Imagination and Pretense

Suppose you’re imagining that it’s raining hard. You then proceed to imagine, as part of the same imaginative project, that you believe that it isn’t raining. Such an imaginative project is possible if the two imaginings arise in succession. But what about simultaneously imagining that it’s raining and that you believe that it isn’t raining? I will argue that, under certain conditions, such an imagining is impossible. After discussing these conditions, I will suggest an explanation of this impossibility. Elaborating on (...) the view outlined in Walton (1990), I will argue that the impossibility follows from the fact that imaginings ‘mimic’ beliefs in aiming at the fictionally true, just as beliefs aim at the true. (shrink)

In this article, I explore the possibility of what I call “non-doxastic theistic prayer”, namely prayer that proceeds without full belief in God – or in the kind of God who could be the recipient of such prayer. After developing a working definition of prayer, I proceed to discuss a few prominent forms of prayer and explore the ways in which such prayer might legitimately be performed non-doxastically. I conclude by examining the possibility that some forms of what I call (...) “prayerful pretense” may be more epistemically and morally virtuous than their fully doxastic counterparts. (shrink)

Özet: Bu metindeki amacım Kripke’nin kurgu çözümlemesinde özel adlar ve adımsılar (pretended name) arasındaki ilişkiyi ele almak. Kripke için özel adlar değişmez imleyicilerdir (rigid designator), yani tek bir varlığı/şeyi var olduğu tüm olanaklı dünyalarda biricik belirlerler. Adımsılar ise kurgusal söylemde ortaya çıkan kurgunun taslamasının bir parçasıdır; yani kurgu dünyadaki karakterlerin adlarıdır. Kripke’ye göre adımsılar sadece gerçek adları taklit eden fakat taklit ve benzerlik ilişkisinden öte bir ilişkileri olmayan, adlardan kategorik olarak farklı şeylerdir. Fakat Kripke için adlar ve adımsılar kategorik olarak (...) farklı olsalar da bu iki dilsel birim birbirlerini belirler gibi gözükür. Yani “Sherlock Holmes” özel adı, “Sherlock Holmes” özel adımsısı ile eşseslidir fakat bunun gerekçesi yeterince açık değildir. Bu açık olmama durumu kurgusal karakter adlandırma önermelerinin adlandırıcı açısından a priori ve olumsal mı olduğu yoksa a posteriori ve zorunlu mu olduğu sorusuyla ilişkilidir. Böylelikle bu belirleme ilişkisi ya zorunlu ya da olumsal bir ilişkidir. Ben bu belirleme ilişkisinin olumsal olduğunu savunacağım. Fakat bu belirleme ilişkisi olumsal olsa da ad ve adımsı arasında eşseslilik açısından sıkı bir ilişki olmaya devam eder. Ben bu sıkı ilişkinin genellikle kendiliğinden bir ilişki olduğunu, kurgu karakterin önce adı olabileceği gibi ilişkilendiği adımsısı da olabileceğini ve bu ayrım yeterince düşünülmediği için genellikle ad ve adımsının eşseslilik açısından çakıştığını savunacağım. Fakat ilişkilendiği adımsı ve özel adı eşsesli olmayan karakterler de olabileceğini ileri süreceğim. Son olarak ise bu dediklerimizden adımsıların geçtiği betimlemeler üretebileceğimizi ve bunlar yoluyla da kurgu varlıklara değişen imleyiciler olarak gönderimde bulunabileceğimizi savunacağım. Abstract: My purpose in the article is to explore the relation between proper names and pretended names in Kripke’s analysis of fiction. According to Kripke, proper names are rigid designators, so they designate the same object in all possible worlds in which that object exists. In contrast, pretended names are part of the pretense in fiction; they are names of fictional entities in fictional worlds. For Kripke, pretended names just pretend real names but there is no further relation apart from a similarity between them. Although in his view, names and pretended names are categorically different from each other, they seem to determine each other. That is, the proper name “Sherlock Holmes” and the pretended name “Sherlock Holmes” are homophones. However, the reason for their being homophone is not clear enough in this view. That unclarity concerns the question of whether the propositions that are used to name fictional entities are a priori contingent or a posteriori necessary. Thus, the relation of determining is either necessary or contingent. I will defend that it is contingent. However, though it is contingent, names and pretended names have a strict relation in the sense of being homophone. I will argue that this strict relation is generally a spontaneous relation; there are two possibilities: fictional entities have names before the associated pretended names come to existence or vice versa. I think names and pretended names generally coincide because this relation is not being thought thoroughly. Finally, I will defend that we can produce descriptions in which pretended names occur and we can refer to fictional entities non-rigidly via these descriptions. (shrink)

This paper puts forward an account of imaginative immersion. Elaborating on Kendall Walton’s thesis that imagining aims at the fictional truth, it first argues that imaginings are inherently rule- or norm-governed: they are ‘regulated’ by that which is presented as fictionally true. It then shows that an imaginer can follow the rule or norm mandating her to imagine the propositions presented as fictional truths either by acquiring explicit beliefs about how the rule (norm) is to be followed, or directly, without (...) acquiring such beliefs. It proceeds to argue that to the extent that an imaginer follows this rule (norm) without holding such beliefs, she is more immersed in her imaginings. The general idea is that immersion in an activity is a matter of following rules or norms that apply to that activity without explicitly thinking about how to follow them, that is, without ‘doxastic mediation.’ Lastly, the paper shows that this thesis can explain various features associated with imaginative immersion, such as the sort of attentiveness it involves, the emotional response it generates, and its relation to spoilers. (shrink)

This article explores the relation between belief-like imaginings and the establishment of imaginary worlds (often called fictional worlds). After outlining the various assumptions my argument is premised on, I argue that belief-like imaginings, in themselves, do not render their content true in the imaginary world to which they pertain. I show that this claim applies not only to imaginative projects in which we are instructed or intend to imagine certain propositions, but also to spontaneous imaginative projects. After arguing that, like (...) guided imaginative projects, spontaneous projects involve specific imaginary truths, I conclude that imaginative projects, whether spontaneous or deliberate, comprise not only imaginings, but also mental acts of determining such truths. (shrink)

This paper explores the sense in which correctness applies to belief-like imaginings. It begins by establishing that when we imagine, we ‘direct’ our imaginings at a certain imaginary world, taking the propositions we imagine to be assessed for truth in that world. It then examines the relation between belief-like imagining and positing truths in an imaginary world. Rejecting the claim that correctness, in the literal sense, is applicable to imaginings, it shows that the imaginer takes on, vis-à-vis the imaginary world, (...) the first-person perspective of a believer. Imaginings, it concludes, ‘mimic’ beliefs with respect to the property of being correct or incorrect by virtue of having true or false content. (shrink)

A planetary panic and almost deserted cities, fear of food shortages, and the growing threat of an invisible virus that does more damage day by day. In the time of the COVID-19 pandemic, many believe that science fiction has now been overtaken by reality. In these times of adversity, what does it take to survive when the world comes crashing down? How do humans stay resilient, manage their growing stress, and somehow navigate through the crisis? More specifically, how do humans (...) cope with isolation and loneliness in the light of a global outbreak? What does science fiction have to tell us about this? For the bewildered population, science fiction has been recognized as an ingredient to understand an unexpected reality. In this article I explain, through the philosophical eye of Francis Lawrence’s movie I Am Legend (2007), how a coping skill such as imagination, in the age of pandemics and social distancing, can mutate into a “Second Reality” that fills the gap left by the former (pre-outbreak) reality. (shrink)

The nature and consequences of readers’ affective engagement with literature has, in recent years, captured the attention of experimental psychologists and philosophers alike. Psychological studies have focused principally on the causal mechanisms explaining our affective interactions with fictions, prescinding from questions concerning their rational justifiability. Transportation Theory, for instance, has sought to map out the mechanisms the reader tracks the narrative experientially, mirroring its descriptions through first-personal perceptual imaginings, affective and motor responses and even evaluative beliefs. Analytical philosophers, by contrast, (...) have largely focussed on the problems fiction poses for traditional theories of rationality (as in the ‘Paradox of Fiction), challenging fiction’s wider epistemic value. The result has been a theoretical impasse in which the power of fiction to affectively ‘transport’ a reader is at once often lauded (by psychologists) as a privileged route to interpersonal understanding, and condemned (by philosophers) as an abdication of the authority of reason. This chapter surveys some of the central claims on both sides, tracing the source of the debate to competing conceptions of rationality. (shrink)

​Imagination will remain a mystery—we will not be able to explain imagination—until we can break it into parts we already understand. Explaining Imagination is a guidebook for doing just that, where the parts are other ordinary mental states like beliefs, desires, judgments, and decisions. In different combinations and contexts, these states constitute cases of imagining. This reductive approach to imagination is at direct odds with the current orthodoxy, according to which imagination is a sui generis mental state or process—one with (...) its own inscrutable principles of operation. Explaining Imagination upends that view, showing how, on closer inspection, the imaginings at work in hypothetical reasoning, pretense, the enjoyment of fiction, and creativity are reducible to other familiar mental states—judgments, beliefs, desires, and decisions among them. Crisscrossing contemporary philosophy of mind, cognitive science, and aesthetics, Explaining Imagination argues that a clearer understanding of imagination is already well within reach. (shrink)

It is widely believed, among philosophers of literature, that imagining contradictions is as easy as telling or reading a story with contradictory content. Italo Calvino’s The Nonexistent Knight, for instance, concerns a knight who performs many brave deeds, but who does not exist. Anything at all, they argue, can be true in a story, including contradictions and other impossibilia. While most will readily concede that we cannot objectually imagine contradictions, they nevertheless insist that we can propositionally imagine them, and regularly (...) do, simply by entertaining a text which prompts us to do so. I argue that this narrative does not bear scrutiny for two main reasons. First, because propositional imagining is beside the point, where truth in fiction is concerned; evaluating truth in fiction engages the cognitive architecture in ways that prohibit the mobilization of merely propositional imagination to that end. And second, because it is not obvious, given the strategies usually suggested, that we ever propositionally imagine contradictions in the first place—in fact, it seems we go out of our way to avoid directly imagining them. (shrink)

Works of fiction are alleged to differ from works of nonfiction in instructing their audience to imagine their content. Indeed, works of fiction have been defined in terms of this feature: they are works that mandate us to imagine their content. This paper examines this definition of works of fiction, focusing on the nature of the activity that ensues in response to reading or watching fiction. Investigating how imaginings function in other contexts, I show, first, that they presuppose a cognitive (...) infrastructure encompassing at least one additional kind of mental state, whose role is to determine, to some degree, truth in an imaginary world. I then discuss the implications for the definition of fiction, showing that the definition should be refined to accommodate the structure that imagining presupposes: a work counts as fiction just in case it mandates us, not only to imagine, but to engage in a more complex mental activity, an activity that in addition to imagining, involves positing a backdrop for our imaginings. (shrink)

Actors, undercover investigators, and readers of fiction sometimes report “losing themselves” in the characters they imitate or read about. They speak of “taking on” or “assuming” the beliefs, thoughts, and feelings of someone else. I offer an account of this strange but familiar phenomenon—what I call imaginative transportation.

This paper explains a fallacy that often arises in theorizing about human minds. I call it the Factual Belief Fallacy. The Fallacy, roughly, involves drawing conclusions about human psychology that improperly ignore the large backgrounds of mostly accurate factual beliefs people have. The Factual Belief Fallacy has led to significant mistakes in both philosophy of mind and cognitive science of religion. Avoiding it helps us better see the difference between factual belief and religious credence; seeing that difference in turn enables (...) us to pose interesting normative questions about various mental states labeled “belief.”. (shrink)

Fictional names pose a difficult puzzle for semantics. We can truthfully maintain that Frodo is a hobbit, while at the same time admitting that Frodo does not exist. To reconcile this paradox I propose a way to formalize the interpretation of fiction as ‘prescriptions to imagine’ (Walton 1990) within an asymmetric semantic framework in the style of Kamp (1990). In my proposal, fictional statements are analyzed as dynamic updates on an imagination component of the interpreter’s mental state, while plain assertions (...) are updates on a belief component. Proper names – regular, empty, or fictional – are uniformly analyzed as presupposition triggers. The possibility of different attitude components referentially depending on each other is what ultimately allows us to account for the central paradox mentioned above. (shrink)

Some examples suggest that religious credences respond to evidence. Other examples suggest they are wildly unresponsive. So the examples taken together suggest there is a puzzle about whether descriptive religious attitudes respond to evidence or not. I argue for a solution to this puzzle according to which religious credences are characteristically not responsive to evidence; that is, they do not tend to be extinguished by contrary evidence. And when they appear to be responsive, it is because the agents with those (...) credences are playing what I call The Evidence Game, which in fundamental ways resembles the games of make-believe described by Walton's theory of make-believe. (shrink)

In an earlier issue, I argue (2014) that psychology and epistemology should distinguish religious credence from factual belief. These are distinct cognitive attitudes. Levy (2017) rejects this distinction, arguing that both religious and factual “beliefs” are subject to “shifting” on the basis of fluency and “intuitiveness.” Levy’s theory, however, (1) is out of keeping with much research in cognitive science of religion and (2) misrepresents the notion of factual belief employed in my theory. So his claims don’t undermine my distinction. (...) I conclude by suggesting some approaches to empirically testing our views. (shrink)

The problem of imaginative resistance holds interest for aestheticians, literary theorists, ethicists, philosophers of mind, and epistemologists. We present a somewhat opinionated overview of the philosophical discussion to date. We begin by introducing the phenomenon of imaginative resistance. We then review existing responses to the problem, giving special attention to recent research directions. Finally, we consider the philosophical significance that imaginative resistance has—or, at least, is alleged to have—for issues in moral psychology, theories of cognitive architecture, and modal epistemology.

If imagination is subject to the will, in the sense that people choose the content of their own imaginings, how is it that one nevertheless can learn from what one imagines? This chapter argues for a way forward in addressing this perennial puzzle, both with respect to propositional imagination and sensory imagination. Making progress requires looking carefully at the interplay between one’s intentions and various kinds of constraints that may be operative in the generation of imaginings. Lessons are drawn from (...) the existing literature on propositional imagination and from the control theory literature concerning the prediction and comparison mechanisms (or “forward models”) involved in ordinary perception. A more general conclusion is reached that, once we have the tools to understand how some imaginings are both under willful control and helpfully guide action and inference, we will have what we need to understand the cognitive basis of imagination in general. (shrink)

Modeling is central to scientific inquiry. It also depends heavily upon the imagination. In modeling, scientists seem to turn their attention away from the complexity of the real world to imagine a realm of perfect spheres, frictionless planes and perfect rational agents. Modeling poses many questions. What are models? How do they relate to the real world? Recently, a number of philosophers have addressed these questions by focusing on the role of the imagination in modeling. Some have also drawn parallels (...) between models and fiction. This chapter examines these approaches to scientific modeling and considers the challenges they face. (shrink)

Maarten Boudry and Jerry Coyne have written a piece, forthcoming in Philosophical Psychology, called “Disbelief in Belief,” in which they criticize my recent paper “Religious credence is not factual belief” (2014, Cognition 133). Here I respond to their criticisms, the thrust of which is that we shouldn’t distinguish religious credence from factual belief, contrary to what I say. I respond that their picture of religious psychology undermines our ability to distinguish common religious people from fanatics. My response will appear in (...) the same issue as their paper. (shrink)

Abstract: This entry elucidates causal and constitutive roles that various forms of imagining play in human action. Imagination influences more kinds of action than just pretend play. I distinguish different senses of the terms “imagining” and “imagination”: imagistic imagining, propositional imagining, and constructive imagining. Each variety of imagining makes its own characteristic contributions to action. Imagistic imagining can structure bodily movement. Propositional imagining interacts with desires to motivate pretend play and mimetic expressive action. And constructive imagination generates representations of possibilities (...) and actions on the basis of which we choose what to do. [Version archived here is a penultimate draft.]. (shrink)

How do we know when we have imagined something? How do we distinguish our imaginings from other kinds of mental states we might have? These questions present serious, if often overlooked, challenges for theories of introspection and self-knowledge. This paper looks specifically at the difficulties imagination creates for Neo-Expressivist, outward-looking, and inner sense theories of self-knowledge. A path forward is then charted, by considering the connection between the kinds of situations in which we can reliably say that another person is (...) imagining, and those in which we can say the same about ourselves. This view is a variation on the outward-looking approach, and preserves much of the spirit of Neo-Expressivism. (shrink)

Pretense is a topic of keen interest to philosophers and psychologists. But what is it, really, to pretend? What features qualify an act as pretense? Surprisingly little has been said on this foundational question. Here I defend an account of what it is to pretend, distinguishing pretense from a variety of related but distinct phenomena, such as (mere) copying and practicing. I show how we can distinguish pretense from sincerity by sole appeal to a person's beliefs, desires, and intentions – (...) and without circular recourse to an ‘intention to pretend’ or to a sui generis mental state of ‘imagining.’. (shrink)

Imaginative immersion refers to a phenomenon in which one loses oneself in make-believe. Susanna Schellenberg says that the best explanation of imaginative immersion involves a radical revision to cognitive architecture. Instead of there being an attitude of belief and a distinct attitude of imagination, there should only be one attitude that represents a continuum between belief and imagination. -/- We argue otherwise. Although imaginative immersion is a crucial data point for theorizing about the imagination, positing a continuum between belief and (...) imagination is neither necessary nor sufficient for explaining the phenomenon. In addition, arguing against Schellenberg’s account reveals important but underappreciated lessons for theorizing about the imagination and for interpreting boxological representations of the mind. (shrink)

Some philosophers have recently suggested that the reason mathematics is useful in science is that it expands our expressive capacities. Of these philosophers, only Stephen Yablo has put forward a detailed account of how mathematics brings this advantage. In this article, I set out Yablo’s view and argue that it is implausible. Then, I introduce a simpler account and show it is a serious rival to Yablo’s. 1 Introduction2 Yablo’s Expressionism3 Psychological Objections to Yablo’s Expressionism4 Introducing Belief Expressionism5 Objections and (...) Replies5.1 Yablo’s likely response5.2 Charity6 Conclusion. (shrink)

In this Part II, I investigate different approaches to the question of what makes imagining different from belief. I find that the sentiment-based approach of David Hume falls short, as does the teleological approach, once advocated by David Velleman. I then consider whether the inferential properties of beliefs and imaginings may differ. Beliefs, I claim, exhibit an anti-symmetric inferential governance over imaginings: they are the background that makes inference from one imagining to the other possible; the reverse is not true, (...) and this allows us to distinguish the two attitudes. I then go on to consider the action theory of imagining and the role that imaginings play in generating emotion. (shrink)

Proceeding from a distinction between imagining oneself in another person’s situation and imagining oneself being someone else, this article attempts to elucidate what the latter type of imagining consists in. Previous attempts at spelling out the phenomenon fail to properly account for the role of the self, or rather every individual’s unique point of view. An alternative view is presented, where the concept of imagining oneself being someone else is explained in terms of a distinction between and a co-running of (...) the imaginer’s own perspective and that of the target individual. It is further argued that while we can imagine about an individual without imagining her having any of her actual properties, to meaningfully imagine oneself being someone else the imaginer needs to ascribe at least some qualitative property to the target individual for the imaginative project to get off the ground. Finally, the concept of empathy is used to illustrate the analysis provided, and the imagining oneself being someone else is in turn used to cast light on what is to be understood as genuine empathy. (shrink)

Imagination has been assigned an important explanatory role in a multitude of philosophical contexts. This paper examines four such contexts: mindreading, pretense, our engagement with fiction, and modal epistemology. Close attention to each of these contexts suggests that the mental activity of imagining is considerably more heterogeneous than previously realized. In short, no single mental activity can do all the explanatory work that has been assigned to imagining.

I argue that any account of imagination should satisfy the following three desiderata. First, imaginations induce actions only in conjunction with beliefs about the environment of the imagining subject. Second, there is a continuum between imaginations and beliefs. Recognizing this continuum is crucial to explain the phenomenon of imaginative immersion. Third, the mental states that relate to imaginations in the way that desires relate to beliefs are a special kind of desire, namely desires to make true in fiction. These desires (...) to make true in fiction do not differ from regular desires in kind, but only in content. I argue for these three desiderata in turn by critically discussing several recent accounts of imagination. (shrink)

In this article , I first engage in some conceptual clarification of what the words "imagine," "imagining," and "imagination" can mean. Each has a constructive sense, an attitudinal sense, and an imagistic sense. Keeping the senses straight in the course of cognitive theorizing is important for both psychology and philosophy. I then discuss the roles that perceptual memories, beliefs, and genre truth attitudes play in constructive imagination, or the capacity to generate novel representations that go well beyond what's prompted by (...) one's immediate environment. (shrink)

Contribution to a symposium on Gendler's Intuition, Imagination, and Philosophical Methodology.

A popular view has it that the mental representations underlying human pretense are not beliefs, but are “belief-like” in important ways. This view typically posits a distinctive cognitive attitude (a “DCA”) called “imagination” that is taken toward the propositions entertained during pretense, along with correspondingly distinct elements of cognitive architecture. This paper argues that the characteristics of pretense motivating such views of imagination can be explained without positing a DCA, or other cognitive architectural features beyond those regulating normal belief and (...) desire. On the present “Single Attitude” account of imagination, propositional imagining just is a form of believing. The Single Attitude account is also distinguished from “metarepresentational” accounts of pretense, which hold that both pretending and recognizing pretense in others require one to have concepts of mental states. It is argued, to the contrary, that pretending and recognizing pretense require neither a DCA nor possession of mental state concepts. (shrink)

Models as Make-Believe offers a new approach to scientific modelling by looking to an unlikely source of inspiration: the dolls and toy trucks of children's games of make-believe.

The puzzle of imaginative desire arises from the difficulty of accounting for the surprising behaviour of desire in imaginative activities such as our engagement with fiction and our games of pretend. Several philosophers have recently attempted to solve this puzzle by introducing a class of novel mental states?what they call desire-like imaginings or i-desires. In this paper, I argue that we should reject the i-desire solution to the puzzle of imaginative desire. The introduction of i-desires is both ontologically profligate and (...) unnecessary, and, most importantly, fails to make sense of what we are doing in the imaginative contexts in question. (shrink)

Issues of pretense and imagination are of central interest to philosophers, psychologists, and researchers in allied fields. In this entry, we provide a roadmap of some of the central themes around which discussion has been focused. We begin with an overview of pretense, imagination, and the relationship between them. We then shift our attention to the four specific topics where the disciplines' research programs have intersected or where additional interactions could prove mutually beneficial: the psychological underpinnings of performing pretense and (...) of recognizing pretense, the cognitive capacities involved in imaginative engagement with fictions, and the real-world impact of make-believe. In the final section, we discuss more briefly a number of other mental activities that arguably involve imagining, including counterfactual reasoning, delusions, and dreaming. (shrink)

Recent philosophy of science has seen a number of attempts to understand scientific models by looking to theories of fiction. In previous work, I have offered an account of models that draws on Kendall Walton’s ‘make-believe’ theory of art. According to this account, models function as ‘props’ in games of make-believe, like children’s dolls or toy trucks. In this paper, I assess the make-believe view through an empirical study of molecular models. I suggest that the view gains support when we (...) look at the way that these models are used and the attitude that users take towards them. Users’ interaction with molecular models suggests that they do imagine the models to be molecules, in much the same way that children imagine a doll to be a baby. Furthermore, I argue, users of molecular models imagine themselves viewing and manipulating molecules, just as children playing with a doll might imagine themselves looking at a baby or feeding it. Recognising this ‘participation’ in modelling, I suggest, points towards a new account of how models are used to learn about the world, and helps us to understand the value that scientists sometimes place on three-dimensional, physical models over other forms of representation. (shrink)

Imaginative representations are crucial to the generation of action--both pretense and plain action. But well-known theories of imagination on offer in the literature [1] fail to describe how perceptually-formatted imaginings (mental images) and motor imaginings function in the generation of action and [2] fail to recognize the important fact that spatially rich imagining can be integrated into one's perceptual manifold. In this paper, I present a theory of imagining that shows how spatially rich imagining functions in the generation of action. (...) I also describe the imaginative structures behind two under-explored forms of action: semi-pretense and pretense layering. In addition, I suggest that my theory of imagining meshes better than the competitors with current work in cognitive and affective neuroscience. (shrink)

In this paper I propose an account of representation for scientific models based on Kendall Walton’s ‘make-believe’ theory of representation in art. I first set out the problem of scientific representation and respond to a recent argument due to Craig Callender and Jonathan Cohen, which aims to show that the problem may be easily dismissed. I then introduce my account of models as props in games of make-believe and show how it offers a solution to the problem. Finally, I demonstrate (...) an important advantage my account has over other theories of scientific representation. All existing theories analyse scientific representation in terms of relations, such as similarity or denotation. By contrast, my account does not take representation in modelling to be essentially relational. For this reason, it can accommodate a group of models often ignored in discussions of scientific representation, namely models which are representational but which represent no actual object. (shrink)

In "Rethinking Sadomasochism," Patrick Hopkins challenges the "radical" feminist claim that sadomasochism is incompatible with feminism. He does so by appeal to the notion of "simulation." I argue that Hopkins's conclusions are generally right, but they cannot be inferred from his "simulation" argument. I replace Hopkins's "simulation" with Kendall Walton's more sophisticated theory of "make-believe." I use this theory to better argue that privately conducted sadomasochism is compatible with feminism.

This paper claims that the standard characterization of the motivational role of belief should be supplemented. Beliefs do not only, jointly with desires, cause and rationalize actions that will satisfy the desires, if the beliefs are true; beliefs are also the practical ground of other cognitive attitudes, like imagining, which means beliefs determine whether and when one acts with those other attitudes as the cognitive inputs into choices and practical reasoning. In addition to arguing for this thesis, I take issue (...) with Velleman's argument that belief and imagining cannot be distinguished on the basis of motivational role. (shrink)

If there are no fictional characters, how do we explain thought and discourse apparently about them? If there are, what are they like? A growing number of philosophers claim that fictional characters are abstract objects akin to novels or plots. They argue that postulating characters provides the most straightforward explanation of our literary practices as well as a uniform account of discourse and thought about fiction. Anti-realists counter that postulation is neither necessary nor straightforward, and that the invocation of pretense (...) provides a better account of the same phenomena. I outline and assess these competing theories. (shrink)

The generic pronoun 'one' (or its empty counterpart, arbitrary PRO) exhibits a range of properties that show a special connection to the first person, or rather the relevant intentional agent (speaker, addressee, or described agent). The paper argues that generic 'one' involves generic quantification in which the predicate is applied to a given entity ‘as if’ to the relevant agent himself. This is best understood in terms of simulation, a central notion in some recent developments in the philosophy of mind (...) and cognitive science (Simulation Theory). (shrink)

In perceptual experience we are directed towards objects in a way which establishes a real relation between a mental act and its target. In reading works of fiction we enjoy experiences which manifest certain internal similarities to such relational acts, but which lack objects. The substitution theory of art attempts to provide a reason why we seek out such experiences and the artifacts which they generate. Briefly, we seek out works of art because we enjoy the physiology and the phenomenology (...) of, for example, the experience of love or mountain climbing, and works of art serve as props for the promotion of substitutes for the corresponding genuine feelings. Art arose, or came to be separated out from other, related phenomena, through the discovery that the experience of substitute emotions can be pleasurable. (shrink)

Children sometimes lose themselves in make-believe games. Actors sometimes lose themselves in their roles. Readers sometimes lose themselves in their books. From people's introspective self-reports and phenomenological experiences, these immersive experiences appear to differ from ordinary experiences of simply playing a game, simply acting out a role, and simply reading a book. What explains the difference? My answer: attention. -/- [Unpublishable 2007-2017. This paper was referenced in Liao and Doggett (2014).].

Prop oriented make-believe is make-believe utilized for the purpose of understanding what I call “props,” actual objects or states of affairs that make propositions “fictional,” true in the make-believe world. I, David Hills, and others have claimed that prop oriented make-believe lies at the heart of the functioning of many metaphors, and one variety of fictionalism in metaphysics invokes prop oriented make-believe to explain away apparent references to entities some find questionable or problematic (fictional characters, propositions, moral properties, numbers). Elisabeth (...) Camp has argued against my and David Hills’ views of metaphor. Her arguments, many of them echoed by Catharine Wearing, demolish a very implausible account of metaphor, but leave entirely untouched the views that Hills and I actually proposed. Clarifying what we say about metaphor serves also as a defense of fictionalist theories that invoke prop oriented make-believe. (shrink)