L'empathie est un mode émotionnel qui associe le point de vue d'autrui à des sensations physiologiques. Ce phénomène a tendance à être plus important envers certaines personnes qu'envers d'autres. Or, il existe parfois de bonnes raisons morales de promouvoir une empathie plus égalitaire. Notre hypothèse de psychologie morale est qu'il est possible d'utiliser l'imagination, et en particulier sa dimension volontaire et sa transparence aux émotions, pour corriger certains biais empathiques.

Drawing on research in narrative theory and literary aesthetics, text and discourse processing, phenomenology and the experimental cognitive sciences, this paper outlines an embodied theory of presence in the reading of literary narrative. Contrary to common assumptions, it is argued that there is no straightforward relation between the degree of detail in spatial description on one hand, and the vividness of spatial imagery and presence on the other. It is also argued that presence arises from a first-person, enactive process of (...) sensorimotor simulation/ resonance, rather than from mere visualizing from the perspective of a passive, third-person observer. In sections 1 to 3, an inter-theoretical argument is presented, proposing that presence may be effectively cued by explicit references to object -directed bodily movement. In section 4, an attempt is made at explaining which ways of embedding such references in the narrative may be particularly productive at eliciting presence. (shrink)

Two complementary debates of the turn of the nineteenth and twentieth century are examined here: the debate on the legitimacy of hypotheses in the natural sciences and the debate on intentionality and ‘representations without object’ in philosophy. Both are shown to rest on two core issues: the attitude of the subject and the mode of presentation chosen to display a domain of phenomena. An orientation other than the one which contributed to shape twentieth-century philosophy of science is explored through the (...) analysis of the role given to assumptions in Boltzmann’s research strategy, where assumptions are contrasted to hypotheses, axioms, and principles, and in Meinong’s criticism of the privileged status attributed to representations in mental activities. Boltzmann’s computational style in mathematics and Meinong’s criticism of the confusion between representation and judgment give prominence to an indirect mode of presentation, adopted in a state of suspended belief which is characteristic of assumptions and which enables one to grasp objects that cannot be reached through direct representation or even analogies. The discussion shows how assumptions and the movement to fiction can be essential steps in the quest for objectivity. The conclusion restates the issues of the two debates in a contemporary perspective and shows how recent developments in philosophy of science and philosophy of language and mind can be brought together by arguing for a twofold conception of reference.Keywords: Assumption; Hypothesis; Description; Mode of presentation; Ludwig Boltzmann; Alexius Meinong. (shrink)

The word heuristic came from the greek and means “I found it!”; it has the same semantical roof than the expression eureka from Newton. For understanding the function of heuristic in art, it is necessary to realize that every creative need some principles, ideas and convictions more and less systematic as a starting point of her/his work. But this principles, ideas and convictions are not true or false. We say they are appropriate or not for the purpose that the artist (...) intends or not. In this sense, assumptions, theories and fictions could belong to the heuristic of an artist whether they allow the artist to reach the artistic goal she/he is looking for. Between theory and practice, heuristic is the pretext the artist found to explain plausibly and credible the production of art. (shrink)