Les théoriciens sémantistes de la fiction cherchent typiquement à expliquer nos relations sémantiques au fictionnel dans le contexte plus général des théories de la référence, privilégiant une explication de la sémantique sur le psychologique. Dans cet article, nous défendons une dépendance inverse. Par l’éclaircissement de nos relations psychologiques au fictionnel, nous trouverons un guide pour savoir comment développer une sémantique de la fiction. S’ensuivra une esquisse de la sémantique.

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)

Cognitivism in respect to the arts refers to a constellation of positions that share in common the idea that artworks often bear, in addition to aesthetic value, a significant kind of cognitive value. In this paper I concentrate on three things: (i) the challenge of understanding exactly what one must do if one wishes to defend a cognitivist view of the arts; (ii) common anti-cognitivist arguments; and (iii) promising recent attempts to defend cognitivism.

Recent cognitive accounts of the imagination propose that imagining and believing are in the same “code”. According to the single code hypothesis, cognitive mechanisms that can take input from both imagining and from believing will process imagination-based inputs (“pretense representations”) and isomorphic beliefs in much the same way. In this paper, I argue that the single code hypothesis provides a unified and independently motivated explanation for a wide range of puzzles surrounding fiction.

Spoilers provide advance knowledge of crucial facts about how a work of fiction unfolds or ends. This is often the reason given for our dislike of spoilers. I begin by showing that on generally-accepted philosophical accounts of fiction and imagination, the phenomenon of spoilers is puzzling, and the lay explanation of our dislike of spoilers is inadequate. To resolve the puzzle, I first argue that imaginings are inherently constrained, or norm-governed. In imagining, we take on a (fictional) doxastic role: our (...) aim is to imagine that which a work of fiction presents as true at each stage of its unfolding. Then, distinguishing between two ways in which we can follow norms or rules, I show that although spoilers do not completely thwart our experience of fiction, they can significantly diminish the degree to which we are engrossed in fiction, hence we dislike them. (shrink)

Imaginative resistance refers to cases in which one’s otherwise flexible imaginative capacity is constrained by an unwillingness or inability to imaginatively engage with a given claim. In three studies, we explored which specific imaginative demands engender resistance when imagining morally deviant worlds and whether individual differences in emotion predict the degree of this resistance. In Study 1 (N = 176), participants resisted the notion that harmful actions could be morally acceptable in the world of a narrative regardless of the author’s (...) claims about these actions but did not resist imagining that a perpetrator of harm could believe their actions to be morally acceptable. In Study 2 (N = 167) we replicated the findings of Study 1 and showed that imaginative resistance is greatest among participants who experience more negative affect in response to imagining harm and are lower in either trait anxiety or trait psychopathy. In Study 3 (N = 210) we show that this is the case even when the harms assessed include both low-severity (i.e., emotional harm) and high-severity (i.e., killing) cases. Thus, people’s moral beliefs constrain their ability to imagine hypothetical moral alternatives, although this ability systematically varies on the basis of stable individual differences in emotion. (shrink)

This essay argues that there are theoretical benefits to keeping distinct—more pervasively than the literature has done so far—the psychological states of imagining that p versus believing that in-the-story p, when it comes to cognition of fiction and other forms of narrative. Positing both in the minds of a story’s audience helps explain the full range of reactions characteristic of story consumption. This distinction also has interesting conceptual and explanatory dimensions that haven’t been carefully observed, and the two mental state (...) types make distinct contributions to generating emotional responses to stories. Finally, the differences between the mental states illuminate how a given story can be both shared with others and at the same time experienced as personal. (shrink)

To imagine is to form a mental representation that does not aim at things as they actually, presently, and subjectively are. One can use imagination to represent possibilities other than the actual, to represent times other than the present, and to represent perspectives other than one’s own. Unlike perceiving and believing, imagining something does not require one to consider that something to be the case. Unlike desiring or anticipating, imagining something does not require one to wish or expect that something (...) to be the case. // -/- Imagination is involved in a wide variety of human activities, and has been explored from a wide range of philosophical perspectives. Philosophers of mind have examined imagination’s role in mindreading and in pretense. Philosophical aestheticians have examined imagination’s role in creating and in engaging with different types of artworks. Epistemologists have examined imagination’s role in theoretical thought experiments and in practical decision-making. Philosophers of language have examined imagination’s role in irony and metaphor. // -/- Because of the breadth of the topic, this entry focuses exclusively on contemporary discussions of imagination in the Anglo-American philosophical tradition. (shrink)

Research seeking a scientific foundation for the theory of art appreciation has raised controversies at the intersection of the social and cognitive sciences. Though equally relevant to a scientific inquiry into art appreciation, psychological and historical approaches to art developed independently and lack a common core of theoretical principles. Historicists argue that psychological and brain sciences ignore the fact that artworks are artifacts produced and appreciated in the context of unique historical situations and artistic intentions. After revealing flaws in the (...) psychological approach, we introduce a psycho-historical framework for the science of art appreciation. This framework demonstrates that a science of art appreciation must investigate how appreciators process causal and historical information to classify and explain their psychological responses to art. Expanding on research about the cognition of artifacts, we identify three modes of appreciation: basic exposure to an artwork, the artistic design stance, and artistic understanding. The artistic design stance, a requisite for artistic understanding, is an attitude whereby appreciators develop their sensitivity to art-historical contexts by means of inquiries into the making, authorship, and functions of artworks. We defend and illustrate the psycho-historical framework with an analysis of existing studies on art appreciation in empirical aesthetics. Finally, we argue that the fluency theory of aesthetic pleasure can be amended to meet the requirements of the framework. We conclude that scientists can tackle fundamental questions about the nature and appreciation of art within the psycho-historical framework. (shrink)

According to recent accounts of the imagination, mental mechanisms that can take input from both imagining and from believing will process imagination‐based inputs (pretense representations) and isomorphic beliefs in much the same way. That is, such a mechanism should produce similar outputs whether its input is the belief that p or the pretense representation that p. Unfortunately, there seem to be clear counterexamples to this hypothesis, for in many cases, imagining that p and believing that p have quite different psychological (...) consequences. This paper sets out some central problem cases and argues that the cases might be accommodated by adverting to the role of desires concerning real and imaginary situations. (shrink)

Nesta entrada irei apresentar uma nova taxonomia sistemática das nossas capacidades imaginativas, coerente com os tratamentos convencionais em ciência cognitiva, filosofia da mente e estética. Em particular, irei distinguir entre a imaginação não-proposicional e a imaginação proposicional, o que inclui ainda outras subvariedades, como a imaginação objectual, a imagética, a imaginação experiencial, a suposição, o faz-de-conta e outras.

In this entry I will offer a systematic novel taxonomy of our imaginative abilities coherent with standard treatments in cognitive science, philosophy of mind and aesthetics. In particular, I will distinguish between the non-propositional imagination and the propositional imagination, which include several further sub-varieties such as the objectual imagination, imagery, experiential imagination, supposition, make-believe and more.

I formulate a counterfactual version of the notorious 'Ramsey Test'. Whereas the Ramsey Test for indicative conditionals links credence in indicatives to conditional credences, the counterfactual version links credence in counterfactuals to expected conditional chance. I outline two forms: a Ramsey Identity on which the probability of the conditional should be identical to the corresponding conditional probabihty/expectation of chance; and a Ramsey Bound on which credence in the conditional should never exceed the latter.Even in the weaker, bound, form, the counterfactual (...) Ramsey Test makes counterfactuals subject to the very argument that Lewis used to argue against the indicative version of the Ramsey Test. I compare the assumptions needed to run each, pointing to assumptions about the time-evolution of chances that can replace the appeal to Bayesian assumptions about credence update in motivating the assumptions of the argument.I finish by outlining two reactions to the discussion: to indicativize the debate on counterfactuals; or to counterfactualize the debate on indicatives. (shrink)

The aim of this article is to expand the diet of examples considered in philosophical discussions of imagination and pretense, and to offer some preliminary observations about what we might learn about the nature of imagination as a result. The article presents a number of cases involving imaginative contagion: cases where merely imagining or pretending that P has effects that we would expect only perceiving or believing that P to have. Examples are offered that involve visual imagery, motor imagery, fictional (...) emotions, and social priming. It is suggested that imaginative contagion is a more prevalent phenomenon than has typically been recognized. (shrink)

Recent work in developmental psychology indicates that children naturally think that psychological states continue after death. One important candidate explanation for why this belief is natural appeals to the idea that we believe in immortality because we can't imagine our own nonexistence. This paper explores this old idea. To begin, I present a qualified statement of the thesis that we can't imagine our own nonexistence. I argue that the most prominent explanation for this obstacle, Freud's, is problematic. I go on (...) to describe some central features of contemporary cognitive accounts of the imagination, and I argue that these accounts provide an independently motivated explanation for the imaginative obstacle. While the imaginative obstacle does not dictate a belief in immortality, it does, I maintain, facilitate such a belief. (shrink)

In this paper I criticize Alvin Goldman's simulation theory of mindreading which involves the claim that the basic method of folk psychologically predicting behaviour is to form pretend beliefs and desires that reproduce the transitions between the mental states of others, in that way enabling to predict what the others are going to do. I argue that when it comes to simulating propositional attitudes it isn't clear whether pretend beliefs need to be invoked in order to explain relevant experimental results, (...) and whether pretend desires can be distinguished from 'real' ones as forming a separate kind of mental states. Since belief-desire model underlies the conception of pretend states in higher-level mindreading, dropping pretend attitudes from the picture isn't possible and, due to that, this model may be incoherent. Nevertheless, Goldman's theory could still survive because it includes an additional model of mindreading, but simulation is given much lesser role there. (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 formulate a counterfactual version of the notorious ‘Ramsey Test’. Whereas the Ramsey Test for indicative conditionals links credence in indicatives to conditional credences, the counterfactual version links credence in counterfactuals to expected conditional chance. I outline two forms: a Ramsey Identity on which the probability of the conditional should be identical to the corresponding conditional probability/expectation of chance; and a Ramsey Bound on which credence in the conditional should never exceed the latter. Even in the weaker, bound, form, the (...) counterfactual Ramsey Test makes counterfactuals subject to the very argument that Lewis used to argue against the indicative version of the Ramsey Test. I compare the assumptions needed to run each, pointing to assumptions about the time‐evolution of chances that can replace the appeal to Bayesian assumptions about credence update in motivating the assumptions of the argument. I finish by outlining two reactions to the discussion: to indicativize the debate on counterfactuals; or to counterfactualize the debate on indicatives. (shrink)

This thesis aims to bring methodological issues in the debate about the nature of fictional characters to the fore. I show how the arguments fictional realists have offered in favour of their views rely on crucial ‘metaontological’ assumptions about what ontological questions are and how they should be answered. In addition to casting doubt on some of the more orthodox approaches to ontological inquiry, my positive goal is to deploy an independently motivated metaontology to defend a novel version of fictional (...) anti-realism. On the view I develop and defend, the central task we face is that of explaining truths concerning fictional characters, where the relevant notion of explanation is distinctively metaphysical in character. Fictional anti-realism emerges as the plausible thesis that truths about fictional entities can be completely explained in terms of the existence and features of other things. (shrink)

This monograph examines truth in fiction by applying the techniques of a naturalized logic of human cognitive practices. The author structures his project around two focal questions. What would it take to write a book about truth in literary discourse with reasonable promise of getting it right? What would it take to write a book about truth in fiction as true to the facts of lived literary experience as objectivity allows? It is argued that the most semantically distinctive feature of (...) the sentences of fiction is that they are unambiguously true and false together. It is true that Sherlock Holmes lived at 221B Baker Street and also concurrently false that he did. A second distinctive feature of fiction is that the reader at large knows of this inconsistency and isn't in the least cognitively molested by it. Why, it is asked, would this be so? What would explain it? Two answers are developed. According to the no-contradiction thesis, the semantically tangled sentences of fiction are indeed logically inconsistent but not logically contradictory. According to the no-bother thesis, if the inconsistencies of fiction were contradictory, a properly contrived logic for the rational management of inconsistency would explain why readers at large are not thrown off cognitive stride by their embrace of those contradictions. As developed here, the account of fiction suggests the presence of an underlying three - or four-valued dialethic logic. The author shows this to be a mistaken impression. There are only two truth-values in his logic of fiction. The naturalized logic of Truth in Fiction jettisons some of the standard assumptions and analytical tools of contemporary philosophy, chiefly because the neurotypical linguistic and cognitive behaviour of humanity at large is at variance with them. Using the resources of a causal response epistemology in tandem with the naturalized logic, the theory produced here is data-driven, empirically sensitive, and open to a circumspect collaboration with the empirical sciences of language and cognition. (shrink)

Bullot & Reber (B&R) put forth a design stance to fuse psychological and art historical accounts of visual thinking into a single theory. We argue that this aspect of their proposal needs further fine-tuning. Issues of transgression and coherence are necessary to provide stability to the design stance. We advocate looking to Art Education for such fundamentals of picture understanding.