Religious fictionalism is the theory that it is morally and intellectually legitimate to affirm religious sentences and to engage in public and private religious practices, without believing the content of religious claims. This article discusses the main features of fictionalism, contrasts hermeneutic, and revolutionary kinds of fictionalism and explores possible historical and recent examples of religious fictionalism. Such examples are found in recent theories of faith, pragmatic approaches to religion, and mystical traditions in religious theology.

The experience of looking at a tilted penny involves a “phenomenological doubleness” in that it simultaneously seems to be of something circular and of something elliptical. In this paper, I investigate the phenomenological doubleness of this experience by comparing it to another case of phenomenological doubleness––the phenomenological doubleness of seeing an object in a painting. I begin by pointing out some striking similarities between the phenomenological characters of these two experiences. I then argue that these phenomenological characters have a common (...) explanation. More specifically, I argue that the psychological mechanism that explains the phenomenological doubleness of the experience of seeing an object in a painting can be extended to also explain the phenomenological doubleness of the experience of seeing a tilted penny. (shrink)

In social and political theory, the imagination is often used in accounting both for creativity, innovation, and change and for sociopolitical stagnation and the inability to promote innovation and change. To what extent, however, can we attribute such seemingly contradictory outcomes to the same mental faculty? To address this question, this paper develops a comprehensive account of the political imagination, one that explains the various roles played by imagination in politics and thus accounts for the promises and limits of the (...) political imagination. This conceptualization of the political imagination allows us to account for the simultaneous presence of its seemingly contradictory roles—such as promoting stability and order on the one hand while generating creativity and critical innovation on the other. (shrink)

The paper addresses the problem of imaginative resistance in science, that is, why and under what circumstances imagination sometimes resists certain scenarios. In the first part, the paper presents and discusses two accounts concerning the problem and relevant for the main thesis of this study. The first position is that of Gendler, The Architecture of the Imagination: New essays on pretence, possibility and fiction, Oxford University Press, New York, 2006a), The routledge companion to philosophy of literature, Routledge, New York, 2016), (...) according to which imaginative resistance mainly concerns evaluative scenarios, presenting deviant moral attitudes. The second account examined is that of Kim et al. Advances in experimental philosophy of aesthetics, Bloomsbury, London, 2018), who insisted on the link between imaginative resistance on the one hand and counterfactual and counterdescriptive scenarios on the other. In the light of both theories, this paper discusses the importance of addressing the problem of imaginative resistance in the scientific enterprise in the light of some mechanisms of embodied simulation, based on the activity of mirror neurons and investigated within the framework of the Embodied Simulation Theory. (shrink)

I explore some of the reasons why, under specific circumstances, it may be rational to make-believe or imagine certain religious beliefs. Adopting a jargon familiar to certain contemporary philosophers, my main concern here is to assess what reasons can be given for adopting a fictionalist stance towards some religious beliefs. My understanding of fictionalism does not involve solely a propositional attitude but a broader stance, which may include certain acts of pretence. I also argue that a plausible reason to be (...) fictionalist about a specific set of religious beliefs and practices has to do with the value of some artistic creations; namely, those that require the adoption of a religious point of view for their understanding. (shrink)

Geach points out that some pairs of beliefs have a common focus despite there being, apparently, no object at that focus. For example, two or more beliefs can be directed at Vulcan even though there is no such planet. Geach introduced the label ‘intentional identity’ to pick out the relation that holds between attitudes in these cases; Geach says that ’[w]e have intentional identity when a number of people, or one person on different occasions, have attitudes with a common focus, (...) whether or not there actually is something at that focus’. In this paper, I propose a novel theory of intentional identity, the triangulation theory, and argue that it has considerable advantages over its principal rivals. My approach centers on agents’ metarepresentational beliefs about what it takes for intentional attitudes to be about particular objects. (shrink)

How do models represent reality? There are two conditions that scientific models must satisfy to be representations of real systems, the aboutness condition and the epistemic condition. In this article, I critically assess the two main fictionalist theories of models as representations, the indirect fiction view and the direct fiction view, with respect to these conditions. And I develop a novel proposal, what I call ‘the new fiction view of models’. On this view, models are akin to fictional stories; they (...) represent real-world phenomena if they stand in a denotation relation with reality; and they enable knowledge of reality via the generation of theoretical hypotheses, model–world comparisons and direct attributions. (shrink)

In this paper we explore the hypothesis that constrained uses of imagination are crucial to economic modeling. We propose a theoretical framework to develop this thesis through a number of specific hypotheses that we test and refine through six new, representative case studies. Our ultimate goal is to develop a philosophical account that is practice oriented and informed by empirical evidence. To do this, we deploy an abductive reasoning strategy. We start from a robust set of hypotheses and leave space (...) for the generation of further hypotheses and theoretical claims based on the qualitative analysis of new empirical data. (shrink)

Against standard descriptivist and referentialist semantics for fictional reports, I will defend a view according to which fictional names do not refer yet they can be distinguished from one another in virtue of their different name-using practices. The logical structures of sentences containing fictional names inherit these distinctions. Different interpretations follow.

Movies have a striking aesthetic power: they can draw us in and induce a peculiar mode of involvement in their images – they absorb us. While absorbed in a movie, we lose track both of the passage of time and of the fact that we are sitting in a dark room with other people watching the play of light upon a screen. What is the source of the power of movies? Noël Carroll, who cites Maurice Merleau-Ponty as an influence on (...) his account of the power of movies, agrees with Merleau-Ponty that our perceptual experience of movies draws on many of the capacities at work in our perceptual experience of everyday situations. Yet Merleau-Ponty’s account of perception shows that Carroll’s emphasis on intellectual inference and the entertaining of unasserted thoughts is a distortion of the phenomenology of cinematic absorption. According to Merleau-Ponty, such intellectual operations come into play in cases of breakdown but should not be read back into the primary absorbed experience as being implicitly operative.. (shrink)

This article explores the nature and theoretical import of a hitherto neglected class of fictions which we term ‘self-involving interactive fictions’. SIIFs are interactive fictions, but they differ from standard examples of interactive fictions by being, in some important sense, about those who consume them. In order to better understand the nature of SIIFs, and the ways in which they differ from other fictions, we focus primarily on the most prominent example of the category: video-game fictions. We argue that appreciating (...) the self-involving nature of video-game fictions is key to understanding various otherwise puzzling phenomena concerning the ways in which consumers respond to them. Video-game fictions are, however, far from being the only extant example of this class; and we suggest that the recent philosophical interest in video games would be better focused on the wider class of self-involving interactive fictions. (shrink)

The Journal of Aesthetics and Art Criticism, Volume 78, Issue 1, Page 101-105, Winter 2020.

In her thought‐provoking article, Willis (2019) argues that video games differ from other media—with regard to fictional truth—in ways which cannot be accounted.

My responses to seven critical reviews of my book *Mental Files* published in a special issue of the journal Disputatio, edited by F. Salis. The reviewers are: Keith Hall, David Papineau, Annalisa Coliva and Delia Belleri, Peter Pagin, Thea Goodsell, Krista Lawlor and Manuel Garcia-Carpintero.

Peter Hanks and Scott Soames both defend pragmatic solutions to the problem of the unity of the proposition. According to them, what ties together Tim and baldness in the singular proposition expressed by ‘Tim is bald’ is an act of the speaker : the act of predicating baldness of Tim. But Soames construes that act as force neutral and noncommittal while, for Hanks, it is inherently assertive and committal. Hanks answers the Frege–Geach challenge by arguing that, in complex sentences, the (...) force inherent in the content of an embedded sentence is cancelled. Indrek Reiland has recently objected to Hanks’s proposal that it faces a dilemma: either force cancellation dissolves the unity of the proposition secured by the cancelled act of assertion, or Hanks’s proposal reduces to Soames’s. In this paper, I respond to Reiland by offering an analysis of force cancellation which gets rid of the alleged dilemma. The proposal is based on a set of distinctions from speech act theory : between two senses of ’force’, two types of act, and two types of context. The role of simulation in force cancellation is emphasized, and connections drawn to broader issues such as the evolution of complex language. (shrink)

In the first part of this paper I present a defence of the Austinian semantic approach to incomplete quantifiers and similar phenomena (section 2-4). It is part of my defence of Austinian semantics that it incorporates a cognitive dimension (section 4). This cognitive dimension makes it possible to connect Austinian semantics to various cognitive theories of discourse interpretation. In the second part of the paper (sections 5-7), I establish connections between Austinian semantics and four particular theories: • the theory of (...) reference and modes of presentation in terms of information files (see e.g. Perry 1993), • the theory of discourse interpretation as involving a process of context selection (see Sperber and Wilson 1986), • the theory of informational structure (for a survey, see Lambrecht 1994), • the theory of mental spaces (Fauconnier 1985). (shrink)

Grice proposed an implicature-based account of irony, according to which ironical utterances give rise to an antiphrasis implicature. This view, which followed the classical rhetorical account of irony, merely transported it from the semantic to the pragmatic domain, which is clearly not enough to answer the questions which the antiphrasis account triggers, i.e., the explanation of how the hearer recovers the antiphrasis interpretation, or of why the speaker should say something when she means exactly the reverse. A final, and devastating, (...) criticism is, quite simply, that not all ironical utterances are assertions and, hence, that the antiphrasis account does not easily apply to them. What is more, some ironical utterances, perhaps most of them, do not at all trigger an antiphrasis. Contemporary accounts of irony, such as those proposed by Sperber and Wilson — the echoic account — or by Currie — the pretence account —, do not meet with the same difficulties. They are generally presented as being able to account for “central” examples of irony and as incompatible..In the present paper, I will show that the echoic and the pretence accounts, far from being incompatible, seem to be applicable to exactly the same set of examples, and that, in fact, some of the strictures levelled by Currie against the echoic account are not in fact valid criticism. Additionally, there are quite a lot of examples of ironical utterances which are not susceptible of an account in terms of echo or pretence. Thus, it seems that neither account can serve as a general account of irony. I finally propose an account in terms of ironical utterancesshowing(rather thansaying) an unreasonable behaviour, belief or reasoning on the part of the target of the irony and plead for a Gricean account, based not on an antiphrasis implicature, but on meaningNN and the recognition of the double-barrelled intention of the speaker. This, clearly, is compatible with the echoic or pretence accounts, though more general than either. (shrink)

The aim of the paper is to defend the view according to which all simple fictional sentences are meaningless. If their assertions seem to convey some truth evaluable information, and fictional sentences themselves seem to be true or false, it is because some pragmatic mechanisms are operative, enabling the expression of propositions not encoded in the semantic content of these sentences. According to some theorists, the mechanisms responsible for that process are the same as those responsible for generating conversational implicatures. (...) I argue against that claim and maintain that to comprehend the information conveyed by a fictional assertion, one must determine what kind of fictional assertion it is and only then apply the relevant interpretative rule adjusted to the fictional sentence used in that act. (shrink)

The canonical version of possible worlds semantics for story prefixes is due to David Lewis. This paper reassesses Lewis's theory and draws attention to some novel problems for his account.

Climatologists have recently introduced a distinction between projections as scenario-based model results on the one hand and predictions on the other hand. The interpretation and usage of both terms is, however, not univocal. It is stated that the ambiguities of the interpretations may cause problems in the communication of climate science within the scientific community and to the public realm. This paper suggests an account of scenarios as props in games of make-belive. With this account, we explain the difference between (...) projections that should be make-believed and other model results that should be believed. (shrink)

1. Phenomenology is first and foremost about intentionality. As Husserl puts it, “Intentionality is the name of the problem encompassed by the whole of phenomenology”.1 Broadly understood, the phen...

Philosophical views of language have traditionally been focused on notions of truth. This is a reconstructive view in that we try to extract from an utterance in context what the sentence and speaker meaning are. This focus on meaning extraction from word sequences alone, however, is challenged by utterances which combine different types of figures. This paper argues that what appears to be a special case of ironic utterances—ironic metaphorical compounds—sheds light on the requirements for psychological plausibility of a theory (...) of communication and thus presents a different view of communication and language to that dominant in philosophy of language. In the view presented here, the hearer does not extract the speaker’s communicative intention from the sequence of words in the utterance, but from other channels, so as to constrain the inferential space for the sentence and speaker meaning. Specifically, we examine an example of ironic metaphor discussed by Stern. He argues that ironic content is logically dependent on metaphorical content, but makes no claims about how psychologically plausible this is in terms of the processing order. We argue that a straightforward translation of logical order into temporal order makes little sense. The primary sticking point is that without a prior understanding of the speaker’s communicative intentions, it is computationally more challenging to process the sub-component meanings. An alternative solution based on communicative channels leads us to a more psychologically plausible account of the structure of communicative acts and intentions. This provides support for the psychological realism of a richer theory of communicative intent. (shrink)

Thi Nguyen has given us a cracker of a book in Games: Agency as Art, one that sports philosophers amongst others will learn from for many years. One fascinating (but I will argue, pro...

ABSTRACTI propose a different account of fictional objects from the ones already present in the literature. According to my account, fictional objects are culturally created abstract objects dependent for their existence on the pretence attitude adopted by a group of people towards a single fictional content. My work is divided into three parts: in the first one, I present how fictional objects come into existence according to my proposal; in the second part, I illustrate how the existence of fictional objects (...) so conceived may be ontically indeterminate; in the last part, I consider what happens when vague existence and indeterminate identity are claimed within fictional texts. (shrink)

It is usually taken for granted that a necessary condition for knowing that P is the truth of P. It may therefore be claimed that if we assume that we gain some kind of knowledge through fiction (let us call it fictional knowledge) of P*, then P* should be true—in at least a certain sense. My hypothesis is that this assumption grounds the different ways adopted by philosophers for attributing truth-conditions to fictional sentences. My claim in this work is that (...) fictional sentences do not have truth-values and truth-conditions, but I want to maintain that we gain some kind of knowledge through fiction: to this aim, I will characterize the objective content of fictional sentences not in terms of truth-conditions (which are usually described by appealing to rules of the language or rules of interpretation of language independent of the actual users), but in dispositional terms and I will define a necessary condition for fictional knowledge accordingly. (shrink)

Many philosophers suppose that sometimes we think we are saying or thinking something meaningful when in fact we’re not saying or thinking anything at all: we are producing nonsense. But what is nonsense? An account of nonsense must, I argue, meet two constraints. The first constraint requires that nonsense can be rationally engaged with, not just mentioned. In particular, we can reason with nonsense and use it within that-clauses. An account which fails to meet this constraint cannot explain why nonsense (...) appears meaningful. The second constraint requires that nonsense does not express thoughts. An account which fails to meet this constraint undercuts the critical force of the concept of nonsense. I offer an account which meets both constraints. The central idea is that to be under the illusion that some nonsense makes sense is to enter a pretence that the nonsense is meaningful. (shrink)

According to the amoralist, computer games cannot be subject to moral evaluation because morality applies to reality only, and games are not real but “just games”. This challenges our everyday moralist intuition that some games are to be met with moral criticism. I discuss and reject the two most common answers to the amoralist challenge and argue that the amoralist is right in claiming that there is nothing intrinsically wrong in simply playing a game. I go on to argue for (...) the so-called “endorsement view” according to which there is nevertheless a sense in which games themselves can be morally problematic, viz. when they do not only represent immoral actions but endorse a morally problematic worldview. Based on the endorsement view, I argue against full blown amoralism by claiming that gamers do have a moral obligation when playing certain games even if their moral obligation is not categorically different from that of readers and moviegoers. (shrink)

In this essay, I appeal to the mental file approach in order to give an anti-realist semantic analysis of statements containing fictional names. I claim that fictive and parafictive uses of them express conceptual, though not general, propositions constituted by mental files, anchored in the conceptual world of the corresponding fictional story. Moreover, by positing a referential shift determined by the presence of a simulative referential intention characteristic of those uses, it is possible to take them to be true with (...) respect to those conceptual worlds. As for metafictive uses, since they are grounded on mixed intentions, they are considered to express hybrid propositions, partly conceptual and partly referential. (shrink)

In this essay, I critically evaluate components of Michael Weisberg’s approach to models and modeling in his book Simulation and Similarity. First, I criticize his account of the ontology of models and mathematics. Second, I respond to his objections to fictionalism regarding models arguing that they fail. Third, I sketch a deflationary approach to models that retains many elements of his account but avoids the inflationary commitments.

The ability to think in abstractions depends on the imagination. An important evolutionary change was the installation of a suite of six imaginative activities that emerge at first in childhood, which include empathy, symbolic play, and theory-of-mind. These abilities can be built upon in adulthood to enable the production of oral and written stories. As a technology, writing has three aspects: material, skill based, and societal. It is in fiction that expertise in writing is most strikingly attained; imagination is put (...) to use to create simulations of the social world that can usefully be offered to others. Fiction is best conceived as an externalization of consciousness, which not only enables us to understand others but also to transform ourselves so that we can reach beyond the immediate. (shrink)

The ability to think in abstractions depends on the imagination. An important evolutionary change was the installation of a suite of six imaginative activities that emerge at first in childhood, which include empathy, symbolic play, and theory-of-mind. These abilities can be built upon in adulthood to enable the production of oral and written stories. As a technology, writing has three aspects: material, skill based, and societal. It is in fiction that expertise in writing is most strikingly attained; imagination is put (...) to use to create simulations of the social world that can usefully be offered to others. Fiction is best conceived as an externalization of consciousness, which not only enables us to understand others but also to transform ourselves so that we can reach beyond the immediate. (shrink)

The nature of fantasy has been little discussed, despite its importance in the arts. Its significance is brought out here in relation to the long‐standing debate on the alleged paradox of fiction—that we respond emotionally to characters and events known to be unreal. Examination of the paradox shows it to be ill founded once the nature of fantasy is appreciated. Moreover, a detailed consideration of fantasy shows that it can itself provide a plausible account of our emotional reactions to creative (...) literature, an account that, after a review of some possible objections, is then contrasted with the leading contemporary theories. (shrink)

Phenomenological accounts of technology, mediation, and embodiment are beginning to problematize traditional distinctions between subject and object. This shift is often attributed to a material or post-human turn since it is usually associated with an interest in the non-human actors and objects that make media interfaces possible. This article contends that these tendencies should also be considered part of a deeper lineage of dialectical thought in critical theory. Using videogames as an example, I argue that academic debates related to the (...) player/game relationship can be read through the lens of Adorno’s aesthetic theory. Developing Adorno’s concept of mimesis, I argue that the interface is often treated as a dialectical question of how the space between subject and object should be traversed. I reflect on the possible advantages of focusing on this contested space through a discussion of game controllers and the Aristotelian concept of techne. (shrink)

Theories of picture perception aim to understand our perceptual relation to both the picture surface and the depicted object. I argue that we should talk about not two, but three entities when understanding picture perception: the picture surface, the three dimensional object the picture surface visually encodes and the three dimensional depicted object. As and can come apart, we get a more complex picture of picture perception than normally assumed and one where the notion of twofoldness, which has played an (...) important albeit controversial role in understanding picture perception is replaced by the concept of threefoldness. (shrink)

While there has been a lot of discussion of picture perception both in perceptual psychology and in philosophy, these discussions are driven by very different background assumptions. Nonetheless, it would be mutually beneficial to arrive at an understanding of picture perception that is informed by both the philosophers’ and the psychologists’ story. The aim of this paper is exactly this: to give an account of picture perception that is valid both as a philosophical and as a psychological account. I argue (...) that seeing trompe l’oeil paintings is, just as some philosophers suggested, different from other cases of picture perception. Further, the way our perceptual system functions when seeing trompe l’oeil paintings could be an important piece of the psychological explanation of perceiving pictures. (shrink)

I can imagine a banana to be a phone receiver. I can also imagine the flapping of my arms to be flying. So it is possible to imagine one thing to be another—at least for some types of ‘things’. I will argue that although it is possible to imagine an object to be another object and it is also possible to imagine an activity to be a different activity, one cannot imagine one’s present sensory experience to be a different sensory (...) experience with different qualitative character. This claim will have some important consequences beyond the philosophy of imagination, for example, for some accounts of depiction. (shrink)

Typically, the imagination in thought experiments has been taken to consist in mental images; we visualize the state of affairs described. A recent alternative from Fiora Salis and Roman Frigg main...

In this paper, I argue that sentences that contain ‘omission’ tokens that appear to function as singular terms are meaningful while maintaining the view that omissions are nothing at all or mere absences. I take omissions to be fictional entities and claim that the way in which sentences about fictional characters are true parallels the way in which sentences about omissions are true. I develop a pragmatic account of fictional reference and argue that my fictionalist account of omissions implies a (...) plausible account of the metaphysics of omissions. (shrink)

In this article, I consider whether a suitably stripped-down version of Kant's aesthetic theory could nevertheless provide philosophical foundations for musical formalism. I begin by distinguishing between formalism as a view about the nature of music and formalism as an approach to music criticism, arguing that Kant's aesthetics only rules out the former. Then, using an example from the work of musicologist and composer Edward T. Cone, I isolate the characteristics of formalist music criticism. With this characterization in mind, I (...) conclude by showing that even if Kant's aesthetic theory is reduced to its most fundamental claims, the logic of formalist music criticism precludes its practice within even a kantian perspective. (shrink)

ABSTRACTAs sports fans, we often experience what seem to be strong garden-variety emotions—everything from joy and euphoria to anger, dread and despair. In self-description, in physiology and even in phenomenology, these reactions to sporting events present themselves as genuine emotions. But we don’t act on these ‘sporting emotions’ in the ways one might expect. This is because these reactions are not genuine emotions. Or so I argue. Johan Huizinga suggested that play has a pretend ‘set aside’ ‘extra-ordinary’ character. And Kendall (...) Walton has argued that make-believe is involved in our emotional responses to fiction, as well as to sport. Here I articulate and extend the idea that sporting emotions centrally involve pretense and make-believe in ways that can meet some forceful objections. These extensions draw on a ‘double-consciousness’ I claim to find in the pretense of play. I end by saying why the proper characterization of our sporting emotions is important. (shrink)

The metaphor of a branching tree of future possibilities has a number of important philosophical and logical uses. In this paper we trace this metaphor through some of its uses and argue that the metaphor works the same way in physics as in philosophy. We then give an overview of formal systems for branching possibilities, viz., branching time and (briefly) branching space-times. In a next step we describe a number of different notions of possibility, thereby sketching a landscape of possibilities. (...) In the final section of the paper we look at the place of branching-based possibilities in that larger landscape of possibilities. Our main message is that far from being an outlandish metaphysical extravagancy, branching-based possibilities are epistemically as well as metaphysically basic. (shrink)

The term “uncanny valley” goes back to an article of the Japanese roboticist Masahiro Mori. He put forward the hypothesis that humanlike objects like certain kinds of robots elicit emotional responses similar to real humans proportionate to their degree of human likeness. Yet, if a certain degree of similarity is reached emotional responses become all of a sudden very repulsive. The corresponding recess in the supposed function is called the uncanny valley. The present paper wants to propose a philosophical explanation (...) why we feel empathy with inanimate objects in the first place, and why the uncanny valley occurs when these objects become very humanlike. The core of this explanation—which is informed by the recently developing empirical research on the matter—will be a form of empathy involving a kind of imaginative perception. However, as will be shown, imaginative perception fails in cases of very humanlike objects. (shrink)

There are two distinct interpretations of the role that Feynman diagrams play in physics: (i) they are calculational devices, a type of notation designed to keep track of complicated mathematical expressions; and (ii) they are representational devices, a type of picture. I argue that Feynman diagrams not only have a calculational function but also represent: they are in some sense pictures. I defend my view through addressing two objections and in so doing I offer an account of representation that explains (...) why Feynman diagrams represent. The account that I advocate is a version of that defended by Kendall Walton, which provides us with a basic characterization of the way that representations in general work and is particularly useful for understanding distinctively pictorial representations - in Walton's terms, depictions. The question of the epistemic function of Feynman diagrams as pictorial representations is left for another time. (shrink)

The Scientific Imagination: Philosophical and Psychological Perspectives, edited by Arnon Levy and Peter Godfrey-Smith (2020), attempts to bring some much-neede.