Experiential imagination consists in an imaginative projection that aims at simulating the experiences one would undergo in different circumstances. It has been traditionally thought to play a role in how we build our lives, engage with other agents, and appreciate art. Although some philosophers have recently expressed doubts over the capacity of experiential imagination to offer insight into the perspective of someone other than our present-selves, experiential imagination remains a much sought-after tool. This paper substantiates pessimism about (...) the epistemological value of these uses of experiential imagination by developing an embodied approach. Our thesis is that experiential imagination is _robustly embodied_ because the _sociohistorically situated_ body makes an irreducible contribution to the imaginative project, and that, as such, it is constrained by who we are as _concrete_ agents. We argue that experiential imagination is an embodied, virtual exploration of imagined scenarios that depends on our situated history of sensorimotor and affective interactions. We conclude that experiential imagination is much more limited than commonly acknowledged, as it can hardly be divorced from who we are and where we have been. (shrink)

This paper discusses different frameworks for understanding imagination and metaphor in the context of research on the imaginative skills of children with autism spectrum disorder (ASD). In contrast to a standard linguistic framework, it advances an embodied and enactive account of imagination and metaphor. The paper describes a case study from a systemic therapeutic session with a child with ASD that makes use of metaphors. It concludes by outlining some theoretical insights into the imaginative skills of children (...) with ASD that follow from taking the embodied-enactive perspective and proposes suggestions for interactive interventions to further enhance imaginative skills and metaphor understanding in children with ASD. (shrink)

The phenomenon of episodic memory has been studied for over 30 years, but it is only recently that its constructive nature has been shown to be closely linked to the processes underpinning imagination. This paper builds on recent work by the authors in developing architectures for a form of imagination suitable for use in artifacts, and considers how these architectures might be extended to provide a form of episodic memory.

This paper considers the epistemic role that embodiment plays in imagining. We focus on two aspects of embodied cognition understood in its strong sense: explicit motoric processes related to performance, and neuronal processes rooted in bodily and action processes, and describe their role in imagining. The paper argues that these two aspects of strongly embodied cognition can play distinctive and positive roles in constraining imagining, thereby complementing Amy Kind's argument for the epistemic relevance of imagination "under constraints" (...) and Magdalena Balcerak Jackson's argument for justification by imagination. (shrink)

This paper discusses the modern idea of imagination and its various transformations in the phenomenological conceptual frameworks of Edward Casey, Mikel Dufrenne (1910-1995), Max Scheler (1874-1928) and Vasily Sesemann (1884-1963). I would like to raise and critically assess questions regarding the role of imagination in our consciousness: whether imagination is a productive or reproductive activity; and how, if at all, aesthetic expression limits the imagination. Casey criticizes Dufrenne for his attempt to unite imagination with aesthetic (...) expression. He argues for the autonomy of the imagination but leaves the question of the relationship between the imagination and perception unanswered. Dufrenne partially shares his theory of imagination with Sesemann. Both philosophers claim that imagination is a reproductive activity rather than a productive one in the sense that it is limited by the forms of the material a priori. In other words, aesthetic expression has to obey the principle of correlation between percipiens and perceptum. Creativity becomes possible when the creator is able to reproduce in his expression another subject’s possible perceptivity. Max Scheler emphasized the correlative connection of spiritual activity with the world. He linked the concept of imagination to the practical being in the world. In Sesemann’s aesthetics the role of embodied imagination in artistic creation and the perception of aesthetic objects were also considered. Both authors argued that the connection between imagination and the essential modes of the world’s givenness is guaranteed by the mode of embodied imagination. Both acknowledged that imagination is related to unconscious desires and drive. Both authors stated that the schematisms of imagination express the style of the perception of the world. The fact that imagination is an embodied phenomenon is illustrated by the way it exists in the world, since imagination is essentially a free activity restricted only by “the style of the world’s horizon.”. (shrink)

The main goal of this commentary is to provide an impetus toward the integration of some aspects of musical enactivism and ecological psychology into the framework of the semiotic eigencycle. I argue that the notions of embodied imagination and musical affordances at the level of interaction between agent and musical environment, play a robustly causal or perhaps even a constitutive role in the music cognitive semiotic process.

Imagination has been the focus of much philosophical inquiry in recent decades. Although it plays an essential role in linking emotional engagement with ethical experience, imagination has received comparatively little attention in film-philosophy. In this article, I argue that imagination plays an essential role in linking emotional engagement with moral-ethical experience. Drawing on phenomenological, cognitive and aesthetic perspectives, I focus on perceptual imagining and suggest that an account of embodied cinematic imagination — encompassing both perceptual/sensory (...) and propositional/cognitive imagining — is especially relevant to theorizing cinematic experience. The interplay of first-person empathic and third-person sympathetic perspectives is another essential feature of our emotional and ethical engagement with cinema. By synthesizing ‘bottom-up’ sensory, affective responses to audiovisual images, with ‘top-down’ cognitive processes associated with mental simulation, an account of embodied cinematic imagination can explain how emotional engagement and ethical responsiveness work together in our experience of audiovisual narratives. (shrink)

Interactional expertise is said to be a form of knowledge achieved in a linguistic community and, therefore, obtained entirely outside practice. Supposedly, it is not or only minimally sustained by the so-called embodied knowledge. Here, drawing upon studies in contemporary neuroscience and cognitive psychology, I propose that ‘derived’ embodiment is deeply involved in competent language use and, therefore, also in interactional expertise. My argument consists of two parts. First, I argue for a strong relationship among language acquisition, language use (...) and the real world (i.e. the world accessible to the senses). Biological constraints in very early childhood anchor language to the body. These constraints are by-products of our evolutionary peculiarity that we gain because of our physical and psychological immaturity at birth. Thus, infancy is predominantly concerned with the bodily needs and experiences of the concrete while language acquisition takes place. Particular interest in the concrete furnishes our linguistic world and installs ‘concrete’ language as the principal constituent of competent language use. Second, I argue that well-established concrete language implicitly and explicitly elicits mental representations, namely partial reactivations of sensorimotor states that occur during experience. These are stepping stones by which we subsequently make sense of expressions in new linguistic areas. Like any competent language user, the interactional expert, therefore, prompts multimodal imagination and re-enacts concrete experiences when acquiring linguistic knowledge pertaining to a specialist field. Finally, I outline the characteristics of those imaginative powers to identify mechanisms that improve interactional expertise and discuss the obvious relation between interactional expertise and ordinary knowledge acquisition after the concrete language stage. (shrink)

Before imagination became the transcendent and creative faculty promoted by the Romantics, it was for something quite different. Not reserved to a privileged few, imagination was instead considered a universal ability that each person could direct in practical ways. To imagine something meant to form in the mind a replica of a thing—its taste, its sound, and other physical attributes. At the end of the Renaissance, there was a movement to encourage individuals to develop their ability to imagine (...) vividly. Within their private mental space, a space of embodied, sensual thought, they could meditate, pray, or philosophize. Gradually, confidence in the self-directed imagination fell out of favor and was replaced by the belief that the few—an elite of writers and teachers—should control the imagination of the many. This book seeks to understand what imagination meant in early modern Europe, particularly in early modern France, before the Romantic era gave the term its modern meaning. The author explores the themes surrounding early modern notions of imagination (including hostility to imagination) through the writings of such figures as Descartes, Montaigne, François de Sales, Pascal, the Marquise de Se;vigne;, Madame de Lafayette, and Fe;nelon. (shrink)

In this contribution I outline some ideas on what the pragmatist model of habit ontology could offer us as regards the appreciation of the constitutive role that imagery plays for social action and cognition. Accordingly, a Deweyan understanding of habit would allow for an understanding of imagery in terms of embodied cognition rather than in representational terms. I first underline the motor character of imagery, and the role its embodiment in habit plays for the anticipation of action. Secondly, I (...) reconstruct Dewey's notion of imaginative rehearsal in light of contemporary, competing models of intersubjectivity such as embodied simulation theory and the narrative practice hypothesis, and argue that the Deweyan model offers us a more encompassing framework which can be useful for reconciling these approaches. In this text I am mainly concerned with sketching a broad picture of the lines along which such a project could be developed. For this reason not all questions are given equal attention, and I shall concentrate mainly on the basic ideas, without going directly into the details of many of them. (shrink)

abstract In this paper we question the basis on which judgements are made about the ‘quality’ of the lives of people whose embodied experience is anomalous, specifically in cases of impairments. In moral and political philosophy it is often assumed that, suitably informed, we can overcome epistemic gaps through the exercise of moral imagination: ‘putting ourselves in the place of others’, we can share their points of view. Drawing on phenomenology and theories of embodied cognition, and on (...) empirical studies, we suggest that there are barriers to imagining oneself differently situated, or imagining being another person, arising in part from the way imagination is constrained by embodied experience. We argue that the role of imagination in moral engagement with others is to expand the scope of our sympathies rather than to enable us to put ourselves in the other's place. We argue for explicit acknowledgement that our assessments of others’ QOL are likely to be shaped by the specifics of our own embodiment, and by the assumptions we make as a consequence about what is necessary for a good quality of life. (shrink)

The author critically reviews the content and specific chapters of the Handbook of Embodied Cognition and Sport Psychology, focusing on the importance of imagination and creativity within the cognitive science of sport. Emphasis is placed on the concept of motor imagery, which plays a central role in enhancing athlete performance. In addition, the following section explores the topic of measuring creativity in a way that is appropriate to the specific discipline, while also taking into account its enactive and (...) embodied nature. This understanding allows for a more comprehensive exploration and cultivation of creativity. (shrink)

Introduction -- Image in contemporary culture -- Language, thought and image -- The many faces of the image -- The anatomy of the poetic image -- The architectural image.

How is it that metaphors are meaningful, yet we have so much trouble saying exactly what they mean? I argue that metaphoric thought is an act of imagination, mediated by the contingent form of human embodiment. Metaphoric cognition is an example of the productive interplay between intentional imagery and the body scheme, a process of imaginal modeling. The case of metaphor marks the intersection of linguistic and psychological processes and demonstrates the need for a multi-disciplinary approach not only in (...) philosophy of language, but in cognitive science and consciousness studies as well. (shrink)

While 4E approaches to cognition are increasingly introduced in educational contexts, little has been said about how 4E commitments can inform pedagogy aimed at fostering ethical competencies. Here, we evaluate a 4E-inspired ethics exercise that we developed at a technical university to enliven the moral imagination of engineering students. Our students participated in an interactive tinkering workshop, during which they materially redesigned a healthcare artifact. The aim of the workshop was twofold. Firstly, we wanted students to experience how material (...) choices at the levels of design and functionality can enable morally significant reimaginings of the affordances commonly associated with existing artifacts. We term this type of reimagining world-directed moral imagination. Secondly, through the design process, we wanted students to robustly place themselves in the lived embodied perspectives of (potential) users of their selected artifacts. We term this person-directed moral imagination. While student testimonies about the exercise indicate that both their world-directed and person-directed moral imagination were enlivened, we note that the fostering of robust person-directed moral imagination proved challenging. Using 4E insights, we diagnose this challenge and ask how it might be overcome. To this end, we engage extensively with a recent 4E-informed critique of person-directed moral imagination, raised by Clavel Vázquez and Clavel-Vázquez (2023). They argue that person-directed moral imagination is profoundly limited, if not fundamentally misguided, particularly when exercised in contexts marked by emphatic embodied situated difference between the imaginer and the imagined. Building upon insights from both the 4E field and testimonies from critical disability studies, we argue that, while their critique is valuable, it ultimately goes too far. We conclude that a 4E approach can take on board recent 4E warnings regarding the limits of person-directed moral imagination while contributing positively to the development of moral imagination in engineering ethics education. (shrink)

The phenomenology of home requires a differing notion of embodiment, perception, space/time, imagination, and animality. Home is in lived space, a deep psychic structure, and a dialogue with built structures and the natural world. Home requires cultivation that can increase our sense of belonging, shelter, direction and purpose. Home shows us trajectories of the back and forth dialogue with the inanimate world, deep past, ancestors, qualities of the things, animals and the natural world. Home is key to dwelling in (...) space in a centered way and appropriating the deep past. The meaning of home can lead to social efforts at providing homes and deepening ecological and historical awareness. (shrink)

By offering an original elucidation of the notion of the imagination in the writings of Immanuel Kant, Johann Fichte, and Cornelius Castoriadis, this book addresses and brings to the fore the significance of the imagination as the ontological source of human creation.

The long-form television drama series Hannibal thematises the embodied imagination and the elicitation of empathy and ethical understanding at the level of narrative and characterisation as well as through character engagement and screen aesthetics. Using Hannibal as a case study, this research investigates how stylistic choices frame the experiences of screen characters and engender forms of intersubjectivity based on corporeal and cognitive routes to empathy; in particular, it examines the capacity for screen media to facilitate what neuroscientist Vittorio (...) Gallese terms intercorporeality. As a constitutive aspect of intersubjectivity and social understanding that works through embodied simulation, intercorporeality invites a reconceptualisation of empathy and its association with ethical motivation and insight. Hannibal also introduces cannibalism as a dark metaphor for the incorporation of another into oneself, reflecting on empathy's ill-understood potential for negative affect and... (shrink)

Referring to Habermas’ groundbreaking book ‘The structural transformation of the public sphere’, the article discusses contemporary transformations of higher education and science. In order to do so, in a first step a post-Habermas perspective will be developed, which implies two changes to the theoretical foundations guiding Habermas’ analysis: On the one hand, we are in the midst of a social transformation that has led to a pluralization of the understandings of the public – that is, publics. The representation of society (...) in society no longer finds a homogeneous form; it takes place only within the framework of different partial publics. These publics gain importance for different types of organizations (companies, public administrations, NGOs, etc.). This is where the second change to Habermas’ concept comes in because, on the other hand, from the perspective taken in this paper, such publics are constructs of the organizations themselves, that is, imagined publics. The fruitfulness of such a post-Habermas perspective on the public sphere will be illustrated by focusing on higher education and science. Universities as the organizational embodiment of higher education and science, not only represent a discursive space in the public sphere, but they are also increasingly transformed into strategically acting organizations that imagine and actively shape the publics that are relevant to them. Four examples will be used to present empirical observations that emerge from the theoretical perspective proposed here. These examples, however, require more in-depth investigations and only serve as illustrations for a new research agenda on ‘imagined publics’. In the end of this contribution, it is asked how far-reaching the discussed change processes towards universities as strategic organizations are, and what consequences result concerning a discursive and communicative understanding of universities. (shrink)

The article investigates the rhetorical means of mediating affective experience in occasioned storytelling. The completion of this article has been supported by The Emil Aaltonen Foundation and The Academy of Finland project (285144) The Literary in Life and The Academy of Finland project (326645) European Solidarities in Turmoil. We are interested in the forms and aspects of bodily action in signifying and communicating a “para-factual experience” that was triggered by a real-life incident, but in fact only took place in a (...) person’s imagination. We explore the case of a TV interview in which an American living in Finland narrates a personal, disturbing experience related to the news about 9/11. The story presents a visual scenario of the teller’s affective reaction towards two Muslim women in a grocery store. What is interesting in the story are its involuntary dimensions: the scenario portrays a picture of the teller that he finds unrecognizable and detached from his sense of self as a person. Even if the act was never actually realized, to the teller it felt real and compelling, as is manifest in the way he translates the scenario into a bodily performance. The teller not only uses his body to tell the story but momentarily turns the surrounding setting into a scene in the storyworld in which he plays the unidentified me. We call this physical performance of the imagined scene the embodied ekphrasis of experience. In Semiotica, the rhetorical device of ekphrasis has appeared before (see Frosh 2003; Hopkins 2015; Nesselroth 2016; Sarapik 2009) from such literary and linguistic perspectives, as well as through the lens of media research and cultural studies, to which our application will add from the viewpoint of ethnomethodology and the social sciences. Deploying research on multimodal interaction and intermediality, our empirical analysis explicates how the teller’s body, and not just words, build action, convey affective meaning, and resemiotize and mobilize a physical enactment of the past hypothetical scene. (shrink)

Name der Zeitschrift: Semiotica Jahrgang: 2016 Heft: 213 Seiten: 177-196.

My aim in this chapter is to explain how and why all human cognition depends on the body for Leibniz. I will show that there are three types of dependence: (a) the body is needed in order to supply materials, or content, for thinking; (b) the body is needed in order to give us the opportunity for the discovery of innate ideas; and (c) the body is needed in order to provide sensory notions as vehicles of thought. The third type (...) is intimately connected to the faculty of the imagination, which supplies the sensory vehicles of thought. Hence, the paper will also examine Leibniz’s account of that faculty and its operations. Before doing any of this, however, I will address the elephant in the room: Leibniz’s claim that mind and body do not interact at all, metaphysically speaking. The correspondence between mind and body is merely a matter of what he calls ‘pre-established harmony’. At first glance, this Leibnizian doctrine may suggest a radical disembodiment of all human cognition. Yet, I will argue that this is not the case and that, quite to the contrary, pre-established harmony requires that cognition is embodied in one important sense. (shrink)

While in the movies or reading a novel, how can we feel terrified by monsters, ghosts, and fictional serial killers? And how can we feel sad or outraged by depictions of cruelty? After all, we know that the imagined threats that we fear do not exist and, therefore, pose no real threat to us; and we know that the instances of cruelty that bring tears to our eyes have not happened. And yet, the fear, the sadness, or the outrage experienced (...) in our imaginations feels very real. This is the so-called paradox of "fictional emotions." This and related paradoxes have become recalcitrant problems for a purely representational approach to the imagination that tries to accommodate the imagination in a belief-desire psychology, explaining our imaginings as mental states that are similar to beliefs or desires in some ways but not others—as "quasi-beliefs" or "quasi-desires." This representational approach can be seen, for example, in Kendall Walton's influential account of the imagination as "make-believe," or in Shaun Nichols and Stephen Stich's boxological account of the imagination as a "pretend box," which is in close interaction with the suspiciously similar "belief box". (shrink)

In the first part of the paper, previous work about embodied mathematics and the practice of topology will be presented. According to the proposed view, in order to become experts, topologists have to learn how to use manipulative imagination: representations are cognitive tools whose functioning depends from pre-existing cognitive abilities and from specific training. In the second part of the paper, the notion of imagination as “make-believe” is discussed to give an account of cognitive tools in mathematics (...) as props; to better specify the claim, the notion of “affordance” is explored in its possible extension from concrete objects to representations. (shrink)

Volume 24, Issue 4, August 2019, Page 1-2.

Some objects we value because they afford a felt connection with people, events, or places connected with their past. Visiting Canterbury cathedral, you encounter the place where, in 1170, Archbishop Thomas Becket was murdered by four knights of Henry II. Knowing that you are standing in the very place where Becket’s blood was spilled gives the past event a sense of tangible reality. One feels ‘in touch with’ the past; history seems to ‘come alive’. In this paper, I propose an (...) explanation for the phenomenology of such experiences in terms of an imaginative activity that represents what an object is historically connected with as part of the object in the present. One imagines of the site of Becket’s murder Becket being murdered. According to my account, objects that embody their histories are representations in Kendall Walton’s sense: they have the function of serving as props in games of make-believe. (shrink)

The impact of digital media and technology on performance arts is evident when digital visual effects (VFX) filming techniques are introduced on a film set. Digital technologies influence the film actor’s approach to be congruent to and authentic within the circumstances of the scene. Actors require an effective skillset and strategies to successfully deliver an embodied performance aligning with the various digital VFX techniques. Focusing on imagination, action and emotion that would facilitate such an embodied performance, we (...) drew on relevant neuroscientific notions such as neuron reactivation, conceptual blending, as-if body states and affordances. Additionally, we incorporated relevant embodied performance concepts from Stanislavski, Laban/Bartenieff Movement Studies, Effector Patterns including the Emotional Body Approach and Lessac Kinesensics to the development of a digital acting programme, advancing the actor’s required skills and providing on-set digital acting strategies to support congruency with digital VFX and authenticity within the diegetic reality. The efficacy of this programme was determined by assessing pre- and post-intervention recordings of both a control and an experimental group of trained actors. Reflection-on-action journals from participants supplemented the assessment. The assessments and journals indicate that the acquired skillset and on-set digital acting strategies effectively improve the actor’s performance with digital VFX filming technology. (shrink)

(2009). Fantasies and Fetishes: The Erotic Imagination and the Problem of Embodiment. Journal of the British Society for Phenomenology: Vol. 40, Tradition, Art & Sexuality, pp. 66-82.

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.

The author argues for three interconnected theses which provide a cognitive account for why humans intuitively believe that others survive death. The first thesis, from which the second and third theses follow, is that the acceptance of afterlife beliefs is predisposed by a specific, and already well-documented, imaginative process - the offline social reasoning process. The second thesis is that afterlife beliefs are social in nature. The third thesis is that the living imagine the deceased as socially embodied in (...) such a way as to continue to fulfill on-going social obligations with others. The author further suggests six reasons why the fantasy/reality distinction breaks down for the imaginer such that the continued existence of the decedent in the afterlife is believed to be real. Finally, the author suggests avenues for further research which would support this cognitive account. (shrink)

By “essentially embodied Kantian selves,” I mean necessarily and completely embodied rational conscious, self-conscious, sensible (i.e., sense-perceiving, imagining, and emoting), volitional or willing, discursive (i.e., conceptualizing, judging, and inferring) animals, or persons, innately possessing dignity, and fully capable not only of free agency, but also of a priori knowledge of analytic and synthetic a priori truths alike, with egocentric centering in manifestly real orientable space and time. The basic theory of essentially embodied Kantian selves was spelled out (...) by Kant over the course of slightly less than two decades, between 1768 and 1787, but above all, it flows from an empirical realist and metaphysical reading of the “Refutation of Idealism” that Kant inserted into the Postulates of Empirical Thought section in the 1787 edition of the first Critique. In my opinion, all rational but also “human, all-too-human” creatures like us are, synthetic a priori necessarily, essentially embodied Kantian selves. Let’s call that the essentially embodied Kantian selves thesis, or for short, EEKST. If EEKST is true, then it’s synthetic a priori impossible for the selves of creatures like us to exist independently of our own living organismic animal bodies or beyond the deaths of those bodies, whether temporarily or permanently, by any means whatsoever. Indeed, the very ideas of disembodied selves, their survival after death, and of human immortality, while minimally logically consistent, are in fact conceptually empty and incoherent, even over and above the synthetic a priori impossibility of such things, since the term “myself” indexically picks out an essentially embodied Kantian self, all of whose core features require grounding in a particular living organismic animal body. According to the recent and contemporary movement of transhumanism, the selves of creatures like us can not only exist independently of our bodies, as functional systems of representational content that are inherently able to be implemented or realized in digital-mechanical technology and uploadable to servers, but also to survive accidental or natural human death in server-limbo, then be downloaded into technologically enhanced partially mechanical humanoid bodies or even into wholly artificially-created completely mechanical non-humanoid bodies, survive in these new implementations or realizations for an indefinitely long time, repeat that process, and possibly even become immortal. Transhumanism is in fact metaphysically equivalent to Swedenborgianism, which Kant so effectively criticizes and wittily derides in his 1766 book, Dreams of a Spirit-Seer Elucidated by Dreams of Metaphysics. Moreover, and more importantly, if EEKST is true, then, just like Swedenborgianism, transhumanism is not only conceptually empty and incoherent, but also synthetic a priori impossible. And what’s more, it’s also existentially and morally reprehensible. In short, then, the belief in transhuman selves is nothing but a reprehensible noumenal fantasy or Hirngespinst. (shrink)

What does it mean to be an embodied thinker of abstract concepts? Does embodiment shape the character and quality of our understanding of universals such as 'dog' and 'beauty', and would a non-embodied mind understand such concepts differently? I examine these questions through the lens of Thomas Aquinas’s remarks on the differences between embodied (human) intellects and non-embodied (angelic) intellects. In Aquinas, I argue, the difference between embodied and non-embodied intellection of extramental realities is (...) rooted in the fact that embodied and non-embodied intellects grasp different kinds of universals by means of different kinds of intelligible species (intellectual likenesses), which elicit in them different “modes” of understanding. By spelling out what exactly it means to be an embodied knower, on Aquinas’s account, I argue, we can also shed new light on his mysterious claim that the embodied intellect “turns to phantasms”—the imagination’s likenesses of individuals—in its acts of understanding. (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)

Imagination allows us to step out of the ordinary but also to transform it through our sense of wonder and play, artistic inspiration and innovation, or the eureka moment of a scientific breakthrough. In this book, Jennifer Anna Gosetti-Ferencei offers a groundbreaking new understanding of its place in everyday experience as well as the heights of creative achievement. -/- The Life of Imagination delivers a new conception of imagination that places it at the heart of our engagement (...) with the world—thinking, acting, feeling, making, and being. Gosetti-Ferencei reveals imagination’s roots in embodied human cognition and its role in shaping our cognitive ecology. She demonstrates how imagination arises from our material engagements with the world and at the same time endows us with the sense of an inner life, how it both allows us to escape from reality and aids us in better understanding it. Drawing from philosophy, cognitive science, evolutionary anthropology, developmental psychology, literary theory, and aesthetics, Gosetti-Ferencei engages a spectacular range of examples from ordinary thought processes and actions to artistic, scientific, and literary feats to argue that, like consciousness itself, imagination resists reductive explanation. The Life of Imagination offers a vital account of transformative thinking that shows how imagination will be essential in cultivating a future conducive to human flourishing and to that of the life around us. (shrink)

Although Wayne Wu correctly identifies a flaw in the way in which my 2009 article frames the debate about ‘zombie action’, he fails in his attempts to strengthen the case for thinking that our actions are under less conscious control than we usually imagine. His argument, like the arguments that my earlier paper addressed, can be blocked by allowing that an embodied demonstrative concept can contribute contents to a visual experience.

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.

This book develops a theory of how the imagination functions, and how it evolved. The imagination is characterized as an embodied cognitive system. The system draws upon sensory-motor, visual, and linguistic capacities, but it is a flexible, developmental ability, typified by creative improvisation. The imagination is a voluntary simulation system that draws on perceptual, emotional, and conceptual elements, for the purpose of creating works that adaptively investigate external (environmental) and internal (psychological) resources. Beyond the adaptive useful (...) values of this system, imagination also possesses significant intrinsic value (e.g., in the joy of play, and states of wonder). The book argues that imagination is not a late arrival in the evolution of mind, but one of the earliest human abilities. (shrink)

We demonstrate in two experiments that real and imagined body movements appropriate to metaphorical phrases facilitate people's immediate comprehension of these phrases. Participants first learned to make different body movements given specific cues. In two reading time studies, people were faster to understand a metaphorical phrase, such as push the argument, when they had previously just made an appropriate body action (e.g., a push movement) (Experiment 1), or imagined making a specific body movement (Experiment 2), than when they first made (...) a mismatching body action (e.g., a chewing movement) or no movement. These findings support the idea that appropriate body action, or even imagined action, enhances people's embodied, metaphorical construal of abstract concepts that are referred to in metaphorical phrases. (shrink)

A persistent criticism of radical embodied cognitive science is that it will be impossible to explain “real cognition” without invoking mental representations. This paper provides an account of explicit, real-time thinking of the kind we engage in when we imagine counter-factual situations, remember the past, and plan for the future. We first present a very general non-representational account of explicit thinking, based on pragmatist philosophy of science. We then present a more detailed instantiation of this general account drawing on (...) nonlinear dynamics and ecological psychology. (shrink)

Qualitative research methods in sport often advocate that to understand others, obtain significant knowledge and do ethically admirable research we should empathise with our participants by imagining being them. In philosophy, it is likewise often assumed that we can overcome differences between people through moral imagination: putting ourselves in the place of others, we can share their points of view, merge with them, and enter into their embodied worlds. Drawing partly on the view that imagination is (...) class='Hi'>embodied and the philosophy of Bakhtin and Levinas, along with research on people's experiences of becoming disabled through playing sport, this paper problematises the assumption that we can imagine ourselves differently situated or being another person. It argues that our imagination and ability to put ourselves in the place of others is constrained partly by embodied experience and otherness. Some reflections on what this might mean for disability and sport research are then offered. (shrink)

A common and enduring early modern intuition is that materialists reduce organisms in general and human beings in particular to automata. Wasn’t a famous book of the time entitled L’Homme-Machine? In fact, the machine is employed as an analogy, and there was a specifically materialist form of embodiment, in which the body is not reduced to an inanimate machine, but is conceived as an affective, flesh-and-blood entity. We discuss how mechanist and vitalist models of organism exist in a more complementary (...) relation than hitherto imagined, with conceptions of embodiment resulting from experimental physiology. From La Mettrie to Bernard, mechanism, body and embodiment are constantly overlapping, modifying and overdetermining one another; embodiment came to be scientifically addressed under the successive figures of vie organique and then milieu intérieur, thereby overcoming the often lamented divide between scientific image and living experience. (shrink)

This paper provides an account of the experience of empathizing with the fictional characters of literary works, through the lens of Husserl's theory of presentification. Via a critical analysis of Husserl and other phenomenologists, I argue that fictional characters, though lacking embodied presence, can be presentified to the reader in the mode of "as if." Moreover, I claim that imaginative empathy is a guided creative reproduction of sedimented past bodily experiences. This explains why, motivated by imaginative empathetic presentification, not (...) only aesthetic feelings, but also "as if" existential feelings come to the fore. Finally, it shows to what extent presentation and the different modes of presentification are interwoven and function together. (shrink)

Embodiment is a fact of human existence which philosophers should not ignore. They may differ to a great extent in what they have to say about our bodies, but they have to take into account that for each of us our body has a special status, it is not merely one amongst the physical objects, but a physical object to which we have a unique relation. While Descartes approached the issue of embodiment through consideration of sensation and imagination, it (...) is more directly reached by consideration of action and agency: whenever we act upon the world, we act by moving our bodies. So if we can understand what an immaterialist such as Berkeley thinks about agency, we will have gone a fair way to understanding what he thinks about embodiment. §1 discusses a recent flurry of articles on the subject of Berkeley’s account of action. I choose to present Berkeley as a causal-volitional theorist not because I think it is the uniquely correct interpretation of the texts, but because I find it more philosophically interesting as a version of immaterialism. In particular, it raises the possibility of a substantive account of human embodiment which is completely unavailable to the occasionalist. §2 articulates an apparent philosophical problem for Berkeley qua causal-volitional theorist and show that Locke was aware of a related problem and had a solution of which Berkeley would have known. §3 distinguishes two interpretations of Berkeley’s famous denial of blind agency – as the assertion of a weak representational condition or a strong epistemic one – and provide evidence that there was a well-established debate about blind powers in the seventeenth century which took the metaphor of blindness as indicating an epistemic rather than merely representational failing. What remains to do in §4 is to consider whether Berkeley, with his own peculiar commitments, could in fact accept this account of agency. (shrink)

The concept of affordances is rapidly gaining traction in the philosophy of mind and cognitive sciences. Affordances are opportunities for action provided by the environment. An important open question is whether affordances can be used to explain mental action such as attention, counting, and imagination. In this paper, we critically discuss McClelland’s (‘The Mental Affordance Hypothesis’, 2020, Mind, 129(514), pp. 401–427) mental affordance hypothesis. While we agree that the affordance concept can be fruitfully employed to explain mental action, we (...) argue that McClelland’s mental affordance hypothesis contain remnants of a Cartesian understanding of the mind. By discussing the theoretical framework of the affordance competition hypothesis, we sketch an alternative research program based on the principles of embodied cognition that evades the Cartesian worries. We show how paradigmatic mental acts, such as imagination, counting, and arithmetic, are dependent on sensorimotor interaction with an affording environment. Rather than make a clear distinction between bodily and mental action, the mental affordances highlight the embodied nature of our mental action. We think that in developing our alternative research program on mental affordances, we can maintain many of the excellent insights of McClelland’s account without reintroducing the very distinctions that affordances were supposed to overcome. (shrink)

For philosophers of German idealism and early German Romanticism, the imagination is central to issues ranging from hermeneutics to transcendental logic and from ethics to aesthetics. This volume of new essays brings together, for the first time, comprehensive and critical reflections on the significances of the imagination during this period, with essays on Kant and the imagination, the imagination in post-Kantian German idealism, and the imagination in early German romanticism. The essays explore the many and (...) varied uses of the imagination and discuss whether they form a coherent or shared notion or whether they embody points of philosophical divergence within these traditions. They shed new light on one of the most important and enigmatic aspects of human nature, as understood in the context of a profoundly influential era of western thought. (shrink)