This paper argues: (1) All knowledge from fiction is from imagination (2) All knowledge from imagination is modal knowledge (3) So, all knowledge from fiction is modal knowledge Moreover, some knowledge is from fiction, so (1)-(3) are non-vacuously true.

In recent works, Kind has argued that imagination is a skill, since it possesses the two hallmarks of skill: improvability by practice, and control. I agree with Kind that and are indeed hallmarks of skill, and I also endorse her claim that imagination is a skill in virtue of possessing these two features. However, in this paper, I argue that Kind’s case for imagination’s being a skill is unsatisfactory, since it lacks robust empirical evidence. Here, I will provide evidence for (...) by considering data from mental rotation experiments and for by considering data from developmental experiments. I conclude that imagination is a skill, but there is a further pressing question of how the cognitive architecture of imagination has to be structured to make this possible. I begin by considering how can be implemented sub-personally. I argue that this can be accounted for by positing a selection mechanism which selects content from memory representations to be recombined into imaginings, using Bayesian generation. I then show that such an account can also explain. On this basis, I hold that not only is imagination a skill, but that it is also plausibly implemented sub-personally by a Bayesian selection mechanism. (shrink)

We present a theory of truth in fiction that improves on Lewis's [1978] ‘Analysis 2’ in two ways. First, we expand Lewis's possible worlds apparatus by adding non-normal or impossible worlds. Second, we model truth in fiction as belief revision via ideas from dynamic epistemic logic. We explain the major objections raised against Lewis's original view and show that our theory overcomes them.

What is the status of a cat in a virtual reality environment? Is it a real object? Or part of a fiction? Virtual realism, as defended by D. J. Chalmers, takes it to be a virtual object that really exists, that has properties and is involved in real events. His preferred specification of virtual realism identifies the cat with a digital object. The project of this paper is to use a comparison between virtual reality environments and scientific computer simulations to (...) critically engage with Chalmers’s position. I first argue that, if it is sound, his virtual realism should also be applied to objects that figure in scientific computer simulations, e.g. to simulated galaxies. This leads to a slippery slope because it implies an unreasonable proliferation of digital objects. A philosophical analysis of scientific computer simulations suggests an alternative picture: The cat and the galaxies are parts of fictional models for which the computer provides model descriptions. This result motivates a deeper analysis of the way in which Chalmers builds up his realism. I argue that he buys realism too cheap. For instance, he does not really specify what virtual objects are supposed to be. As a result, rhetoric aside, his virtual realism isn’t far from a sort of fictionalism. (shrink)

Why do we so often care about the outcomes of games when nothing is at stake? There is a paradox here, much like the paradox of fiction, which concerns why we care about the fates and threats of merely fictional beings. I argue that the paradox threatens to overturn a great deal of what philosophers have thought about caring, severing its connection to value and undermining its moral weight. I defend a solution to the paradox that draws on Kendall Walton's (...) solution to the paradox of fiction, developing his idea that it be extended to games. The solution takes games to involve make‐believe: in particular, players and spectators make‐believe that the outcome of the game matters. I also explore how the phenomenon extends beyond games. And I explore some moral implications: in particular, my view preserves the idea that we have reason not to impede others in their pursuit of what they care about. (shrink)

According to some, there is a problem concerning the emotions we feel toward fictional entities such as Anna Karenina, Werther and the like. We feel pity, fear, and sadness toward them, but how is that possible? “We are saddened, but how can we be? What are we sad about? How can we feel genuinely and involuntarily sad, and weep, as we do know that no one has suffered or died?” (Radford, in: Proceedings of the Aristotelian Society, 1975). This is the (...) paradox of fiction which is based on the assumption that emotions, to be genuine and rational, should be directed toward existent beings. But if beliefs about existence are necessary for us to be rationally moved by something, and such beliefs are lacking when we are moved by fiction (because we do not believe fictional characters and events to be real), then our capacity for an emotional response to fiction is irrational. Consequently, our emotional attitude toward future generations should be considered as irrational as well. But is this really the case? Are there good arguments to consider future and fictional entities as similar from this point of view? Or would it be better to distinguish the two? Is there such a thing as a paradox of the future? If so, how does it relate to the more famous paradox of fiction? (shrink)

A recent and growing discussion in philosophy addresses the construction of models and their use in scientific reasoning by comparison with fiction. This comparison helps to explore the problem of mediated observation and, hence, the lack of an unambiguous reference of representations. Examining the usefulness of the concept of fiction for a comparison with non-denoting elements in science, the aim of this paper is to present reasonable grounds for drawing a distinction between these two kinds of representation. In particular, my (...) account will suggest a demarcation between fictional and non-fictional discourse as involving two different ways of interpreting representations. This demarcation, leading me to distinguish between fictional and non-fictional forms of enquiry, will provide a useful tool to explore to what extent the descriptions given by a model can be justified as making claims about the world and to what degree they are a consequence of the model’s particular construction. (shrink)

Francesco Berto proposed a logic for imaginative episodes. The logic establishes certain (in)validities concerning episodic imagination. They are not all equally plausible as principles of episodic imagination. The logic also does not model that the initial input of an imaginative episode is deliberately chosen.Stit-imagination logic models the imagining agent’s deliberate choice of the content of their imagining. However, the logic does not model the episodic nature of imagination. The present paper combines the two logics, thereby modelling imaginative episodes with deliberately (...) chosen initial input. We use a combination ofstit-imagination logic and a content-sensitive variably strict conditional à la Berto, for which we give a Chellas–Segerberg semantics. The proposed semantics has the following advantages over Berto’s: (i) we model thedeliberate choiceof initial input of imaginative episodes (in a multi-agent setting), (ii) we showframe correspondencesfor axiomatic analogues of Berto’s validities, which (iii) allows thepossibility to disregard axiomsthat might be considered not plausible as principles concerning imaginative episodes. We do not take a definite stance on whether theseshouldbe disregarded but give reasons for why one might want to disregard them. Finally, we compare our semantics briefly with recent work, which aims to model voluntary imagination, and argue that our semantics models different aspects. (shrink)

A widespread claim, which I call ‘the Emotionality Claim’, is that imagination but not supposition is intimately linked to emotion. In more cognitive jargon, imagination is connected to the affect system, whereas supposition is not. EC is open to several interpretations which yield very different views about the nature of supposition. The literature lacks an in-depth analysis of EC which sorts out these different readings and ways to carve supposition and imagination at their joints. The aim of this paper is (...) to fill this gap. I shall argue that existing readings of EC fail to properly account for the emotional asymmetry between imagination and supposition. The tendency is to start from narrow conceptions of both imagination and supposition. I shall argue for a novel interpretation of EC pivoting on different ways a mental state can connect to the affect system. (shrink)

The aim of this paper is to make sense of a characteristic feature of interactive fictions, such as video game fictions, adventure books and role playing games. In particular, I describe one important way consumers of interactive fiction ‘take on the role’ of a fictional character and are ‘involved’ in the story. I argue that appreciative engagement with such works requires imagining being someone else and imagining parts of the story in a self-locating manner. In short, consuming works of interactive (...) fiction involves imagining the story from the protagonist’s perspective. (shrink)

How are we to understand the phenomenology of imagining? Attempts to answer this question often invoke descriptors concerning the “vivacity” or “vividness” of our imaginative states. Not only are particular imaginings often phenomenologically compared and contrasted with other imaginings on grounds of how vivid they are, but such imaginings are also often compared and contrasted with perceptions and memories on similar grounds. Yet however natural it may be to use “vividness” and cognate terms in discussions of imagination, it does not (...) take much reflection to see that these terms are ill understood. In this paper, I review both some relevant empirical literature as well as the philosophical literature attempt to get a handle on what it could mean, in an imaginative context, to talk of vividness. As I suggest, this notion ultimately proves to be so problematic as to be philosophically untenable. (shrink)

People respond to moral criticism of their speech by claiming that they were joking. In this paper, I develop a speech act analysis of the humor excuse consisting of a negative stage, in which the speaker denies he or she was making an assertion, and a positive stage, in which the speaker claims she or he was engaged in non-serious/humorous speech instead. This analysis, however, runs afoul of the group identity objection, according to which there is a moral distinction between (...) jokes targeting members of vulnerable groups made by members of those groups and similar jokes made by non-members. In order to avoid this objection, I offer a revision to the speech act analysis that draws upon Perry’s distinction between beliefs and belief-states. (shrink)

In a series of articles, Kit Fine presents some highly compelling objections to monism, the doctrine that spatially coincident objects are identical. His objections rely on Leibniz’s Law and linguistic environments that appear to be immune to the standard charge of non-transparency and substitution failure. In this paper, I respond to Fine’s objections on behalf of the monist. Following Benjamin Schnieder, I observe that arguments from Leibniz’s Law are valid only if they involve descriptive, rather than metalinguistic, negation. Then I (...) show that the monist is justified in treating the negation in Fine’s objections as metalinguistic in nature. Along the way I make a few methodological remarks about the interaction between the study of natural language and metaphysics. I also present evidence that some of the linguistic environments which Fine relies on are, contrary to appearances, non-transparent. (shrink)

The distinction between literal and figurative use is well-known and embedded in ‘folk linguistics’. According to folk linguistics, figurative uses deviate from literal ones. But recent work on lexical modulation and polysemy shows that meaning deviation is ubiquitous, even in cases of literal use. Hence, it has been argued, the literal/figurative distinction has no value for theorising about communication. In this paper, we focus on metaphor and argue that here the literal–figurative distinction has theoretical importance. The distinction between literal and (...) metaphorical needs to be captured by our account of communication because literal uses transmit information in a way that metaphorical ones do not. We argue that there is a way to explain the literal/metaphorical distinction that preserves the core of the folk-linguistic idea and gives the distinction theoretical relevance. We propose that literal uses of a word are made with the intention to conform to an established practice of use, while metaphorical uses do not so conform, but depend on this pre-existing practice. Our account can deal with data that are problematic for other theories. A further advantage is that it extends naturally to other non-literal uses of words, including metonymy. (shrink)

What are hallucinations? A common view in the philosophical literature is that hallucinations are degenerate kinds of perceptual experience. I argue instead that hallucinations are degenerate kinds of sensory imagination. As well as providing a good account of many actual cases of hallucination, the view that hallucination is a kind of imagination represents a promising account of hallucination from the perspective of a disjunctivist theory of perception like naïve realism. This is because it provides a way of giving a positive (...) characterisation of hallucination—rather than characterising hallucinations in negative, relational, terms as mental events that are subjectively indistinguishable from veridical perceptual experiences. (shrink)

A central debate in the philosophy of virtual reality (VR) focuses on the reality of virtual items. Broadly, there are two main disagreements. Some views accept a metaphysical orientation to VR, and disagree on the reality of virtual items. For instance, David Chalmers (Disputatio 9(46):309-352, 2017, Disputatio 11(55):453- 486, 2019, 2022) defends digitalism, the view that virtual items are real digital items. Neil McDonnell & Nathan Wildman (Disputatio 11(55):371-397, 2019), by contrast, defend fictionalism, which maintains that virtual items are unreal (...) fictions. Other views, like Grant Tavinor’s (2021), reject the metaphysical orientation, argu- ing that focusing on the reality of virtual items is a mistake. In what follows I evalu- ate these two disagreements. I argue that experiences of virtual items depend on episodes of picture perception. Recognizing this reveals that the current debates are either easily resolved in favor of one view, or are not disagreeing about the reality of virtual items, but about what virtual items are. (shrink)

Husserl’s extensive analyses of image consciousness (Bildbewusstsein) and of the imagination (Phantasie) offer insightful and detailed structural explications. However, despite this careful work, Husserl’s discussions fail to overcome the need to rely on a most problematic concept: mental images. The epistemological conundrums triggered by the conceptual framework of mental images are well known—we have only to remember the questions regarding knowledge acquisition that plagued British empiricism. Beyond these problems, however, a plethora of important questions arise from claiming that mental images (...) are structural moments of imaging and imagining. Any attempt to clarify the structure and conditions for the possibility of aesthetic experience must first provide an unambiguous account of pictorial depiction—a task unattainable through the mental images discourse. Similarly, exposing the import of the imagination for theoretical scientific inquiries (be they positive or eidetic) requires an initial explication of the structure of this consciousness; this explication, however, must address our ability to imagine non-spatially determined objects—something the conceptual framework of mental images utterly fails to accomplish. In this paper I argue against Husserl’s reliance on mental images in his phenomenological analyses of imaging and imagining and propose an alternative structural account for both. This account is free of this reliance and able to steer clear of its insidious implications for epistemology, aesthetics, and methodological reflections. By closely following the development of Husserl’s account I suggest alternative descriptions while building on Husserl’s important work. (shrink)

According to alethic pluralism, sentences belonging to different domains of discourse can be true by having different alethic (i.e., truth-constituting) properties. Against this pluralistic view, Jamin Asay has recently argued that pluralists' appeal to multiple alethic properties is ill-motivated because the main advantages of pluralism can already be obtained within the framework of standard truthmaker theory. In response to this objection, this paper argues that Asay's claim does not hold with respect to one of the central advantages of pluralism, namely, (...) the ability to offer a proper understanding of the realism/anti-realism debate. This is because, first, when simply construed, truthmaker theory can only provide an inadequate understanding of the debate, and second, when construed in certain ways that allow it to avoid inadequacy, it becomes committed to multiple alethic properties. (shrink)

In this introduction, I consider different problems posed by the use of singular terms in fiction (section 1), paying especial attention to proper names and, in particular, to names of real people, places, etc. As we will see (section 2), descriptivist and Millian theories of reference face different kinds of problems in explaining the use of fictional names in fiction-related contexts. Moreover, the task of advancing a uniform account of names in these contexts—an account which deals not only with fictional (...) names but also with “real” names—will prove to be very hard no matter whether we favour realist or antirealist intuitions about fictional discourse (section 3). Section 4 offers an overview of the content of this volume, with emphasis on the discussion between Manuel García-Carpintero and Stacie Friend about the meaning of “real” names in fiction-related contexts, the main topic of the Third Blasco Disputatio. (shrink)

Kendall Walton explains pictures in terms of games of perceptual make-believe. Pictures or depictions are props that draw us to participate in games of make-believe where we imagine seeing what a picture depicts. Walton proposes that one imagines of one’s perceptual experience of the coloured canvas that it is a different perceptual experience. The issue is whether perception and imagination can combine the way Walton suggests. Can one imagine a perception to be different? To get a clearer understanding of the (...) unified perceptual-imaginative experience Walton posits, the paper turns to competing theories that explain perceptual experience in terms of contents, relations to objects, or both contents and relations. Walton appeals to theories of perceptual content and cognitive penetration. But it is also important to examine whether his view fits with recent theories that explain perception only in terms of relations or in terms of both contents and relations. The paper argues that Walton’s view is compatible with content theories of perception and can be defended from some objection once we look at the detail these theories offer. Walton’s view is not compatible with pure relational theories of perception but it can be explained by hybrid content-relational theories of perception that posit de re senses. (shrink)

Kendall Walton’s account of make-believe takes the social dimension of imagination into account. In this paper I aim to extend this suggestion and argue that works of fiction allow for encounters with concrete (yet fictitious) persons with a distinct point of view and a discernible perspective. These encounters allow us to contrast the perspective(s) that emerge from the work with one’s own. I will then discuss two moments of the social dimension: imagining fictional scenarios is a social practice, a game (...) we play together and in which we encounter others. Both of these moments shed light on the central role of fiction for the social community in which it is embedded and show how engaging with works of fiction can contribute to the inner cohesion and to the persistence of the group. (shrink)

Many hold that aesthetic appreciation is sensitive to the authenticity or genuineness of an object. In a recent body of work, Carolyn Korsmeyer has defended the claim that genuineness itself is an aesthetic property. Korsmeyer’s aim is to explain our aesthetic appreciation of objects that afford a sense of being ‘in touch with the past’. In this paper, I argue that genuineness cannot explain our appreciation of these objects. There is no aesthetic experience of the genuine.

This is the most comprehensive book ever published on philosophical methodology. A team of thirty-eight of the world's leading philosophers present original essays on various aspects of how philosophy should be and is done. The first part is devoted to broad traditions and approaches to philosophical methodology. The entries in the second part address topics in philosophical methodology, such as intuitions, conceptual analysis, and transcendental arguments. The third part of the book is devoted to essays about the interconnections between philosophy (...) and neighbouring fields, including those of mathematics, psychology, literature and film, and neuroscience. (shrink)

Visual forms of episodic memory and anticipatory imagination involve images that, by virtue of their perspectival organization, imply a notional subject of experience. But they contain no inbuilt reference to the actual subject, the person actually doing the remembering or imagining. This poses the problem of what (if anything) connects these two perspectival subjects and what differentiates cases of genuine memory and anticipation from mere imagined seeing. I consider two approaches to this problem. The first, exemplified by Wollheim and Velleman, (...) claims that genuinely reflexive memories and anticipations are phenomenally unselfconscious, with the co-identity of the notional and actual subjects secured by a determinate causal history. The second approach posits some distinctive phenomenal property that attaches to genuinely reflexive memories and anticipations and serves to experientially conflate the notional and actual subject. I consider a version of the second approach, derived from Kierkegaard’s discussions of phenomenal contemporaneity, and argue that this approach can better account for the possibility of affective alienation from the selves we were and will be: the way in which our sense of self and awareness of our causal history can sometimes come apart. (shrink)

Lying and fiction both involve the deliberate production of statements that fail to obey Grice’s first Maxim of Quality (“do not say what you believe to be false”). The question thus arises if we can provide a uniform analysis for fiction and lies. In this chapter I discuss the similarities, but also some fundamental differences between lying and fiction. I argue that there’s little hope for a satisfying account within a traditional truth conditional semantic framework. Rather than immediately moving to (...) a fully pragmatic analysis involving distinct speech acts of fiction-making and lying, I will first explore how far we get with the assumption that both are simply assertions, analyzed in a Stalnakerian framework, i.e. as proposals to update the common ground. (shrink)

Imagination is necessary for scientific practice, yet there are no in vivo sociological studies on the ways that imagination is taught, thought of, or evaluated by scientists. This article begins to remedy this by presenting the results of a qualitative study performed on two systems biology laboratories. I found that the more advanced a participant was in their scientific career, the more they valued imagination. Further, positive attitudes toward imagination were primarily due to the perceived role of imagination in problem-solving. (...) But not all problem-solving episodes involved clear appeals to imagination, only maximally specific problems did. This pattern is explained by the presence of an implicit norm governing imagination use in the two labs: only use imagination on maximally specific problems, and only when all other available methods have failed. This norm was confirmed by the participants, and I argue that it has epistemological reasons in its favour. I also found that its strength varies inversely with career stage, such that more advanced scientists do (and should) occasionally bring their imaginations to bear on more general problems. A story about scientific pedagogy explains the trend away from (and back to) imagination over the course of a scientific career. Finally, some positive recommendations are given for a more imagination-friendly scientific pedagogy. (shrink)

Experimental Philosophy (X-Phi) is now a fully-fledged methodological project with applications in almost all areas of analytic philosophy, including, as of recently, aesthetics. Another methodological project which has been attracting attention in the last few years is conceptual engineering (CE). Its areas of implementation are now diverse, but as was the case initially with experimental philosophy, aesthetics has unfortunately been left out (or perhaps aestheticians have failed to pay attention to CE) until now. In this paper, I argue that if (...) conceptual engineers are interested in expanding their project to the field of aesthetics, which would greatly benefit the field, then they should rely on the existing experimental work of aestheticians. Experimental philosophers have only recently started to join forces with conceptual engineers in various fields, as well as to explore the methodological implications of such an alliance. This paper goes a step further by not only arguing that CE has potential in aesthetics, but that the way to realize this potential is to piggyback, so to speak, on the work of experimental aestheticians. In other words, instead of building a CE project in aesthetics from the ground up, this paper describes the support that CE can and should derive from current experimental aesthetics, thereby making the former’s development more efficiently realizable. Furthermore, I argue that doing so would also be beneficial to experimental aesthetics. Currently, the integration of X-Phi to the wider field of aesthetics is losing ground because certain objections—notably, the objection that X-Phi cannot be of relevance to normative questions—have not been properly refuted. By pairing up with a normative programme like CE, though, experimental aestheticians should finally be able to put these objections to rest. (shrink)

It is widely taken for granted that fictions, including both literature and film,influence our attitudes toward real people, events, and situations. Philosopherswho defend claims about the cognitive value of fiction view this influence in apositive light, while others worry about the potential moral danger of fiction.Marketers hope that visual and aural references to their products in movies willhave an effect on people’s buying patterns. Psychologists study the persuasiveimpact of media. Educational books and films are created in the hopes of guidingchildren’s (...) and adult’s preferences toward socially acceptable norms.The influencesdiscussed by marketers, psychologists, educators, and philosophers tend to be bothcognitive and affective. It seems that we can be “emotionally persuaded”: ourpreferences can be changed, our feelings about particular people or events can beinfluenced, and so forth. (shrink)

As an important view in the epistemology of perception, dogmatism proposes that for any experience, if it has a distinctive kind of phenomenal character, then it thereby provides us with immediate justification for beliefs about the external world. This paper rejects dogmatism by looking into the epistemology of imagining. In particular, this paper first appeals to some empirical studies on perceptual experiences and imaginings to show that it is possible for imaginings to have the distinctive phenomenal character dogmatists have in (...) mind. Then this paper argues that some of these imaginings fail to provide us with immediate justification for beliefs about the external world at least partly due to their inappropriate etiology. Such imaginings constitute counterexamples to dogmatism. (shrink)

We propose to analyze well-known cases of "imaginative resistance" from the philosophical literature (Gendler, Walton, Weatherson) as involving the inference that particular content should be attributed to either: (i) a character rather than the narrator or, (ii) an unreliable, irrational, opinionated, and/or morally deviant "first person" narrator who was originally perceived to be a typical impersonal, omniscient, "effaced" narrator. We model the latter type of attribution in terms of two independently motivated linguistic mechanisms: accommodation of a discourse referent (Lewis, Stalnaker, (...) Kamp) and 'cautious' updating as a model of non-cooperative information exchange (Eckardt). (shrink)

Comparatively easy questions we might ask about creativity are distinguished from the hard question of explaining transformative creativity. Many have focused on the easy questions, offering no reason to think that the imagining relied upon in creative cognition cannot be reduced to more basic folk psychological states. The relevance of associative thought processes to songwriting is then explored as a means for understanding the nature of transformative creativity. Productive artificial neural networks—known as generative antagonistic networks (GANs)—are a recent example of (...) how a system’s ability to generate novel products can both be finely tuned by prior experience and grounded in strategies that cannot be articulated by the system itself. Further, the kinds of processes exploited by GANs need not be seen as incorporating something akin to sui generis imaginative states. The chapter concludes with reflection on the added relevance of personal character to explanations of creativity. [This is Chapter 12 of the book Explaining Imagination.]. (shrink)

Currie’s (2010) argument that “i-desires” must be posited to explain our responses to fiction is critically discussed. It is argued that beliefs and desires featuring ‘in the fiction’ operators—and not sui generis imaginings (or "i-beliefs" or "i-desires")—are the crucial states involved in generating fiction-directed affect. A defense of the “Operator Claim” is mounted, according to which ‘in the fiction’ operators would be also be required within fiction-directed sui generis imaginings (or "i-beliefs" and "i-desires"), were there such. Once we appreciate that (...) even fiction-directed sui generis imaginings would need to incorporate ‘in the fiction’ operators, the main appeal of the idea that sui generis imaginings (or "i-beliefs" or "i-desires") are at work in fiction-appreciation dissipates. [This is Chapter 10 of Explaining Imagination (OUP, 2020)]. (shrink)

In this paper I explore irrealist alternatives to orthodox realism about grounding, and claim that at least some of these alternatives represent fertile areas for future discussion.

Scientific models share one central characteristic with fiction: their relation to the physical world is ambiguous. It is often unclear whether an element in a model represents something in the world or presents an artifact of model building. Fiction, too, can resemble our world to varying degrees. However, we assign a different epistemic function to scientific representations. As artifacts of human activity, how are scientific representations allowing us to make inferences about real phenomena? In reply to this concern, philosophers of (...) science have started analyzing scientific representations in terms of fictionalization strategies. Many arguments center on a dyadic relation between the model and its target system, focusing on structural resemblances and “as if” scenarios. This chapter provides a different approach. It looks more closely at model building to analyze the interpretative strategies dealing with the representational limits of models. How do we interpret ambiguous elements in models? Moreover, how do we determine the validity of model-based inferences to information that is not an explicit part of a representational structure? I argue that the problem of ambiguous inference emerges from two features of representations, namely their hybridity and incompleteness. To distinguish between fictional and non-fictional elements in scientific models my suggestion is to look at the integrative strategies that link a particular model to other methods in an ongoing research context. To exemplify this idea, I examine protein modeling through X-ray crystallography as a pivotal method in biochemistry. (shrink)

This paper discusses modeling from the artifactual perspective. The artifactual approach conceives models as erotetic devices. They are purpose-built systems of dependencies that are constrained in view of answering a pending scientific question, motivated by theoretical or empirical considerations. In treating models as artifacts, the artifactual approach is able to address the various languages of sciences that are overlooked by the traditional accounts that concentrate on the relationship of representation in an abstract and general manner. In contrast, the artifactual approach (...) focuses on epistemic affordances of different kinds of external representational and other tools employed in model construction. In doing so, the artifactual account gives a unified treatment of different model types as it circumvents the tendency of the fictional and other representational approaches to separate model systems from their “model descriptions”. (shrink)

We argue that many intuitions do not have conscious propositional contents. In particular, many of the intuitions had in response to philosophical thought experiments, like Gettier cases, do not have such contents. They are more like hunches, urgings, murky feelings, and twinges. Our view thus goes against the received view of intuitions in philosophy, which we call Mainstream Propositionalism. Our positive view is that many thought-experimental intuitions are conscious, spontaneous, non-theoretical, non-propositional psychological states that often motivate belief revision, but they (...) require interpretation, in light of background beliefs, before a subject can form a propositional judgment as a consequence of them. We call our view Interpretationalism. We argue (i) that Interpretationalism avoids the problems that beset Mainstream Propositionalism and (ii) that our view meshes well with empirical results in contemporary cognitive science. (shrink)

This dissertation examines the practice of categorizing works of art and its relationship to art criticism. How a work of art is categorized influences how it is appreciated and criticized. Being frightening is a merit for horror, but a demerit for lullabies. The brushstrokes in Monet's "Impression, Sunrise" (1874) look crude when seen as a Neoclassical painting, but graceful when seen as an Impressionist painting. Many of the judgments we make about artworks are category-dependent in this way, but previous research (...) has rarely examined in depth the ontological structure of art categories, how they are generated and maintained, and how they function. This dissertation fills this gap. The proposal of this dissertation can be summarized as follows. Categories (especially genres) should be analyzed as clusters of rules that regulate the responses and behaviors of agents in the artworld. The visual mundaneness is a critical reason to consider Duchamp's "Comb" (1916) provocative, given the existence of the readymade as a set of rules that justifies such reasoning. The critical and appreciative practice of which categorization is a part is a social practice of making, declaring, proposing, reforming, and developing rules of appreciation. How we appreciate artworks, and how criticism guides our appreciation, is sensitive to how we categorize artworks. How we categorize artworks is sensitive to what categories have been set up in our community and which categories are active regarding each artwork. (shrink)

This is the introduction to the Routledge Companion to Thought Experiments.

Modeling is central to scientific inquiry. It also depends heavily upon the imagination. In modeling, scientists seem to turn their attention away from the complexity of the real world to imagine a realm of perfect spheres, frictionless planes and perfect rational agents. Modeling poses many questions. What are models? How do they relate to the real world? Recently, a number of philosophers have addressed these questions by focusing on the role of the imagination in modeling. Some have also drawn parallels (...) between models and fiction. This chapter examines these approaches to scientific modeling and considers the challenges they face. (shrink)

What is the nature of the kind of behaviour English speakers call “acting”? A popular strategy is to say that acting is a kind of pretence, and onstage actors pretend to do and say what the character does and says. This paper aims to reject this “pretence theory of acting”. To do so, first, I introduce several counterexamples showing that actors do not engage in pretending but still enact their characters; second, I argue that the reasons in favour of the (...) pretence theory of acting are not persuasive; finally, I argue that the pretence theory of acting can lead to a misunderstanding about acting. (shrink)

Most scientific models are not physical objects, and this raises important questions. What sort of entity are models, what is truth in a model, and how do we learn about models? In this paper I argue that models share important aspects in common with literary fiction, and that therefore theories of fiction can be brought to bear on these questions. In particular, I argue that the pretence theory as developed by Walton (1990, Mimesis as make-believe: on the foundations of the (...) representational arts. Harvard University Press, Cambridge/MA) has the resources to answer these questions. I introduce this account, outline the answers that it offers, and develop a general picture of scientific modelling based on it. (shrink)

Recent years have seen increasing interest in interventionist analyses of metaphysical explanation. One area where interventionism traditionally shines, is in providing an account of explanatory depth; the sense in which explanation comes in degrees. However, the literature on metaphysical explanation has left the notion of depth almost entirely unexplored. In this paper I shall attempt to rectify this oversight by motivating an interventionist analysis of metaphysical explanatory depth (MED), in terms of the range of interventions under which a metaphysically explanatory (...) generalization remains invariant. After elucidating the notion through a toy-example, I demonstrate the important work which MED can perform in characterizing debate within contemporary metaphysics. Focusing upon rival approaches to explaining the identity and distinctness of concrete objects, I argue that the progress achieved in this debate can be characterized in terms of increasing explanatory depth. Having made an initial case for the utility of MED, I then turn this analysis to the metaphysics of explanation itself. By adopting an interventionist framework with respect to MED, I will show that we can assess the depth of competing theories of explanation. This application has two interesting results: first, it suggests that an interventionist analysis of explanation provides deeper explanations of the connection between explanans and explanandum than rival accounts; and second, it suggests that explanations provided by interventionism become deeper still, if one accepts that this methodology ranges over metaphysical, as well as causal, instances. (shrink)

​Imagination will remain a mystery—we will not be able to explain imagination—until we can break it into parts we already understand. Explaining Imagination is a guidebook for doing just that, where the parts are other ordinary mental states like beliefs, desires, judgments, and decisions. In different combinations and contexts, these states constitute cases of imagining. This reductive approach to imagination is at direct odds with the current orthodoxy, according to which imagination is a sui generis mental state or process—one with (...) its own inscrutable principles of operation. Explaining Imagination upends that view, showing how, on closer inspection, the imaginings at work in hypothetical reasoning, pretense, the enjoyment of fiction, and creativity are reducible to other familiar mental states—judgments, beliefs, desires, and decisions among them. Crisscrossing contemporary philosophy of mind, cognitive science, and aesthetics, Explaining Imagination argues that a clearer understanding of imagination is already well within reach. (shrink)

Os tópicos e problemas filosóficos discutidos no volume são de natureza bastante variada: a natureza da complexidade computacional no processamento de uma língua natural; a relação entre o significado linguístico e o sentido Fregeano; as conexões entre a a agência e o poder; o conteúdo semântico da ficção; a explicação dos impasses éticos; a natureza dos argumentos cépticos; as conexões entre as dissociações cognitivas e o carácter modular da mente; a relação entre a referência e o significado. Estes tópicos deixam-se (...) subsumir num tema mais geral, o tema das ligações múltiplas entre a cognição e o conteúdo, mental ou linguístico. O tópico do conteúdo, a questão de determinar como é que muitas das nossas elocuções e muitos dos nossos estados mentais são dotados de conteúdo, representam algo (correcta ou incorrectamente), e o tópico da cognição, a investigação da natureza e dos mecanismos envolvidos na cognição humana, no processamento de informação tipicamente proveniente do exterior, são inegavelmente tópicos centrais da investigação filosófica, presente ou passada.Dado o carácter inclusivo e pluridisciplinar dos tópicos cobertos, não é surpreendente que os ramos da Filosofia representados no presente volume sejam igualmente diversificados: a Filosofia Moral, a Filosofia da Linguagem, a Teoria do Conhecimento, a Filosofia da Mente, os Fundamentos da Ciência Cognitiva. E também não é surpreendente que nele também estejam representados outros ramos do conhecimento cuja relevância para o estudo do conteúdo e da cognição é conspícua: a Psicologia Cognitiva; a Linguística Computacional e a Inteligência Artificial. Os autores dos ensaios são de proveniências diversas. De um lado, há um conjunto de especialistas nacionais a trabalhar na tradição analítica em Filosofia, como João Branquinho, ou a trabalhar em algumas áreas filosoficamente importantes da Ciência Cognitiva, como António Branco (Processamento da Língua Natural), José Frederico Marques (Psicologia Cognitiva) e Helder Coelho (Inteligência Artificial). Do outro lado, há um conjunto de especialistas estrangeiros de elevada reputação internacional: Allan Gibbard, da Universidade de Michigan, autor de livros influentes na área da Ética e Filosofia Moral; Stephen Schiffer, da New York University, uma das principais figuras actuais da Filosofia da Linguagem e da Semântica Geral; Paolo Leonardi, da Universidade de Bolonha, um especialista nas áreas da Filosofia da Linguagem e Filosofia da Comunicação; e Manuel García-Carpintero, da Universidade de Barcelona, um dos grandes vultos da Filosofia Analítica praticada em Espanha e na Europa Continental. (shrink)