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

A widespread claim, which I call ‘the Emotionality Claim’, is that imagination but not supposition is intimately linked to emotion. In more cognitive jargon, imagination is connected to the affect system, whereas supposition is not. EC is open to several interpretations which yield very different views about the nature of supposition. The literature lacks an in-depth analysis of EC which sorts out these different readings and ways to carve supposition and imagination at their joints. The aim of (...) this paper is to fill this gap. I shall argue that existing readings of EC fail to properly account for the emotional asymmetry between imagination and supposition. The tendency is to start from narrow conceptions of both imagination and supposition. I shall argue for a novel interpretation of EC pivoting on different ways a mental state can connect to the affect system. (shrink)

In this illuminating study of Kant's theory of imagination and its role in interpretation, Rudolf A. Makkreel argues against the commonly held notion that Kant's transcendental philosophy is incompatible with hermeneutics. The charge that Kant's foundational philosophy is inadequate to the task of interpretation can be rebutted, explains Makkreel, if we fully understand the role of imagination in his work. In identifying this role, Makkreel also reevaluates the relationship among Kant's discussions of the feeling of life, common sense, (...) and the purposiveness of history. (shrink)

Ignorance and Imagination advances a novel way to resolve the central philosophical problem about the mind: how it is that consciousness or experience fits into a larger naturalistic picture of the world. The correct response to the problem, Stoljar argues, is not to posit a realm of experience distinct from the physical, nor to deny the reality of phenomenal experience, nor even to rethink our understanding of consciousness and the language we use to talk about it. Instead, we should (...) view the problem itself as a consequence of our ignorance of the relevant physical facts, Stoljar shows that this change of orientation is well motivated historically, empirically, and philosophically, and that it has none of the side effects it is sometimes thought to have. The result is a philosophical perspective on the mind that has a number of far-reaching consequences: for consciousness studies, for our place in nature, and for the way we think about the relationship between philosophy and science. (shrink)

This chapter argues that epistemic uses of the imagination are a sui generis form of reasoning. The argument proceeds in two steps. First, there are imaginings which instantiate the epistemic structure of reasoning. Second, reasoning with imagination is not reducible to reasoning with doxastic states. Thus, the epistemic role of the imagination is that it is a distinctive way of reasoning out what follows from our prior evidence. This view has a number of important implications for the (...) epistemology of the imagination. For one thing, it clarifies the epistemic role of widely invoked “constraints” on the imagination. For another, it highlights important and underappreciated disanalogies between how perceptual experiences and imaginings justify beliefs. Ultimately, the view that we can reason with imagination offers an illuminating and theoretically fruitful framework through which to understand the epistemic structure of the imagination. (shrink)

After a long hiatus, psychology and philosophy are returning to formal study of imagination. While excellent work is being done in the current environment, this article argues for a stronger thesis than usually adopted. Imagination is not just a peripheral feature of cognition or a domain for aesthetic research. It is instead the core operating system or cognitive capacity for humans and has epistemic and therapeutic functions that ground all our sense-making activities. A sketch of imagination as (...) embodied cognition is offered, followed by suggestions of how to organize imagination studies into a more rigorous science–humanities research area. (shrink)

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

Recently, various philosophers have argued that we can obtain knowledge via the imagination. In particular, it has been suggested that we can come to know concrete, empirical matters of everyday significance by appropriately imagining relevant scenarios. Arguments for this thesis come in two main varieties: black box reliability arguments and constraints-based arguments. We suggest that both strategies are unsuccessful. Against black-box arguments, we point to evidence from empirical psychology, question a central case-study, and raise concerns about a (claimed) evolutionary (...) rationale for the imagination's reliability. Against the constraints-based account, we argue that to the extent that it works, this does not give rise to knowledge that is distinctively from the imagination. We conclude by suggesting that the imagination's role in raising possibilities, traditionally seen as part of the context of discovery, can in fact play a role in justification, including as a bulwark against certain sorts of skepticism. (shrink)

Aphantasia is a recently discovered disorder characterised by the total incapacity to generate visual forms of mental imagery. This paper proposes that aphantasia raises important theoretical concerns for the ongoing debate in the philosophy and science of consciousness over the nature of dreams. Recent studies of aphantasia and its neurobehavioral correlates reveal that the majority of aphantasics, whilst unable to produce visual imagery while awake, nevertheless retain the capacity to experience rich visual dreams. This finding constitutes a novel explanandum for (...) theories of dreaming. Specifically, I argue that the recent dream reports of aphantasics constitute an empirical challenge to the emerging family of views which claim that dreams are essentially imaginative experiences, constitutively involving the kinds of mental imagery which aphantasics, ex-hypothesi, lack. After presenting this challenge in the context of Jonathan Ichikawa’s recent arguments for this view, I argue that this empirical challenge may be overcome if the imagination theorist abandons Ichikawa’s account of dreaming in favour of a modified version. This involves the claim that dreams are essentially inactive and constitutively involve non voluntary forms of imagination. I conclude with a suggestion for further research which can test the viability of this alternative hypothesis, and move the debate forward. (shrink)

This volume presents new essays on the propositional imagination by leading researchers. The propositional imagination---the mental capacity we exploit when we imagine that everyone is colour-blind or that Hamlet is a procrastinator---plays an essential role in philosophical theorizing, engaging with fiction, and indeed in everyday life. Yet only recently has there been a systematic attempt to give a cognitive account of the propositional imagination. These thirteen essays, specially written for the volume, capitalize on this recent work, extending (...) the theoretical picture of the imagination and exploring the philosophical implications of cognitive accounts of the imagination. The book also investigates broader philosophical issues surrounding the propositional imagination. The first section addresses the nature of the imagination, its role in emotion production, and its sophistication manifestation in childhood. The essays in the second section focus on the nature of pretence and how pretence is implicated in adult communication. The third section addresses the problem of 'imaginative resistance', the striking fact that when we encounter morally repugnant assertions in fiction, we seem to resist imagining them and accepting them as fictionally true. In the final section, contributors explore the relation between imagining, conceiving, and judgements of possibility and impossibility. The Architecture of the Imagination will be an essential resource for the growing number of philosophers and psychologists studying the nature of the imagination and on its role in philosophy, aesthetics, and everyday life. (shrink)

What is it like to dream? On an orthodox view, dreams involve misleading sensations and false beliefs. I argue, on philosophical, psychological, and neurophysiological grounds, that orthodoxy about dreaming should be rejected in favor of an imagination model of dreaming. I am thus in partial agreement with Colin McGinn, who has argued that we do not have misleading sensory experiences while dreaming, and partially in agreement with Ernest Sosa, who has argued that we do not form false beliefs while (...) dreaming. Rather, on my view, dreams involve mental imagery and propositional imagination. I defend the imagination model of dreaming from objections. (shrink)

Historically left to the margins, the topics of imagination and creativity have gained prominence in philosophy of science, challenging the once dominant distinction between ‘context of discovery’ and ‘context of justification’. The aim of this chapter is to explore imagination and creativity starting from issues within contemporary philosophy of science, making connections to these topics in other domains along the way. It discusses the recent literature on the role of imagination in models and thought experiments, and their (...) comparison with fictions. It then turns to the importance of constraints on imaginings in the scientific domain, as well as whether constraints can hinder creativity. The second part of the paper focuses on the social dimensions of science. It considers imagination and creativity of scientific communities, asks whether the institution of science promotes creativity (and whether we want it to) or if it encourages conservativeness, and ends with a reflection on the politics of imagination and creativity in science. (shrink)

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

Guided by neuroscience, animal behavior, evolution, philosophy, and psychology, Asma burrows deep into the human psyche to look right at the enigmatic but powerful engine that is our improvisational creativity—the source, he argues, of our remarkable imaginational capacity. How is it, he asks, that a story can evoke a whole world inside of us? How are we able to rehearse a skill, a speech, or even an entire scenario simply by thinking about it? How does creativity go beyond experience and (...) help us make something completely new? And how does our moral imagination help us sculpt a better society? As he shows, we live in a world that is only partly happening in reality. Huge swaths of our cognitive experiences are made up by “what-ifs,” “almosts,” and “maybes,” an imagined terrain that churns out one of the most overlooked but necessary resources for our flourishing: possibilities. Considering everything from how imagination works in our physical bodies to the ways we make images, from the mechanics of language and our ability to tell stories to the creative composition of self-consciousness, Asma expands our personal and day-to-day forms of imagination into a grand scale: as one of the decisive evolutionary forces that has guided human development from the Paleolithic era to today. The result is an inspiring look at the rich relationships among improvisation, imagination, and culture, and a privileged glimpse into the unique nature of our evolved minds. (shrink)

The psychological mechanism of decision-making has traditionally been modeled with the help of belief-desire psychology: the agent has some desires (or other pro-attitudes) and some background beliefs and deciding between two possible actions is a matter of comparing the probability of the satisfaction of these desires given the background beliefs in the case of the performance of each action. There is a wealth of recent empirical findings about how we actually make decisions that seems to be in conflict with this (...) picture. My aim is to outline an alternative model that is consistent with these empirical findings. This alternative model emphasizes the role imagination plays in our decisions: when we decide between two possible actions, we imagine ourselves in the situation that we imagine to be the outcome of these two actions and then compare these two imaginings. (shrink)

In the topic-sensitive theory of the logic of imagination due to Berto (2018a), the topic of the imaginative output must be contained within the imaginative input. That is, imaginative episodes can never expand what they are about. We argue, with Badura (2021), that this constraint is implausible from a psychological point of view, and it wrongly predicts the falsehood of true reports of imagination. Thus the constraint should be relaxed; but how? A number of direct approaches to relaxing (...) the controversial content-inclusion constraint are explored in this paper. The core idea is to consider adding an expansion operator to the mereology of topics. The logic that results depends on the formal constraints placed on topic expansion, the choice of which are subject to philosophical dispute. The rst semantics we explore is a topological approach using a closure operator, and we show that the resulting logic is the same as Berto's own system. The second approach uses an inclusive and monotone increasing operator, and we give a sound and complete axiomatisation for its logic. The third approach uses an inclusive and additive operator, and we show that the associated logic is strictly weaker than the previous two systems, and additivity is not de nable in the language. The latter result suggests that involved techniques or a more expressive language is required for a complete axiomatization of the system, which is left as an open question. All three systems are simple tweaks on Berto's system in that the language remains propositional, and the underlying theory of topics is unchanged. (shrink)

Vendler’s :161–173, 1979) puzzle about imagination is that the sentences ‘Imagine swimming in that water’ and ‘Imagine yourself swimming in that water’ seem at once semantically different and semantically the same. They seem semantically different, since the first requires you to imagine ’from the inside’, while the second allows you to imagine ’from the outside.’ They seem semantically the same, since despite superficial dissimilarity, there is good reason to think that they are syntactically and lexically identical. This paper sets (...) out the puzzle and offers a novel solution. Our proposal is that, just as there is knowledge-wh, there is also imagining-wh and that the inside/outside distinction Vendler points to is properly understood as a distinction within imagining-wh. In particular, to imagine swimming from the inside is to imagine what it feels like to swim, while to imagine swimming from the outside is to imagine what it looks like to swim. We show that this proposal is well grounded in both the semantics and syntax of ‘imagine.’ We also argue it makes better sense than its rivals of the data Vendler found so puzzling. (shrink)

In retrospect, I think I was right to compose Natural Supernaturalism by relying on taste, tact, and intuition rather than on a controlling method. A book of this kind, which deals with the history of human intellection, feeling, and imagination, employs special vocabularies, procedures, and modes of demonstration which, over many centuries of development, have shown their profitability when applied to matters of this sort. I agree with Booth that these procedures, when valid, are in a broad sense rational, (...) and subject to analysis and some degree of definition. But the rules underlying such a discourse are complex, elusive, unsystematic, and subject to innovative modification; they manifest themselves in the intuitive expertise of the historian; and the specification of these rules should not precede, but follow practice. . . . After the fact, nevertheless, a book like Natural Supernaturalism is subject to close critical inquiry about its methods and rationale. I am grateful to Booth for opening up such an inquiry, and for doing so in a way that is not only disarming, but seems to me to be the most promising of useful results. That is, instead of adopting a prosecutorial stance, demanding: "Justify the rationality and probative force of what you have done; it looks dammed suspicious to me," he has adopted the friendly tactic of saying: "Your book, in my experience of it, has yielded discoveries that I want to call knowledge, by methods, however deviant from standard rubrics of valid reasoning, that it seems irrational to call non-rational. Let's set out to clarify what these methods are, and to see what grounds we can find for the claim that they provide warranted knowledge." M.H. Abrams' contributions to Critical Inquiry are "The Deconstructive Angel" and "Behaviorism and Deconstruction: A Comment on Morse Peckham's 'The Infinitude of Pluralism'". (shrink)

The method of phenomenal contrast (in perception) invokes the phenomenal character of perceptual experience as a means to discover its contents. The method implicitly takes for granted that ‘what it is like’ to have a perceptual experience e is the same as ‘what it is like’ to imagine or recall it; accordingly, in its various proposed implementations, the method treats imaginations and/or recollections as interchangeable with real experiences. The method thus always contrasts a pair of experiences, at least one of (...) which is imagined or remembered rather than occurrent. Surveying all eighteen forms of implementing the method, I argue that in all of the proposed pairings, the substitution of imagination or recollection for perceptual experience in the method, is either inconceivable or impermissible. I identify four reasons why I think imagination cannot be substituted for real experience, and three reasons why recollection cannot be substituted for real experience. If my argument works, there is no form of implementing the method that is useful for discovering the contents of experience, and thus the method is not a well‐functioning tool to study the contents of perception. (shrink)

According to recent accounts of the imagination, mental mechanisms that can take input from both imagining and from believing will process imagination‐based inputs (pretense representations) and isomorphic beliefs in much the same way. That is, such a mechanism should produce similar outputs whether its input is the belief that p or the pretense representation that p. Unfortunately, there seem to be clear counterexamples to this hypothesis, for in many cases, imagining that p and believing that p have quite (...) different psychological consequences. This paper sets out some central problem cases and argues that the cases might be accommodated by adverting to the role of desires concerning real and imaginary situations. (shrink)

We can understand implicit bias as a person’s disposition to evaluate members of a social group in a less favorable light than members of another social group, without intending to do so. If we understand it this way, we should not presuppose a one-size-fits-all answer to the question of how implicit cognitive states lead to skewed evaluations of other people. The focus of this paper is on implicit bias in considered decisions. It is argued that we have good reasons to (...) assume that imagination plays a vital role in decision making. If this assumption is correct, it offers an explanation for implicit bias in many considered decisions: Human beings who have been frequently exposed to stereotypes have stereotype-congruent expectations as part of their background knowledge. They feed into their imagination, sometimes without their awareness. This model would allow us to explain the key characteristics of implicit bias without recurring to any unconscious attitudes over and above such background knowledge. (shrink)

According to a traditional view, there is no categorical difference between the phenomenology of perception and the phenomenology of imagination; the only difference is in degree (of intensity, resolution, etc.) and/or in accompanying beliefs. There is no categorical difference between what it is like to perceive a dog and what it is like to imagine a dog; the former is simply more vivid and/or is accompanied by the belief that a dog is really there. A sustained argument against this (...) traditional view is prosecuted by Sartre, who develops an alternative according to which there is a categorical difference between the two phenomenologies. This paper draws on Sartre’s work in this area to develop a similar account of perception and imagination as categorically different. (shrink)

A summary of Explaining Imagination (OUP, 2020) for the author/critics symposium in Analysis.

I argue that on an understanding of imagination that relates it to an individual's environment rather than her mental contents imagination is essential to emotion, and brings together affective, cognitive, and representational aspects to emotion. My examples focus on morally important emotions, especially retrospective emotions such as shame, guilt, and remorse, which require that one imagine points of view on one's own actions. PUBLISHER'S BLURB: Recent years have seen an enormous amount of philosophical research into the emotions and (...) the imagination, but as yet little work has been done to connect the two. In his engaging and highly original new book, Adam Morton shows that all emotions require some form of imagination and goes on to fully explore the link between these two important concepts both within philosophy and in everyday life. We may take it for granted that complex emotions, such as hope and resentment, require a rich thinking and an engagement with the imagination, but Morton shows how more basic and responsive emotions such as fear and anger also require us to take account of possibilities and opportunities beyond the immediate situation. Interweaving a powerful tapestry of subtle argument with vivid detail, the book highlights that many emotions, more than we tend to suppose, require us to imagine a situation from a particular point of view and that this in itself can be the source of further emotional feeling. Morton goes on to demonstrate the important role that emotions play in our moral lives, throwing light on emotions such as self-respect, disapproval, and remorse, and the price we pay for having them. He explores the intricate nature of moral emotions and the challenges we face when integrating our thinking on morality and the emotions. This compelling and thought-provoking new book challenges many assumptions about the nature of emotion and imagination and will appeal to anyone seeking a deeper understanding of the role that these concepts play in our lives. The book also has far reaching implications that will spark debate amongst scholars and students for some time to come. (shrink)

In a work of astonishing intellectual range, James Engell traces the evolution of the creative imagination, from its emergence in British empirical thought through its flowering in Romantic art and literature. The notion of a creative imagination, Engell shows, was the most powerful and important development of the eighteenth century. It grew simultaneously in literature, criticism, philosophy, psychology, religion, and science, attracting such diverse minds as Hobbes, Addison, Gerard, Goethe, Kant, and Coleridge. Indeed, rather than discussing merely the (...) abstract notion of the imagination, Engell examines the community of thinkers, especially in England and Germany, who joined to pursue and develop what became the most fascinating and suggestive concept of modern Western thought. For as the imagination became the dominant subject of literature, its meanings multiplied. Finally it came to be seen as the crown of artistic creation and as the mediator in the ongoing dialectic between matter and spirit, materialism and transcendentalism. (shrink)

Moral distress has been covered extensively in the nursing literature and increasingly in the literature of other health professions. Cases that cause nurses’ moral distress that are mentioned most frequently are those concerned with prolonging the dying process. Given the standard of aggressive treatment that is typical in intensive care units (ICUs), much of the existing moral distress research focuses on the experiences of critical care nurses. However, moral distress does not automatically occur in all end-of-life circumstances, nor does every (...) critical care nurse suffer its damaging effects. What are the practices of these nurses? What specifically do they do to navigate around or through the distressing situations? The nursing literature is lacking an answer to these questions. This article reports a study that used narrative analysis to explore the reported practices of experienced critical care nurses who are skilled at and comfortable working with families and physicians regarding the withdrawal of aggressive treatment. A major finding was that these nurses did not report experiencing the dam-Moral Agency, Moral Imagination, and Moral Community: Antidotes to Moral Distress Terri Traudt, Joan Liaschenko, and Cynthia Peden-McAlpine Terri Traudt, MBC, MA, is a Communications Consultant specializing in bioethics at the Center for Bioethics at the University of Minnesota, in Minneapolis. trau0116@umn.edu Joan Liaschenko, PhD, RN, FAAN, is a Professor at the Center for Bioethics and Nursing at the University of Minnesota. Cynthia Peden-McAlpine, PhD, ACNS, BC, is an Associate Professor in the School of Nursing at the University of Minnesota. © 2016 by The Journal of Clinical Ethics. All rights reserved. aging effects of moral distress as described in the nursing literature. The verbal communication and stated practices relevant to this finding are organized under three major themes: (1) moral agency, (2) moral imagination, and (3) moral community. Further, a total of eight subthemes are identified. The practices that constitute these themes and subthemes are further detailed and discussed in this article. Understanding these practices can help mitigate critical care nurses’ moral distress. (shrink)

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

In this article, we demonstrate empirically that imagination is fundamental in experiences of visual art. We do so through phenomenological interviews and analysis in dialogue with works of the phenomenologists Mikel Dufrenne, Edmund Husserl and Maurice Merleau-Ponty. We challenge Dufrenne’s delimiting of imagination to a pre-reflective power of synthesis, and argue in favor of a more comprehensive psychological understanding of imagination, which encompasses psychological differences in actual lived experience. Our analysis shows how imagination is necessarily part (...) of experiences with visual art, as it provides ways of exploring and unfolding the expressions of the work of art. Such experiences are therefore characterized by a close relation between imagination and perception, as well as an affective lining which belongs to our imaginings. (shrink)

Ernest Sosa has argued that the solution to dream scepticism lies in an understanding of dreams as imaginative experiences – when we dream, on this suggestion, we do not believe the contents of our dreams, but rather imagine them. Sosa rebuts scepticism thus: dreams don’t cause false beliefs, so my beliefs cannot be false, having been caused by dreams. I argue that, even assuming that Sosa is correct about the nature of dreaming, belief in wakefulness on these grounds is epistemically (...) irresponsible. The proper upshot of the imagination model, I suggest, is to recharacterize the way we think about dream scepticism: the sceptical threat is not, after all, that we have false beliefs. So even though dreams don’t involve false beliefs, they still pose a sceptical threat, which I elaborate. (shrink)

The article considers the recovery of the imagination as an essential component of collective reinvention in a context in which the worsening of the socio-ecological crisis is presented as one of the most pressing problems of the current global system. To accomplish this, we use the positions taken by various theorists in sociology and environmental ethics as a framework. The common thread focuses on three axes: 1) The first focuses on the characteristics of the process of reconfiguring ethics on (...) a large scale, structured on the immediacy and extraterritoriality of economic power, where the neighbour is also a distant Other, in time and space; 2) the second axis delves into the significance acquired by the recovery of the imagination in its relationship with the principles of responsibility and precaution, as essential elements for a change in the design of policies; and 3) all of this is directly related to the third axis, which is focused on the application of biomimicry's theoretical and practical postulates as a structural concept and application tool that combines both perspectives. The analysis developed aims to contribute to the theoretical arguments of environmental ethics from the standpoint of critical environmental thinking. (shrink)

Much current theorizing about literature involves efforts to renew our sense of aesthetic values in reading. Such is the case with new formalism as well as recent appeals to the notion of “surface reading.” While sympathetic to these efforts, Charles Altieri believes they ultimately fall short because too often they fail to account for the values that engage literary texts in the social world. In Reckoning with the Imagination, Altieri argues for a reconsideration of the Kantian tradition of Idealist (...) ethics, which he believes can restore much of the power of the arguments for the role of aesthetics in art. Altieri finds a perspective for that restoration in a reading of Wittgenstein’s later work that stresses Wittgenstein’s parallel criticisms of the spirit of empiricism. Altieri begins by offering a phenomenology of imagination, because we cannot fully honor art if we do not link it to a distinctive, socially productive force. That force emerges in two quite different but equally powerful realizations in his reading of John Ashbery’s “Instruction Manual,” which explicitly establishes a model for a postromantic view of imagination, and William Butler Yeats’s “Leda and the Swan.” He then turns to Wittgenstein with chapters on the role of display as critique of Enlightenment thinking, the honoring of qualities like sensitivity and the ability to attune to the actions of others, the role of expression in the building of models, and the contrast between ethical and confessional modes of judgment. Finally, Altieri produces his own model of aesthetic experience as participatory valuation and makes an extended argument for the social significance of appreciation as a way to escape the patterns of resentment fundamental to our current mode of politics. A masterful work by one of our foremost literary and philosophical theorists, Reckoning with the Imagination will breathe new life into ongoing debates over the value of aesthetic experience. (shrink)

The "ethics of imagination" or the "ethics of fantasy" encompasses the various ways in which we can morally evaluate the imagination. This topic covers a range of different kinds of imagination: (1) fantasizing, (2) engaging with fictions, and (3) dreaming. The clearest, live ethical question concerns the moral value of taking pleasure in undeserved suffering, whether willfully imagined, represented, or dreamed. Much of this entry concerns general theoretical considerations and how they relate to the ethics of fantasy. (...) In the final sections I walk through the three types of imagination and point out some of the open questions concerning each type. (shrink)

It is common to talk about options, where an option is a course of action an agent can take. A course of action, in turn, is that which can be the object of intention. It has not often been noticed in the literature, though, that there are two ways to understand what makes something an option: first, an option just is some course of action physically open (or, to be maximally liberal, logically open) to an agent; second, an option just (...) is some course of action that the agent either in fact deliberates about taking or is psychologically capable of deliberating about taking. At any given time, there are far more courses of action open to an agent than the agent can or does deliberate about taking. What determines which courses of action an agent deliberates about as an option, and why do so many other courses of action remain out of deliberative view? I argue that while values, ends, the demands of both means-end coherence and consistency of beliefs contribute to the determination of which courses of action an agent sees as options, they cannot be the whole story. I argue that another mechanism, which I call the practical imagination, is primarily responsible for which courses of action an agent sees as options. Drawing upon both recent work in developmental and social psychology and a strain of philosophical argument that has attempted to show how human beings have a practical understanding of themselves that is mediated by what we can call a narrative identity, I argue that the norms governing the construction of a narrative identity are among the most important, albeit not the only, norms governing the practical imagination and that, just as we should look to the norms of practical reason to explain and critically reflect on practical deliberation, we should look to the norms of practical imagination to explain and critically reflect on the process by which an agent comes to see some course of action as an option. (shrink)

We propose a logic of imagination, based on simulated belief revision, that intends to uncover the logical patterns governing the development of imagination in pretense. Our system complements the currently prominent logics of imagination in that ours in particular formalises (1) the algorithm that specifies what goes on in between receiving a certain input for an imaginative episode and what is imagined in the resulting imagination, as well as (2) the goal-orientedness of imagination, by allowing (...) the context to determine, what we call, the overall topic of the imaginative episode. To achieve this, we employ well-developed tools and techniques from dynamic epistemic logic and belief revision theory, enriched with a topicality component which has been exploited in the recent literature. As a result, our logic models a great number of cognitive theories of pretense and imagination [cf. Currie and Ravenscroft (Recreative minds, Oxford University Press, Oxford, 2002); Nichols and Stich (Mindreading: an integrated account of pretence, self-awareness, and understanding other minds, Oxford University Press, Oxford, 2003); Byrne (The rational imagination, The MIT Press, London, 2005); Williamson (The philosophy of philosophy, Blackwell Publishing, Oxford, 2007); Langland-Hassan (Philos Stud 159:155–179, 2012, in: Kind and Kung (eds) Knowledge through imaginaion, Oxford University Press, Oxford, 2016]. (shrink)

This book departs from much of the scholarship on Kant by demonstrating the centrality of imagination to Kant's philosophy as a whole. In Kant's works, human experience is simultaneously passive and active, thought and sensed, free and unfree: these dualisms are often thought of as unfortunate byproducts of his system. Gibbons, however, shows that imagination performs a vital function in "bridging gaps" between the different elements of cognition and experience. Thus, the role imagination plays in Kant's works (...) expresses his fundamental insight into the complexity of cognition for finite rational beings such as ourselves. (shrink)

ABSTRACT:Drawing upon the collective action model of institutional change, I reconceptualize moral imagination as both a social process and a cognitive one. I argue that moral outcomes are not produced by individual actors alone; rather, they emerge from collective action processes that are influenced by political conditions and involve behaviors that include issue framing and resource mobilization. I also contend that individual moral imagination involves the integration of moral sensitivity with consideration of collective action dynamics. I illustrate my (...) arguments with a case study of the Chad-Cameroon oil project. The paper suggests new directions in teaching and research on moral imagination. (shrink)

In this reply to my reviewers, I touch upon Husserl’s notion of fantasy. Whereas Kant positions fantasy outside the scope of his own work, Husserl brings it back. The importance of this notion lies in freeing imagination from the tight link to images, as for Husserl imagination is an activity that functions as a “quasi perception.” Ihde and Stiegler enrich Husserl’s analysis of imagination with various aspects of technology: Ihde shows how changes in the technologies that mediate (...) our imagination will necessarily change our imagination; Stiegler broadens Husserl’s analysis of retention. The two theories can be combined into a new understanding of subjectivity that is modeled as layers. Some layers can be performed by AI. The second part deals with the question of whether AI can be imaginative. Traditionally, imaginative creativity is associated with art. Bioart and AI art are brought as examples of a new definition of art, according to which art is the arrangement of materials in a way that produces a meaning. This definition does not refer specifically to creativity. In both forms of art, the biological/artificial and the human cooperate so that the former arranges the materials and the latter produces the meaning, albeit this division of labor is not clear-cut. The result is a co-shaping process. My conclusion is that algorithms can be considered creative by human standards, but this entails a new mode of imagination that is co-shaped and co-shared by humans and algorithms. The layer paradigm explains how such co-shaping works in practice. (shrink)

In this essay, I attempt to interpret the educational philosophy of John Dewey in a way that accomplishes two goals. The first of these is to avoid any reference to Dewey as a propagator of a particular scientific method or to any of the individualist and cognitivist ideas that is sometimes associated with him. Secondly, I want to overcome the tendency to interpret Dewey as a naturalist by looking at his concept of intelligence. It is argued that ‘intelligent experience’ is (...) the basic concept of education. I suggest how this concept should be understood. I propose to look at it as an interplay between the faculties of imagination and judgment. (shrink)

In this paper, I focus on the Armchair Access Problem for E=K as presented by Nicholas Silins (2005), and I argue, contra Silins, that it does not represent a real threat to E=K. More precisely, I put forward two lines of response, both of which put pressure on the main assumption of the argument, namely, the Armchair Access thesis. The first line of response focuses on its scope, while the second line of response focuses on its nature. The second line (...) of response is the most interesting one, for it represents the framework within which I develop a novel account of second-order knowledge, one that involves evaluation of counterfactual conditionals and the employment of our imaginative capacities, i.e., an imagination-based account of second-order knowledge. The two lines of response are shown to be jointly compatible and mutually supportive. I then conclude that the Armchair Access Problem is not a challenge for E=K, yet it relies on the ambiguity of the notion of armchair knowledge underpinning the Armchair Access thesis. (shrink)

This Element is a study of how the power of imagination is, according to Kant, supposed to contribute to cognition. It is meant to be an immanent and a reconstructive endeavor, relying solely on Kant's own resources when he tries to determine what material, faculties, and operations are necessary for cognition of objects. The main discourse is divided into two sections. The first deals with Kant's views concerning the power of imagination as outlined in the A- and B- (...) edition of the Critique of Pure Reason. The second focuses on the power of imagination in the first part of the Critique of Judgment. (shrink)

Moral sensitivity and moral reasoning are essential competencies biomedical researchers have to develop to make ethical decisions in their daily practices. Previous research has shown that these competencies can be developed through ethics education. However, it is unclear which underlying mechanisms best support the development of these competencies. In this article we argue that the development of moral sensitivity and moral reasoning can be fostered through teaching strategies that tap into students’ moral imagination. We describe how moral imagination (...) can stimulate the development of these competencies through three different merits of moral imagination. Moral imagination can help students to 1) transfer and apply abstract moral concepts to concrete situations and contexts, 2) explore the perspective of others, 3) explore and foresee the moral consequences of different decisions and actions. We explain these three merits of moral imagination in the context of biomedical research and present a theoretical model for how these merits can be used to stimulate the development of moral sensitivity and moral reasoning. Furthermore, we describe multiple teaching strategies for biomedical curricula that tap into the three merits of moral imagination. These teaching strategies can inspire teachers to design ethics education that activates students’ moral imagination for the development of moral sensitivity and moral reasoning. (shrink)

Although every emerging infectious disease occurs in a unique context, the behaviour of previous pandemics offers an insight into the medium- and long-term outcomes of the current threat. Where an informative historical analogue exists, epidemiologists and policymakers should consider how the insights of the past can inform current forecasts and responses.

Current focus in the health care ethics literature on the character of the practitioner has a reputable pedigree. Rather than offer a staple diet of Aristotelian ethics in the undergraduate curricula, perhaps instead one should follow Murdoch's suggestion and help the practitioner to develop vision and moral imagination, because this has a practical rather than a theoretical aim. The imaginative capacity of the practitioner plays an important part in both the quality of the nurse's role enactment and the moral (...) strategies which the nurse uses. It also plays a central part in the practitioner's ability to communicate with a patient and in the type of person which the practitioner becomes. Can the moral imagination be stimulated and nurtured? Some philosophers and literary critics argue that not only is this possible, but that literature is the means of doing so. If this is the case then a place should be made for literature in already crowded health care curricula. (shrink)