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.

O artigo parte do consenso sobre a facto de que a arte tem valor para a exploração dos vários problemas sobre esse valor cujas soluções dividem os filósofos da arte. O enfoque é especialmente sobre a dimensão mais actual do debate em torno do tema, que se debruça não tanto sobre questões como o realismo quanto aos valores estéticos e a objectividade e justificação dos juízos de valor estético, mas acima de tudo sobre a natureza do valor artístico – que (...) tipo de valor é e em que propriedades da arte (se nalguma) reside. (shrink)

Scientific models are important, if not the sole, units of science. This thesis addresses the following question: in virtue of what do scientific models represent their target systems? In Part i I motivate the question, and lay out some important desiderata that any successful answer must meet. This provides a novel conceptual framework in which to think about the question of scientific representation. I then argue against Callender and Cohen’s attempt to diffuse the question. In Part ii I investigate the (...) ideas that scientific models are ‘similar’, or structurally morphic, to their target systems. I argue that these approaches are misguided, and that at best these relationships concern the accuracy of a pre-existing representational relationship. I also pay particular attention to the sense in which target systems can be appropriately taken to exhibit a ‘structure’, and van Fraassen’s recent argument concerning the pragmatic equivalence between representing phenomena and data. My next target is the idea that models should not be seen as objects in their own right, but rather what look like descriptions of them are actually direct descriptions of target systems, albeit not ones that should be understood literally. I argue that these approaches fail to do justice to the practice of scientific modelling. Finally I turn to the idea that how models represent is grounded, in some sense, in their inferential capacity. I compare this approach to anti-representationalism in the philosophy of language and argue that analogous issues arise in the context of scientific representation. Part iii contains my positive proposal. I provide an account of scientific representation based on Goodman and Elgin’s notion of representation-as. The result is a highly conventional account which is the appropriate level of generality to capture all of its instances, whilst remaining informative about the notion. I illustrate it with reference to the Phillips-Newlyn machine, models of proteins, and the Lotka-Volterra model of predator-prey systems. These examples demonstrate how the account must be understood, and how it sheds light on our understanding of how models are used. I finally demonstrate how the account meets the desiderata laid out at the beginning of the thesis, and outline its implications for further questions from the philosophy of science; not limited to issues surrounding the applicability of mathematics, idealisation, and what it takes for a model to be ‘true’. (shrink)

An approach to the semantics of fiction that uses the tools of truth relativism provides an alternative to Meinongian and pretence-based approaches. The approach is consistent with the deep motivations of John Wood's Truth in Fiction.

Among the tools the epistemologist brings to the table ought to be, I suggest, a firm understanding of the imagination--one that is informed by philosophy of mind, cognitive psychology, and neuroscience. In my dissertation, I highlight several ways in which such an understanding of the imagination can yield insight into traditional questions in epistemology. My dissertation falls into three parts. In Part I, I argue that dreaming should be understood in imaginative terms, and that this has important implications for questions (...) about dream skepticism. In Part II, I argue that an understanding of the imagination is important for understanding important parts of philosophical methodology--particularly those involving thought experiments. I mean in Part II to be vindicating a great deal of traditional methodology. In Part III, I explore what I take to be a number of deep connections between knowledge and counterfactuals. I defend a form of contextualism in each domain, and argue that inference among imaginings, with its important structural similarities to inference in belief, plays a central role in the epistemology of counterfactuals. (shrink)

Depiction and imagination are intimately linked. In this article, I discuss the role imagination (as well as inference and knowledge/belief) plays in depiction, with a focus on photographic depiction. I partly embrace a broadly Waltonian view, but not always, and not always for Walton's own reasons. In Walton's view, imagination plays a crucial role in depiction. I consider the objection to his view that not all cases of depiction involve imagination – for instance, documentary photographs. From this discussion, two points (...) will emerge: first, we will see that it is an unnecessary mistake to insist too heavily on the fact that photographs are produced in a mechanical way (as opposed to, say, paintings), and second, we will see that the notion of "imagining-seeing", as it is articulated by Walton, is perhaps too strong and does not entirely do justice to the external character of the role imagination plays here. Focusing mainly on photographs, I then illustrate the view I want to advocate by a series of different cases, where the nature of the role that imagination, knowledge/belief, and inference play in depiction will become apparent. (shrink)

Many philosophers are very sanguine about the cognitive contributions of fiction to science and philosophy. I focus on a case study: Ichikawa and Jarvis’s account of thought experiments in terms of everyday fictional stories. As far as the contribution of fiction is not sui generis, processing fiction often will be parasitic on cognitive capacities which may replace it; as far as it is sui generis, nothing guarantees that fiction is sufficiently well-behaved to abide by the constraints of scientific and philosophical (...) discourse, not even by the minimum requirements of conceptual and logical coherence. (shrink)

Understanding scientific modelling can be divided into two sub-projects: analysing what model-systems are, and understanding how they are used to represent something beyond themselves. The first is a prerequisite for the second: we can only start analysing how representation works once we understand the intrinsic character of the vehicle that does the representing. Coming to terms with this issue is the project of the first half of this chapter. My central contention is that models are akin to places and characters (...) of literary fictions, and that therefore theories of fiction play an essential role in explaining the nature of model-systems. This sets the agenda. Section 2 provides a statement of this view, which I label the fiction view of model-systems, and argues for its prima facie plausibility. Section 3 presents a defence of this view against its main rival, the structuralist conception of models. In Section 4 I develop an account of model-systems as imagined objects on the basis of the so-called pretence theory of fiction. This theory needs to be discussed in great detail for two reasons. First, developing an acceptable account of imagined objects is mandatory to make the fiction view acceptable, and I will show that the pretence theory has the resources to achieve this goal. Second, the term ‘representation’ is ambiguous; in fact, there are two very different relations that are commonly called ‘representation’ and a conflation between the two is the root of some of the problems that beset scientific representation. Pretence theory provides us with the conceptual resources to articulate these two different forms of representation, which I call p-representation and t-representation respectively. Putting these elements together provides us with a coherent overall picture of scientific modelling, which I develop in Section 5. (shrink)

Roman Frigg and Adam Toon, both, defend a fictionalist view of scientific modeling. One fundamental thesis of their view is that scientists are participating in games of make-believe when they study models in order to learn about the models themselves and about target systems represented by the models. In this paper, the epistemology of these two fictionalist views is critically discussed. I will argue that both views can give an explanation of how scientists learn about models they are studying. However, (...) how the use of models can foster an understanding of target systems is not sufficiently accounted for by Frigg and Toon. (shrink)

A critical reflection on John Woods's new monograph, Truth in Fiction – Rethinking its Logic. I focus in particular on Woods’s world-inheritance thesis (what others have variously called ‘background,’ ‘the principle of minimal departure,’ and ‘the reality assumption,’ and which replaces Woods’s earlier ‘fill-conditions’) and its interplay with auctorial say-so, arguing that world-inheritance actually constrains auctorial say-so in ways Woods has not anticipated.

Relatar lo ocurrido como invención: una introducción a la filosofía de la ficción contemporánea ofrece al lector en castellano una magnífica oportunidad para familiarizarse con algunos aspectos centrales de la filosofía del lenguaje contemporánea y sus implicaciones para la teoría de la ficción. García-Carpintero recorre los argumentos fundamentales en favor y en contra de cada una de las posiciones relevantes, y nos propone finalmente un análisis alternativo de la norma de la ficción y una teoría neofregeana de los términos referenciales (...) que logra esquivar algunas objeciones tradicionales. Esta discusión incluye, no obstante, dos objeciones a su norma de la ficción: una se refiere a las formas de la conciencia que esa norma presupone y la otra a la naturaleza del interés que suscitan los proyectos imaginativos vinculados a las obras de ficción. (shrink)

When Wittgenstein claims that "the expression of a change of aspect is the expression of a new perception and at the same time of the perception's being unchanged" (Wittgenstein 1953: 196), he expresses a paradox that Gombrich (Gombrich 1960) modifies in this way: (a 1) the observer x perceives a picture P under a new aspect; (b 1) if x perceives P under a new aspect then x's perception of P has changed; (c 1) but x's perception of P has (...) not actually changed. I argue that the Gombrich's version of the paradox has become the core of the problem of the pictorial representation. As I will explain, different approaches to depiction solve the paradox by denying one among (a 1)-(c 1). Gombrich rejects (c 1). Wollheim rejects (a 1). The so-called psychological theories of depiction also reject (a 1). Every theory of depiction should face what I call the Fictional Issue (FI) and the Representational Issue (RI). Attempting to solve FI and RI, I shall explore an alternative, Wittgensteinian solution, which implies to reject (b 1). To do this, we have to interpret the seeing-as as made of two kinds of perception: a simple perception and a representational perception. (shrink)

In this paper, we introduce a suppositional view of linguistic practice that ranges over fiction, science, and mathematics. While having similar con- sequences to some other views, in particular Linsky and Zalta’s plenitudinous platonism, the view advocated here both differs fundamentally in approach and accounts for a wider range of phenomena and scientific discourse.

Several philosophers advance substantive theories of propositions, to deal with several issues they raise in connection with a concern with a long pedigree in philosophy, the problem of the unity of propositions. The qualification ‘substantive’ is meant to contrast with ‘minimal’ or ‘deflationary’ – roughly, views that reject that propositions have a hidden nature, worth investigating. Substantive views appear to create spurious problems by characterizing propositions in ways that make them unfit to perform their theoretical jobs. I will present in (...) this light some critical points against Hanks’ (2015, 2019) act-theoretic view, and Recanati’s (2019) recent elaboration of Hanks’ notion of cancellation. Both Hanks and Recanati, I’ll argue, rely on problematic conceptions of fiction and pretense. (shrink)

It is often seen as a truism that social objects and facts are the product of human intentions. I argue that the role of intentions in social ontology is commonly overestimated. I introduce a distinction that is implicit in much discussion of social ontology, but is often overlooked: between a social entity’s “grounds” and its “anchors.” For both, I argue that intentions, either individual or collective, are less essential than many theorists have assumed. Instead, I propose a more worldly – (...) and less intellectualist – approach to social ontology. (shrink)

Paisley Livingston asks questions about the arguments Philosopher George M. Wilson offers in order to establish that the Mediated Version of his Imagined Seeing Thesis is superior to other options.