What is it like to have aphantasia?

A post by Raquel Krempel

Imagine an apple. Nothing happened? You probably have aphantasia.

This is a common way of introducing and thinking about aphantasia. On the web, images such as Figure 1 (below) often serve to illustrate aphantasics’ inability to visualize, represented by the depiction numbered 5.

Aphantasia is characterized as the absence or near absence of mental imagery, most typically visual, but, in many cases, all forms of sensory imagery can be affected (Zeman et al. 2025, Dawes et al. 2024). Global aphantasics report a lack of imagery in all senses, in that not only can they not “see” an apple in their mind’s eye, they also can’t “taste” it, “smell” it, and so on. Various forms of involuntary imagery are also commonly affected in aphantasia, such as imagery formed while reading (Krempel and Monzel 2024). We thus tend to think of aphantasia as a blank mind, often characterizing it in purely negative terms.

Most of the growing body of research on aphantasia concerns the assessment of aphantasics’ performance on behavioral tests, many of them related to episodic and working memory (cf. Monzel et al. 2024, Dawes et al. 2022, Keogh et al. 2021). This interest in the possible impact of aphantasia on memory is not surprising. Given the common belief that imagery plays a crucial role in memory (Nanay 2021a), aphantasia provides a great place to assess this view. The data so far indicate that aphantasia impacts the number of details recalled from a particular past event, but, perhaps surprisingly, aphantasics tend to do well on working memory tasks. A current open question is how aphantasics do that, some suggestions being that they use non-imagistic strategies and that they use unconscious imagery (Zeman 2025, Nanay 2021b).

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The Text-Conditioned Image

A post by Julia Minarik

And someday there will be a more complete machine. One’s thoughts or feelings during life – or while the machine is recording – will be like an alphabet with which the image will continue to comprehend all experience…Then life will be a repository for death. 

– Adolfo Bioy Casares, The Invention of Morel.

Do machine-made images have less content than images created by human hands? I think they do, at least insofar as these machines are imaginatively impoverished: they have access only to words and images, far less sensory and emotional modalities than we do. Contemporary image generators – Midjourney, DALL-E and their kin – produce images via generative diffusion conditioned on text or images. To grasp what this limitation means for the content of their art, we must first understand how art arises from and leads the human imagination.

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Are we aware of neural activity in imagination? The attention model of conscious imagery and aphantasia

A post by Jianghao Liu

Please imagine a red Gala apple. Is it darker or lighter than a cherry? Most of us can easily conjure a mental image, a perceptual-like experience that feels almost as if we were seeing it. For centuries, mental imagery has long been considered a core component of consciousness in both philosophy of mind and neuroscience (Nanay, 2023). Yet, emerging evidence from individuals of aphantasia, who report no voluntary imagery (Zeman, 2024), raises a striking question: can there be unconscious mental imagery (Nanay, 2021; Michel et al., 2024)? In this post, I present the attention model (Liu, 2025) of the neural basis of conscious imagery and aphantasia, thereby aiming to bridge empirical neuroscience and philosophical accounts of imagination and awareness.

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Psychedelic visions are immersive mental simulations

A post by Maria Fedorova

In a series of interviews conducted by T. C. Swift and his colleagues on psilocybin (the psychoactive compound in “magic” mushrooms) experiences of cancer patients suffering from depression and anxiety, two patients, Brenda and Victor, reported the following experiences:

Brenda: At one point during her session, she experienced herself floating toward a brick crematorium and concluded that she must have died. After “bouncing off ” the crematorium she found herself under the ground in rich soil:

I felt like this was really dealing with death…I’m in the forest and there’s this beautiful, loamy, woodsy, green, lush kind of woods, and I’m down below the ground…And it felt really, really good, and I thought, “That’s what happens when you die. I am going to be reconnected with this beautiful world. This earthy world that we live in.”...It was just simple. It was gorgeous. (Swift et al. 2017: 500)

Victor: Until this point in the experience, I did not have a body. I was just this kind of soul, this entity…I was shopping for a body, and the only body I could choose was my body. And this is meaningful because I had a lot of body issues associated with being sick with what chemo did to my body and how it changed. And so I was circling my body, and I saw everything that has happened to my body, all the food I have eaten, the drugs I have taken, the alcohol, the people I have had sex with, the chemo, the exercise, everything that has ever happened to my body. I took it in at once. (Swift et al. 2017: 501)

Both of the reports contain references to psychedelic visions. In most general terms, psychedelic visions can be defined as closed-eye visual experiences induced by psychedelics. Such visions usually involve vivid mental imagery, are somewhat narratively structured and emotionally charged.

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Leaving It to the Imagination

A post by Luke Roelofs

There’s a common idea that sometimes the best aesthetic choice is to “leave something to the imagination”, where that primarily means not presenting it explicitly.

Sometimes this is a claim about horror — that the monster is scarier if it stays mostly hidden, and showing it clearly is often a let-down (Lovecraft 1927 famously said that “the oldest and strongest kind of fear is fear of the unknown”). Sometimes it’s a claim about sexiness – that the most arousing outfit isn’t necessarily the most revealing one, that eroticism can be better served by suggestive hints than graphic depiction. And I think similar dynamics can come up with other emotions: someone’s tragic backstory might seem more tragic if given only through vague suggestions, a perfect day might seem more perfect if we’re not fully shown what happened. And so on.

But what are we actually doing — what is the “imagination” that things are being left to?

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How to boost imagination and emotional well-being through an integrated approach

A post by Sheila Pontis

The pace of global change has only grown in recent years, spiraling uncertainty about the present and future. Discouraging news reported daily increases feelings of anxiety, making people feel lonelier and unhappier. We struggle to be optimistic and imagine positive futures or paths forward different from what we know (Mulgan, 2020). In this context, both emotional well-being and imagination are strongly connected, suggesting a symbiotic relationship in which both constructs are critical for challenging dominant social views and surfacing unconventional, positive alternatives. An integrated approach can lead to stronger emotional well-being habits that can help individuals and society harness the potential of imagination to make change in their lives and the outside world.

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Imaginative Jailbreak and Phenomenal Overflow

A post by Edvard Aviles-Meza

Have a look at Raphael’s School of Athens (figure 1 below). During a quick glance, do you see each of the individuals depicted? Surely, you wouldn’t recognize them at one glance. Moreover, you probably wouldn’t recall everything you saw. Hence, you also wouldn’t be able to tell. But my question isn’t about recognition, memory, or report; it’s more specific: do you visually experience each individual in the depicted scene during a quick glance? Many psychologists and neuroscientists would say that you don’t because visual experience, or broadly, consciousness is constrained by attention, and you can’t attend to each of them at once (Kouider et al., 2010; Cohen & Dennett, 2011). Moreover, people not only miss local details, but they also fail to notice global features such as the fact that the shape of the visual scene isn’t a rectangle since it occurs only within a lunette, and outside that frame, the appearance of depiction is an illusion. Similarly, rich conscious experience outside attention is an illusion.

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Imaginative Choices in Empathy

A post by Sarah Vernallis

Empathy is an imaginative activity. When we succeed in empathizing, we come to understand what it is like for another person. But what role, exactly, does the imagination play in empathizing? Is there just one imaginative move made in empathizing or do we invoke a varied set of imaginative strategies? On the standard story, the role of imagination in empathy is restricted to reconstructing the other’s situation, leaving the work of getting an affective response to one’s psychological dispositions. We have Adam Smith to thank for this conception:

By the imagination we place ourselves in his situation, we conceive ourselves enduring all the same torments in his situation, we enter as it were into his body, and become in some measure the same person with him, and thence form some idea of his sensations, and even feel something which, though weaker in degree, is not altogether unlike him. (Smith, (1982[1759]: I.I.i.2)

On this Smithian traditional story, imagination is at play in recreating the situation of the other person, which then triggers an affective response in the empathizer. This story has been taken up by many contemporary philosophers of empathy, from Goldman (2006) to Currie and Ravenscroft (2002). It seems to me that the roles of imagination in empathy are more varied than this standard story permits, given the diverse strategies we use in empathizing with others. Here, I explore just one such strategy, which is the inverse of this traditional account: affective selection.

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Imagine Learning Through Play

A post by Lucia Oliveri

Imagine a world destroyed by a thirty-year-long war, the most devastating war that seventeenth-century Europe had ever seen. Imagine standing in front of a destroyed land, like Germany. You would likely want to understand how such an evil could have happened and educate people in order to prevent it from ever happening again.

From this perspective, some early modern thinkers, such as G.W. Leibniz (1646–1716), viewed philosophy as a way to improve education, and, consequently, individual and social well-being. They imagined a school where students would learn through play. “One can teach also serious matters through play. And in this context, teaching is more effective,” writes Leibniz in order to challenge those who think that play is just frivolous entertainment (Aufzeichnungen nach einer Lektüre von »ZUFÄLLIGEN GEDANCKEN« [ca. 1691.] A IV 4 608). Quite the contrary: play is a reason-oriented, pleasant, imaginative activity because the mind is at ease with itself. In the free joy of play, human beings develop their theoretical and social skills, their rationality and moral attitudes, and they acquire the status of being responsible citizens. And they do so much better than by being subjected to the hard and long memorization of abstract notions.

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Touching Invisible Walls

A post by Niklas Maranca

Insight into the structure and approach of a practice-based PhD project on imagination

This text traces a path from practice to research. It opens with three short scenes from my own artistic work—pantomime, still life drawing, and scenic painting. Each captures a concrete moment of making, observed through first-person inquiry.

These scenes serve as a starting point: they give rise to questions about the trainability of imagination and its role as a skill. The second part presents imagination games—practical, experimental formats developed to investigate such questions. The closing section situates this method within the broader frame of my doctoral research and offers a glimpse of a first prototype of the approach.

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The University in Crisis: A Review of Undisciplined: Reclaiming the Right to Imagine

A post by Seth Goldwasser

I never had the pleasure of meeting or speaking with Dr. Melz Owusu before his passing, which occurred after I had cited interest in reviewing his book. I’m deeply saddened at his loss; the world has lost an exceptional thinker and preeminent Undisciplined Scholar. So, I’d like to dedicate a moment to Melz’s memory with a breathing exercise to which he invites the reader midway through the book (2025: 56):

Pause, and breathe.

Breathe deeply through your nose until your body is filled with gentle air, hold on to it for a few moments.

Release it through your mouth.

Repeat this a few times.

If you knew Melz, take this moment to honor his memory. If you didn’t, take it to center your thoughts on your breath and on the liberatory action of marginalized scholars and activists that you do know. 

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In and out of touch with the past: the archaeological sublime

A post by Mark Windsor and Jakub Stejskal

Many of us are inexorably drawn to material remains of humanity’s deep past: we like to read about new archaeological finds and observe them up close in situ or in museums. What is it about them (and us) that enchants us so? One obvious answer is that they offer us a glimpse into past ways of life: they afford a felt connection with people and events remote in time; they put us, as Carolyn Korsmeyer has described in a recent book, ‘in touch with the past’ (Korsmeyer 2019; see also Windsor 2025).

But while this must be part of the story, it doesn’t account for the phenomenology of the experience of many archaeological objects that we are interested in here. An important part of the experience of many such objects is precisely that the past they promise to put us in touch with lies out of reach.

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Free Speech and Imagination

A post by Eric Peterson

Free speech is either a civil liberty essential for a flourishing liberal democracy or a threat to that very democracy, depending on who you ask. There are many arguments that can be proffered from political philosophy and ethics both for the value and the disvalue of free speech. In this post, I take a different route. I intend to argue that free speech has a unique value for our imagination. To the extent that we value imagination, then we should also value free speech. However, the value of free speech is not absolute. There ought to be limits on free speech. Thus, I also intend to argue that imagination has unique value for free speech. In a slogan: free speech matters for what we can imagine, but imagination matters for what we ought to say.

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To imagine how, creatively

A post by Felipe Morales Carbonell

Note: This is a side-piece to a longer essay I am working on, which focuses on how imagination can help us learn how to do things or how to act. The topic here is something I only minimally touch in the longer piece, and which I think is an important limitation of that work, so my goal here is to give some hints at a way to address it. In any case, the first section here summarizes the longer piece.

Imagining how

Let us consider a variation of Williamson’s (2016) illustration of the epistemic use of imagination, the case of a person who wants to cross a stream in the woods. There is some risk, so they have to decide what to do beforehand. In this case, they use their imagination. They imagine that if they run and jump over the stream, they could cross with certain risk; if they don’t propel themselves hard enough, they might fall to the water or hit the rocks. As they see some rocks in the stream bed, they imagine themselves jumping over them. While this could also work, it has the risk of slipping. Then, they imagine that if they used a stick for support, they could minimize the risk. At that point, they come up with a plan to cross the stream: first, they need to get a stick, and then they need to cross the stream jumping from rock to rock. We can say that they have imagined how to cross the stream.

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Co-imagination: The future we imagine

A post by Brendan Bo O’Connor

Our future is not a foregone conclusion. It’s actively constructed at the horizon of the present. In a moment when the world feels divisive and isolating, I’d like to share some recent research from my lab that highlights the power of imagining a future together, what we are calling collaborative imagination or co-imagination.

This research advances a framework for studying imagination as a socially creative act, an interactive, interpersonal process in which two or more people dynamically converse to co-create shared representations of hypothetical events, creating new connections and new possibilities of what could be.

From aging lovers to people on a first date, from best friends to new acquaintances, collaborating to imagine shared experiences appears fundamental to human relationships. These imaginings can be as whimsical as make-believe, as mundane as what’s for dinner, or as consequential as the future of our politics and planet.

How might co-imagination transform and strengthen our relationships in the present? Is co-imagining a shared future the first step toward creating one?

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It's not all about aboutness

A post by Tom Schoonen

It's been almost ten years since a great burst of logics of imagination appeared (depending on when you start counting, of course). The idea behind these formalisations is that, although “imagination will take you anywhere,” it will not take you anywhere. That is, there is some method to the madness and the aim is to capture this in a logical framework. (Note that most logics of imagination focus mainly on reality-oriented imagination, I will follow suit here.) Theorists working on the logic of imagination try to strike a balance: we can imagine things we believe, or know, to be false (“imagination will take you anywhere”), though in most instances of imagination it does not seem to be the case that anything goes (“well…, not anywhere”). In this post, I want to highlight a worry for a branch of the most popular logics of imagination, based on joint work with Aybüke Özgün and Tianyi Chu.

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The Power of Reimagining: How Imagination Can Reshape Our Past, Future, and Selves

A post by Cassandra Vieten

As a psychologist and researcher, my career has focused on how people change. In particular, I have investigated the experiences, practices, and environments that transform people’s worldviews—their stories about themselves and the world—and as a result, change their thinking patterns, behavior, biology and brain. Over a couple of decades of research, I am convinced that extraordinary experiences can change us in profound and lasting ways. Just like an experience of trauma can change us in lasting ways, a profoundly positive experience can change us in positive ways: kind of like post-traumatic stress in reverse.

But here’s the surprising part: those experiences don’t always have to be real. More accurately, those experiences don’t have to be externally or physically real: they can happen in our imagination. Practicing imagination holds the potential to transform our lives into something extraordinary. Even negative imagination, when we don’t get stuck there, can be helpful in our personal growth journey.

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The value of epistemic imagining

A post by Nick Wiltsher

Here are three related claims to which I’m increasingly sympathetic:

(1) Imagination has no distinctive epistemic ends.

(2) The epistemic ends that can be pursued using imagination are better achieved by other means.

(3) There is, all the same, value in using imagination to pursue (some) epistemic ends.

Claim (3) only matters if claims (1) and (2) stand up. So let’s see if they do.

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Imagining The Future of Creative Skills and Education

A post by Caterina Moruzzi

Imagine the near future of 2030 where AI has become deeply embedded in creative workflows. What does that future look like?​

This is one of the questions that we are asking the participants in the “Future Proofing Creative Skills for Responsible AI Adoption” workshop series (https://crea-tec.weebly.com/workshops.html). Through these workshops we aim to identify and discuss the new and future-proof skills that creators need in the current technological landscape.

This post is about the significance of imagining the future of our creative interactions with Artificial Intelligence (AI) technologies in order to proactively anticipate the transformative impact of these emerging technologies on creative education and professional practice. I will talk about how the workshop series was designed to account for this significance, and present some preliminary insights from the initial sessions.

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Getting our Shift Together: Empathy and Moral Gestalt Shifts

A post by Heidi L. Maibom and Kyle Furlane

In his essay Homage to Catalonia, George Orwell describes the following encounter with a fascist: “a man, presumably carrying a message to an officer, jumped out of the trench and ran along the top of the parapet in full view. He was half-dressed and was holding up his trousers with both hands as he ran. I refrained from shooting at him. It is true that I am a poor shot and unlikely to hit a running man at a hundred yards, and also that I was thinking chiefly about getting back to our trench while the Fascists had their attention fixed on the aeroplanes. Still, I did not shoot partly because of that detail about the trousers. I had come here to shoot at ‘Fascists’; but a man who is holding up his trousers isn’t a ‘Fascist’, he is visibly a fellow creature, similar to yourself, and you don’t feel like shooting at him.” (Orwell 2021)

In this passage, Orwell describes a Gestalt switch taking place as a result of a seemingly insignificant detail, namely an enemy soldier being half-dressed and holding up his pants. This brings his humanity into view. We want to suggest that this “view” is not entirely metaphorical. Orwell experiences the person as a fellow human being instead of as a fascist.

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