_Imagination, Philosophy and the Arts_ is the first comprehensive collection of papers by philosophers examining the nature of imagination and its role in understanding and making art. Imagination is a central concept in aesthetics with close ties to issues in the philosophy of mind and the philosophy of language, yet it has not received the kind of sustained, critical attention it deserves. This collection of seventeen brand new essays critically examines just how and in what (...) form the notion of imagination illuminates fundamental problems in the philosophy of art. (shrink)

Imagine living in the future in a world already damaged by humankind, a world where resources are insufficient to meet everyone's basic needs and where a chaotic climate makes life precarious. Then imagine looking back into the past, back to our own time and assessing the ethics of the early twenty-first century. "Ethics for a Broken World" imagines how the future might judge us and how living in a time of global environmental degradation might utterly reshape the politics and ethics (...) of the future. This book is presented as a series of history of philosophy lectures given in the future, studying the classic texts from a past age of affluence, our own time. The central ethical questions of our time are shown to look very different from the perspective of a ruined world. The aim of "Ethics for a Broken" World is to look at our present with the benefit of hindsight - to reimagine contemporary philosophy in an historical context - and to highlight the contingency of our own moral and political ideals. (shrink)

ABSTRACTIn ‘The Principles of Art’, R. G. Collingwood argues that art is the imaginative expression of emotion. So much the worse, then, for Collingwood. The theory seems hopelessly inadequate to the task of capturing art’s extension: of encompassing all the works we generally suppose should be rounded up under the concept. A great number of artworks, and several art forms, have nothing to do with emotion. But it would be surprising were Collingwood philistine enough to think that art is only (...) ever concerned with communicating quotidian affective states, like anger, fear or love. Surely he has some more sophisticated notion of emotion in mind, and quite probably of expression too. And it turns out that those sophisticated notions can be pushed towards a version of the expression theory that meets the extensional challenge. If we interpret Collingwood as saying that expression is a particular application of imagination, and that imagination is the faculty that refines ideas of emotions, and that ‘emotions’... (shrink)

While examining the important role of imagination in making moral judgments, John Dewey and Moral Imagination focuses new attention on the relationship between American pragmatism and ethics. Steven Fesmire takes up threads of Dewey's thought that have been largely unexplored and elaborates pragmatism's distinctive contribution to understandings of moral experience, inquiry, and judgment. Building on two Deweyan notions—that moral character, belief, and reasoning are part of a social and historical context and that moral deliberation is an imaginative, dramatic (...) rehearsal of possibilities—Fesmire shows that moral imagination can be conceived as a process of aesthetic perception and artistic creativity. Fesmire's original readings of Dewey shed new light on the imaginative process, human emotional make-up and expression, and the nature of moral judgment. This original book presents a robust and distinctly pragmatic approach to ethics, politics, moral education, and moral conduct. [The downloadable sample is Chapter Seven, "The Moral Artist."]. (shrink)

A Philosophy to Live By highlights Murdoch's distinctive conception of philosophy as a spiritual or existential practice and enlists the resources of her thought to explore a wide range of thinkers and debates at the intersections of moral philosophy, religion, art, and politics.

I argue that any account of imagination should satisfy the following three desiderata. First, imaginations induce actions only in conjunction with beliefs about the environment of the imagining subject. Second, there is a continuum between imaginations and beliefs. Recognizing this continuum is crucial to explain the phenomenon of imaginative immersion. Third, the mental states that relate to imaginations in the way that desires relate to beliefs are a special kind of desire, namely desires to make true in fiction. These (...) desires to make true in fiction do not differ from regular desires in kind, but only in content. I argue for these three desiderata in turn by critically discussing several recent accounts of imagination. (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)

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

In this article, I defend the view that we can acquire factual knowledge – that is, contingent propositional knowledge about certain (perceivable) aspects of reality – on the basis of imaginative experience. More specifically, I argue that, under suitable circumstances, imaginative experiences can rationally determine the propositional content of knowledge-constituting beliefs – though not their attitude of belief – in roughly the same way as perceptual experiences do in the case of perceptual knowledge. I also highlight some philosophical consequences of (...) this conclusion, especially for the issue of whether imagination can help us to learn something from fictions. (shrink)

Models as Make-Believe offers a new approach to scientific modelling by looking to an unlikely source of inspiration: the dolls and toy trucks of children's games of make-believe.

This chapter considers the nature of imagination and belief, exploring how deeply these two states of mind differ. It first addresses a range of cognitive and motivational differences between imagination and belief which suggest that they're fundamentally different states of mind. Then it addresses imaginative immersion, delusions, and the different norms we apply to the two mental states, which some theorists regard as providing support for a more unified picture of imagination and belief.

This pioneering work in the history of science, which originated in a series of three Gauss Seminars given at Princeton University in 1984, demonstrated how the roots of the scientific revolution lay in medieval scholasticism.

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.

This paper criticises the current orthodoxy that people who engage with fiction fils are exercising their imagination.

We often assume that religious beliefs are no different in kind from ordinary factual beliefs—that believing in the existence of God or of supernatural entities that hear our prayers is akin to believing that May comes before June. Neil Van Leeuwen shows that, in fact, these two forms of belief are strikingly different. Our brains do not process religious beliefs like they do beliefs concerning mundane reality; instead, empirical findings show that religious beliefs function like the imaginings that guide make-believe (...) play. -/- Van Leeuwen argues that religious belief—which he terms religious “credence”—is best understood as a form of imagination that people use to define the identity of their group and express the values they hold sacred. When a person pretends, they navigate the world by consulting two maps: the first represents mundane reality, and the second superimposes the features of the imagined world atop the first. Drawing on psychological, linguistic, and anthropological evidence, Van Leeuwen posits that religious communities operate in much the same way, consulting a factual-belief map that represents ordinary objects and events and a religious-credence map that accords these objects and events imagined sacred and supernatural significance. -/- It is hardly controversial to suggest that religion has a social function, but Religion as Make-Believe breaks new ground by theorizing the underlying cognitive mechanisms. Once we recognize that our minds process factual and religious beliefs in fundamentally different ways, we can gain deeper understanding of the complex individual and group psychology of religious faith. [Abstract writing credit: book editor Andrew Kinney, HUP]. (shrink)

These eight generous commentaries raise an inspiring array of questions about the relationship between philosophy and poetry as it was viewed by Spinoza and his contemporaries. Taken singly and tog...

Bhattacharyya, K. The Advaita concept of subjectivity.--Deutsch, E. Reflections on some aspects of the theory of rasa.--Nakamura, H. The dawn of modern thought in the East.--Organ, T. Causality, Indian and Greek.--Chatterjee, M. On types of classification.--Lacombe, O. Transcendental imagination.--Bahm, A. J. Standards for comparative philosophy.--Herring, H. Appearance, its significance and meaning in the history of philosophy.--Chang Chung-yuan. Pre-rational harmony in Heidegger's essential thinking and Chʼan thought.--Staal, J. F. Making sense of the Buddhist tetralemma.--Enomiya-Lassalle, H. M. The mysticism (...) of Carl Albrecht and Zen.--Parrinder, G. The nature of mysticism.--Cairns, G. E. Axiological contributions of East and West to the spiritual development of mankind.--Mayeda, S. Śaṇkara's view of ethics.--Mercier, A. On peace.--Barlingay, S. S. A discussion of some aspects of Gaudapāda's philosophy. (shrink)

In this paper I explore the influence of Kant's theory of imagination on a specific aspect of Heidegger and Merleau-Ponty's thought, viz., their theories of understanding. 1 argue that the theories of Verstehen that Heidegger presents in Being and Time and of comprendre that Merleau-Ponty presents in Phenomenology of Perception can be helpfully read as elaborations of Kant's account of imagination.

The “Community of Inquiry” as it is used in the context of doing philosophy with children, is a phrase that refers to a pedagogical method in which groups of children and adults come together to discuss a targeted philosophical issue.1 Generally, a philosophical topic is decided upon and initial questions or ideas may be proposed, which are used to generate a discussion among participants. One of the most important features of such a discussion, when well organized, is that all (...) participants are provided with an opportunity to express their opinions and positions, with an express objective of doing away with an adult/child or teacher/student power differential. A model COI provides a place for many philosophical perspectives and opinions. (shrink)

Groundwork for the intellectual life: ontology, imagination, and praxis -- Radical knowledge: toward a critical contextual ontology of intellectual practice -- Embodied knowledge: intellectual practices as ways of life -- Radical world-building: notes toward a critical contextual aesthetic -- Geographies of the imagination: figurations of the aesthetic at the intersection of African and global arts -- Theses on the intellectual imagination.

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)

Research on the specific features of daydreaming compared with mind-wandering and night dreaming is a neglected topic in the philosophy of mind and the cognitive neuroscience of spontaneous thought. The extant research either conflates daydreaming with mind-wandering (whether understood as task-unrelated thought, unguided attention, or disunified thought), characterizes daydreaming as opposed to mind-wandering (Dorsch, 2015), or takes daydreaming to encompass any and all “imagined events” (Newby-Clark & Thavendran, 2018). These dueling definitions obstruct future research on spontaneous thought, and are (...) insufficiently precise to guide empirical studies. They also fail to illuminate the phenomenal core of daydreaming, namely, its dreamlike qualities. Although daydreaming is related to both mind-wandering and narrative imagination, it is not reducible to either. We argue that daydreams are experiences of spontaneous, immersive imagination in the waking state. The main task of our investigation is to distinguish daydreaming, conceptually and phenomenologically, from mind-wandering, on the one hand, and night dreaming, on the other. Although daydream experiences can vary widely, we distinguish prototypical experiences of daydreaming from adjacent imaginative activity, including fleeting imagery and “focused daydreaming,” or crafted visualization. We consider our phenomenological analysis as preparatory work for conceptually distinguishing different spontaneous and imaginative states so that they can be investigated accordingly with questionnaires and qualitative methods. We argue that precision about the phenomenal character of daydreaming can guide neurophenomenological investigations, help delimit studies on individual variance in daydreaming features, and identify differences among daydreaming, mind-wandering, and night dreaming conceptually and phenomenologically, and possibly eventually in terms of neural correlates. (shrink)

This article investigates the power and scope of the imagination in Giambattista Vico’s philosophy by focusing on the role played by the mind of the giants in their attempts to extricate themselves from the chaotic continuity of liquid and pervious matter and in their endeavour to reconstruct reality in post-diluvian nature. In Vico’s account, through the imagination’s efforts to mediate self-terror, self-consciousness and self-delusion, the monstrously ungainly and misshapen bodies of the giants, emotionally electrocuted by the lightning (...) bolt of chemically active matter, became the natural laboratory – the corpolentissima fantasia – in which the human mind could test its original attempts at representing reality and avoiding self-deception. (shrink)

What is fiction? It permeates contemporary life: via novels we read, stories we tell, box-sets we watch, and as philosophers, thought experiments we use. Many think it should be characterised in terms of a relation to the imagination. In this essay, I’ll consider prominent expressions of this view, as well as rejections of it. Before this, I’ll introduce two methodological approaches that it’s helpful to distinguish.

There is much debate on how social values should influence scientific research. However, the question of practical applicability of philosophers’ normative proposals has received less attention. Here, we test the attainability of Matthew J. Brown’s (2020) Moral Imagination ideal (MI ideal), which aims to help scientists to make warranted value-judgements through reflecting on goals, options, values, and stakeholders of research. Here, the tools of the MI ideal are applied to a climate modelling setting, where researchers are developing aerosol-cloud interaction (...) (ACI) parametrizations in an Earth System Model with the broader goal of improving climate sensitivity estimation. After the identification of minor obstacles to applying the MI ideal, we propose two ways to increase its applicability. First, its tools should be accompanied with more concrete guidance for identifying how social values enter more technical decisions in scientific research. Second, since research projects can have multiple goals, examining the alignment between broader societal aims of research and more technical goals should be part of the tools of the MI ideal. (shrink)

In economics, thought experiments are frequently justified by the difficulty of conducting controlled experiments. They serve several functions, such as establishing causal facts, isolating tendencies, and allowing inferences from models to reality. In this paper, I argue that thought experiments served a further function in economics: facilitating the quantitative definition and measurement of the theoretical concept of utility, thereby bridging the gap between theory and statistical data. I support my argument by a case study, the “hypothetical experiments” of the Norwegian (...) economist Ragnar Frisch (1895-1973). Frisch aimed to eliminate introspection and a subjective concept of utility from economic reasoning. At the same time, he sought behavioral foundations for economic theory that enabled quantitative reasoning. By using thought experiments to justify his set of choice axioms and facilitating the operationalization of utility, Frisch circumvented the problem of observing utility via actual experiments without eliminating the concept of utility from economic theory altogether. As such, these experiments helped Frisch to empirically support the theory’s most important results, such as the laws of demand and supply, without the input of new empirical findings. I suggest that Frisch’s experiments fulfill the main characteristics of thought experiments. (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)

My aim in this article is to understand the role of imagination and practical judgment in Kant's moral philosophy. After a comparison of Kant with Rousseau, I explore Kant's moral philosophy itself — unlike Hannah Arendt, who finds in the enlarged mentality of the third Critique the ground for the activity of imagination in a shared world. Instead, I place the concept of moral legislation in its background, the reflection on particulars relevant to deliberation, and discuss (...) the mutual relation of reflection and determination. Not only reflection and determination work together; imagination and judgment imply one another essentially, as interpretation of what is relevant, and as a principle of orientation in the choice of the maxim against the backdrop of a uniform and ordered world. The concepts of analogy and symbolic exhibition turn out to be crucial for how reason represents to itself the reality of ideas in the world. (shrink)

Recently, philosophers have discovered that they have a lot to learn from, or at least to ponder about, fiction. Many metaphysicians are attracted to fiction as a model for our talk about purported objects and properties, such as numbers, morality, and possible worlds, without embracing a robust Platonist ontology. In addition, a growing group of philosophers of mind are interested in the implications of our engagement with fiction for our understanding of the mind and emotions: If I don’t believe that (...) Anna Karenina exists, can I really pity her, or hope or desire that she extricate herself from her tragic situation? And why is there no “morality fiction,” analogous to science fiction? I suspect that philosophers have been especially comfortable thinking about fiction because it seems, at least prima facie, to employ the imagination in a way that conforms to a standard model of the mind. Specifically, contemporary philosophers tend to think of imagination as a form of mental pretense. Mental pretense can take two main forms: a cognitive attitude of supposing a set of propositions to be true (make-believe) or else an experiential state of imaging a scenario as if it were before one (imaging). Much of our pretense intertwines the cognitive and experiential modalities, of course. But both share a crucial common feature: all of one’s imaginative effort is invested in pretending that certain contents obtain. In this sense, we can understand imagination as the “offline” simulation of actual beliefs and perceptions (and perhaps other attitudes as well), where we analyze these in the normal way, as states individuated by their attitude and representational content. While I share the burgeoning interest in fiction, I want to suggest that we also have a lot to learn from poetry, and in particular from poetic metaphor. I will argue.. (shrink)

This paper explores Ilyenkov’s conception of imagination as it is expressed in his writings on aesthetics and in his 1968 book Ob idolakh i idealakh (Of Idols and Ideals). Ilyenkov deemed imagination and creativity to be central to the character of distinctively human forms of mental activity. After examining the many different contexts in which Ilyenkov sees imagination at work—from the most basic operations of perception to the expression of artistic and scientific genius—I bring his ideas into (...) dialogue with the account of imagination developed in Vygotsky’s writings. I argue that, though there are significant differences, their respective approaches are complementary. Both see imagination not simply as a vehicle of fantasy, but as intimately involved in disclosing reality. Moreover, both thinkers are reluctant to cast imagination as a discrete mental function on a par with reason, memory, will, etc. Imagination, rather, is critical to the way in which mental functions express themselves. The paper concludes with a brief discussion of whether children can be taught to be creative and imaginative. (shrink)

Recent philosophy of mind has had a mistaken conception of the nature of psychological concepts. It has assumed too much similarity between psychological judgments and those of natural science and has thus overlooked the fact that other people are not just objects whose thoughts we may try to predict and control but fellow creatures with whom we talk and co-operate. In this collection of essays, Jane Heal argues that central to our ability to arrive at views about others' thoughts (...) is not knowledge of some theory of the mind but rather an ability to imagine alternative worlds and how things appear from another person's point of view. She then applies this view to questions of how we represent others' thoughts, the shape of psychological concepts, the nature of rationality and the possibility of first person authority. This book should appeal to students and professionals in philosophy of mind and language. (shrink)

It is intuitively plausible that art and imagination are intimately connected. This chapter explores attempts to explain that connection. We focus on three areas in which art and imagination might be linked: production, ontology, and appreciation. We examine views which treat imagination as a fundamental human faculty, and aim for comprehensive accounts of art and artistic practice: for example, those of Kant and Collingwood. We also discuss philosophers who argue that a specific kind of imagining may explain (...) some particular element of the artistic domain: for example, Walton's ideas about representational art, and Kivy’s about reading. (shrink)

It is intuitive to think that fiction is more imaginative or creative than nonfiction, and that creating or engaging with fiction involves the imagination in ways creating or engaging with nonfiction doesn't. However, philosophers debate whether imagination has a special connection to fiction. This chapter will argue that fiction is intimately connected to creativity and that creativity's connection to imagination produces the impression that fiction and imagination also share an intimate connection. The key ingredient of fiction (...) that connects fiction to creativity is fabrication. The chapter will also discuss how an author can produce fiction that is creative in content and form, how readers and critics use imagination in a creative manner when engaging with works, and how metaphysical debates about fiction affect the kind of creativity we may attribute to authors. (shrink)

In this elegant book he develops a powerful statement of what music analysis and criticism in relation to historical understanding can be.

In an unusual appearance in the press room in Fall 2017 then White House Chief of Staff general John Kelly made an interesting set of observations that compared our political present to a more traditional and seemingly upright past. "You know when I was a kid growing up, a lot of things were sacred in our country. Women were sacred, looked upon with great honor. That's obviously not the case anymore, as we've seen from recent cases. Life - the dignity (...) of life - is sacred. That's gone. Religion, that seems to be gone as well", he said. In his comments Kelly seemed to be lamenting the loss of a chivalric past (which, to be clear, lounged grandly on a system of violent exclusion and deep prejudice) that is no longer available to us. In particular, he linked the idea of the sacred with the concept of honor, which in turn was linked to its close cousin, dignity. In Kelly's language, our present political moment was cast as profane and corrupt, unmoored from religion and tradition and cloaked in the shadows of moral bankruptcy. It was characterized as an age without honor and therefore without the guardrails of decency to govern behavior. It is not surprising to see the concept of honor invoked in this context in our contemporary political discourse, doused heavily in the language of remembrance of things past and often with a hyper masculine tint (look no further than Jordan Peterson and his acolytes for the most reductive examples of such thinking, or much more profoundly, to Harvey Mansfield's work on masculinity). Invoking honor in this manner seeks to restore balance and constancy to a chaotic present that in these renderings has been unmoored by radical feminists, populist movements for racial equality, and advocates of gay and trans rights. (shrink)

This chapter compares the philosophical methods used respectively by John Rawls and Iris Marion Young. Rawls’s theory is ideal in several interrelated methodological respects: he emphasizes principle over practice; he relies on a fictional reasoning process; and his theory is designed for an imagined world that lacks many problematic aspects of the real world. Young’s method, which she characterizes as critical theory, is non-ideal in all the respects that Rawls’s method is ideal. Young emphasizes practice; she respects the reasoning of (...) actual people; and she directly addresses existing injustices. If Young has been able to develop philosophical ideals of justice that are more comprehensive, relevant, and substantively acceptable than Rawls’s, I suggest that one reason may be the non-ideal aspects of her methodology. In the end, however, Young’s philosophical contributions cannot be attributed only to her method; they are also the product of her unique political passion and creative imagination. (shrink)

Kant s view of the imagination is surrounded by one of the most salient and obscure discussions on his critical philosophy. Due to revisions and emendations and a seeming change in doctrine from the first to the third Critique, Kant s considered view of the imagination remains unclear. This collection of essays from Kant scholars illuminates the various treatments of imagination through its development in Kant s critical works. ".

This chapter explores what it can mean to say that culinary products (i.e., recipes and their outputs) are creative. It answers this question by distinguishing between three different kinds of creativity (idle, productive, and super-productive creativity) and two different kinds of creative domains, locked-in and expandable ones. It argues that culinary products can be creative in the three different ways just mentioned and that, accordingly, the creative domain constituted by the culinary arts turns out to be an expandable one.

The book explores Oakeshott's thought on the key role human imagination plays in relation to the political. It addresses four main themes: imagination, foundational narratives, the question of political societies' identities as well as that of human living-together, to use Hannah Arendt's expression. The book's main objective is to show that Oakeshott may be rightfully understood to be a philosopher of the imagination as well as a foundationalist thinker in the Arendtian narrative constructivist tradition.