1. Taxonomies
1.1. Kendall Walton (1990)
1.1.1. spontaneous and deliberate imagining
1.1.1.1. acts of imagination that occur with or without the one’s conscious direction
1.1.2. occurrent and nonoccurrent imaginings
1.1.2.1. acts of imagination that do or do not occupy the one’s explicit attention
1.1.3. social and solitary imaginings
1.1.3.1. episodes of imagining that occur with or without the joint participation of several persons
1.2. Gregory Currie and Ian Ravenscroft (2002)
1.2.1. creative imagination
1.2.1.1. combining ideas in unexpected and unconventional ways
1.2.2. sensory imagination
1.2.2.1. perception-like experiences in the absence of appropriate stimuli
1.2.3. recreative imagination
1.2.3.1. an ability to experience or think about the world from a perspective different from the one that experience presents
1.3. Neil Van Leeuwen (2013, 2014)
1.3.1. constructive imagining
1.3.1.1. the process of generating mental representations
1.3.2. attitude imagining
1.3.2.1. the propositional attitude one takes toward mental representations
1.3.3. imagistic imagining
1.3.3.1. the perception-like format of mental representations
2. Mental Entities
2.1. Belief
2.1.1. Similarities
2.1.1.1. representations that stand in inferential relationship with one another
2.1.1.2. exists on a continuum
2.1.2. Differences
2.1.2.1. aims the truth
2.1.2.2. outputs to action-generation system
2.1.2.3. evokes genuine emotions toward real entities
2.2. Desire
2.3. Imagery and Perception
2.3.1. to have a mental image is to have a perception-like experience triggered by something other than the appropriate external stimulus
2.3.2. Sensory & Imagistic Imagination
2.3.3. hold a mental image, or an impression of perception
2.3.3.1. “make-perceive”
2.3.4. thought to be an essential component of imaginings
2.4. Memory
2.4.1. involve imagery
2.4.2. concern qhat is not presently the case
2.4.3. involve perspectival representations
2.4.4. Mental Time Travel
2.4.4.1. remembering the past and imagining the future
2.4.5. Differences
2.4.5.1. Vivacity & Flexibility
2.4.5.2. Casual Connection
2.4.5.2.1. exists between memories and the past that is absent with imagination
2.4.6. is that it functions as an archive: past experiences are encapsulated and stored in the archive, and remembering is just passively retrieving the encapsulated mental content from the archive
2.4.7. involves simulation
2.5. Supposition
3. Roles
3.1. Mindreading
3.1.1. activity of attributing mental states to oneself and to others, and of predicting and explaining behavior on the basis of those attributions
3.1.1.1. Theory theory
3.1.1.2. Simulation theory
3.1.1.3. Hybrid theory
3.2. Pretense
3.2.1. activity that occurs during diverse circumstances, such as when children make-believe, when criminals deceive, and when thespians act
3.2.1.1. imagination” to refer to one’s state of mind, and “pretense” to refer to the one’s actions in the world
3.2.1.2. pretense behavior (beliefs, desires, intentions) and pretense recognition
3.3. Psychopathology
3.3.1. Autism
3.3.2. Delusions
3.4. Engagement with the Arts
3.4.1. Mimesis as Make-Believe
3.4.1.1. fictions” as a technical term to refer to artworks
3.4.1.2. When one correctly engages with an artwork, then, one imagines the representational contents as prescribed
3.4.2. engagement with narratives
3.4.2.1. Storytelling as creative process
3.4.3. engagement with music
3.4.4. Philosophy
3.4.4.1. Puzzle of imaginative resistance
3.4.4.1.1. apparent limitations on what can be imagined during engagements with the arts and, relatedly, what can be made fictional in artworks
3.4.4.2. Paradox of emotional response to fictions
3.4.4.2.1. examines psychological and normative similarities between affective responses prompted by imaginings versus affective responses by reality-directed attitudes
3.4.4.3. paradox of tragedy
3.4.4.3.1. examine psychological and normative differences between affective responses prompted by imaginings versus affective responses by reality-directed attitudes
3.4.4.4. puzzle of moral persuasion
3.4.4.4.1. concerned with real-world outputs of imaginative engagements with artworks; specifically, whether and how artworks can morally educate or corrupt
3.5. Creativity
3.5.1. Immanuel Kant (Critique of Pure Reason)
3.5.1.1. takes artistic geniuses as paradigmatic examples of creativity
3.5.1.2. takes imagination to be constitutive of creativity: what makes a creative process creative is the involvement of imagination aiming at the aesthetic
3.5.2. Gaut and Stokes
3.5.2.1. science, craft, business, technology, organizational life and everyday activities
3.5.2.2. Characteristics
3.5.2.2.1. lack of aim at truth
3.5.2.2.2. dissociation from action
3.5.2.3. while imagination is useful for creative processes, there are creative processes that do not involve imagination and there are imaginings that are uncreative
3.6. Knowledge
3.6.1. thought experiments use imaginary scenarios to elicit responses
3.7. Figurative Language
4. Terminology
4.1. comes from the latin verb IMAGINARI
4.1.1. to picture oneself
4.2. Images
4.2.1. bridge between images and ideas
4.3. Imagine
4.3.1. the faculty of
4.3.1.1. the product of
4.4. Imagery
4.4.1. mental images collectively, especially those produced by the action of
5. Meanings
5.1. the ability to form pictures in the mind:
5.2. something that you think exists or is true, although in fact it is not real or true
5.3. the ability to think of new ideas
5.4. the ability to form mental pictures of people or things, or to have new ideas
5.5. the ability to produce and simulate novel objects, peoples and ideas in the mind without any immediate input of the senses
5.6. It is also described as the forming of experiences in the mind, which can be re-creations of past experiences such as vivid memories with imagined changes, or they can be completely invented and possibly fantastic scenes
6. Norms
6.1. Mirroring
6.2. Quarantining
7. Components
7.1. Mental Imaginary
7.1.1. Verbal & Non verbal & İmaginal Thinking
7.1.2. Memories of past experiences stored or accessed in the form of imageries
7.1.3. visites, audiless, tactiless, motiles, and the like according as the largely imagine in terms of visual, auditory, tactual, and motor imagery.
7.2. Counterfactual Thinking
7.2.1. the capacity to disengage from reality in order to think about events and experiences which have not actually occured
7.3. Symbolic Representation
7.3.1. the use of concepts and images to evoke or represent real-world entities to evoke others.
8. Process
8.1. Initiation Stage
8.1.1. Brainstorming
8.2. Dynamic Adjustment Stage
8.2.1. Association
8.2.2. Transformation
8.2.3. Elaboration
8.3. Virtual Implementation Stage
8.3.1. Conceptualisation
8.3.2. Organisation
8.3.3. Formation
8.4. Making
8.4.1. Prototyping
9. Timeline
9.1. PAST
9.1.1. experiences and memories
9.2. PRESENT
9.2.1. perceptions
9.3. FUTURE
9.3.1. imaginations
10. MEMORY
10.1. Kinds of
10.1.1. Individual
10.1.1.1. Sensory Memory / Ultra Short Term
10.1.1.1.1. sight, hearing, taste, smell, touch
10.1.1.1.2. Incoming Information
10.1.1.1.3. not involved in cognitive functions such as consolidation of memory traces
10.1.1.2. Short Term / Working Memory
10.1.1.2.1. persistence of information for up to thirty seconds
10.1.1.2.2. limited capacity
10.1.1.3. Long Term Memory
10.1.1.3.1. Declarative Memory / Consciousness / Explicit
10.1.1.3.2. Non-declarative Memory / Unconsciousness / Implicit
10.1.1.4. Prospective Memory
10.1.1.4.1. ability to remember to perform a planned action, or to execute an intention
10.1.2. Collective
10.1.2.1. Communicative
10.1.2.2. Cultural
10.2. Actions
10.2.1. Mnemicity
10.2.1.1. Imagining
10.2.1.1.1. Flexibility
10.2.1.1.2. Vivacity
10.2.1.2. Remembering
10.2.1.2.1. mental time travel
10.2.1.2.2. Successful remembering
10.2.1.2.3. Unsuccessful remembering
10.2.2. Learning
10.2.3. Feeling
10.2.4. Knowing
10.2.4.1. one will be able to retrieve needed information from memory.
10.2.5. Decision Making
10.2.6. Problem Solving
10.2.7. Recognition
10.2.8. Forgetting
10.3. Memory Markers
10.3.1. First Person
10.3.2. Third Person
10.4. Timeline
10.4.1. PAST
10.4.1.1. experiences and memories
10.4.2. PRESENT
10.4.2.1. perceptions
10.4.3. FUTURE
10.4.3.1. imaginations
10.5. Metaphors About Mind
10.5.1. writings
10.5.2. wax tablets
10.5.3. Phosphor
10.5.4. Photograph
10.5.5. Palaces
10.5.6. Storage
10.5.7. computers
10.5.8. camera obscura
10.6. Representation
10.6.1. Memory Traces / Datas
10.6.1.1. the representations produced by retrieval, and the representations involved in perceptual experience
10.6.1.1.1. Experiences
10.6.1.1.2. Senses
10.6.1.1.3. Beliefs
10.6.1.1.4. Perceptions
10.6.1.1.5. Emotions
10.6.2. Objects
10.6.2.1. Direct Realism
10.6.2.1.1. when one remembers, one is in the first instance related to past events themselves
10.6.2.2. Indirect Realism
10.6.2.2.1. when one remembers, one is in the first instance related to internal representations of past events
10.7. Stages
10.7.1. Encoding
10.7.2. Consolidation
10.7.3. Reconsolidation
10.7.4. Retrieval