Electronic dance music has much about it to interest philosophers. In this article, I explore facets of dance music cultures, using the issue of authenticity as a framing question. The problem of sorting real or authentic dance music from mainstream or commercial clubbing can be treated as a matter of history and genre-definition; as a matter of defining scenes or subcultures; and as a matter of blackness. In each case, electronic dance music, and critical discourse surrounding it, offers fresh illumination (...) of aesthetic questions. I briefly characterise the main genres of dance music, match conversations about the hardcore continuum with philosophers’ accounts of genre, survey sociologists’ ways of thinking about cultures and their connections to taste and personal identity, and link criticisms that dance music now lacks blackness to conceptions of black aesthetics. This article is Part I of two; Part II focusses on dancers, DJs, and the aesthetics and ontology of dance music itself. Video abstract. (shrink)

Fictions evoke imagery, and their value consists partly in that achievement. This paper offers analysis of this neglected topic. Section 2 identifies relevant philosophical background. Section 3 offers a working definition of imagery. Section 4 identifies empirical work on visual imagery. Sections 5 and 6 criticize imagery essentialism, through the lens of genuine fictional narratives. This outcome, though, is not wholly critical. The expressed spirit of imagery essentialism is to encourage philosophers to ‘put the image back into the imagination’. The (...) weakened conclusion is that while an image is not essential to imagining, it should be returned to our theories of imagination. (shrink)

This article explores the nature and theoretical import of a hitherto neglected class of fictions which we term ‘self-involving interactive fictions’. SIIFs are interactive fictions, but they differ from standard examples of interactive fictions by being, in some important sense, about those who consume them. In order to better understand the nature of SIIFs, and the ways in which they differ from other fictions, we focus primarily on the most prominent example of the category: video-game fictions. We argue that appreciating (...) the self-involving nature of video-game fictions is key to understanding various otherwise puzzling phenomena concerning the ways in which consumers respond to them. Video-game fictions are, however, far from being the only extant example of this class; and we suggest that the recent philosophical interest in video games would be better focused on the wider class of self-involving interactive fictions. (shrink)

In a recent paper, Gray, Knickman, and Wegner present three experiments which they take to show that people perceive patients in a persistent vegetative state to have less mentality than the dead. Following on from Gomes and Parrott, we provide evidence to show that participants' responses in the initial experiments are an artifact of the questions posed. Results from two experiments show that, once the questions have been clarified, people do not ascribe more mental capacity to the dead than to (...) PVS patients. There is no reason to think that people perceive PVS patients as more dead than dead. (shrink)

In recent work, Walton has abandoned his very influential account of the fictionality of p in a fictional work in terms of prescriptions to imagine emanating from it. He offers examples allegedly showing that a prescription to imagine p in a given work of fiction is not sufficient for the fictionality of p in that work. In this paper, both in support and further elaboration of a constitutive-norms speech-act variation on Walton’s account that I have defended previously, I critically discuss (...) his objections. In addition to answering his concerns and developing the account further, I provide additional abductive support for its explanatory virtues vis-à- institutional accounts like Walton’s, and Gricean speech-act proposals. (shrink)

Au cours des dernières décennies, les théoriciens des actes de discours ont amorcé l’analyse des discours afin de décrire la logique qui gouverne l’usage et la compréhension du langage en contexte d’interlocution. Cet article s’inscrit dans la foulée de ces études. Il interroge la fécondité de la notion d’actes de discours en pragmatique littéraire, analyse quelques genres littéraires et propose une typologie des discours composée de huit catégories génériques qui font état des relations logiquement possibles entre les discours factuels et (...) fictionnels, en guise de réponse à une question qu’un théoricien littéraire a posé autrefois aux théoriciens des actes de discours. (shrink)

Stacie Friend (2012) dismisses the traditional view that it is an author's imaginative activity of ‘making the story up’ rather than the reader's make-believe, that is of the essence of fiction. She claims that this view is ‘neither plausible nor popular’. I argue that her claim is false and that her arguments are unconvincing. I argue further in defence of the traditional view that it is quite easy to find or to simply construct counterexamples to the standard view that fiction (...) necessarily involves an invitation to the reader or audience to engage in make-believe. The counterexamples are the direct result of the fact that composing fiction need not involve any invitation to engage in make-believe. (shrink)

There is a consensus that satire cannot be defined, but is best characterized by a cluster account. However, I argue that a cluster account does not acknowledge the artistically and politically significant distinction between real satire and some forms of frivolous topical comedy which are casually labeled ‘satire’ in international media contexts. To uphold this distinction, I introduce a weak proposal that satire is a genre which necessarily sets out to critique and entertain (with the qualification that these purposes necessarily (...) interact, although neither is wholly instrumental to the other). I further argue that this proposal also provides necessary and sufficient conditions for a definition of satire. (shrink)

We present a theory of truth in fiction that improves on Lewis's [1978] ‘Analysis 2’ in two ways. First, we expand Lewis's possible worlds apparatus by adding non-normal or impossible worlds. Second, we model truth in fiction as belief revision via ideas from dynamic epistemic logic. We explain the major objections raised against Lewis's original view and show that our theory overcomes them.