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.

Can theories of mental imagery, conscious mental contents, developed within cognitive science throw light on the obscure (but culturally very significant) concept of imagination? Three extant views of mental imagery are considered: quasi‐pictorial, description, and perceptual activity theories. The first two face serious theoretical and empirical difficulties. The third is (for historically contingent reasons) little known, theoretically underdeveloped, and empirically untried, but has real explanatory potential. It rejects the “traditional” symbolic computational view of mental contents, but (...) is compatible with recentsituated cognition and active visionapproaches in robotics. This theory is developed and elucidated. Three related key aspects of imagination (non‐discursiveness, creativity, and seeing as) raise difficulties for the other theories. Perceptual activity theory presents imagery as non‐discursive and relates it closely to seeing as. It is thus well placed to be the basis for a general theory of imagination and its role in creative thought. (shrink)

Mental imagery has often been taken to be equivalent to “sensory imagination”, the perception‐like type of imagination at play when, for example, one visually imagines a flower when none is there, or auditorily imagines a music passage while wearing earplugs. I contend that the equation of mental imagery with sensory imagination stems from a confusion between two senses of mental imagery. In the first sense, mental imagery is used to refer to a psychological attitude, which is (...) perception‐like in nature. In the second sense, mental imagery refers to a mental content, which can be grasped via different attitudes. I will show that failure to acknowledge the distinction between these senses of mental imagery has muddled philosophical discussion. This distinction brings much needed clarity to debates where sensory imagination and mental imagery are invoked, shedding light on issues such as the nature of imagistic mental states, and the representational powers and limits of mental imagery. I will conclude by sketching a general attitudinal account of imagination that does justice to both senses of mental imagery, outlining a promising framework for understanding imagination. (shrink)

The problem of amodal perception is the problem of how we represent features of perceived objects that are occluded or otherwise hidden from us. Bence Nanay (2010) has recently proposed that we amodally perceive an object's occluded features by imaginatively projecting them into the relevant regions of visual egocentric space. In this paper, I argue that amodal perception is not a single, unitary capacity. Drawing appropriate distinctions reveals amodal perception to be characterized not only by mental imagery, as Nanay (...) suggests, but also by genuinely visual representations as well as beliefs. I conclude with some brief remarks on the role of object-directed bodily action in conferring a sense of unseen presence on an object's occluded features. (shrink)

Since the publication of my "Are Theories of Imagery Theories of Imagination? An _Active Perception_ Approach to Conscious Mental Content,", a good deal of published material has appeared or has come to my attention that either provides additional support for the Perceptual Activity Theory PA theory) of mental imagery presented in ATOITOI, or that throws further doubt on the rival theories that are criticized there. Other relevant evidence was not mentioned in ATOITOI because I lacked the space (...) for a proper explanation of its relevance. I hope eventually to write and publish a new account of " PA " theory, that will make use of much of this material. In the meantime this page provides citations to the "new" support, and discussion sections that briefly explain the relevance of the cited material. Quite apart from presenting new lines of supporting evidence and argument, I hope this page will help to clarify many aspects of. (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)

When we see an object, we also represent those parts of it that are not visible. The question is how we represent them: this is the problem of amodal perception. I will consider three possible accounts: (a) we see them, (b) we have non-perceptual beliefs about them and (c) we have immediate perceptual access to them, and point out that all of these views face both empirical and conceptual objections. I suggest and defend a fourth account, according to which we (...) represent the occluded parts of perceived objects by means of mental imagery. This conclusion could be thought of as a (weak) version of the Strawsonian dictum, according to which “imagination is a necessary ingredient of perception itself”. (shrink)

Mental Imagery, whereby we experience aspect of a perceptual scene or perceptual object in the absence of direct sensory stimulation is ubiquitous. Often the existence of mental imagery is demonstrated by asking one’s reader to volitionally generate a visual object, such as closing ones eyes and imagining an apple. However, mental imagery also arises in auditory, tactile, interoceptive, and olfactory cases. A number of influential philosophical theories have attempted to explain mental imagery in terms of belief-based (...) forms of representation using the Dependence Thesis, dependence upon means of access, such as enactivism, or in terms of the similarity of content with perceptual processing. The focus of this paper concerns the later approach and in particular assessing if Nanay’s promissory note that his theory is applicable to modalities other than vision, such as smell, seems likely to be of theoretical tender. The thesis argued for in this paper is that olfactory imagery exists and is best accounted for by considering it as a type of perceptual processing with a unique representational format relative to the olfactory perceptual modality. The paper concludes by summarizing the applicability of Nanay’s theory of mental imagery for olfaction and suggests some further issues that arise when transitioning to multi-modal mental imagery. (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)

How tight is the conceptual connection between imagination and perception? A number of philosophers, from the early moderns to present-day predictive processing theorists, tie the knot as tightly as they can, claiming that states of the imagination, i.e. mental imagery, are a proper subset of perceptual experience. This paper labels such a view ‘perceptualism’ about the imagination and supplies new arguments against it. The arguments are based on high-level perceptual content and, distinctly, cognitive penetration. The paper also defuses (...) a recent, influential argument for perceptualism based on the ‘discovery’ that visual perception and mental imagery share a significant neural substrate: circuitry in V1, the brain’s primary visual cortex. Current neuropsychology is shown to be equivocal at best on this matter. While experiments conducted on healthy, neurotypical subjects indicate substantial neural overlap, there is extensive clinical evidence of dissociations between imagery and perception in the brain, most notably in the case of aphantasia. (shrink)

It is generally accepted that there is something special about reasoning by using mental images. The question of how it is special, however, has never been satisfactorily spelled out, despite more than thirty years of research in the post-behaviorist tradition. This article considers some of the general motivation for the assumption that entertaining mental images involves inspecting a picture-like object. It sets out a distinction between phenomena attributable to the nature of mind to what is called the cognitive (...) architecture, and ones that are attributable to tacit knowledge used to simulate what would happen in a visual situation. With this distinction in mind, the paper then considers in detail the widely held assumption that in some important sense images are spatially displayed or are depictive, and that examining images uses the same mechanisms that are deployed in visual perception. I argue that the assumption of the spatial or depictive nature of images is only explanatory if taken literally, as a claim about how images are physically instantiated in the brain, and that the literal view fails for a number of empirical reasons – for example, because of the cognitive penetrability of the phenomena cited in its favor. Similarly, while it is arguably the case that imagery and vision involve some of the same mechanisms, this tells us very little about the nature of mental imagery and does not support claims about the pictorial nature of mental images. Finally, I consider whether recent neuroscience evidence clarifies the debate over the nature of mental images. I claim that when such questions as whether images are depictive or spatial are formulated more clearly, the evidence does not provide support for the picture-theory over a symbol-structure theory of mental imagery. Even if all the empirical claims were true, they do not warrant the conclusion that many people have drawn from them: that mental images are depictive or are displayed in some (possibly cortical) space. Such a conclusion is incompatible with what is known about how images function in thought. We are then left with the provisional counterintuitive conclusion that the available evidence does not support rejection of what I call the “null hypothesis”; namely, that reasoning with mental images involves the same form of representation and the same processes as that of reasoning in general, except that the content or subject matter of thoughts experienced as images includes information about how things would look. (shrink)

Defined as vicarious sensorimotor experiencing, mental imagery is a powerful source of aesthetic enjoyment in everyday life and, reportedly, one of the commonest things readers remember about literary narratives in the long term. Furthermore, it is positively correlated with other dimensions of reader response, most notably with emotion. Until recent decades, however, the phenomenon of mental imagery has been largely overlooked by modern literary scholarship. As an attempt to strengthen the status of mental imagery within the literary (...) and, more generally, aesthetic discipline, this dissertation proposes an analysis positioned at a confluence of literary theory and the cognitive sciences, especially the emergent research framework of embodied cognition. Questions asked throughout the dissertation include the following: a) What are the basic varieties of mental imagery in the reading of literary narrative? b) By what contents or narrative strategies are they most likely to be prompted? c) What is it like to experience a mental image of a particular variety? d) What are its psychophysiological underpinnings? e) How does a mental image of a particular variety relate to perception? f) How does it relate to higher-order meaning-making? Four prototypical imagery varieties are distinguished on the basis of two variables with two values each (referential vs. verbal domain; inner vs. outer stance). Gradual transitions and in-between imagery varieties are acknowledged. The imagery typology and related hypotheses are grounded in introspection but carefully supported with indirect empirical evidence and, whenever possible, formulated so as to facilitate direct validation. (shrink)

One of the most promising trends both in the neuroscience of pain and in psychiatric treatments of chronic pain is the focus on mental imagery. My aim is to argue that if we take these findings seriously, we can draw very important and radical philosophical conclusions. I argue that what we pretheoretically take to be pain is partly constituted by sensory stimulation-driven pain processing and partly constituted by mental imagery. This general picture can explain some problematic cases of (...) pain perception, for example, phantom-limb pain, and it also has important consequences for some recent philosophical debates about the nature and content of pain. (shrink)

Mental imagery is perceptual processing that is not triggered by corresponding sensory stimulation in the relevant sense modality. Temporal mental imagery is perceptual processing that is not triggered by temporally corresponding sensory stimulation in the relevant sense modality. We aim to show that temporal mental imagery plays an important role in explaining a number of diverse mental phenomena, from the thickness of temporal experience and the specious present to episodic memory and postdictive perception.

Is mental imagery pictorial? In Pylyshyn's view no empirical data provides convincing support to the “pictorial” hypothesis of mental imagery. Phenomenology, Pylyshyn says, is deeply deceiving and offers no explanation of why and how mental imagery occurs. We suggest that Pylyshyn mistakes phenomenology for what it never pretended to be. Phenomenological evidence, if properly considered, shows that mental imagery may indeed be pictorial, though not in the way that mimics visual perception. Moreover, Pylyshyn claims that the (...) “pictorial hypothesis” is flawed because the interpretation of “picture-like” objects in mental imagery takes a homunculus. However, the same point can be objected to Pylyshyn's own conclusion: if imagistic reasoning involves the same mechanisms and the same forms of representation as those that are involved in general reasoning, if they operate on symbol-based representations of the kind recommended by Pylyshyn (1984) and Fodor (1975), don't we need a phenomenological homunculus to tell an imagined bear from the real one? (shrink)

According to the additive view of sensory imagination, mental imagery often involves two elements. There is an image-like element, which gives the experiences qualitative phenomenal character akin to that of perception. There is also a non-image element, consisting of something like suppositions about the image's object. This accounts for extra- sensory features of imagined objects and situations: for example, it determines whether an image of a grey horse is an image of Desert Orchid, or of some other grey horse. (...) The view promises to give a simple and intuitive explanation of some puzzling features of imagination, and, further, to illuminate imagination 's relation to modal knowledge. I contend that the additive view does not fulfil these two promises. The explanation of how images come to be determinate is redundant: the content constituting the indeterminate mental images on which the view relies is sufficient to deliver determinate images too, so the extra resources offered by the view are not required.. (shrink)

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

In this paper, I oppose the common assumption that visual descriptions in prose fiction are imageable by virtue of perceptual mimesis. Based on introspection as well as convergent support from cognitive science and other disciplines, I argue that visual description (and the mental imagery it elicits), unlike narrative (and the mental imagery it elicits), often stands in no positive relation to perceptual mimesis because it lacks a structural counterpart in perceptual experience. I present an alternative way of defining (...) the kind of mental imagery elicited by visual descriptions, and propose a number of text variables underlying the imageability or non-imageability of any such description. (shrink)

Certain representations are bound in special ways to our sensory capacities; consider, for instance, pictures, sound recordings, and the various forms of mental sensory imagery. What do these representations have in common, and what makes them different from representations of other kinds? Dominic Gregory employs novel ideas on perceptual states and sensory perspectives to explain the special nature of the contents of distinctively sensory representations. The book contains extensive discussions of e.g. perceptual imagination, pictorial representation, and memories.

[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)

This commentary argues that the “illusion” to which Wegner refers in The Illusion of Conscious Will is actually the illusion that our conscious experience of mentally causing certain behaviors explains the behavior in question: It is not the subjective experience itself that is illusory, but the implied causal explanation. The experience of “mental effort” is cited as another example of this sort of illusion. Another significant example is the experience that properties of the representation of our mental images (...) are responsible for certain patterns of behavior observed in mental imagery experiments. Examples include the increase in reaction time found when details are reported from smaller images or when attention is switched between different places and features (imagined as further apart than they are) within a single image. These examples illustrate the nature of the “illusion” involved: It is the illusion that certain observed regularities occur because of the content of the experience, as opposed to the converse – that experience has the content it does because of what the person figures out would happen in the imagined situation. (shrink)

Perceptual experience has representational content. My argument for this claim is an inference to the best explanation. The explanandum is cognitive penetration. In cognitive penetration, perceptual experiences are either causally influenced, or else are partially constituted, by mental states that are representational, including: mental imagery, beliefs, concepts and memories. If perceptual experiences have representational content, then there is a background condition for cognitive penetration that renders the phenomenon prima facie intelligible. Naïve realist or purely relational accounts (...) of perception leave cognitive penetration less well-explained, even when formulated with so-called ‘standpoints’ or ‘third relata.’. (shrink)

A theory of the structure and cognitive function of the human imagination that attempts to do justice to traditional intuitions about its psychological centrality is developed, largely through a detailed critique of the theory propounded by Colin McGinn. Like McGinn, I eschew the highly deflationary views of imagination, common amongst analytical philosophers, that treat it either as a conceptually incoherent notion, or as psychologically trivial. However, McGinn fails to develop his alternative account satisfactorily because (following Reid, Wittgenstein and Sartre) he (...) draws an excessively sharp, qualitative distinction between imagination and perception, and because of his flawed, empirically ungrounded conception of hallucination. His arguments in defense of these views are rebutted in detail, and the traditional, passive, Cartesian view of visual perception, upon which several of them implicitly rely, is criticized in the light of findings from recent cognitive science and neuroscience. It is also argued that the apparent intuitiveness of the passive view of visual perception is a result of mere historical contingency. An understanding of perception (informed by modern visual science) as an inherently active process enables us to unify our accounts of perception, mental imagery, dreaming, hallucination, creativity, and other aspects of imagination within a single coherent theoretical framework. (shrink)

Mental imagery is an important topic in classical and modern philosophy, as it is central to the study of knowledge; since subjects can recall features of perceptual experiences in different ways and times, even modifying their structure, in this brief essay we will focus on non-perceptive mental images and to this purpose we will analyse, on the one hand, the nature of perceptive mental images ; on the other hand, NPMI generation according to different strategic conditions and (...) retrieval modalities and, so, their structural relationships with PMI. Thus, we will clarify what NPMI amounts to and, to this purpose, we will address the issue of epistemic correlation and semantic reference. As regards the former, we will adopt the notion of ‘belief’, both to describe which attitude supports the use of an NPMI and to account for its relationship with a PMI. As regards the latter, we will talk about weak ontology between an NPMI and the world, to conceive ‘the way in which’ mental imagery, despite the absence of a sensorial modification, refers to physical objects. As the subject’s mental contents determine, but do not constrain, what NPMI is like, we will deal with the ‘involvement’ of prior knowledge and the notion of meaningful space to underline that its generation is always the result of a wide process which involves perceptive visual information already processed and stored together with further mental contents. So, though some Authors consider mental imagery to be a ‘percept-like’ image and, somehow, espouse the theory of reactivation, we will pose a challenge to this theory – i.e. to what we call mental imagery standard framework – describing an NPMI in terms of configurational setting and indeterminacy. Consequently, we will propose a non-linear dynamic framework of mental imagery generation , according to which an NPMI is not reducible to a mere recalling of figural features of a perceptive image. (shrink)

Traditionally ‘imagination’ primarily denotes the faculty of mental imagery, other usages being derivative. However, contemporary philosophers commonly hold it to be a polysemous term, with several unrelated senses. This effectively eliminates this culturally important concept as an appropriate explanandum for science, and paves the way for a thoroughgoing eliminative materialism. White challenges both these views of imagination, arguing that ‘imagine’ never means ‘suppose,’ ‘believe,’ ‘pretend’ or ‘visualize,’ that imagery may occur without imagination, and that the true sense of ‘imagine’ (...) is ‘think of as possibly being so.’ I defend a version of the traditional view. The disseverance of imagination from imagery is motivated by an implicit version of the theory of mental images as pictures. Other contemporary scientific theories of imagery do not entail it. I defend a view of imagery as arising from the interpretative aspect of perception and connect this, and our contemporary concept of imagination, to the root Aristotelian concept of φαντασία.This captures the association between imagination and creativity, and reveals the coherence of the concept, more plausibly than White’s theory. (shrink)

Traditionally ‘imagination’ primarily denotes the faculty of mental imagery, other usages being derivative. However, contemporary philosophers commonly hold it to be a polysemous term, with several unrelated senses. This effectively eliminates this culturally important concept as an appropriate explanandum for science, and paves the way for a thoroughgoing eliminative materialism. White challenges both these views of imagination, arguing that ‘imagine’ never means ‘suppose,’ ‘believe,’ ‘pretend’ or ‘visualize,’ that imagery may occur without imagination, and that the true sense of ‘imagine’ (...) is (roughly) ‘think of as possibly being so.’ I defend a version of the traditional view. The disseverance of imagination from imagery is motivated by an implicit version of the theory of mental images as pictures. Other contemporary scientific theories of imagery do not entail it. I defend a view of imagery as arising from the interpretative aspect of perception (‘seeing-as’) and connect this, and our contemporary concept of imagination, to the root Aristotelian concept of φαντασία.This captures the association between imagination and creativity, and reveals the coherence of the concept, more plausibly than White’s theory. (shrink)

Aesthetic evaluations of human bodies have important implications for moral recognition and for individuals’ access to social and material goods. Unfortunately, there is a widespread aesthetic disregard for non-white bodies. Aesthetic evaluations depend on the aesthetic properties we regard objects as having. And it is widely agreed that aesthetic properties are directly accessed in our experience of aesthetic objects. How, then, might we explain aesthetic evaluations that systematically favour features associated with white identity? Critical race philosophers, like Alia Al-Saji, Mariana (...) Ortega, Paul C. Taylor, and George Yancy, argue that this is because the perception of racialized bodies is affected by the social structures in which they are appreciated. The aim of this paper is to propose how social structures can affect aesthetic perception. I argue that mental imagery acquired through the interaction with aesthetic phenomena structures the perception of non-aesthetic properties of bodies, so that aesthetic properties consistent with racist stereotypes are attributed to individuals. (shrink)

[Open Access.] Perceptual experiences have presentational phenomenology: we seem to encounter real situations in the course of visual experiences, for instance. The current paper articulates and defends the claim that the contents of at least some perceptual experiences are inherently presentational. On this view, perceptual contents are not always forceless in the way that, say, the propositional content that 2 + 2 = 4 is generally taken to be, as a content that may be asserted or denied or (...) merely supposed; rather, there are perceptual contents such that any mental state or episode which has the relevant content must be one in which things seem to the given subject to be a certain way. Intuitive motivation for the view is presented and an explanatory line of argument in support of it is developed: it is argued that the recognition of inherently presentational perceptual contents allows us to explain certain representational limitations to which ordinary visualizations and other forms of perceptual mental imagery are subject. Some potential objections to the position are explored, leading to further elaboration of it. (shrink)

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

My topic is a certain view about mental images: namely, the ‘Multiple Use Thesis’. On this view, at least some mental image-types, individuated in terms of the sum total of their representational content, are potentially multifunctional: a given mental image-type, individuated as indicated, can serve in a variety of imaginative-event-types. As such, the presence of an image is insufficient to individuate the content of those imagination-events in which it may feature. This picture is argued for, (...) or (more usually) just assumed to be true, by Christopher Peacocke, Michael Martin, Paul Noordhof, Bernard Williams, Alan White, and Tyler Burge. It is also presupposed by more recent authors on imagination such as Amy Kind, Peter Kung and Neil Van Leeuwen. I reject various arguments for the Multiple Use Thesis, and conclude that instead we should endorse SINGLE: a single image-type, individuated in terms of the sum total of its intrinsic representational content, can serve in only one imagination event-type, whose content coincides exactly with its own, and is wholly determined by it. Plausibility aside, the interest of this thesis is also in its iconoclasm, as well as the challenge it poses for the diverse theories that rest on the truth of the Multiple Use Thesis. (shrink)

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

A number of authors have asked what it takes for a course of mental imagery to be epistemically or practically useful. This paper addresses a prior question, namely, the difference between courses of imagination that are realistic and those that are fantastic. One approach, suggested by recent literature concerning the utility of imagery, holds that a course of imagination represents realistically if and only if the course of events represented conforms to certain accepted constraints. Against this it will be (...) argued that the constraints cannot be both permissive enough and restrictive enough. An alternative approach adds as a necessary condition that realistic courses of imagination are constructed in accordance with certain procedures on the basis of remembered perceptions. (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)

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)

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)

One distinct interest in self-knowledge concerns whether one can know about one’s own mental states and processes, how much, and by what methods. One broad distinction is between accounts that centrally claim that we look inward for self-knowledge (introspective methods) and those that claim that we look outward for self-knowledge (transparency methods). It is here argued that neither method is sufficient, and that we see this as soon as we move beyond questions about knowledge of one’s beliefs, focusing instead (...) on how one distinguishes, for oneself, one’s veridical visual memories from mere (non-veridical) visual images. Given robust psychological and phenomenal similarities between episodic memories and mere imagery, the following is a genuine question that one might pose to oneself: “Do I actually remember that happening, or am I just imagining it?” After critical analysis of the transparency method (advocated by Byrne 2010, following Evans 1982) to this latter epistemological question, a brief sketch is offered of a more holistic and inferential method for acquisition of broader self-knowledge (broadly following the interpretive-sensory access account of Carruthers 2011). In a slogan, knowing more of the mind requires using more of the mind. (shrink)

What is the relationship between perception and mental imagery? I aim to eliminate an answer that I call perceptualism about mental imagery. Strong perceptualism, defended by Bence Nanay, predictive processing theorists, and several others, claims that imagery is a kind of perceptual state. Weak perceptualism, defended by M. G. F. Martin and Matthew Soteriou, claims that mental imagery is a representation of a perceptual state, a view sometimes called The Dependency Thesis. Strong perceptualism is to be rejected (...) since it misclassifies imagery disorders and abnormalities as perceptual disorders and abnormalities. Weak Perceptualism is to be rejected since it gets wrong the aim and accuracy conditions of a whole class of mental imagery–projected mental imagery–and relies on an impoverished concept of perceptual states, ignoring certain of their structural features. Whatever the relationship between perception and imagery, the perceptualist has it wrong. (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)

Human beings have the ability to ‘augment’ reality by superimposing mental imagery on the visually perceived scene. For example, when deciding how to arrange furniture in a new home, one might project the image of an armchair into an empty corner or the image of a painting onto a wall. The experience of noticing a constellation in the sky at night is also perceptual-imaginative amalgam: it involves both seeing the stars in the constellation and imagining the lines that connect (...) them at the same time. I here refer to such hybrid experiences – involving both a bottom-up, externally generated component and a top-down, internally generated component – as make-perceive (Briscoe 2008, 2011). My discussion in this paper has two parts. In the first part, I show that make-perceive enables human beings to solve certain problems and pursue certain projects more effectively than bottom-up perceiving or top-down visualization alone. To this end, the skillful use of projected mental imagery is surveyed in a variety of contexts, including action planning, the interpretation of static mechanical diagrams, and non-instrumental navigation. In the second part, I address the question of whether make-perceive may help to account for the “phenomenal presence” of occluded or otherwise hidden features of perceived objects. I argue that phenomenal presence is not well explained by the hypothesis that hidden features are represented using projected mental images. In defending this position, I point to important phenomenological and functional differences between the way hidden object features are represented respectively in mental imagery and amodal completion. (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)

When I am looking at my coffee machine that makes funny noises, this is an instance of multisensory perception – I perceive this event by means of both vision and audition. But very often we only receive sensory stimulation from a multisensory event by means of one sense modality, for example, when I hear the noisy coffee machine in the next room, that is, without seeing it. The aim of this paper is to bring together empirical findings about multimodal perception (...) and empirical findings about (visual, auditory, tactile) mental imagery and argue that on occasions like this, we have multimodal mental imagery: perceptual processing in one sense modality (here: vision) that is triggered by sensory stimulation in another sense modality (here: audition). Multimodal mental imagery is not a rare and obscure phenomenon. The vast majority of what we perceive are multisensory events: events that can be perceived in more than one sense modality – like the noisy coffee machine. And most of the time we are only acquainted with these multisensory events via a subset of the sense modalities involved – all the other aspects of these multisensory events are represented by means of multisensory mental imagery. This means that multisensory mental imagery is a crucial element of almost all instances of everyday perception. (shrink)

The aim of this paper is to argue that the phenomenal similarity between perceiving and visualizing can be explained by the similarity between the structure of the content of these two different mental states. And this puts important constraints on how we should think about perceptual content and the content of mental imagery.

Imagination occupies a central place in philosophy, going back to Aristotle. However, following a period of relative neglect there has been an explosion of interest in imagination in the past two decades as philosophers examine the role of imagination in debates about the mind and cognition, aesthetics and ethics, as well as epistemology, science and mathematics. This outstanding _Handbook_ contains over thirty specially commissioned chapters by leading philosophers organised into six clear sections examining the most important aspects of the philosophy (...) of imagination, including: Imagination in historical context: Aristotle, Descartes, Hume, Kant, Husserl, and Sartre What is imagination? The relation between imagination and mental imagery; imagination contrasted with perception, memory, and dreaming Imagination in aesthetics: imagination and our engagement with music, art, and fiction; the problems of fictional emotions and ‘imaginative resistance’ Imagination in philosophy of mind and cognitive science: imagination and creativity, the self, action, child development, and animal cognition Imagination in ethics and political philosophy, including the concept of 'moral imagination' and empathy Imagination in epistemology and philosophy of science, including learning, thought experiments, scientific modelling, and mathematics. The Routledge Handbook of Philosophy _of Imagination_ is essential reading for students and researchers in philosophy of mind and psychology, aesthetics, and ethics. It will also be a valuable resource for those in related disciplines such as psychology and art. (shrink)

No one disputes that certain cognitive tasks involve the use of images. On the other hand, there has been substantial disagreement over whether the representations in which imaginal tasks are carried out are imaginal or propositional. The empirical literature on the topic which has accrued over the last twenty years suggests that there is a functional equivalence between mental imagery and perception: when peopIe imagine a scene or event, the mental processes that occur are functionally similar in important (...) senses to what happens when they visually perceive an analogous scene or event. What is in dispute is not this principle of equivalence, but rather what conclusions should be drawn from it about the representational medium used in imagery.The problem to be explained is what internal cognitive events transpire when people answer questions like “What color is a bee’s head?” Most people report that they imagine a picture of the insect and then look at the head in the image to determine its color. Although there is no more reason to accept these introspective reports as a good account of cognitive processes than in any other cognitive phenomena, there are many empirical results which lend credence to the idea that there are mental images of some kind.Some theorists have taken the empirical results as evidence that there exists a special, non-symbolic representational medium for imagery. Others have insisted that the imagery data can be explained best in terms of the more general, symbolic representations which are usually taken to underly higher level cognitive tasks. In this paper I shall evaluate the arguments for both imaginal and propositional representations in the hope of assessing the status of the imagery debate. I shall conclude that imaginal theories represent the most reasonable account of imagery. (shrink)

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

Mental imagery is early perceptual processing that is not triggered by corresponding sensory stimulation in the relevant sense modality. Multimodal mental imagery is early perceptual processing that is triggered by sensory stimulation in a different sense modality. For example, when early visual or tactile processing is triggered by auditory sensory stimulation, this amounts to multimodal mental imagery. Pulling together philosophy, psychology and neuroscience, I will argue in this paper that multimodal mental imagery plays a crucial role (...) in our engagement with musical works. Engagement with musical works is normally a multimodal phenomenon, where we get input from a number of sense modalities. But even if we screen out any input that is not auditory, multimodal mental imagery will still play an important role that musicians and composers often actively rely on. (shrink)