Preface: This volume originated in a conference on "The Place of Thought Experiments in Science and Philosophy" which was organized by us and held at the Center for Philosophy of Science at the University of Pittsburgh, April 18-20, 1986. The idea behind this conference was to encourage philosophers and scientists to talk to each other about the role of thought experiments in their various disciplines. These papers were either written for the conference, or were written after it by commentators and (...) other participants.... We hope that this volume will be of use to other philosophers and scientists who are interested in thought experiments, as well as inspire more work in this area.... (shrink)

This important book provides a theory about the nature of fiction, and about the relation between the author, the reader and the fictional text. The approach is philosophical: that is to say, the author offers an account of key concepts such as fictional truth, fictional characters, and fiction itself. The book argues that the concept of fiction can be explained partly in terms of communicative intentions, partly in terms of a condition which excludes relations of counterfactual dependence between the world (...) and the text. This communicative model is then applied to the following problems: how can something be 'true in the story' without being explicitly stated in the text? In what ways does interpreting a fictional story depend upon grasping its author's intentions? Is there always a unique best interpretation of a fictional text? What is the correct semantics for fictional names? What is the nature of our emotional response to a fictional work? In answering these questions the author explores the complex interaction between author, reader, and text. This interaction requires the reader to construct a 'fictional author' - a character in the story whose personality, beliefs and emotional states must be interpreted if the reader is to grasp the meaning of the work. (shrink)

Both adults and children have the ability to not only think about reality but also use their imaginations and create fictional worlds. This article describes the process by which world creation happens, drawing from philosophical and psychological treatments of this issue. First, world creators recognize the need to create a fictional world, as when starting a pretend game or opening a novel. Then, creators merge some real-world knowledge with the premises of the fictional world to construct a fuller representation, though (...) there is some controversy about how much of the real world is represented in any given fictional world. After the world is created, events can be set in motion within it. While it is generally accepted that this basic process is used for a wide variety of fictional worlds, including fictional stories, pretend games, and counterfactual scenarios, this process of world creation can vary over the course of development and depending on the use to which it is put. (shrink)

Upholders of fictionalism about scientific models have not yet successfully explained how scientists can learn about the real world by making comparisons between models and the real phenomena they stand for. In this paper I develop an account of model-world comparisons in terms of what I take to be the best antirealist analyses of comparative claims that emerge from the current debate on fiction.

Many standard philosophical accounts of scientific practice fail to distinguish between modeling and other types of theory construction. This failure is unfortunate because there are important contrasts among the goals, procedures, and representations employed by modelers and other kinds of theorists. We can see some of these differences intuitively when we reflect on the methods of theorists such as Vito Volterra and Linus Pauling on the one hand, and Charles Darwin and Dimitri Mendeleev on the other. Much of Volterra's and (...) Pauling's work involved modeling; much of Darwin's and Mendeleev's did not. In order to capture this distinction, I consider two examples of theory construction in detail: Volterra's treatment of post-WWI fishery dynamics and Mendeleev's construction of the periodic system. I argue that modeling can be distinguished from other forms of theorizing by the procedures modelers use to represent and to study real-world phenomena: indirect representation and analysis. This differentiation between modelers and non-modelers is one component of the larger project of understanding the practice of modeling, its distinctive features, and the strategies of abstraction and idealization it employs. (shrink)

Editorial preface to the fourth edition and modified translation -- The text of the Philosophische Untersuchungen -- Philosophische untersuchungen = Philosophical investigations -- Philosophie der psychologie, ein fragment = Philosophy of psychology, a fragment.

one takes to be the most salient, any pair could be judged more similar to each other than to the third. Goodman uses this second problem to showthat there can be no context-free similarity metric, either in the trivial case or in a scientifically ...

Models as Make-Believe offers a new approach to scientific modelling by looking to an unlikely source of inspiration: the dolls and toy trucks of children's games of make-believe.

The paper argues that the practice of thought experintenting enables scientists to follow through the implications of a way of representing nature by simulating an exemplary or representative situation that is feasible within that representation. What distinguishes thought experimenting from logical argument and other forms of propositional reasoning is that reasoning by means of a thought experiment involves constructing and simulating a mental model of a representative situation. Although thought experimenting is a creative part of scientific practice, it is a (...) highly refined extension of a mundane form of reasoning. It is not a mystery why scientific thought experiments are a reliable source of empirical insights. Thought experimenting uses and manipulates representations that derive from real-world experiences and our conceptualizations of them. (shrink)

This paper surveys some of the central issues in the philosophy of creativity and argues that an adequate treatment of them requires attention to the rich psychological literature on creativity. It also shows that the range of interesting philosophical questions to be raised about creativity is much wider than concerns its role in art. Issues covered include the definition of ‘creativity’; the relation of creativity to imagination; whether the creative process is rational; whether it is teleological; the relation of creativity (...) to knowledge; whether creativity can be explained; computational and Darwinian theories of creativity; whether creativity is a virtue; the relation of creativity to tradition; the aesthetic value of creativity; and whether creative activity is different in science and art. (shrink)

Lewis (1973) gave a short argument against conditional excluded middle, based on his treatment of ‘might’ counterfactuals. Bennett (2003), with much of the recent literature, gives an alternative take on ‘might’ counterfactuals. But Bennett claims the might-argument against CEM still goes through. This turns on a specific claim I call Bennett’s Hypothesis. I argue that independently of issues to do with the proper analysis of might-counterfactuals, Bennett’s Hypothesis is inconsistent with CEM. But Bennett’s Hypothesis is independently objectionable, so we should (...) resolve this tension by dropping the Hypothesis, not by dropping CEM. (shrink)

In arithmetic, if only because many of its methods and concepts originated in India, it has been the tradition to reason less strictly than in geometry, ...

Counterfactuals is David Lewis' forceful presentation of and sustained argument for a particular view about propositions which express contrary to fact conditionals, including his famous defense of realism about possible worlds and his theory of laws of nature.

A striking feature of the traditional armchair method of philosophy is the use of imaginary examples: for instance, of Gettier cases as counterexamples to the justified true belief analysis of knowledge. The use of such examples is often thought to involve some sort of a priori rational intuition, which crude rationalists regard as a virtue and crude empiricists as a vice. It is argued here that, on the contrary, what is involved is simply an application of our general cognitive capacity (...) to handle counterfactual conditionals, which is not exclusively a priori and is not usefully conceived as a form of rational intuition. It is explained how questions of metaphysical possibility and necessity are equivalent to questions about counterfactuals, and the epistemology of the former (in particular, the role of conceiving or imagining) is a special case of the epistemology of the latter. A non-imaginary Gettier case is presented in order to show how little difference it makes. (shrink)

By the age of two, children are able to engage in highly elaborate games of symbolic pretense, in which objects and actions in the actual world are taken to stand for objects and actions in a realm of make-believe. These games of pretense are marked by the presence of two central features, which I will call quarantining and mirroring (see also Leslie 1987; Perner 1991). Quarantining is manifest to the extent that events within the pretense-episode are taken to have effects (...) only within that pretense-episode (e.g. the child does not expect that ‘spilling’ ( pretend) ‘tea’1 will result in the table really being wet), or more generally, to the extent that proto-beliefs and proto-attitudes concerning the pretended state of affairs are not treated as beliefs and attitudes relevant to guiding action in the actual world. Mirroring is manifest to the extent that features of the imaginary situation that have not been explicitly stipulated are derivable via features of their real-world analogues (e.g. the child does expect that if she up-ends the teapot above the table, then the table will become wet in the pretense), or, more generally to the extent that imaginative content is taken to be governed by the same sorts of restrictions that govern believed content. (shrink)

Recent accounts of pretense have been underdescribed in a number of ways. In this paper, we present a much more explicit cognitive account of pretense. We begin by describing a number of real examples of pretense in children and adults. These examples bring out several features of pretense that any adequate theory of pretense must accommodate, and we use these features to develop our theory of pretense. On our theory, pretense representations are contained in a separate mental workspace, a Possible (...) World Box which is part of the basic architecture of the human mind. The representations in the Possible World Box can have the same content as beliefs. Indeed, we suggest that pretense representations are in the same representational ``code'' as beliefs and that the representations in the Possible World Box are processed by the same inference and UpDating mechanisms that operate over real beliefs. Our model also posits a Script Elaborator which is implicated in the embellishment that occurs in pretense. Finally, we claim that the behavior that is seen in pretend play is motivated not from a ``pretend desire'', but from a real desire to act in a way that ®ts the description being constructed in the Possible World Box. We maintain that this account can accommodate the central features of pretense exhibited in the examples of pretense, and we argue that the alternative accounts either can't accommodate or fail to address entirely some of the central features of pretense. q 2000 Elsevier Science B.V. All rights reserved. (shrink)

The everyday capacity to understand the mind, or 'mindreading', plays an enormous role in our ordinary lives. Shaun Nichols and Stephen Stich provide a detailed and integrated account of the intricate web of mental components underlying this fascinating and multifarious skill. The imagination, they argue, is essential to understanding others, and there are special cognitive mechanisms for understanding oneself. The account that emerges has broad implications for longstanding philosophical debates over the status of folk psychology. Mindreading is another trailblazing volume (...) in the prestigious interdisciplinary Oxford Cognitive Science series. (shrink)

What is it like to dream? On an orthodox view, dreams involve misleading sensations and false beliefs. I argue, on philosophical, psychological, and neurophysiological grounds, that orthodoxy about dreaming should be rejected in favor of an imagination model of dreaming. I am thus in partial agreement with Colin McGinn, who has argued that we do not have misleading sensory experiences while dreaming, and partially in agreement with Ernest Sosa, who has argued that we do not form false beliefs while dreaming. (...) Rather, on my view, dreams involve mental imagery and propositional imagination. I defend the imagination model of dreaming from objections. (shrink)

Prior to the twentieth century, theories of knowledge were inherently perceptual. Since then, developments in logic, statis- tics, and programming languages have inspired amodal theories that rest on principles fundamentally different from those underlying perception. In addition, perceptual approaches have become widely viewed as untenable because they are assumed to implement record- ing systems, not conceptual systems. A perceptual theory of knowledge is developed here in the context of current cognitive science and neuroscience. During perceptual experience, association areas in the (...) brain capture bottom-up patterns of activation in sensory-motor areas. Later, in a top-down manner, association areas partially reactivate sensory-motor areas to implement perceptual symbols. The stor- age and reactivation of perceptual symbols operates at the level of perceptual components – not at the level of holistic perceptual expe- riences. Through the use of selective attention, schematic representations of perceptual components are extracted from experience and stored in memory (e.g., individual memories of green, purr, hot). As memories of the same component become organized around a com- mon frame, they implement a simulator that produces limitless simulations of the component (e.g., simulations of purr). Not only do such simulators develop for aspects of sensory experience, they also develop for aspects of proprioception (e.g., lift, run) and introspec- tion (e.g., compare, memory, happy, hungry). Once established, these simulators implement a basic conceptual system that represents types, supports categorization, and produces categorical inferences. These simulators further support productivity, propositions, and ab- stract concepts, thereby implementing a fully functional conceptual system. Productivity results from integrating simulators combinato- rially and recursively to produce complex simulations. Propositions result from binding simulators to perceived individuals to represent type-token relations. Abstract concepts are grounded in complex simulations of combined physical and introspective events. Thus, a per- ceptual theory of knowledge can implement a fully functional conceptual system while avoiding problems associated with amodal sym- bol systems. Implications for cognition, neuroscience, evolution, development, and artificial intelligence are explored. (shrink)

Although creativity, from Plato onwards, has been recognized as a topic in philosophy, it has been overshadowed by investigations of the meanings and values of works of art. In this collection of essays a distinguished roster of philosophers of art redress this trend. The subjects discussed include the nature of creativity and the process of artistic creation; the role that creative making should play in our understanding and evaluation of art; relations between concepts of creation and creativity; and ideas of (...) tradition, metaphor, genius, imagination and genre. This is an important collection that will be eagerly sought by philosophers of art as well as theorists in art history, cinema studies and literary criticism. (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.

Modelling became one of the primary tools of mathematical economic research in the twentieth century, but when we look at examples of how nonanalogical models were first built in economics, both the process of making representations and aspects of the representing relation remain opaque. Like early astronomers, economists have to imagine how the hidden parts of their world are arranged and to make images, that is, create models, to represent how they work. The case of the Edgeworth Box, a model (...) widely used for theoretical work in twentieth-century economics, provides a good example to explore the process of making mathematical representations of the economy. It shows how, in making these new representations, conceptual elements were developed which could not have been represented in the older verbal forms of economics. (shrink)

Recreative Minds develops a philosophical theory of imagination that draws upon the latest work in psychology. This theory illuminates the use of imagination in coming to terms with art, its role in enabling us to live as social beings, and the psychological consequences of disordered imagination. The authors offer a lucid exploration of a fascinating subject.

The book also introduces a host of new experimental techniques and major hypotheses to guide future research.

According to recent accounts of the imagination, mental mechanisms that can take input from both imagining and from believing will process imagination‐based inputs (pretense representations) and isomorphic beliefs in much the same way. That is, such a mechanism should produce similar outputs whether its input is the belief that p or the pretense representation that p. Unfortunately, there seem to be clear counterexamples to this hypothesis, for in many cases, imagining that p and believing that p have quite different psychological (...) consequences. This paper sets out some central problem cases and argues that the cases might be accommodated by adverting to the role of desires concerning real and imaginary situations. (shrink)

In this essay I renew the case for Conditional Excluded Middle in light of recent developments in the semantics of the subjunctive conditional. I argue that Michael Tooley's recent backward causation counterexample to the Stalnaker-Lewis comparative world similarity semantics undermines the strongest argument against CXM, and I offer a new, principled argument for the validity of CXM that is in no way undermined by Tooley's counterexample. Finally, I formulate a simple semantics for the subjunctive conditional that is consistent with both (...) CXM and Tooley's counterexample. (shrink)

This paper motivates, explains, and defends a new account of the content of thought experiments. I begin by briefly surveying and critiquing three influential accounts of thought experiments: James Robert Brown’s Platonist account, John Norton’s deflationist account that treats them as picturesque arguments, and a cluster of views that I group together as mental model accounts. I use this analysis to motivate a set of six desiderata for a new approach. I propose that we treat thought experiments primarily as aesthetic (...) objects, specifically fictions, and then use this analysis to characterize their content and ultimately assess their epistemic success. Taking my starting point from Kendall Walton’s account of representation (Mimesis as make-believe, Harvard University Press, Cambridge, 1990), I argue that the best way to understand the content of thought experiments is to treat them as props for imagining fictional worlds. Ultimately, I maintain that, in terms of their form and content, thought experiments share more with literary fictions and pictorial representations than with either argumentation or observations of the Platonic realm. Moreover, while they inspire imaginings, thought experiments themselves are not mental kinds. My approach redirects attention towards what fixes the content of any given thought experiment and scrutinizes the assumptions, cognitive capacities and conventions that generate them. This view helps to explain what seems plausible about Brown’s, Norton’s, and the mental modelers’ views. (shrink)

Contemplating imaginary scenarios that evoke certain sorts of quasi‐sensory intuitions may bring us to new beliefs about contingent features of the natural world. These beliefs may be produced quasi‐observationally; the presence of a mental image may play a crucial cognitive role in the formation of the belief in question. And this albeit fallible quasi‐observational belief‐forming mechanism may, in certain contexts, be sufficiently reliable to count as a source of justification. This sheds light on the central puzzle surrounding scientific thought experiment, (...) which is how contemplation of an imaginary scenario can lead to new knowledge about contingent features of the natural world. (shrink)