In this article, we critically examine some of the ethical challenges and interpretive difficulties with possible future non-clinical applications of pediatric fMRI with a particular focus on applications in the classroom and the courtroom - two domains in which children come directly in contact with the state. We begin with a general overview of anticipated clinical and non-clinical applications of pediatric fMRI. This is followed by a detailed analysis of a range of ethical challenges and interpretive difficulties that trouble the (...) use of fMRI and are likely to be especially acute with non-clinical uses of the technology. We conclude that knowledge of these challenges and difficulties should influence policy decisions regarding the non-clinical uses of fMRI. Our aim is to encourage the development of future policies prescribing the responsible use of this neuroimaging technology as it develops both within and outside the clinical setting. (shrink)

This article takes as its starting point a recurring complaint in the popular reception of horror movies: that the characters in them behave foolishly. I argue that such complaints fail to recognize that the horror genre exploits a fundamental tension in fiction, between the perspective on a fictional world offered to its audience and that available to its characters. This distinction is highlighted in horror, which often depicts characters with everyday expectations facing extraordinary threats. Horror characters are frequently taken by (...) surprise, and even the better prepared can be thwarted by the malevolence of the generic world. The extent of characters’ misfortunes can resemble deliberate persecution, self-consciously flaunting authorial manipulation. I draw on Todorov’s notion of “pan-determinism” and suggest that a more sinister variant operates in horror. Occasionally, a character’s experiences can help equip them to survive; I argue that this can be inflected politically in films where the malevolent horror world is placed alongside forms of real-life persecution and abuse. Critical attention to the world of horror, and how it is understood from both the outside and within, can clarify the connections between different theoretical understandings of the genre and bring out important but overlooked generic conventions. (shrink)

We offer a new answer to the paradox of tragedy. We explain part of the appeal of tragic art in terms of its acknowledgement of sad aspects of life and offer a tentative explanation of why acknowledgement is a source of pleasure.

There is little question as to whether there is good boring art, though its existence raises a number of questions for both the philosophy of art and the philosophy of emotions. How can boredom ever be a desideratum of art? How can our standing commitments concerning the nature of aesthetic experience and artistic value accommodate the existence of boring art? How can being bored constitute an appropriate mode of engagement with a work of art as a work of art? More (...) broadly, how can there be works of art whose very success requires the experience of boredom? Our goal in this paper is threefold. After offering a brief survey of kinds of boring art, we: i) derive a set of questions that we argue constitutes the philosophical problem of boring art; ii) elaborate an empirically informed theory of boredom that furnishes the philosophical problem with a deeper sense of the affect at the heart of the phenomenon; and iii) conclude by offering and defending a solution to the problem that explains why and how artworks might wish to make the experience of boredom key to their aesthetic and artistic success. (shrink)

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

In this paper I argue that, by combining eliminativist and fictionalist approaches toward the sub-personal representational posits of predictive processing, we arrive at an empirically robust and yet metaphysically innocuous cognitive scientific framework. I begin the paper by providing a non-representational account of the five key posits of predictive processing. Then, I motivate a fictionalist approach toward the remaining indispensable representational posits of predictive processing, and explain how representation can play an epistemologically indispensable role within predictive processing explanations without thereby (...) requiring that representation metaphysically exists. Finally, I outline four consequences of accepting this approach and explain why they are beneficial: we arrive at a victory for metaphysical eliminativism in the ‘representation wars’; my account fits with extant empirical practice; my account provides guidance for future research; and, my account provides the beginnings of a response to Mark Sprevak’s IBE problem for fictionalist approaches toward sub-personal representation. (shrink)

After a brief presentation of Feynman diagrams, we criticizise the idea that Feynman diagrams can be considered to be pictures or depictions of actual physical processes. We then show that the best interpretation of the role they play in quantum field theory and quantum electrodynamics is captured by Hughes' Denotation, Deduction and Interpretation theory of models, where “models” are to be interpreted as inferential, non-representational devices constructed in given social contexts by the community of physicists.

Realistic uses of Virtual Reality technology closely integrate user training on virtual objects with VR-assisted user interactions with real objects. This paper shows how the Interactive Theory of Perception may be extended to cover such cases. Virtual objects are explained as concrete models that have an inner generation mechanism, and the ITP is used to explain how VR users can both perceive such local CMs, and perceptually represent remote real objects. Also, concepts of modeling and representation are distinguished. The paper (...) concludes with suggestions as to how the ITP methodology developed here could be extended to iconic external representations and models generally. (shrink)

A content theory of art would identify an artwork with the meaningful or representational content of some concrete artistic vehicle, such as the intentional, expressive, stylistic, and subject matter-related content embodied in, or resulting from, acts of intentional artistic expression by artists. Perhaps surprisingly, the resultant view that an artwork is nothing but content seems to have been without theoretical defenders until very recently, leaving a significant theoretical gap in the literature. I present some basic arguments in defence of such (...) a view, including the following. Content views of linguistic communication are ubiquitous, so why should they not be applicable in artistic cases as well? Also, propositional accounts of language involve two kinds of content (the proposition expressed by a sentence, plus the worldly state of affairs it represents), both of which kinds can be used in explaining artworks. In addition, the differing modal properties of artworks and concrete artefacts can be used to show that artworks could not be, or include, such physical artefacts. (shrink)

I argue that the concept of representation is ambiguous: a picture of 'a man', when there is no actual man that it depicts, both does, in one sense, and does not, in another sense, represent 'a man'--hence the need for a distinction of internal from external representation. Internal representation is also defended from reductive, non-referential alternative views, and from 'prosthesis' views of picturing, according to which seeing a picture of an actual man just is seeing through the picture to that (...) actual man himself. The view also provides a strong foundation for a theory of reference to fictional entities. (shrink)

According to a recent philosophical claim, “works of fiction are thought experiments” (Elgin 2007: 47), though there are relevant differences, as the role of spoilers shows—they can ruin a novel but improve the understanding we can gain through a thought experiment. In the present article I will analyze the role of spoilers and argue for a more differentiated perspective on the relation between literature and thought experiments. I will start with a short discussion of different perspectives on thought experiments and (...) argue that the mental-model view and the conception of games of make-believe are most promising for developing the present analogy. Then I will assess the similarities and differences between thought experiments and other works of fiction. I will focus on the role of spoilers and, more generally, on the foretaste context, of which they are part. This context guides readers of literary works of art to draw their attention to the literary and aesthetic quality of the text. In the case of thought experiments, on the other hand, it (i) prompts them to accept the presence of fictional elements in worldly-cognitive works and (ii) draws their attention towards cognitively relevant elements of the story. A discussion of Borges’ Pierre Menard in the last part will show that literary works of art become thought experiments if they are embedded in an appropriate foretaste context. Spoilers, thus, unveil that even works which—due to their length or plenty of detail—usually are not considered thought experiments, can perform similar cognitive functions. (shrink)

This book is both an introduction to and a research work on Meinongianism. “Meinongianism” is taken here, in accordance with the common philosophical jargon, as a general label for a set of theories of existence – probably the most basic notion of ontology. As an introduction, the book provides the first comprehensive survey and guide to Meinongianism and non-standard theories of existence in all their main forms. As a research work, the book exposes and develops the most up-to-date Meinongian theory (...) (called modal Meinongianism), applies it to specific fields, and discusses its open problems. Part I of the book provides a historical introduction to, and critical discussion of, the dominant philosophical view of existence: the “Kantian-Fregean-Quinean” perspective. Part II is the full-fledged introduction to the Meinongian theories of existence as a real property of individuals: after starting with the so-called naïve Meinongian conception and its problems, it provides a self-contained presentation of the main neo-Meinongian proposals, and a detailed discussion of their strengths and weaknesses. Part III develops a specific neo-Meinongian theory of existence employing a model-theoretic semantic framework. It discusses its application to the ontology and semantics of fictional objects, and its open problems. The methodology of the book follows the most recent trends in analytic ontology. In particular, the meta-ontological point of view is largely privileged. (shrink)

My research into Virtual Reality technology and its central property of immersion has indicated that immersion in Virtual Reality (VR) electronic systems is a significant key to the understanding of contemporary culture as well as considerable aspects of previous culture as detected in the histories of philosophy and the visual arts. The fundamental change in aesthetic perception engendered by immersion, a perception which is connected to the ideal of total-immersion in virtual space, identifies certain shifts in ontology which are relevant (...) to a better understanding of the human being. This understanding was achieved through a broad inquiry into the histories of Virtual Reality, philosophy, and the visual arts and has lead to the formulation of an aesthetic theory of immersive consciousness indicative of immersive culture. The primary subject of this discourse is immersion then: an experience which will be identified within the dissertation as the indispensable characteristic of Virtual Reality. The understanding of immersion arrived at here will be used to fashion a synchronous theory of art particularly informed by encounters and concepts of immersion into virtuality. To sufficiently address this subject in a scholarly fashion, I have researched, found and accumulated aesthetic and philosophic examples of immersive tendencies, as found within the histories of art and philosophy, which subsequently contributed towards the articulation of what I have come to call immersive consciousness. As a result of formulating such an immersive consciousness, a good deal of the basis for the questioning of the Western ontological tradition has been found in the Western tradition itself when we look with new eyes and ask new uncertain questions. Moreover, this immersive consciousness will be used to propose some abstract questions encircling today's electronic-based culture. Through the structuring of the argument within the thesis - and overtly within the conclusion - I have articulated a non-teleological creative strategy which provides the basis for an unconstraining integration of noologies (ways of semblancing the thinking process). This strategy provides a means of exemplifying - and for honoring - various methods of thinking. This structuring strategy is consistent with the 'hacker ethic' as defined by Steven Levy, as a demand that access to computers - and anything which might teach us something about the way the world works - should be unlimited and total. To follow this strategy, this dissertation has set out to understand how topical conceptions of virtual immersion connect to pre-existing systems of thought as revealed in art as they have extended out of antecedent ontological self-understandings, historical human self-understandings which have evidenced themselves in the elaboration of technological objectives. To do this I have forged a certain rhizomatic paternity/maternity for Virtual Reality within this dissertation by joining choice immersive examples of simulacra technology into mental connections with the relevant examples culled from the histories of art, architecture, information-technology, sex, myth, space, consciousness and philosophy. (shrink)

John Cook Wilson (1849–1915) was Wykeham Professor of Logic at New College, Oxford and the founder of ‘Oxford Realism’, a philosophical movement that flourished at Oxford during the first decades of the 20th century. Although trained as a classicist and a mathematician, his most important contribution was to the theory of knowledge, where he argued that knowledge is factive and not definable in terms of belief, and he criticized ‘hybrid’ and ‘externalist’ accounts. He also argued for direct realism in perception, (...) criticizing both empiricism and idealism, and argued for a moderate nominalist view of universals as being in rebus and only ‘apprehended’ by their particulars. His influence helped swaying Oxford away from idealism and, through figures such as H. A. Prichard, Gilbert Ryle, or J. L. Austin, his ideas were also to some extent at the origin of ‘moral intuitionism’ and ‘ordinary language philosophy’ which defined much of Oxford philosophy until the second half of the twentieth-century. Nevertheless, his name and legacy were all but forgotten for generations after World War II. Still, his views on knowledge are with us today, being in part at work in the writings of philosophers as diverse as John McDowell, Charles Travis, and Timothy Williamson. (shrink)

The utterance model is a popular basis for theories of interpretation in the contemporary analytic philosophy of literature. This model suggests that interpretation should be constrained by a work's identity‐relevant factors in its context of production because a work, like an utterance, acquires its identity and content in part from its relations with that context. From a descriptive point of view, I argue that the implied author account of interpretation best describes critical practice following the current positions based on the (...) utterance model. That is, people who interpret in accordance with these positions end up interpreting an implied author. (shrink)

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

If imagination is subject to the will, in the sense that people choose the content of their own imaginings, how is it that one nevertheless can learn from what one imagines? This chapter argues for a way forward in addressing this perennial puzzle, both with respect to propositional imagination and sensory imagination. Making progress requires looking carefully at the interplay between one’s intentions and various kinds of constraints that may be operative in the generation of imaginings. Lessons are drawn from (...) the existing literature on propositional imagination and from the control theory literature concerning the prediction and comparison mechanisms (or “forward models”) involved in ordinary perception. A more general conclusion is reached that, once we have the tools to understand how some imaginings are both under willful control and helpfully guide action and inference, we will have what we need to understand the cognitive basis of imagination in general. (shrink)

The ultimate success of Hollywood blockbusters is dependent upon repeat viewings. Fans return to theaters to see films multiple times and buy DVDs so they can watch movies yet again. Although it is something of a received dogma in philosophy and psychology that suspense requires uncertainty, many of the biggest box office successes are action movies that fans claim to find suspenseful on repeated viewings. The conflict between the theory of suspense and the accounts of viewers generates a problem known (...) as the paradox of suspense, which we can boil down to a simple question: If suspense requires uncertainty, how can a viewer who knows the outcome still feel suspense? (shrink)

This is an overview of analytic philosophy of music. It is in five sections, as follows: 1. What Is Music? 2. Musical Ontology 3. Music and the Emotions 4. Understanding Music 5. Music and Value.

Visualizing and mental imagery are thought to be cognitive states by all sides of the imagery debate. Yet the phenomenology of those states has distinctly visual ingredients. This has potential consequences for the hypothesis that vision is cognitively impenetrable, the ability of visual processes to ground perceptual warrant and justification, and the distinction between cognitive and perceptual phenomenology. I explore those consequences by describing two forms of visual ambiguity that involve visualizing: the ability to visually experience a picture surface as (...) flat after it has caused volumetric nonconceptual contents, and the ability to use a surface initially perceived as flat to visualize three-dimensional scenes. In both cases, the visual processes which extract viewer-centered volumetric shapes have to rely solely on monocular depth cues in the absence of parallax and stereopsis. Those processes can be cognitively penetrated by acts of visualizing, including ones that draw on conceptual information about kinds. However, the penetrability of the visual processes does not weaken their ability to provide perceptual warrant and justification for beliefs. The reason is that picture perceptions—whether they are stimulus -driven or based on acts of visualizing—are different to object perceptions both phenomenologically and in terms of their functional roles as states. Thus, although the penetrability of the visual processes does mean that subjects can have visual experiences with contradictory contents, perceptual belief is adopted at most towards one set of contents, and questions of warrant and justification are raised only for those contents. A rule-proving exception is provided by trompe-l’oeils. (shrink)

This is the first part of a two-part paper in which I conclude the process, initiated elsewhere, of tracking objective conditions of vagueness of representation from language to pictures, from philosophy to imaging science, from vagueness to approximation, from representation to reasoning, with a focus on the application of fuzzy set theory and its challenges.

This paper investigates a capacity I call actuality-oriented imagining, by which we use sensory imagination in a way that's directed at representing the actual world. I argue that this kind of imagining is distinct from other, similar mental states in virtue of its distinctive content determination and success conditions. Actuality-oriented imagining is thus a distinctive cognitive capacity in its own right. Thinking about this capacity reveals that we should resist an intuitive tendency to think of the imagination’s primary function or (...) default mode as representing the non-actual or the fictional. Instead, the imagination is a cognitive faculty that often puts us in touch with the way things are in reality. (shrink)

Players of videogames describe their gameplay in the first person, e.g. “I took cover behind a barricade.” Such descriptions of gameplay experiences are commonplace, but also puzzling because players are actually just pushing buttons, not engaging in the activities described by their first-person reports. According to a view defended by Robson and Meskin (2016), which we call the fictional identity view, this puzzle is solved by claiming that the player is fictionally identical with the player character. Hence, on this view, (...) if the player-character fictionally performs an action then, fictionally, the player performs that action. However, we argue that the fictional identity view does not make sense of players' gameplay experiences and their descriptions of them. We develop an alternative account of the relationship between the player and player-character on which the player-character serves as the player's fictional proxy, and argue that this account makes better sense of the nature of videogames as interactive fictions. (shrink)

Abstract: Many, if not most philosophers, deny that a sentence like ‘Sherlock Holmes smokes’ could be true. However, this attitude conflicts with the assignment of true to that sentence by natural language speakers. Furthermore, this process of assigning truth values to sentences like ‘Sherlock Holes smokes’ seems indistinguishable from the process that leads speakers to assign true to other sentences, those like ‘Bertrand Russell smokes’. I will explore the idea that when speakers assign the value true to the first sentence, (...) they are not mistaken or confused — that we ought to take these assignments at face value. I show how the most popular alternative to this idea is inadequate for explaining various sentences involving fictional names. In addition, I offer evidence that these truth value assignments to sentences are tracking semantic content rather than pragmatic effects. (shrink)

The Linda paradox is a key topic in current debates on the rationality of human reasoning and its limitations. We present a novel analysis of this paradox, based on the notion of verisimilitude as studied in the philosophy of science. The comparison with an alternative analysis based on probabilistic confirmation suggests how to overcome some problems of our account by introducing an adequately defined notion of verisimilitudinarian confirmation.

This thesis addresses philosophical problems concerning improper assertions. The first part considers the issue of defining lying: here, against a standard view, I argue that a lie need not intend to deceive the hearer. I define lying as an insincere assertion, and then resort to speech act theory to develop a detailed account of what an assertion is, and what can make it insincere. Even a sincere assertion, however, can be improper (e.g., it can be false, or unwarranted): in the (...) second part of the thesis, I consider these kinds of impropriety. An influential hypothesis maintains that proper assertions must meet a precise epistemic standard, and several philosophers have tried to identify this standard. After reviewing some difficulties for this approach, I provide an innovative solution to some known puzzles concerning the permissibility of false assertions. In my view, assertions purport to aim at truth, but they are not subject to a norm that requires speakers to assert a proposition only if it is true. (shrink)

The object of this paper is to study the analogy, drawn both positively and negatively, between mathematics and fiction. The analogy is more subtle and interesting than fictionalism, which was discussed in part I. Because analogy is not common coin among philosophers, this particular analogy has been discussed or mentioned for the most part just in terms of specific similarities that writers have noticed and thought worth mentioning without much attention's being paid to the larger picture. I intend with this (...) analogy (looking at others' comparisons) to shed a little light on what is going on in mathematics, how one can understand it a bit other than experientially. This intention is philosophical and the way that I am attempting to accomplish it is also philosophical. I shall conclude my attempt to explain how it is possible and even natural for mathematics and fiction to have the analogy they have, taking it for granted, as argued in part I, that they are not to be identified. To this end I shall discuss philosophers' comparisons, mainly those of Hodes, Resnik, Tharp, and Wagner, who are the writers that seem to me to have written most thoughtfully and sufficiently extensively about fiction in making the comparison and of Körner, whose comparison is different. Whether either of these comparisons or the more general analogy is of permanent philosophical interest will have to be decided by philosophers now that they have had a fuller examination. I shall mention some other writers' reference to fiction, but not all; indeed, I am sure that I have not even found all the comparisons that there are. (shrink)

Prop oriented make-believe is make-believe utilized for the purpose of understanding what I call “props,” actual objects or states of affairs that make propositions “fictional,” true in the make-believe world. I, David Hills, and others have claimed that prop oriented make-believe lies at the heart of the functioning of many metaphors, and one variety of fictionalism in metaphysics invokes prop oriented make-believe to explain away apparent references to entities some find questionable or problematic (fictional characters, propositions, moral properties, numbers). Elisabeth (...) Camp has argued against my and David Hills’ views of metaphor. Her arguments, many of them echoed by Catharine Wearing, demolish a very implausible account of metaphor, but leave entirely untouched the views that Hills and I actually proposed. Clarifying what we say about metaphor serves also as a defense of fictionalist theories that invoke prop oriented make-believe. (shrink)

I argue that fictionalism is an unpromising alternative to realism in two important respects. First, fictionalism offers a less satisfactory modal semantics because the incorporated fictive operator is itself modal and its results differ significantly from realism. Second, fictionalism struggles to provide us with a satisfactory account of the ontological grounding of modal truth and finds itself in opposition to several influential accounts of fictional objects which I discuss. I conclude by suggesting that, given the fictionalist’s motivation, a more promising (...) avenue of research would be the older and currently unfashionable fictionalism espoused by Vaihinger (1935). (shrink)

Famously, Kant is a transcendental idealist. Yet he also endorses empirical realism, and even boasts that only the transcendental idealist can be an empirical realist. The difficulty of making sense of those commitments together leads many interpreters to begin by attributing to Kant some variant of conventional, subjective idealism. That in turn requires that Kant's empirical realism be at best a merely ersatz or quasi-realism. But that drains Kant's boast of its significance. For any idealist can be a realist if (...) the 'realism' in question is defined in terms of a prior commitment to idealism. Thus I argue, on the contrary, that we must begin the interpretation of Kant's Critical philosophy by taking his empirical realism to be a genuine, common-sense realism about empirical things. That approach yields a consistent, satisfying, and novel reading of the Critical enterprise, including transcendental idealism, as explaining how empirical realism is possible. Along the way I show, among other things, (1) how to make systematic sense of Kant's controversial theory of meaning, which is standardly either downplayed or regarded as grossly inconsistent with his other core commitments; (2) how to dispense with the centuries-old Neglected Alternative objection; and (3) how to account for the syntheticity of the moral law and its role in conferring experience-immanent meaning on the practical postulates (e.g., of the existence of God). (shrink)

This chapter identifies and explains several primary functions of the fictional use of metalinguistic devices and considers some difficult cases. In particular, this chapter argues that when real persons are quoted in a storyworld they are ‘storified’ as near-real fictions. In cases of the misquotation of real persons, near-real fictions and near-real quotations must adequately exploit resemblances between the real and the fictional. This concludes with a discussion of the similarities between fictional and nonfictional uses of metalinguistic acts, and how (...) they bear on our understanding of imagination and make-believe. (shrink)

Images share a common feature with all phenomena of imagination, since they make us aware of what is not present or what is fictional and not existent at all. From this perspective, the philosophical approach of Kendall Lewis Walton—born in 1939 and active since the 1960s at the University of Michigan—is perhaps one of the most notable contributions to image theory. Walton is an authoritative figure within the tradition of analytical aesthetics. His contributions have had a considerable influence on a (...) broad range of topics, such as the role of categories in the understanding of the arts (Walton, “Categories of Art”. Philosophical Review, 79(3): 334–367, 1970), the ambiguous nature of emotions in the experience of fictional stories (Walton, “Fearing Fictions”. The Journal of Philosophy, 75(1): 5–25, 1978), the transparency of photographic images compared to other depictions (Walton, “Transparent Pictures: On the Nature of Photographic Realism”. Noûs, 18(1): 67–72, 1984) and, above all, the development of a general theory of fiction as imaginative activity. His 1990 book Mimesis as Make-believe: On the Foundations of the Representational Arts collects and re-elaborates articles Walton published on the subject since the 1970s. Though he does not attempt to give a definitive answer for what imagination is, Walton thoroughly investigates its role in all cases of representational works, describing depictions as a specific case of “make-believe” activity: images, in short, are specific props of a visual and perceptual “make-believe” game. (shrink)

What is the relation of logic to thinking? My dissertation offers a new argument for the claim that logic is constitutive of thinking in the following sense: representational activity counts as thinking only if it manifests sensitivity to logical rules. In short, thinking has to be minimally logical. An account of thinking has to allow for our freedom to question or revise our commitments – even seemingly obvious conceptual connections – without loss of understanding. This freedom, I argue, requires that (...) thinkers have general abilities to respond to support and tension among their thoughts. And these abilities are constituted by following logical rules. So thinkers have to follow logical rules. But there isn’t just one correct logic for thinking. I show that my view is consistent with logical pluralism: there are a range of correct logics, any one of which a thinker might follow. A logic for thinking does, however, have to contain certain minimal principles: Modus Ponens and Non-Contradiction, and perhaps others. We follow logical rules by exercising logical capacities, which display a distinctive first-person/third-person asymmetry: a subject can find the instances of a rule compelling without seeing them as instances of a rule. As a result, there are two limits on illogical thinking. First, thinkers have to tend to find instances of logical rules compelling. Second, thinkers can’t think in obviously illogical ways. So thinking has to be logical – but not perfectly so. When we try to think, but fail, we produce nonsense. But our failures to think are often subjectively indistinguishable from thinking. To explain how this occurs, I offer an account of nonsense. To be under the illusion that some nonsense makes sense is to enter a pretence that the nonsense is meaningful. Our use of nonsense within the pretence relies on the role of logical form in understanding. Finally, while the normativity of logic doesn’t fall directly out of logical constitutivism, it’s possible to build an attractive account of logical normativity which has logical constitutivism as an integral part. I argue that thinking is necessary for human flourishing, and that this is the source of logical normativity. (shrink)

According to Millianism, the meaning of a name is exhausted by its referent. According to anti-realism about fictional entities, there are no such entities. If there are no fictional entities, how can we explain the apparent meaningfulness of fictional names? Our best theory of fiction, Walton’s theory of make-believe, makes the same assumptions but lacks the theoretical resources to answer the question. In this paper, I propose a pragmatic solution in terms of two main dimensions of meaning, a subjective, psychological (...) dimension and an intersubjective, public dimension. The psychological dimension builds on the notion of mental files; the public dimension builds on Stalnaker’s notion of common ground. The account is coherent with two main theoretical principles, parsimony and uniformity. Furthermore, it satisfies three explanatory conditions posed by the intentionality of our thought and discourse about fiction, object-directedness, counterfictional imagining and intersubjective identification. (shrink)

This research discusses Bernard Williams' critique of utilitarianism. I will address Williams' well-known “Integrity Objection” and clarify where his main issue with utilitarianism lies. Through this, I will demonstrate that the separation of the two viewpoints – the “inside viewpoint” and the “impartial viewpoint” - is the issue, as the utilitarian impartial viewpoint does not capture the value of ethical deliberations based on our inside viewpoint in which we presuppose our personal projects. Furthermore, I will argue that this interpretation enables (...) us to place the objection in the context of the critique of impartiality which is one of the central themes of Williams’ ethics. (shrink)

A recent version of the mental file framework argues that the antirealist theory of fictional objects can be reconciled with the claim that fictional utterances involving character names express propositions that are true in the real world. This hybrid view rests on the following three claims: character names lack referents but express a mode of presentation, fictional utterances introduce oblique contexts where character names refer to their modes of presentation, and modes of presentation are mental files. In this critical paper, (...) I will argue that the proposed view runs into a number of theory-internal problems. These problems arise partly from the unclarities inherent in the notion of mental file, and partly from a mistaken semantics for character names. I will also argue that adherents of fictional realism can make use of the notion of mental file without encountering similar difficulties. (shrink)

This paper attempts to reconcile two apparently opposed ways of thinking about the imagination and its relationship to literature, one which casts it as essentially concerned with fiction-making and the other with culture-making. The literary imagination’s power to create fictions is what gives it its most obvious claim to “autonomy”, as Kant would have it: its freedom to venture out in often wild and spectacular excess of reality. The argument of this paper is that we can locate the literary imagination’s (...) complementary power of cultural articulation in this fictional activity. The suggestion is that we should conceive of the literary imagination as expressing its interests in culture not mimetically but by producing a certain kind of meaning. This meaning is irreducibly narratological, and understanding it helps us to see the role of narrative in bringing into harmony the literary imagination’s interests in both the imaginary and the real. (shrink)

In this entry I will offer a survey of the contemporary debate on fic- tionalism, which is a distinctive anti-realist view about certain regions of discourse that are valued for their usefulness rather than their truth.

The current debate concerning musical profundity was instigated, and set up by Peter Kivy in his book Music Alone (1990) as part of his comprehensive defense of enhanced formalism, a position he championed vigorously throughout his entire career. Kivy’s view of music led him to maintain utter skepticism regarding musical profundity. The scholarly debate that ensued centers on the question whether or not (at least some) music can be profound. In this study I would like to take the opportunity to (...) relate Wittgenstein’s ideas on music to this current debate, thereby achieving a twofold goal: not only to reintroduce Wittgenstein’s ideas into the current debate, but also to use the current debate as a foil to better appreciating Wittgenstein’s otherness as a philosopher of music. I argue that Wittgenstein’s unique philosophical response to the Romantic framing of the discourse concerning musical profundity —specifically, its threefold emphasis on the specificity, aboutness, and artistically exalted status of music— occasioned a view, which was bound to be glossed over by a philosophical tradition, whose origins had made it inimical to Wittgenstein’s original philosophical insights. I conclude that, in a sense, Wittgenstein occasions a paradigm shift by his philosophical thrust to undo the gravitational forces which form the current debate: the very idea of aboutness pertaining to music, and the very idea that a clear line could ever be drawn between music and language. (shrink)

We humans have a formidable armamentarium of social display behaviours, including song-and-dance, the visual arts, and role-play. Of these, role-play is probably the crucial adaptation which makes us most different from other apes. Human childhood, a sheltered period of ‘extended irresponsibility’, allows us to develop our powers of make-believe and role-play, prerequisites for human cooperation, culture, and reflective consciousness. Social mirror theory, originating with Dilthey, Baldwin, Cooley and Mead, holds that there cannot be mirrors in the mind without mirrors in (...) society. I will present evidence from the social and behavioural sciences to argue that self-awareness depends on social mirrors and shared experiential worlds. The dependence of reflectivity on shared experience requires some reframing of the ‘hard problem’, and suggests a non-trivial answer to the zombie question. (shrink)

In Fiction and Narrative, Derek Matravers argues that what is fundamental in philosophy of fiction is not the distinction between non-fiction and fiction, but the distinction between confrontation and representation. Moreover, he argues that there is no significant difference between our appreciating fiction and our appreciating non-fiction. His solutions, however, do not fix all of the problems with fiction. There are many similarities between the processes of appreciating fiction and non-fiction, but there are also important differences. In particular, it seems (...) reasonable to think that the responses of appreciators who believe what they read is fiction will differ from those of appreciators who believe what they read is non-fiction. If there are differences in their emotional responses, then the appreciation differs too. I argue that Matravers is not successful in this respect, and explain the peculiarity of our appreciating fiction from the standpoint of mental functions. There are mental function of immersing ourselves in fiction, and also mental function of recognizing the background knowledge required to understand the context of the fictional works. Because these functions work together, we can appreciate fictional works without confusing reality with fiction. (shrink)

En este artículo se revisa la hipótesis sobre la transparencia de las imágenes de Kendall Walton y sus diferentes críticas. Propongo que la imagen fotográfico-cinematográfica solo puede ser potencialmente transparente. Debería, así, hablarse de grados de transparencia. La transparencia de la imagen se divide en umbrales que dependen de la fase de producción en la que esté. De esta forma tenemos transparencia en el registro, de representación, de enunciación y epistémica.

I argue that what’s so bad (qua film fiction) about the cinematic practice of actor-character race-mismatching—be it the historically infamous and intuitively repugnant practice of blackface or one of its more contemporary kin—is that the extent to which film-fictions employ such practices is typically the extent to which such film-fictions unrealistically depict facts about race. More precisely, I claim that race-mismatching film fictions—understood as a species of unrealistic fiction—are prima facie inconsistent fictions with the capacity to mislead their audiences about (...) certain morally relevant actual-world states-of-affairs and thus, prima facie aesthetically, epistemically, and morally defective. (shrink)

In this paper we argue that the different positions taken by Dyson and Feynman on Feynman diagrams’ representational role depend on different styles of scientific thinking. We begin by criticizing the idea that Feynman Diagrams can be considered to be pictures or depictions of actual physical processes. We then show that the best interpretation of the role they play in quantum field theory and quantum electrodynamics is captured by Hughes' Denotation, Deduction and Interpretation theory of models (DDI), where “models” are (...) to be interpreted as inferential, non-representational devices constructed in given social contexts by the community of physicists. (shrink)

Burgess and Rosen argue that Yablo’s figuralist account of mathematics fails because it says mathematical claims are really only metaphorical. They suggest Yablo’s view is implausible as an account of what mathematicians say and confused about literal language. I show their argument isn’t decisive, briefly exploring some questions in the philosophy of language it raises, and argue Yablo’s view may be amended to a kind of revolutionary fictionalism not refuted by Burgess and Rosen.