The Introduction provides an overview of Kendall Walton’s make-believe framework for a variety of representations and his arguments that such representations are dependent on their social or historical context. Walton argues that diverse representations involve our capacities for imagination and make-believe with props; they overlap with the fictional. Focusing on make-believe with props explains paradigmatic representational arts such as paintings and novels, theater and film. But this perspective reaches beyond the arts: it explains pictures and photographs in general not only (...) artistic ones; stories in general as well as literary and performing arts; music; metaphors, and even the claims we make about fictional entities and existence. The first section explains the main points of the make-believe framework in Mimesis as Make-Believe, and it reconstructs Walton’s argument in “Categories of Art” that some aesthetic properties depend on the perceptible and historical categories of art to which a work belongs. The second section outlines Walton’s specific proposals about literary fiction, fictional characters, poetry, pictures, photographs, music and negative existential claims. These explanations are integrated with summaries of the papers. The third section examines Walton’s implicit view of two much-discussed issues: the ontology of art and definitions of art. This discussion clears away some misunderstandings of Walton’s contextualism or historicism and relates Walton’s work to Arthur Danto’s and Frank Sibley’s. (shrink)

Kendall Walton explains pictures in terms of games of perceptual make-believe. Pictures or depictions are props that draw us to participate in games of make-believe where we imagine seeing what a picture depicts. Walton proposes that one imagines of one’s perceptual experience of the coloured canvas that it is a different perceptual experience. The issue is whether perception and imagination can combine the way Walton suggests. Can one imagine a perception to be different? To get a clearer understanding of the (...) unified perceptual-imaginative experience Walton posits, the paper turns to competing theories that explain perceptual experience in terms of contents, relations to objects, or both contents and relations. Walton appeals to theories of perceptual content and cognitive penetration. But it is also important to examine whether his view fits with recent theories that explain perception only in terms of relations or in terms of both contents and relations. The paper argues that Walton’s view is compatible with content theories of perception and can be defended from some objection once we look at the detail these theories offer. Walton’s view is not compatible with pure relational theories of perception but it can be explained by hybrid content-relational theories of perception that posit de re senses. (shrink)

This is the most comprehensive book ever published on philosophical methodology. A team of thirty-eight of the world's leading philosophers present original essays on various aspects of how philosophy should be and is done. The first part is devoted to broad traditions and approaches to philosophical methodology. The entries in the second part address topics in philosophical methodology, such as intuitions, conceptual analysis, and transcendental arguments. The third part of the book is devoted to essays about the interconnections between philosophy (...) and neighbouring fields, including those of mathematics, psychology, literature and film, and neuroscience. (shrink)

What is art? What is beauty? Why are we driven to create? People have been struggling with the answers to these questions for millenia. In this book Jay Friedenberg examines age old and contemporary responses to the perceptual and performative side of aesthetics. The work is wide-ranging in scope, addressing all forms of art including painting, photography, writing, film, music, theater, dance, and more. Issues are examined from multiple perspectives with separate chapters on history, philosophy, mathematics, physics, psychology, and neuroscience. (...) This beautifully illustrated book can be read by a general audience or used as an undergraduate or graduate textbook for courses in art history, aesthetics, or media studies. (shrink)

Visual forms of episodic memory and anticipatory imagination involve images that, by virtue of their perspectival organization, imply a notional subject of experience. But they contain no inbuilt reference to the actual subject, the person actually doing the remembering or imagining. This poses the problem of what (if anything) connects these two perspectival subjects and what differentiates cases of genuine memory and anticipation from mere imagined seeing. I consider two approaches to this problem. The first, exemplified by Wollheim and Velleman, (...) claims that genuinely reflexive memories and anticipations are phenomenally unselfconscious, with the co-identity of the notional and actual subjects secured by a determinate causal history. The second approach posits some distinctive phenomenal property that attaches to genuinely reflexive memories and anticipations and serves to experientially conflate the notional and actual subject. I consider a version of the second approach, derived from Kierkegaard’s discussions of phenomenal contemporaneity, and argue that this approach can better account for the possibility of affective alienation from the selves we were and will be: the way in which our sense of self and awareness of our causal history can sometimes come apart. (shrink)

Michael T. Stuart (2021 and 2022) has proposed imagination as an intellectual dual‐process virtue, consisting of imagination1 (underwritten by cognitive Type 1 processing) and imagination2 (supported by Type 2 processing). This paper investigates the consequences of taking such an account seriously. It proposes that the dual‐process view of imagination allows us to incorporate recent insights from virtue epistemology, providing a fresh perspective on how imagination can be epistemically reliable. The argument centers on the distinction between General Reliability (GR) and Functional (...) System Reliability (FSR), for example in relation to Kengo Miyazono and Uko Tooming's (2023) argument for epistemic generativity. Furthermore, the paper claims that the dual‐process virtue account enables us to integrate a wide range of findings from the literature on epistemology and imagination. Moreover, it suggests a novel way to distinguish the virtues of creativity and imagination and presents a case for viewing imagination as a virtue rather than a skill. (shrink)

To the realists.—You sober people who feel well armed against passion and fantasies and would like to turn your emptiness into a matter of pride and ornament: you call yourselves realists and hint that the world really is the way it appears to you. As if reality stood unveiled before you only, and you yourselves were perhaps the best part of it … But in your unveiled state are not even you still very passionate and dark creatures compared to fish, (...) and still far too similar to an artist in love? And what is ‘reality’ for an artist in love? You are still burdened with those estimates of things that have their origin in the passions and loves of former centuries. Your sobriety still contains a secret and inextinguishable drunkenness. Your love of ‘reality’, for example-—oh, that is a primeval ‘love’ … Subtract the phantasm and every human contribution from it, my sober friends! If you can! If you can forget your descent, your past, your training—all of your humanity and animality. (F. Nietzsche,The Gay Science, Book Two, extract from Section 57). (shrink)

Experimental Philosophy (X-Phi) is now a fully-fledged methodological project with applications in almost all areas of analytic philosophy, including, as of recently, aesthetics. Another methodological project which has been attracting attention in the last few years is conceptual engineering (CE). Its areas of implementation are now diverse, but as was the case initially with experimental philosophy, aesthetics has unfortunately been left out (or perhaps aestheticians have failed to pay attention to CE) until now. In this paper, I argue that if (...) conceptual engineers are interested in expanding their project to the field of aesthetics, which would greatly benefit the field, then they should rely on the existing experimental work of aestheticians. Experimental philosophers have only recently started to join forces with conceptual engineers in various fields, as well as to explore the methodological implications of such an alliance. This paper goes a step further by not only arguing that CE has potential in aesthetics, but that the way to realize this potential is to piggyback, so to speak, on the work of experimental aestheticians. In other words, instead of building a CE project in aesthetics from the ground up, this paper describes the support that CE can and should derive from current experimental aesthetics, thereby making the former’s development more efficiently realizable. Furthermore, I argue that doing so would also be beneficial to experimental aesthetics. Currently, the integration of X-Phi to the wider field of aesthetics is losing ground because certain objections—notably, the objection that X-Phi cannot be of relevance to normative questions—have not been properly refuted. By pairing up with a normative programme like CE, though, experimental aestheticians should finally be able to put these objections to rest. (shrink)

A commonly-discussed feature of perceptual experience is that it has ‘assertoric’ or ‘phenomenal’ force. We will start by discussing various descriptions of the assertoricity of perceptual experience. We will then adopt a minimal characterization of assertoricity: a perceptual experience has assertoric force just in case it inclines the perceiver to believe its content. Adducing cases that show that visual experience is not always assertoric, we will argue that what renders these visual experiences non-assertoric is that they are penetrated by belief-like (...) imaginings. Lastly, we will explain why it is that when belief-like imaginings—as opposed to beliefs (and other cognitive states)—penetrate visual experience, they render visual experiences non-assertoric. (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)

I lay out the framework for my theory of sensory imagination in “Imagining as a guide to possibility.” Sensory imagining involves mental imagery , and crucially, in describing the content of imagining, I distinguish between qualitative content and assigned content. Qualitative content derives from the mental image itself; for visual imaginings, it is what is “pictured.” For example, visually imagine the Philadelphia Eagles defeating the Pittsburgh Steelers to win their first Super Bowl. You picture the greenness of the field and (...) the football’s brown oblong shape. Some of what you imagine isn’t explicitly pictured, however. That it is Sunday, that it is the Super Bowl: these facts are assigned. (shrink)

People have a capacity to imaginatively recreate mental states that they themselves do not have. These recreative states are referred to as ‘I-states’. Several philosophers, such as Gregory Currie,...

As an important view in the epistemology of perception, dogmatism proposes that for any experience, if it has a distinctive kind of phenomenal character, then it thereby provides us with immediate justification for beliefs about the external world. This paper rejects dogmatism by looking into the epistemology of imagining. In particular, this paper first appeals to some empirical studies on perceptual experiences and imaginings to show that it is possible for imaginings to have the distinctive phenomenal character dogmatists have in (...) mind. Then this paper argues that some of these imaginings fail to provide us with immediate justification for beliefs about the external world at least partly due to their inappropriate etiology. Such imaginings constitute counterexamples to dogmatism. (shrink)

We propose to analyze well-known cases of "imaginative resistance" from the philosophical literature (Gendler, Walton, Weatherson) as involving the inference that particular content should be attributed to either: (i) a character rather than the narrator or, (ii) an unreliable, irrational, opinionated, and/or morally deviant "first person" narrator who was originally perceived to be a typical impersonal, omniscient, "effaced" narrator. We model the latter type of attribution in terms of two independently motivated linguistic mechanisms: accommodation of a discourse referent (Lewis, Stalnaker, (...) Kamp) and 'cautious' updating as a model of non-cooperative information exchange (Eckardt). (shrink)

There is a tendency to take mounted dinosaur skeletons at face value, as the raw data on which the science of paleontology is founded. But the truth is that mounted dinosaur skeletons are substantially intention-dependent—they are artifacts. More importantly, I argue, they are also substantially imagination-dependent: their production is substantially causally reliant on preparators’ creative imaginations, and their proper reception is predicated on audiences’ recreative imaginations. My main goal here is to show that dinosaur skeletal mounts are plausible candidates for (...) art-status. But, what is more, I think they are artworks—specifically, sculptures. (shrink)

Comparatively easy questions we might ask about creativity are distinguished from the hard question of explaining transformative creativity. Many have focused on the easy questions, offering no reason to think that the imagining relied upon in creative cognition cannot be reduced to more basic folk psychological states. The relevance of associative thought processes to songwriting is then explored as a means for understanding the nature of transformative creativity. Productive artificial neural networks—known as generative antagonistic networks (GANs)—are a recent example of (...) how a system’s ability to generate novel products can both be finely tuned by prior experience and grounded in strategies that cannot be articulated by the system itself. Further, the kinds of processes exploited by GANs need not be seen as incorporating something akin to sui generis imaginative states. The chapter concludes with reflection on the added relevance of personal character to explanations of creativity. [This is Chapter 12 of the book Explaining Imagination.]. (shrink)

Currie’s (2010) argument that “i-desires” must be posited to explain our responses to fiction is critically discussed. It is argued that beliefs and desires featuring ‘in the fiction’ operators—and not sui generis imaginings (or "i-beliefs" or "i-desires")—are the crucial states involved in generating fiction-directed affect. A defense of the “Operator Claim” is mounted, according to which ‘in the fiction’ operators would be also be required within fiction-directed sui generis imaginings (or "i-beliefs" and "i-desires"), were there such. Once we appreciate that (...) even fiction-directed sui generis imaginings would need to incorporate ‘in the fiction’ operators, the main appeal of the idea that sui generis imaginings (or "i-beliefs" or "i-desires") are at work in fiction-appreciation dissipates. [This is Chapter 10 of Explaining Imagination (OUP, 2020)]. (shrink)

Scientific discourse is rife with passages that appear to be ordinary descriptions of systems of interest in a particular discipline. Equally, the pages of textbooks and journals are filled with discussions of the properties and the behavior of those systems. Students of mechanics investigate at length the dynamical properties of a system consisting of two or three spinning spheres with homogenous mass distributions gravitationally interacting only with each other. Population biologists study the evolution of one species procreating at a constant (...) rate in an isolated ecosystem. And when studying the exchange of goods, economists consider a situation in which there are only two goods, two perfectly rational agents, no restrictions on available information, no transaction costs, no money, and dealings are done immediately. Their surface structure notwithstanding, no competent scientist would mistake descriptions of such systems as descriptions of an actual system: we know very well that there are no such systems. These descriptions are descriptions of a model-system, and scientists use model-systems to represent parts or aspects of the world they are interested in. Following common practice, I refer to those parts or aspects as target-systems. What are we to make of this? Is discourse about such models merely a picturesque and ultimately dispensable façon de parler? This was the view of some early twentieth century philosophers. Duhem (1906) famously guarded against confusing model building with scientific theorizing and argued that model building has no real place in science, beyond a minor heuristic role. The aim of science was, instead, to construct theories, with theories understood as classificatory or representative structures systematically presented and formulated in precise symbolic.. (shrink)

Scientific models share one central characteristic with fiction: their relation to the physical world is ambiguous. It is often unclear whether an element in a model represents something in the world or presents an artifact of model building. Fiction, too, can resemble our world to varying degrees. However, we assign a different epistemic function to scientific representations. As artifacts of human activity, how are scientific representations allowing us to make inferences about real phenomena? In reply to this concern, philosophers of (...) science have started analyzing scientific representations in terms of fictionalization strategies. Many arguments center on a dyadic relation between the model and its target system, focusing on structural resemblances and “as if” scenarios. This chapter provides a different approach. It looks more closely at model building to analyze the interpretative strategies dealing with the representational limits of models. How do we interpret ambiguous elements in models? Moreover, how do we determine the validity of model-based inferences to information that is not an explicit part of a representational structure? I argue that the problem of ambiguous inference emerges from two features of representations, namely their hybridity and incompleteness. To distinguish between fictional and non-fictional elements in scientific models my suggestion is to look at the integrative strategies that link a particular model to other methods in an ongoing research context. To exemplify this idea, I examine protein modeling through X-ray crystallography as a pivotal method in biochemistry. (shrink)

This paper discusses modeling from the artifactual perspective. The artifactual approach conceives models as erotetic devices. They are purpose-built systems of dependencies that are constrained in view of answering a pending scientific question, motivated by theoretical or empirical considerations. In treating models as artifacts, the artifactual approach is able to address the various languages of sciences that are overlooked by the traditional accounts that concentrate on the relationship of representation in an abstract and general manner. In contrast, the artifactual approach (...) focuses on epistemic affordances of different kinds of external representational and other tools employed in model construction. In doing so, the artifactual account gives a unified treatment of different model types as it circumvents the tendency of the fictional and other representational approaches to separate model systems from their “model descriptions”. (shrink)

We argue that many intuitions do not have conscious propositional contents. In particular, many of the intuitions had in response to philosophical thought experiments, like Gettier cases, do not have such contents. They are more like hunches, urgings, murky feelings, and twinges. Our view thus goes against the received view of intuitions in philosophy, which we call Mainstream Propositionalism. Our positive view is that many thought-experimental intuitions are conscious, spontaneous, non-theoretical, non-propositional psychological states that often motivate belief revision, but they (...) require interpretation, in light of background beliefs, before a subject can form a propositional judgment as a consequence of them. We call our view Interpretationalism. We argue (i) that Interpretationalism avoids the problems that beset Mainstream Propositionalism and (ii) that our view meshes well with empirical results in contemporary cognitive science. (shrink)

This chapter considers the nature of imagination and belief, exploring how deeply these two states of mind differ. It first addresses a range of cognitive and motivational differences between imagination and belief which suggest that they're fundamentally different states of mind. Then it addresses imaginative immersion, delusions, and the different norms we apply to the two mental states, which some theorists regard as providing support for a more unified picture of imagination and belief.

Modeling is central to scientific inquiry. It also depends heavily upon the imagination. In modeling, scientists seem to turn their attention away from the complexity of the real world to imagine a realm of perfect spheres, frictionless planes and perfect rational agents. Modeling poses many questions. What are models? How do they relate to the real world? Recently, a number of philosophers have addressed these questions by focusing on the role of the imagination in modeling. Some have also drawn parallels (...) between models and fiction. This chapter examines these approaches to scientific modeling and considers the challenges they face. (shrink)

How do scientific models represent in a way that enables us to discover new truths about reality and draw inferences about it? Contemporary accounts of scientific discovery answer this question by focusing on the cognitive mechanisms involved in the generation of new ideas and concepts in terms of a special sort of reasoning—or model-based reasoning—involving imagery. Alternatively, I argue that answering this question requires that we recognise the crucial role of the propositional imagination in the construction and development of models (...) for the purpose of generating hypotheses that are plausible candidates for truth. I propose simple fictionalism as a new account of models as Waltonian games of make-believe and suggest that models can lead to genuine scientific discovery when they are used as representations that denote real world phenomena and generate two main kinds of theoretical hypotheses, model-world comparisons and direct attributions. (shrink)

Most scientific models are not physical objects, and this raises important questions. What sort of entity are models, what is truth in a model, and how do we learn about models? In this paper I argue that models share important aspects in common with literary fiction, and that therefore theories of fiction can be brought to bear on these questions. In particular, I argue that the pretence theory as developed by Walton (1990, Mimesis as make-believe: on the foundations of the (...) representational arts. Harvard University Press, Cambridge/MA) has the resources to answer these questions. I introduce this account, outline the answers that it offers, and develop a general picture of scientific modelling based on it. (shrink)

Recent years have seen increasing interest in interventionist analyses of metaphysical explanation. One area where interventionism traditionally shines, is in providing an account of explanatory depth; the sense in which explanation comes in degrees. However, the literature on metaphysical explanation has left the notion of depth almost entirely unexplored. In this paper I shall attempt to rectify this oversight by motivating an interventionist analysis of metaphysical explanatory depth (MED), in terms of the range of interventions under which a metaphysically explanatory (...) generalization remains invariant. After elucidating the notion through a toy-example, I demonstrate the important work which MED can perform in characterizing debate within contemporary metaphysics. Focusing upon rival approaches to explaining the identity and distinctness of concrete objects, I argue that the progress achieved in this debate can be characterized in terms of increasing explanatory depth. Having made an initial case for the utility of MED, I then turn this analysis to the metaphysics of explanation itself. By adopting an interventionist framework with respect to MED, I will show that we can assess the depth of competing theories of explanation. This application has two interesting results: first, it suggests that an interventionist analysis of explanation provides deeper explanations of the connection between explanans and explanandum than rival accounts; and second, it suggests that explanations provided by interventionism become deeper still, if one accepts that this methodology ranges over metaphysical, as well as causal, instances. (shrink)

In this paper, I defend fictional creationism, the view that fictional objects are abstract artifacts, from the objection that the apparent truth of fictional negative existentials, such as “Sherlock Holmes does not exist,” poses a serious problem for creationism. I develop a sophisticated version of the pragmatic approach by focusing on the inconsistent referential intentions of ordinary speakers: the upshot would be that creationism is no worse —perhaps even in a better position— than anti-realism, even if we restrict our linguistic (...) data to fictional negative existentials. (shrink)

The method of phenomenal contrast (in perception) invokes the phenomenal character of perceptual experience as a means to discover its contents. The method implicitly takes for granted that ‘what it is like’ to have a perceptual experience e is the same as ‘what it is like’ to imagine or recall it; accordingly, in its various proposed implementations, the method treats imaginations and/or recollections as interchangeable with real experiences. The method thus always contrasts a pair of experiences, at least one of (...) which is imagined or remembered rather than occurrent. Surveying all eighteen forms of implementing the method, I argue that in all of the proposed pairings, the substitution of imagination or recollection for perceptual experience in the method, is either inconceivable or impermissible. I identify four reasons why I think imagination cannot be substituted for real experience, and three reasons why recollection cannot be substituted for real experience. If my argument works, there is no form of implementing the method that is useful for discovering the contents of experience, and thus the method is not a well‐functioning tool to study the contents of perception. (shrink)

During the past few decades, everyday aesthetics has established itself as a new branch of philosophical aesthetics alongside the more traditional philosophy of art. The Paths from Philosophy of Art to Everyday Aesthetics explores the intimate relations between these two branches of contemporary aesthetics. The essays collected in this volume discuss a wide range of topics from aesthetic intimacy to the nature of modernity and the essence of everydayness, which play important roles both in the philosophy of art and everyday (...) aesthetics. With these essays, the writers and editors of this volume wish to commemorate professor Arto Haapala on his 60th birthday. -/- This collection of articles is intended for scholars and students working in the fields of aesthetics, philosophy, and art studies. (shrink)

​Imagination will remain a mystery—we will not be able to explain imagination—until we can break it into parts we already understand. Explaining Imagination is a guidebook for doing just that, where the parts are other ordinary mental states like beliefs, desires, judgments, and decisions. In different combinations and contexts, these states constitute cases of imagining. This reductive approach to imagination is at direct odds with the current orthodoxy, according to which imagination is a sui generis mental state or process—one with (...) its own inscrutable principles of operation. Explaining Imagination upends that view, showing how, on closer inspection, the imaginings at work in hypothetical reasoning, pretense, the enjoyment of fiction, and creativity are reducible to other familiar mental states—judgments, beliefs, desires, and decisions among them. Crisscrossing contemporary philosophy of mind, cognitive science, and aesthetics, Explaining Imagination argues that a clearer understanding of imagination is already well within reach. (shrink)

My goal is to reflect on the phenomenon of inadvertent creation and argue that—various objections to the contrary—it doesn’t undermine the view that fictional characters are abstract artifacts. My starting point is a recent challenge by Jeffrey Goodman that is originally posed for those who hold that fictional characters and mythical objects alike are abstract artifacts. The challenge: if we think that astronomers like Le Verrier, in mistakenly hypothesizing the planet Vulcan, inadvertently created an abstract artifact, then the “inadvertent creation” (...) element turns out to be inescapable yet theoretically unattractive. Based on considerations about actually existing concrete objects featured in fictional works (as Napoleon is in Tolstoy’s War and Peace), I argue that independently of one’s stand on mythical objects, admitting fictional characters as abstract artifacts is enough to give rise to the challenge at hand; yet this very point serves to undermine the challenge, indicating that inadvertent creation is not nearly as worrisome as Goodman suggests. Indeed, the inadvertent creation phenomenon’s generality extends far beyond objects of fiction and myth, and I will use this observation to counter a further objection. Taking fictional characters (and mythical objects) to be abstract artifacts therefore remains a viable option. (shrink)

Critical statements, if true, bear ontological commitments to fictional entities. A well-known version of fictionalism about fictional characters tries to eliminate these ontological commitments by proposing that we understand critical statements as prefixed by a special sentential operator, such as ‘according to a fictional realist theory’. The aim of the present paper is to show that fictionalism about fictional characters is underdeveloped as it stands because it can be shown to be systematically inadequate. Because the fictionalist’s paraphrases of critical statements (...) suggest that fictional realists affirm the propositions expressed by critical statements, the fictionalist mistakenly attributes to fictional realists an expertise in matters that pertain to literary criticism. Importantly, this problem of misattributed expertise paves the way to other issues that might be much more devastating to the fictionalist project. It can be shown that, because she wrongly attributes expertise to fictional realists, the fictionalist unintentionally portrays fictional realist theories in a way that renders them inconsistent and self-defeating. This undermines fictionalism about fictional characters because it leaves no workable fictional realist account in which to ground a fictionalist explanation. This is why the fictionalist about fictional characters should try to eliminate the problem of misattributed expertise and its related issues. At the end of the paper, I sketch some of the available options in this regard. (shrink)

Mathematical pluralism can take one of three forms: (1) every consistent mathematical theory consists of truths about its own domain of individuals and relations; (2) every mathematical theory, consistent or inconsistent, consists of truths about its own (possibly uninteresting) domain of individuals and relations; and (3) the principal philosophies of mathematics are each based upon an insight or truth about the nature of mathematics that can be validated. (1) includes the multiverse approach to set theory. (2) helps us to understand (...) the significance of the distinguished non‐logical individual and relation terms of even inconsistent theories. (3) is a metaphilosophical form of mathematical pluralism and hasn't been discussed in the literature. In what follows, I show how the analysis of theoretical mathematics in object theory exhibits all three forms of mathematical pluralism. (shrink)

It is widely agreed that fiction is necessarily incomplete, but some recent work postulates the existence of universal fictions—stories according to which everything is true. Building such a story is supposedly straightforward: authors can either assert that everything is true in their story, define a complement function that does the assertoric work for them, or, most compellingly, write a story combining a contradiction with the principle of explosion. The case for universal fictions thus turns on the intuitive priority we assign (...) to the law of non-contradiction. My goal in this paper is to show that our critical and reflective literary practices set constraints on story-telling which preclude universal fictions. I will raise four stumbling blocks for universal fictionalists: the gap between saying and making true, our actual interpretive reactions to story-level contradictions, the criteria we accept for what counts as a story in our literary practices, and the undesirability of the universal fictionalist’s closure principles. (shrink)

It is widely believed, among philosophers of literature, that imagining contradictions is as easy as telling or reading a story with contradictory content. Italo Calvino’s The Nonexistent Knight, for instance, concerns a knight who performs many brave deeds, but who does not exist. Anything at all, they argue, can be true in a story, including contradictions and other impossibilia. While most will readily concede that we cannot objectually imagine contradictions, they nevertheless insist that we can propositionally imagine them, and regularly (...) do, simply by entertaining a text which prompts us to do so. I argue that this narrative does not bear scrutiny for two main reasons. First, because propositional imagining is beside the point, where truth in fiction is concerned; evaluating truth in fiction engages the cognitive architecture in ways that prohibit the mobilization of merely propositional imagination to that end. And second, because it is not obvious, given the strategies usually suggested, that we ever propositionally imagine contradictions in the first place—in fact, it seems we go out of our way to avoid directly imagining them. (shrink)

In this paper I argue against Divers and Miller's 'Lightness of Being' objection to Hale and Wright's neo-Fregean Platonism. According to the 'Lightness of Being' objection, the neo-Fregean Platonist makes existence too cheap: the same principles which allow her to argue that numbers exist also allow her to claim that fictional objects exist. I claim that this is no objection at all" the neo-Fregean Platonist should think that fictional characters exist. However, the pluralist approach to truth developed by WQright in (...) 'Truth and Objectivity' allows us to salvage our intuitions about the metaphysicial lightweightness of fictional characters: truth for discourse about fictional characters fails to exert 'Cognityive Command', whereas truth about arithmetic does. (shrink)

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.

Anthony Everett () argues that those who embrace the reality of fictional entities run into trouble when it comes to specifying criteria of character identity. More specifically, he argues that realists must reject natural principles governing the identity and distinctness of fictional characters due to the existence of fictions which leave it indeterminate whether certain characters are identical and the existence of fictions which say inconsistent things about the identities of their characters. Everett's critique has deservedly drawn much attention and (...) a number of defensive moves have been made by, or on the behalf of, fictional realists. My goal in this paper is to move this debate on a further step. I have three goals: to clarify the importance of Everett's discussion of identity criteria within the context of fictional realism, to reassess Everett's objections to realism in light of the resultant literature, and to develop a novel strategy for responding to Everett's concerns. On the approach to be developed, the problems emerge due to an indeterminacy inherent in the concept of a fictional character itself. (shrink)

Some objects we value because they afford a felt connection with people, events, or places connected with their past. Visiting Canterbury cathedral, you encounter the place where, in 1170, Archbishop Thomas Becket was murdered by four knights of Henry II. Knowing that you are standing in the very place where Becket’s blood was spilled gives the past event a sense of tangible reality. One feels ‘in touch with’ the past; history seems to ‘come alive’. In this paper, I propose an (...) explanation for the phenomenology of such experiences in terms of an imaginative activity that represents what an object is historically connected with as part of the object in the present. One imagines of the site of Becket’s murder Becket being murdered. According to my account, objects that embody their histories are representations in Kendall Walton’s sense: they have the function of serving as props in games of make-believe. (shrink)

This essay explores the thesis that for vague predicates, uncertainty over whether a borderline instance x of red/large/tall/good is to be understood as practical uncertainty over whether to treat x as red/large/tall/good. Expressivist and quasi-realist treatments of vague predicates due to John MacFarlane and Daniel Elstein provide the stalking-horse. It examines the notion of treating/counting a thing as F , and links a central question about our attitudes to vague predications to normative evaluation of plans to treat a thing as (...) F . The essay examines how the account applies to normatively defective or contested terms. The final section raises a puzzle about the mechanics of MacFarlane’s detailed implementation for the case of gradable adjectives. (shrink)

Can a person privileged in some respect understand what it is like to be disprivileged in that respect? Some say yes; some say no. I argue that both positions are correct, because ‘understand what it is like to be disprivileged’ is ambiguous. Sometimes, it means grasp of the character of particular experiences of disprivileged people. Privileged people can achieve this. Sometimes, it means grasp of the general character shared by experiences of disprivileged people. Privileged people cannot achieve this. However, there (...) is a general kind of understanding that they can achieve: understanding of why individual experiences have their character, in relation to privilege and disprivilege. This understanding is a skill, not knowledge. It is difficult and discomforting for the privileged to acquire and is easily conflated with knowledge of general experiential character. Distinguishing and characterizing these kinds of understanding clarifies whether, and how, the privileged might understand what it is like to be disprivileged. (shrink)