Amy Kind

Philosophy of mind in the phenomenological tradition / Philip J. Walsh and Jeff Yoshimi -- The mind-body problem in the 20th century / Amy Kind -- A short history of philosophical theories of consciousness in the 20th century / Tim Crane -- 20th century theories of perception / Nico Orlandi -- 20th century theories of personal identity / Jens Johansson -- Introspecting in the 20th century / Maja Spener -- Mental causation / Julie Yoo -- Intentionality: from Brentano to representationalism / Michelle Montague -- Wittgenstein and his legacy / Severin Schroeder -- The boundaries of the mind / Katalin Farkas -- The rise of cognitive science in the 20th century / Carrie Figdor -- Future directions for philosophy of mind / Susan Schneider and Pete Mandik.

Recent treatments of imagination have increasingly treated imagining as a skill. Insofar as imaginative accuracy is one of the factors that underwrites this skill, it is important to understand what it means to say that an imagining is accurate. This paper takes up that task. The discussion proceeds in four parts. First, I address two worries that may naturally arise about the coherence ofthe notion of imaginative accuracy. Second, with those worries addressed, I turn to an exploration of what is meant by imaginative accuracy. My discussion relies on two key points: first, that accuracy is best understood in terms of aim; and second, that imaginings aim at the representation of fictional states of affairs. I call this line of thought _the fictionality approach_. Third, I look more closely at six different types of imaginings in an effort to develop and clarify the fictionality approach. Finally, I turn to what I call the calibration objection. Given the nature of imagination, there seems to be no way to calibrate one’s judgments of imaginative accuracy. After showing how much of the force of the calibration objection can be defused, I offer some brief concluding remarks.

My purpose in this dissertation is to investigate the workings of the imagination. As I argue in Chapter One, such an investigation reveals that we cannot adequately account for the phenomenon of imagining without invoking mental imagery. I thus develop and defend an imagery-based account of the imagination, which I call the imagery model. ;Despite its intuitive appeal and a long philosophical history, the imagery model has nonetheless fallen into disfavor in contemporary discussions of the imagination. This is due, at least in part, to a strong presumption against mental images that has developed in this century. Overcoming this presumption is the primary task of Chapter Two. In Chapter Three, I address a second motivation for the rejection of the imagery model, namely, that there seem to be some mental exercises which are clearly exercises of the imagination but yet which do not consist of imagery. By separating the imagery model from several controversial theses with which it has been associated, I show how the imagery model can protect itself from the threat of these counterexamples. ;Once these obstacles to the acceptance of the imagery model have been removed, the need remains to provide an explanation of the role that the image plays in imagining. As I suggest, although the image is not what is imagined, it is in virtue of the image that anything is imagined at all. More specifically, the image serves to capture the subject of the imagining. My discussion of this claim in Chapter Four is heavily influenced by recent work in the philosophy of language; in particular, I rely on many of the insights of the causal theory of reference developed by Saul Kripke and Keith Donnellan. ;Ultimately, having developed a picture of the workings of the imagination, I take up what I call the question of imaginability, namely, "What can we imagine?" The imagery model yields the obvious result that the imaginable is limited to the imageable. I explore the consequences of this result and, in particular, the consequences it has for the use of the imagination as an epistemological guide to modality

Work in philosophy of mind often engages in descriptive phenomenology, i.e., in attempts to characterize the phenomenal character of our experience. Nagel’s famous discussion of what it’s like to be a bat demonstrates the difficulty of this enterprise (1974). But while Nagel located the difficulty in our absence of an objective vocabulary for describing experience, I argue that the problem runs deeper than that: we also lack an adequate subjective vocabulary for describing phenomenology. We struggle to describe our own phenomenal states in terms we ourselves find adequately expressive. This paper aims to flesh out why our phenomenological vocabulary is so impoverished – what I call the impoverishment problem. As I suggest, this problem has both practical and philosophical import. After fleshing out the problem in more detail, I draw some suggestive morals from the discussion in an effort to point the way forward towards a solution.

Philosophy has long either dismissed or paid only minimal attention to creativity, and even with the rise of research on imagination, the creative imagination has largely been ignored as well. The aim of this volume is to correct this neglect. By bringing together existing research in various sub-disciplines, we also aim to open up new avenues of research. The chapters in Part I provide some framing and history on the philosophical study of imagination and creativity, along with an overview of the empirical literature. Part II explores imagination and creativity as they manifest in, and in turn shape, the individual. Part III surveys the role of imagination and creativity across a wide variety of artistic domains, and the chapters of Part IV turn to societal domains. Part V focuses on the interplay of imagination and creativity with regard to particular features of creative subjects and different kinds of creative subjects. *** Part I: Theories and Approaches 1. Theories of Imagination (Peter Kung) 2. Theories of Creativity (Julia Langkau) 3. Historical Treatments of Imagination in the Western Tradition (Lucia Oliveri) 4. Historical Treatments of Creativity in the Western Tradition (Elliot Paul) 5. Non-Western Treatments of Imagination (Reza Hadisi and Jing Iris Hu) 6. Non-Western Treatments of Creativity (Nicolas B. Verger and Vlad Glăveanu) 7. Empirical Treatments of Imagination and Creativity (Dustin Stokes) 8. Experimental Philosophy of Imagination and Creativity (Michael T. Stuart) 9. The Relationship between Imagination and Creativity (Margherita Arcangeli) Part II: Imagination and Creativity in Mind and Action 10. Imagination, Creativity, and Skill (Amy Kind) 11. Imagination, Creativity, and Attention (Bence Nanay) 12. Imagination, Creativity, and Agency (Caterina Moruzzi) 13. Imagination, Creativity, and Emotion (Julien Deonna and Fabrice Teroni) 14. Imagination, Creativity, and Embodiment (Adriana Clavel-Vázquez and María Jimena Clavel Vázquez) 15. Imagination, Creativity, and Gender (Luke Roelofs) 16. Imagination, Creativity, and Race (Nicholas Whittaker) 17. Imagination, Creativity, and Child Development (Thalia Goldstein, Anna Sofia Caruso, Darian Stapleton, and Lamin Fatty) Part III: Imagination and Creativity in the Arts 18. Imagination, Creativity, and the Visual Arts (Claire Anscomb) 19. Imagination, Creativity, and Music (Matteo Ravasio) 20. Imagination, Creativity, and Fiction (Hannah H. Kim) 21. Imagination, Creativity, and Dance (David Davies and Anna Pakes) 22. Imagination, Creativity, and the Culinary Arts (Patrik Engisch) 23. Imagination, Creativity, and Film (Murray Smith) 24. Imagination, Creativity, and Acting (Tzachi Zamir) 25. Imagination, creativity, and fashion (Laura T. Di Summa) Part IV: Imagination and Creativity in Society 26. Imagination and Creativity in the Scientific Realm (Alice Murphy) 27. Imagination and Creativity in the Moral Realm (Tim Mulgan) 28. Imagination and Creativity in the Political Realm (Avshalom Schwartz) 29. Imagination and Creativity in the Law (Maksymilian Del Mar) 30. Imagination and Creativity in the Religious Realm (Neil Van Leeuwen) 31. Imagination and Creativity in Business (Eric Peterson) 32. Imagination and Creativity in Times of Crisis (Jennifer Fraser and Noah Stemeroff) Part V: Emerging Issues in Imagination and Creativity Research 33. Imagination, Creativity, and Aphantasia (Andrea Blomkvist) 34. Imagination, Creativity, and Neurodivergence (Sofia Ortiz-Hinojosa) 35. Imagination, Creativity, and Non-Human Animals (Henry Shevlin) 36. Imagination, Creativity, and Artificial Intelligence (Peter Langland-Hassan) 37. Collective Imagination and Collective Creativity (Nick Wiltsher)

In The Matter of Consciousness, in the course of his extended discussion and defense of Frank Jackson’s famous knowledge argument, Torin Alter dismisses some objections on the grounds that they are cases of cheating. Though some opponents of the knowledge argument offer various scenarios in which Mary might come to know what seeing red is like while still in the room, Alter argues that the proposed scenarios are irrelevant. In his view, the Mary case is offered to defend the claim that phenomenal facts cannot be a priori deduced from physical facts. Thus, a proposed scenario constitutes an objection to the knowledge argument only if it presents a case in which Mary’s learning inside the room comes about via a priori deduction from physical facts. Call this the deducibility standard. In what follows, I’ll explore a series of relevant cases in an effort to clarify this standard. Doing so enables us to better understand how cheating should be assessed in this context and thereby also to get clearer on the argumentative dialectic surrounding the Mary case.

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...

Traditionally, imagination has been considered to be a primitive mental state type (or group of types), irreducible to other mental state types. In particular, it has been thought to be distinct from other mental states such as belief, perception, and memory, among others. Recently, however, the category of imagination has come under attack, with challenges emerging from a multitude of different directions. Some philosophers have argued that we should not recognize belief and imagination as distinct states but rather on a continuum, whereas other philosophers have argued something similar with respect to belief and memory. And some philosophers have suggested that we can reduce imagination to other mental states, whether mental imagery, belief, supposition, or some combination. In this paper, I address some of these challenges in an attempt to show we need to maintain imagination as a distinct – and indeed, robust – category in our taxonomy of mind.

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.

What is consciousness and why is it so philosophically and scientifically puzzling? For many years philosophers approached this question assuming a standard physicalist framework on which consciousness can be explained by contemporary physics, biology, neuroscience, and cognitive science. This book is a debate between two philosophers who are united in their rejection of this kind of "standard" physicalism - but who differ sharply in what lesson to draw from this. Amy Kind defends dualism 2.0, a thoroughly modern version of dualism (the theory that there are two fundamentally different kinds of things in the world: those that are physical and those that are mental) decoupled from any religious or non-scientific connotations. Daniel Stoljar defends non-standard physicalism, a kind of physicalism different from both the standard version and dualism 2.0. The book presents a cutting-edge assessment of the philosophy of consciousness and provides a glimpse at what the future study of this area might bring.

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.

As Hume famously claimed, we are nowhere more free than in our imagination. While this feature of imagination suggests that imagination has a crucial role to play in modal epistemology, it also suggests that imagining cannot provide us with any non-modal knowledge about the world in which we live. This chapter rejects this latter suggestion. Instead it offers an account of “imagining under constraints,” providing a framework for showing when and how an imaginative project can play a justificatory role with respect to our beliefs about the world. That we can be free in our imaginings does not show that they must proceed unfettered; as is argued, our ability to constrain our imaginings in light of facts about the world enables us to learn from them. The important upshot is that imagination has considerably more epistemic significance than previously thought.

When looking at an object, we perceive only its facing surface, yet we nonetheless perceptually experience the object as a three-dimensional whole. This gives us what Alva Noë has called the problem of perceptual presence, i.e., the problem of accounting for the features of our perceptual experience that are present as absent. Although he proposes that we can best solve this problem by adopting an enactive view of perception, one according to which perceptual presence is to be explained in terms of the exercise of our sensorimotor capacities, I argue that this is a mistake. Rather, we can best account for presence in absence in terms of the exercise of our imaginative capacities.

Among the many commonalities between memory and imagination is the fact that they can both be understood as skills. In this chapter, I aim to draw out some connections between the skill of memory and the skill of imagination in an effort to learn something about the nature of these activities and the connection between them. I start by considering the ways that one might work to cultivate these skills in the hope that we could learn something about imagination training by reflection on memory training and vice versa. Interestingly, however, an initial look at the empirical research on the respective training regimens does not show much potential for this kind of crossover. Though there are some commonalities that can be found across the training regimens, these commonalities are nothing special over and above the kinds of commonalities one might find in training regimens for skills of any sort. Fortunately, however, the matter does not end there. When we think more deeply about the details of some of the training regimens for memory, we discover some important connections between the skill of memory and the skill of imagination. In particular, I argue that the two skills turn out to be interestingly intertwined.

In the same way that some people are better jugglers than others, some people are better imaginers than others. But while it might be obvious what someone can do if they want to improve their juggling skills, it’s less obvious what someone can do to improve their imaginative skills. This chapter explores this issue and argues that engagement with fiction can play a key role in the development of one’s imaginative skills. The chapter proceeds in three parts. First, using work by Martha Nussbaum as a launching pad, I develop arguments to show how literature helps to cultivate our capacities for one type of imagination in particular, namely, empathetic imagination. Second, I consider the empirical case for these claims. Third, I show how we can extend the argument connecting fiction and empathetic imagination to imagination more broadly. Not only can fiction provide us with practice with respect to empathetic imagination, but it can also provide us with practice with respect to other kinds of imagination as well.

In this Element, we’ll explore the nature of both imagination and creative thinking in an effort to understand the relation between them and also to understand their role in the vast array of activities in which they are typically implicated, from art, music, and literature to technology, medicine, and science. Focusing on the contemporary philosophical literature, we will take up several interrelated questions: What is imagination, and how does it fit into the cognitive architecture of the mind? What is creativity? Is imagination required for creativity? Is creativity required for imagination? Is a person simply born either imaginative or not (and likewise, either creative or not), or are imagination and creativity skills that can be cultivated? And finally, are imagination and creativity uniquely human capacities, or can they be had by nonbiological entities such as AI systems?

Philosophy of Mind: The Basics is a concise and engaging introduction to the fundamental philosophical questions and theories about the mind. The author Amy Kind, a leading expert in the field, examines central issues concerning the nature of consciousness, thought, and emotion. The book addresses key questions such as: • What is the nature of the mind? • What is the relationship between the mind and the brain? • Can machines have minds? • How will future technology impact the mind? With a glossary of key terms and suggestions for further reading, Philosophy of Mind: The Basics is an ideal starting point for anyone seeking a lively and accessible introduction to the rich and complex study of philosophy of mind.

Underlying much current work in philosophy of imagination is the assumption that imagination is a skill. This assumption seems to entail not only that facility with imagining will vary from one person to another, but also that people can improve their own imaginative capacities and learn to be better imaginers. This paper takes up this issue. After showing why this is properly understood as a philosophical question, I discuss what it means to say that one imagining is better than another and then discuss the kinds of imagination training and techniques that might be employed in an effort to get better at imagining. The discussion of these techniques draws insight from consideration of other skills-based activities, as well as from consideration of the creation of art and our engagement with literature and poetry. Over the course of this discussion, we also gain further insight into the nature of imagination.

In his 1950 paper “Computing Machinery and Intelligence,” Alan Turing proposed that we can determine whether a machine thinks by considering whether it can win at a simple imitation game. A neutral questioner communicates with two different systems – one a machine and a human being – without knowing which is which. If after some reasonable amount of time the machine is able to fool the questioner into identifying it as the human, the machine wins the game, and we should conclude that it thinks. This imitation game, now known as the Turing Test, has been much discussed by philosophers of mind, and for more than half a century now there has been considerable debate about whether it is an adequate test for thinking. But what has not been much discussed are the sexed presuppositions underlying the test. Too often forgotten in the philosophical discussion is the fact that Turing’s imitation game is modeled on an imitation game in which a neutral questioner communicates with two different humans – one a man and one a woman – without knowing which is which. In this original imitation game, the man wins the game if he is able to fool the questioner into identifying him as the woman. In this paper, I explore the implications of this set-up. As I argue, the fact that the Turing test was modeled on a man/woman imitation game seems to have led us astray in various ways in our attempt to conduct an effective investigation and assessment of computer intelligence.