Fragmented thinking, broken world -- Toward recovery of wholeness: the radical humanities and traditional wisdom -- Toward recovery of wholeness: another look at science -- Insight-imagination -- Living thinking, living world: toward an education of insight-imagination.

​Imagination will remain a mystery—we will not be able to explain imagination—until we can break it into parts we already understand. Explaining Imagination is a guidebook for doing just that, where the parts are other ordinary mental states like beliefs, desires, judgments, and decisions. In different combinations and contexts, these states constitute cases of imagining. This reductive approach to imagination is at direct odds with the current orthodoxy, according to which imagination is a sui generis mental state or process—one with (...) its own inscrutable principles of operation. Explaining Imagination upends that view, showing how, on closer inspection, the imaginings at work in hypothetical reasoning, pretense, the enjoyment of fiction, and creativity are reducible to other familiar mental states—judgments, beliefs, desires, and decisions among them. Crisscrossing contemporary philosophy of mind, cognitive science, and aesthetics, Explaining Imagination argues that a clearer understanding of imagination is already well within reach. (shrink)

To imagine is to form a mental representation that does not aim at things as they actually, presently, and subjectively are. One can use imagination to represent possibilities other than the actual, to represent times other than the present, and to represent perspectives other than one’s own. Unlike perceiving and believing, imagining something does not require one to consider that something to be the case. Unlike desiring or anticipating, imagining something does not require one to wish or expect that something (...) to be the case. // -/- Imagination is involved in a wide variety of human activities, and has been explored from a wide range of philosophical perspectives. Philosophers of mind have examined imagination’s role in mindreading and in pretense. Philosophical aestheticians have examined imagination’s role in creating and in engaging with different types of artworks. Epistemologists have examined imagination’s role in theoretical thought experiments and in practical decision-making. Philosophers of language have examined imagination’s role in irony and metaphor. // -/- Because of the breadth of the topic, this entry focuses exclusively on contemporary discussions of imagination in the Anglo-American philosophical tradition. (shrink)

We study imagination as reality-oriented mental simulation : the activity of simulating nonactual scenarios in one’s mind, to investigate what would happen if they were realized. Three connected questions concerning ROMS are: What is the logic, if there is one, of such an activity? How can we gain new knowledge via it? What is voluntary in it and what is not? We address them by building a list of core features of imagination as ROMS, drawing on research in cognitive psychology (...) and the philosophy of mind. We then provide a logic of imagination as ROMS which models such features, combining techniques from epistemic logic, action logic, and subject matter semantics. Our logic comprises a modal propositional language with non-monotonic imagination operators, a formal semantics, and an axiomatization. (shrink)

A mythopoetic paradigm or perspective sees the world primarily as a dramatic story of competing personal intentions, rather than a system of objective impersonal laws. Asma argued that our contemporary imaginative cognition is evolutionarily conserved-it has structural and functional similarities to premodern Homo sapiens’s cognition. This article will outline the essential features of mythopoetic cognition or adaptive imagination, delineate the adaptive sociocultural advantages of mythopoetic cognition, explain the phylogenetic and ontogenetic mechanisms that give rise to human mythopoetic mind, show how (...) mythopoetic cognition challeng­es contemporary trends in cognitive science and philosophy, and recognize and outline empirical approaches for a new cognitive science of the imagination. (shrink)

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

Imagination plays an important role in depiction. In this chapter, I focus on photography and I discuss the role imagination plays in photographic depiction. I suggest to follow a broadly Waltonian view, but I also depart from it in several places. I start by discussing a general feature of the relation of depiction, namely the fact that it is a ternary relation which always involves "something external." I then turn my attention to Walton's view, where this third relatum of the (...) relation of depiction is largely analyzed in terms of the role imagination plays in depiction. I consider the objection to his view that not all cases of depiction involve imagination – for instance, documentary photographs – as well as Walton's own strategy to face this objection, and I argue that it is partly adequate and partly wrong. As we will see, first, it is an unnecessary mistake to insist too heavily on the fact that photographs are produced in a mechanic way (as opposed to, say, paintings), and second, the notion of "imagining-seeing," as it is articulated by Walton, is perhaps too strong and does not entirely do justice to the external character of the role imagination plays here. I illustrate the view I want to advocate for by a series of different cases, where the nature of the role that imagination, knowledge/belief, and inference play in depiction will become apparent. (shrink)

We often talk of people as being more or less imaginative than one another – as being better or worse at imagining – and we also compare various feats of imagination to one another in terms of how easy or hard they are. Facts such as these might be taken to suggest that imagination is often implicitly understood as a skill. This implicit understanding, however, has rarely (if ever) been made explicit in the philosophical literature. Such is the task of (...) this chapter. I first attempt to flesh out several conditions for an activity to count as a skill. I then attempt to show how imagination can meet such conditions. The chapter concludes with an attempt to answer various worries that might be raised to the claim that imagination should be thought of as a skill. (shrink)

What role does the imagination play in scientific progress? After examining several studies in cognitive science, I argue that one thing the imagination does is help to increase scientific understanding, which is itself indispensable for scientific progress. Then, I sketch a transcendental justification of the role of imagination in this process.

Using path-breaking discoveries of cognitive science, Mark Johnson argues that humans are fundamentally imaginative moral animals, challenging the view that morality is simply a system of universal laws dictated by reason. According to the Western moral tradition, we make ethical decisions by applying universal laws to concrete situations. But Johnson shows how research in cognitive science undermines this view and reveals that imagination has an essential role in ethical deliberation. Expanding his innovative studies of human reason in Metaphors We Live (...) By and The Body in the Mind, Johnson provides the tools for more practical, realistic, and constructive moral reflection. (shrink)

Chris Frith has argued that a loss of the sense of agency is central to schizophrenia. This suggests a connection between hallucinations and delusions on the one hand, and the misidentification of the subject’s imaginings as perceptions and beliefs on the other. In particular, understanding the mechanisms that underlie imagination may help us to explain the puzzling phenomena of thought insertion and withdrawal. Frith sometimes states his argument in terms of a loss of metarepresentational capacity in schizophrenia. I argue that (...) this formulation is unhelpful. (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)

We attribute the capability of imagination to the madman as to the scientist, to the novelist as to the metaphysician, and last but not least to ourselves. The same, apparently, holds for thought experimentation. Ernst Mach was the first to draw an explicit link between these two mental acts; moreover -in his perspective- imagination plays a pivotal role in thought experimentation. Nonetheless, it is not clear what kind of imagination emerges from Mach’s writings. Indeed, heated debates among cognitive scientists and (...) philosophers turn on the key distinction between sensory and cognitive imagination. Generally speaking, we can say that sensory imagination shares some processes with perception, cognitive imagination with the formation of belief. Both the vocabulary used in the literature on thought experiments and what I refer to as “Machian tradition” indicate imagination as a notion of central importance in the reasoning involved in thought experiments. However, most authors have really focused on sensory (in particular, visual) imagination, but have neglected the second kind. Moreover, some authors attribute to Mach the idea that it is visual imagery that is primarily at work in thought experiments. I claim another interpretation is possible, according to which Mach can be said to deal with cognitive imagination. The main aim of this paper is to retrace Mach’s original arguments and establish a connection with the cognitive literature on imagination. I will argue that imagination tout court could play a role in thought experimentation. Once imagination is seen as the key to the “cognitive black-box” of the thought experiment, we will have moved a step closer to a simulative imagining-based account of thought experimentation. (shrink)

Traditionally, philosophers have appealed to the phenomenological similarity between visual experience and visual imagery to support the hypothesis that there is significant overlap between the perceptual and imaginative domains. The current evidence, however, is inconclusive: while evidence from transcranial brain stimulation seems to support this conclusion, neurophysiological evidence from brain lesion studies (e.g., from patients with brain lesions resulting in a loss of mental imagery but not a corresponding loss of perception and vice versa) indicates that there are functional and (...) anatomical dissociations between mental imagery and perception. Assuming that the mental imagery and perception do not overlap, at least, to the extent traditionally assumed, then the question arises as to what exactly mental imagery is and whether it parallels perception by proceeding via several functionally distinct mechanisms. In this review, we argue that even though there may not be a shared mechanism underlying vision for perception and conscious imagery, there is an overlap between the mechanisms underlying vision for action and unconscious visual imagery. On the basis of these findings, we propose a modification of Kosslyn’s model of imagery that accommodates unconscious imagination and explore possible explanations of the quasi-pictorial phenomenology of conscious visual imagery in light of the fact that its underlying neural substrates and mechanisms typically are distinct from those of visual experience. (shrink)

What does it mean to say that imagination plays a role in moral reasoning, and what are the theoretical and practical implications? Engaging with three traditions in moral theory and confronting them with three contexts of moral practice, this book offers a more comprehensive framework to think about these questions. The author develops an argument about the relation between imagination and principles that moves beyond competition metaphors and center-periphery schemas. He shows that both cooperate and are equally necessary to cope (...) with moral problems, and combines insights of different theories and disciplines to explore how this works in practice. (shrink)

Imagination comes with varying degrees of sensory accompaniment. Sometimes imagining is phenomenologically lean (cognitive imagining); at other times, imagining involves or requires sensory presentation such as mental imagery (sensory imagining). Philosophers debate whether contradictions can obtain in fiction and whether cognitive imagining is robust enough to explain our engagement with fiction. In this paper, I defend the Principle of Poetic License by arguing for the Permissive View of fictional truth: we can have fictions in which a contradiction is true, everything (...) is true, or nothing is true. I show that imagination-based worries about impossible, unlimited, and empty fictions can be shown to be about sensory imagination and that sensory imagination isn’t necessary for fictional truth. (shrink)

Imagination seems to play an epistemic role in philosophical and scientific thought experiments, mindreading, and ordinary practical deliberations insofar as it generates new knowledge of contingent facts about the world. However, it also seems that imagination is limited to creative generation of ideas. Sometimes we imagine fanciful ideas that depart freely from reality. The conjunction of these claims is what I call the puzzle of knowledge through imagination. This chapter aims to resolve this puzzle. I argue that imagination has an (...) epistemic role to play, but it is limited to the context of discovery. Imagination generates ideas, but other cognitive capacities must be employed to evaluate these ideas in order for them to count as knowledge. Consideration of the Simulation Theory's so-called "threat of collapse” provides further evidence that imagination does not, on its own, yield new knowledge of contingent facts, and it suggests a way to supplement imagination in order to get such knowledge. (shrink)

Imaginative immersion refers to a phenomenon in which one loses oneself in make-believe. Susanna Schellenberg says that the best explanation of imaginative immersion involves a radical revision to cognitive architecture. Instead of there being an attitude of belief and a distinct attitude of imagination, there should only be one attitude that represents a continuum between belief and imagination. -/- We argue otherwise. Although imaginative immersion is a crucial data point for theorizing about the imagination, positing a continuum between belief and (...) imagination is neither necessary nor sufficient for explaining the phenomenon. In addition, arguing against Schellenberg’s account reveals important but underappreciated lessons for theorizing about the imagination and for interpreting boxological representations of the mind. (shrink)

Actor Paul Giamatti and philosopher Stephen Asma collaborate to describe the imagination (phantasia) as a form of embodied cognition. They explore the actor's ability to replicate embodied affective states and communicate those to audiences that are capable of catching (via emotional contagion) those affective states. The role of social affordances in imaginative work is explored. Finally, the role of imagination in political conspiracy thinking is considered.

What kinds of psychological states motivate us? Beliefs and desires are the obvious candidates. But some aspects of our behaviour suggest another idea. I have in mind the view that imagination can sometimes constitute motivation.

David Lewis has argued that “having an experience is the best way or perhaps the only way, of coming to know what that experience is like”; when an experience is of a sufficiently new sort, mere science lessons are not enough. Developing this Lewisian line, L.A. Paul has suggested that some experiences are epistemically transformative. Until an individual has such an experience it remains epistemically inaccessible to her. No amount of stories and theories and testimony from others can teach her (...) what it is like to have it, nor is she able to achieve this knowledge by way of imaginative projection. It’s this last claim that is the focus of this paper. In particular, I explore the case for the claim that some experiences are in principle imaginatively inaccessible to someone who has not undergone the experience itself or one relevantly similar. As I will suggest, this case is not as strong as is often thought. Close attention to the mechanisms of imagination, and in particular, to cases of skilled imaginers, suggests how techniques of imaginative scaffolding can sometimes be used to give us epistemic access to experiences we have not had, even ones that are radically different from any that we have had before. As a result, considerably fewer experiences remain imaginatively out of reach than proponents of transformative experience would have us believe. Experience may well be the best teacher, but this paper aims to show that imagination comes in a close second. (shrink)

The literature suggests that in sensory imagination we focus on the imagined objects, not on the imaginative states themselves, and that therefore imagination is not introspective. It is claimed that the introspection of imaginative states is an additional cognitive ability. However, there seem to be counterexamples to this claim. In many cases in which we sensorily imagine a certain object in front of us, we are aware that this object is not really where we imagine it to be. So it (...) looks as if in these cases of imagination, we are aware of the mere appearance of the imagined object, and hence introspection is a constitutive part of imagination. In this article, I address this contradictory state of affairs and argue that we should classify at least some forms of sensory imagination as introspective. For this purpose I use the appearance-reality distinction as a central notion for introspection. I also defend the thesis of introspective imagination against the objection that young children imagine without yet understanding the concept of experience. (shrink)

Imaginative representations are crucial to the generation of action--both pretense and plain action. But well-known theories of imagination on offer in the literature [1] fail to describe how perceptually-formatted imaginings (mental images) and motor imaginings function in the generation of action and [2] fail to recognize the important fact that spatially rich imagining can be integrated into one's perceptual manifold. In this paper, I present a theory of imagining that shows how spatially rich imagining functions in the generation of action. (...) I also describe the imaginative structures behind two under-explored forms of action: semi-pretense and pretense layering. In addition, I suggest that my theory of imagining meshes better than the competitors with current work in cognitive and affective neuroscience. (shrink)

Though philosophers such as Wittgenstein and Sartre have dismissed imagination as epistemically irrelevant, this chapter argues that there are numerous cases in which imagining can help to justify our contingent beliefs about the world. The argument proceeds by the consideration of case studies involving two particularly gifted imaginers, Nikola Tesla and Temple Grandin. Importantly, the lessons that we learn from these case studies are applicable to cases involving less gifted imaginers as well. Though not all imaginings will have justificatory power, (...) the chapter shows how the sorts of cases in which imagining plays an epistemic role can be easily distinguished from the sorts of cases in which it does not. (shrink)

Imagination, like other higher cognition, is often thought to arise after the evolution of language. Stephen Asma argues instead that imagination is much older and forms a kind of early cognition --harvesting sensory, motor and affective impressions, and generating novel generate-and-test information.

Starting from a genesis of the concept of narrative identity, this article attemps to interpret the constitution process of our narrative identities through a systematic and synthetic review of the main contributions of the Ricœurian theory of imagination, from Freedom and Nature to Oneself as Another. In its complex imaginative constitution, narrative identity can then be characterized as a poetico-practical mix that mediates and puts in a dialectical relation two distinct functions of the imagination: a poetic and a practical one, (...) which are themselves enlivened by a dialectic and an internal duplication. (shrink)

Recreative Minds develops a philosophical theory of imagination that draws upon the latest work in psychology. This theory illuminates the use of imagination in coming to terms with art, its role in enabling us to live as social beings, and the psychological consequences of disordered imagination. The authors offer a lucid exploration of a fascinating subject.

For philosophers such as Kant, the imagination is the starting point for all thought. For others, such as Wittgenstein, what is important is only how the word 'imagination' is used. In spite of the attention the imagination has received from major philosophers, remarkably little has been written about the radically different interpretations they have made of it. _The HypoCritical Imagination: Between Kant and Levinas_ is an outstanding contribution to this vaccuum. Focusing on Kant and Levinas, John Llewelyn takes us on (...) a dazzling tour of the philosophical imagination. He shows us that despite the different treatments they accord to the imagination, there is much to be gained from comparing these two key thinkers. From Kant, Llewelyn shows how the imagination is the common root of all understanding. He contrasts this with the thought of Emmanuel Levinas, for whom the imagination plays an ambivalent role both as necessary for and a threat to recognition of the other. John Llewelyn also introduces the importance of the work of Heidegger Schelling, Hegel, Arendt and Derrida on the imagination and what this work can tell us about the relationship between the imagination and ethics, aesthetics and literature. _The HypoCritical Imagination: Between Kant and Levinas_ is a brilliant reading of a neglected but important philosophical theme and is essential reading for those in contemporary philosophy, art theory and literature. (shrink)

A popular view has it that the mental representations underlying human pretense are not beliefs, but are “belief-like” in important ways. This view typically posits a distinctive cognitive attitude (a “DCA”) called “imagination” that is taken toward the propositions entertained during pretense, along with correspondingly distinct elements of cognitive architecture. This paper argues that the characteristics of pretense motivating such views of imagination can be explained without positing a DCA, or other cognitive architectural features beyond those regulating normal belief and (...) desire. On the present “Single Attitude” account of imagination, propositional imagining just is a form of believing. The Single Attitude account is also distinguished from “metarepresentational” accounts of pretense, which hold that both pretending and recognizing pretense in others require one to have concepts of mental states. It is argued, to the contrary, that pretending and recognizing pretense require neither a DCA nor possession of mental state concepts. (shrink)

Is imagination a source of knowledge? Timothy Williamson has recently argued that our imaginative capacities can yield knowledge of a variety of matters, spanning from everyday practical matters to logic and set theory. Furthermore, imagination for Williamson plays a similar epistemic role in cognitive processes that we would traditionally classify as either a priori or a posteriori, which he takes to indicate that the distinction itself is shallow and epistemologically fruitless. In this chapter, I aim to defend the a priori-a (...) posteriori distinction from Williamson’s challenge by questioning his account of imagination. I distinguish two notions of imagination at play in Williamson’s account – sensory vs. belief-like imagination – and show that both face empirical and normative issues. Sensory imagination seems neither necessary nor sufficient for knowledge. Whereas, belief-like imagination isn’t adequately disentangled from inference. Additionally, Williamson’s examples are ad hoc and don’t generalize. I conclude that Williamson’s case against the a priori-a posteriori distinction is unconvincing, and so is the thesis that imagination is an epistemic source. (shrink)

How do we know what's (metaphysically) possible and impossible? Arguments from Kripke and Putnam suggest that possibility is not merely a matter of (coherent) conceivability/imaginability. For example, we can coherently imagine that Hesperus and Phosphorus are distinct objects even though they are not possibly distinct. Despite this apparent problem, we suggest, nevertheless, that imagination plays an important role in an adequate modal epistemology. When we discover what is possible or what is impossible, we generally exploit important connections between what is (...) possible and what we can coherently imagine. We can often come to knowledge of metaphysical modality a priori. (shrink)

A standard view in the epistemology of imagination is that imaginings can either provide justification for modal beliefs about what is possible (and perhaps counterfactual conditionals too), or no justification at all. However, in a couple of recent articles, Kind (2016; Forthcoming) argues that imaginings can justify empirical belief about what the world actually is like. In this article, I respond to her argument, showing that imagination doesn't provide the right sort of information to justify empirical belief. Nevertheless, it can (...) help us take advantage of justification that we already have, thereby enabling us to form new doxastically justified beliefs. More specifically, according to the view I advocate, imagination can contribute to one's satisfaction of the proper basing condition – which turns propositional justification into doxastic justification – but without conferring any new justification that the subject isn't already in possession of upon their beliefs. Very little attention has been devoted to the distinction between propositional and doxastic justification in the literature on imagination, and the view I here argue for takes up a yet-to-be occupied position. (shrink)

The terms "imagination'' and "imaginative'' can be readily applied to a profusion of attitudes, experiences, activities, and further phenomena. The heterogeneity of the things to which they're applied prompts the thoughts that the terms are polysemous, and that there is no single, coherent, fruitful conception of imagination to be had. Nonetheless, much recent work on imagination ascribes implicitly to a univocal way of thinking about imaginative phenomena: the imitation theory, according to which imaginative experiences imitate other experiences. This approach is (...) infelicitous. It issues in unhelpful descriptions of imaginative activities, experiences, and attitudes, and frustrates theorizing about imagination's applications and intensional characteristics. A better way of thinking about imagination is the lens theory, according to which the imagination is a set of ways to focus, refine, clarify or concentrate the matter of other experiences. This approach offers better characterizations of imaginative phenomena, and promises brighter theoretical illumination of them. (shrink)

This paper presents an artifactual approach to models that also addresses their fictional features. It discusses first the imaginary accounts of models and fiction that set model descriptions apart from imagined-objects, concentrating on the latter :251–268, 2010; Frigg and Nguyen in The Monist 99:225–242, 2016; Godfrey-Smith in Biol Philos 21:725–740, 2006; Philos Stud 143:101–116, 2009). While the imaginary approaches accommodate surrogative reasoning as an important characteristic of scientific modeling, they simultaneously raise difficult questions concerning how the imagined entities are related (...) to actual representational tools, and coordinated among different scientists, and with real-world phenomena. The artifactual account focuses, in contrast, on the culturally established external representational tools that enable, embody, and extend scientific imagination and reasoning. While there are commonalities between models and fictions, it is argued that the focus should be on the fictional uses of models rather than considering models as fictions. (shrink)

Defines the cutting-edge of scholarship on ancient Greek history employing methods from social science.

Chris Frith has argued that a loss of the sense of agency is central to schizophrenia. This suggests a connection between hallucinations and delusions on the one hand, and the misidentification of the subject’s imaginings as perceptions and beliefs on the other. In particular, understanding the mechanisms that underlie imagination may help us to explain the puzzling phenomena of thought insertion and withdrawal. Frith sometimes states his argument in terms of a loss of metarepresentational capacity in schizophrenia. I argue that (...) this formulation is unhelpful. (shrink)

One of the most exciting debates in philosophy of imagination in recent years has been over the epistemic use of imagination where imagination epistemically contributes to justifying beliefs and acquiring knowledge. This paper defends “generationism about imagination” according to which imagination is a generative source, rather than a preservative source, of justification. In other words, imagination generates new justification above and beyond prior justification provided by other sources. After clarifying the generation/preservation distinction (Section 2), we present an argument for generationism (...) about imagination, which can be divided into two parts; the philosophical part and the empirical part. In the philosophical part of our argument (Section 3), we claim that generationism about imagination follows from what we call “INACCESSIBILITY”. According to INACCESSIBILITY, imagination is properly constrained by the imaginative constrainers (i.e., the prior representations that constrain the development of a scenario in imagination) to which non-imaginative belief-forming processes do not have access. In the empirical part of our argument (Section 4), we claim that INACCESSIBILITY is plausible in light of relevant studies and theories in the empirical literature, especially the literature on mental simulation (Section 4.1), core cognition (Section 4.2), and intuitive physics (Section 4.3). (shrink)

A leading scholar in the psychology of thinking and reasoning argues that the counterfactual imagination—the creation of "if only" alternatives to ...

Fourteen contributions from international academics examine the themes of judgment, imagination, and politics in the philosophy of Hannah Arendt and Immanuel Kant. In the introduction, Beiner and Nedelsky (both political science, U. of Toronto) discuss the problem of political judgment and the recognition of subjectivity. Other topics include the challenges of diversity to the law, the public use of reason, and Arendt's lectures on Kant. c. Book News Inc.

Our ordinary conception of imagination takes it to be essentially a conscious phenomenon, and traditionally that’s how it had been treated in the philosophical literature. In fact, this claim had often been taken to be so obvious as not to need any argumentative support. But lately in the philosophical literature on imagination we see increasing support for the view that imagining need not occur consciously. In this paper, I examine the case for unconscious imagination. I’ll consider four different arguments that (...) we can find in the recent literature—three of which are based on cases and one that is based on considerations relating to action guidance. To my mind, none of these arguments is successful. I conclude that the case for postulating unconscious imagining has not yet been well motivated. (shrink)

_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)

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.

This paper surveys historical and recent philosophical discussions of the relations between imagination and creativity. In the first two sections, it covers two insufficiently studied analyses of the creative imagination, that of Kant and Sartre, respectively. The next section discusses imagination and its role in scientific discovery, with particular emphasis on the writings of Michael Polanyi, and on thought experiments and experimental design. The final section offers a brief discussion of some very recent work done on conceptual relations between imagination (...) and creativity. (shrink)

In this Element, we’ll explore the nature of both imagination and creative thinking in an effort to understand the relation between them and also to understand their role in the vast array of activities in which they are typically implicated, from art, music, and literature to technology, medicine, and science. Focusing on the contemporary philosophical literature, we will take up several interrelated questions: What is imagination, and how does it fit into the cognitive architecture of the mind? What is creativity? (...) Is imagination required for creativity? Is creativity required for imagination? Is a person simply born either imaginative or not (and likewise, either creative or not), or are imagination and creativity skills that can be cultivated? And finally, are imagination and creativity uniquely human capacities, or can they be had by nonbiological entities such as AI systems? (shrink)

One version of the Humean Theory of Motivation holds that all actions can be causally explained by reference to a belief–desire pair. Some have argued that pretense presents counter-examples to this principle, as pretense is instead causally explained by a belief-like imagining and a desire-like imagining. We argue against this claim by denying imagination the power of motivation. Still, we allow imagination a role in guiding action as a script . We generalize the script concept to show how things besides (...) imagination can occupy this same role in both pretense and non-pretense actions. The Humean Theory of Motivation should then be modified to cover this script role. (shrink)

I argue for the unity of imagination in two prima facie diverse contexts: experiences of beauty and achievements of understanding. I develop my argument in three steps. First, I begin by describing a type of aesthetic experience that is grounded in a set of imaginative activities on the part of the person having the experience. Second, I argue that the same set of imaginative activities that grounds this type of aesthetic experience also contributes to achievements of understanding. Third, I show (...) that my unified account of imagination has important implications: it sheds light on two puzzling phenomena, the aesthetic value of science and the cognitive value of art. (shrink)

Chris Frith has argued that a loss of the sense of agency is central to schizophrenia. This suggests a connection between hallucinations and delusions on the one hand, and the misidentification of the subject’s imaginings as perceptions and beliefs on the other. In particular, understanding the mechanisms that underlie imagination may help us to explain the puzzling phenomena of thought insertion and withdrawal. Frith sometimes states his argument in terms of a loss of metarepresentational capacity in schizophrenia. I argue that (...) this formulation is unhelpful. (shrink)