Creativity is typically defined as a disposition to produce valuable ideas. We argue that this is a mistake and defend a new definition of creativity in terms of the imagination. It follows that creativity has instrumental value at most and then only in the right circumstances. We consider the role of tradition and judgment in worthwhile creativity and argue that there is frequently a tension between greater creativity and the production of value.

Lucy O'Brien has argued that defenders of the object-dependence of singular thought should attend to mental agency. A recent trend in action theory, towards what John Maier calls ‘agentive modality’, suggests that we conceive agency in terms of the exercise of abilities, and this is how I propose to approach O'Brien's challenge. For Gareth Evans, an early defender of object-dependence, maintained that thinking is the exercise of a complex of abilities. The debate about object-dependence gives way to the question whether (...) we have what I call dedicated singular mental abilities. In arguing that we do, I defend the thesis of object-dependence. (shrink)

Thought about fictional characters is special, and needs to be distinguished from ordinary world-directed thought. On my interpretation, Kendall Walton and Gareth Evans have tried to show how this serious fiction-directed thought can arise from engagement with a kind of pretending. Many criticisms of their account have focused on the methodological presupposition, that fiction-directed thought is the appropriate explanandum. In the first part of this paper, I defend the methodological claim, and thus the existence of the problem to which pretense (...) is supposed to be a solution. In the second part, I elaborate and defend the pretense theory as a solution to this problem. (shrink)

Anna Pautz has recently argued that the pretense theory of thought about fiction cannot explain how two people can count as thinking about the same fictional character. This is based on conflating pretending and the serious thought that can be based on pretend. With this distinction in place, her objections are groundless.

Powerful transformer models based on neural networks such as GPT-4 have enabled huge progress in natural language processing. This paper identifies three challenges for computer programs dealing with metaphors. First, the phenomenon of Twice-Apt-Metaphors shows that metaphorical interpretations do not have to be triggered by syntactical, semantic or pragmatic tensions. The detection of these metaphors seems to involve a sense of aesthetic pleasure or a higher-order theory of mind, both of which are difficult to implement into computer programs. Second, the (...) contexts relative to which metaphors are interpreted are not simply given but must be reconstructed based on pragmatic considerations that can involve presuppositional pretence. If computer programs cannot produce or understand such a form of pretence, they will have problems dealing with certain metaphors. Finally, adequately interpreting and reacting to some metaphors seems to require the ability to have internal, first-personal experiential and affective states. Since it is questionable whether computer programs have such mental states, it can be assumed that they will have problems with these kinds of metaphors. (shrink)

Recent debates in the philosophy of dance have focused on the relationship between motor response and dance appreciation. Some philosophers argue that motor responses to dances are an important part of dance appreciation. Proponents of such a claim are often backed with support from cognitive science. But it has not remained uncontroversial. Despite its controversy, the concept of motor response remains under-analyzed. As a result, assumptions about the idea and purpose of motor response get borrowed from cognitive science. I argue (...) that one such assumption, that motor response is supposed to be veridical, runs us into several problems. It runs us into something of a paradox, where it is claimed that motor responses happen as part of our general perception of movement. However, few people experience such responses. Furthermore, it seems that the motor responses that are appropriate for a dance might not be the ones the dancer is feeling. As a result, we should prefer an account of motor response that emphasizes its flexibility and its ability to change and adapt to the movement we see. (shrink)

I argue that practical knowledge can be understood as constituted by a kind of imagining. In particular, it is the knowledge of what I am doing when that knowledge is represented via extramental imagination. Two results follow. First, on this account, we can do justice both to the cognitive character and the practical character of practical knowledge. And second, we can identify a condition under which imagination becomes factive, and thus a source of ob-jective evidence. I develop this view by (...) extracting an account of self-knowledge via extramental imagination from the writings of Ibn ‘Arabi (1165-1240). (shrink)

In this paper, I argue that the theory of mental files can provide a unitary cognitive account of how names and singular terms work in fiction. I will suggest that the crucial notion we need is not the one of regular file, i.e., a file whose function is to accumulate information that we take to be about a single object of the outside world, but the notion of indexed file, i.e., a file that stands, in the subject’s mind, for another (...) subject’s file about an object. When we read a novel containing the name of an individual, we acquire (fictional) information about that individual and we store those pieces of information into an indexed file. If the name also refers to a real individual outside the context of fiction, the indexed file is linked with the pre-existing regular file that we have about such individual. Otherwise, the indexed file is linked to a regular file referring to an abstract object, namely the fictional entity itself. (shrink)

Review of Terence Cuneo, "Ritualized Faith: Essays on the Philosophy of Liturgy", Oxford Univ. Press 2016, 228pp.

According to Ernst Gombrich, cartoons provide us the chance to “study the use of symbols in a circumscribed context [and] find out what role the image may play in the household of our mind” (Gombrich 1973, 190). This paper looks at some underexplored implications and outcomes of Ernst Gombrich’s conceptual schemata when such a schemata is applied to cartoons. While we might easily avoid defamatory reference when picking out a subject in writing or speech, cartoon depictions, especially those unaccompanied by (...) speech bubbles or captions, often rely on a visual symbolism typified by the warping of some features the removal of others, and the manifestation of some visual trope or other, more easily lend themselves to defamatory reference. While harms to the referent are many in cases of defamatory cartoons, this paper focuses on the harms to the viewers of such cartoons by the depicter’s message and mode of representation, unique to the cartoon form. I will focus on the harms of misinformation of the viewer by the visual schemata (Gombrich 1960) present in certain cartoons, and the way this misinformative visual schemata (Ibid) may also restrict the possibility of conceptual revisions in its viewership. Harms of this kind come out uniquely in cartoons via norms of cartooning (as a particularly stylized and symbolic mode of visual representation) and the norms of interaction employed in the act of viewing a cartoon. As we’ll see in our case study of the infamous Jyllands Posten cartoons of Muhammad the Prophet, even in cases where a cartoon representation bears no visual similarity to its referent, viewers can easily and reliably pick out the referent by calling to mind, in our focal case, the defamatory stereotypes, stock figures and icons inextricably linked with the referent. I argue that the damage to viewers of these sorts of depictions lies not in the fact that the viewer manages to pick out the intended referent of the depiction but what tools they use to pick out the referent and how such tools of reference (mis)inform their understanding of the referent they’ve picked out. (shrink)

(Open Access.) Quantifiers frequently figure in works of fiction. But occurrences of quantificational expressions within fictions seem no more inevitably to be associated with real domains than uses of names within fictions seem inevitably to be associated with existing referents. The paper outlines some philosophical puzzles resulting from this apparent lack of associated domains, puzzles that are broadly analogous to more familiar ones raised by the apparently nonreferential nature of many fictional names. The paper argues, in the light of an (...) important disanalogy between quantifiers and names, that the quantificational puzzles are substantive, in that they cannot be resolved merely by appealing to the possibility of empty domains. It then argues that, despite the cited parallels between occurrences of quantifiers and names within fictions, promising treatments of fictional names do not always straightforwardly generalise to provide accounts of the quantificational phenomena: the quantificational puzzles are therefore not only substantive but also distinctive. The paper provides further testament to the depth and interest of the problems involving content that are generated by fiction, by identifying a very wide range of previously neglected cases, while also helping to situate within a broader context the notoriously hard philosophical challenges posed by fictional names. (shrink)

A Gricean preamble concludes that though utterances have unintended meanings, those cannot be considered apart from their intended meanings. Intention distinguishes artworks from natural phenomena. To allocate an artwork to a genre, to accept its normal authorial boundaries and that its content is not random but chosen, is to concede intention's centrality. Wimsatt and Beardsley were right that meaning is public. But they think 'intention' is 'private' or 'unavailable'. However, it too is public, in the work. Fictions are utterances of (...) a curious kind. They may mimic, but are not meant to be taken for, veridical reports. Neither are they 'pseudo-statements' nor 'pretended illocutionary acts'. Their logical form is actually this: 'I [author] invite you [reader] to imagine that S [content].' This prescribes no response, nor claims to describe the 'real' world, even though it may elicit a response appropriate to real-life events. One reason for imagining fictional situations may be to strengthen the perceptions necessary for real life. (shrink)

Non-actual model systems discussed in scientific theories are compared to fictions in literature. This comparison may help with the understanding of similarity relations between models and real-world target systems. The ontological problems surrounding fictions in science may be particularly difficult, however. A comparison is also made to ontological problems that arise in the philosophy of mathematics.

I argue for an intentional conception of representation in science that requires bringing scientific agents and their intentions into the picture. So the formula is: Agents (1) intend; (2) to use model, M; (3) to represent a part of the world, W; (4) for some purpose, P. This conception legitimates using similarity as the basic relationship between models and the world. Moreover, since just about anything can be used to represent anything else, there can be no unified ontology of models. (...) This whole approach is further supported by a brief exposition of some recent work in cognitive, or usage-based, linguistics. Finally, with all the above as background, I criticize the recently much discussed idea that claims involving scientific models are really fictions. (shrink)

In the first part of the paper, previous work about embodied mathematics and the practice of topology will be presented. According to the proposed view, in order to become experts, topologists have to learn how to use manipulative imagination: representations are cognitive tools whose functioning depends from pre-existing cognitive abilities and from specific training. In the second part of the paper, the notion of imagination as “make-believe” is discussed to give an account of cognitive tools in mathematics as props; to (...) better specify the claim, the notion of “affordance” is explored in its possible extension from concrete objects to representations. (shrink)

The aim of this article is to expand the diet of examples considered in philosophical discussions of imagination and pretense, and to offer some preliminary observations about what we might learn about the nature of imagination as a result. The article presents a number of cases involving imaginative contagion: cases where merely imagining or pretending that P has effects that we would expect only perceiving or believing that P to have. Examples are offered that involve visual imagery, motor imagery, fictional (...) emotions, and social priming. It is suggested that imaginative contagion is a more prevalent phenomenon than has typically been recognized. (shrink)

As the subtitle “A Syncretistic Account of Fictional Entities” makes clear, Alberto Voltolini intends in this book to argue for a syncretic view of the ontology and the semantics of fiction. In the process, he offers sympathetic and clear presentations of the main contenders in the field, discussing first ontological matters (chapters 1–4) and then semantic questions (chapters 5–6), and concluding with an ‘ontological’ argument for the allegedly syncretic brand of realism about fictional entities he has by then endorsed. The (...) book will therefore be very useful for all those who want to have a guided overview of the state of the art in the field, and very helpful if used as a main text for an introductory graduate course. (shrink)

The paper reviews proposals by Abell, Predelli, and others on the semantics of fiction, focusing on the discourse through which fictions are created. Predelli develops the radical fictionalism of former writers like Kripke and van Inwagen, on which that discourse is contentless and does not express propositions. This paper offers reasons to doubt these claims. It then explores realist proposals like Abell’s in which singular terms in fictions refer to fictional characters, understood as socially created representational artifacts, and irrealist alternatives (...) in which the discourse is fully meaningful even though those terms fail to refer. (shrink)

The paper surveys recent appraisals of David Lewis’s seminal paper on truth in fiction. It examines variations on standard criticisms of Lewis’s account, aiming to show that, if developed as Lewis suggests in his 1983 Postscript A, his proposals on the topic are—as Hanley puts it—‘as good as it gets’. Thus elaborated, Lewis’s account can resist the objections, and it offers a better picture of fictional discourse than recent resurrections of other classic works of the 1970s by Kripke, van Inwagen (...) and Searle. The turn that Lewis suggests and the paper recommends draws on the remaining outstanding contribution from that time: Walton’s. (shrink)

Singular terms used in fictions for fictional characters raise well-known philosophical issues, explored in depth in the literature. But philosophers typically assume that names already in use to refer to “moderatesized specimens of dry goods” cause no special problem when occurring in fictions, behaving there as they ordinarily do in straightforward assertions. In this paper I continue a debate with Stacie Friend, arguing against this for the exceptionalist view that names of real entities in fictional discourse don’t work there as (...) they do in simple-sentence assertions, but rather as fictional names do. (shrink)

In recent work, Walton has abandoned his very influential account of the fictionality of p in a fictional work in terms of prescriptions to imagine emanating from it. He offers examples allegedly showing that a prescription to imagine p in a given work of fiction is not sufficient for the fictionality of p in that work. In this paper, both in support and further elaboration of a constitutive-norms speech-act variation on Walton’s account that I have defended previously, I critically discuss (...) his objections. In addition to answering his concerns and developing the account further, I provide additional abductive support for its explanatory virtues vis-à- institutional accounts like Walton’s, and Gricean speech-act proposals. (shrink)

We intuitively make a distinction between _lying_ and _misleading_. On the explanation of this phenomenon favored here—the _adverbial_ account—the distinction tracks whether the content and its truth-committing force are literally conveyed. On an alternative _commitment_ account, the difference between lying and misleading is predicated instead on the strength of assertoric commitment. One lies when one presents with full assertoric commitment what one believes to be false; one merely misleads when one presents it without full assertoric commitment, by merely hinting or (...) otherwise implying it. Now, as predicted by the well-supported assumption that we can also assert with pictures, the lying/misleading distinction appears to intuitively show up there too. Here I’ll explain how the debate confronting the two accounts plays out both in general and in that case, aiming to provide support for the adverbial account. (shrink)

Philosophy and Phenomenological Research, EarlyView.

Traditionally, in media studies research, the direct address or aside, i.e., a construction in which a speaker communicates a message directly to the audience breaking the continuity of the narrative flow, has been investigated mainly for its dramaturgical function. The present study aims to consider the direct address as a research object of the social psychology of communication to increase our understanding of this technique by going beyond the analysis of its dramaturgical function. In particular, the direct address will be (...) examined through an integrated approach based on argumentative and conversational tools to highlight its less known polydimensional structure, i.e., diegetic and extra-diegetic dimensions and their interactions, and psychosocial functions, i.e., connecting the characters among each other within the show as well as with the audience. This objective will be achieved by analyzing two different direct addresses from the American TV series House of Cards. The analysis showed that the direct address performs its dramaturgical function by impacting both diegetic and extradiegetic levels. In the first case, as considered in previous studies, these plans are activated in parallel, aiming to build what we have defined as the “strategic subjectivity” of the character who employs this technique. Instead, in the second case—which comprises two direct addresses produced by two different characters—this technique involves the creation of what we will call “platforms of intersubjectivity.” In this occurrence, the dramaturgical action establishes a “bridge” between the diegetic and extradiegetic plans that act synergistically. In conclusion, the present study shows how an integrated approach based on argumentative and conversational tools of analysis permits to enlarge the traditional media studies perspective, highlighting the less investigated polydimensional structure and analyzing the psychosocial functions of the direct address, here considered as a research object of the social psychology of communication examined in its diegetic and extra-diegetic dimensions. The integration of the pragma-dialectical approach to argumentation with the interlocutory logic theory has brought to light a new modality of use of the direct address that can be termed “intersubjective aside,” a type of aside that can be added to the three already known, i.e., aside ad spectatores, monological aside, and dialogical aside. (shrink)

One version of the Humean Theory of Motivation holds that all actions can be causally explained by reference to a belief–desire pair. Some have argued that pretense presents counter-examples to this principle, as pretense is instead causally explained by a belief-like imagining and a desire-like imagining. We argue against this claim by denying imagination the power of motivation. Still, we allow imagination a role in guiding action as a script . We generalize the script concept to show how things besides (...) imagination can occupy this same role in both pretense and non-pretense actions. The Humean Theory of Motivation should then be modified to cover this script role. (shrink)

Many scientific models are representations. Building on Goodman and Elgin’s notion of representation-as we analyse what this claim involves by providing a general definition of what makes something a scientific model, and formulating a novel account of how they represent. We call the result the DEKI account of representation, which offers a complex kind of representation involving an interplay of, denotation, exemplification, keying up of properties, and imputation. Throughout we focus on material models, and we illustrate our claims with the (...) Phillips-Newlyn machine. In the conclusion we suggest that, mutatis mutandis, the DEKI account can be carried over to other kinds of models, notably fictional and mathematical models. (shrink)

I argue that judgments of what is ‘true in a fiction’ presuppose the Reality Assumption: the assumption that everything that is true is fictionally the case, unless excluded by the work. By contrast with the more familiar Reality Principle, the Reality Assumption is not a rule for inferring implied content from what is explicit. Instead, it provides an array of real-world truths that can be used in such inferences. I claim that the Reality Assumption is essential to our ability to (...) understand stories, drawing on a range of empirical evidence that demonstrates our reliance on it in narrative comprehension. However, the Reality Assumption has several unintuitive consequences, not least that what is fictionally the case includes countless facts that neither authors nor readers could ever consider. I argue that such consequences provide no reason to reject the Reality Assumption. I conclude that we should take fictions, like non-fictions, to be about the real world. (shrink)

In this paper we explore the constraints that our preferred account of scientific representation places on the ontology of scientific models. Pace the Direct Representation view associated with Arnon Levy and Adam Toon we argue that scientific models should be thought of as imagined systems, and clarify the relationship between imagination and representation.

Statements about fictional characters, such as “Gregor Samsa has been changed into a beetle,” pose the problem of how we can say something true (or false) using empty names. I propose an original solution to this problem that construes such utterances as reports of the “prescriptions to imagine” generated by works of fiction. In particular, I argue that we should construe these utterances as specifying, not what we are supposed to imagine—the propositional object of the imagining—but how we are supposed (...) to imagine. Most other theories of thought and discourse about fictional characters either fail to capture the intentionality of our imaginings, or else obscure the differences between imaginings directed toward fictional characters and those directed toward real individuals. I argue that once we have an account of prescriptions to imagine about real individuals, we can adapt the same framework to specify the contents of prescriptions to imagine about fictional characters, and thereby to account for the truth (or falsity) of statements about fictional characters. (shrink)

Most discussions of proper names in fiction concern the names of fictional characters, such as ‘Clarissa Dalloway’ or ‘Lilliput.’ Less attention has been paid to referring names in fiction, such as ‘Napoleon’ (in Tolstoy’s War and Peace) or ‘London’ (in Orwell’s Nineteen Eighty-Four). This is because many philosophers simply assume that such names are unproblematic; they refer in the usual way to their ordinary referents. The alternative position, dubbed Exceptionalism by Manuel García-Carpintero, maintains that referring names make a distinctive semantic (...) contribution in fiction. In this paper I offer a positive argument for Non-Exceptionalism, relying on the claim that works of both fiction and non-fiction can express the same singular propositions. I go on to defend my account against García-Carpintero’s objections. (shrink)

Standard theories define fiction in terms of an invited response of imagining or make-believe. I argue that these theories are not only subject to numerous counterexamples, they also fail to explain why classification matters to our understanding and evaluation of works of fiction as well as non-fiction. I propose instead that we construe fiction and non-fiction as genres: categories whose membership is determined by a cluster of nonessential criteria, and which play a role in the appreciation of particular works. I (...) claim that this proposal captures the intuitions motivating alternative theories of fiction. (shrink)

In this paper, I review developments in discussions of fiction and emotion over the last decade concerning both the descriptive question of how to classify fiction-directed emotions and the normative question of how to evaluate those emotions. Although many advances have been made on these topics, a mistaken assumption is still common: that we must hold either that fiction-directed emotions are (empirically or normatively) the same as other emotions, or that they are different. I argue that we should reject this (...) dichotomy. (shrink)

This article addresses the portrait as a philosophical form of art. Portraits seek to render the subjective objectively visible. In portraiture two fundamental aims come into conflict: the revelatory aim of faithfulness to the subject, and the creative aim of artistic expression. In the first part of my paper, studying works by Rembrandt, I develop a typology of four different things that can be meant when speaking of an image’s power to show a person: accuracy, testimony of presence, emotional characterization, (...) or revelation of the essential “air” (to use Roland Barthes’ term). In the second half of my paper this typology is applied to examples from painting and photography to explore how the two media might differ. I argue that, despite photography’s alleged ‘realism’ and ‘transparency,’ it allows for artistic portraiture and presents the same basic conflict between portraiture’s two aims, the revelatory and the expressive. (shrink)

Bullot & Reber (B&R) put forth a design stance to fuse psychological and art historical accounts of visual thinking into a single theory. We argue that this aspect of their proposal needs further fine-tuning. Issues of transgression and coherence are necessary to provide stability to the design stance. We advocate looking to Art Education for such fundamentals of picture understanding.

How is it that, as fiction readers, we are nonplussed by J. K. Rowling's prescription to imagine Ronan, Bane, and Magorian, three different centaurs of the Forbidden Forrest at Hogwarts? It is usually held in the philosophical literature on fictional discourse that singular imaginings of fictional objects are impossible, given the blatant nonexistence of such objects. In this paper, I have a dual purpose: on the one hand, to show that, without being committed to Meinongeanism, we can explain the phenomenon (...) of singular imaginings of different nonexistents of the same kind; while, at the same time, to attribute this position to Thomas Reid, thus correcting some misunderstandings of his view on imagination. (shrink)

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)

© 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)

Alongside the direct parallels and contrasts between traditional narrative fiction and games, there lie certain partial analogies that provide their own insights. This article begins by examining a direct parallel between narrative fiction and games—the role of fictional reliefs and reality checks in shaping aesthetic engagement—before arguing that from this a partial analogy can be developed stemming from a feature that distinguishes most games from most traditional fictions: the presence of rules. The relation between rules and fiction in games has (...) heretofore been acknowledged but not examined in detail, giving an impression of a tension that is constant. However, the paired concepts of formal reliefs and representation checks, once introduced, allow us to explain how rules and fiction interact to alter the ways in which players engage with games in a dynamic but limited way. (shrink)

Idioms – expressions like kick the bucket and let the cat out of the bag – are strange. They behave in ways that ordinary multi-word expressions do not. One distinctive and troublesome feature of idioms is their unpredictability: The meanings of sentences in which idiomatic phrases occur are not the ones that we would get by applying the usual compositional rules to the usual meanings of their (apparent) constituents. This sort of behavior requires an explanation. I will argue that the (...) right explanation is that the sentences are being interpreted through a pretense. (What this means, exactly, will be explained in what follows.) This is a surprising claim, for two reasons. On the one hand, it seems that adopting a pretense account is overkill—it’s a far more radical move than is required to account for the phenomena. On the other hand, it seems that a pretense account is hopeless—that there is a fatal overgeneration problem for pretense accounts of idiom that causes them to fail, as Jason Stanley charges, “as badly as it is possible for an account of idiom to fail.” So I will have some work to do. (shrink)

The aim of this paper is to propose an exploratory artefactual theory of fictional objects based on Evnine’s amorphism, with the goal of reconciling the inconsistent intuitions surrounding these entities. While not presenting a fully developed and comprehensive theory, I aim to explore the possibilities of amorphism and to offer a preliminary investigation into the nature of fictional objects and the challenges posed by our basic intuitions regarding their non-existence, creation, and property attribution. I formulate a two-level criterion of identity-based (...) on creative acts and utilize the notion of internal predication to account for how fictional objects possess the properties attributed to them in relevant stories. Additionally, I propose considering a subset of essential properties to fix the identity of ficta across stories. Lastly, I address the challenge of negative existential statements by equating non-existence with unreality, asserting that fictional objects are constituted by the properties attributed to them but do not fully exemplify them. (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.

The recent debate on cognitive phenomenology has largely focused on phenomenal aspects connected to the content of thoughts. By contrasts, aspects pertaining to their attitude have often been neglected, despite the fact that they are distinctive of the mental kind of thought concerned and, moreover, also present in experiences and thus less contentious than purely cognitive aspects. My main goal is to identify two central and closely related aspects of attitude that are phenomenologically salient and shared by thoughts with experiences, (...) namely the rational role that they play in our mental lives and their determination by factors external to them, such as external objects or reasons. In particular, I aim to defend Phenomenal Rationalism about judgemental thoughts and perceptual experiences: the view that their phenomenal character reflects their rational role, that is, their capacity to provide and/or respond to reasons. I conclude with some remarks about how this view may be extended to other kinds of th... (shrink)

Two particular approaches to the imagination as a recreative capacity have recently gained prominence: neo-Humeanism and simulationatism. According to neo-Humeanism, imaginings have cognitions as a constitutive part of their representational contents; while simulationalists maintain that, in imagining, we essentially simulate the occurrence of certain cognitive states. Two other kinds of constitutive dependence, that figure regularly in the debate, concern the necessity of cogni­tions for, respectively, the causation and the semantic power of imaginings. In what follows, I dis­cuss each of these (...) kinds of dependence and assess how useful they are for spelling out the concep­tion of imaginings as recreations of cognitions. A particular focus will thereby be on the details of Hume's original conception of imaginings as causal reproductions (or ‘copies’) of cog­nitions, as well as on the influence of his view on contemporary approaches to the topic which replace Hume's causal understanding of the representational link between imaginings and cognitions with either an intentional or a relational understanding. My conclusion will be that, if imaginings should be taken to be recreations at all, then they should be taken to be representational recreations. That is, neo-Humeanism turns out to be the most plausible way of understanding imaginings as re­creations of cognitions. (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)

Modelos representacionais são usados na prática científica para representar diferentes fenômenos. O propósito deste trabalho é examinar o uso de autômatos celulares para representar fenômenos emergentes, isto é, fenômenos com aspectos globais que não podem ser preditos apenas a partir de seus aspectos locais, procurando entender como se dá a representação nesse processo de modelagem. Uma abordagem sugerida é a acepção DEKI desenvolvida por Roman Frigg e James Nguyen, no qual o processo de representação envolve quatro aspectos: denotação do sistema-alvo (...) pelo modelo sob uma interpretação, exemplificação das propriedades relevantes no modelo, formulação de uma legenda que relaciona propriedades do modelo com propriedades do alvo e imputação das propriedades dadas pela chave ao alvo. Nessa acepção, AC representariam os sistemas-alvo denotados como sistemas complexos que podem ser interpretados em nível local e global, de modo que propriedades emergentes são exemplificadas em nível global. (shrink)