demonstrated a complex network of resemblances, overlaps, and cross-references between Wittgenstein’s way of working and the pictures he collected. In this essay, the network is used as an example to argue that a combination of philosophy and artistic sensibility might be a fruitful enrichment for a philosophical practise.

This Discussion Piece is a response to Mark Windsor's Discussion Piece (2023) 'Photographic Registers are Latent Images', which is a response to my article, (2021) 'Invisible Images and Indeterminacy: Why we need a Multi-stage Account of Photography' JAAC 79(2) 161-174.. -/- I argue that a photosensitive surface does not produce invisible pictorial features when it is exposed to light, and conclude, contra Windsor, that a photographic register is not a latent image. I argue that Windsor does not succeed in defending (...) a single-stage account of photography and I reconfirm that a multi-stage account is correct. (shrink)

The Didi-Huberman Dictionary is a specialized introduction to the thought of contemporary French philosopher Georges Didi-Huberman, best known for his path-breaking philosophy of image and for his impact on the 'visual turn' in theoretical humanities. With over 150 entries, including 125 main entries, the dictionary is a useful research tool for students coming to Didi-Huberman's work for the first time. Entries range from Theodor Adorno and Anthropology through to Materiality and Memory and on to Aby Warburg and Witnessing. Researchers already (...) familiar with his work, but who want to develop a multi-faceted and more comprehensive understanding of the philosophical and cultural references woven into his thought, will gain deeper knowledge of the nuances of his conceptual apparatus, given the interreferential and intertextual aspects of his work. The dictionary identifies and explains his key figures, inspirations and philosophical metaphors as well as introduces Didi-Huberman's polemics with other contemporary philosophers, including Giorgio Agamben and Jacques Rancière. Entries on concepts and motifs from Didi-Huberman's major texts that are (as of yet) not translated into English - Ce que nous voyons, ce qui nous regarde (1992), and Ninfa moderna (2002) - are also included. This is your one-stop, go-to resource for learning more about the innovative, exciting work of Georges Didi-Huberman. (shrink)

Predictive processing (PP) accounts of perception are unique not merely in that they postulate a unity between perception and imagination. Rather, they are unique in claiming that perception should be conceptualised in terms of imagination and that the two involve an identity of neural implementation. This paper argues against this postulated unity, on both conceptual and empirical grounds. Conceptually, the manner in which PP theorists link perception and imagination belies an impoverished account of imagery as cloistered from the external world (...) in its intentionality, akin to a virtual reality, as well as endogenously generated. Yet this ignores a whole class of imagery whose intentionality is directed on the actual environment—projected mental imagery—and also ignores the fact that imagery may be triggered crossmodally in a bottom-up, stimulus-driven way. Empirically, claiming that imagery and perception share neural circuitry ignores relevant clinical results in this area. These evidence substantial perception/imagery neural dissociations, most notably in the case of aphantasia. Taken together, the arguments here suggest that PP theorists should substantially temper, if not outright abandon, their claim to a perception/imagination unity. (shrink)

Memory perspectives on past events allegedly take one of two shapes. In field memories, we recall episodes from a first-person point of view, while in observer memories, we look at a past scene from a third-person perspective. But this mere visuospatial dichotomy faces several practical and conceptual challenges. First, this binary distinction is not exhaustive. Second, this characterization insufficiently accounts for the phenomenology of observer memories. Third, the focus on the visual aspect of memory perspective neglects emotional, agential, and self-related (...) social aspects. Fourth, the focus on the time of recall neglects the fact that visual, emotional, agential, and social aspects of perspective can also be dissociated in the original experience. In this chapter, we move away from the standard visual dichotomy. Instead, we propose that memory perspective is better understood along four lines: visual, agential, emotional, and social. Drawing on empirical research, we argue that these dimensions predict a disposition to recall a past event based on the present situation of the memorizer. This account supports seeing episodic memory as a natural kind, supported by scenario construction mechanisms and minimal memory traces. By remapping the classic distinction between field and observer perspectives along four dimensions, our proposal provides explanatory advantages and secures practical gains by enabling testable hypotheses. (shrink)

Judgments of visual resemblance (‘A looks like B’), unlike other judgments of resemblance, are often induced directly by visual experience. What is the nature of this experience? We argue that the visual experience that prompts a subject looking at A to judge that A looks like B is a visual experience of B. After elucidating this thesis, we defend it, using the ‘phenomenal contrast’ method. Comparing our account to competing accounts, we show that the phenomenal contrast between a visual experience (...) that induces the judgment that A looks like B, and a visual experience that does not induce this judgment, is best explained by the fact that the former visually represents B, whereas the latter does not. (shrink)

Jerry Fodor deemed informational encapsulation ‘the essence’ of a system’s modularity and argued that human perceptual processing comprises modular systems, thus construed. Nowadays, his conclusion is widely challenged. Often, this is because experimental work is seen to somehow demonstrate the cognitive penetrability of perceptual processing, where this is assumed to conflict with the informational encapsulation of perceptual systems. Here, I deny the conflict, proposing that cognitive penetration need not have any straightforward bearing on the conjecture that perceptual processing is composed (...) of nothing but informationally encapsulated modules, the conjecture that each and every perceptual computation is performed by an informationally encapsulated module, and the consequences perceptual encapsulation was traditionally expected to have for a perception-cognition border, the epistemology of perception and cognitive science. With these points in view, I propose that particularly plausible cases of cognitive penetration would actually seem to evince the encapsulation of perceptual systems rather than refute/problematize this conjecture. (shrink)

It has long been recognized that we have a great deal of freedom to imagine what we choose. This paper explores a thesis—what we call “intentionalism (about the imagination)”—that provides a way of making this evident (if vague) truism precise. According to intentionalism, the contents of your imaginings are simply determined by whatever contents you intend to imagine. Thus, for example, when you visualize a building and intend it to be of King’s College rather than a replica of the college (...) you have imagined the former rather than the latter because you intended to imagine King’s College. This is so even if the visual image you conjure up equally resembles either. This paper proposes two kinds of counterexamples to intentionalism and discusses their significance. In particular, it sketches a positive account of how many sensory imaginings get to be about what they are about, which explains how the causal history of our mental imagery can prevent us from succeeding in imagining what we intended. (shrink)

This chapter argues that epistemic uses of the imagination are a sui generis form of reasoning. The argument proceeds in two steps. First, there are imaginings which instantiate the epistemic structure of reasoning. Second, reasoning with imagination is not reducible to reasoning with doxastic states. Thus, the epistemic role of the imagination is that it is a distinctive way of reasoning out what follows from our prior evidence. This view has a number of important implications for the epistemology of the (...) imagination. For one thing, it clarifies the epistemic role of widely invoked “constraints” on the imagination. For another, it highlights important and underappreciated disanalogies between how perceptual experiences and imaginings justify beliefs. Ultimately, the view that we can reason with imagination offers an illuminating and theoretically fruitful framework through which to understand the epistemic structure of the imagination. (shrink)

Imagination plays a rich epistemic role in our cognitive lives. For example, if I want to learn whether my luggage will fit into the overhead compartment on a plane, I might imagine trying to fit it into the overhead compartment and form a justified belief on the basis of this imagining. But what explains the fact that imagination has the power to justify beliefs, and what is the structure of imaginative justification? In this paper, I answer these questions by arguing (...) that imaginings manifest an epistemic status: they are epistemically evaluable as justified or unjustified. This epistemic status grounds their ability to justify beliefs, and they accrue this status in virtue of being based on evidence. Thus, imaginings are best understood as justified justifiers. I argue for this view by way of showing how it offers a satisfying explanation of certain key features of imaginative justification that would otherwise be puzzling. I also argue that imaginings exhibit a number of markers of the basing relation, which further motivates the view that imaginings can be based on evidence. The arguments in this paper have theoretically fruitful implications not only for the epistemology of imagination, but for accounts of reasoning and epistemic normativity more generally. (shrink)

Historically, mental imagery has been defined as an experiential state - as something necessarily conscious. But most behavioural or neuroimaging experiments on mental imagery - including the most famous ones - don’t actually take the conscious experience of the subject into consideration. Further, recent research highlights that there are very few behavioural or neural differences between conscious and unconscious mental imagery. I argue that treating mental imagery as not necessarily conscious (as potentially unconscious) would bring much needed explanatory unification to (...) mental imagery research. It would also help us to reassess some of the recent aphantasia findings inasmuch as at least some subjects with aphantasia would be best described as having unconscious mental imagery. (shrink)

What is the mental representation that is responsible for implicit bias? What is this representation that mediates between the trigger and the biased behavior? My claim is that this representation is neither a propositional attitude nor a mere association. Rather, it is mental imagery: perceptual processing that is not directly triggered by sensory input. I argue that this view captures the advantages of the two standard accounts without inheriting their disadvantages. Further, this view also explains why manipulating mental imagery is (...) among the most efficient ways of counteracting implicit bias. (shrink)

It has been repeatedly suggested that synesthesia is intricately connected with unusual ways of exercising one’s mental imagery, although it is not always entirely clear what the exact connection is. My aim is to show that all forms of synesthesia are forms of (often very different kinds of) mental imagery and, further, if we consider synesthesia to be a form of mental imagery, we get significant explanatory benefits, especially concerning less central cases of synesthesia where the inducer is not sensory (...) stimulation. (shrink)

ABSTRACT Cognitive penetrability refers to the possibility that perceptual experiences are influenced by our beliefs, expectations, emotions, or other personal-level mental states. In this paper, I focus on the epistemological implication of cognitive penetration, and examine how, exactly, aetiologies matter to the justificatory power of perceptual experiences. I examine a prominent theory, according to which some cognitively penetrated perceptual experiences are like conclusions of bad inferences. Whereas one version of this theory is psychologically implausible, the other version has sceptical consequences. (...) In the second half of the paper, I suggest an alternative theory, drawing on recent empirical research on imagining-perception interaction and the epistemology of imagining. (shrink)

Mental simulation — such as imagining tilting a glass to figure out the angle at which water would spill — can be a way of coming to know the answer to an internally or externally posed query. Is this form of learning a species of inference or a form of observation? We argue that it is neither: learning through simulation is a genuinely distinct form of learning. On our account, simulation can provide knowledge of the answer to a query even (...) when the basis for that answer is opaque to the learner. Moreover, through repeated simulation, the learner can reduce this opacity, supporting self-training and the acquisition of more accurate models of the world. Simulation is thus an essential part of the story of how creatures like us become effective learners and knowers. (shrink)