Julia Langkau

When engaging imaginatively with a work of literary fiction, readers do more than reconstruct what is fictionally true — they also engage in richer forms of imagining. While the reconstruction of fictional truth must comply, at least to some extent, with the author’s intention, experiential imagining is often considered too subjective to be normatively constrained. This paper challenges this assumption by arguing that, although experiential imagining is largely subjective, it can be intentionally directed. In culturally, historically, or morally charged contexts, readers should aim to imaginatively experience what the author seeks to communicate.

The practice of appealing to intuitions as evidence has recently been criticized by experimental philosophers. While some traditional philosophers defend intuitions as a trustworthy source of evidence, others try to undermine the challenge this criticism poses to philosophical methodology. This paper argues that some recent attempts to undermine the challenge from experimental philosophy fail. It concludes that the metaphilosophical question whether intuitions play a role in philosophy cannot be decided by analyzing our use of the word ‘intuition’ or related terms, and what philosophers rely on may not be manifest on the surface of what they write. The question what intuitions are and what their role is in philosophy has to be settled within the wider framework of a theory of knowledge, justification, and philosophical methodology.

The aim of this paper is to give an account of the use of imagination at the core of artistic creative processes involving experiential imagination, and to show that this use of the imagination does not always lead to a creative output. Creative imagining is a value-guided process, where the values are essentially subjective in that they are given in the phenomenal aspects of experience or imagined experience. But creative imagining is neither sufficient nor necessary for artistic creative processes. It is not sufficient because creativity in other domains may involve value-guided experiential imagining, and it is not necessary because some art may be produced without the use of imagination, or in a manner that employs mostly other forms of imagination.

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)

The practice of appealing to intuitions as evidence has recently been criticized by experimental philosophers. While some traditional philosophers defend intuitions as a trustworthy source of evidence, others try to undermine the challenge this criticism poses to philosophical methodology. This paper argues that some recent attempts to undermine the challenge from experimental philosophy fail. It concludes that the metaphilosophical question whether intuitions play a role in philosophy cannot be decided by analyzing our use of the word ‘intuition’ or related terms, and what philosophers rely on may not be manifest on the surface of what they write. The question what intuitions are and what their role is in philosophy has to be settled within the wider framework of a theory of knowledge, justification, and philosophical methodology.

This paper argues that we should distinguish two different kinds of imaginative vividness: vividness of mental images and vividness of imaginative experiences. Philosophy has focussed on mental images, but distinguishing more complex vivid imaginative experiences from vivid mental images can help us understand our intuitions concerning the notion as well as the explanatory power of vividness. In particular, it can help us understand the epistemic role imagination can play on the one hand and our emotional engagement with literary fiction on the other hand.

This paper defends a version of aesthetic cognitivism: the truth of statements expressed, implied, or alluded to by a work of fiction matters aesthetically, and bears upon the work’s aesthetic value. Our aim is to explore a route from truth to aesthetic value that claims, roughly, that, if our engagement with a work of fiction is based on truth, it is more vivid than otherwise, and thereby contributes to the aesthetic value of the work. Whether truth increases the vividness of our engagement with fiction is an empirical question. On the assumption that it does, we spell out some consequences for the aesthetic value, and in particular for the literary value of a work, as well as for critical practice.

Much recent work on concepts has been inspired by and developed within the bounds of the representational theory of the mind often taken for granted by philosophers of mind, cognitive scientists, and psychologists alike. The contributions to this volume take a more encompassing perspective on the issue of concepts. Rather than modelling details of our representational architecture in line with the dominant paradigm, they explore three traditional issues concerning concepts. Is mastery of a language necessary for thought? Do concepts reduce to abilities? Is the analysis of concepts a viable means to ascertain truths from the proverbial armchair? An introductory essay provides a rough geography of key ideas and issues shaping the overall debate on concepts within contemporary philosophy.

This thesis is concerned with the ontology, epistemology, and methodology of intuitions in philosophy. It consists of an introduction, Chapter 1, and three main parts. In the first part, Chapter 2, I defend an account of intuitions as appearance states according to which intuitions cannot be reduced to beliefs or belief-like states. I argue that an account of intuitions as appearance states can explain some crucial phenomena with respect to intuitions better than popular accounts in the current debate over the ontology of intuitions. The second part, Chapters 3 to 5, is a reply to Timothy Williamson’s view on the epistemology and methodology of intuitions. The practice of appealing to the fact that we have an intuition as evidence from thought experiments has recently been criticised by experimental philosophers. Williamson argues that since thought experiments reliably lead to knowledge of the content of our intuition, we can avoid this criticism and the resulting sceptical threat by appealing to the content of the intuition. I agree that thought experiments usually lead to knowledge of the content of our intuition. However, I show that appealing to the fact that we have an intuition is a common and useful practice. I defend the view that for methodological reasons, we ought to appeal to the fact that we have an intuition as initial evidence from thought experiments. The third part, Chapter 6, is devoted to a paradigm method involving intuitions: the method of reflective equilibrium. Some philosophers have recently claimed that it is trivial and could even accommodate scepticism about the reliability of intuitions. I argue that reflective equilibrium is not compatible with such scepticism. While it is compatible with the view I defend in the second part of the thesis, more specific methodological claims have to be made.

In this paper, I first develop desiderata for an ontology of intuitions on the basis of paradigmatic cases of intuitions in philosophy. A special focus lies on cases that have been subject to extensive first-order philosophical debates but have been receiving little attention in the current debate over the ontology of intuitions. I show that none of the popular accounts in the current debate can meet all desiderata. I discuss a view according to which intuitions reduce to beliefs, Timothy Williamson's (2004, 2007) account of intuitions as beliefs or inclinations to believe, and traditional rationalist accounts of intuitions. I then show that a widely ignored account of intuitions as appearance states can meet the desiderata best.