This paper provides an account of improvisational artistry in live dance performance that construes the contribution of the dance performer as a kind of agency. Andy Clark’s theory of the embodied and extended mind is used in order to consider how this account is supported by research on how a thinking-while-doing person navigates the world. I claim here that while a dance performer’s improvisational artistry does include embodied and extended features that occur outside of the brain and nervous system that (...) this can be construed as “agency” rather than “thought.” Further I claim that trained and individual style accounts for how this agency acquires its artistic nature. This account thus contributes to the philosophy of improvisation in dance performance in a way that includes motor as well as cognized intentions. (shrink)

The aim of this work is to account for expressions like “Cantor’s diagonal proof is elegant” or “Euler identity is the most beautiful formula of mathematics”. This type of expressions is common among mathematicians; however, they may result in two kinds of puzzled reactions: first, the non mathematician may find the use of the word ‘beautiful’ strange in this context. Second, the mathematician may try to reinterpret mathematical beauty in terms of the principles and precepts of mathematics itself. I present (...) an account of mathematical beauty that offers a way to avoid these puzzled reactions: mathematical beauty is just a type of “normal” beauty and no reinterpretation is necessary. To support this claim, I devise an aesthetic theory -by using insights and findings from experimental psychology, neurology, philosophical and psychological theories of emotion in art, philosophy of music and philosophy of science- that shows that aesthetic judgments in mathematics are genuine aesthetic judgments. (shrink)

I defend a theory of mental representation that satisfies naturalistic constraints. Briefly, we begin by distinguishing (i) what makes something a representation from (ii) given that a thing is a representation, what determines what it represents. Representations are states of biological organisms, so we should expect a unified theoretical framework for explaining both what it is to be a representation as well as what it is to be a heart or a kidney. I follow Millikan in explaining (i) in terms (...) of teleofunction, explicated in terms of natural selection. -/- To explain (ii), we begin by recognizing that representational states do not have content, that is, they are neither true nor false except insofar as they both “point to” or “refer” to something, as well as “say” something regarding whatever it is they are about. To distinguish veridical from false representations, there must be a way for these separate aspects to come apart; hence, we explain (ii) by providing independent theories of what I call f-reference and f-predication (the ‘f’ simply connotes ‘fundamental’, to distinguish these things from their natural language counterparts). -/- Causal theories of representation typically founder on error, or on what Fodor has called the disjunction problem. Resemblance or isomorphism theories typically founder on what I’ve called the non-uniqueness problem, which is that isomorphisms and resemblance are practically unconstrained and so representational content cannot be uniquely determined. These traditional problems provide the motivation for my theory, the structural preservation theory, as follows. F-reference, like reference, is a specific, asymmetric relation, as is causation. F-predication, like predication, is a non-specific relation, as predicates typically apply to many things, just as many relational systems can be isomorphic to any given relational system. Putting these observations together, a promising strategy is to explain f-reference via causal history and f-predication via something like isomorphism between relational systems. -/- This dissertation should be conceptualized as having three parts. After motivating and characterizing the problem in chapter 1, the first part is the negative project, where I review and critique Dretske’s, Fodor’s, and Millikan’s theories in chapters 2-4. Second, I construct my theory about the nature of representation in chapter 5 and defend it from objections in chapter 6. In chapters 7-8, which constitute the third and final part, I address the question of how representation is implemented in biological systems. In chapter 7 I argue that single-cell intracortical recordings taken from awake Macaque monkeys performing a cognitive task provide empirical evidence for structural preservation theory, and in chapter 8 I use the empirical results to illustrate, clarify, and refine the theory. (shrink)

Este ensayo investiga el discurso global a la sombra de la década de 1960. Se basa en los puntos de vista de Nelson Goodman, Marshall McLuhan y Theodor W. Adorno para explorar tres conceptos centrales para la música en la época de la transmisión global: concordancia, corriente y virtualidad.

The standard approach to model how human beings understand natural languages is the symbolic, compositional approach according to which the meaning of a complex expression is a function of the meanings of its constituents. In other words, meaning plays a fundamental role in the model. In this work, because of the polysemous, flexible, dynamic, and contextual structure of natural languages, this approach is rejected. Instead, a connectionist model which eliminates the concept of meaning is proposed.

I argue that silence is replete with aesthetic character and that it can be a rewarding object of aesthetic appreciation, assessment, and appraisal. The appreciation of silence might initially seem impossible, for, it might seem, there is nothing there to behold. Taking up this challenge, I attempt to dispel the sense of paradox. I contend that, despite our never actually experiencing absolute silence, there is much to enjoy in the silences that we do experience. I go on to argue that (...) proper appreciation of silence is a two-way street, involving quiet on the outside and stillness on the inside. I conclude by offering some suggestions for how to make the aesthetic appreciation of silence part of a flourishing life. (shrink)

The thesis proposes an account of the means of scientific representation focused on similarity, or more specifically, on the notion of “creative similarity”. I first distinguish between two different questions regarding the problem of representation: the question about the constituents and the question about the means of representation (following Suárez 2003; van Fraassen 2008). I argue that, although similarity is not a good candidate for constituent of representation, it can satisfactorily answer the question about the means of representation if adequately (...) characterized. To motivate this position, I dispute the main arguments offered against similarity as means of representation, namely the arguments from variety, vagueness, and misrepresentation, and contend that similarity plays a central epistemic role in practices of representing in science. The study of the role of similarity in scientific practice, I argue, requires the analysis of the uses of judgments of similarity in the construction of scientific models. I examine the cases of the Mississippi Basin Model and the San Francisco Bay Model to illustrate how judgments of similarity are directly involved in the production of epistemically fruitful models. Informed by the practical investigation developed throughout the thesis, I finally outline what I call the creative similarity account of the means of representation. The notion of “creative similarity” helps to capture the way in which similarity, as means of representation, intervenes in actual practices of representing, namely, in the form of a productive interplay of judgments of similarity and distortions (i.e. idealizations, abstractions, simplifications), which is employed by resourceful agents with the aim of understanding aspects of the natural world. (shrink)

In this paper, a particular case of deceptive use of images – namely, misattributions – will be taken in consideration. An explicitly wrong attribution (“This is a picture of the event X”, this not being the case) is obviously a lie or a mistaken description. But there are less straightforward and more insidious cases in which a false attribution is held to be acceptable, in particular when pictures are also used in their exemplary, general meaning, opposed to their indexical function (...) in referring to a specific event. In fact, the boundary between referential use and symbolic-exemplificative use is not always clear-cut, and it often becomes the subject of ideological dispute. The main point that this paper would like to do is that in some circumstances there is a deep-seated belief that images that are clearly misattributed could still be legitimately used to refer to the fact, even if this is not the case. This twisted epistemological stance, that I will summarize under the oxymoronic concept of “emblematic evidence”, is both the product of political and tribal polarization in the ideological debate, and the result of a shift in our understanding of what photographic images should do. (shrink)

This thesis explores the relationships that exist between reification, the conceptualisation of music, and the composition of new concert music. In general terms, reification can be described as the mental process of conceiving abstract concepts as tangible and concrete things. The problem of reification in the conceptualisation of musical works is one that exists between a rock and a hard place: we rely on something like reification in order to gain any sense of meaning from our experiences of the abstract (...) aspects of musical works, but treating the reified understanding of these aspects as if they are what makes musical works meaningful ignores the emergent and transitory aspects of our interactions with musical works as being inherently meaningful in and of themselves. Through a variety of ethnographic, phenomenological and narrative methods, this thesis aims to challenge the long-held notions of meaning construction within the field of analytical aesthetics. It also aims provide a conceptual framework with which composers can use to practically study, collect data and analyse the conceptualisation of meaning in their compositions, as well as apply this understanding to audiences’ conceptualisation of meaning in musical works. The results of this thesis project culminate in the creation and presentation of three artistic outcomes: a new and original work for chamber ensemble, and two audio papers that explore the synthesis of interview responses and recordings of musical works within the framework of an audio-based discourse. Semi-structured interviews in the form of stimulated recall sessions were conducted as a means of obtaining data from participants about their interpretation of meaning in musical works. The use of metaphors as a conceptual framework with which to code and analyse data collected from these sessions allowed for the linguistic conceptualisation of musical meaning that avoided the theory construction and analytical aesthetic tendencies of modern music philosophy. This conceptual framework was also applied in the coding and analysis of a compositional perspective of the new work in order to compare and contrast the similarities and differences between composers and audiences in their interpretations of musical meaning. While this thesis does not purport to offer a “theory” for the conceptualisation of meaning in musical works, the findings presented in the analysis of the new composition and audio papers allows for a conceptual framework that takes into account the everyday use of language in communicating the experiences of composers and audience members in their conceptualisation of meaning in musical works. (shrink)

We propose that there are four fundamental kinds of metaphor that are uniquely mapped onto specific brain ‘‘networks’’ and present preliterate (i.e., evolutionary, including before the appearance of written language in the historical record), prelinguistic (i.e., developmental, before the appearance of speech in human development), and extralinguistic (i.e., neuropsychological, cognitive) evidence supportive of this view. We contend that these basic metaphors are largely nonconceptual and entail (a) perceptual–perceptual, (b) cross-modal, (c) movement–movement, and (d) perceptual-affective mappings that, at least, in the (...) initial stages of processing may operate largely outside of conscious awareness. In opposition to our basic metaphor theory (BmT), the standard theory (SmT) maintains that metaphor is a conceptual mapping from some base domain to some target domain and/or represents class-inclusion (categorical) assertions. The SmT captures aspects of secondary or conceptual metaphoric relations but not primary or basic metaphoric relations in our view. We believe our theory (BmT) explains more about how people actually recognize or create metaphoric associations across disparate domains of experience partly because they are ‘‘pre-wired’’ to make these links. (shrink)

G. F. Stout is famous as an early twentieth century proselyte for abstract particulars, or tropes as they are now often called. He advanced his version of trope theory to avoid the excesses of nominalism on the one hand and realism on the other. But his arguments for tropes have been widely misconceived as metaphysical, e.g. by Armstrong. In this paper, I argue that Stout’s fundamental arguments for tropes were ideological and epistemological rather than metaphysical. He moulded his scheme to (...) fit what is actually given to us in perception, arguing that our epistemic practices would break down in an environment where only universals were given to us. (shrink)

This paper provides the first systematic philosophical analysis of an increasingly important part of modern scientific practice: analogue quantum simulation. We introduce the distinction between `simulation' and `emulation' as applied in the context of two case studies. Based upon this distinction, and building upon ideas from the recent philosophical literature on scientific understanding, we provide a normative framework to isolate and support the goals of scientists undertaking analogue quantum simulation and emulation. We expect our framework to be useful to both (...) working scientists and philosophers of science interested in cutting-edge scientific practice. (shrink)

In this dissertation, I present a novel account of the components that have a peculiar epistemic role in our scientific inquiries, since they contribute to establishing a form of coordination. The issue of coordination is a classic epistemic problem concerning how we justify our use of abstract conceptual tools to represent concrete phenomena. For instance, how could we get to represent universal gravitation as a mathematical formula or temperature by means of a numerical scale? This problem is particularly pressing when (...) justification for using these abstract tools comes, in part or entirely, from knowledge which is not independent from them, thus leading to threats of circularity. Achieving coordination between some abstract conceptual tools and the concrete phenomena that they are supposed to represent is usually a complex process, which involves several epistemic components. Some of these components eventually provide stable conditions for applying those abstract representations to concrete phenomena. It is in this sense of providing certain conditions of applicability that different philosophical traditions, as well as some contemporary reappraisals, view these components as constitutive or a priori. In this work, I present a new gradualist, contextualist, and relational approach to understand these constitutive components of scientific inquiry. It is gradualist inasmuch as the degree to which some component is constitutive depends on three quantifiable features: quasi-axiomaticity, generative potential, and empirical shielding. Since the quantification of these three features impinges on the history and practice of using these components in a scientific context, my approach is a contextualist one. Finally, my approach is relational in a double sense: first, it identifies ordinal relationships among epistemic components with respect to their constitutive character; second, these relationships are relative to a scientific framework of inquiry. After introducing my account and a classic example of constitutively a priori principles, i.e., Friedman’s (2001) analysis of Newtonian mechanics, I turn to my own case studies to demonstrate the advantages of my approach. Firstly, I discuss Okasha’s (2018) view of endogenization as a pervasive theoretical strategy in evolutionary biology and suggest that the constitutive character of the core Darwinian principles progressively increases with endogenization. Secondly, I apply a conceptual distinction between two varieties or scopes of coordination – general coordination and coordination in measurement – to Ohm’s work on electrical conductivity. This distinction allows me to pinpoint to what extent components along different dimensions (e.g., instrumentation, measurement, theorising, etc.) were constitutive of the forms of coordination which Ohm relied on. Thirdly, I discuss the epistemic function of the Hardy-Weinberg principle in the history and practice of population genetics. I assess this principle in terms of my account and identify approximation and stability as two components that are highly constitutive, in that they contribute to justifying its use in population genetics. Finally, applying my account to these case studies enables me to identify at least three qualitatively different types of constitutive components: domain-specific theoretical principles, material components, and domain-independent assumptions underlying reasoning abilities. In the light of my results, I draw some general conclusions on epistemic justification and scientific knowledge. (shrink)

A recent version of the mental file framework argues that the antirealist theory of fictional objects can be reconciled with the claim that fictional utterances involving character names express propositions that are true in the real world. This hybrid view rests on the following three claims: character names lack referents but express a mode of presentation, fictional utterances introduce oblique contexts where character names refer to their modes of presentation, and modes of presentation are mental files. In this critical paper, (...) I will argue that the proposed view runs into a number of theory-internal problems. These problems arise partly from the unclarities inherent in the notion of mental file, and partly from a mistaken semantics for character names. I will also argue that adherents of fictional realism can make use of the notion of mental file without encountering similar difficulties. (shrink)

This paper is concerned with Maurice Merleau-Ponty’s contribution to the hermeneutical theory of expressive meaning that has been developed on the basis of an ongoing dialogue with traditional phenomenology. The early portion of the paper examines the unstable boundaries between expression and indication as a key to a new approach to expressive meaning. The paper then takes up Merleau-Ponty’s understanding of expressive life as it emerges in ‘Phenomenology of Perception,’ his first attempt to discuss perception, aesthetics, and temporality in comprehensive (...) terms. The third part of the paper examines Merleau-Ponty’s return to the paintings of Paul Cezanne, which not only clarifies his earlier position but also deepens the philosophical meaning of his reflections on language. My final comments are concerned with how phenomenology can be broadened in a way that can become responsive to the hermeneutical theory of expressive meaning. (shrink)

This paper fills a gap in Flusser scholarship by conducting an initial comparison of Flusser with Rudolf Arnheim. After noting their similar approaches – open both to science and phenomenology – it looks closely at each theorist’s respective theory of photography. They differ in that Flusser believes that the photography as a technical apparatus is not objective. However, with some contextualization each can be seen to say complementary things. Reflecting on each theorist’s cautiously optimistic or pessimistic approach to evolving media, (...) the paper concludes with thoughts on how they give helpful ideas on how to flesh out aspects of the other’s thought. (shrink)

Attempting art: an essay on intention-dependenceIt is a truism among philosophers that art is intention-dependent—that is to say, art-making is an activity that depends in some way on the maker's intentions. Not much thought has been given to just what this entails, however. For instance, most philosophers of art assume that intention-dependence entails concept-dependence—i.e. possessing a concept of art is necessary for art-making, so that what prospective artists must intend is to make art. And yet, a mounting body of anthropological (...) and art-historical evidence and philosophical argument suggests that not only is such a criterion unsatisfied by most of the art-historical canon, but it also rests on a false premise: concepts of 'art' are not shared between cultures, nor even in the same culture across time. My dissertation aims to rectify this error by first exploring what our commitment to art's intention-dependence actually entails, and then showing that, properly understood, intention-dependence sets a number of important constraints on theories of art with respect to explanatory desiderata such as the success- and failure-conditions of art-attempts, the cross-cultural identification of art, and the reference of 'art' and art-kind terms. I begin by situating art's intention-dependence in the philosophical literature on intentional action, arguing that, properly conceived, intention-dependence is a weak criterion which can be satisfied either directly or indirectly. It therefore does not necessarily entail concept-dependence. I then use this distinction to motivate a new treatment of the success- and failure-conditions for art-attempts, arguing that the extant model's emphasis on compliance with 'the manner intended' is far too restrictive to capture actual artistic practices. I go on to show that Ruth Millikan's model of linguistic conventions supplies an independently plausible explanation of art's concept-independent origins in terms of the development of a system of indirectly intention-dependent conventions called an 'artworld'. I argue that this account of artworld development supplies us with the tools we need to distinguish art-kinds from other artifactual kinds. Finally, I turn my attention to methodological issues, arguing that even though 'art' is a social kind with its roots in arbitrary and historically-contingent networks of conventions, the philosophy of art is not merely an exercise in bare conceptual analysis. In fact, there is now a great deal of evidence to show that the ways we think about 'art' are inconsistent, incomplete, imperialistic, and largely unprincipled. Yet I argue that this does not mean that the artworld data have no bearing on theories of art. Instead, I argue that our best reflective understanding of our artworld practices sets the constraints on the reference of 'art' and art-kind terms. I argue that we have no privileged epistemic access to the ontology of social kinds; our only privilege lies in our ability to determine the proper subject of our inquiries. (shrink)

One of the most important problems for a study of symbolic practices (pictorial, verbal or other) is the choice of a language of description that is general enough to allow for comparisons between different symbolic practices and specific enough to allow for meaningful descriptions of actual practices. I will argue that Goodman’s theory of symbols provides some of the categories needed for such an analysis. I will try to indicate this by looking at Goodman’s analysis of a symbolic practice that (...) – though widely used in many different kinds of discourse – has generally not received much attention: the giving of examples. Goodman’s extensional description of exemplification allows us to differentiate between various types of examples and to determine what we mean when we say that examples ‘show’ something. In this way, conflicting approaches to the question of examples (namely Kant and Wittgenstein) can be seen as complementary. A theory of symbols can operate these clarifications by virtue of its strict extensionalism. (shrink)

Este artigo aborda as principais teorias sobre a natureza metafísica das obras de arte, cobrindo as propostas eliminativistas, monistas e pluralistas. Entre estas últimas, é dado destaque ao trabalho sobre a ontologia das artes performativas, e em particular, da música. Termina-se com uma referência à recente viragem da discussão para o campo da meta-ontologia e a polémica sobre a plausibilidade do revisionismo ontológico no caso de artefactos ou objectos sociais.

The article is dedicated to the revelation of heuristic potential of hermeneutic image conception within discussions on contemporary visual culture. H. G. Gadamer has analysed the image as the visual, spatial and social phenomenon expanding and thereby transforming the accustomed notion of iconic experience. The image is not primarily an object of research for aesthetics and art criticism, but a social phenomenon which has to be considered in its real and imagined character as well as in its interrelations with the (...) lived world structures. By blurring boundaries between art and life in his image theory Gadamer opens up an array of opportunities for the analysis of iconic practices in all their variety: from science to theater. (shrink)

The main purpose of the following inquiry is to emphasise the importance of a phenomenon long neglected by the majority of the human sciences, the artefact; each one of us, no matter what age, sex or culture, is in contact with artefacts every moment of our lives yet despite this they have received scant attention. The study begins by outlining a definition of the artefact, highlighting those characteristics which, in combination, ensure its centrality to social life before, through a discussion (...) of Popper's ideas, proceeding to see how material culture can be conceptualised as meaningful. In order to understand how meaning becomes attached to the artefact the notion of objectification will be analysed and, consequently, so shall the importance of both the type of activity and the physical nature of the materials involved in the artefact's production. Picking up on the theme of materiality this aspect of material culture will be shown to pose major problems to any interpretation of the artefact along semiological lines; language and material culture are evinced to possess fundamentally distinct characteristics which make comparisons between them far from straightforward. These differences will be analysed further, concentrating specifically on the role of context in the establishment of meaning. This leads on to the proposal that our understanding of artefacts can occur on three levels; three forms of knowledge are thus described of which a linguistically formulated type constitutes just one kind. The penultimate chapter tackles the ways in which artefacts affect us, how they are active elements in our relationships with them; therefore, a dialectical position is postulated in which both artefacts and agents take part. Finally, the study concludes by stressing some of its wider implications and suggests a few of the practical situations to which it can be applied. (shrink)

My main objective in this paper is to formulate a view of pictorial realism I call ‘hypothetical verity’. It owes much to John Kulvicki but diverges from his view in an important respect: rather than thinking that realistic pictures are true to our conceptions of things, I hold that they are true to what things would be like if they existed. In addition, I agree with Dominic Lopes that different realisms reflect different aspects of reality, but restate the case without (...) recourse to symbol systems. Together, the twin principles of hypothetical verity and aspectival absolutism constitute a theory of realism able to account for realistic fictional entities, the problem of revelatory realism and images that teach new information. (shrink)

Ausgehend von der provokanten These, Bilder seien gar kein genuiner Gegenstand der Informatik, geht es im Folgenden um die Beziehung zwischen Computervisualistik und bildwissenschaftlichen Begriffen. Denn trotz der These stellen Informatiker uns offensichtlich bereits seit Jahren Computer bereit, auf denen wir eine Vielfalt von Programmen zur Bildverarbeitung, Bilderzeugung und Bildanalyse nutzen können. Interaktive Bilder und immersive Systeme sind schließlich ohne die computervisualistischen Erzeugnisse gar nicht vorstellbar. Eine kleine Einführung in die Funktionsweisen beispielhaft gewählter bildverarbeitender und -erzeugender Algorithmen liefert das Anschauungsmaterial, (...) das die Wechselbeziehung zwischen Informatik und Bildwissenschaft und die sich daraus für andere Fachgebiete ergebenden Möglichkeiten des Erkenntnisgewinns mit den Mitteln der Computervisualistik zu verstehen hilft. (shrink)

Abstract: The so-called “crisis of the humanities” can be understood in terms of an asymmetry between the natural and social sciences on the one hand and the humanities on the other. While the sciences approach topics related to human experience in quantificational or experimental terms, the humanities turn to ancient, canonical, and other texts in the search for truths about human experience. As each approach has its own unique limitations, it is desirable to overcome or remove the asymmetry between them. (...) The present article seeks to do just that by advancing and defending the following two claims: (a) that humanity is ubiquitous wherever language is used; and (b) that anything that can be experienced by humans is in need of an interpretation. Two arguments are presented in support of these claims. The first argument concerns the nature of questions, which are one of the fundamental marks or manifestations of human language. All questions are ultimately attempts to find meanings or interpretations of what is presented. As such, in questioning phenomena, one seeks to transcend the negative space or oppression of imposed structures; in doing so, one reveals one’s humanity. Second, all phenomena are textual in nature: that which astrophysicists find in distant galaxies or which cognitive neuroscientists find in the structures of the human brain are no less in need of interpretation than the dialogues of Plato or the poems of Homer. Texts are ubiquitous. The implications of these two arguments are identified and discussed in this article. In particular, it is argued that the ubiquity of humanity and textuality points to a view of human nature that is neither individualistic nor collectivist but rather integrational in suggesting that the realization of oneself is inseparable from the realization of others. (shrink)

The central question of this thesis is how one can learn about particular targets by using models of those targets. A widespread assumption is that models have to be representative models in order to foster knowledge about targets. Thus the thesis begins by examining the concept of representation from an epistemic point of view and supports an account of representation that does not distinguish between representation simpliciter and adequate representation. Representation, understood in the sense of a representative model, is regarded (...) as a success term. That is, a representative model is one relatum in a relation of adequate representation (Chapter 2). When a representative model represents a target, it allows users of this model to learn something about the target. It is argued that a representative model has this epistemic function because it shares relevant features with the target. This presupposes a similarity view of representation. Similarity views of representation face serious objections, which will be rebutted (Chapter 3). One way of spelling out a similarity view of representation is to defend an indirect view of representation. In this thesis, which does not argue for an indirect view, it is assumed that the indirect view is a good option, if not the best, for articulating the similarity view. It is demonstrated how such an indirect view can be expanded to account for cases of technological modeling. A case study in bioengineering is used to show that the indirect view of representation must acknowledge a distinction between two directions of fit in relations between vehicles and targets. In this context the notion of design is interpreted as a relation between a vehicle and a target, thereby connecting ideas from philosophy of science with ideas from philosophy of technology (Chapter 4). Fictionalist accounts of models are intended to tackle the issue of the ontology of models. In this thesis, however, two prominent fictionalist accounts are discussed from an epistemological point of view in light of the central question regarding how one can learn about targets by using models. This question is addressed from the standpoint of Waltonian fictionalism. The result of the discussion is that the two discussed Waltonian fictionalist accounts cannot sufficiently answer the question. These accounts are criticized for their inability to deliver a satisfactory epistemology of representation (Chapter 5). Although Waltonian fictionalism is criticized, the present thesis also shows that the foundational theory of Waltonian fictionalism, the theory of make-believe can nevertheless be used to account for the distinction between projections and predictions that is made by the Intergovernmental Panel on Climate Change (Chapter 6). (shrink)