Online research in philosophy

Discusses the different ways in which the concept of imagination has been construed, and provides fascinating glimpses of the role of imagination in the creation and management of Modernity.

Recent cognitive accounts of the imagination propose that imagining and believing are in the same “code”. According to the single code hypothesis, cognitive mechanisms that can take input from both imagining and from believing will process imagination-based inputs (“pretense representations”) and isomorphic beliefs in much the same way. In this paper, I argue that the single code hypothesis provides a unified and independently motivated explanation for a wide range of puzzles surrounding fiction.

Iteration presents opposing puzzles for a theory of the imagination. The first puzzle, noted by David Lewis, is that when a person pretends to pretend, the iteration is often preserved. Let’s call this the puzzle of ‘pre- served iteration’. At the other pole, Gregory Currie has noted that very often when we pretend to pretend, the iteration does collapse. We might call this the puzzle of ‘collapsed iteration’. Somehow a theory of the imagination must be able to address these two puzzles. I argue that an empirically inspired cognitive theory of the imagination (Nichols & Stich 2000) can accommodate both puzzles.

The everyday capacity to understand the mind, or 'mindreading', plays an enormous role in our ordinary lives. Shaun Nichols and Stephen Stich provide a detailed and integrated account of the intricate web of mental components underlying this fascinating and multifarious skill. The imagination, they argue, is essential to understanding others, and there are special cognitive mechanisms for understanding oneself. The account that emerges has broad implications for longstanding philosophical debates over the status of folk psychology. Mindreading is another trailblazing volume in the prestigious interdisciplinary Oxford Cognitive Science series.

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.