Readers of fictions sometimes resist taking certain kinds of claims to be true according to those fictions, even when they appear explicitly or follow from applying ordinary principles of interpretation. This "imaginative resistance" is often taken to be significant for a range of philosophical projects outside aesthetics, including giving us evidence about what is possible and what is impossible, as well as the limits of conceivability, or readers' normative commitments. I will argue that this phenomenon cannot do the theoretical work (...) that has been asked of it. Resistance to taking things to be fictional is often best explained by unfamiliarity with kinds of fictions than any representational, normative, or cognitive limits. With training and experience, any understandable proposition can be made fictional and be taken to be fictional by readers. This requires a new understanding both of imaginative resistance, and what it might be able to tell us about topics like conceivability or the bounds of possibility. (shrink)

A fiction may prescribe imagining that a pig can talk or tell the future. A fiction may prescribe imagining that torturing innocent persons is a good thing. We generally comply with imaginative prescriptions like the former, but not always with prescriptions like the latter: we imagine non-evaluative fictions without difficulty but sometimes resist imagining value-rich fictions. Thus arises the puzzle of imaginative resistance. Most analyses of the phenomenon focus on the content of the relevant imaginings. The present analysis focuses instead (...) on the character of certain kinds of imaginings, arguing that we resist in such cases given the rich evaluative character of the imaginings prescribed, and the agent-dependent constraints on imagining in such ways. (shrink)

Imaginative resistance refers to a phenomenon in which people resist engaging in particular prompted imaginative activities. Philosophers have primarily theorized about this phenomenon from the armchair. In this paper, we demonstrate the utility of empirical methods for investigating imaginative resistance. We present two studies that help to establish the psychological reality of imaginative resistance, and to uncover one factor that is significant for explaining this phenomenon but low in psychological salience: genre. Furthermore, our studies have the methodological upshot of showing (...) how empirical tools can complement the predominant armchair approach to philosophical aesthetics. (shrink)

The standard cognitive theory of art claims that art can be insightful while maintaining that imagining is motivationally inert [Walton 1990] even when some epistemic advantage is claimed for it [Currie 1995]. However, if we assume art as art can be insightful, we also assume that the imagining it occasions has a lasting impact on belief. In this chapter, I argue that imagining of the kind occasioned by art can be held non-occurrently [Schellenberg 2013] without delusion and can motivate behaviour (...) [Gendler 2000, 2003, 2006a/b; Langland-Hassan 2016]. As such, certain features of imagination can be appreciated in a new light. (shrink)

The problem of imaginative resistance holds interest for aestheticians, literary theorists, ethicists, philosophers of mind, and epistemologists. We present a somewhat opinionated overview of the philosophical discussion to date. We begin by introducing the phenomenon of imaginative resistance. We then review existing responses to the problem, giving special attention to recent research directions. Finally, we consider the philosophical significance that imaginative resistance has—or, at least, is alleged to have—for issues in moral psychology, theories of cognitive architecture, and modal epistemology.

Advocates of interactionism in the ethical criticism of art argue that ethical value impacts aesthetic value. The debate is concerned with “the intrinsic question”: the question of whether ethical flaws/merits in artworks’ manifested attitudes affect their aesthetic value (Gaut 2007: 9). This paper argues that the assumption that artworks have intrinsic ethical value is problematic at least in regards to a significant subset of works: fictional artworks. I argue that, insofar as their ethical value emerges only from attitudes attributable to (...) actual agents, fictional artworks only have extrinsic ethical value. I show that what is at stake for interactionism is whether ethical judgements concerning artists’ attitudes in a context, rather than manifested attitudes, are ever aesthetically relevant. I conclude that, without buying into extreme actual intentionalism, a still controversial theory of interpretation that ties artworks’ meaning to actual artists, interactionism fails to show that ethical flaws/merits are aesthetic flaws/merits. (shrink)

Imaginative resistance refers to a phenomenon in which people resist engaging in particular prompted imaginative activities. On one influential diagnosis of imaginative resistance, the systematic difficulties are due to these particular propositions’ discordance with real-world norms. This essay argues that this influential diagnosis is too simple. While imagination is indeed by default constrained by real-world norms during narrative engagement, it can be freed with the power of genre conventions and expectations.

We experience resistance when we are engaging with fictional works which present certain (for example, morally objectionable) claims. But in virtue of what properties do sentences trigger this ‘imaginative resistance’? I argue that while most accounts of imaginative resistance have looked for semantic properties in virtue of which sentences trigger it, this is unlikely to give us a coherent account, because imaginative resistance is a pragmatic phenomenon. It works in a way very similar to Paul Grice's widely analysed ‘conversational implicature’.

An observation of Hume’s has received a lot of attention over the last decade and a half: Although we can standardly imagine the most implausible scenarios, we encounter resistance when imagining propositions at odds with established moral (or perhaps more generally evaluative) convictions. The literature is ripe with ‘solutions’ to this so-called ‘Puzzle of Imaginative Resistance’. Few, however, question the plausibility of the empirical assumption at the heart of the puzzle. In this paper, we explore empirically whether the difficulty we (...) witness in imagining certain propositions is indeed due to claim type (evaluative v. non-evaluative) or whether it is much rather driven by mundane features of content. Our findings suggest that claim type plays but a marginal role, and that there might hence not be much of a ‘puzzle’ to be solved. (shrink)

The majority of philosophers of religion, at least since Plantinga’s reply to Mackie’s logical problem of evil, agree that it is logically possible for an omnibenevolent, omniscient, and omnipotent God to exist who permits some of the evils we see in the actual world. This is conceivable essentially because of the possible world known as heaven. That is, heaven is an imaginable world in a similar way that logically possible scenarios in any fiction are imaginable. However, like some of the (...) imaginable stories in fiction where we are asked to envision an immoral act as a moral one, we resist. I will employ the works of Tamar Gendler on imaginative resistance and Keith Buhler’s Virtue Ethics approach to moral imaginative resistance and apply them to the conception of heaven and the problem of evil. While we can imagine God as an omnibenevolent parent permitting evil to allow for morally significant freedom and the rewards in heaven or punishments in hell (both possible worlds), we should not. This paper is not intended to be a refutation of particular theodicies; rather it provides a very general groundwork connecting issues of horrendous suffering and imaginative resistance to heaven as a possible world. (shrink)

I present and discuss a counterexample to Kendall Walton's necessary condition for fictionality that arises from considering serial fictions. I argue that although Walton has not in fact provided a necessary condition for fictionality, a more complex version of Walton's condition is immune from the counterexample.

We propose to characterize imaginative resistance as the failure or unwillingness of the reader to take a fictional description of a deviant reality at face value. The goal of the paper is to explore how readers deal with such a breakdown of the default Face Value interpretation strategy. We posit two distinct interpretative ‘coping’ strategies which help the reader engage with the resistance-inducing fiction by attributing the offending content to one of the fictional characters. We present novel empirical evidence that (...) shows that actual readers use these strategies and we flesh out the exact workings of these strategies by integrating them into a general formal semantic framework for interpreting fiction. (shrink)

Imaginative resistance (IR) is rejecting a claim that is true within a fictional world. Accounts that describe IR hold that readers exit a fiction at points of resistance. But if resistance entails exiting a fiction, then learning morality from fiction doesn’t occur. But moral learning from fiction does occur; some such cases are instances of accepting a norm one first denied. I amend current solutions to IR with poetic license. The more poetic license granted a work, the more flexible one (...) is regarding perceived falsehoods. Instead of exiting the fiction, one has the chance to stay engaged and possibly learn norms she previously denied. (shrink)

Where is imagination in imaginative resistance? We seek to answer this question by connecting two ongoing lines of inquiry in different subfields of philosophy. In philosophy of mind, philosophers have been trying to understand imaginative attitudes’ place in cognitive architecture. In aesthetics, philosophers have been trying to understand the phenomenon of imaginative resistance. By connecting these two lines of inquiry, we hope to find mutual illumination of an attitude (or cluster of attitudes) and a phenomenon that have vexed philosophers. Our (...) strategy is to reorient the imaginative resistance literature from the perspective of cognitive architecture. Whereas existing taxonomies of positions in the imaginative resistance literature have focused on disagreements over the source and scope of the phenomenon, our taxonomy focuses on the psychological components necessary for explaining imaginative resistance. (shrink)

Works of fiction are often criticized for their historical inaccuracies. But this practice poses a problem: why would we criticize a work of fiction for its historical inaccuracy given that it is a work of fiction? There is an intuition that historical inaccuracies in works of fiction diminish their value as works of fiction; and yet, given that they are works of fiction, there is also an intuition that such works should be free from the constraints of historical truth. The (...) puzzle of historical criticism is that these intuitions are obviously in conflict, and yet we wish to give up neither. In this essay, I address the shortcomings of two seemingly intuitive strategies for solving the puzzle: the puzzle cannot be solved by appealing to historical constraints of a work’s genre, nor can it be explained as an instance of imaginative resistance. Given the failure of these two strategies, I suggest that there is no easy way to account for our conflicting intuitions and that the puzzle is deserving of greater attention. (shrink)

A fictional text is commonly viewed as constituting an invitation to play a certain game of make-believe, with the individual sentences written by the author providing the propositions we are to imagine and/or accept as true within the fiction. However, we can’t always take the text at face value. What narratologists call ‘unreliable narrators’ may present a confused or misleading picture of the fictional world. Meanwhile there has been a debate in philosophy about so-called ‘imaginative resistance’ in which we are (...) inclined to resist imagining (or even accepting as true in the fiction) what’s explicitly stated in the text. But if we can’t take the text’s word for it, how do we determine what’s true in a fiction? We propose an account of fiction interpretation in a dynamic setting (a version of DRT with a mechanism for opening, updating, and closing temporary ‘workspaces’) and combine this framework with belief revision logic. With these tools in hand we turn to modelling imaginative resistance and unreliable narrators. (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)

Each of these books offers a richly developed and nuanced account of the nature of fiction. And each poses major challenges to a view about which there is a near-consensus. Catharine Abell draws on a theory of the institutions of fiction to advance a systematic re-envisioning of the metaphysics and epistemology of the contents of stories. Gregory Currie argues that fiction’s relationship to the imagination, and the way stories communicate their contents to readers, seriously undermine fiction’s cognitive values.

Imagination contributes to human agency in ways that haven't been well understood. I argue here that pathways from imagistic imagining to emotional engagement support three important agential capacities: 1. bodily preparedness for potential events in one's nearby environment; 2. evaluation of potential future action; and 3. empathy-based moral appraisal. Importantly, however, the kind of pathway in question (I-C-E-C: imagining-categorization-emotion-conceptualization) also enables engagement with fiction. So human enchantment with fiction is a consequence of imaginative pathways that make us the kind of (...) agents we are. Finally, I use this approach to address imaginative resistance and the paradox of fiction. [The version archived here is a penultimate draft. Please email me at [email protected] to receive a pdf of the final in accordance with fair use.]. (shrink)

Abstract Impossible fictions have lessons to teach us about linguistic representation, about mental content and concepts, and about uses of conceivability in epistemology. An adequate theory of impossible fictions may require theories of meaning that can distinguish between different impossibilities; a theory of conceptual truth that allows us to make useful sense of a variety of conceptual falsehoods; and a theory of our understanding of necessity and possibility that permits impossibilities to be conceived. After discussing these questions, strategies for resisting (...) the picture of impossible fictions presented here and in Part I are discussed. Perhaps apparently impossible fictions describe possibilities after all; or perhaps impossible fictions are all trivial; or perhaps some apparently intelligible impossible fictions are unintelligible after all. (shrink)

I am grateful to Catharine Abell and Gregory Currie for their incisive and productive commentaries on Apt Imaginings. In what follows, I will try to respond to.

Issues of pretense and imagination are of central interest to philosophers, psychologists, and researchers in allied fields. In this entry, we provide a roadmap of some of the central themes around which discussion has been focused. We begin with an overview of pretense, imagination, and the relationship between them. We then shift our attention to the four specific topics where the disciplines' research programs have intersected or where additional interactions could prove mutually beneficial: the psychological underpinnings of performing pretense and (...) of recognizing pretense, the cognitive capacities involved in imaginative engagement with fictions, and the real-world impact of make-believe. In the final section, we discuss more briefly a number of other mental activities that arguably involve imagining, including counterfactual reasoning, delusions, and dreaming. (shrink)

This paper investigates a capacity I call actuality-oriented imagining, by which we use sensory imagination in a way that's directed at representing the actual world. I argue that this kind of imagining is distinct from other, similar mental states in virtue of its distinctive content determination and success conditions. Actuality-oriented imagining is thus a distinctive cognitive capacity in its own right. Thinking about this capacity reveals that we should resist an intuitive tendency to think of the imagination’s primary function or (...) default mode as representing the non-actual or the fictional. Instead, the imagination is a cognitive faculty that often puts us in touch with the way things are in reality. (shrink)

Tamar Gendler takes on “explaining our comparative difficulty in imagining fictional worlds that we take to be morally deviant” (56), otherwise known as the puzzle of imaginative resistance. Generally speaking, readers have no trouble believing untrue factual claims such as in Alice in Wonderland or The Adventures of Huckleberry Finn, but we resist claims which advocate praise or approval of immoral acts such as murder. Gendler submits that the implied author aims to persuade the reader to change his or her (...) moral beliefs, thereby causing imaginative resistance. This paper will explain that imaginative resistance is fundamentally an interpersonal moral conflict as experienced in the ethical theory of moral subjectivism, and will suggest ways to manage imaginative resistance by looking at the whole work of fiction. (shrink)

Abstract. I outline the standard picture of fiction. According to this picture, fiction is centred on making believe some truth-apt content. I take a closer look at everyday usage of the expressions ‘according to the fiction’ and ‘in the fiction’ to countervail the streamlining tendencies that come with the standard picture. Having outlined highly variegated use patterns, I argue for a metaexpressivist picture: ‘according to the fiction’ does not primarily report fictional truth but a complex pattern of reactions the fiction (...) seems intended to elicit. In the corresponding expressivist picture of the act of fiction-making, the latter is not primarily modeled on stating and believing truth but on the variegated pattern of intended reactions. (shrink)

Is there a role for aesthetic judgements in science? One aspect of scientific practice, the use of thought experiments, has a clear aesthetic dimension. Thought experiments are creatively produced artefacts that are designed to engage the imagination. Comparisons have been made between scientific (and philosophical) thought experiments and other aesthetically appreciated objects. In particular, thought experiments are said to share qualities with literary fiction as they invite us to imagine a fictional scenario and often have a narrative form (Elgin 2014). (...) But philosophical discussions of aesthetics in science have focused mainly on the epistemic role of beauty and elegance when it comes to theories and mathematical proofs, and thought experiments have been widely overlooked. My aim in this chapter is to address how the aesthetic choices scientists make in the design of a thought experiment contribute to its function: to communicate, convince, or explain a theory or phenomenon. A key issue is whether any aesthetic features in science provide anything beyond catching our attention, or are at best, a mere heuristic aid. I respond to accounts that argue this way and show how formulation is important in scientific thought experiments and, similarly to literary fictions, there is more than one way of interpreting a thought experiment scenario. I end by considering which literary examples are most appropriate when making comparisons with thought experiments. As a result, the difference between representations in art and science raised in current discussions is not as stark as it has been made out to be, and science is a more heterogeneous practice than has been allowed. Part of the value of thought experiments in scientific practice includes the qualities they share with literary works. (shrink)

This is the original, longer draft for my entry on Hume in the 'The Routledge Hand- book of Philosophy of Imagination', edited by Amy Kind and published by Routledge in 2016 (see the separate entry). — Please always cite the Routledge version, unless there are passages concerned that did not make it into the Handbook for reasons of length. — -/- This chapter overviews Hume’s thoughts on the nature and the role of imagining, with an almost exclusive focus on the (...) first book of his Treatise of Human Nature. Over the course of this text, Hume draws and discusses three important distinctions among our conscious mental episodes (or what he calls ‘perceptions’): (i) between impressions (including perceptual experiences) and ideas (including recollections, imaginings and occurrent beliefs); (ii) between ideas of the memory and ideas of the imagination; and (iii), among the ideas of the imagination, between ideas of the judgement (i.e. occurrent beliefs) and ideas of the fancy (i.e. imaginings). I discuss each distinction in turn, also in connection to contemporary views on imagining. In addition, I briefly consider Hume’s views on the imagination as a faculty aimed at the production of ideas, as well as on the role that imagining plays in the wider context of our mental lives, notably in the acquisition of modal knowledge and in the comprehension of, and resistance to, stories and opinions that we take to be false or fictional. (shrink)

According to a recent philosophical claim, “works of fiction are thought experiments” (Elgin 2007: 47), though there are relevant differences, as the role of spoilers shows—they can ruin a novel but improve the understanding we can gain through a thought experiment. In the present article I will analyze the role of spoilers and argue for a more differentiated perspective on the relation between literature and thought experiments. I will start with a short discussion of different perspectives on thought experiments and (...) argue that the mental-model view and the conception of games of make-believe are most promising for developing the present analogy. Then I will assess the similarities and differences between thought experiments and other works of fiction. I will focus on the role of spoilers and, more generally, on the foretaste context, of which they are part. This context guides readers of literary works of art to draw their attention to the literary and aesthetic quality of the text. In the case of thought experiments, on the other hand, it (i) prompts them to accept the presence of fictional elements in worldly-cognitive works and (ii) draws their attention towards cognitively relevant elements of the story. A discussion of Borges’ Pierre Menard in the last part will show that literary works of art become thought experiments if they are embedded in an appropriate foretaste context. Spoilers, thus, unveil that even works which—due to their length or plenty of detail—usually are not considered thought experiments, can perform similar cognitive functions. (shrink)

Contemporary accounts on fictional emotions, i.e., emotions experienced towards objects we know to be fictional, are mainly concerned with explaining their rationality or lack thereof. In this context dominated by an interest in the role of belief, questions regarding their phenomenal quality have received far less attention: it is often assumed that they feel “similar” to emotions that target real objects. Against this background, this paper focuses on the possible specificities of fictional emotions’ qualitative feel. It starts by presenting what (...) I call the “phenomenological question” about the qualitative feel of fictional emotions (section 1) and by showing that this is irreducible to questions about their cognitive, intentional, evaluative, and embodied nature (section 2). Drawing on some insights from early phenomenologists, the next two sections elaborate criteria to distinguish between real and sham emotions on the one side (section 3) and between genuine and non-genuine emotions on the other (section 4). Finally, I apply this orthogonal distinction to the particular case of fictional emotions (section 5). The paper argues that fictional emotions are neither sham emotions nor quasi-emotions, but full-fledged emotional experiences, despite them displaying the distinctive phenomenology of emotions experienced as non-genuine. In the particular case of fictional emotions, they are non-genuine because our psychology is in fact in a state dominated by aesthetic enjoyment. (shrink)

The verb 'imagine' admits of perspectival modification: we can imagine things from above, from a distant point of view, or from the point of view of a Russian. But in such cases, there need be no person, either real or imagined, who is above or distant from what is imagined, or who has the point of view of a Russian. We call this the puzzle of perspectival displacement. This paper sets out the puzzle, shows how it does not just concern (...) language, but also states of imagining themselves, and then presents a solution. The solution draws on the idea that many reports of imagining conceal a distinctive kind of question, and such concealed questions have an extra argument place for (what we will call) an experiencer from whose perspective things are imagined. This solution has a range of advantages over other proposals in the literature, and helps to advance two debates concerning perspectival engagement with fiction. (shrink)

This chapter contains sections titled: Prudence or Oneiromancy? A Parody of Didacticism Preaching to the Converted The Asymmetry of “Imaginative Resistance” Virtue Ethics and Gossip Qualifications Positive Views.

This volume aims to develop a philosophical diagnostic of the present, focussing on contemporary technoscience. psychoanalysis submits contemporary technoscientific discourse to a symptomatic reading, analysing it with evenly-poised attention and from an oblique perspective. Psychoanalysis is not primarily interested in protons, genes or galaxies, but rather in the ways in which they are disclosed and discussed, focussing on the symptomatic terms, the metaphors and paradoxes at work in technoscientific discourse. This monograph presents a psychoanalytical assessment of technoscience. The first four (...) chapters provide a short introduction into the psychoanalysis of technoscience, its basic concepts and methods, as developed Sigmund Freud, Carl Gustav Jung, Gaston Bachelard and Jacques Lacan. In subsequent chapters, this approach is fleshed out with the help of case histories (palaeoanthropology, classical conditioning and virology). Psychoanalysis reveals that, rather than by disinterested curiosity, technoscience is driven by desire, resistance and the will to control. Moreover, the focus is on primal scenes, such as Dubois’ quixotic quest for the missing link and Pavlov’s discovery of the conditioned reflex. In addition, psychoanalysis opts for triangulation: understanding technoscientific research by comparing it to “different scenes”: to genres of the imagination, notably novels, so that, in this volume, the discovery of a Homo erectus skull by Dubois is compared to missing link novels by Jules Verne and Jack London (dating from the same period), Pavlov’s discovery of the conditioned reflex is compared with B.F. Skinner’s novel Walden Two and virology as a research field is considered through the lens of viral fiction. (shrink)

It is widely believed, among philosophers of literature, that imagining contradictions is as easy as telling or reading a story with contradictory content. Italo Calvino’s The Nonexistent Knight, for instance, concerns a knight who performs many brave deeds, but who does not exist. Anything at all, they argue, can be true in a story, including contradictions and other impossibilia. While most will readily concede that we cannot objectually imagine contradictions, they nevertheless insist that we can propositionally imagine them, and regularly (...) do, simply by entertaining a text which prompts us to do so. I argue that this narrative does not bear scrutiny for two main reasons. First, because propositional imagining is beside the point, where truth in fiction is concerned; evaluating truth in fiction engages the cognitive architecture in ways that prohibit the mobilization of merely propositional imagination to that end. And second, because it is not obvious, given the strategies usually suggested, that we ever propositionally imagine contradictions in the first place—in fact, it seems we go out of our way to avoid directly imagining them. (shrink)

This article points out the ways in which the relationship between language and political resistance are problematized in “meta-linguistic” science fiction novels after the 1980s. Although the 20th century anti-utopias tend to view language as a prison house for thought and self-determination under oppressive regimes, Suzette Haden Elgin’s Native Tongue (1984), Neal Stephenson’s Snow Crash (1992) and China Miéville’s Embassytown (2011) are distinct novels in the tradition of language-related science fiction, in the sense that these texts imagine possibilities of resisting (...) oppressive power structures by exploring similar conceptions of language as a way of transforming cultural, perceptual and political realities. The article analyzes these novels where resistance is enacted in the forms of language construction, digital world-making and metaphorical language, in order to question their political and fictional potentials for formulizing subversion in our imagined futures. (shrink)

This paper concerns the familiar topic of whether we can have genuinely emotional responses such as pity and fear to characters and situations we believe to be fictional1. As is well known, Kendall Walton responds in the negative (Walton (1978); (1990): 195-204 and Chapter 7; (1997)). That is, he is an ‘irrealist’ about emotional responses to fiction (the term is Gaut’s (2003): 15), arguing that such responses should be construed as quasiemotions (Walton (1990): 245), of which their possessor imagines that (...) they are genuine emotions. This is not to deny that an experience in response to a fiction may have a phenomenology very like a given emotion, but to insist that, nonetheless, such responses are not real instances of the emotions which they resemble (Walton (1997)). So, in his most famous example, Charles, who experiences fear-like emotion in relation to a film which depicts the approach of evil slime, does not, despite appearances, experience genuine fear towards the slime, but only quasi-fear (Walton (1990): 195-204)2. Walton’s view presupposes the following view about the nature of emotion3. (shrink)

The first section of this article focuses on the treatment of “time travel” in science-fiction literature and film as presented in the secondary literature in that field. The first anthology I will consider has a metaphysical focus, including (a) relating the time travel of science fiction to the banal time travel of all living beings, as we move inexorably toward the future; and (b) arguing for the filmstrip as the ultimate metaphor for time. The second anthology I will consider has (...) a more political focus, arguing that the “special effects” form of science-fiction films, rather than the visual or narrative content of science-fiction-films, is truly imaginative and futural. The second section of this article ties together a variety of concepts and insights between time-travel cinema and Deleuze’s Cinema 1, suggesting (among other things) that (c) time-traveling characters in cinema function as a redoubled phenomenon of the “mobile sections” of Bergsonian duration (in reference to Henri Bergson), and (d) time-travel cinema vividly illustrates the imagistic nature of the entire world. (shrink)

Although the fictional domain exhibits a prima facie freedom from real-world moral constraints, certain fictive imaginings seem to deserve moral criticism. Capturing both intuitions, this paper argues for double-standard moralism, the view that fictive imaginings are subject to different moral standards than their real-world counterparts. I show how no account has, thus far, offered compelling reasons to warrant the moral appropriateness of this discrepancy. I maintain that the normative discontinuity between fiction and the actual world is moderate, as opposed to (...) one that leaves fictive engagements wholly exempt from moral evaluations. I propose a way of addressing the gamer’s dilemma that is compatible with a moderate kind of discontinuity. Finally, I contend that the audience is justified in adopting deviant moral attitudes in fictional situations because their consequences largely differ from those that analogous real-world events would have. (shrink)

One of the greatest achievements of modern physics is the discovery of spacetime by Hermann Minkowski. Still, talking about the ”discovery” of spacetime cannot be done without further questioning its ontological status. Did Minkowski discover a real physical substrate? What is the creative role of his scientific imagination in the process of discovery? To what extent the explanatory power of spacetime supports the conclusion that it is a true description of the physical world? I consider those questions in that paper, (...) and I claim that for Minkowski’s discovery of spacetime, imagination and explanation work together in a fictionalist strategy. I explain why there is no reason to doubt the veracity of the discovery of spacetime and its physical reality. (shrink)

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.

This paper examines how a delusive social imaginary of criminal-justice has underpinned contemporary U.S. mass incarceration and encouraged widespread indifference to its violence. I trace the complicity of this criminal-justice imaginary with state-organized violence by comparing it to an imaginary that supported colonial violence. I conclude by discussing how those of us outside of prison can begin to resist the entrenched images and institutions of mass incarceration by engaging the work and imagining the perspective of incarcerated people.

Science and fiction seem to lie at opposite ends of the cognitive-epistemic spectrum. The former is typically seen as the study of hard, real-world facts in a rigorous manner. The latter is treated as an instrument of play and recreation, dealing in figments of the imagination. Initial appearances notwithstanding, several central features of scientific modeling in fact suggest a close connection with the imagination and recent philosophers have developed detailed accounts of models that treat them, in one way or another, (...) as akin to fictions. This chapter will critically discuss the fictions approach as an epistemology of scientific modeling. (shrink)

Imagination comes with varying degrees of sensory accompaniment. Sometimes imagining is phenomenologically lean (cognitive imagining); at other times, imagining involves or requires sensory presentation such as mental imagery (sensory imagining). Philosophers debate whether contradictions can obtain in fiction and whether cognitive imagining is robust enough to explain our engagement with fiction. In this paper, I defend the Principle of Poetic License by arguing for the Permissive View of fictional truth: we can have fictions in which a contradiction is true, everything (...) is true, or nothing is true. I show that imagination-based worries about impossible, unlimited, and empty fictions can be shown to be about sensory imagination and that sensory imagination isn’t necessary for fictional truth. (shrink)

Works of fiction are alleged to differ from works of nonfiction in instructing their audience to imagine their content. Indeed, works of fiction have been defined in terms of this feature: they are works that mandate us to imagine their content. This paper examines this definition of works of fiction, focusing on the nature of the activity that ensues in response to reading or watching fiction. Investigating how imaginings function in other contexts, I show, first, that they presuppose a cognitive (...) infrastructure encompassing at least one additional kind of mental state, whose role is to determine, to some degree, truth in an imaginary world. I then discuss the implications for the definition of fiction, showing that the definition should be refined to accommodate the structure that imagining presupposes: a work counts as fiction just in case it mandates us, not only to imagine, but to engage in a more complex mental activity, an activity that in addition to imagining, involves positing a backdrop for our imaginings. (shrink)

This paper presents an artifactual approach to models that also addresses their fictional features. It discusses first the imaginary accounts of models and fiction that set model descriptions apart from imagined-objects, concentrating on the latter :251–268, 2010; Frigg and Nguyen in The Monist 99:225–242, 2016; Godfrey-Smith in Biol Philos 21:725–740, 2006; Philos Stud 143:101–116, 2009). While the imaginary approaches accommodate surrogative reasoning as an important characteristic of scientific modeling, they simultaneously raise difficult questions concerning how the imagined entities are related (...) to actual representational tools, and coordinated among different scientists, and with real-world phenomena. The artifactual account focuses, in contrast, on the culturally established external representational tools that enable, embody, and extend scientific imagination and reasoning. While there are commonalities between models and fictions, it is argued that the focus should be on the fictional uses of models rather than considering models as fictions. (shrink)

This paper considers imagination a performative expression using an ethico-aesthetic paradigm. Using William James’ notion of “medical materialism” as a critical tool, I turn to the work of autistic poet Tito Mukhopadhyay, demonstrating how disability politics restructures totalizing systems of domination without referring to rights or identity claims.

The recent discussion of fictional models has focused on imagination, implicitly considering fictions as something nonconcrete. We present two cases from synthetic biology that can be viewed as concrete fictions. Both minimal cells and alternative genetic systems are modal in nature: they, as well as their abstract cousins, can be used to study unactualized possibilia. We approach these synthetic constructs through Vaihinger’s notion of a semi-fiction and Goodman’s notion of semifactuality. Our study highlights the relative existence of such concrete fictions. (...) Before their realizations neither minimal cells nor alternative genetic systems were any well-defined objects, and the subsequent experimental work has given more content to these originally schematic imaginings. But it is as yet unclear whether individual members of these heterogeneous groups of somewhat functional synthetic constructs will eventually turn out to be fully realizable, remain only partially realizable, or prove outright impossible. (shrink)