This volume brings together recent work on the nature of belief, imagination, and delusion. Whilst philosophers of mind and epistemology employ notions of belief and imagination in their theorizing, parallel work seeking to make these notions more precise continues. Delusions are standardly taken to be bizarre beliefs occurring in the clinical population, which do not respond to evidence. The purpose of this collection of essays is to get clearer on the nature of belief and imagination, the ways in which they relate to one another, and how they might be integrated into accounts of delusional belief formation. The jumping off point is the idea that recent work in philosophy of mind and epistemology which has sought to characterise the nature of belief and imagination allows us to formulate the issues with new precision, by, for example, drawing on work concerning how imagination is involved in delusion formation, or work concerning how to properly distinguish imagination from belief. The volume also considers questions concerning imagination's architecture, the role of metacognitive error in our mental lives, how best to understand delusional experience, and the relationship between delusion and evidence. The contributors are ideally placed to explore these issues, both individually and as a collective. With interests spanning different disciplines (philosophy, psychology, cognitive science), and approaches (theoretical, empirically informed), the result is a rich and varied collection of insights.

Art and Belief presents twelve new essays at the intersection of philosophy of mind and philosophy of art, particularly to do with the relation between belief and truth in our experience of art. Several contributors discuss the cognitive contributions artworks can make and the questions surrounding these. Can authors of fiction testify to their readers? If they can, are they culpable for the false beliefs of their readers formed in response to their work? If they cannot, that is, if the testimonial powers of authors of fiction are limited, is there some non-testimonial epistemic role that fiction can play? And in any case, is such a role relevant when determining the value of the work? Also explored are issues concerned with the phenomenon of fictional persuasion, specifically, what is the nature of the attitude involved in such cases (those in which we form beliefs about the real world in response to reading fiction)? If these attitudes are typically unstable, unjustified, and unreliable, does this put pressure on the view that they are beliefs? If these attitudes are beliefs, does this put pressure on the view that all beliefs are aimed at truth? The final pair of papers in the volume take different stances on the nature of aesthetic testimony, and whether testimony of this kind is a legitimate source of beliefs about aesthetic properties and value.