Sensuous imaginative content presents a problem for unitary accounts of phenomenal character (or content) such as relationism, representationalism or qualia theory. Four features of imaginative content are at the heat of the issue: its perspectival nature, the similarity with corresponding perceptual experiences, the multiple use thesis, and its non-presentational character. I reject appeals to the dependency thesis to account for these features and explain how a representationalist approach can be developed to accommodate them. I defend (...) the multiple use thesis against Kathleen Stock’s objections but separate the putative non-presentational character of imaginative content into two elements. Loss of presentation is accounted for by the reduced representations involved in imagination and lack of potential response-dependent representational properties. Absence of commitment to reality is accounted for by representational properties characterised in terms of the absence of a certain kind of aetiology. (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)

Imagination is widely thought to come in two varieties: perception-like and belief-like imagination. What precisely sets them apart, however, is not settled. More needs to be said about the features that make one variety perception-like and the other belief-like. One common, although typically implicit, view is that they mimic their counterparts along the conceptuality dimension: while the content of belief-like imagination is fully conceptual, the content of perception-like imagination is fully non-conceptual. Such a view, however, is not sufficiently (...) motivated in the literature. I will show that there are good reasons to reject it and I will argue that both varieties of imagination involve fully conceptual contents. I will suggest an alternative way to draw the distinction between perception-like and belief-like imagination along the conceptuality dimension, according to which only perception-like imagination requires observational concepts. (shrink)

An observation of Hume’s has received a lot of attention over the last decade and a half: Although we can standardly imagine the most implausible scenarios, we encounter resistance when imagining propositions at odds with established moral (or perhaps more generally evaluative) convictions. The literature is ripe with ‘solutions’ to this so-called ‘Puzzle of Imaginative Resistance’. Few, however, question the plausibility of the empirical assumption at the heart of the puzzle. In this paper, we explore empirically whether the difficulty (...) we witness in imagining certain propositions is indeed due to claim type (evaluative v. non-evaluative) or whether it is much rather driven by mundane features of content. Our findings suggest that claim type plays but a marginal role, and that there might hence not be much of a ‘puzzle’ to be solved. (shrink)

Our imaginings seem to be similar to our perceiving and remembering episodes in that they all represent something. They all seem to have content. But what exactly is the structure and the source of the content of our imaginings? In this paper, I put forward an account of imaginative content. The main tenet of this account is that, when a subject tries to imagine a state of affairs by having some experience, their imagining has a counterfactual (...) content. What the subject imagines is that perceiving the state of affairs would be, for them, like having that experience. I discuss three alternative views of imaginative content, and argue that none of them can account for two types of error in imagination. The proposed view, I suggest, can account for both types of error while, at the same time, preserving some intuitions which seem to motivate the alternative views. (shrink)

This paper motivates, explains, and defends a new account of the content of thought experiments. I begin by briefly surveying and critiquing three influential accounts of thought experiments: James Robert Brown’s Platonist account, John Norton’s deflationist account that treats them as picturesque arguments, and a cluster of views that I group together as mental model accounts. I use this analysis to motivate a set of six desiderata for a new approach. I propose that we treat thought experiments primarily as (...) aesthetic objects, specifically fictions, and then use this analysis to characterize their content and ultimately assess their epistemic success. Taking my starting point from Kendall Walton’s account of representation (Mimesis as make-believe, Harvard University Press, Cambridge, 1990), I argue that the best way to understand the content of thought experiments is to treat them as props for imagining fictional worlds. Ultimately, I maintain that, in terms of their form and content, thought experiments share more with literary fictions and pictorial representations than with either argumentation or observations of the Platonic realm. Moreover, while they inspire imaginings, thought experiments themselves are not mental kinds. My approach redirects attention towards what fixes the content of any given thought experiment and scrutinizes the assumptions, cognitive capacities and conventions that generate them. This view helps to explain what seems plausible about Brown’s, Norton’s, and the mental modelers’ views. (shrink)

‘Radical enactivism’ (Hutto and Myin 2013, 2017) eschews representational content for all ‘basic’ mental activities. Critics have argued that this view cannot make sense of the workings of the imagination. In their recent book (2017), Hutto and Myin respond to these critics, arguing that some imaginings can be understood without attributing them any representational content. Their response relies on the claim that a system can exploit a structural isomorphism between two things without either of those things being a (...) semantically evaluable representation of the other. I argue that even if this claim is granted, there remains a problem for radically enactive accounts of imagining, namely that the active establishing and maintenance of a structural isomorphism seems to require representational content even if the exploitation of such an isomorphism, when established, does not. (shrink)

There are two leading theories about the ontology of dreams. One holds that dreams involve hallucinations and beliefs. The other holds that dreaming involves sensory and propositional imagining. I highlight two features of dreams which are more easily explained by the imagination theory. One is that certain things seem to be true in our dreams, even though they are not represented sensorily; this is easily explained if dreams involve propositional imagining. The other is that dream narratives can be temporally segmented, (...) involving events which take place across long spans of time; this makes sense if dreams involve sensory imagining, for we often sensorily imagine narratives during wakefulness in the same way. The two considerations are unified by the fact that both highlight forms of content determination characteristic of imagining. (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)

Often in our everyday lives, for instance, in decision-taking, empathizing with others, and engaging with fictions, we are able to imagine what a particular emotion feels like. This chapter analyzes the structure of these imaginings as a kind of experiential imagining. After introducing the topic (section 1), I argue that these imaginings cannot be explained exclusively by their content and that a focus on the mode of imagining is required. We not only imagine having emotions, but we also imagine (...) them experientially, and this means that we imagine feeling them (section 2). I proceed to analyze the content of such imaginings in terms of the phenomenal properties of emotions undergone from a particular subjective perspective within the imagined scenario (section 3). Next, I argue that the mode in which such emotions are experientially imagined requires other-oriented perspective-shifting and the recreation of an emotion-like state (section 4). I examine how we recreate emotion-like states in two cases: when the emotion has been previously felt (section 5) and when it has not been previously experienced (section 6). The main findings are summarized in the conclusion (section 7). (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)

I lay out the framework for my theory of sensory imagination in “Imagining as a guide to possibility.” Sensory imagining involves mental imagery , and crucially, in describing the content of imagining, I distinguish between qualitative content and assigned content. Qualitative content derives from the mental image itself; for visual imaginings, it is what is “pictured.” For example, visually imagine the Philadelphia Eagles defeating the Pittsburgh Steelers to win their first Super Bowl. You picture the greenness (...) of the field and the football’s brown oblong shape. Some of what you imagine isn’t explicitly pictured, however. That it is Sunday, that it is the Super Bowl: these facts are assigned. (shrink)

In the first half of this book, I offer a theory of fictional content or, as it is sometimes known, ‘fictional truth’.The theory of fictional content I argue for is ‘extreme intentionalism’. The basic idea – very roughly, in ways which are made precise in the book - is that the fictional content of a particular text is equivalent to exactly what the author of the text intended the reader to imagine. The second half of the book (...) is concerned with showing how extreme intentionalism and the lessons learnt from it can illuminate cognate questions in the philosophy of fiction and imagination. For instance, I argue, my position helps us to explain how fiction can provide us with reliable testimony ; it helps explain the phenomenon of imaginative resistance ; and it fits with, and so supports, a persuasive theory of the nature of fiction itself. In my final chapter, I show how attending to intentionalist practices of interpreting fictional content can illuminate the nature of propositional imagining itself. (shrink)

This paper investigates a capacity I call actuality-oriented imagining, by which we use sensory imagination in a way that's directed at representing the actual world. I argue that this kind of imagining is distinct from other, similar mental states in virtue of its distinctive content determination and success conditions. Actuality-oriented imagining is thus a distinctive cognitive capacity in its own right. Thinking about this capacity reveals that we should resist an intuitive tendency to think of the imagination’s primary function (...) or default mode as representing the non-actual or the fictional. Instead, the imagination is a cognitive faculty that often puts us in touch with the way things are in reality. (shrink)

I provide a novel, non-reductive, action-first skill-based account of active imagining. I call it the Skillful Action Account of Imagining (the skillful action account for short). According to this account, to actively imagine something is to form a representation of that thing, where the agent’s forming that representation and selecting its content together constitute a means to the completion of some imaginative project. Completing imaginative projects stands to the active formation of the relevant representations as an end. (...) The account thus bakes in the means-end order that some in action theory take to be definitional of intentional action. Moreover, in the spirit of this conception of intentional action, I hold that a central feature of the means-end order exhibited in active imagining is the agent’s direct non-observational knowledge both of her act of imagining and of its having this order. The agent knows that she’s actively imagining (that-)p and knows why she actively imagines this–to carry on the pretense, engage in the fiction, predict another’s behavior, reason about possibility or necessity, reason about contingent matters of fact, just imagine for its own sake, and so on. I show that the account accounts for the possibility of misimagining while holding onto the idea that we imagine what we intend to imagine. I likewise show that the account unifies imagining across types of imaginative project like those just listed in a way that tolerates conflict in the roles that imagining plays in the mental economy across those projects. Finally, I show that the account can accommodate passive imagining like involuntary and automatic imagining as well as mind wandering. -/- Acknowledgments: I'd like to thank Amy Kind, Robert Brandom, Colin Allen, Peter Langland-Hassan, Alison Springle, Daniel Munro, Nick Wiltsher, and Andrew Rubner for excellent comments on earlier drafts from which this paper greatly benefited. I'd also like to thank two anonymous reviewers for extremely helpful comments. And I'd like to thank participants of the 2022 Simulationism Conference hosted by the Centre for Philosophy of Memory and the 4th Annual Conference [Online/Virtual] for Imagination Domination (COVID) hosted by Amy Kind for excellent feedback on earlier versions of the paper. (shrink)

The paper examines the relationships between the contents of imaginative episodes and the mental images that often play a central role within them. It considers, for example, whether the presence of mental imagery is required for a mental episode to count as an imagining.

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.

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)

In the topic-sensitive theory of the logic of imagination due to Berto (2018a), the topic of the imaginative output must be contained within the imaginative input. That is, imaginative episodes can never expand what they are about. We argue, with Badura (2021), that this constraint is implausible from a psychological point of view, and it wrongly predicts the falsehood of true reports of imagination. Thus the constraint should be relaxed; but how? A number of direct approaches to (...) relaxing the controversial content-inclusion constraint are explored in this paper. The core idea is to consider adding an expansion operator to the mereology of topics. The logic that results depends on the formal constraints placed on topic expansion, the choice of which are subject to philosophical dispute. The rst semantics we explore is a topological approach using a closure operator, and we show that the resulting logic is the same as Berto's own system. The second approach uses an inclusive and monotone increasing operator, and we give a sound and complete axiomatisation for its logic. The third approach uses an inclusive and additive operator, and we show that the associated logic is strictly weaker than the previous two systems, and additivity is not de nable in the language. The latter result suggests that involved techniques or a more expressive language is required for a complete axiomatization of the system, which is left as an open question. All three systems are simple tweaks on Berto's system in that the language remains propositional, and the underlying theory of topics is unchanged. (shrink)

What kind of mental state is episodic memory? I defend the claim that it is, in key part, imagining the past, where the imagining in question is experiential imagining. To remember a past episode is to experientially imagine how things were, in a way controlled by one’s past experience of that episode. Call this the Inclusion View. I motive this view by appeal both to patterns of compatibilities and incompatibilities between various states, and to phenomenology. The bulk of the paper (...) defends the account against four objections. Imagining and remembering seem to differ in whether they are active or passive, in the forms of singular content they involve, in their relations to observation and in their relations to belief. I argue that these differences can be accommodated, and some even explained, once we flesh out what else is involved in episodic memory, in addition to imagining the past. (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)

Open Access: Appreciating the relationship of the living to our dead is an aspect of human life that seems to be neglected in philosophy. I argue that living individuals can have ongoing, non-imaginary, valuable relationships with deceased loved ones. This is important to establish because arguments for such relationships better generate claims in applied ethics about our conduct with respect to our dead. In the first half of the paper I advance the narrower claim that psychological literature affirmative of “imaginal (...) relationships” with the dead is relevant to philosophical literature on metaphysical arguments for the dead as relata. The relevance of those psychological insights to philosophers’ metaphysical insights matters for understanding the value of relationships with deceased loved ones. In the second half of the paper I advance the wider claim that the importance of one’s most dearly held relationships with living individuals is best explained in terms of imaginal content, as well; in other words, some interpersonal relationships between the living are personally important because of their imaginal content. Once we appreciate this, it is clearer why recognizably real, imaginally informed relationships with the living are not necessarily cut off on the day someone dies, and permit the possibilities for ethical activities including forgiving the dead, honoring the dead, and carrying out their wishes after they are gone. (shrink)

The purpose of this paper was to test whether imaginative resistance – a term used in the philosophical literature to describe the reluctance to imagine counter-moral worlds – is experienced by peo...

This study explores how Asian American experiences are depicted in four high school U.S. history textbooks and four middle school U.S. history textbooks used in Virginia. The analytic framework was developed from the scholarship of collective memories and histories of immigration in Asian American studies. Content analysis of the textbooks suggests the overall narrative of Asian American history in U.S. history textbooks aligns with the grand narrative of American history, that is, the “story of progress.” This major storyline of (...) Asian Americans – that they suffered from nativist racism and discrimination for a long time, overcame these obstacles through their hard work and efforts, and achieved the American dream – fits well into the master narrative of American progress, highlighting the process of their belonging to the U.S. as citizens. This storyline misrepresents the realities and diversity among Asian ethnic groups and their migration histories as well as the fluid nature of their identities across national borders. These findings stress the continued challenges in representing Asian American experiences as well as other marginalized groups in U.S. history textbooks. (shrink)

Works of fiction are alleged to differ from works of nonfiction in instructing their audience to imagine their content. Indeed, works of fiction have been defined in terms of this feature: they are works that mandate us to imagine their content. This paper examines this definition of works of fiction, focusing on the nature of the activity that ensues in response to reading or watching fiction. Investigating how imaginings function in other contexts, I show, first, that they presuppose (...) a cognitive infrastructure encompassing at least one additional kind of mental state, whose role is to determine, to some degree, truth in an imaginary world. I then discuss the implications for the definition of fiction, showing that the definition should be refined to accommodate the structure that imagining presupposes: a work counts as fiction just in case it mandates us, not only to imagine, but to engage in a more complex mental activity, an activity that in addition to imagining, involves positing a backdrop for our imaginings. (shrink)

It is widely believed, among philosophers of literature, that imagining contradictions is as easy as telling or reading a story with contradictory content. Italo Calvino’s The Nonexistent Knight, for instance, concerns a knight who performs many brave deeds, but who does not exist. Anything at all, they argue, can be true in a story, including contradictions and other impossibilia. While most will readily concede that we cannot objectually imagine contradictions, they nevertheless insist that we can propositionally imagine them, and (...) regularly do, simply by entertaining a text which prompts us to do so. I argue that this narrative does not bear scrutiny for two main reasons. First, because propositional imagining is beside the point, where truth in fiction is concerned; evaluating truth in fiction engages the cognitive architecture in ways that prohibit the mobilization of merely propositional imagination to that end. And second, because it is not obvious, given the strategies usually suggested, that we ever propositionally imagine contradictions in the first place—in fact, it seems we go out of our way to avoid directly imagining them. (shrink)

We know, since Descartes (1641), that exercises of sensory imagining (S-imagining) are not purely imagistic: they possess multiple aspects. This much is agreed upon among philosophers but, when the question of the intentionality of S-imaginings arises, agreement seems to unravel. -/- According to the Two Content View (TCV), S-imagining “has two kinds of content, qualitative content and assigned content” (Kung, 2010:632) – e.g., my image of an apple is about both (i) shapes and colors and (ii) (...) about the fact that it is an apple, rather than a perfect imitation thereof. Advocates of TCV claim that the imagistic content does represent something, but it is not enough to individuate the imagining of an A rather than a B (Kung, 2010; Langland-Hassan, 2015; Martin, 2002; Noordhof, 2002; Peacocke, 1985; Tooming, 2018; White, 1990). -/- Some, however, have expressed skepticism about TCV. As Sartre claims, “despite some prejudices […] when I produce in myself the image of Pierre, it is Pierre who is the object of my current consciousness.” (1940/2010:4) The intentional object of our S-imaginings is exhausted by a single content treated in a specific way (Currie & Ravenscroft, 2002; Goldman, 2006; Hutto, 2015; Mulligan, 1999; Soteriou, 2013; Stock, n.d.; Wiltsher, 2016,2019). -/- In the following, (1) I sketch one of the most efficient pleas for the TCV by Peter Langland-Hassan, (2) I give two reasons to doubt the decisiveness of his arguments, and (3) suggest that S-imagining can be captured by the attitude/content distinction. (shrink)

A number of philosophers have argued in favour of the Dependency Thesis: if a subject sensorily imagines an F then he or she sensorily imagines from the inside perceptually experiencing an F in the imaginary world. They claim that it explains certain important features of imaginative experience, in brief: the fact that it is perspectival, the fact that it does not involve presentation of sensory qualities and the fact that mental images can serve a number of different imaginings. I (...) argue that the Dependency Thesis is false and that, in any event, it does not have the explanatory credentials claimed for it. Some of the features of imaginative experience are incorrectly specified, namely the absence of presentation of sensory qualities. With a more precise idea of what we need to explain, I argue that the explanation should proceed by noting that imagination and perception have phenomenally similar contents and that this is to be explained in terms of the similar kinds of representations in play. I trace the consequences of my discussion for disjunctivist theories of perception, Berkeleian Idealism and the characterisation of knowing what an experience is like. (shrink)

According to the guise of the good, a desire for P represents P as good in some respect. ‘Perceptualism’ further claims that desires involve an awareness of value analogous to perception. Perceptualism explains why desires justify actions and how desires can end the regress of practical justification. However, perception paradigmatically represents the actual environment, while desires paradigmatically represent prospective states. An experience E is an awareness of O when the nature of E depends on the nature of O. How could (...) desires depend on the merely possible? Extant perceptualist accounts have not adequately addressed this question. I propose a novel account of how desires can be an awareness of value. An awareness of value involves the successful exercise of a capacity to discriminate value out of non-evaluative representations. The resulting content and phenomenology of such a desire depends in the right way on the value properties of the desired state. An agent requires the right view of the non-evaluative features of a state to discriminate its evaluative features. I argue that imaginings are uniquely able to provide such a view, and so enable value discriminations. My account retains the epistemological attractions of perceptualism despite the disanalogy between desire and perception. (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)

This paper develops a mechanistic account of basic mental agency by identifying similarities between two of its major exemplars: endogenous attention and imagination. Five key similarities are identified: i) that both capacities are driven by currently prioritised goals that are either person-level or apt to become person-level. ii) that both deliver their outputs to the working memory iii) that both range across all and only conceptual contents; iv) that both proceed under the guidance of norms and/or habits; and v) that (...) both directly activate rather than inhibit content. These five features are consolidated by proposing that basic mental agency is essentially the power to call for conceptual content and hold it within our working memories. (shrink)

Contents: 1) Peter Kung, Why We Need Something Like Imagery; 2) Derek Lam, An Imaginative Person’s Guide to Objective Modality; 3) Rebecca Hanrahan, Crossing Rivers: Imagination and Real Possibilities; 4) Michael Omoge, Imagination, Metaphysical Modality, and Modal Psychology; 5) Joshua Myers, Reasoning with Imagination; 6) Franz Berto, Equivalence in Imagination; 7) Christopher Badura, How Imagination Can Justify; 8) Antonella Mallozzi, Imagination, Inference, and Apriority; 9) Margherita Arcangeli, Narratives and Thought Experiments: Restoring the Role of Imagination; 10) Margot Strohminger, Two (...) Ways of Imagining Galileo’s Experiment; 11) Eric Peterson, Attention to Details: Imagination, Attention, and Epistemic Significance; 12) Amy Kind, Bridging the Divide: Imagining Across Experiential Perspectives; 13) Julia Langkau, On Imagining Being Someone Else; 14) Luke Roelofs, “Imagine If They Did That to You!”: The Complexity of Empathy; 15) Nick Wiltsher and Bence Nanay, Imagination, Selves, and Knowledge of Self: Pessoa’s Dreams in The Book of Disquiet . (shrink)

ABSTRACT How can imagination generate knowledge when its contents are voluntarily determined? Several philosophers have recently answered this question by pointing to the constraints that underpin imagination when it plays knowledge-generating roles. Nevertheless, little has been said about the nature of these constraints. In this paper, I argue that the constraints that underpin sensory imagination come from the structure of causal probabilistic generative models, a construct that has been highly influential in recent cognitive science and machine learning. I highlight several (...) attractions of this account, and I favourably contrast it with Peter Langland-Hassan’s account of sensory imagination in terms of the forward models exploited in sensorimotor control. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Just ImagineAlisse Waterston (bio)The united states is a flower of harm.—Tongo Eisen-Martin, “Taking a Common Name (after Claudia Rankine’s Just Us)”I never have to go far for evidence of the truth of this line from Tongo Eisen-Martin’s response to Claudia Rankine’s Just Us.On a Friday, Kyoo Lee, coeditor of philoSOPHIA, invited me to offer my own response to Eisen-Martin’s and Fanny Howe’s essays in what she said would (...) be “like a game of exquisite corpse,” a productive way, I think, to build up rather than tear down, the latter of which is too often the case in academia. I had to think about it, to think about Just Us, Claudia Rankine’s powerful, generous, sharp, and profound book. In it, she makes an urgent request for “an American conversation” on whiteness. Rankine teaches us: “Universalized whiteness, that racial imaginary, lives in every moment” (2020, 329).I pace around the house, make some tea, and pick up the New York Times, scanning the headlines. There it is, front-page news this very day: “Sights Set on School Districts as G.O.P. Targets Race Theory” (Saul 2021, A1). Scarlett Johnson, profiled in the article, is a dirty-blond “just a mom” from Mequon-Thiensville, a school district in Wisconsin. Johnson has made it her mission to refuse the conversation; she is buttressed by a set of powerful and wealthy behind-the-scenes interest groups. Rankine writes, “I have only lived as me, a person who regularly has to negotiate dismissal, erasure, disrespect, and abuse” (2020, 23).The news article goes on: “Republicans say critical race theory has invaded classrooms.” Then, Wisconsin senator Ron Johnson implores, “take back our school boards, our county boards, our city councils” (Saul 2021, A12; emphases [End Page 141] mine). Rankine observes, “Among white people, black people... are not allowed to implicate the present company in [their] precariousness. They are not allowed to point out its causes” (2020, 155). She explains “the narrative of white privilege that secures white spaces,” then quotes legal scholar Cheryl Harris on “the set of assumptions, privileges, and benefits that accompany the status of being white... a valuable asset that whites sought [and seek] to protect” (Rankine 2020, 25). Only connect.§§§The spiraling back, the turn of the screw to take it out, to look at what happened, to break apart the cover, to disclose in reverse, recalibrate and recapitulate, to find points of composure and recognition—to view the news as what happened already but left the stain of reportage and evidence of fraud and failure.... The time we live in and the way we make use of our “screws” to construct a new stage to play on.—Fanny Howe, “After Reading Just Us”Here, Fanny Howe offers a beautiful metaphor for Rankine’s gift to the world, if it will take it. Many people, not enough, have joined in turning the screw. Those who have are engaging the process of thinking, without which the catastrophe of universalized whiteness and its human toll will endure. Howe writes of a new stage to play on, which I interpret as an exciting challenge to re-create. Claudia Rankine writes: “what if ” (2020, 3).What if we imagine. The Oxford English Dictionary defines imagine as the process of forming an image of something in the mind, something akin to dreaming, visualizing, thinking, supposing. To imagine is to form a mental image of something, perhaps a goal, an end to which one yearns to arrive, an achievement not yet actualized. On the last pages of Upside Down: A Primer for the Looking-Glass World, the Uruguayan writer Eduardo Galeano dares readers to exercise the right to dream. “Suppose we rave a bit?” he asks, and he offers a long list of possibilities for an alternative world (Galeano 2000, 333–36; see figure 1).In a classroom exercise designed by my former student James Williams, I ask my undergraduates at a public university in New York City to rave a bit, writing out on a slip of paper one thing they would change to make for an alternative world. The world they... (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)

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

A Brief History of Moscovia is regarded as a minor, slightly odd composition within the Milton canon. Mostly completed before his total blindness in 1652, it stands in an awkward relationship to his other works, being largely composed of extracts from previous writers. This essay considers Milton's selection of factual content as well as his subtle deviations, at times, from his sources? wording. Milton takes us on a journey beginning with exterior landscapes and moves to graphic anthropological details, in (...) the final chapters shifting from geography to history. All these elements gradually accrue moral emphases, producing not a neutral account but an ethical critique in terms familiar from other Miltonic works, with some patriotic bias. Using R. D. Bedford's superb essay as the starting point, it explores Milton's language at the juncture of statement and evocation. Approaching nearer to the Far Eastern frontier with Cathay, one enters a mysterious realm. Here, the exotic and oriental fire Milton's descriptive imagination. In this combination of knowledge-based detail, moral energy and imaginative and poetic suggestion, Moscovia is in some ways a typically Miltonic work. (shrink)

It seems undeniable that we have many items of modal knowledge. Tradition has it that conceivability is the evidence for possibility that gets us to this modal knowledge. But "conceive" cannot mean think, understand, entertain, suppose, or find believable, because none of these are suited to serve as evidence for possibility, and if it is none of these, it is mysterious what conceivability is, and why it is evidence for possibility. I argue that sensory imagination is the most promising candidate (...) for a source of modal evidence. A theory of imaginative content is developed in Chapter One, one which allows what seems undeniable: that we do imagine the impossible. This raises a challenge to explain why, in the face of our ability to imagine the impossible, we should accept imagination as modal evidence. The predominant response, developed by Saul Kripke, limits the scope of imagination to preserve the link between imagination and what is possible. In Chapter Two I argue that the Kripkean theory is best thought of as an error theory: when we take ourselves to imagine, e.g., water without H2O, or Mark Twain and Sam Clemens in a fistfight, we are mistaken. I articulate and defend an alternative modal epistemology, one that exploits the crucial difference between assigned and basic content of imagining. The evidential value of some imaginings is undermined by independent considerations about the connection between assigned content and ignorance. Instances in which we imagine the impossible are all cases where these independent considerations give us reason to doubt the imagining's value as modal evidence. The conclusions about assigned content are applied in Chapter Three to the first-person imaginings thought to be crucial in philosophy of mind: the imaginability of zombies, and the imaginability of being a disembodied soul. It is argued that such imaginings offer no evidence favoring dualism over materialism. Finally, alternatives to imagination as the source for modal evidence are discussed in Chapter Four. I explore both direct intuition and a priori-based accounts, and conclude that neither offers a genuine alternative to the imagination. (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)

A fiction may prescribe imagining that a pig can talk or tell the future. A fiction may prescribe imagining that torturing innocent persons is a good thing. We generally comply with imaginative prescriptions like the former, but not always with prescriptions like the latter: we imagine non-evaluative fictions without difficulty but sometimes resist imagining value-rich fictions. Thus arises the puzzle of imaginative resistance. Most analyses of the phenomenon focus on the content of the relevant imaginings. The present (...) analysis focuses instead on the character of certain kinds of imaginings, arguing that we resist in such cases given the rich evaluative character of the imaginings prescribed, and the agent-dependent constraints on imagining in such ways. (shrink)

Look at a red apple. Now close your eyes and visualize this apple. Your perceptual state and your imagery of the apple are very similar in some respects. They are also different in some respects. The aim of this paper is to address three questions about the relation between perception and imagination: -/- (a) How similar are perception and imagination and what explains this similarity? (b) How different are perception and imagination and what explains this difference? (c) How do perception (...) and imagination interact? (shrink)

What is objectionable about “blacking up” or other comparable acts of imagining involving unethical attitudes? Can such imaginings be wrong, even if there are no harmful consequences and imaginers are not meant to apply these attitudes beyond the fiction? In this article, we argue that blackface—and imagining in general—can be ethically flawed in virtue of being oppressive, in virtue of either its content or what imaginers do with it, where both depend on how the imagined attitudes interact with the (...) imagining’s context. We explain and demonstrate this using speech act theory alongside a detailed case study of blackface. (shrink)

_In real life, emotions can distort practical reasoning, typically in ways that it is_ _difficult to realise at the time, or to envisage and plan for in advance. This fea-_ _ture of real life emotional experience raises difficulties for imagining such expe-_ _riences through centrally imagining, or imagining ‘from the inside’. I argue_ _instead for the important psychological role played by another kind of imagin-_ _ing: imagining from an external perspective. This external perspective can draw_ _on the dramatic irony involved (...) in imagining these typical cases, where one_ _knows outside the scope of the imagining what one does not know as part of the_ _content of what one imagines: namely, that the imagined emotion is distorting_ _one’s reasoning. Moreover, imagining from an external perspective allows one_ _to evaluate the imagined events in a way that imagining from the inside does not._. (shrink)

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

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 essay surveys some of the literature on "imagining oneself to be another," and offers a theory of the content of such imaginings.

In this article, I defend the view that we can acquire factual knowledge – that is, contingent propositional knowledge about certain (perceivable) aspects of reality – on the basis of imaginative experience. More specifically, I argue that, under suitable circumstances, imaginative experiences can rationally determine the propositional content of knowledge-constituting beliefs – though not their attitude of belief – in roughly the same way as perceptual experiences do in the case of perceptual knowledge. I also highlight some (...) philosophical consequences of this conclusion, especially for the issue of whether imagination can help us to learn something from fictions. (shrink)

[Pre-peer review draft available to download.] Our imaginative capacities shape the making of images, while the making of images has the ability to shape our imaginative capacities. What are the connections between vision and mental visual images that allow for this traffic between the contents of our minds and external images? And how are image-makers able to exploit the distinctive powers of imagery, to extend the modes of representation that are available to us, and hence also to extend (...) the resources upon which our imaginations can draw? The chapter explores various aspects of those issues. It starts by exploring “visual imagery” as a general category; and it identifies one very striking range of cases that encompasses both suitable mental and nonmental visual images. It develops a philosophical account of what is distinctive about the range of visual images thus identified. Subsequent sections then use the resulting ideas to investigate some of the ways in which various strategies for creating visual images exploit in remarkably inventive ways possibilities that are latent within the general phenomenon of imagistic representation. (shrink)

Subjects with delusions profess to believe some extremely peculiar things. Patients with Capgras delusion sincerely assert that, for example, their spouses have been replaced by impostors. Patients with Cotard’s delusion sincerely assert that they are dead. Many philosophers and psychologists are hesitant to say that delusional subjects genuinely believe the contents of their delusions.2 One way to reinterpret delusional subjects is to say that we’ve misidentified the content of the problematic belief. So for example, rather than believing that his (...) wife is has been replaced by an impostor, we might say that the victim of Capgras delusion believes that it is, in some respects, as if his wife has been replaced by an impostor. Another is to say that we’ve misidentified the attitude that the delusional subject bears to the content of their delusion. So for example, Gregory Currie and co-authors have suggested that rather than believing that his wife has been replaced by an impostor, we should say that the victim of Capgras delusion merely imagines that his wife has been replaced by an impostor.3. (shrink)