How should one decide whether to undergo an experience that changes who one is? In her discussion of ‘transformative experiences’, L.A. Paul argues that to choose rationally when deliberating first-personally, one should base one’s decision on ‘revelation’, i.e. to discover out what the experience will be like. If this solution is taken as the sole means by which a transformative choice is made, then I argue it is problematic. This is because (i) it overlooks the role that one’s practical identity (...) ought to play when making a major life decision; and (ii) it ignores morally relevant reasons for action. Even if we retain the revelation approach as only part of the means through which a transformative choice is made, I argue that revelation should frequently carry little weight in our decision-making. Rather than focusing on the subjective quality of future experiences, it is often preferable to reflect on who one is and what one’s endorsed practical identity commits one to. (shrink)

I propose a way of understanding empathy on which it does not necessarily involve any-thing like thinking oneself into another’s shoes, or any imagining at all. Briefly, the empa-thizer uses an aspect of her own mental state as a sample, expressed by means of a phenomenal concept, to understand the other person. This account does a better job of explaining the connection between empathetic experiences and the objects of empathy than most traditional ones do. And it helps to clarify the (...) relations among different varieties of empathy and empathy-like experiences, including empathy with fictional characters. -/- . (shrink)

This paper examines how specific concepts of the self shape discussions about the ethics of changing sex. Specifically, it argues that much of the debate surrounding sex change has assumed a model of the self as authentic and/or atomistic, as demonstrated by both contemporary medical discourses and the recent work of Rubin (2003). This leads to a problematic account of important ethical issues that arise from the desire and decision to change sex. It is suggested that by shifting to a (...) properly intersubjective and performative model of the self, we can better understand (1) the diagnosis of transsexuality; and (2) issues of success, failure and regret with regard to changing sex. The paper also reveals the important implications this shift has for how the relationship between medical practitioners and transindividuals is understood. The paper concludes by showing how the model of the self as authentic can individualise identity and thus downplay or overlook the tight intertwinement between self and other. A properly intersubjective, performative concept of the gendered self places other people at the centre of both an individual’s attempt at self-transformation and the ethical issues that arise during this process. (shrink)

This paper explores the ambivalent effects of recognition through a critical examination of Axel Honneth’s theory of recognition. I argue that his underlying perfectionist account and his focus on the psychic effects of recognition lead him to overlook important connections between recognition and power. These claims are substantiated through Butler’s theory of gender performativity and recognition; and issues connected to the socio-institutional recognition of transgender identities. I conclude by suggesting that certain problems with Butler’s own position can corrected by drawing (...) more from the Foucauldian aspects of her work. I argue that this is the most promising way to conceptualise recognition and its complex, ambivalent effects. (shrink)

In this article I describe and defend an account of social freedom grounded in intersubjective recognition. I term this the ‘normative authorisation’ account. It holds that a person enjoys social freedom if she is recognised as a discursive equal able to engage in justificatory dialogue with other social agents about the appropriateness of her reasons for action. I contrast this with Axel Honneth’s theory of social freedom, which I term the ‘self-realisation’ account. According to this view, the affirmative recognition of (...) others is necessary for obtaining a positive relation-to-self and hence freedom. I identify several problems with this account, which challenge the connection Honneth draws between social recognition and freedom. I show how the normative authorisation account avoids these problems and captures some basic features of our everyday, normative interactions. Finally, I suggest that the account fits well with recent work on epistemic injustice. Specifically, it shows that securing the social conditions of freedom requires ensuring epistemically-just social relations. Thus, the normative authorisation account is an explanatorily powerful, inclusive theory of social freedom that fits well with wider accounts of justice and freedom. Thus, it represents the most promising way of understanding social freedom in terms of interpersonal recognition. (shrink)

Sterilisation requests made by young, childfree adults are frequently denied by doctors, despite sterilisation being legally available to individuals over the age of 18. A commonly given reason for denied requests is that the patient will later regret their decision. In this paper I examine whether the possibility of future regret is a good reason for denying a sterilisation request. I argue that it is not and hence that decision-competent adults who have no desire to have children should have their (...) requests approved. It is a condition of being recognised as autonomous that a person ought to be permitted to make decisions that they might later regret, provided that their decision is justified at the time that it is made. There is also evidence to suggest that sterilisation requests made by men are more likely to be approved than requests made by women, even when age and number of children are factored in. This may indicate that attitudes toward sterilisation are influenced by gender discourses that define women in terms of reproduction and mothering. If this is the case, then it is unjustified and should be addressed. There is no good reason to judge people’s sterilisation requests differently in virtue of their gender. (shrink)

In this paper, I develop and defend the ‘Justified Decision Perspective’ in answer to the question of when we should regret the things we have done. I claim that one should not regret a past decision one has made so long as it was justified in relation to the kind of person one was at the time of acting. On this time-indexing account, judging a decision to be justified – at least for the purposes of assessing one’s regrets – is (...) a matter of identifying the practical reasons that were epistemically available to the agent when she was deliberating about what to do. Accordingly, when responding to her regrets, an agent should not invoke reasons that existed but were epistemically unavailable to her when she was deliberating; or reasons that only came into existence after she acted. The JDP has important implications for prospective regret. In particular, it implies we should worry less about experiencing regret in the future than many of us do. Thus, my overall aim is to show that we often have reason to reject our regrets, which means that regret should play a less prominent and painful role in our lives than it does currently. (shrink)

This paper establishes what constitutes a sexual interaction between two or more people. It does this by first defining a sexual activity as one in which the agent intends to satisfy a sexual desire. To understand what it means to engage in a sexual activity with another person, it draws from Bratman’s account of shared collaborative activity. A sexual interaction is defined as one in which two or more people engage in a sexual activity together, with the intention of satisfying (...) a sexual desire in a mutually responsive and mutually supportive way. The paper then uses this account to consider what things constitute sexual infidelity. The answer is a broad one: many things can count as sexual interactions and hence can be considered to be sexual infidelity. Contrary to what a lot of people think, this can include the private use of pornography. (shrink)

This paper examines recent forms of post-identity thought within contemporary gender theory, specifically the works of Rosi Braidotti, Elizabeth Grosz and Bobby Noble. Despite the many insights that these theories offer, I argue that they suffer from what Lois McNay has labelled ‘social weightlessness’ insofar as their models of subjectivity and agency are disconnected from the everyday realities of social subjects. I identify two ways in which this social weightlessness is manifested in radical gender theories that endorse a post-identity politics: (...) (i) they overlook the social and political importance to many individuals of establishing stable, coherent identities; (ii) they are unable to offer a satisfactory account of agency. I suggest that these issues arise, at least in part, from the anti-recognition stance adopted by such radical gender theorists. I argue that by incorporating a properly nuanced model of recognition back into their theories they can imbue their accounts with a properly grounded model of the subject that is responsive to the inequalities and oppressions that infuse the particular concrete contexts in which we experience and live out our identities. (shrink)

The research behind this paper was motivated by Lyman Tower Sargent’s keynote address on Australian utopian literature, presented at the Demanding the Impossible: Utopia, Dystopia and Science Fiction conference, held at Monash University in 2007. 1 In the printed version of his paper, Sargent notes that the theme of religion “runs throughout Australian utopianism, but with extremely varied content.” 2 This is certainly true of the late Victorian era, when public discussion of issues relating to evolutionary theory and the role (...) of religion in society grew particularly intense. This paper will investigate some of the different treatments of science and religion in Australian utopian literature from 1870 to 1900. I will contend that an examination of this literature supports recent historiography, which contests the problematic science-versus-religion dichotomy that has often been used to characterise the Victorian “crisis of faith.” I will first consider the historical context of the late Victorian era and scholarly trends concerning the relationship between science and religion, before moving on to examine how some Australian utopian authors of the late nineteenth century approached the issues of science, Darwinism, eugenics, secularism, church reform, spiritualism, and agnosticism. Through a brief examination of selected contemporary utopian texts that focus on issues relating to science and religion, I intend to demonstrate the wide range of attitudes and beliefs influencing utopianism in late-nineteenth-century Australia. (shrink)

This article examines Sheila Jeffreys’ analysis of the UK’s Gender Recognition Act (GRA) and her critique of trans identities. Situating her position within a wider radical feminist perspective, I suggest that her arguments against the GRA are grounded in a problematic understanding of sex and gender. In so doing, I defend how sex and gender are understood in the GRA. Furthermore, I show that radical feminist concerns about sex reassignment surgery and the complicity of trans individuals with stereotypical gender norms (...) are unwarranted. By highlighting the importance of attending to the embodied dimensions of sex and gender, I offer a partial defence of the UK’s GRA. In particular, I note the benefits that it can offer to trans individuals, although I suggest ways in which the GRA can be improved. Finally, I challenge radical feminists who see trans theory and identities as inimical to the goals of feminism. (shrink)

Prop oriented make-believe is make-believe utilized for the purpose of understanding what I call “props,” actual objects or states of affairs that make propositions “fictional,” true in the make-believe world. I, David Hills, and others have claimed that prop oriented make-believe lies at the heart of the functioning of many metaphors, and one variety of fictionalism in metaphysics invokes prop oriented make-believe to explain away apparent references to entities some find questionable or problematic (fictional characters, propositions, moral properties, numbers). Elisabeth (...) Camp has argued against my and David Hills’ views of metaphor. Her arguments, many of them echoed by Catharine Wearing, demolish a very implausible account of metaphor, but leave entirely untouched the views that Hills and I actually proposed. Clarifying what we say about metaphor serves also as a defense of fictionalist theories that invoke prop oriented make-believe. (shrink)

In this paper I consider Kendall Walton’s provocative views on the visual arts, including his approaches to understanding both figurative and nonfigurative painting. I introduce his central notion of fictionality, illustrating its advantages in explaining the phenomenon of ‘perceptual twofoldness’. I argue that Walton’s position treats abstract artwork reductively, and I outline two essential components of our aesthetic encounters with the nonfigurative that Walton excludes. I then offer some criticisms of his commitment to photographic realism, emphasising its theoretical inconsistencies (...) with his account of representation. My own proposal is that in our apprehension of non-figurative artworks, our attention is drawn to the underlying structures of both emotive and perceptual experience. In this way, paintings, particularly abstract ones, disclose human cognition in a manner that makes fictionality an inappropriate tool for their analysis. (shrink)

An account of the life of Dr P.J. Ryan, Australian Catholic scholastic philosopher and anti-Communist organiser.

Fans of arthouse cinema may lament that über-indie idol Greta Gerwig sold out to mainstream cinema with her foray into Barbie. Yet for every film snob who refuses to watch Barbie, innumerable other...

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)

Kendall Walton argues that photographs, like mirrors and microscopes, meet sufficient conditions to be considered a kind of prosthesis for seeing. Well aware of the controversiality of this claim, he offers three criteria for perception met by photographs like other perceptual aids which makes them transparent –that is, we see through them.1(II) Jonathan Cohen and Aaron Meskin attempt to refute the transparency thesis by arguing that photographs cannot be genuine prostheses for seeing because they fail to meet another necessary (...) condition, namely that of egocentric spatial information (ESI). Only devices that belong to a process type that carries ESI are, in principle, genuine prostheses for seeing.2 (III) I will offer a two- part refutation of the proposed disqualification of photographs by 1) offering an example of a case where another instance of the process-type to which photographs belong carries ESI, establishing the reliability of the process type that allegedly precluded photographs from qualifying (IV) and 2) offering another example to illustrate how photographs can meet the ESI condition. (V) . (shrink)

Are games essentially a form of make-believe, or essentially an act of struggling against obstacles? There have been several attempts to reduce one of these accounts to the other. Kendall Walton has argued for the primacy of the make-believe account of games. Even when we are struggling against obstacles in games, says Walton, we are engaged in a form of make-believe: we are making believe that these lines are real obstacles, that these points really matter. Bernard Suits has argued (...) for the primacy of the account of games as struggling against obstacles. Even when we are making believe in games, says Suits, we are still engaged in act act of struggling against obstacles. Usually we are struggling to keep the narrative going. I argue that Walton's and Suits' reductive attempts are both wrong: that there are two distinct activities, of making-believe and struggling against obstacles, neither of which is wholly reducible to a subset of the other. Importantly, in many games we are engaged in both making-believe and struggling against obstacles. But there are some games that are pure struggle with no make-believe (like games of real survival in the real wilderness). And there are games of pure make-believe, in which there are no obstacles or struggle. (shrink)

The Introduction provides an overview of Kendall Walton’s make-believe framework for a variety of representations and his arguments that such representations are dependent on their social or historical context. Walton argues that diverse representations involve our capacities for imagination and make-believe with props; they overlap with the fictional. Focusing on make-believe with props explains paradigmatic representational arts such as paintings and novels, theater and film. But this perspective reaches beyond the arts: it explains pictures and photographs in general not (...) only artistic ones; stories in general as well as literary and performing arts; music; metaphors, and even the claims we make about fictional entities and existence. The first section explains the main points of the make-believe framework in Mimesis as Make-Believe, and it reconstructs Walton’s argument in “Categories of Art” that some aesthetic properties depend on the perceptible and historical categories of art to which a work belongs. The second section outlines Walton’s specific proposals about literary fiction, fictional characters, poetry, pictures, photographs, music and negative existential claims. These explanations are integrated with summaries of the papers. The third section examines Walton’s implicit view of two much-discussed issues: the ontology of art and definitions of art. This discussion clears away some misunderstandings of Walton’s contextualism or historicism and relates Walton’s work to Arthur Danto’s and Frank Sibley’s. (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.

The most well-known and controversial solution to the paradox of fiction is Kendall Walton’s, according to whom pity of (say) Anna Karenina is not genuine pity. Walton’s opponents argue that we can resolve the paradox of fiction while preserving the intuition that our response to Anna is ordinary, run-of-the-mill pity; and they claim that retaining this intuition explains more than Walton’s approach. In my view, the arguments of Walton’s opponents depend on idiosyncratic features of examples involving purely fictional characters (...) like Anna Karenina. What is really at issue is the fact that we respond emotionally to fiction in ways that are not explained by our beliefs, but instead by what we imagine. That this is the crux of the paradox of fiction becomes clear only when we consider fictions about real persons and events. And I contend that once we turn our attention to these cases, Walton’s theory proves significantly more explanatory than the opposition. (shrink)

If artworks and their aesthetic properties stand in constitutive relationships to historical context and circumstances, so that some understanding of relevant facts is involved in responding to a work, what becomes of the intuitive view that we see artworks and at least some of their aesthetic properties? This question is raised by arguments in both aesthetics and art history for the historical nature of works of art. The paper argues that the answer needs to take philosophy of perception into account. (...) The principal development that has shaped philosophy of perception in the last thirty years—explaining perceptual experience in terms of contents that represent that such-and-such is the case—is directly relevant to key arguments for the historical nature of art because contents can represent complex kinds and properties. Conceptual realism is especially well-suited for explaining perception of artworks and aesthetic properties because it emphasizes that forms of understanding—in the sense of capacities, abilities and techniques—are involved in perceptual engagement with individual objects and instances of properties. To make this case, the paper examines influential arguments for the historical nature of art and aesthetic properties by Arthur C. Danto and Kendall L. Walton; and examines art-historical discussions by Michael Baxandall, Linda Nochlin and T. J. Clark. The paper argues that the aesthetic properties of an artwork depend on human intentional uses of properties, colours and contours among them, and such uses may themselves be aesthetic. The Wittgensteinian notion of use is contextual and historical, and uses are perceptible. (shrink)

In this study we offer a new way of applying Kendall Walton’s theory of make-believe to musical experiences in terms of psychologically inhibited games of make-believe, which Walton attributes chiefly to ornamental representations. Reading Walton’s theory somewhat against the grain, and supplementing our discussion with a set of instructive examples, we argue that there is clear theoretical gain in explaining certain important aspects of composition and performance in terms of psychologically inhibited games of make-believe consisting of two interlaced game-worlds. (...) Such complex games can accommodate a continuous rich spectrum of congruent modes of listening, which broaches both the formalist-type and the narrativist-type. We conclude that this sort of oblique reading of Walton’s original theory actually complements and completes Walton’s recent theoretic angle concerning thoughtwriting in music by way of affording it with a suitable conception for a mechanism of appropriation for music. (shrink)

Ornamentality is pervasive in the new media and it is related to their essential characteristics: dispersal, hypertextuality, interactivity, digitality and virtuality. I utilize Kendall Walton's theory of ornamentality in order to construe a puzzle pertaining to the new media. the ornamental erosion of information. I argue that insofar as we use the new media as conduits of real life, the excessive density of ornamental devices which is prevalent in certain new media environments, forces us to conduct our inquiries under (...) conditions of neustic uncertainty, that is, uncertainty concerning the kind of relationship we, the users, have to the propositional content mediated. I suggest that this puzzle calls upon us to consider what would be a viable logic of virtual discovery. (shrink)

In this paper I suggest that, over and above the need to explore and understand the technological newness of computer art works, there is a need to address the aesthetic significance of the changes and effects that such technological newness brings about, considering the whole environmental transaction pertaining to new media, including what they can or do offer and what users do or can do with such offerings, and how this whole package is integrated into our living spaces and activities. (...) I argue that, given the primacy of computer-based interaction in the new-media, the notion of ‘ornamentality’ indicates the ground-floor aesthetics of new-media environments. I locate ornamentality not only in the logically constitutive principles of the new-media (hypertextuality and interactivity) but also in their multiform cultural embodiments (decoration as cultural interface). I utilize Kendall Walton’s theory of ornamentality in order to construe a puzzle pertaining to the ornamental erosion of information in new-media environments. I argue that insofar as we consider new-media to be conduits of ‘real-life’, the excessive density of ornamental devices prevalent in certain new-media environments forces us to conduct our inquiries under conditions of neustic uncertainty, that is, uncertainty concerning the kind of relationship that we, the users, have to the propositional content mediated. I conclude that this puzzle calls our attention to a peculiar interrogatory complexity inherent in any game of knowledge-seeking conducted across the infosphere, which is not restricted to the simplest form of data retrieval, especially in mixed-reality environments and when the knowledge sought is embodied mimetically. (shrink)

What does it mean for a proposition to be "true in a fiction"? According to the account offered by Kendall Walton in Mimesis as Make-Believe (1990), what is fictionally true, or simply fictional, is what a work of fiction invites or prescribes that we imagine. To say that it is fictional that Okonkwo kills Ikemefuna in Chinua Achebe's Things Fall Apart, for example, is to say that we are supposed to imagine that event. Yet Walton gives no account of (...) the kind of imagining relevant to understanding fictionality. In this paper I argue that the relevant kind of imagining is imagining a storyworld. I propose an account of this sort of imagining, as well as the nature of the invitations or prescriptions to imagine generated by fiction. I show that this account can be defended against various criticisms of Walton's original view, including his own argument in 2015 that prescriptions to imagine provide only necessary conditions for fictionality. (shrink)

This paper analyzes Kendall Walton's theory of depiction and, more specifically, his notion of twofoldness. I argue that (1) Walton’s notion of twofoldness is, in spite of what Walton claims, very different from Richard Wollheim’s and (2) Walton’s notion of twofoldness is inconsistent with the rest of his theory of depiction.

This chapter explores a noteworthy, as-yet-unanalysed normative aspect of imagining. It begins by examining cases where imaginings are deemed erroneous, showing that imaginings can “go wrong” not only by failing to represent that which the imaginer intends to imagine, or is asked to imagine by an external source (e.g. a work of fiction), but also when imaginings arise unbidden. That unintended, non-deliberate imaginings can be erroneous shows that there must be a norm or commitment that is inherent to imagining, a (...) norm or commitment that, if violated, renders imaginings erroneous. Invoking Kendall Walton’s thesis about the normativity of imagining, I adduce a first-pass account of this normative aspect; the account pivots on the idea that imagining aims at, or is committed to representing, that which is fictionally true. After showing that this account is inadequate, I revise Walton’s thesis, arguing that in imagining, we are not committed to representing the fictional truth. Rather, taking on a quasi-doxastic role vis-à-vis the fictional world, we are committed to representing that which is (merely) presented as fictionally true. I proceed to explain the error in question in terms of this thesis, showing that when the quasi-doxastic role we take on in our capacity as imaginers is not carried out properly, our imaginings are rendered erroneous. (shrink)

Collection of articles on themes of Australian Catholic philosophy and history. Articles of philosophical interest include 'Catholic thought and Catholic Action: Dr Paddy Ryan MSC' (on the scholastic philosopher and anti-Communist), 'Catholic schooldays with philosophy', 'Traditional Catholic philosophy: baby and bathwater', 'Secular versus Catholic conceptions of values in Australian education', 'Accountancy as computational casuistics', 'The Mabo High Court and natural law values', and 'Stove, Hume and Enlightenment'.

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)

In this paper I propose an account of representation for scientific models based on Kendall Walton’s ‘make-believe’ theory of representation in art. I first set out the problem of scientific representation and respond to a recent argument due to Craig Callender and Jonathan Cohen, which aims to show that the problem may be easily dismissed. I then introduce my account of models as props in games of make-believe and show how it offers a solution to the problem. Finally, I (...) demonstrate an important advantage my account has over other theories of scientific representation. All existing theories analyse scientific representation in terms of relations, such as similarity or denotation. By contrast, my account does not take representation in modelling to be essentially relational. For this reason, it can accommodate a group of models often ignored in discussions of scientific representation, namely models which are representational but which represent no actual object. (shrink)

The philosophies of education serve as the guide of the teachers in handling the teaching-learning process. However, a belief will remain as a belief unless it is practiced. This study aimed to find the relationship between the philosophical beliefs and practices of the 30 teachers of the schools in San Roque, Mabini, Bohol - San Roque Elementary School and San Roque National High School, S.Y. 2019-2020. The study utilized a quantitative method descriptive survey research design. The research instrument used was (...) a self-constructed questionnaire in which the reliability was tested by a Cronbach’s Alpha using Statistical Package for the Social Science (SPSS) software. Simple percentage and weighted mean were some of the statistical treatments used. Kendall’s tau_b, a non-parametric test, was used to determine the correlation between philosophical beliefs and their equivalent pedagogical practices. All of the statistical treatments were also run using the SPSS software. Further, the researcher assured the proper observation of the research ethics protocol. Based on the results, the philosophies of Progressivism (3.63) and Perennialism (3.31) were the most and least prevailing philosophical beliefs, respectively. On the other hand, the most and least prevailing philosophies practiced are Progressivism (3.69) and Essentialism (3.19), respectively. Moreover, research findings revealed that there was a significant relationship between the philosophical beliefs of teachers and their pedagogical practices. In conclusion, this study claims that teachers’ pedagogical practices are dependent to their philosophical beliefs; and as the teachers believed on a particular philosophy of education, they practice it accordingly to the extent of their adherence to the belief. (shrink)

Mental fictionalism is the view that, even if mental states do not exist, it is useful to talk as if they do. Mental states are useful fictions. Recent philosophy of mind has seen a growing interest in mental fictionalism. To date, much of the discussion has concerned the general features of the approach. In this paper, I develop a specific form of mental fictionalism by drawing on Kendall Walton’s work on make-believe. According to the approach I propose, talk of (...) mental states is a useful pretence for describing people and their behaviour. I try to clarify and motivate this approach by comparing it to well-known alternatives, including behaviourism, instrumentalism and eliminativism. I also consider some of the challenges that it faces. (shrink)

Some objects we value because they afford a felt connection with people, events, or places connected with their past. Visiting Canterbury cathedral, you encounter the place where, in 1170, Archbishop Thomas Becket was murdered by four knights of Henry II. Knowing that you are standing in the very place where Becket’s blood was spilled gives the past event a sense of tangible reality. One feels ‘in touch with’ the past; history seems to ‘come alive’. In this paper, I propose an (...) explanation for the phenomenology of such experiences in terms of an imaginative activity that represents what an object is historically connected with as part of the object in the present. One imagines of the site of Becket’s murder Becket being murdered. According to my account, objects that embody their histories are representations in Kendall Walton’s sense: they have the function of serving as props in games of make-believe. (shrink)

This paper puts forward an account of imaginative immersion. Elaborating on Kendall Walton’s thesis that imagining aims at the fictional truth, it first argues that imaginings are inherently rule- or norm-governed: they are ‘regulated’ by that which is presented as fictionally true. It then shows that an imaginer can follow the rule or norm mandating her to imagine the propositions presented as fictional truths either by acquiring explicit beliefs about how the rule (norm) is to be followed, or directly, (...) without acquiring such beliefs. It proceeds to argue that to the extent that an imaginer follows this rule (norm) without holding such beliefs, she is more immersed in her imaginings. The general idea is that immersion in an activity is a matter of following rules or norms that apply to that activity without explicitly thinking about how to follow them, that is, without ‘doxastic mediation.’ Lastly, the paper shows that this thesis can explain various features associated with imaginative immersion, such as the sort of attentiveness it involves, the emotional response it generates, and its relation to spoilers. (shrink)

When I see a tree through my window, that particular worldly tree is said to be ‘in’, ‘on’, or ‘before’ my mind. My ordinary visual link to it is ‘intentional’. How similar to this link are the links between me and particular worldly trees when I see them in photographs, or in paintings? Are they, in some important sense, links of the same kind? Or are they links of importantly different kinds? Or, as a third possibility, are they at once (...) links of the same important kind and also links of importantly different sub-kinds within that kind? This paper takes up these taxonomical questions. After fleshing out (a bit) the characterisation of these different subject-object links, I explain and expand upon an approach to answering the taxonomical questions originally set out by Kendall Walton. I then follow this approach a certain distance, connecting it with the question of how to mark the boundary between perception and cognition. My investigations support the conclusion that the three types of links just described are not importantly different in kind. (shrink)

On various occasions, Kendall Walton has put forward a theory of depiction based on the notion of make-believe: P depicts something only if in virtue of having a perception of P, one makes believe that that very experience is the perception of P’s subject. As a consequence, if an individual is not able to make believe, whatever they face in their perception does not count as a depiction for her. Yet there are many evidences from developmental psychology that show (...) that very little children still unable to make believe can grasp a picture’s figurative value. As a result, Walton’s theory of depiction seems to be inadequate from an empirical point of view. Moreover, it also appears to be inadequate from a conceptual point of view. Walton’s ambition is to account in pretence-theoretical terms of what the twofold experience of seeing-in, which Wollheim took to be a necessary condition of depiction, amounts to. Yet relying on make-believe, hence on imagination, does not account for the genuinely perceptual character of the “seeing-in” experience. No treatment of imagination in terms of visualization seems to achieve such a purpose. (shrink)

The descriptions and theoretical laws scientists write down when they model a system are often false of any real system. And yet we commonly talk as if there were objects that satisfy the scientists’ assumptions and as if we may learn about their properties. Many attempt to make sense of this by taking the scientists’ descriptions and theoretical laws to define abstract or fictional entities. In this paper, I propose an alternative account of theoretical modelling that draws upon Kendall (...) Walton’s ‘make-believe’ theory of representation in art. I argue that this account allows us to understand theoretical modelling without positing any object of which scientists’ modelling assumptions are true. (shrink)

There are propositions constituting the content of fictions—sometimes of the utmost importance to understand them—which are not explicitly presented, but must somehow be inferred. This essay deals with what these inferences tell us about the nature of fiction. I will criticize three well-known proposals in the literature: those by David Lewis, Gregory Currie, and Kendall Walton. I advocate a proposal of my own, which I will claim improves on theirs. Most important for my purposes, I will argue on this (...) basis, against Walton’s objections, for an illocutionary-act account of fiction, inspired in part by some of Lewis’s and Currie’s suggestions, but (perhaps paradoxically) above all by Walton’s deservedly influential views. (shrink)

Recent philosophy of science has seen a number of attempts to understand scientific models by looking to theories of fiction. In previous work, I have offered an account of models that draws on Kendall Walton’s ‘make-believe’ theory of art. According to this account, models function as ‘props’ in games of make-believe, like children’s dolls or toy trucks. In this paper, I assess the make-believe view through an empirical study of molecular models. I suggest that the view gains support when (...) we look at the way that these models are used and the attitude that users take towards them. Users’ interaction with molecular models suggests that they do imagine the models to be molecules, in much the same way that children imagine a doll to be a baby. Furthermore, I argue, users of molecular models imagine themselves viewing and manipulating molecules, just as children playing with a doll might imagine themselves looking at a baby or feeding it. Recognising this ‘participation’ in modelling, I suggest, points towards a new account of how models are used to learn about the world, and helps us to understand the value that scientists sometimes place on three-dimensional, physical models over other forms of representation. (shrink)

This paper addresses what is arguably ?? one of the most fundamental questions in the debate on depiction, What is a Picture? It offers a critical discussion of traditional theories of pictorial representation, such as the Resemblance Theory, Conventionalism, and the Illusion Theory; it introduces and analyses the crucial notions of ‘seeing as’ and ‘seeing in’, and concludes by presenting some of the most recent accounts of depiction defended by Kendall Walton, Dominic Lopes, Robert Hopkins, and John Hyman.

In May 2017, my book ‘Conversations on Art and Aesthetics’ appeared. It contains conversations with, and photographic portraits of, ten prominent philosophers of art. They are Noël Carroll, Gregory Currie, Arthur Danto, Cynthia Freeland, Paul Guyer, Carolyn Korsmeyer, Jerrold Levinson, Jenefer Robinson, Roger Scruton, and Kendall Walton. The book has two main aims. One is to provide a broad and accessible overview of what aesthetics as a subfield of philosophy has to offer. The other is to stimulate new work (...) in this area of research. In this brief paper I’d like to say a bit more about this second objective. Current research is rarely conducted or communicated in the form of conversations, so the question arises: how can a book like mine fit with and feed into a research culture which is very much dominated by the format of the journal article? (shrink)

The question of the cognitive role of fictionality is this: what is the correct cognitive attitude to take to p, when it is fictional that p? We began by considering one answer to this question, implicit in the work of Kendall Walton, that the correct response to a fictional proposition is to imagine that proposition. However, this approach is silent in cases of fictional incompleteness, where neither p nor its negation are fictional. We argue that that Waltonians should embrace (...) a pluralistic account of the cognitive role of fictional incompleteness: in some cases of fictional incompleteness, we are permitted to resolve the incompleteness during our engagement with the target fiction, and in other cases, we are obliged not to resolve the incompleteness. But though pluralism is accommodated by Walton’s wider account of fictionality, it puts tension on his motivating idea that fictionality stands to the imagination as truth stands to belief. And so we develop a rival conception of the cognitive role of fictionality that is built around a different analogy: on this evidentialist approach, (known) fictionality stands to the imagination as evidence stands to credence. (shrink)

Las soluciones a la paradoja de la ficción propuestas por Kendall Walton y Gregory Currie, a pesar de diferir en puntos de detalle importantes, suponen dos movimientos conceptuales comunes para entender la situación de quien está inmerso en una obra de ficción, a través del recurso a la noción de “cuasi-emociones” y de la idea de construcción de escenarios imaginarios. Aquí propondré que sus propuestas fallan en sus dos puntos centrales, a partir de problemas que son, sin embargo, independientes. (...) Por un lado, sus ideas sobre las emociones que sentimos al estar atrapados por una obra de ficción fallan al suponer una versión inaceptable de la tesis cognitivista acerca de las emociones. Por otro, sus ideas sobre la construcción de mundos imaginarios por parte de los “consumidores de ficción” fallan al suponer una dicotomía entre mundos de ficción y realidad. Finalmente, discutiré brevemente el modo en que ambos tipos de problemas repercuten sobre la viabilidad del planteo de la paradoja misma. (shrink)

There is a history of thinking that photographs provide a special kind of access to the objects depicted in them, beyond the access that would be provided by a painting or drawing. What is included in the photograph does not depend on the photographer’s beliefs about what is in front of the camera. This feature leads Kendall Walton to argue that photographs literally allow us to see the objects which appear in them. Current generative algorithms produce images in response (...) to users’ text prompts. Depending on the parameters, the output can resemble specific people or things which are named in the prompt. This resemblance does not depend on the user’s beliefs, so generated images are in this sense like photographs. Given this parallel, how should we think about AI-generated images? (shrink)

Merely rhetorically, and answering in the negative, Kendall Walton has asked: "Isn't photography just another method people have of making pictures, one that merely uses different tools and materials – cameras, photosensitive paper, darkroom equipment, rather than canvas, paint, and brushes? And don't the results differ only contingently and in degree, not fundamentally, from pictures of other kinds?" Contra Walton and others, I wish to defend in this article a resounding "Yes" as being the correct answer to these questions. (...) It is a widely shared view that photographs are somehow special and that they fundamentally differ from hand-made pictures like paintings, both from a phenomenological point of view (in the way we experience them), and an epistemic point of view (since they are supposed to have a different – greater – epistemic value than paintings, giving us a privileged access to the world). In what follows, I shall reject almost the totality of these claims, and as a consequence there will remain little difference left between photographs and paintings. As we shall see, 'photographs are always partly paintings' – a claim that is true not only of retouched digital photographs but of all photographs, including traditional ones made using photosensitive film and development techniques. (shrink)

Vision is organized around material objects; they are most of what we see. But we also see beams of light, depictions, shadows, reflections, etc. These things look like material objects in many ways, but it is still visually obvious that they are not material objects. This chapter articulates some principles that allow us to understand how we see these ‘ephemera’. H.P. Grice’s definition of seeing is standard in many discussions; here I clarify and augment it with a criterion drawn from (...) Fred Dretske. This enables me to re-analyse certain ephemera that have received counter-intuitive treatments in the work of Kendall Walton (photographs), Brian O’Shaughnessy (light), and Roy Sorenson (occlusions). (shrink)

In "Rethinking Sadomasochism," Patrick Hopkins challenges the "radical" feminist claim that sadomasochism is incompatible with feminism. He does so by appeal to the notion of "simulation." I argue that Hopkins's conclusions are generally right, but they cannot be inferred from his "simulation" argument. I replace Hopkins's "simulation" with Kendall Walton's more sophisticated theory of "make-believe." I use this theory to better argue that privately conducted sadomasochism is compatible with feminism.

Any philosophy of science ought to have something to say about the nature of mathematics, especially an account like constructive empiricism in which mathematical concepts like model and isomorphism play a central role. This thesis is a contribution to the larger project of formulating a constructive empiricist account of mathematics. The philosophy of mathematics developed is fictionalist, with an anti-realist metaphysics. In the thesis, van Fraassen's constructive empiricism is defended and various accounts of mathematics are considered and rejected. Constructive empiricism (...) cannot be realist about abstract objects; it must reject even the realism advocated by otherwise ontologically restrained and epistemologically empiricist indispensability theorists. Indispensability arguments rely on the kind of inference to the best explanation the rejection of which is definitive of constructive empiricism. On the other hand, formalist and logicist anti-realist positions are also shown to be untenable. It is argued that a constructive empiricist philosophy of mathematics must be fictionalist. Borrowing and developing elements from both Philip Kitcher's constructive naturalism and Kendall Walton's theory of fiction, the account of mathematics advanced treats mathematics as a collection of stories told about an ideal agent and mathematical objects as fictions. The account explains what true portions of mathematics are about and why mathematics is useful, even while it is a story about an ideal agent operating in an ideal world; it connects theory and practice in mathematics with human experience of the phenomenal world. At the same time, the make-believe and game-playing aspects of the theory show how we can make sense of mathematics as fiction, as stories, without either undermining that explanation or being forced to accept abstract mathematical objects into our ontology. All of this occurs within the framework that constructive empiricism itself provides the epistemological limitations it mandates, the semantic view of theories, and an emphasis on the pragmatic dimension of our theories, our explanations, and of our relation to the language we use. (shrink)