Amy Kind

__: In this essay I explore the account of imaginative phenomenology developed by Uriah Kriegel in _The Varieties of Consciousness_. On his view, the difference between perceptual phenomenology and imaginative phenomenology arises from the way that they present the existential status of their object: While perceptual experience presents its object as existent, imaginative experience presents its object as non-existent. While I agree with Kriegel that it’s likely that the difference between imaginative phenomenology and perceptual phenomenology is one not just of degree but of kind, I worry about the particular account that he has developed. I thus develop two lines of criticism. First, I question whether Kriegel is right that imagination presents its object as non-existent. Second, I question whether this account of imaginative phenomenology is consistent with other commonly-accepted facts about the nature of imagination. _Keywords_: Imagination; Perception; Phenomenology; J.-P. Sartre; Epistemic Value; Emotion ___Fenomenologia dell’immaginazione e status esistenziale_ _Riassunto_: In questo articolo intendo indagare l’approccio alla descrizione della fenomenologia dell’immaginazione sviluppata da Uriah Kriegel in _The Varieties of Consciousness_. Dal suo punto di vista, la differenza tra fenomenologia della percezione e fenomenologia dell’immaginazione si mostra nel modo in cui queste presentano lo status esistenziale dei loro oggetti: se l’esperienza percettiva presenta il proprio oggetto come esistente, l’esperienza immaginativa lo presenta come non-esistente. Per un verso, concordo con Kriegel sulla probabilità che la differenza tra fenomenologia dell’immaginazione e fenomenologia della percezione non sia di grado ma di genere, mentre, per altro verso, non sono convinta della correttezza del suo approccio. Pertanto vorrei sollevare due criticità. In primo luogo, mi chiedo se Kriegel sia nel giusto quando ritiene che l’immaginazione presenti il proprio oggetto come non-esistente; in secondo luogo, mi chiedo se questa descrizione della fenomenologia dell’immaginazione sia coerente con altri fatti, comunemente accettati, circa la natura dell’immaginazione. _Parole chiave_: Immaginazione; Percezione; Fenomenologia; J.-P. Sartre; Valore epistemico; Emozione

Not all imaginings are successful; sometimes when an imaginer sets out to imagine some target, her imagining involves some kind of mistake. The error can be diagnosed in two ways: the imaginer imagines her target in a way that mischaracterizes it, or the imaginer fails to imagine her target at all and rather imagines something else that is similar in some ways to that target. In ordinary day-to-day imaginings, explanations of type seem most natural, but in discussions of philosophical imaginings, philosophers tend to adopt explanations of type. This paper argues against this tendency.

In this commentary on Dustin Stokes’ Thinking and Perceiving, I focus on his discussion of perceptual expertise. This discussion occurs in the context of his case against modularity assumptions that underlie much contemporary theorizing about perception. As I suggest, there is much to be gained from thinking about considerations about perceptual expertise in conjunction with considerations about imaginative skill. In particular, I offer three different lessons that we can learn by way of the joint consideration of these two phenomena.

Carruthers’s central project in Phenomenal Consciousness is to naturalize consciousness. Given the vast success of naturalism in science, he maintains that we should require powerful reasons to abandon it when constructing philosophical theories of consciousness. Unsurprisingly, he then argues that there are no such reasons. In particular, he claims that the well-known arguments of Thomas Nagel and Frank Jackson fail, as do inverted and absent qualia arguments. Carruthers’s main strategy for defusing these arguments involves first distinguishing a “thin” notion of property from a “thick” notion of property and then arguing that the various antinaturalistic arguments conflate these two different notions. Although he admits that the antinaturalist may not find these considerations wholly convincing, he construes the dialectical situation in such a way as to relieve him of any obligation to do more. As long as it can be shown that the antinaturalistic arguments are not obviously successful, which he takes himself to have done, Carruthers claims that the presumption in favor of naturalism remains. Thus, a theory of consciousness must be compatible with the following two naturalistic claims: first, all mental events occur in accordance with causal laws; and second, all mental events can be given a reductive explanation in physical terms.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Imagination in Inquiry by A. Pablo IannoneAmy KindIANNONE, A. Pablo. Imagination in Inquiry. Lanham, Md.: Lexington Books, 2022. xxvi + 254 pp. Cloth, $110.00; eBook $45.00Though imagination is often associated with the fanciful and the fictional, over the course of the last decade philosophers have begun to devote considerable attention to more practical uses of imagination. Philosophers of imagination have increasingly focused on ways in which imagination can play an important epistemic role in activities such as decision-making, planning, and scientific discovery; more generally, there has been attention to a variety of ways in which imagination can teach us about the world in which we live. Iannone’s discussion in Imagination in Inquiry can be seen as part of this general trend—even if his discussion is not itself situated directly within contemporary philosophy of imagination but, rather, in a broader interdisciplinary approach.Iannone works with an expansive conception of what imagination is. In his view, we should not limit our understanding of imagination simply to the ability to generate images. Rather, imagination is a diverse set of different abilities that aim “at figuring out cognitively, emotively, or practically, alternatives for dealing with actual, probable, plausible, foreseeable, or merely possible challenges or problems, abstract or concrete, theoretical or practical being faced, or notions being considered, and determining or deciding which is (are) preferable in the circumstances, and acting accordingly.” Moreover, this set of abilities should not be seen as operating in isolation; rather, imagination functions as part of an ecology of human abilities. Iannone refers to his view of imagination as the “homeostatic model,” so called because he sees imaginative processes as maintaining stability by way of a system of self-correcting feedback and methods for incorporating and adjusting to any new information received.Iannone also operates with an expansive conception of what counts as practical use of imagination. In his view, imagination is put to practical use in a wide range of circumstances, for example, when a dancer imagines the next steps of a dance in the process of spontaneous improvising, when a combatant imagines how to block an expected blow from an opponent, and when an environmental activist imagines a new set of corrective policies to address pollution. All these uses fall under the activity of what Iannone calls “inquiry,” that is, the activity of finding a solution to a problem or challenge. The problems and challenges that might prompt the use of imagination can be both personal and interpersonal, and the imaginative processes used will involve strategies such as discovery, creation, and anticipation.In the first part of the book, Iannone develops his basic conceptual apparatus. In the next part of the book, he puts this apparatus to work in the context of philosophy, that is, he shows how imagination plays a role in philosophical inquiry. In the third part of the book, he looks at the role of imagination in other disciplines such as sociology and psychology. Here, the interdisciplinary nature of his discussion is especially on display. In the fourth part of the book, he applies his model of imagination to a number of different contexts; in particular, he discusses the role of [End Page 354] imagination in language, in humor, in vision (both at the personal and the societal level), and in morality. Finally, the last part of the book offers a variety of case studies involving dance, technology, and artificial intelligence. Of the four chapters in this part of the book, three are written by other authors: two by Alejandra Iannone, a scholar and practitioner of dance and theater (and the author’s daughter), and one by Rocci Luppicini, an expert in technology studies. In light of the explosive pace with which new AI technologies are being developed, the book’s discussion of whether and how such technologies present challenges for our capacity for imagination is especially timely and important.In addition to affirming the practical importance of imagination, Iannone also affirms the practical importance of nurturing imagination—something he repeats at several points throughout the book. But how do we do this? One natural way that imagination is nurtured is simply by its regular use...

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