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)

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)

How can you steal something that doesn’t exist? This question confronts those of us who take an irrealist view of virtual objects and agree with the Supreme Court of the Netherlands that robbery took place when two boys used non-virtual violence to coerce a third boy into relinquishing his virtual amulet and mask. Here we outline this Puzzle of Virtual Theft, along with the closely related Puzzle of Virtual Value. After demonstrating how these puzzles are deeply problematic for the irrealist, (...) we go on to sketch a solution that not only circumscribes the puzzles but also offers a framework by which legal scholars can make sense within existing legal codes of the new phenomenon of virtual theft. (shrink)

The Journal of Aesthetics and Art Criticism, Volume 78, Issue 1, Page 105-108, Winter 2020.

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)

According to recent orthodoxy, imagination is best characterised in terms of distinctive imaginative states. But this view is ill-suited to characterisation of the full range of imaginative activities—creation, fantasy, conceiving, and so on. It would be better to characterise imagination in terms of a distinctive imaginative process, with the various imaginative activities as more determinate implementations of the determinable process.

Is arguing over ontology a mistake? A recent proposal by Karen Bennett suggests that some metaphysical disputes, such as those over constitution and composition, can be dismissed on epistemic grounds. Given that both sides in a dispute try to minimize the differences between them, there are no good metaphysical grounds for choosing between them. In this paper, I expand on her epistemic dismissivism, arguing that given the Quinean conception of the task and method of metaphysics, we are warranted in believing (...) that all ontological disputes will end in a draw, even if they have not yet done so. By a draw, I mean that while both sides in a dispute are genuinely disagreeing about what there is and there are still moves open to them, there are no moves remaining that will advance the discourse further. (shrink)

It is widely held in theories of narrative that all works of literary narrative fiction include a narrator who fictionally tells the story. However, it is also granted that the personal qualities of a narrator may be more or less radically effaced. Recently, philosophers and film theorists have debated whether movies similarly involve implicit audio-visual narrators. Those who answer affirmatively allow that these cinematic narrators will be radically effaced. Their opponents deny that audio-visual narrators figure in the ontology of movies (...) at all, and many have argued that the ‘effaced’ literary narrator is an illusion as well. In this paper, I attempt to sort out the central issues that arise in these debates, defending the existence of effaced narrators in both literature and film. (shrink)

ABSTRACTHow 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)

According to the additive view of sensory imagination, mental imagery often involves two elements. There is an image-like element, which gives the experiences qualitative phenomenal character akin to that of perception. There is also a non-image element, consisting of something like suppositions about the image's object. This accounts for extra- sensory features of imagined objects and situations: for example, it determines whether an image of a grey horse is an image of Desert Orchid, or of some other grey horse. The (...) view promises to give a simple and intuitive explanation of some puzzling features of imagination, and, further, to illuminate imagination 's relation to modal knowledge. I contend that the additive view does not fulfil these two promises. The explanation of how images come to be determinate is redundant: the content constituting the indeterminate mental images on which the view relies is sufficient to deliver determinate images too, so the extra resources offered by the view are not required.. (shrink)

Aphantasia is a recently discovered disorder characterised by the total incapacity to generate visual forms of mental imagery. This paper proposes that aphantasia raises important theoretical concerns for the ongoing debate in the philosophy and science of consciousness over the nature of dreams. Recent studies of aphantasia and its neurobehavioral correlates reveal that the majority of aphantasics, whilst unable to produce visual imagery while awake, nevertheless retain the capacity to experience rich visual dreams. This finding constitutes a novel explanandum for (...) theories of dreaming. Specifically, I argue that the recent dream reports of aphantasics constitute an empirical challenge to the emerging family of views which claim that dreams are essentially imaginative experiences, constitutively involving the kinds of mental imagery which aphantasics, ex-hypothesi, lack. After presenting this challenge in the context of Jonathan Ichikawa’s recent arguments for this view, I argue that this empirical challenge may be overcome if the imagination theorist abandons Ichikawa’s account of dreaming in favour of a modified version. This involves the claim that dreams are essentially inactive and constitutively involve non voluntary forms of imagination. I conclude with a suggestion for further research which can test the viability of this alternative hypothesis, and move the debate forward. (shrink)

Emotional responses to fiction are part of our experience with art and media. Some of these responses (“fictional emotions”) seem to be directed towards fictional entities—entities that we believe do not exist. Some philosophers argue that fictional emotions differ in nature from other emotional responses. (cf. Walton in J Philos 75(1):5–27, 1978, Mimesis as make-believe, Harvard University Press, Cambridge, 1990, Walton, in: Hjort, Laver (ed.) Emotion and the arts, Oxford University, New York, 1997; Currie in The nature of fiction, Cambridge (...) University Press, Cambridge, 1990; Stecker in Br J Aesthet 51(3):295–308, 2011) The claim is supposed to be supported among others by ‘the argument from action.’ In contrast to genuine emotions, proponents of this argument claim, fictional emotions do not motivate their bearers to act. (cf. Yanal in Paradoxes of emotion and fiction, Pennsylvania State University Press, University Park, 1999; Lamarque in Br J Aesthet 21(4):291–304, 1981; Carroll in The philosophy of horror: or, paradoxes of the heart, Routledge, London, 1990; Currie 1990; Walton 1978, 1990; Suits in Pac Philos Q 87(3):369–386, 2006; Friend, in: Kind (ed.) The Routledge handbook of philosophy of imagination, Routledge, New York, 2016) This claim grounds in what may appear to be an obvious fact: that viewers and readers of are not led to act by their fictional emotions. It is certainly true that viewers and readers of fiction do not form intentions to perform actions directed towards fictional entities. In contrast to the proponents of the argument from action, I will argue that the lack of any such intentions can be explained only with reference to intending’s doxastic conditions, conditions that are unsatisfied in the fictional scenario. Decisively, this explanation does not refer to the motivational force of the agent’s emotions; indeed, it doesn’t refer to emotions at all. Thus, the lack of intentions to perform actions directed towards fictional objects provides no support for the claim that fictional emotions are no genuine emotions. (shrink)

Mental fictionalism maintains that: (1) folk psychology is a false theory, but (2) we should nonetheless keep using it, because it is useful, convenient, or otherwise beneficial to do so. We should (or do) treat folk psychology as a useful fiction—false, but valuable. Yet some argue that mental fictionalism is incoherent: if a mental fictionalist rejects folk psychology then she cannot appeal to fictions in an effort to keep folk psychological discourse around, because fictions presuppose the legitimacy of folk psychology. (...) Call this the Argument from Cognitive Collapse. In this paper, I defend several different mental fictionalist views against cognitive collapse. (shrink)

Many creatures exhibit desires of various strengths competing with one another for the prize of interacting with beliefs to cause behaviour. Harry Frankfurt famously analyzes persons in terms of the ability to form second-order desires; desires that intervene in this economy of first-order desires in ways that sometimes award the prize to weaker competitors. This paper augments Frankfurt’s analysis with Kendall Walton’s understanding of pretence behaviour and then interprets the central metaphors in several films by Terrence Malick in terms of (...) this augmented analysis. The result is an understanding of those films as investigations into personhood and factors that inhibit attempts to manifest it. Along the way, the discussion touches on the relation between linguistic and visual metaphor, the potentially ethical character of art, and the question of whether a valid interpretation must be congruent with the actual communicative intentions of the artist. (shrink)

I present and discuss a counterexample to Kendall Walton's necessary condition for fictionality that arises from considering serial fictions. I argue that although Walton has not in fact provided a necessary condition for fictionality, a more complex version of Walton's condition is immune from the counterexample.

Once one draws a distinction between loyal non-existent items, which do not exist in a non-universal sense of the first-order existence predicate, and non-items, which fail to exist in a universal sense of that predicate, one may allow for the former but not for the latter in the overall ontological domain, so as to adopt a form of soft Parmenideanism. There are both theoretical and empirical reasons for this distinction.

In this paper, first of all, I want to try a new defense of the utterance approach as to the relationship between fictional and nonfictional works on the one hand and between fictional and nonfictional utterances on the other hand, notably the idea that the distinction between fictional and nonfictional works is derivative on the distinction between fictional and nonfictional utterances of the sentences that constitute a text. Moreover, I want to account for the second distinction in minimally contextualist semantic (...) terms. Finally, I want to hold that what makes a fictional utterance, hence a fictional work, properly fictional is the contextually pre-semantic fact that its utterer entertains an act of make-believe, where such an act is accounted for in metarepresentational terms. This ultimately means that the fiction/nonfiction distinction is not clarified in terms of the fictional works/nonfictional works distinction, for things rather go the other way around. (shrink)

In the philosophy of fiction, a majority view is continuism, i.e., the thesis that ordinary names, or genuine singular terms in general, directly refer to ordinary real individuals in fiction-involving sentences – e.g. “Napoleon” in the sentences that constitute the text of Tolstoy’s War and Peace. But there is also a minority view, exceptionalism, which is the thesis that such terms change their semantic value in such sentences, either by directly referring to fictional surrogates of those individuals – what we (...) may call exceptional hyperrealism about fictional characters – or by acquiring a semantic value that turns them into nonreferential terms, involving no ontological commitment to such characters – exceptional irrealism about fictional characters. In this paper, first of all, I want to support hybrid exceptionalism, according to which both parties are partly right and partly wrong. In the fictional use of fiction-involving sentences, those terms directly refer to ordinary real individuals, as continuists claim, while both in the internal and the external metafictional use of fiction-involving sentences, such terms change their semantic value, as exceptionalists claim. (By contrast, for pure exceptionalists such terms either always refer to fictional surrogates or are nonreferring on all such uses.) Moreover, I will argue that hybrid exceptional hyperrealism must be preferred to hybrid exceptional irrealism: in the latter uses, I claim, such terms directly refer to fictional surrogates. (shrink)

In the old days of descriptivism, fictional reference and non-fictional reference with proper names were treated on a par. Descriptivism was not an intuitive theory, but it meritoriously provided a unitary semantic account of names, whether referentially full or empty. Then the revolution of the new theory of reference occurred. This new theory is definitely more intuitive than descriptivism, yet it comes with a drawback: the referentially full use and the referentially empty use, notably the fictional use, of names are (...) semantically no longer on the same footing. How the use of names from fiction is referentially empty has even been seen as a symptom of its not being a use at all. In this paper, I ask the following question: can one keep the merits of the new theory of reference and still provide a unitary account of both fictional and non-fictional reference with names? My answer is positive, provided that one conceives proper names as a special kind of indexicals. (shrink)

In his (2001a) and in some related papers, Tim Crane has maintained that intentional objects are schematic entities, in the sense that, insofar as being an intentional object is not a genuine metaphysical category, qua objects of thought intentional objects have no particular nature. This approach to intentionalia is the metaphysical counterpart of the later Husserl's ontological approach to the same entities, according to which qua objects of thought intentionalia are indifferent to existence. But to buy a metaphysically deflationary approach (...) does not mean to buy an ontologically deflationary approach, according to which we have to accept all the intentional objects there apparently are. Being metaphysically deflationary on intentionalia rather means that from the ontological point of view one must really allow only for those intentionalia for which one is entitled to say that there are such things; typically, for which an ontological proof is available. From metaphysical schematism plus conditional, or partial, ontological committment to intentionalia, further interesting consequences follow. First, this theoretical combination allows one to deal with the ‘too-many entities’ problem (may one fail to accept an ontological proof for an entity of a given kind if she thinks that the entity we would have to be committed to is an entity of another kind?). Second, it allows one to deal with the ‘genuinely true report’ problem (how is it that if we exercise mindreading with respect to a somehow deluded person, we want our reports to come out as really, not merely fictionally, true?). (shrink)

This article revisits an earlier social scientific analysis of the thought of Rudolf Arnheim and E. H. Gombrich. Adding to the earlier analysis in terms of social ontology and historical development is an analysis of the sufficiency of perception to yield information about the world, both in ordinary and in artistic contexts. Gombrich held to an idea of perception as hypothesis testing, and it joins with Popper's philosophy in the deferred warrant of the perceptual image. Arnheim, instead, followed the Gestalt (...) theorists to believe that each stage of perceptual experience was incorrigible according to the given conditions. Consequently, Arnheim felt confident addressing the essence of art, while Gombrich remained anti‐essentialist. Ultimately, Gombrich's Popperian empiricism attenuates realism, whereas Arnheim's gestaltism seeks to build a bridge between ordinary and scientific observation. (shrink)

I offer an account of how ideals motivate us. My account suggests that although emulating an ideal is often rational, it can lead us to do irrational things. * This is the third in a series of four papers on narrative self-conceptions and their role in moral motivation. In the first paper, “The Self as Narrator” (to appear in Autonomy and the Challenges to Liberalism: New Essays, ed. Joel Anderson and John Christman), I explore the motivational role of narrative self-conceptions, (...) drawing on Daniel Dennett’s notion of the self as a “center of narrative gravity”. In the second paper, “Willing the Law” (in Practical Conflicts, ed. Monika Betzler and Peter Baumann [Cambridge: Cambridge University Press, forthcoming]), I explore the role of selfconceptions in Kantian “conflicts in the will”, drawing on Christine Korsgaard’s notion of “practical identities”. In a fourth paper, “A Sense of Self” (ms), I explore the role of narrative self-con-ceptions in Kantian “conflicts in conception”, drawing on the work of Thomas Nagel and John Perry on the self. (shrink)

ABSTRACTVideogames often confront players with frustratingly difficult challenges, fearsome enemies, and tragic stories. As such, they can evoke feelings of failure, sadness, anger, and fear. Although these feelings are usually regarded as undesirable, many players seem to enjoy videogames which cause them. In this paper, I argue that player misery often originates from a fictional or lusory attitude which brackets game events from real-life, making the player’s emotions solely relevant within the game context. As they are part of the game (...) themselves, these negative emotions can be enjoyed and easily relativized, since players can acknowledge that their cause is ‘only a game’. However, there are feelings of misery associated with the playing of videogames which are not caused by either the game’s fiction or challenge. In the last part of this paper, I describe a qualitatively different kind of player misery: one that is caused by elements that are not perceived as part of the game by the player, and is no... (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)

Yablo has argued for an alternative form of if-thenism that is more conducive with his figurative fictionalism. This commentary sets out to challenge whether the remainder, ρ, tends to be an inaccurate representation of the conditions that are supposed to complete the enthymeme from φ to Ψ. Whilst by some accounts the inaccuracies shouldn't set off any alarm bells, the truth of ρ is too inexact. The content of ρ, a partial truth, must display a sensitivity to the contextual background (...) conditions for subtraction to work properly in Yablo's view. Using a toy example, I argue that Yablo's subtraction model tends to yield partial truths as remainders that fail to rule out inaccurate expressions that may prove to be problematic for it. (shrink)

Mental fictionalism is the view that, even if mental states do not exist, it is useful to talk as if they do. Mental states are useful fictions. Recent philosophy of mind has seen a growing interest in mental fictionalism. To date, much of the discussion has concerned the general features of the approach. In this paper, I develop a specific form of mental fictionalism by drawing on Kendall Walton’s work on make-believe. According to the approach I propose, talk of mental (...) states is a useful pretence for describing people and their behaviour. I try to clarify and motivate this approach by comparing it to well-known alternatives, including behaviourism, instrumentalism and eliminativism. I also consider some of the challenges that it faces. (shrink)

This article attempts to understand the reconstitution of the `present' in modern societies. I argue that this reconstitution is the result of work done on `bare life', which I associate with that little space of time between action and performance. The article goes on to consider the ways in which this reconstitution of the present is taking place, using examples from the economic sphere. Throughout the article, I argue that operations on bare life are not only instrumental but also open (...) up new spaces of biopolitical practice based on a greater recognition of the value of slowness in a world commonly figured as fast. (shrink)

This paper sketches a phenomenological analysis of visual mental imagery and uses it to criticize representationalism and the internalist-versus-externalist framework for understanding consciousness. Contrary to internalist views of mental imagery imagery experience is not the experience of a phenomenal mental picture inspected by the mind’s eye, but rather the mental simulation of perceptual experience. Furthermore, there are experiential differences in perceiving and imagining that are not differences in the properties represented by these experiences. Therefore, externalist representationalism, which maintains that the (...) properties of experience are the external properties represented by experience, is an inadequate account of conscious experience. (shrink)

This paper (1) sketches a phenomenological analysis of visual mental imagery; (2) applies this analysis to the mental imagery debate in cognitive science; (3) briefly sketches a neurophenomenological approach to mental imagery; and (4) compares the results of this discussion with Dennett’s heterophenomenology.

Grounding talk has become increasingly familiar in contemporary philosophical discussion. Most discussants of grounding think that grounding talk is useful, intelligible, and accurately describes metaphysical reality. Call themrealistsabout grounding. Some dissenters reject grounding talk on the grounds that it is unintelligible, or unmotivated. They would prefer to eliminate grounding talk from philosophy, so we can call themeliminitivistsabout grounding. This paper outlines a new position in the debate about grounding, defending the view that grounding talk is intelligible and useful. Grounding talk (...) does not, however, provide a literal and veridical description of mind-independent metaphysical reality. This irrealismabout grounding treads a path between realism and eliminativism. (shrink)

This article surveys the current debate among analytic philosophers and film narratologists about the logic and phenomenology of cinematic narration. Particular attention is given to the question of whether every film that represents a fictional narrative also represents a narrator's fictional narration.

The Audience Effect. On the Collective Cinema Experience HANICHJULIAN edinburgh university press. 2017. pp. 256. £19.99.

El presente artículo se basa en la teoría de la creatividad artística de Jon Elster para tratar de ofrecer un esbozo de definición del concepto de arte, así como las bases para una teoría del valor artístico. Se sostiene que una obra de arte es una creación humana realizada con la intención de provocar una experiencia estética, así como que el principal valor de una obra de arte radica en su capacidad para producir emociones estéticas y no estéticas. Dicha concepción (...) pone en dificultades a algunas importantes formas de arte contemporáneo, como el arte conceptual. (shrink)

Inferentialists about scientific representation hold that an apparatus’s representing a target system consists in the apparatus allowing “surrogative inferences” about the target. I argue that a serious problem for inferentialism arises from the fact that many scientific theories and models contain internal inconsistencies. Inferentialism, left unamended, implies that inconsistent scientific models have unlimited representational power, since an inconsistency permits any conclusion to be inferred. I consider a number of ways that inferentialists can respond to this challenge before suggesting my own (...) solution. I develop an analogy to exploitable glitches in a game. Even though inconsistent representational apparatuses may in some sense allow for contradictions to be generated within them, doing so violates the intended function of the apparatus’s parts and hence violates representational “gameplay.”. (shrink)

Despite the fact that information systems ontologies [ISOs] support the mutual understanding between human beings and software applications, human beings and software applications do not understand ISOs' contents in the same way. The same applies to ontological integration. This paper attempts to account for such discrepancies by emphasizing that while human being can have access to entities represented in ISOs, software applications cannot.

I identify a notion of compositionality at the intersection of the different notions philosophers, linguists, and psychologists are concerned with. The notion is compositionality of expression content: the idea that the content of a complex expression in a context of its utterance is determined by its syntactic structure and the contents of its constituents in the contexts of their respective utterances. Traditional arguments from productivity and systematicity cannot establish that the contents of linguistic expressions are compositionally determined in this sense. (...) I present a novel argument for this thesis. (shrink)

In the past few decades, a growing number of philosophers have tried to explain the phenomenon of imaginative resistance, or why readers often resist the invitation of authors to imagine morally deviant fictional scenarios. In this paper, I critically assess a recent proposal to explain IR in terms of a failure of empathy, and present a novel explanation. I do so by drawing on Peter Goldie’s narrative account of empathic perspective-taking, which curiously has so far been neglected in the IR-literature. (...) I argue that, in some cases, IR is due to a partial confusion of two kinds of imaginative perspective-taking towards a fictional character: an internal, genuinely empathic, perspective-taking, on the one hand, and an external, crypto-empathic, stance that can be characterized as in-her-shoes-imagining, on the other. I argue that, in the cases at issue, IR is not so much a resistance to imagining but, rather, to empathically enacting an evildoer’s moral and phenomenal first-person perspective. I conclude by considering some more general lessons that follow from my account for what has recently been called sadistic empathy and point to an unresolved issue for future thinking about IR. (shrink)