We aim to develop a take on the meaning of works of art that builds on Dennett’s view on the nature of intentionality, namely, that the intentionality exhibited by mental phenomena is not original, but derived. Regarding the meaning of works of art, theories that hold that the meaning is determined by the intentions of the author when creating the work are considered intentionalist. Adopting the view of derived intentionality implies that it is no longer possible to maintain that the (...) semantic content of a work of art is closely linked to the creative act that gave rise to it; accordingly, intentionalist theories should be, broadly speaking, abandoned. However, we claim that one aspect of intentionalist theories is accurate and, moreover, compatible with the perspective on intentionality we adopt: The fact that part of the meaning of a work of art is given by the interpretations that arise when it is assumed that the work was produced by an agent with the purpose of transmitting something. We call this interpretative strategy the work-of-art stance and argue that it should be understood as a subtype of the intentional stance. According to our proposal, this interpretive strategy is part of a view that tries to explain the meaning of works of art as partially indeterminate, relative to a history (and not to a foundational origin) and dependent on interpretive attribution. En este artículo elaboramos una propuesta sobre el significado de las obras de arte que se apoya en la perspectiva de Dennett acerca de la naturaleza de la intencionalidad de los fenómenos mentales. De acuerdo a ella, la intencionalidad que estos exhiben no es original, sino derivada. Adoptar la perspectiva de la intencionalidad derivada implica que ya no será posible sostener que el significado de una obra de arte esté vinculado al acto creativo que le dio origen o que esté determinado por las intenciones que tuvo su autor al crearlas, como han sostenido las teorías intencionalistas. Ahora bien, creemos que hay un aspecto de estas que no es incompatible con la perspectiva de intencionalidad derivada. Se trata del hecho de que parte del significado de la obra de arte está dado por las interpretaciones que surgen sólo cuando se asume que la misma fue producida por un agente con el propósito de transmitir algo. Llamaremos a esta estrategia interpretativa actitud de la obra de arte y defenderemos que debe ser entendida como un subtipo de la actitud intencional. Esta estrategia interpretativa forma parte de una propuesta que intenta explicar el significado de las obras de arte como siendo parcialmente indeterminado, relativo a una historia y dependiente de la atribución interpretativa. (shrink)

La actitud del diseño es una estrategia interpretativa propuesta por Dennett, que consiste en tratar al sistema, cuyo “comportamiento” se quiere predecir, bajo el supuesto de que sus partes cumplen funciones que obedecen a un diseño satisfactorio. Sin embargo, estudios recientes sobre atribución funcional en artefactos técnicos consideran que la actitud del diseño supone una estrategia inadecuada para entender qué hace un artefacto técnico. En particular, dos críticas han ganado visibilidad. Por una parte, Vermaas et al. (2013) señalan una inconsistencia (...) en la propuesta dennettiana de la actitud del diseño: las intenciones del diseñador a veces desempeñan un papel en la interpretación de los artefactos y a veces no lo hacen, sin tener finalmente una intuición clara sobre su rol. Por otra parte, Vaesen y Van Amerongen (2008) sostienen que la actitud del diseño admite dos interpretaciones, una descriptiva y una normativa, y que ambas son implausibles. No obstante, en este trabajo argumentamos que estas críticas son rebatibles y que el problema reside en que ambas acusaciones, i.e. inconsistencia e implausibilidad, suponen una interpretación incorrecta de la posición de Dennett. The design attitude is an interpretive strategy proposed by Dennett, which consists of treating the system, whose “behavior” is to be predicted, under the assumption that its parts fulfill functions that accomplish a satisfactory design. Recent studies on technical artifacts' functional attribution claim that the design attitude is an inadequate strategy to elicit what a technical artifact does. In particular, two criticisms have gained visibility. On the one hand, Vermas et al (2013) remark an inconsistency in Dennett’s design stance. The very designer's intentions sometimes play a role in the interpretation of artifacts and sometimes they don´t, without finally having a clear intuition about their role. On the other hand, Vaesen and Van Amerongen (2008) argue that the design stance admits two interpretations, a descriptive and a normative one and that both are implausible. However, we argue that these criticisms miss the point given that both accusations, i.e. of inconsistency and of implausibility, result from a wrong interpretation of Dennett's position. (shrink)

This chapter addresses the application of contemporary theories of the imagination—largely drawn from cognitive psychology—to our understanding of film. Topics include the role of the imagination in our learning what facts hold within a fictional film, including what characters’ motivations, beliefs, and feelings are; how our perceptual experience of a film explains our imaginative visualizing of its contents; how fictional scenarios in films generate certain affective and evaluative responses; and how such responses compare to those we have toward analogous circumstances (...) in real life. (shrink)

Both perception and imagination seem to play a crucial role in our engagement with fiction films but whether they really do so, and which role they possibly play, is controversial. On the one hand, a fiction film, as film, is a depiction that invites us to perceive the events portrayed. On the other hand, as fiction, it invites us to imagine the story told. Thus, after watching the film Alien, one might say that one saw Ripley fighting the monster but (...) one might also say that one imagined Ripley fighting the monster. Are these two reports compatible? If they are, how can we combine them so to make sense of them? If, instead, they are not, which of them should we give up? (shrink)

En este artículo se revisa la hipótesis sobre la transparencia de las imágenes de Kendall Walton y sus diferentes críticas. Propongo que la imagen fotográfico-cinematográfica solo puede ser potencialmente transparente. Debería, así, hablarse de grados de transparencia. La transparencia de la imagen se divide en umbrales que dependen de la fase de producción en la que esté. De esta forma tenemos transparencia en el registro, de representación, de enunciación y epistémica.

I argue that we can see in a great many cases that run counter to common sense. We can literally see through mirrors, in just the same way that we see through our eyes. We can, likewise, literally see through photographs, shadows, and paintings. Rather than starting with an analysis of seeing, I present a series of evolving thought experiments, arguing that in each case there is no relevant difference between it and the previous case regarding whether we see. In (...) a sense, my arguments can be thought of as akin to the Extended Mind Hypothesis. But instead of arguing that our minds can extend into the world, I argue that our sensory organs can extend into the world. Among the things that emerge from this discussion are that—contrary to Currie and Carroll —seeing an object O doesn’t require being able to locate O with respect to yourself, that—contrary to Sorensen —we can see objects by seeing their shadows, and that—contrary to Walton —it doesn’t matter whether the causal relation between O and yourself is mediated by beliefs. (shrink)

The debate about cinematic motion revolves around the question of whether the movement of cinematic images is real. That the movement we perceive in film should be construed as the movement of images is taken for granted. But this is a mistake. There is no reason to suppose that cinematic images of moving objects are themselves perceived to be moving. All that is necessary is to perceive these images as continuously changing images of one and the same object.

This paper examines the interplay of semantics and pragmatics within the domain of film. Films are made up of individual shots strung together in sequences over time. Though each shot is disconnected from the next, combinations of shots still convey coherent stories that take place in continuous space and time. How is this possible? The semantic view of film holds that film coherence is achieved in part through a kind of film language, a set of conventions which govern the relationships (...) between shots. In this paper, we develop and defend a new version of the semantic view. We articulate it for a pair of conventions that govern spatial relations between viewpoints. One such rule is already well-known; sometimes called the "180° Rule," we term it the X-Constraint; to this we add a previously unrecorded rule, the T-Constraint. As we show, both have the effect, in different ways, of limiting the way that viewpoint can shift through space from shot to shot over the course of a film sequence. Such constraints, we contend, are analogous to relations of discourse coherence that are widely recognized in the linguistic domain. If film is to have a language, it is a language made up of rules like these. (shrink)

To the realists.—You sober people who feel well armed against passion and fantasies and would like to turn your emptiness into a matter of pride and ornament: you call yourselves realists and hint that the world really is the way it appears to you. As if reality stood unveiled before you only, and you yourselves were perhaps the best part of it … But in your unveiled state are not even you still very passionate and dark creatures compared to fish, (...) and still far too similar to an artist in love? And what is ‘reality’ for an artist in love? You are still burdened with those estimates of things that have their origin in the passions and loves of former centuries. Your sobriety still contains a secret and inextinguishable drunkenness. Your love of ‘reality’, for example-—oh, that is a primeval ‘love’ … Subtract the phantasm and every human contribution from it, my sober friends! If you can! If you can forget your descent, your past, your training—all of your humanity and animality. (F. Nietzsche,The Gay Science, Book Two, extract from Section 57). (shrink)

In the past decade, experimental philosophy---the attempt at making progress on philosophical problems using empirical methods---has thrived in a wide range of domains. However, only in recent years has aesthetics succeeded in drawing the attention of experimental philosophers. The present paper constitutes the first survey of these works and of the nascent field of 'experimental philosophy of aesthetics'. We present both recent experimental works by philosophers on topics such as the ontology of aesthetics, aesthetic epistemology, aesthetic concepts, and imagination, as (...) well as research from other disciplines that not only are relevant to philosophy of aesthetics but also open new avenues of research for experimental philosophy of aesthetics. Overall, we conclude that the birth of an experimental philosophy of aesthetics is good news not only for aesthetics but also for experimental philosophy itself, as it contributes to broaden the scope of experimental philosophy. (shrink)

It's often hypothesized that the structure of mental representation is map-like rather than language-like. The possibility arises as a counterexample to the argument from the best explanation of productivity and systematicity to the language of thought hypothesis—the hypothesis that mental structure is compositional and recursive. In this paper, I argue that the analogy with maps does not undermine the argument, because maps and language have the same kind of compositional and recursive structure.

I aim to give a new account of picture perception: of the way our visual system functions when we see something in a picture. My argument relies on the functional distinction between the ventral and dorsal visual subsystems. I propose that it is constitutive of picture perception that our ventral subsystem attributes properties to the depicted scene, whereas our dorsal subsystem attributes properties to the picture surface. This duality elucidates Richard Wollheim’s concept of the “twofoldness” of our experience of pictures: (...) the “visual awareness not only of what is represented but also of the surface qualities of the representation.” I argue for the following four claims: (a) the depicted scene is represented by ventral perception, (b) the depicted scene is not represented by dorsal perception, (c) the picture surface is represented by dorsal perception, and (d) the picture surface is not necessarily represented by ventral perception. (shrink)

This is the first volume of an impressive project on the relation of art, philosophy and social change. In an on-going argument and review ing several important aesthetic theories Paul Crow ther in this book argues for the idea that aesthetics should be a kind of critical assessment of art w orks' experiential consequences. Although I go along w ith his resistance against postmodernist reasoning, w hich functions as the starting point of his book, beyond that, our w ays often (...) part. My disagreement, how ever, does not annul the evident quality of the argument in this w ork. It is recommended reading material for all those aestheticians w ho are interested in the cognitive and non-cognitive functionality of art w orks and in the possibility of any influence of art on societal change. I w ill now discuss the most crucial steps in Crow ther's argument. Postmodernists claim to have undone the alleged rigidity of modern categories, like that of the autonomous subject, but according to Crow ther they reach this `achievement' by overemphasizing the fluidity of modes of know ledge and experience, and of their status as social constructs, but there may w ell exist flexible constants. Aesthetics can help w ith the analysis of these flexible constants, not by looking for the essences of art or aesthetic experience, but by supplementing our theoretical assessments w ith a critique of art. Crow ther proposes to view aesthetic experiences as w ell as w orks of art as functions of critical aw areness and of body-hold, an historicized version of Merleau-Ponty's much neglected notion of embodiment. Critical aesthetics actualizes the critical aw areness involved in our aesthetic experiences. Art, defined in terms of originality, roots in the body-hold of the artist, w ho moulds his medium to solve technical problems traditional art forms confront him w ith. Postmodernism involves only tw o theses, really. First, contemporary experience and sensibility are analyzed as imbued by the shocks generated by the rapid succession of mechanically reproduced events.. (shrink)

In this paper, I deal with a striking phenomenon that often occurs when we explore the virtual environment of, for example, a video game. Suppose a friend sees me playing a video game and asks ‘Where are you?’ There are two possible answers to this question. I can either refer to my actual location (‘I am in my room’), but I can also refer to my location in the virtual world (‘I am in a space-ship’). Although my friend is probably (...) after this second reply, the first one is not false. At first sight, this gives rise to a tension. On the one hand both claims – ‘I am in my room’ and ‘I am in a space-ship’ – seem true. But on the other hand they also seem mutually exclusive as bilocation, i.e. being in two places at the same time, is impossible. I am either in London or in Paris, in the bathroom or in the kitchen, in a space-ship or in my room. How can I claim to be in two places at once? In the following, I discuss two ways to dissolve this tension:. (shrink)

What is special about photographs? Traditional photography is, I argue, a system that sustains factive pictorial experience. Photographs sustain pictorial experience: we see things in them. Further, that experience is factive: if suchandsuch is seen in a photograph, then suchandsuch obtained when the photo was taken. More precisely, photographs are designed to sustain factive pictorial experience, and that experience is what we have when, in the photographic system as a whole, everything works as it is supposed to. In this respect (...) photographs differ from handmade pictures, and from other information-preserving tools, such as the readings on a geiger counter. This distinctive feature can be used to explain what is epistemically special about photographs, and also to give an account of the distinctive phenomenology of looking at a photograph rather than a handmade picture. All this provides the background against which to assess claims that digital photography differs from traditional in certain key ways. (shrink)

Experiences of art involve exercise of ordinary cognitive and perceptual capacities but in unique ways. These two features of experiences of art imply the mutual importance of aesthetics and cognitive science. Cognitive science provides empirical and theoretical analysis of the relevant cognitive capacities. Aesthetics thus does well to incorporate cognitive scientific research. Aesthetics also offers philosophical analysis of the uniqueness of the experience of art. Thus, cognitive science does well to incorporate the explanations of aesthetics. This paper explores this general (...) framework of expansionism : a research strategy that suggests that the explanatory goals and resources of both aesthetics and cognitive science should expand to include those of the other. Two relations are considered. First, what is the relation between aesthetics and more traditional cognitive science? Second, what is the relation between aesthetics and new developments in cognitive science that de-emphasize mental representation and emphasize body and action? (shrink)

This article surveys the current debate among analytic philosophers and film narratologists about the logic and phenomenology of cinematic narration. Particular attention is given to the question of whether every film that represents a fictional narrative also represents a narrator's fictional narration.

Just as it’s possible to understand novel sentences without having heard them before, it’s possible to understand novel pictures without having seen them before. But these possibilities are often supposed to have totally different explanations: whereas the ability to understand novel sentences is supposed to be explained by tacit knowledge of a compositional theory of meaning for their language, the ability to understand novel pictures is supposed to be explained differently. In this paper I argue against this disanalogy: insofar as (...) the ability to understand novel sentences is explained by tacit knowledge of a compositional theory, I argue, so is the ability to understand novel pictures. (shrink)

This paper argues for a possible worlds theory of the content of pictures, with three complications: depictive content is centred, two-dimensional and structured. The paper argues that this theory supports a strong analogy between depictive and other kinds of representation and the platitude that depiction is mediated by resemblance.

This article contains a survey of recent debates in the philosophy of photography, focusing on aesthetic and epistemic issues in particular. Starting from widespread notions about automatism, causality and realism in the theory of photography, the authors ask whether the prima facie tension between the epistemic and aesthetic embodied in oppositions such as automaticism and agency, causality and intentionality, realism and fictional competence is more than apparent. In this context, the article discusses recent work by Roger Scruton, Dominic Lopes, Kendall (...) Walton, Gregory Currie, Jonathan Cohen and Aaron Meskin, Noël Carroll, and Patrick Maynard in some detail. Specific topics addressed include: aesthetic scepticism, transparency, imagination, perception, information, representation and depiction. (shrink)

It is controversial whether virtual reality should be considered fictional or real. Virtual fictionalists claim that objects and events within virtual reality are merely fictional: they are imagined and do not exist. Virtual realists argue that virtual objects and events really exist. This metaphysical debate might appear important for some of the practical questions that arise regarding how to morally evaluate and legally regulate virtual reality. For instance, one advantage claimed of virtual realism is that only by taking virtual objects (...) and events to be real can we explain our strong emotional reactions to certain virtual actions, as well as their potential immorality. This paper argues that emotional reactions towards, and wrongs within, virtual reality are consistent with its being merely fictional. The emotional and ethical judgments we wish to make regarding virtual reality do not provide any grounds for preferring virtual realism. (shrink)

A classic and fraught question in the philosophy of film is this: when you watch a film, do you experience yourself in the world of the film, observing the scenes? In this paper, we argue that this subject of film experience is sometimes a mere impersonal viewpoint, sometimes a first-personal but unindexed subject, and sometimes a particular, indexed subject such as the viewer herself or a character in the film. We first argue for subject pluralism: there is no single answer (...) to the question of what kind of subjectivity, if any, is mandated across film sequences. Then, we defend unindexed subjectivity: at least sometimes, films mandate an experience that is first-personal but not tied to any particular person, not even to the viewer. Taken together, these two theses allow us to see film experience as more varied than previously appreciated and to bridge in a novel way the cognition of film with the exercise of other imaginative capacities, such as mindreading and episodic recollecting. (shrink)

This paper explores early Australasian philosophy in some detail. Two approaches have dominated Western philosophy in Australia: idealism and materialism. Idealism was prevalent between the 1880s and the 1930s, but dissipated thereafter. Idealism in Australia often reflected Kantian themes, but it also reflected the revival of interest in Hegel through the work of ‘absolute idealists’ such as T. H. Green, F. H. Bradley, and Henry Jones. A number of the early New Zealand philosophers were also educated in the idealist tradition (...) and were influential in their communities, but produced relatively little. In Australia, materialism gained prominence through the work of John Anderson, who arrived in Australia in 1927, and continues to be influential. John Anderson had been a student of Henry Jones, who might therefore be said to have influenced both main strands of Australian philosophical thought. (shrink)

Traditionally, the structure of a language is revealed by constructing an appropriate theory of meaning for that language, which exhibits how – and whether – the meaning of sentences in the language depends upon the meaning of their parts. In this paper, I argue that whether – and how – what pictures represent depends on what their parts represent should likewise by revealed by the construction of appropriate theories of representation for the symbol system of those pictures. This generalisation, I (...) argue, reveals a much cited disanalogy between depiction and description is illusory: the structure of pictures, like language, is compositional. (shrink)

Our lives are commonly involved with fictionality, an activity that adults share with children. After providing a brief reconstruction of the most important cognitive theories on pretence, we will argue that pretence has to do with metarepresentations, albeit in a rather weakened sense. In our view, pretending entails being aware that a certain representation does not fit in the very same representational model as another representation. This is a minimal metarepresentationalism, for normally metarepresentationalism on pretense claims that pretending is or (...) entails representing a representation qua representation, i.e. as conceptualised as a representation, in its very content. In the final section we will try to draw some consequences of our view as to the debate in cognitive science on mindreading. Given this minimal metarepresentationalism, the two main positions on mindreading, the ‘theory theory’ and the ‘simulation theory’, turn out to be closer than one would have originally supposed. (shrink)

This paper criticises the current orthodoxy that people who engage with fiction fils are exercising their imagination.

Recent accounts of pretense have been underdescribed in a number of ways. In this paper, we present a much more explicit cognitive account of pretense. We begin by describing a number of real examples of pretense in children and adults. These examples bring out several features of pretense that any adequate theory of pretense must accommodate, and we use these features to develop our theory of pretense. On our theory, pretense representations are contained in a separate mental workspace, a Possible (...) World Box which is part of the basic architecture of the human mind. The representations in the Possible World Box can have the same content as beliefs. Indeed, we suggest that pretense representations are in the same representational ``code'' as beliefs and that the representations in the Possible World Box are processed by the same inference and UpDating mechanisms that operate over real beliefs. Our model also posits a Script Elaborator which is implicated in the embellishment that occurs in pretense. Finally, we claim that the behavior that is seen in pretend play is motivated not from a ``pretend desire'', but from a real desire to act in a way that ®ts the description being constructed in the Possible World Box. We maintain that this account can accommodate the central features of pretense exhibited in the examples of pretense, and we argue that the alternative accounts either can't accommodate or fail to address entirely some of the central features of pretense. q 2000 Elsevier Science B.V. All rights reserved. (shrink)

As artforms, film and street art seem incompatible. Contra this incompatibility, I investigate their combination: cinematic street art. Two promising cases are the artworks MUTO and Repopulate, but I argue neither is suitable. MUTO only counts if I accept the transparency thesis, the claim that photographs allow us to literally see their depicta. Repopulate only counts if we reject Noel Carroll’s requirement that a cinematic performance token isn’t itself an artwork. However, these imperfect cases demonstrate what is required in order (...) to have cinematic street art: the artwork is a 1) aconsensual artwork that 2) does not merely use street art as imagery or 3) merely use the street as a performance space. I introduce two hypothetical artworks inspired by this approach and discuss their merits, as well as their pitfalls relevant to my own desiderata. As such, this article serves as the foment for broader discussion within the philosophy of street art. (shrink)

There is a widespread intuition that readers’ empathy with fictional characters can help to understand certain works of literature. In a nutshell, the argument.

The idea that looking at a photograph is akin to face-to-face perception and that photographs provide genuine perceptual access to the objects they depict was notoriously defended by Kendall Walton in “Transparent Pictures.” Walton’s main thesis is that photographs are transparent in the sense that we can see objects through them. The main goal of this article is to support Walton’s view by providing a full account of photographic transparency. I will argue that the transparency that characterizes photography is not (...) metaphorical but in fact exhibits all the essential properties of transparent materials. To understand how a photograph can be transparent, one must understand the special type of causal connection between a photograph and what it shows. Building on Fritz Heider’s work, I will argue that photography is a visual medium, like air, water, glass, or mirrors, capable of transmitting the visual properties of distant objects to the perceiver. (shrink)

Are we really sure to correctly know what do we feel in front ofan artwork and to correctly verbalize it? How do we know what weappreciate and why we appreciate it? This paper deals with the problem ofintrospective opacity in aesthetics (that is, the unreliability of self-knowledge) in the light of traditional philosophical issues, but also of recentpsychological insights, according to which there are many instances ofmisleading intuition about one’s own mental processes, affective states orpreferences. Usually, it is assumed that (...) aesthetic statements are intuitivelyclear and self-evident. However, a long tradition in psychological researchhas called the idea of introspective transparency and the infallibility of self-knowledge into question (Wilson 2002). This topic has only recently beenrecognized as an interesting problem in aesthetics (Melchionne 2011, Irvin2014). In this paper I will discuss the main shortcomings in introspective self-knowledge, mostly referring to psychological findings. As a consequence, thedevelopment of a folk psychological account of aesthetic experience could beneeded, investigating how people develop intuitive and naïve theories abouttheir aesthetic reactions, taste, and feelings, distinct from a more objectiveand empirically grounded account of how judgment and preferences areactually formed in ourselves, even on a neurobiological level. However, itwill also be argued that bypassing the individual judgment and his expressedchoices in favor of allegedly more objective levels of description would notbe an innocent step to take. (shrink)

En este trabajo invito a considerar la existencia de la perspectiva de segunda persona de la atribución mental, como una perspectiva diferenciada de las de primera y tercera persona. Su ámbito específico sería el de las atribuciones espontáneas y recíprocas en situaciones de interacción cara a cara, por lo que supondría su naturaleza expresiva. Al tratarse de la perspectiva ontogenéticamente primaria, ofrece una vía para superar las dificultades complementarias de los enfoques teóricos y empáticos dominantes.

Many photographs seem to be images of absences: for instance, a photograph of a shadow seems to be an image of an absence, as shadows are plausibly thought of as being absences of light. Absence photography is puzzling, however, as, first, it is a common idea that photographs can only be images of things that have caused them, and, second, it is unclear whether absences can cause anything. In this paper, I look at various ways to unravel the puzzle. Along (...) the way, I also hope to cast some light on the idea that photography is a causal medium. (shrink)

Why does cinema exert such power over our emotions? Many have wanted to answer by appeal to the idea that film sustains some illusion concerning the events it narrates. I compare three such views: that film sustains the illusion that those events are before us; that it sustains that illusion, but only partially; and that, though viewers are always fully aware of seeing pictures, those pictures are experienced as the moving photographic record of the narrated events. I identify these positions’ (...) successes and failures in explaining film’s emotional power, and various ways in which the issue between them might be tested further. (shrink)

Can static pictures depict motion and temporal properties? This is an open question that is becoming increasingly discussed in both aesthetics and the philosophy of mind. Theorists working on this issue have mainly focused on static pictures of dynamic scenes and streaky images – such as futurists’ paintings or long-exposure photographs. And yet, we could ask: if there is some success in creating an illusory impression of movement in a static image - as is the case in optical illusions of (...) movement, such as Bridget Riley’s Fall (1963: Tate, London), or Kitaoka’s Rotating Snakes Illusion - is this to say that such static images depict movement? As far as I know, no one working on the depiction of motion has specifically and systematically tackled motion-based illusions nor tried to answer this question. This paper considers two cases of optical illusions of movement and concludes that one of them is involved in the depiction of movement. While the declared goal of my analysis is to answer a quite circumscribed question, it is also the occasion to tackle motion-based illusions tout court - to account for the complex visual experiences they elicit and related phenomenology. Moreover, this account has interesting consequences for theorizing depiction and pictorial experience in general. In particular, it constitutes a counterexample to resemblance theories of depiction. (shrink)

ABSTRACTVideogames often confront players with frustratingly difficult challenges, fearsome enemies, and tragic stories. As such, they can evoke feelings of failure, sadness, anger, and fear. Although these feelings are usually regarded as undesirable, many players seem to enjoy videogames which cause them. In this paper, I argue that player misery often originates from a fictional or lusory attitude which brackets game events from real-life, making the player’s emotions solely relevant within the game context. As they are part of the game (...) themselves, these negative emotions can be enjoyed and easily relativized, since players can acknowledge that their cause is ‘only a game’. However, there are feelings of misery associated with the playing of videogames which are not caused by either the game’s fiction or challenge. In the last part of this paper, I describe a qualitatively different kind of player misery: one that is caused by elements that are not perceived as part of the game by the player, and is no... (shrink)

Mindreading, simulation, empathy and central imagining are often used interchangeably in current analytic philosophy, and typically defined as imagining what the other wants and believes – to run these states “off-line.” By imagining the other’s beliefs and desires, one will come to understand and predict his emotional and behavioural reactions. Many have suggested that films may trigger engagement in the characters’ perspectives, and one finds similar use of these terms in film theory. Imagining the characters’ states – with emphasis on (...) mental states – has for example been labelled as central imagining (Choi 2005; Smith 1995), imagining from the inside (Smith 1997), and empathetic reenactment (Currie 1995). In a similar vein, understanding the meaning of a narrative event for a character is understood as empathy (Tan 1996). These accounts all point to ways in which the spectator understands the character and the situation the character is in. Nevertheless, one also finds a different use of the term empathy in film theory, namely as a matching feeling with the character. The emphasis here is not on understanding the character and the narrative situation, but on the emotional output of the process. Often automatic, hardwired affective matching mechanisms are emphasized. This matching feeling with the character has also been discussed as empathy (Grodal 1997; Plantinga 1999; Smith 1995). While all these authors discuss what makes a spectator experience aspects of a character’s state, they point to different kinds of character engagement, and discuss it using varying terms. There also seems to be disagreement as to how film may cue the spectator to engage in these different ways. Here I offer an integrative account of empathy, where all these processes are labelled as empathic. The differences and similarities between them are explored. I argue that, broadly speaking, there are two different kinds of film, each of which elicits its own kind of empathy. Nevertheless, the common core to these kinds of engagement in a character justifies us in calling them empathy. (shrink)

In this article, I first consider the metaphysics of musical recordings: their variety, repeatability, and transparency. I then turn to evaluative or aesthetic issues, such as the relative virtues of recordings and live performances, in light of the metaphysical discussion.

Pretend play is generally considered to be a developmental landmark in Theory of Mind acquisition. The aim of the present paper is to offer a new account of the role of pretend play in Theory of Mind development. To this end I combine Hutto and Gallagher’s account of social cognition development with Matravers’ recent argument that the cognitive processes involved in engagement with narratives are neutral regarding fictionality. The key contribution of my account is an analysis of pretend play as (...) interaction with fictions. I argue that my account offers a better explanation of existing empirical data on the development of children’s pretend play and Theory of Mind than the competing theories from Leslie, Perner and Harris. (shrink)

In this paper, I survey in some depth three issues arising from the connection between imagination and fiction: (i) whether fiction can be defined as such in terms of its prescribing imagining; (ii) whether imagining in response to fiction is de se, or de re, or both; (iii) the phenomenon of ‘imaginative resistance’ and various explanations for it. Along the way I survey, more briefly, several other prominent issues in this area too.

I consider how photographic image manipulation and deception influence both interpretation and evaluation of photographs. First I distinguish between image manipulation and deception by clarifying that image manipulation does not necessarily lead to deception in terms of forming false beliefs. I also argue that image manipulation is not the only way of using photographs deceptively, and I provide examples for photographic deception that do not rely on image manipulation. Then I examine what role the readability of photographic properties plays in (...) their interpretation. I introduce the concept of photographic illocutionary acts to account for the interpretation of photographic images, and I argue that the default interpretation of photographs is always based on our knowledge of the specific ontological and epistemic status of photographs in general, and which distinguishes them from non-photographic images. I conclude that our knowledge about the ease and frequency of analogue or digital image manipulation does not alter our default interpretation with which we approach photographs. (shrink)

Recent work in the philosophy of science has generated an apparent conflict between theories attempting to explicate the nature of scientific representation. On one side, there are what one might call 'informational' views, which emphasize objective relations (such as similarity, isomorphism, and homomorphism) between representations (theories, models, simulations, diagrams, etc.) and their target systems. On the other side, there are what one might call 'functional' views, which emphasize cognitive activities performed in connection with these targets, such as interpretation and inference. (...) The main sources of the impression of conflict here are arguments by some functionalists to the effect that informational theories are flawed: it is suggested that relations typically championed by informational theories are neither necessary nor sufficient for scientific representation, and that any theory excluding functions is inadequate. In this paper I critically examine these arguments, and contend that, as it turns out, informational and functional theories are importantly complementary. (shrink)

Philosophical accounts of narrative fiction can be loosely divided into two types. Participant accounts argue that some sort of simulation, or 1st person perspective taking plays a critical role in our engagement with narratives. Observer accounts argue to the contrary that we primarily engage narrative fictions from a 3rd person point of view, as either side participants or outside observers. Recent psychological research suggests a means to evaluate this debate. The perception of distance and slope is influenced by the energetic (...) (e.g., task difficulty) and emotional (e.g., anxiety) costs of actions. These effects are limited to increases in the costs of actions agents intend to perform themselves, generalize to cases where participants imagine acting, and demonstrate a role for tacit motor simulation in action planning. If participant accounts are sound, one should, therefore, find similar effects across changes in the interpretation of the costs of actions depicted in static images. We asked people to copy the rough spatial layout of two paintings across different interpretations of the costs of the actions they depicted. We predicted that increasing costs would cause participants to draw distances as longer and hills as steeper. Our results confirm this prediction for the energetic, but not the emotional, costs of actions. (shrink)

The Audience Effect. On the Collective Cinema Experience HANICHJULIAN edinburgh university press. 2017. pp. 256. £19.99.