I scrutinize the relationship between the way emotions give rise to modal judgement and the metaphysical necessity we ascribe to the latter. While moral concepts are often described as response-dependent, I propose to analyse them as response-enabled or grokking. I discuss how grokkingness is embedded in the emotional mechanisms that provoke imaginative resistance; how it shapes our manifest image of the world and the place of morality in it; the latter’s deep contingency as contrasted to its metaphysical necessity; and what (...) is essential to a moral outlook notwithstanding deep contingency. (shrink)

In this volume, Tamar Gendler draws together fourteen essays that together illuminate this topic. Three intertwined themes connect the essays.

Imagination is a central concept in aesthetics with close ties to issues in the philosophy of mind and the philosophy of language, yet it has not received the kind of sustained, critical attention it deserves. Imagination, Philosophy and the Arts represents the work of fifteen young yet distinguished philosophers of art, who critically examine just how and in what form the notion of imagination illuminates fundamental problems in the philosophy of art. All new papers, a strong collection on the imagination (...) in philosophy, particularly in relation to literature and the visual arts. The book falls in three parts: emotional imagination, fiction-making imagination and sensory imagination. The volume opens up several new frontiers that will attract substantial interest in philosophers of art, as well as philosophers working on mental representation, emotion theory, perception and fiction. These papers make a large contribution to developing our understanding of 'imagination' in new directions and setting the research agenda for the next decade. (shrink)

Children, even very young children, distinguish moral from conventional transgressions, inasmuch as they hold that the former, but not the latter, would still be wrong if there was no rule prohibiting them. Many people have taken this finding as evidence that morality is objective, and therefore universal. I argue that reflection on the phenomenon of imaginative resistance will lead us to question these claims. If a concept applies in virtue of the obtaining of a set of more basic facts, then (...) it is authority independent, and we therefore resist the attempts of authorities to claim that it does not apply. Thus, the moral/conventional distinction is a product of imaginative resistance to claims that a concept does not apply when its supervenience base is in place (or vice versa). All we can rightfully conclude from the fact that children are disposed to make the moral/conventional distinction is that our moral concepts belong to the class of authority-independent concepts. Though the set of basic facts in virtue of which an authority-independent concept obtains must be objective, the concept itself might be conventional, inasmuch as we could easily draw its boundaries wider or narrower, or fail to have a concept that corresponds to these properties at all. (shrink)

Issues of pretense and imagination are of central interest to philosophers, psychologists, and researchers in allied fields. In this entry, we provide a roadmap of some of the central themes around which discussion has been focused. We begin with an overview of pretense, imagination, and the relationship between them. We then shift our attention to the four specific topics where the disciplines' research programs have intersected or where additional interactions could prove mutually beneficial: the psychological underpinnings of performing pretense and (...) of recognizing pretense, the cognitive capacities involved in imaginative engagement with fictions, and the real-world impact of make-believe. In the final section, we discuss more briefly a number of other mental activities that arguably involve imagining, including counterfactual reasoning, delusions, and dreaming. (shrink)

Marguerite Clark as Topsy in Uncle Tom’s Cabin (1918). Charlton Heston as Ramon Miguel Vargas in Touch of Evil (1958). Mizuo Peck as Sacagawea in Night at the Museum (2006). From the early days of cinema to its classic-era through to the contemporary Hollywood age, the history of cinema is replete with films in which the racial (or ethnic) background of a principal character does not match the background of the actor or actress portraying that character. I call this actor-character (...) race-mismatching. In this paper, I mainly explore whether a coherent and plausible account can be given of race-matching in terms of purely aesthetic considerations, i.e., an account that absent moral considerations can nevertheless coherently and productively answer the following questions: can race-mismatching itself ever be an aesthetic defect of a film, and if so, under what conditions can race-mismatching be such an aesthetic defect. I claim that once we have in place a precise account of the nature of race-matching, it becomes clear that films for which race-mismatching appears to constitute an aesthetic defect are actually films with which properly engaging requires audiences to satisfy inconsistent epistemic conditions. In such cases, I claim, race mismatching constitutes an aesthetic defect for the film-fiction because—in virtue of the inconsistency underwritten by the race-mismatching—that film-fiction undermines the very uptake it prescribes. I then argue that if what’s defective about race-mismatching aesthetically is predicated on something being defective about race-mismatching epistemically, then if there is nothing in principle defective about race-mismatching epistemically, then so too for mismatching aesthetically (and so too for mismatching morally). From this I conclude that reasons stemming only from race-matching/mismatching itself lack the normative force sufficient to warrant the claim that film-fictions ought not race-mismatch. (shrink)

I examine a range of popular solutions to the puzzle of imaginative resistance. According to each solution in this range, imaginative resistance occurs only when we are asked to imagine something that conflicts with what we believe. I show that imaginative resistance can occur without this sort of conflict, and so that every solution in the range under consideration fails. I end by suggesting a new explanation for imaginative resistance—the Import Solution—which succeeds where the other solutions considered fail.

This article criticises existing solutions to the 'puzzle of imaginative resistance', reconstrues it, and offers a solution of its own. About the Book : Imagination, Philosophy and the Arts is the first comprehensive collection of papers by philosophers examining the nature of imagination and its role in understanding and making art. Imagination is a central concept in aesthetics with close ties to issues in the philosophy of mind and the philosophy of language, yet it has not received the kind of (...) sustained, critical attention it deserves. This collection of seventeen brand new essays critically examines just how and in what form the notion of imagination illuminates fundamental problems in the philosophy of art. (shrink)

We experience resistance when we are engaging with fictional works which present certain (for example, morally objectionable) claims. But in virtue of what properties do sentences trigger this ‘imaginative resistance’? I argue that while most accounts of imaginative resistance have looked for semantic properties in virtue of which sentences trigger it, this is unlikely to give us a coherent account, because imaginative resistance is a pragmatic phenomenon. It works in a way very similar to Paul Grice's widely analysed ‘conversational implicature’.

This volume brings together specially written essays by leading researchers on the propositional imagination. This is the mental capacity we exploit when we imagine that Holmes has a bad habit or that there are zombies. It plays an essential role in philosophical theorizing, engaging with fiction, and indeed in everyday life. The Architecture of the Imagination capitalizes on recent attempts to give a cognitive account of this capacity, extending the theoretical picture and exploring the philosophical implications.

Echoing Beardsley's trinity of unity, complexity, and intensity, Perkins develops three interrelated criteria on which to base an evaluation of film: credibility, coherence, and significance. I assess whether Perkins criteria of credibility serves as a useful standard for film criticism. Most of the effort will be devoted to charitably reconstructing the notion of credibility by bringing together some of Perkins' particular comments. Then I will briefly examine whether Perkins has successfully achieved his goal of developing standards of judgment by holding (...) credibility up to his own criteria of successful meta-criticism: "The clarification of standards should help to develop the disciplines of criticism without seeking to lay obligations on the film-maker" (p. 59). Although I argue that Perkins fails to achieve his goal, his criterion of credibility remains a useful mechanism for evaluating artistic attempts to achieve a particular end, namely spectator immersion. A limited domain of application for his criteria might seem to leave us with little more than an idiosyncratic expression of his classicist artistic taste, but Film as Film also contains valuable insights relevant to the so called "problem of imaginative resistance.". (shrink)

Recently, philosophers have identified certain fictional propositions with which one does not imaginatively engage, even where one is transparently intended by their authors to do so. One approach to explaining this categorizes it as 'resistance', that is, as deliberate failure to imagine that the relevant propositions are true; the phenomenon has become generally known (misleadingly) as 'the puzzle of imaginative resistance'. I argue that this identification is incorrect, and I dismiss several other explanations. I then propose a better one, that (...) in central cases of imaginative failure, the basis for the failure is the contingent incomprehensibility of the relevant propositions. Why the phenomenon is especially commonplace with respect to moral propositions is illuminated along the way. (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)

This paper argues that there is no genuine puzzle of ‘imaginative resistance’. In part 1 of the paper I argue that the imaginability of fictional propositions is relative to a range of different factors including the ‘thickness’ of certain concepts, and certain pre-theoretical and theoretical commitments. I suggest that those holding realist moral commitments may be more susceptible to resistance and inability than those holding non-realist commitments, and that it is such realist commitments that ultimately motivate the problem. However, I (...) argue that the relativity of imaginability is not a particularly puzzling feature of imagination. In part 2, I claim that it is the so-called ‘alethic’ puzzle, concerning fictional truth, which generates a real puzzle about imaginative resistance. However, I argue that the alethic puzzle itself depends on certain realist assumptions about the nature of fictional truth which are implausible and should be rejected in favour of an interpretive view of fictional truth. Once this is done, I contend, it becomes evident that the supposed problem of imaginative resistance as it has hitherto been discussed in the literature is not puzzling at all. (shrink)

Authors have a lot of leeway with regard to what they can make true in their story. In general, if the author says that p is true in the fiction we’re reading, we believe that p is true in that fiction. And if we’re playing along with the fictional game, we imagine that, along with everything else in the story, p is true. But there are exceptions to these general principles. Many authors, most notably Kendall Walton and Tamar Szabó Gendler, (...) have discussed apparent counterexamples when p is “morally deviant”. Many other statements that are conceptually impossible also seem to be counterexamples. In this paper I do four things. I survey the range of counterexamples, or at least putative counterexamples, to the principles. Then I look to explanations of the counterexamples. I argue, following Gendler, that the explanation cannot simply be that morally deviant claims are impossible. I argue that the distinctive attitudes we have towards moral propositions cannot explain the counterexamples, since some of the examples don’t involve moral concepts. And I put forward a proposed explanation that turns on the role of ‘higher-level concepts’, concepts that if they are satisfied are satisfied in virtue of more fundamental facts about the world, in fiction, and in imagination. (shrink)