The sympathetic plot—featuring a goal-directed protagonist who confronts obstacles, overcomes them, and wins rewards—is ubiquitous. Here, I propose that it recurs because it entertains, engaging two sets of psychological mechanisms. First, it triggers mechanisms for learning about obstacles and how to overcome them. It builds interest by confronting a protagonist with a problem and induces satisfaction when the problem is solved. Second, it evokes sympathetic joy. It establishes the protagonist as an ideal cooperative partner pursuing a goal, appealing to mechanisms (...) for helping. When the protagonist succeeds, they receive rewards, and audiences feel sympathetic joy, an emotion normally triggered when beneficiaries triumph. The capacities underlying the sympathetic plot evolved for learning and cooperation before being co-opted for entertainment. (shrink)

What distinguishes aesthetic thinking from other forms of thinking, such as logical, for instance? In order to clarify this question, the following contribution deals with a reception-aesthetic problem that has been controversially discussed in English-language aesthetics for decades as the ‘paradox of fiction’. It will be shown that the intentional orientation of mind and imagination towards the non-existent, the counterfactual, and the fictive belongs to the decisive peculiarity of aesthetic thinking. Its productivity consists in the process of playing through the (...) possible and imaginable and thereby transcending and thwarting the given and the existing. (shrink)

This paper responds to two arguments that have been offered against the positing of ‘i-desires’, imaginative counterparts of desire supposedly involved in fiction, pretence, and mindreading. The Introspection Argument asks why, if there are both i-desires and desires, the distinction is so unfamiliar and hard to draw, unlike the relatively clear distinctions between perception and mental imagery, or belief and belief-like imagining. The Accountability Argument asks how it can make sense to treat merely imaginative states as revealing of someone’s psychology, (...) the way we do with responses to fiction. I argue that carefully considering the relationship between other states and their imaginative counterparts sheds light on how we should expect i-desires to differ from desires, and suggests that we may often be in states that are _indeterminate_, in limbo between the two categories. This indeterminacy explains why the distinction is often hard to draw, and why these states can be revealing about us even without (determinately) being real desires. (shrink)

I examine the nature of human-robot pet relations that appear to involve genuine affective responses on behalf of humans towards entities, such as robot pets, that, on the face of it, do not seem to be deserving of these responses. Such relations have often been thought to involve a certain degree of sentimentality, the morality of which has in turn been the object of critical attention. In this paper, I dispel the claim that sentimentality is involved in this type of (...) relations. My challenge draws on literature in the philosophy of art and in cognitive science that attempts to solve the so called paradox of fictional emotions, i.e., the seemingly paradoxical way in which we respond emotionally to fictional or imaginary characters and events. If sentimentality were not at issue, neither would its immorality. For the sake of argument, however, I assume in the remaining part of the paper that sentimentality is indeed at play and bring to the fore aspects of its badness or viciousness that have not yet been discussed in connection with robot pets. I conclude that not even these aspects of sentimentality are at issue here. Yet, I argue that there are other reasons to be worried about the wide-spread use of ersatz companionship technology that have to do with the potential loss of valuable, self-defining forms of life. (shrink)

Autobiographies are particularly interesting in the context of moral philosophy because they offer us rare and extended examples of how other people think, feel and reflect, which is of crucial importance in the development of phronesis (practical wisdom). In this article, Martha Nussbaum's use of fictional literature is shown to be of limited interest, and her arguments in Poetic Justice against the use of personal narratives in moral philosophy are shown to be unfounded. An analysis of Aristotle's concept of mimesis (...) shows that Nussbaum's claims for fictional literature also apply to personal narratives. A case is then made for the importance of personal narratives in developing practical wisdom, and three sub-genres of autobiography are discussed: (1) the confession, (2) the apology and (3) the testimonial. These sub-genres exemplify some of the unique features of personal narratives. (shrink)

The ability to think in abstractions depends on the imagination. An important evolutionary change was the installation of a suite of six imaginative activities that emerge at first in childhood, which include empathy, symbolic play, and theory-of-mind. These abilities can be built upon in adulthood to enable the production of oral and written stories. As a technology, writing has three aspects: material, skill based, and societal. It is in fiction that expertise in writing is most strikingly attained; imagination is put (...) to use to create simulations of the social world that can usefully be offered to others. Fiction is best conceived as an externalization of consciousness, which not only enables us to understand others but also to transform ourselves so that we can reach beyond the immediate. (shrink)

The ability to think in abstractions depends on the imagination. An important evolutionary change was the installation of a suite of six imaginative activities that emerge at first in childhood, which include empathy, symbolic play, and theory-of-mind. These abilities can be built upon in adulthood to enable the production of oral and written stories. As a technology, writing has three aspects: material, skill based, and societal. It is in fiction that expertise in writing is most strikingly attained; imagination is put (...) to use to create simulations of the social world that can usefully be offered to others. Fiction is best conceived as an externalization of consciousness, which not only enables us to understand others but also to transform ourselves so that we can reach beyond the immediate. (shrink)

We discuss robotic art, emotion in robotic art, and compassion in the philosophy of art. We discuss a particular animated artwork, survivor, the walking chair, symbolising survivors of landmine blasts, learning to use crutches, and maimed emotionally as well as physically. Its control incorporates mutual relations between very rudimentary representations of distinct emotions. This artwork is intended for sensitising viewers to the horror experienced by those who survive, and those who don't. We can only give a small sample, here, of (...) the reactions of viewers on various occasions when survivor was exhibited. Regardless of how much which pertains to human mental functions the tool embodies or doesn't (actually, such replication is minimalist), it is the effect on the human perceivers which matters most to us, and enables us to understand something more about human cognition. Arguably this project is instructive in respect of the ethical-social implications of the synthetic method, i.e. the construction of inorganic systems in order to understand autonomous intentional action; in this project, the latter pertains to the humans involved. (shrink)

The discussion in this paper sets out from two thoughts, one a straightforward empirical observation, the other a worry. The observation is that many who do not believe in God nevertheless regard certain pieces of religious music, such as Bach’s B minor Mass, as among the greatest works of art. The worry is that there must be something compromised or incomplete in the atheist’s experience of such works. Taken together, these thoughts would seem to point to the sceptical conclusion that (...) the high regard in which many atheists hold works such as the B minor Mass must itself be compromised, or in some way unwarranted. The majority of the paper is devoted to clarifying the initial worry through the investigation of a series of (failed) attempts to avoid the sceptical conclusion, before — at the end of the paper — we argue that, for at least one sort of atheist, there is, after all, a mode of engagement with great religious music that might afford an experience of it which would underwrite his judgement that the work is, indeed, great. (shrink)

¿Qué papel puegan las emociones en el juicio moral? ¿Y cómo pueden contribuir a la formación de una sociedad democrática más justa y estable? El propósito de este artículo es analizar cómo la filosofía, el arte y las humanidades en general juegan en tal sentido un papel inexcusable. Necesitamos ir más allá de las teorías contractualistas de la justicia, nos dice Nussbaum. La nueva propuesta de justicia habrá de fundamentarse en el hecho del pluralismo y de la globalización de los (...) problemas, pero también en un cosmopolitismo humanista que asuma nuestra huama y compartida finitud y vulnerabilidad. (shrink)

The Gamer’s Dilemma refers to the philosophical challenge of justifying the intuitive difference people seem to see between the moral permissibility of enacting virtual murder and the moral impermissibility of enacting virtual child molestation in video games (Luck Ethics and Information Technology, 1:31, 2009). Recently, Luck in Philosophia, 50:1287–1308, 2022 has argued that the Gamer’s Dilemma is actually an instance of a more general “paradox”, which he calls the “paradox of treating wrongdoing lightly”, and he proposes a graveness resolution to (...) this paradox. In response, we argue for four key claims. First, we accept Luck’s expansion of the Gamer’s Dilemma to be applicable to a wider set of media, but give a novel recasting of this in terms of the Paradox of Fictionally Going Too Far. Second, we develop a novel criticism of Luck in Philosophia, 50:1287–1308, 2022 graveness resolution to this broader paradox. Third, we argue that the Paradox of Fictionally Going Too Far helps to expose an implicit moralism in the Gamer’s Dilemma literature when compared to relevant nearby literatures about other forms of media. Fourth, we consider a range of non-moral, cultural and media conventions that plausibly help to dissolve the intuitive moral gap between non-sexual and sexual violence that is central to this paradox. (shrink)

European Journal of Philosophy, Volume 30, Issue 1, Page 307-325, March 2022.

Debates that revolve around the topic of morality and fiction rarely explicitly treat virtual worlds like, for example, Second Life. The reason for this disregard cannot be that all users of virtual worlds only do the right thing while online—for they sometimes even virtually kill each other. Is it wrong to kill other people in a virtual world? It depends. This essay analyzes on what it depends, why it is that killing people in a virtual world sometimes is wrong, and (...) how different virtual killings are wrong in different ways. I argue that killing people online is wrong if it is an instance of deliberately and non-consensually evoking disagreeable emotions in others. Establishing this conclusion requires substantial conceptual work, as virtual worlds feature new kinds of fictional agency, particular emotional responses to fiction, and unique ways in which the fiction of the virtual world relates to the wrongness of the killing. (shrink)

The Platonic view that art is incapable of providing us with knowledge is sufficiently widely held as to merit a serious attempt at refutation. Once it is acknowledged that there are alternative forms of knowledge other than propositional, then it is possible to establish the truth of the claim that the knowledge which art affords has a value on a par with that provided by other disciplines. Art, it is argued, has a unique potential to provide imaginative insights by reference (...) to which we may understand what it is like to experience and to feel, in ways very different from those with which we may be familiar. It is shown to be instrumental in enabling us to refine our moral concepts as well as in determining what is salient from the moral point of view. As a powerful tool in the education of the emotions, artworks have the power to increase our moral sensitivity and to sharpen our perception of what is required of us inways that are otherwise unobtainable. (shrink)

There is an important debate in the philosophy of mind that has roots in the phenomenological tradition, namely: what are the primitive forms of consciousness, that is, what are the fundamental ingredients or aspects of consciousness. This paper wants to contribute to partially answering this general question by providing an answer to a required sub-question within this question: is emotional phenomenology fundamental? I will answer in the affirmative and will offer an argument focused on contemplative emotions elicited by fiction. Another (...) type of contemplative emotions, namely, esthetic emotions, have been invoked in the literature but I will argue that the phenomenology of emotions elicited by fiction, given their continuity and sameness in kind with the phenomenology of garden variety emotions, are more dialectically efficient vis-à-vis the debate on the irreducibility of emotional phenomenology. (shrink)

In this paper, I will argue that Radfords real question is not the conceptual one, as it is usually taken, but the causal one, and show that Waltons account, which treats Radfords puzzle as the conceptual question, is not a satisfactory solution to it. I will also argue that contrary to what Walton claims, the causal question is not only important, but also closely related to the conceptual and normative questions. What matters is not that Walton has not solved Radfords (...) puzzle per se, but that he has not recognized the importance of this puzzle. While doing this, I will suggest a revision to the cognitive theory of emotion. (shrink)

Within contemporary analytical philosophy there continues to be a lively debate about the emotions we feel for fictional characters. How, for example, can we feel sad about Anna Karenina, despite knowing that she doesn't exist? I propose that we can get a clearer view of this issue by turning to Spinoza, who urges us to take a different approach to feelings of this kind. The ability to keep our emotions in line with our beliefs, he argues, is a complex skill. (...) Rather than asking why we depart from it in the case of fictions, we need to begin by considering how we get it in the first place. Spinoza also considers the value of this skill. In his account, fictions function rather like Donald Winnicott's transitional objects. They enable us to negotiate the boundary between the real and the imaginary in a way that contributes to our philosophical understanding. These Spinozist proposals, I contend, suggest that the questions dominating current debate need to be reformulated. (shrink)

Cet article remet en question une définition de la fiction parue en 1988, dans un ouvrage intitulé « Contribution à une étude du concept de fiction ». Etant fondée sur la théorie des actes de langage, cette définition présentait en effet l’inconvénient de ne pouvoir s’appliquer qu’aux fictions verbales. Une nouvelle définition est donc proposée dans cet article, faisant apparaître clairement la fiction comme un concept de nature pragmaticosémiotique : une fiction est une représentation, verbale ou non verbale, qu’un auteur (...) produit consciemment dans le but de la transmettre à un destinataire. En transmettant cette représentation, l’auteur de la fiction adopte une attitude spécifique, consistant à inviter le destinataire à imaginer un monde fictif dont les caractéristiques sont compatibles avec celles du monde décrit dans la représentation. Sur la base de cette définition, l’article recense des exemplifications de fictions aussi diverses que possible, selon la nature de leur support de représentation et selon leur fonction, puis il pose la question du rôle des fictions dans notre vie quotidienne et, en particulier, sur la manière dont elles nous apprennent quelque chose sur le monde réel. (shrink)

What is it like to dream? On an orthodox view, dreams involve misleading sensations and false beliefs. I argue, on philosophical, psychological, and neurophysiological grounds, that orthodoxy about dreaming should be rejected in favor of an imagination model of dreaming. I am thus in partial agreement with Colin McGinn, who has argued that we do not have misleading sensory experiences while dreaming, and partially in agreement with Ernest Sosa, who has argued that we do not form false beliefs while dreaming. (...) Rather, on my view, dreams involve mental imagery and propositional imagination. I defend the imagination model of dreaming from objections. (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)

In 1954 F. R. Leavis wrote to the Times Literary Supplement taking issue with one of its reviewers. The reviewer had contrasted Leavis's approach to Shakespeare with that of Empson and Bradley. The latter, the reviewer had said, ‘like the plain man, or the audience in a theatre, cannot help considering the situation [in one of Shakespeare's plays] as “actual” and the characters as “real”’. Leavis, the reviewer had implied, treats the situation and characters somewhat differently.

A key epistemic puzzle about theatrical performances of fictional narratives has to do with how spectators pick out and recognize the characters they encounter. An adequate solution to the puzzle is constrained by several factors : it should be similar to what we need to say about picking out and recognition of characters in non-fictional narratives ; it should be similar to what we need to say about picking out and recognizing elements in non-narrative performances ; it be it must (...) be sensitive to the fact that most plays do not name or describe their characters ; it must be sensitive to the fact that most spectators have no prior experience or preparation for what they will encounter ; and it must comport with any plausible story we have to tell about the mechanisms we bring to the identification and re-identification of individuals in daily life. In this paper, I review a solution that meets these constraints and, in particular, I show why the proposed solution is likely to be subserved by very basic cognitive mechanisms involved in object perception and recognition in everyday life. I conclude by responding to ontological worries the solution is likely to foster. (shrink)

When engaging with magic, we are moved by seemingly impossible events that contradict what we believe to be possible in the real world. We are surprised, curious, and baffled when we cannot explain how the magic we are witnessing is possible. We generally understand the events to be illusions. But how is it possible to be moved by something we know to be unreal? This problem is related to the paradox of fiction in aesthetics. Here, we introduce the problem in (...) the domain of theatrical magic, discuss possible solutions, and present a tentative account that allows us to accommodate inconsistent, seemingly incompatible beliefs at different representational levels in the viewers’ mind. (shrink)

A familiar question in the literature on emotional responses to fiction, originally put forward by Colin Radford, is how such responses can be rational. How can we make sense of pitying Anna Karenina when we know there is no such person? In this paper I argue that contrary to the usual interpretation, the question of rationality has nothing to do with the Paradox of Fiction. Instead, the real problem is why there is a divergence in our normative assessments of emotions (...) in different contexts. I argue that explaining this divergence requires a more nuanced account of the rationality of emotion than has previously been proposed. One advantage of my proposal over alternatives is that it helps to explain one way we can learn emotionally from fiction and imagination. (shrink)

In this paper, I review developments in discussions of fiction and emotion over the last decade concerning both the descriptive question of how to classify fiction-directed emotions and the normative question of how to evaluate those emotions. Although many advances have been made on these topics, a mistaken assumption is still common: that we must hold either that fiction-directed emotions are (empirically or normatively) the same as other emotions, or that they are different. I argue that we should reject this (...) dichotomy. (shrink)

La réflexion philosophique sur la non-existence est une thématique qui a été abordée au commencement même de la philosophie et qui suscite, depuis la publication en 1905 de « On Denoting » par Russell, les plus vifs débats en philosophie analytique. Cependant, le débat féroce sur la sémantique des noms propres et des descriptions définies qui surgirent suite à la publication du « On Referring » par Strawson en 1950 n’engagea pas d’étude systématique de la sémantique des fictions. En fait, (...) le développement systématique d’un lien qui articule approches logiques, philosophiques et littéraires de la fiction devait attendre les travaux de John Woods publiés en 1974 dans son livre The Logic of Fiction : A Philosophical Sounding of Deviant Logic. Un des enjeux les plus excitants du livre de Woods se situe au niveau de l’interaction entre les points de vue internalistes ou interne-à-l’histoire (principalement pragmatiques) et les points de vue externalistes ou externe-à-la-fiction (principalement sémantiques). Sur ce point, Woods fut le premier à formuler une sémantique pour l’opérateur de fiction à lire comme « selon l’histoire… » en relation à la notion logique de portée, ce qui permettait l’étude de l’internalisme et de l’externalisme. Suite au livre de Woods, loin de s’essouffler, les débats trouvaient une nouvelle impulsion. Le fait pertinent pour notre article est que la tradition phénoménologique également, l’étude de la fiction a joué un rôle central. En effet, l’une des problématiques les plus sujettes à controverses dans l’intentionnalité est celle de l’indépendance à l’existence, c’est-à-dire le fait que les actes intentionnels n’ont pas besoin d’être forcément dirigés vers un objet existant. Influencée par les travaux de Roman Ingarden (1893-1970), l’un des plus importants disciples de Husserl, Amie L. Thomasson développe le concept phénoménologique de dépendance ontologique en vue d’expliquer les processus de références inter- et transfictionnels – dans le contexte de l’interprétation littéraire par exemple. L’enjeu essentiel de cet article est de proposer une reconstruction multimodale bi-dimensionnelle de la théorie des personnages fictionnels de Ingarden-Thomasson. Cette théorie qui entend prendre au sérieux le fait que les fictions sont des créations montre la voie pour une articulation entre les approches internalistes et externalistes. Nous motivons certains changements quant à l’approche artéfactuelle - incluant une sémantique appropriée pour l’opérateur de fictionalité qui, nous l’espérons, éveillera l’intérêt des théoriciens de la littérature. L’article est à d’autres égards un panorama de la façon dont différents concepts d’intentionnalité pourraient fonder différentes sémantiques formelles pour la fictionalité. Nous proposerons enfin un cadre dialogique qui est une extension modale d’un certain système de preuve développé par Matthieu Fontaine et Juan Redmond. Le cadre dialogique développe la contrepartie inférentielle de la sémantique bi-dimensionnelle introduite par Shahid Rahman et Tero Tulenheimo dans un article récent. (shrink)

How is it that, as fiction readers, we are nonplussed by J. K. Rowling's prescription to imagine Ronan, Bane, and Magorian, three different centaurs of the Forbidden Forrest at Hogwarts? It is usually held in the philosophical literature on fictional discourse that singular imaginings of fictional objects are impossible, given the blatant nonexistence of such objects. In this paper, I have a dual purpose: on the one hand, to show that, without being committed to Meinongeanism, we can explain the phenomenon (...) of singular imaginings of different nonexistents of the same kind; while, at the same time, to attribute this position to Thomas Reid, thus correcting some misunderstandings of his view on imagination. (shrink)

The capacity of a work of fictional literature to elicit emotional responses is part of what is valuable about it, and having emotional responses is part of appreciating it. These claims are not very controversial; perhaps they are even common sense. But philosophy rushes in where common sense fears to tread, raising questions and looking for explanations.Are the emotions we have in appreciating fictional works of art, what I call art emotions, of the same sort as those which occur in (...) ‘real life’? Which emotions are appropriate to the work, and why: what justifies having one emotion rather than another? And why should we think emotionally responding to fiction is desirable, something which should be respected and encouraged, rather than looked at as a little weird or a waste of time? (shrink)

This article examines Keith Lehrer's distinction between belief and acceptance and how it differs from other accounts of belief and of the family of doxastic attitudes. I sketch a different taxonomy of doxastic attitudes. Lehrer's notion of acceptance is mostly epistemic and at the service of his account of the "loop of reason", whereas for other writers acceptance is mostly a pragmatic attitude. I argue, however, that his account of acceptance underdetermines the role that the attitude of trust plays in (...) his analysis of reason. (shrink)

À partir d’une typologie des formes de connaissance, je soutiens qu’il y a trois formes principales de connaissance littéraire : cognitive propositionnelle, affective et pratique. La conception propositionnelle est erronée : la littérature ne fournit pas directement une forme de savoir que. La conception affective ou expressiviste peut au mieux dire qu’il y a des effets cognitifs des oeuvres littéraires. La conception pratique a le plus de chances d’être correcte, mais seulement si l’on accepte l’idée que le savoir pratique est (...) en partie basé sur le savoir propositionnel. Starting from a typology of kinds of knowledge, I argue that there are three basic conceptions of literary knowledge : cognitive propositional, affective, and practical. The cognitive conception is misguided : literary knowledge cannot be directly a form of knowledge that. The affective or expressivist conception is too weak : it can at best amount to the idea that there are cognitive effects of literary works. The practical conception is the most promising, but only if one accepts that knowing how is partly based on knowing that and propositional knowledge. (shrink)

© Mind Association 2017Exactly how radical change in commitments on matters of fundamental concern is possible has been a problem since at least Paul's conversion on the road to Damascus and Augustine's rejection of Pelagianism and defence of divine grace. If an act of will is required to accept the offer of grace, then isn’t something important left to us to do? And if so, can or does reason play any role in such radical change? If so, how? Martin Warner (...) takes on these large questions in The Aesthetics of Argument. One modest way in which he gets his account started is to note, following Susan Haack, that ‘the intuition … that there is such a thing as favourable but not conclusive evidence … is stronger than … [the intuition] that there is such a thing as “inductive implication”’. That is, we apparently do make... (shrink)

The purpose of this article is to suggest that the fictionalist’s emotions toward religious discourse could be better supported than the current literature allows. By ‘fictionalist’ I mean those of whom interpret religious discourse as useful fiction. The threefold structure of the article will argue that: (1) the concept of aliefs has been falsely equated with the concept of imagining, (2) the fictionalist ought to adopt a hybrid theory of emotions rather than a cognitive appraisal and, (3) if (1) and (...) (2) are accepted, then key issues concerning the genuineness and appropriateness of emotions toward fictional entities can be overcome. I will conclude that something significant is at stake here, and that is whether or not the fictionalist’s emotions are deemed ‘real’ or not. Thus, to provide the best defence of the fictionalist’s emotions is to: (A) separate that which has been lumped together, that is: quasi emotions and alief-evoked emotions (B) argue for the hybrid account of emotions and, (C) defend the genuine and appropriate nature of fictional emotions. (shrink)

The aim of this article is to present the disagreement between Moran and Walton on the nature of our affective responses to fiction and to defend a view on the issue which is opposed to Moran’s account and improves on Walton’s. Moran takes imagination-based affective responses to be instances of genuine emotion and treats them as episodes with an emotional attitude towards their contents. I argue against the existence of such attitudes, and that the affective element of such responses should (...) rather be taken to be part of what is imagined. In this respect, I follow Walton; and I also agree with the latter that our affective responses to fiction are, as a consequence, not instances of real emotion. However, this gives rise to the challenge to be more specific about the nature of our responses and explain how they can still involve a phenomenologically salient affective element, given that propositionally imagining that one feels a certain emotion is ruled out because it may be done in a dispassionate way. The answer —already suggested, but not properly spelled out by Walton— is that affectively responding to some fictional element consists in imaginatively re-presenting an experience of emotional feeling towards it. The central thought is that the conscious and imaginative representation of the affective character of an instance of genuine emotion itself involves the respective phenomenologically salient affective element, despite not instantiating it. (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)

Humans often unconsciously perceive social robots involved in their lives as partners rather than mere tools, imbuing them with qualities of companionship. This anthropomorphization can lead to a spectrum of emotional risks, such as deception, disappointment, and reverse manipulation, that existing approaches struggle to address effectively. In this paper, we argue that a Virtual Interactive Environment (VIE) exists between humans and social robots, which plays a crucial role and demands necessary consideration and clarification in order to mitigate potential emotional risks. (...) By analyzing the relational nature of human-social robot interaction, we discuss the connotation of such a virtual interactive environment that is similar to the emotional states aroused when reading novels. Building on this comprehension, we further demonstrate that manufacturers should carry out comprehensive Virtual Interactive Environment Indication (VIEI) measures during human-social robot interaction with a stricter sense of responsibility when applying social robots. Finally, we contemplate the potential contributions of virtual interactive environment indication to existing robot ethics guidelines. (shrink)

Peter Vaudreuil Lamarque is one of the most prominent members of the golden generation of analytic aestheticians born immediately after the Second World War. If, to follow Archilochus via Isaiah Berlin (via Peter Kivy), “a fox knows many things, but a hedgehog one important thing,” Lamarque is perhaps the biggest hedgehog of his generation. Lamarque’s “important thing” is not a single idea but, as he would put it, the practice that we call “literature.” His distinctive achievement has been to integrate (...) a number of different ideas into a systematic philosophical account of literature, which also sheds light on art more generally. (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)

Is it ever bad to take pleasure in the suffering of fictional characters? I think so. I attempt to show when and why. I begin with two powerful objections to my view: (1) engaging with fiction is akin to morally unproblematic autonomous fantasy, and (2) since no one is harmed, it is morally unproblematic. I reply to the objections and defend a Moorean view on the issue: It is intrinsically bad to enjoy evil, actual (past, present, or future) and merely (...) imagined. In support, I offer four examples. Then I argue against Moore's claim that it is equally bad to delight in fictional suffering as it is to enjoy actual suffering. Finally, I argue that even though it is bad to enjoy imagined suffering, the power of fiction is often mitigating. The moral problems are more often with the works of fiction than with the audience. (shrink)

Three questions have occupied much of the philosophical literature on cinematic horror: What is horror? How is it able to frighten and disgust? Why do we seek out horror if it horrifies? Although there are numerous other important topics, this entry will focus on these three general questions, since they motivate the overwhelming majority of the philosophical writing on cinematic horror.

In the current aesthetic debate fictional emotions has been seen as a challenge for rationality. In this essay I shall examine the notion of “rationality of the emotions” from six different points of view: its cognitive basis, its intentionality, its ability to influence thoughts, its motivational force, its contribution to adaptation and maximization of wellbeing. The aim is to demonstrate that fictional emotions are completely integrated in the paradigm of rationality.