When the Mind Goes Blank

A post by Angelica Kaufmann

“Our heart-beats, our breathing, the pulses of our attention, fragments of words or sentences that pass through our imagination, are what people this dim habitat. … In short, empty our minds as we may, some form of changing process remains for us to feel, and cannot be expelled.”

— William James, The Principles of Psychology, Vol. I, Ch. XV, “The Perception of Time,” section “We have no sense for empty time”

Mental life is not always equally full or equally structured. Sometimes thought is busy, vivid, and difficult to interrupt. A useful example is intrusive mental imagery. In conditions such as post-traumatic stress disorder, anxiety disorders, and obsessive-compulsive disorder, intrusive images can be especially vivid, affectively charged, and hard to regulate (Brewin et al., 2010). They show one way in which some conscious experience can become highly salient and difficult to step back from.

But some conscious mental life can also seem to vary in the opposite direction. Sometimes, instead of becoming overly full, it appears to lose structure altogether. Many people recognise the experience: you are reading a page, listening to someone speak, or waiting at a traffic light, and then suddenly realise that your mind seems to have gone blank. Not wandering somewhere else. Not replaying a memory. Not imagining tomorrow’s lunch. Just — nothing.

Or at least, that is how it seems.

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Murdoch's Truth-Seeking Imagination

A post by Idil Çakmur

There is a simplicity to a life without the imagination. An unimaginative person might be frightfully dull, but at least they have a firm footing in reality, while the imaginative person is off in la la land, chasing windmills. The imagination, we are ordinarily inclined to think, might make things more interesting, but it does not bring us closer to the truth. It instead traps us in a dreamland of our own making.

This is where Iris Murdoch begins to disagree: “we use our imagination not to escape the world”, she writes, “but to join it, and this exhilarates us because of the distance between our ordinary dulled consciousness and an apprehension of the real” (EM 374). When we consider the role of the imagination within her broader moral philosophy, it is clear that becoming more imaginative is a moral imperative.

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Leibniz’s ‘Logic of the Imagination’

A post by Lloyd Strickland

Philosophers have traditionally drawn a sharp boundary between the province of imagination and that of logic (see for example Malebranche 1997, 87-195; Spinoza 2002, 267-268). While logic is austere, rule-governed, and abstract, imagination is vivid, associative, and often unruly. If imagination has a place in philosophy at all, it is usually as a source of examples, heuristics, or perhaps error, not as something that could itself be subject to logic (but see Berto and Jago 2019, especially chapter 8; Canavotto, Berto, and Giordani 2020; Özgün and Schoonen 2022).

Gottfried Wilhelm Leibniz (1646—1716) disrupts this familiar contrast in a striking way. When outlining ‘universal mathesis’, a hypothetical higher order science of quantities and qualities, Leibniz describes it as ‘the science of imaginable things’ (2026b, 505) and goes so far as to call it ‘the logic of the imagination’ (2026b, 509). Leibniz is not saying here that imagination itself can be turned into a science, but rather is marking out a class of objects that fall under imagination—figures, magnitudes, forms, quantities, and their relations—yet can still be treated exactly. The ‘logic of the imagination’ is the logic proper to such objects.

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Beyond constraints: value-guided vs. unguided imagining

A post by Julia Langkau

Suppose you are preparing for a difficult conversation with a friend. You imagine how the exchange might unfold: what you might say, how your friend might respond, and how the conversation could end. As you do so, your imagination is constrained by what you believe about the world: you picture the actual situation, the personalities involved, and the kinds of things the friend will likely say. But your attention is also directed by what you care about: fairness, honesty, or empathic understanding. These values shape which possibilities you consider, which ones you ignore, and which ones don’t even come to your mind. You focus on ways of speaking that are respectful or constructive, and you avoid imagining saying things that would feel cruel or unjust. Your imaginative process is guided by moral values.

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Imaginative Metaethics

A post by Luke Roelofs

What if the philosophy of imagination held the key to moral objectivity? That idea was what drew me into the sub-field in the first place, and now I’ve gone and published a book making the case at some length. The book is called Empathic Reason: Imagination, Morality, and the Minds of Others, and Amy and Eric have very kindly allowed me to take up a spot in The Junkyard to lay out its core idea: a metaethical theory I’ve taken to calling ‘empathic rationalism.’ 

The starting point of empathic rationalism is the fairly familiar idea of a connection between altruism and something called “empathy”. Seeing things from someone else’s perspective by imagining ourselves in their situation seems to be connected to wanting to improve that situation. This sort of link between imagination and morality has been discussed by many philosophers, most famously Smith (1759/1976) and Hume (1751/1975) under the heading of “sympathy”. And I think it has an undeniable appeal as a basis for morality, because it seems to get the focus in the right place: other people. I should treat others fairly and kindly, not because of a divine command or a mysterious non-natural fact or the formal requirements of logical consistency, but because of something about them. The way we represent others – as the centers of their own worlds, and not just objects within ours – has always struck me as the right place to look for understanding our obligations to them. 

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Fission-Fusion Imagination for Freedom of Thought, Ethics and AI

A post by Miranda Anderson

Understanding imagination as something that is not merely brain-bound or individualistic can help to expand our ambitions for the development of technologies including artificial intelligence. Constraints in our intelligence, including our imaginative capacities, have been associated by Richard Gregory with constraints in our technologies; on his view, human intelligence is largely artificial intelligence because of the ways in which our technologies act as ‘mind tools’ that augment onboard biological capacities (1981).

There is a glitch between our recognising the crises underway in the twenty-first century – and doing something about them –  at the heart of which is the blinkering and harnessing of our imaginations. Paul Gilroy argues that online filtering of information weakens our imaginations generating a sense of apathy and loss of hope (2025). Narrow and corporate control of current technological developments exploit and worsen the perceived diminution of the meaning of our lives, eroding the will to challenge it. Ironically these technological aims and methods are propagated by our fellow human beings who thereby exhibit the truncation of imagination they implant in others. Even in the narrowest sphere of self-interest their activities are self-harming and undermine the security and thriving of the earth on which they along with all of us live.

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Imagination-Oriented Design

A post by Monika Dunin-Kozicka

Imagine the School of Imagination. If you attended such a school, you would engage in various imagination exercises and assignments every day—so that your imaginative skills could be enhanced. Among the daily exercises (performed on a regular basis) would be one called the Prompt: if a student spotted particular objects anywhere in the school—such as a purple chair, a pompom, a standalone door handle, and so on—they would be required to perform specific imaginings assigned to these objects. For example, upon suddenly noticing a pompom, one would have to stop and focus on imagining it growing larger and larger, until it ultimately (imaginatively) touches the very student performing the exercise. But beyond such prompts, which would be randomly distributed and regularly rearranged throughout the school, there would be many other objects and tools designed to support the imaginative growth of the students. The School of Imagination would be specifically designed to enable a wide range of imaginative actions.

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Acting, the Imagination, and Performance

A post by Bruce G. Shapiro

"There are two requisites in every systematic treatise: the author must first define his subject, and secondly, though this is really more important, he must show us how and by what means we may reach the goal ourselves."

Longinus, On the Sublime 

The two roles

The imagination plays two significant roles in stage acting. One role occupies rehearsal, where the actor imagines sensory experiences to create afferent data that informs their imagination. The second role occupies dramatic performance, where the actor's informed imagination efferently turns into a spontaneous appearance before an audience.

Trópos and opsis. In the Poetics, Aristotle used two concepts that describe these two roles: trópos, meaning a turn or change, and opsis, meaning face or appearance. As a transitional concept, trópos refers to the playwright's process of turning a drama into a playscript, and the actors' rehearsal process of turning the playscript's imagery into imagined sensory experiences. Opsis refers generally to the actors' performance of the drama before an audience. But the term literally means the drama's spontaneous appearance in a performance by actors, whose imaginations create the spontaneity.

Transition. The turn from rehearsal to performance is neither the natural consequence nor the effortless result of the rehearsal process. Rehearsal only leads up to the liminal frontier between it and the creation of a performance, which must be wholly the work of the imagination in the sudden presence of an audience.

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Imagination without Imagery: The challenge of aphantasia

A post by Georgina Brighouse

Can you imagine a bright red apple sitting on a table? Or a sunset over the ocean with orange and pink clouds?

These are examples of imagistic imagination. Visual mental imagery, in these examples, is essential to imagination.

A popular view of imagination is that mental imagery is a necessary requirement for all forms of imagination. Classical theories have often assumed that imagination depends crucially on imagery (e.g., Aristotle 1968, 428a1-2; Hume, 1739/2007), and contemporary philosophers have continued this line of thought.

Amy Kind defends an imagery-essentialist account of imagination. On her view, imagery serves as the ‘paint’ of the imagination (2001, p. 33). Just like paint captures the object of the painting, imagery captures the object of the imagining. Further, she argues that the experiential aspect of imagination – the ‘what-it’s-likeness’ – can only be explained by invoking mental imagery.

Bence Nanay also argues that, whilst imagination and imagery are distinct, the former necessarily depends on the latter (Nanay, 2023a, 2023b). Imagination is something we do, a (typically) voluntary action, whereas mental imagery can be involuntary, such as in flashbacks or earworms (Nanay, 2023a, p. 165). Nanay claims that imagery is necessarily triggered automatically during an imaginative episode.

Such accounts essentially claim that without imagery, one cannot have imagination. This view of imagination does have some intuitive appeal: many everyday cases of imagination do tend to feel similar to perceptual experiences. When one imagines a friend’s face or a scene from a novel, there seems to be something pictorial about the experience.

However, recent reports on aphantasia, a diminished or complete absence of capacity for imagery, presents a significant challenge to this view.

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Two Sources of Imaginative Pleasure

A post by Vincenzo Grasso

“Emma was not sleeping, she was pretending to be asleep; and while he dozed off next to her, she would grow more wakeful, dreaming other dreams. [...] Often, from the top of a mountain, they suddenly caught sight of splendid city with domes, bridges, ships, groves of lemon trees, and cathedrals of white marble on whose sharp steeples storks were nesting. [...] And then, one evening, they would arrive at a village of fishermen, where brown nets were drying in the wind along the cliff and the line of shanties. It was here that they would stay and make a life for themselves; they would live in a low house, with a flat roof, shaded by a palm tree, at the far end of a bay, by the edge of the sea. ”

(Flaubert 2010/1857, pp. 171-172)

Emma Bovary, in the grip of her torment, finds comfort in imagining pleasant scenes, often, as is well known, in the company of her favourite novels, or else, as in the passage quoted above, on her own. The imaginative pleasure Emma seeks is, however, to be understood as a maladaptive response, symptomatic of a profound dissatisfaction with her life. At the same time, we should not make the mistake of thinking that this pleasure is always tied to dangerous forms of escapism or wishful thinking. Taking pleasure in imagination is, after all, extremely common. On a tedious afternoon at work, we may take pleasure in imagining ourselves on a beach, lulled by the sound of the waves and the coolness of the breeze. In the absence of a loved one, we may comfort ourselves by calling up a representation of their face. Or again, after visiting the church of Santa Maria della Vittoria in Rome, one might try to prolong the pleasure once felt before the sculptural beauty of the Ecstasy of Saint Teresa by reconstructing it in imagination.

How should we identify the source of such imaginative pleasure? One possible answer is to locate the pleasure in the content of the mental act: what is pleasurable about my imagining is a content that would itself be pleasurable to perceive. Since sensory imagination preserves, at least in part, the phenomenal character of the perceptual experience it aims to capture, it seems plausible to say that, in cases where one takes pleasure in imagining, this is because the content itself is something one would enjoy experiencing perceptually. One would no doubt take even greater pleasure in actually being on a beach, or in the company of a loved one, or before the Ecstasy of Saint Teresa; but in their absence, why not settle for imagining?

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Models in Suspension: Imagination and the Structure of Scientific Understanding

A post by Ana Elisa Ulloa Labariega

Imagine a mobile—the kind that hangs above a child’s bed. Glass figures suspended at different lengths, each positioned in relation to the others. The structure is not arbitrary: it has been built to support those particular elements, with their specific weights, distances, and tensions. At the same time, the structure itself takes shape in relation to what it is meant to hold; frame and elements are not fully independent, but emerge together as a single configuration.

For a moment, everything holds together. Each figure moves slightly, but never entirely on its own. Its motion is shaped by the others, and by the frame that sustains them all. In other words, the range of movement is delimited by the possibilities given by the whole.

But the balance is conditional.

If one figure becomes heavier, the strings must adjust. If new elements are added, the structure must redistribute tension. Changes are possible, but only up to a point. Once something shifts, it cannot simply be undone: it can only be rebalanced. At the same time there are limits to what it can sustain. At some point, the configuration no longer holds: the system strains, distorts, and eventually breaks. Pieces fall to the ground. Some may remain intact, but the mobile as it was—and the structure that held it together—cannot be recovered.

Scientific models, I want to suggest, are more like this than we usually admit.

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The Paradox of Scientific Fiction

A post by Zachary Srivastava

Over the past five to ten years, there’s been a surge of interest in the role of imagination in science, particularly since the release of The Scientific Imagination, edited by Arnon Levy and Peter Godfrey-Smith (2019). As research continues, we can return to traditional problems from the literature on imagination and philosophy of science to see if our cross-disciplinary excursions have revealed new paths to exploring old problems. The comparisons between fictional characters or stories and scientific models on fiction views of models has led me to think about the problem I was working on in a broader context: how do we gain real understanding from fictional models? The question strikes me as highly similar to Colin Radford’s (1975) “How Can We Be Moved by the Fate of Anna Karenina?” and the paradox of fiction, which asks how we can justifiably be moved by the fate of Anna Karenina when we know she isn’t real. The similarity between the two questions led me to consider how the paradox of fiction could be repurposed for the philosophy of science. I call this new version the paradox of scientific fiction. This post examines both versions of the paradox, whether they’re truly posing analogous questions, and how this could shape how we think about the relationship between artistic and scientific imagination. 

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Aphantasia and mental imagery: a call for interdisciplinary collaboration (IRCA 2026 announcement)

A post by Christian O. Scholz, Jianghao Liu, and Andrea Blomkvist

In this blog post, we will argue that aphantasia rightfully ascended from a niche curiosity to a hot topic across the cognitive sciences, that mental imagery research and aphantasia research stand to gain a lot from one another, and that the future of both should lie in interdisciplinary research and collaboration. This will then allow us to ultimately segue into shameless promotion for the upcoming interdisciplinary aphantasia conference at the University of Glasgow, IRCA 2026.

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Striving to Imagine Other Animals’ Minds

A post by Luca Marchetti

One of the best popular-science books I’ve read in recent years is Ed Yong’s An Immense World: How Animal Senses Reveal the Hidden Realms Around Us. It’s a guided tour of how different animals perceive the world: Yong pulls you beyond the confines of human sensing and into the distinct “sensory bubbles” that different animals inhabit, shaped not just by sights and sounds, but by vibrations, pressures, smells, and even electric and magnetic fields. Along the way, he shows what dogs smell on an ordinary street, what bees see in flowers, what songbirds hear in their tunes, and how a crocodile’s scaly face can be as sensitive as fingertips – all while telling the stories of the discoveries that made these strange worlds intelligible in the first place.

I appreciated the book both for what it says and for how it says it. But I also loved it for a more idiosyncratic – and philosophical – reason: when I read it, about a year ago, I had just started thinking about the possibilities and limits of imagination in trying to understand other animals’ minds, and about the epistemic, moral, and even aesthetic value that this imaginative activity might or might not have. What I found in Yong’s book was a vocabulary – and a kind of conceptual consonance – that resonated with what I was trying to think through myself: that imagination is something we inevitably rely on in these contexts; that it is often a matter of striving to imagine; and that, despite its limits, it can still have profound value. For example, in the book’s introduction Yong writes that in understanding other animals’ minds, “our imaginations will be our greatest assets”: the “ultimate feats of understanding” always require “an informed imaginative leap”; and, even if the task is hard, “there is value and glory in the striving” (Yong 2022, 13). But what kind of imagination is this? And what kinds of value are at stake? Those philosophical questions are not answered in Yong’s book, and they are the ones I will take up – sketchily, partially, and tentatively – in this post.

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Imagination on the Cusp of Impossibility

A post by Zach Kohler

There is something strange about the experience of theatrical magic. Anyone who has watched a good magic trick knows the feeling—it presents itself without fanfare, yet leaves us with the troubled sense that something about the world we take for granted has briefly been unsettled. This post asks what kind of imaginative engagement makes such an experience possible. Against accounts that assimilate magic either to fictional make-believe or to the presentation of known impossibilities, I contend that theatrical magic ought to operate on what I call the cusp of impossibility: a liminal modal space in which events are experienced as radically implausible without being decisively foreclosed as impossible. My claim is that while magic may, and often does, present itself as outright impossible, its most compelling and aesthetically successful instances do not. Drawing on Kendall Walton’s theory of make-believe, Jason Leddington’s alief-based account of illusion, and Richard Moran’s distinction between hypothetical and dramatic imagination, I argue that imagination plays an essential role in magic—not by transporting spectators into a fictional world, but by enabling a resisted, emotionally charged way of relating to our own.

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Imagination in Learning and Creativity

A post by Kerry Clark

Introduction

Imagination is used in many ways—whether in daydreaming, anticipating future outcomes, or engaging in creative works. I take imagination to be (roughly) the mental faculty that allows individuals to form images, ideas, and sensations without direct input from the senses. This mental faculty supports important human activities, whether it be for practical purposes like imagining how to organize furniture, daydreaming for entertainment purposes, or imagining to better understand the world around us. This post explores imagination within two distinct but related processes: learning and creativity.

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The Discovery of Imagination

A post by Avshalom Schwartz 

The safest general characterization of the history of imagination is that it begins with Plato. Indeed, this is a rare point of agreement between scholars—from intellectual historians to analytical philosophers—about what is otherwise a contested and heavily debated concept. According to this standard account, Plato was the first to offer a philosophical investigation of imagination. This position was taken, for example, by Murray Wright Bundy in what is, to this day, the most comprehensive study of imagination in classical antiquity and the Middle Ages. Bundy’s claim that “the history of ‘fancy’ and ‘imagination’ as terms of reflective thought begins with Plato” is echoed in countless other historical and philosophical treatments of this concept (Bundy 1927, 11; cf. Kearney 1988, 87; Jørgensen 2017; Watson 1988, 1; Clifford and Buxton 2023, 4). Aristotle, as this common story goes, was the first to treat this concept systematically—“the first to give a careful delineation of the power of imagination as part of a complex theory of human and animal psychology,” as one commentator has put it (Sepper 2013; See also Schweitzer 1925, 77)—with others going as far as attributing to him the “discovery” of imagination (Castoriadis 1997).

Very few studies of the imagination have examined the pre-Platonic imagination or evaluated the background of his treatment of imagination and the resources on which he drew in developing his philosophical account of this mental faculty. Some have searched among Plato’s philosophical predecessors, focusing on pre-Socratic thinkers such as Thales, the Atomists, Heraclitus, and Parmenides (Ambrosi 1898, 5–9; Bundy 1927, 11–18; Sepper 2013, 107–14). Others took more mythical or aesthetic routes, treating the story of Prometheus and early practice of poetry—including ideas about inspiration and creativity—as pre-theoretical reflections on the human imaginative power (Kearney 1988, 79–80; Jørgensen 2017, 21; Sheppard 2015). But what about the more straightforward, linguistic origins of imagination?

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Why do we rewatch fictions—but not sports?

A post by Neil Van Leeuwen

In the background as I write this blog, the Superbowl is on. The Seahawks currently lead 6-0 in the second quarter, which makes me vaguely happy, since I dislike the Patriots (sorry, not sorry). But I’m not Seahawks fan, so my investment in the game is minimal enough that I can write.

Things are different, of course, for New England and Seattle fans. For them, this game will appear as one of the most riveting things they’ve seen in years. And all told, about 100 million people in the United States, along with about 25 million more around the world, are watching this game.

Of course, the Superbowl and sports in general aren’t the only long viewing people do. Estimates suggest that that average person watches about a movie a week, and then TV shows are in addition to that. Most movies and TV shows are fictional dramas, and plays and musicals fall in that category as well. So the amount of fictional drama that people watch is impressive as well.

Given all that, if you were to ask, “What do people like watching more, sports or fictional drama?” I would have a genuinely hard time answering. We could come at the question from multiple different angles, some of which might put sports on top and others of which might put fictional drama on top.

But there is a related question, concerning which I think the answer is abundantly clear: What do people like rewatching more, sports or fictions?

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Grieving Imagined Futures

A post by Hannah Fasnacht

«Wie geht’s?» fragte die Trauer die Hoffnung.

«Ich bin etwas traurig», sagte die Hoffnung.

«Hoffentlich», sagte die Trauer.

—Franz Hohler

“How are you?” Sadness asked Hope.

“I’m a little sad”, Hope said.

“I would hope so”, said Sadness.

[my translation]

Grief is typically directed at or caused by an actual loss: the death of a person, the end of a relationship, the removal of a certain form of security, for example due to a war, the deprivation of abilities and things once possessed. One could call this kind of grief “past-oriented” and “directed at actual objects”. Mostly, grief is understood as a reaction to a loss – paradigmatically, the loss of someone close to us (Cholbi 2021; Ratcliffe 2020).

Grief seems to be a complex thing. It is not just sadness; rather, it is arguably a process with different emotions which can co-exist, contradict each other, shift into one another, have “stages” (Kübler-Ross 1969) or come in waves.

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Can We Imagine New Emotions?

A post by Irene Lonigro

According to a venerable philosophical tradition, imagination builds upon experiences we have already had (Nagel, 1974; Paul, 2014). I cannot imagine what it feels like to taste a new kind of fruit like a durian until I have that very experience first-hand. We may call this limitation to our imagination the experiential constraint. Tasting a durian for the first time is therefore an ‘epistemically transformative’ experience that was previously inaccessible to us (Paul, 2014: 26).  

More recently, some scholars have questioned the experiential constraint. Following Amy Kind, there is no in principle difficulty in imagining new experiences. We can indeed access new experiences in imagination through ‘imaginative scaffolding’, the process of adding, subtracting and modifying our previous experiences to obtain novel re-combinations in imagination (2020: 137). We can perhaps imagine a new sensory experience like eating a durian by scaffolding out from experiences we have already had.

Now, try to imagine a new example: what it feels like to experience the joy of motherhood if you have never been a mother or to experience nostalgia for the first time. These examples present us with new experiences, this time of an emotional nature. Can we access these experiences via imagination? More generally, can we apply imaginative scaffolding to emotions as well? In this post, I explore whether and how the case of emotions presents a different kind of challenge for imagination compared to other experiences.   

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