Games may seem like a waste of time, where we struggle under artificial rules for arbitrary goals. The author suggests that the rules and goals of games are not arbitrary at all. They are a way of specifying particular modes of agency. This is what make games a distinctive art form. Game designers designate goals and abilities for the player; they shape the agential skeleton which the player will inhabit during the game. Game designers work in the medium of agency. (...) Game-playing, then, illuminates a distinctive human capacity. We can take on ends temporarily for the sake of the experience of pursuing them. Game play shows that our agency is significantly more modular and more fluid than we might have thought. It also demonstrates our capacity to take on an inverted motivational structure. Sometimes we can take on an end for the sake of the activity of pursuing that end. (shrink)

Inquiry, Volume 57, Issue 1, Page 55-96, February 2014.

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)

Most epistemologists hold that knowledge entails belief. However, proponents of this claim rarely offer a positive argument in support of it. Rather, they tend to treat the view as obvious and assert that there are no convincing counterexamples. We find this strategy to be problematic. We do not find the standard view obvious, and moreover, we think there are cases in which it is intuitively plausible that a subject knows some proposition P without—or at least without determinately—believing that P. Accordingly, (...) we present five plausible examples of knowledge without (determinate) belief, and we present empirical evidence suggesting that our intuitions about these scenarios are not atypical. (shrink)

This book is a survey of the most important developments in Austrian philosophy in its classical period from the 1870s to the Anschluss in 1938. Thus it is intended as a contribution to the history of philosophy. But I hope that it will be seen also as a contribution to philosophy in its own right as an attempt to philosophize in the spirit of those, above all Roderick Chisholm, Rudolf Haller, Kevin Mulligan and Peter Simons, who have done so much (...) to demonstrate the continued fertility of the ideas and methods of the Austrian philosophers in our own day. For some time now, historians of philosophy have been gradually coming to terms with the idea that post-Kantian philosophy in the German-speaking world ought properly to be divided into two distinct traditions which we might refer to as the German and Austrian traditions, respectively. The main line of the first consists in a list of personages beginning with Kant, Fichte, Hegel and Schelling and ending with Heidegger, Adorno and Bloch. The main line of the second may be picked out similarly by means of a list beginning with Bolzano, Mach and Meinong, and ending with Wittgenstein, Neurath and Popper. As should be clear, it is the Austrian tradition that has contributed most to the contemporary mainstream of philosophical thinking in the Anglo-Saxon world. For while there are of course German thinkers who have made crucial contributions to the development of exact or analytic philosophy, such thinkers were outsiders when seen from the perspective of native German philosophical culture, and in fact a number of them found their philosophical home precisely in Vienna. When, in contrast, we examine the influence of the Austrian line, we encounter a whole series of familiar and unfamiliar links to the characteristic concerns of more recent philosophy of the analytic sort. As Michael Dummett points out in his Origins of Analytic Philosophy, the newly fashionable habit of referring to analytic philosophy as "Anglo-American" is in this light a "grave historical distortion". If, he says, we take into account the historical context in which analytic philosophy developed, then such philosophy "could at least as well be called "Anglo-Austrian" (1988, p. 7). Much valuable scholarly work has been done on the thinking of Husserl and Wittgenstein, Mach and the Vienna Circle. The central axis of Austrian philosophy, however, which as I hope to show in what follows is constituted by the work of Brentano and his school, is still rather poorly understood. Work on Meinong or Twardowski by contemporary philosophers still standardly rests upon simplified and often confused renderings of a few favoured theses taken out of context. Little attention is paid to original sources, and little effort is devoted to establishing what the problems were by which the Austrian philosophers in general were exercised -- in spite of the fact that many of these same problems have once more become important as a result of the contemporary burgeoning of interest on the part of philosophers in problems in the field of cognitive science. (shrink)

I take up three puzzles about our emotional and evaluative responses to fiction. First, how can we even have emotional responses to characters and events that we know not to exist, if emotions are as intimately connected to belief and action as they seem to be? One solution to this puzzle claims that we merely imagine having such emotional responses. But this raises the puzzle of why we would ever refuse to follow an author’s instructions to imagine such responses, since (...) we happily imagine many other implausible things. A natural response to this second puzzle is that our responses to fiction are real, and so can’t just be conjured up in response to an author’s demands. However, this simple response is inadequate, because we often respond differently to people and events in fiction than we would if we encountered them in real life. Solving these three puzzles in a consistent way requires the notion of a “perspective” on a fictional world. I sketch an account of this intuitive but frustratingly amorphous notion: perspectives are tools for organizing our thinking, which can in turn alter our emotional and evaluative responses. Cultivating a perspective can be illuminating, entertaining, or corrupting — or all three at once. (shrink)

Many people have sexual fantasies about being forced to have sex, or forcing someone to have sex. Several authors have argued that it is wrong to enjoy such fantasies: They lead to harm, or reinforce oppressive social structures, are liable to corrupt our character, or, mostly interestingly, are wrong in themselves, because they involve the eroticization of things that are wrong. I argue here that all such arguments fail properly to distinguish between fantasy and desire (despite authors' acknowledgement of that (...) distinction), and between objects of desire and sources of arousal. The broader significance of this point is also discussed. -/- This paper is intended, in part, as a defense of claims about sexual fantasy made at the end of "Does Pornography Presuppose Rape Myths?". (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)

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)

Emotions have long been of interest to philosophers and have deep historical roots going back to the Ancients. They have also become one of the most exciting areas of current research in philosophy, the cognitive sciences, and beyond. -/- This book explains the philosophy of the emotions, structuring the investigation around seven fundamental questions: What are emotions? Are emotions natural kinds? Do animals have emotions? Are emotions epistemically valuable? Are emotions the foundation for value and morality? Are emotions the basis (...) for responsibility? Do emotions make us better people? -/- In the course of exploring these questions, the book also discusses cutting-edge empirical research on emotion, feminist approaches to emotions and their value, and methodological questions on how to theorize about the emotions. The book also contains in-depth discussions of specific emotions like compassion, disgust, anxiety, and curiosity. It also highlights emerging trends in emotion research. (shrink)

Narrative representations can change our moral actions and thoughts, for better or for worse. In this article, I develop a theory of fictions' capacity for moral education and moral corruption that is fully sensitive to the diversity of fictions. Specifically, I argue that the way a fiction influences our moral actions and thoughts importantly depends on its genre. This theory promises new insights into practical ethical debates over pornography and media violence.

The paper reviews proposals by Abell, Predelli, and others on the semantics of fiction, focusing on the discourse through which fictions are created. Predelli develops the radical fictionalism of former writers like Kripke and van Inwagen, on which that discourse is contentless and does not express propositions. This paper offers reasons to doubt these claims. It then explores realist proposals like Abell’s in which singular terms in fictions refer to fictional characters, understood as socially created representational artifacts, and irrealist alternatives (...) in which the discourse is fully meaningful even though those terms fail to refer. (shrink)

Why do we so often care about the outcomes of games when nothing is at stake? There is a paradox here, much like the paradox of fiction, which concerns why we care about the fates and threats of merely fictional beings. I argue that the paradox threatens to overturn a great deal of what philosophers have thought about caring, severing its connection to value and undermining its moral weight. I defend a solution to the paradox that draws on Kendall Walton's (...) solution to the paradox of fiction, developing his idea that it be extended to games. The solution takes games to involve make‐believe: in particular, players and spectators make‐believe that the outcome of the game matters. I also explore how the phenomenon extends beyond games. And I explore some moral implications: in particular, my view preserves the idea that we have reason not to impede others in their pursuit of what they care about. (shrink)

In this chapter, I present a comprehensive review of the literature on experimental philosophy of aesthetics.

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)

Both lay people and philosophers assume that hoping for something implies imagining it. According to contemporary philosophical accounts of hope, hope involves an element of imagination as input, part, or output of hope. However, there is no systematic view of the interaction between hope and the different processes constituting imagination. In this paper we put forward a view of (i) the kind of imaginings typically triggered by hopeful states, (ii) the nature of the interaction between hope and hopeful imaginings, and (...) (iii) the epistemic value of imagining out of hope. We argue that a paradigmatic output of hope is an immersive kind of cognitive imagination. Additionally, justified hopes constrain our immersive imaginings in such a way as to provide them with a specific epistemic value. Hopeful imaginings are not mere fantasies or wishful thinking; they constitute valuable experiences we can learn from and rely on in planning our future. (shrink)

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

Are there limits to what it is morally okay to imagine? More particularly, is imaginatively inhabiting morally suspect perspectives something that is off-limits for truly virtuous people? In this paper, I investigate the surprisingly fraught relation between virtue and a familiar form of imaginative perspective taking I call empathy. I draw out a puzzle about the relation between empathy and virtuousness. First, I present an argument to the effect that empathy with vicious attitudes is not, in fact, something that the (...) fully virtuous person can indulge in. At least one prominent way of thinking about the psychology of the virtuous person excludes the possibility that the virtuous could emotionally apprehend the world in a less than virtuous way, and empathizing with vicious outlooks does seem to run afoul of that restriction. Then, I develop an argument that runs in the contrary direction: virtue in fact requires empathy with vicious outlooks, at least in some situations. There is reason to think that a crucial part of being virtuous is ministering effectively to others’ needs, and there is also reason to think that other people may need to be empathized with, even if their emotional outlooks are at least minorly vicious. Finally, I outline two different solutions to this puzzle. Both solutions hold some promise, but they also bring new challenges in their train. (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)

If feeling a genuine emotion requires believing that its object actually exists, and if this is a belief we are unlikely to have about fictional entities, then how could we feel genuine emotions towards these entities? This question lies at the core of the paradox of fiction. Since its original formulation, this paradox has generated a substantial literature. Until recently, the dominant strategy had consisted in trying to solve it. Yet, it is more and more frequent for scholars to try (...) to dismiss it using data and theories coming from psychology. In opposition to this trend, the present paper argues that the paradox of fiction cannot be dissolved in the ways recommended by the recent literature. We start by showing how contemporary attempts at dissolving the paradox assume that it emerges from theoretical commitments regarding the nature of emotions. Next, we argue that the paradox of fiction rather emerges from everyday observations, the validity of which is independent from any such commitment. This is why we then go on to claim that a mere appeal to psychology in order to discredit these theoretical commitments cannot dissolve the paradox. We bring our discussion to a close on a more positive note, by exploring how the paradox could in fact be solved by an adequate theory of the emotions. (shrink)

The question of the cognitive role of fictionality is this: what is the correct cognitive attitude to take to p, when it is fictional that p? We began by considering one answer to this question, implicit in the work of Kendall Walton, that the correct response to a fictional proposition is to imagine that proposition. However, this approach is silent in cases of fictional incompleteness, where neither p nor its negation are fictional. We argue that that Waltonians should embrace a (...) pluralistic account of the cognitive role of fictional incompleteness: in some cases of fictional incompleteness, we are permitted to resolve the incompleteness during our engagement with the target fiction, and in other cases, we are obliged not to resolve the incompleteness. But though pluralism is accommodated by Walton’s wider account of fictionality, it puts tension on his motivating idea that fictionality stands to the imagination as truth stands to belief. And so we develop a rival conception of the cognitive role of fictionality that is built around a different analogy: on this evidentialist approach, (known) fictionality stands to the imagination as evidence stands to credence. (shrink)

The Gamer’s Dilemma consists of three intuitively plausible but conflicting assertions: (i) Virtual murder is morally permissible. (ii) Virtual child molestation is morally forbidden. (iii) There is no relevant moral difference between virtual murder and virtual child molestation in computer games. Numerous attempts to resolve (or dissolve) the Gamer’s Dilemma line the field of computer game ethics. Mostly, the phenomenon is approached using expressivist argumentation: Reprehensible virtual actions express something immoral in their performance but are not immoral by themselves. Consequentialists, (...) on the other hand, claim that the immorality of virtual actions arises from their harmful consequences. I argue that both approaches have serious difficulties meeting the moral challenge posed by the Gamer’s Dilemma. They tend to confuse the morality of in-game actions either with the morality of their real-world counterparts or with the morality of games as objects. Following this critical analysis, I will develop a Kantian argument and defend it against two objections. So far, deontological responses to the Gamer’s Dilemma have been sought in vain. Yet, with Kant, its moral challenge can be met by looking at the gamer’s reasons. From this perspective, the Gamer’s Dilemma is based on a false assumption: the moral status of gaming acts does not derive from a normative equation with their real-world counterparts but only from their justifications. (shrink)

The idea that humans might one day form persistent and dynamic relationships in professional, social, and even romantic contexts is a longstanding one. However, developments in machine learning and especially natural language processing over the last five years have led to this possibility becoming actualised at a previously unseen scale. Apps like Replika, Xiaoice, and CharacterAI boast many millions of active long-term users, and give rise to emotionally complex experiences. In this paper, I provide an overview of these developments, beginning (...) in Section 1 with historical and technical context. In Section 2, I lay out a basic theoretical framework for classifying human-AI relationships and their specific dynamics. Section 3 turns to ethical issues, with a focus on the core philosophical question of whether human-AI relationships can have similar intrinsic value to that possessed by human-human relationships. Section 4 extends to the discussion of ethical issues to the more empirical matter of harms and benefits of human-AI relationships. The paper concludes by noting potentially instructive parallels between the nascent field of ‘Social AI’ and the recent history of social media. (shrink)

The ability to engage in and recognize pretend play begins around 18 months. A major challenge for theories of pretense is explaining how children are able to engage in pretense, and how they are able to recognize pretense in others. According to one major account, the metarepresentational theory, young children possess both production and recognition abilities because they possess the mental state concept, PRETEND. According to a more recent rival account, the Behavioral theory, young children are behaviorists about pretense, and (...) only produce and recognize pretense as a sort of behavior--namely, behaving 'as-if'. We review both the metarepresentational and Behavioral accounts and argue that the Behavioral theory fails to characterize very young children's abilities to produce and to recognize pretense. Among other problems, the Behavioral theory implies that children should frequently mis-recognize regular behavior as pretense, while certain regular forms of pretend play should neither be produced nor recognized. Like other mental states, pretense eludes purely behavioral description. The metarepresentational theory does not suffer these problems and provides a better account of children's pretense. 2016 APA, all rights reserved). (shrink)

The aim of this article is to explore in a systematic way the rationality of emotions elicited when we engage with works of fiction. I first lay out the approach to the emotions on which my discussion is premised. Next, I concentrate on two facets of emotional rationality—the first pertains to the relation between emotions and the mental states on which they are based, the second to the relation between emotions and the judgements and behaviour they elicit. These observations about (...) emotional rationality are then applied to emotions elicited by works of fiction. After having distinguished several families of emotions, I concentrate on what I call blob-emotions and emotions-for. I argue that, given their nature as direct responses to a restricted range of stimuli, blob-emotions are not irrational. As regards emotions-for fictional entities, I emphasize that a subject’s rationality shows in the way her emotions-for respond to evidence. On this basis, I discard an influential reason to think that emotions-for fictional entities are irrational. Finally, I offer an argument to conclude that they are typically correct and rational. (shrink)

Much of the excitement about virtual reality and its potential for things like entertainment, art, education, and activism is its ability to generate experiences that are powerfully immersive. However, discussions of VR tend to invoke the notion of immersive experience without subjecting it to closer scrutiny; and discussions often take it for granted that immersive experience is a single unified phenomenon. Against this, we argue that there are four distinct types or aspects of immersive experience that should be distinguished: representational (...) immersion, which corresponds roughly to what is sometimes called “psychological presence”; participatory immersion, which is related to the interactive aspects of VR experience; affective immersion, which has to do with the subject’s emotional relation to the experience; and narrative immersion, which captures the phenomenon of being caught up in the flow of events experienced. We argue that this four-way distinction helps us understand the powerfully immersive character of VR, while also recognizing its continuity with the immersion we experience with media such as novels, films, and music. We also argue that the account of immersion we offer here lets us better understand the connection between VR and empathy, charting a middle course between extreme enthusiasts who view VR as the ultimate “empathy machine” and extreme skeptics who argue that this attitude is misguided. (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)

Unpleasant dreams occur much more frequently than many people realise. If one is a hedonistic utilitarian – or, at least, one thinks that dreams have positive or negative moral value in virtue of their experiential quality – then one has considerable reason to try to make such dreams more positive. Given it is possible to improve the quality of our dreams, we ought to be promoting and implementing currently available interventions that improve our dream experiences, and conducting research to find (...) new, more effective interventions. (shrink)

People cannot contemplate a proposition without believing that proposition. A model of belief fixation is sketched and used to explain hitherto disparate, recalcitrant, and somewhat mysterious psychological phenomena and philosophical paradoxes. Toward this end I also contend that our intuitive understanding of the workings of introspection is mistaken. In particular, I argue that propositional attitudes are beyond the grasp of our introspective capacities. We learn about our beliefs from observing our behavior, not from introspecting our stock beliefs. -/- The model (...) of belief fixation offered in the dissertation poses a novel dilemma for theories of rationality. One might have thought that the ability to contemplate ideas while withholding assent is a necessary condition on rationality. In short, it seems that rational creatures shouldn‘t just form their beliefs based on whatever they happen to think. However, it seems that we are creatures that automatically and reflexively form our beliefs based on whatever propositions we happen to consider. Thus, either the rational requirement that states that we must have evidence for our beliefs must be jettisoned or we must accept the conclusion that we are necessarily irrational. (shrink)

This paper explores the relationship between romantic love and polyamory. Our central question is whether traditional norms of monogamy can be excised from romantic love so as to harmonize with polyamory’s ethical dimensions (as we construe them). How one answers this question bears on another: whether ‘polyamory’ should principally be understood in terms of romantic love or instead some alternative conception(s). Our efforts to address these questions begin by briefly motivating our favored approach to romantic love, a “narratival” one inspired (...) by 1930s cultural theorist Denis de Rougemont, wherein such love is exclusive, supernatural or promising transcendence, painful, impeded, and, ultimately, fatal. We maintain that, even once exclusivity is removed as an official component, tensions with polyamory’s ethical dimensions remain: romantic love’s other elements rationalize acting and feeling in ways that privilege a singular beloved above others. A tempting solution is to further revise romantic love. However, we are skeptical that this leaves space for distinctively romantic love. Our tentative proposal, then, is that polyamory’s ethical dimensions favor rejecting romantic love as ultimately desirable. (shrink)

While the meta-ethical error theory has been of philosophical interest for some time now, only recently a debate has emerged about the question what is to be done if the error theory turns out to be true. This paper argues for a novel answer to this question, namely revolutionary expressivism: if the error theory is true, we should become expressivists. Additionally, the paper explores certain important but largely ignored methodological issues that arise for reforming definitions generally and with a vengeance (...) in the context of a radical error theory about all practical normative judgements, and suggests how these issues can be resolved. (shrink)

In a recent publication Travis Timmerman has claimed that sometimes it is morally permissible to not prevent something bad from happening, even if it is in one’s power to do so without sacrificing anything nearly as important.1 To defend his point, he has proposed a thought experiment and based his claims on putative common-sense morality intuitions. To aid in the subsequent discussion, Timmerman’s case is reproduced as follows.

To showaffective empathyis to share in another person's experiences, including her emotions. Most philosophers who write about emotions accept the broadly cognitivist view that emotions are rationally connected with beliefs. We argue that affective empathy is also rationally connected with belief; you can only share in another's emotions insofar as you can share certain of her beliefs. In light of that claim, we argue that affective empathy brings both epistemic dangers and epistemic benefits, that the ideal of universal empathy cannot (...) be built upon affective empathy, and that affective empathy cannot be the basis of morality. (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)

According to some, there is a problem concerning the emotions we feel toward fictional entities such as Anna Karenina, Werther and the like. We feel pity, fear, and sadness toward them, but how is that possible? “We are saddened, but how can we be? What are we sad about? How can we feel genuinely and involuntarily sad, and weep, as we do know that no one has suffered or died?” (Radford, in: Proceedings of the Aristotelian Society, 1975). This is the (...) paradox of fiction which is based on the assumption that emotions, to be genuine and rational, should be directed toward existent beings. But if beliefs about existence are necessary for us to be rationally moved by something, and such beliefs are lacking when we are moved by fiction (because we do not believe fictional characters and events to be real), then our capacity for an emotional response to fiction is irrational. Consequently, our emotional attitude toward future generations should be considered as irrational as well. But is this really the case? Are there good arguments to consider future and fictional entities as similar from this point of view? Or would it be better to distinguish the two? Is there such a thing as a paradox of the future? If so, how does it relate to the more famous paradox of fiction? (shrink)

John Searle argues that fictions are constituted by mere pretense—by the simulation of representational activities like assertions, without any further representational aim. They are not the result of sui generis, dedicated speech acts of a specific kind, on a par with assertion. The view had earlier many defenders, and still has some. Stefano Predelli enlists considerations derived from Searle in support of his radical fictionalism. This is the view that a sentence of fictional discourse including a prima facie empty fictional (...) name like “Emma Woodhouse” in fact “is not a sentence, and it encodes no proposition whatsoever.” His argument is broadly abductive; he claims that this view affords compelling explanations of features of fictions he finds well-established, among them that fictions without explicit narrators nonetheless have covert ones. Here I take up his arguments, in defense of the dedicated speech act view. I thus address pressing issues about the status of fictional names and the nature and ubiquity of narrators in fictions. (shrink)

It is controversial whether virtual reality should be considered fictional or real. Virtual fictionalists claim that objects and events within virtual reality are merely fictional: they are imagined and do not exist. Virtual realists argue that virtual objects and events really exist. This metaphysical debate might appear important for some of the practical questions that arise regarding how to morally evaluate and legally regulate virtual reality. For instance, one advantage claimed of virtual realism is that only by taking virtual objects (...) and events to be real can we explain our strong emotional reactions to certain virtual actions, as well as their potential immorality. This paper argues that emotional reactions towards, and wrongs within, virtual reality are consistent with its being merely fictional. The emotional and ethical judgments we wish to make regarding virtual reality do not provide any grounds for preferring virtual realism. (shrink)

Tension and suspense are powerful emotional experiences that occur in a wide variety of contexts (e.g., in music, film, literature, and everyday life). The omnipresence of tension experiences suggests that they build on very basic cognitive and affective mechanisms. However, the psychological underpinnings of tension experiences remain largely unexplained, and tension and suspense are rarely discussed from a general, domain-independent perspective. In this paper, we argue that tension experiences in different contexts (e.g., musical tension or suspense in a movie) build (...) on the same underlying psychological processes. We discuss key components of tension experiences and propose a domain-independent model of tension and suspense. According to this model, tension experiences originate from states of conflict, instability, dissonance, or uncertainty that trigger predictive processes directed at future events of emotional significance. We also discuss possible neural mechanisms underlying experiences of tension. The model provides a theoretical framework that can inform future empirical research on tension phenomena. (shrink)

Many philosophers have attempted to provide a solution to the paradox of fiction, a triad of sentences that lead to the conclusion that genuine emotional responses to fiction are irrational. We suggest that disagreement over the best response to this paradox stems directly from the formulation of the paradox itself. Our main goal is to show that there is an ambiguity regarding the word ‘exist’ throughout the premises of the paradox. To reveal this ambiguity, we display the diverse existential commitments (...) of several leading theories of emotion, and argue that none of the theories we consider are committed to notions of ‘exist’ employed by the paradox. We conclude that it is unclear whether or not there remains a paradox of fiction to be solved—rather than to be argued for—once this ambiguity is addressed. (shrink)

In this paper, we consider the question of whether there exists an essential relation between emotions and wellbeing. We distinguish three ways in which emotions and wellbeing might be essentially related: constitutive, causal, and epistemic. We argue that, while there is some room for holding that emotions are constitutive ingredients of an individual’s wellbeing, all the attempts to characterise the causal and epistemic relations in an essentialist way are vulnerable to some important objections. We conclude that the causal and epistemic (...) relation between emotions and wellbeing is much less strong than is commonly thought. (shrink)

It is widely taken for granted that fictions, including both literature and film,influence our attitudes toward real people, events, and situations. Philosopherswho defend claims about the cognitive value of fiction view this influence in apositive light, while others worry about the potential moral danger of fiction.Marketers hope that visual and aural references to their products in movies willhave an effect on people’s buying patterns. Psychologists study the persuasiveimpact of media. Educational books and films are created in the hopes of guidingchildren’s (...) and adult’s preferences toward socially acceptable norms.The influencesdiscussed by marketers, psychologists, educators, and philosophers tend to be bothcognitive and affective. It seems that we can be “emotionally persuaded”: ourpreferences can be changed, our feelings about particular people or events can beinfluenced, and so forth. (shrink)

How is it that we can rationally assert that sport outcomes do not really matter, while also seeming to care about them to an absurd degree? This is the so-called puzzle of sport. The broadly Waltonian solution to the puzzle has it that we make-believe the outcomes matter. Recently, Stear has critiqued this Waltonian solution, raising a series of five objections. He has also leveraged these objections to motive his own contextualist solution to the puzzle. The aim of this paper (...) is to defend the Waltonian solution. The general upshot is that, contra Stear, a make-believe based solution to the puzzle is viable after all. (shrink)

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

In this paper, I relate key features of Adolf Reinach’s abundant ontology of propositional states of affairs of his to Armstrong’s—or an Armstrongian—state of affairs ontology, with special regard to finding out how sparse or abundant the latter is with respect to negative states of affairs. After introducing the issue, I clarify the notion of a propositional state of affairs, paying special attention to the notion of abstract versus concrete. I show how Reinach’s states of affairs are propositional, and how (...) they compare with Chisholm’s well-known propositional states of affairs. In the next section, I outline Reinach’s five roles for states of affairs and show that only one of them is relevant to Armstrongian state of affairs ontology. In the following section, I utilise this role to create a ranking of state of affairs ontologies according to how abundant they are. It is, however, unclear which level Armstrongian state of affairs ontology is at, since it is unclear if, like Reinach’s ontology, it includes negative states of affairs. In the final section, I argue that the answer is a qualified ‘yes’, i.e. it does not occupy the sparsest level. (shrink)

The "ethics of imagination" or the "ethics of fantasy" encompasses the various ways in which we can morally evaluate the imagination. This topic covers a range of different kinds of imagination: (1) fantasizing, (2) engaging with fictions, and (3) dreaming. The clearest, live ethical question concerns the moral value of taking pleasure in undeserved suffering, whether willfully imagined, represented, or dreamed. Much of this entry concerns general theoretical considerations and how they relate to the ethics of fantasy. In the final (...) sections I walk through the three types of imagination and point out some of the open questions concerning each type. (shrink)