The aim of the paper is to present a typology of argument schemes. In first place, we found it helpful to define what an argument scheme is. Since many argument schemes found in contemporary theories stem from the ancient tradition, we took in consideration classical and medieval dialectical studies and their relation with argumentation theory. This overview on the main works on topics and schemes provides a summary of the main principles of classification. In the second section, Walton’s theory (...) is briefly explained to introduce the schemes classification and its different levels. At least, the final part shows the main application of the schemes in computing and AI. -/- . (shrink)

This article analyses the fallacy of wrenching from context, using the dialectical notions of commitment and implicature as tools. The data, a set of key examples, is used to sharpen the conceptual borderlines around the related fallacies of straw man, accent, misquotation, and neglect of qualifications. According to the analysis, the main characteristics of wrenching from context are the manipulation of the meaning of the other’s statement through devices such as the use of misquotations, selective quotations, and quoting out of (...) context. The theoretical tools employed in the analysis are pragmatic theories of meaning and a dialectical model of commitment, used to explain how and why a standpoint is distorted. The analysis is based on a conception of fallacies as deceptive strategic moves in a game of dialogue. As a consequence, our focus is not only on misquotations as distortions of meaning, but on how they are used as dialectical tools to attack an opponent or win a dispute. Wrenching from context is described as a fallacy of unfairly attributing a commitment to another party that he never held. Its power as a deceptive argumentation tactic is based on complex mechanisms of implicit commitments and on their misemployment to improperly suggest an attribution of commitment. (shrink)

In this paper we analyze the uses and misuses of argumentation schemes from verbal classification, and show how argument from definition supports argumentation based on argument from verbal classification. The inquiry has inevitably included the broader study of the concept of definition. The paper presents the schemes for argument from classification and for argument from definition, and shows how the latter type of argument so typically supports the former. The problem of analyzing arguments based on classification is framed in a (...) structure that reveals the crucial role it plays in the persuasion process. The survey of the literature includes the work of Hastings, Perelman, Kienpointner and Schiappa, but still finds much of value in Aristotle. Lessons drawn from Aristotle’s Topics are shown to be useful for developing new tools for assessing definitions and arguments from definition. (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)

Manipulation of quotation, shown to be a common tactic of argumentation in this paper, is associated with fallacies like wrenching from context, hasty generalization, equivocation, accent, the straw man fallacy, and ad hominem arguments. Several examples are presented from everyday speech, legislative debates and trials. Analysis using dialog models explains the critical defects of argumentation illustrated in each of the examples. In the formal dialog system CB, a proponent and respondent take turns in making moves in an orderly goal-directed sequence (...) of argumentation in which the proponent tries to persuade the respondent to become committed to a conclusion by asking questions and offering arguments. Analyzing quotation by using the notion of commitment in dialog, it is shown (a) how an arguer’s previous assertions can be brought to light in the course of a dialog to deal with problems arising from misquotation, (b) how the profile of dialog model allows a critic to analyse the fundamental effects misquotation brings about in a dialog, and (c) how the critic can use such an analysis to correct the problem. (shrink)

A problem for dialogue models of argumentation is to specify a set of conditions under which an opponent’s claims, offered in support of a standpoint under dispute, ought to be challenged. This project is related to the issue of providing a set of acceptability conditions for claims made in a dialogue. In this paper, we consider the conditions of suspicion and trust articulated by Jacobs (Alta, 2003), arguing that neither are acceptable as general conditions for challenge. We propose a third (...) condition that attempts to mark a middle ground between suspicion and trust. (shrink)

This book shows how research in linguistic pragmatics, philosophy of language, and rhetoric can be connected through argumentation to analyze a recognizably common strategy used in political and everyday conversation, namely the distortion of another’s words in an argumentative exchange. Straw man argumentation refers to the modification of a position by misquoting, misreporting or wrenching the original speaker’s statements from their context in order to attack them more easily or more effectively. Through 63 examples taken from different contexts (including political (...) and forensic discourses and dialogs) and 20 legal cases, the book analyzes the explicit and implicit types of straw man, shows how to assess the correctness of a quote or a report, and illustrates the arguments that can be used for supporting an interpretation and defending against a distortion. The tools of argumentation theory, a discipline aimed at investigating the uses of arguments by combining insights from pragmatics, logic, and communication, are applied to provide an original account of interpretation and reporting, and to describe and illustrate tactics and procedures that can be used and implemented for practical purposes.. This book will appeal to scholars in the fields of political communication, communication in general, argumentation theory, rhetoric and pragmatics, as well as to people working in public speech, speech writing, and discourse analysis. (shrink)

Argument from analogy is a common and formidable form of reasoning in law and in everyday conversation. Although there is substantial literature on the subject, according to a recent survey ( Juthe 2005) there is little fundamental agreement on what form the argument should take, or on how it should be evaluated. Th e lack of conformity, no doubt, stems from the complexity and multiplicity of forms taken by arguments that fall under the umbrella of analogical reasoning in argumentation, dialectical (...) studies, and law. Modeling arguments with argumentation schemes has proven useful in attempts to refine the analyst’s understanding of not only the logical structures that shape the backbone of the argument itself, but also the logical underpinning of strategies for evaluating it, strategies based on the semantic categories of genus and relevance. By clarifying the distinction between argument from example and argument from analogy, it is possible to advance a useful proposal for the treatment of argument from analogy in law. (shrink)

In this paper we present an analysis of persuasive definition based on argumentation schemes. Using the medieval notion of differentia and the traditional approach to topics, we explain the persuasiveness of emotive terms in persuasive definitions by applying the argumentation schemes for argument from classification and argument from values. Persuasive definitions, we hold, are persuasive because their goal is to modify the emotive meaning denotation of a persuasive term in a way that contains an implicit argument from values. However, our (...) theory is different from Stevenson’s, a positivistic view that sees emotive meaning as subjective, and defines it as a behavioral effect. Our proposal is to treat the persuasiveness produced by the use of emotive words and persuasive definitions as due to implicit arguments that an interlocutor may not be aware of. We use congruence theory to provide the linguistic framework for connecting a term with the function it is supposed to play in a text. Our account allows us to distinguish between conflicts of values and conflicts of classifications. (shrink)

Donald Trump’s speeches and messages are characterized by terms that are commonly referred to as “thick” or “emotive,” meaning that they are characterized by a tendency to be used to generate emotive reactions. This paper investigates how emotive meaning is related to emotions, and how it is generated or manipulated. Emotive meaning is analyzed as an evaluative conclusion that results from inferences triggered by the use of a term, which can be represented and assessed using argumentation schemes. The evaluative inferences (...) are regarded as part of the connotation of emotive words, which can be modified and stabilized by means of recontextualizations. The manipulative risks underlying the misuse and the redefinition of emotive words are accounted for in terms of presuppositions and implicit modifications of the interlocutors’ commitments. (shrink)

Robert Kimball, in “What’s Wrong with Argumentum Ad Baculum?” (Argumentation, 2006) argues that dialogue-based models of rational argumentation do not satisfactorily account for what is objectionable about more malicious uses of threats encountered in some ad baculum arguments. We review the dialogue-based approach to argumentum ad baculum, and show how it can offer more than Kimball thinks for analyzing such threat arguments and ad baculum fallacies.

This paper argues for a reinterpretation of Aristotle's concept of an enthymeme and also his wider informal logic in terms of arguments that are defeasible. They are represented by forms of argument that are called argumentation schemes, considered to be similar to forms of argument found in deductive logic, but different from the foregoing in virtue of their being defeasible. Indeed, the most interesting schemes have been put forward as a helpful way of characterizing structures of human reasoning that have (...) proved troublesome to model deductively. The paper sheds new light on Aristotle's topics and how to dene `enthymeme'. If the traditional denition of an enthymeme in logic accepted for over two thousand years is a misnomer, the question is raised whether we ought to redene it as a defeasible argumentations scheme or leave things as they are. (shrink)

Robert Kimball, in “What’s Wrong with ArgumentumAd Baculum?” (Argumentation, 2006) argues that dialogue-based models of rational argumentation do not satisfactorily account for what is objectionable about more malicious uses of threats encountered in some ad baculum arguments. We review the dialogue-based approach to argumentum ad baculum, and show how it can offer more than Kimball thinks for analyzing such threat arguments and ad baculum fallacies.

Abstract: The article presents and critically discusses Walton's (and Reed's and Macagno's) argument scheme approach to a theory of good argumentation. In particular, four characteristics of Walton's approach are presented: 1. It presents normative requirements for argumentation in the form of argument schemes, i.e. relatively concrete type descriptions. 2. These schemata are enthymematic, i.e. they omit some of the premises required by other approaches. 3. The actual argument schemes are usually supplemented by critical questions. 4. The method is (...) inductive, bottom-up, gaining the normative schemata by abstraction from empirically collected groups of similar arguments. These characteristics, among others, are then discussed on the basis of four adequacy conditions: AC1: effectiveness in achieving the epistemic goal of obtaining and communicating justified acceptable opinions; AC2: completeness in capturing the good argument types; AC3: efficiency in achieving the goals; AC4: justification of the argument schemes. The discussion then reveals a number of weaknesses in Walton's argument schemes; among other things, they are neither effective (in the defined sense) nor truly justified. Contributing factors to these problems include the schema approach, i.e. not looking at the form of arguments, and the lack of epistemological foundations in the development of good types of arguments. However, the critical analyses reveal a better alternative: an epistemological approach based on epistemological principles. The article concludes with a detailed analysis of the scheme Practical Inference, which confirms the general criticism in detail. (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)

Douglas Walton’s multitudinous contributions to the study of argumentation seldom, if ever, directly engage with argumentation in mathematics. Nonetheless, several of the innovations with which he is most closely associated lend themselves to improving our understanding of mathematical arguments. I concentrate on two such innovations: dialogue types (§1) and argumentation schemes (§2). I argue that both devices are much more applicable to mathematical reasoning than may be commonly supposed.

The notions of types of dialogue and dialectical relevance are central themes in Walton’s work and the grounds for a dialectical approach to many fallacies. After outlining the dialogue models constituting the background of Walton’s account, this article presents the concepts of dialectical relevance and dialogue shifts in their application to biased argumentation, fallacious moves, and illicit argumentative strategies. Showing the different dialectical proposals Walton advanced in several studies on argumentation as a development of a dialogical system, (...) it has proved possible to highlight the fundamental aspects of his theory in a comprehensive model of communication and interaction. (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.

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)

In this paper, the political pamphlet “Der Hessische Landbote” by the eminent German author, Georg Büchner (1813–1837), will be positioned within the context of its political and historical background, analyzed as to its argumentative and stylistic structure, and critically evaluated. It will be argued that propaganda texts such as this should be evaluated by taking into account both rhetorical perspectives and standards of rational discussion. As far as argumentative structure is concerned, a modified version of the Toulmin scheme will be (...) used for the description of three passages of the “Landbote”. As far as stylistic techniques are concerned, Büchner’s strategic use of some figures of speech, especially parallelism, metaphor and metonymy will be examined. As to the critical evaluation, the recently developed concept of “strategic maneuvering” within Pragma-Dialectics, the typology of argumentative dialogues established by D. Walton, and sets of critical questions will be used to assess the status of the arguments within the “Landbote” as potentially fallacious ones. (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 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)

An argumentation profile is defined as a methodological instrument for analyzing argumentative discourse considering distinct and interrelated dimensions: the types of argument used, their quality, and the emotions triggered. Walton’s theoretical contributions are developed as a coherent analytical and multifaceted toolbox for capturing these aspects. Argumentation schemes are used to detect and quantify the types of argument. Fallacy analysis and the assessment of the implicit premises retrieved through the schemes allow evaluating arguments. Finally, the frequency of emotive words signals (...) the most common emotions aroused. This method is illustrated through a corpus of argumentative tweets of three politicians. (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)

Suppose you’re imagining that it’s raining hard. You then proceed to imagine, as part of the same imaginative project, that you believe that it isn’t raining. Such an imaginative project is possible if the two imaginings arise in succession. But what about simultaneously imagining that it’s raining and that you believe that it isn’t raining? I will argue that, under certain conditions, such an imagining is impossible. After discussing these conditions, I will suggest an explanation of this impossibility. Elaborating on (...) the view outlined in Walton (1990), I will argue that the impossibility follows from the fact that imaginings ‘mimic’ beliefs in aiming at the fictionally true, just as beliefs aim at the true. (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 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)

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.

Kendall Walton’s “Categories of Art” (1970) is one of the most important and influential papers in twentieth-century aesthetics. It is almost universally taken to refute traditional aesthetic formalism/empiricism, according to which all that matters aesthetically is what is manifest to perception. Most commentators assume that the argument of “Categories” applies to works of literature. Walton himself notes a word of caution: “The aesthetic properties of works of literature are not happily called ‘perceptual’ … (The notion of perceiving a (...) work in a category … is not straightforwardly applicable to literary works)” (335 n.5). However, he goes on to say that although he focuses “on visual and musical works … the central points I make concerning them hold, with suitable modifications, for novels, plays, and poems as well” (335 n.5). Here I consider what “suitable modifications” are required to extend the account to literature. (shrink)

Depiction and imagination are intimately linked. In this article, I discuss the role imagination (as well as inference and knowledge/belief) plays in depiction, with a focus on photographic depiction. I partly embrace a broadly Waltonian view, but not always, and not always for Walton's own reasons. In Walton's view, imagination plays a crucial role in depiction. I consider the objection to his view that not all cases of depiction involve imagination – for instance, documentary photographs. From this discussion, (...) two points will emerge: first, we will see that it is an unnecessary mistake to insist too heavily on the fact that photographs are produced in a mechanical way (as opposed to, say, paintings), and second, we will see that the notion of "imagining-seeing", as it is articulated by Walton, is perhaps too strong and does not entirely do justice to the external character of the role imagination plays here. Focusing mainly on photographs, I then illustrate the view I want to advocate by a series of different cases, where the nature of the role that imagination, knowledge/belief, and inference play in depiction will become apparent. (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)

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)

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)

Some examples suggest that religious credences respond to evidence. Other examples suggest they are wildly unresponsive. So the examples taken together suggest there is a puzzle about whether descriptive religious attitudes respond to evidence or not. I argue for a solution to this puzzle according to which religious credences are characteristically not responsive to evidence; that is, they do not tend to be extinguished by contrary evidence. And when they appear to be responsive, it is because the agents with those (...) credences are playing what I call The Evidence Game, which in fundamental ways resembles the games of make-believe described by Walton's theory of make-believe. (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)

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)

In this paper, I will try to answer the question: How are we supposed to assess the expert’s opinion in an argument from the position of an outsider to the specialized field? by placing it in the larger context of the political status of epistemic authority. In order to do this I will first sketch the actual debate around the problem of expertise in a democracy and relate this to the issue of the status of science in society. Secondly, I (...) will review how Douglas Walton’s pragma-dialectical approach offers a practical procedure to assess the expert bias from a nonprofessional’s perspective. Thirdly, I will introduce the problem of group bias using insights from Bohman and Fischer and show how Walton’s solution does not address this specific type of bias. Lastly, I will try proposing a revision of Walton’s solution in order to address this problem. In order to make the explanation more easy to follow I will use a case study concerning the medical expertise in the public debate on second-hand smoke. (shrink)

The aim of this article is to present the disagreement between Moran and Walton on the nature of our affective responses to fiction and to defend a view on the issue which is opposed to Moran’s account and improves on Walton’s. Moran takes imagination-based affective responses to be instances of genuine emotion and treats them as episodes with an emotional attitude towards their contents. I argue against the existence of such attitudes, and that the affective element of such (...) responses should rather be taken to be part of what is imagined. In this respect, I follow Walton; and I also agree with the latter that our affective responses to fiction are, as a consequence, not instances of real emotion. However, this gives rise to the challenge to be more specific about the nature of our responses and explain how they can still involve a phenomenologically salient affective element, given that propositionally imagining that one feels a certain emotion is ruled out because it may be done in a dispassionate way. The answer —already suggested, but not properly spelled out by Walton— is that affectively responding to some fictional element consists in imaginatively re-presenting an experience of emotional feeling towards it. The central thought is that the conscious and imaginative representation of the affective character of an instance of genuine emotion itself involves the respective phenomenologically salient affective element, despite not instantiating it. (shrink)

Douglas Walton’s work is extremely vast, multifaceted, and interdisciplinary. He developed theoretical proposals that have been used in disciplines that are not traditionally related to philosophy, such as law, education, discourse analysis, artificial intelligence, or medical communication. Through his papers and books, Walton redefined the boundaries not only of argumentation theory, but also logic and philosophy. He was a philosopher in the sense that his interest was developing theoretical models that can help explain reality, and more importantly interact (...) with it. For this reason, he proposed methods that have been used for analyzing different types of dialogical interactions, and modeling procedures for regulating them. (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)

Corroborative evidence can have a dual function in argument whereby not only does it have a primary function of providing direct evidence supporting the main conclusion, but it also has a secondary, bolstering function which increases the probative value of some other piece of evidence in the argument. It has been argued (Redmayne, 2000) that this double function gives rise to the fallacy of double counting whereby the probative weight of evidence is overvalued by counting it twice. Walton has (...) proposed several models of corroborative evidence, each of which seems to accept the fallaciousness of double counting thereby seeming to deny the dual function of corroborative evidence. Against this view, I argue that the bolstering effect is legitimate, and can be explained by recourse to inference to the best explanation. (shrink)

Why do we so often care about the outcomes of games when nothing is at stake? There is a paradox here, much like the paradox of fiction, which concerns why we care about the fates and threats of merely fictional beings. I argue that the paradox threatens to overturn a great deal of what philosophers have thought about caring, severing its connection to value and undermining its moral weight. I defend a solution to the paradox that draws on Kendall (...) class='Hi'>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)

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)

In this paper I begin by examining Fogelin’s account of deep disagreement. My contention is that this account is so deeply flawed as to cast doubt on the possibility that such deep disagreements actually happen. Nevertheless, I contend that the notion of deep disagreement itself is a useful theoretical foil for thinking about argumentation. The second part of this paper makes this case by showing how thinking about deep disagreements from the perspective of rhetoric, Walton-style argumentation theory, computation, and (...) normative pragmatics can all yield insights that are useful no matter what one’s orientation within the study of argument. Thus, I conclude that deep disagreement –even if it were to turn out that there are no real-world occurrences of it to which we can point–is useful for theorists of argumentation. In this wise, deep disagreement poses a theoretical challenge for argumentation theory not unlike that posed by radical skepticism for traditional epistemology. (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)

Fictional names pose a difficult puzzle for semantics. We can truthfully maintain that Frodo is a hobbit, while at the same time admitting that Frodo does not exist. To reconcile this paradox I propose a way to formalize the interpretation of fiction as ‘prescriptions to imagine’ (Walton 1990) within an asymmetric semantic framework in the style of Kamp (1990). In my proposal, fictional statements are analyzed as dynamic updates on an imagination component of the interpreter’s mental state, while plain (...) assertions are updates on a belief component. Proper names – regular, empty, or fictional – are uniformly analyzed as presupposition triggers. The possibility of different attitude components referentially depending on each other is what ultimately allows us to account for the central paradox mentioned above. (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)

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)

According to Millianism, the meaning of a name is exhausted by its referent. According to anti-realism about fictional entities, there are no such entities. If there are no fictional entities, how can we explain the apparent meaningfulness of fictional names? Our best theory of fiction, Walton’s theory of make-believe, makes the same assumptions but lacks the theoretical resources to answer the question. In this paper, I propose a pragmatic solution in terms of two main dimensions of meaning, a subjective, (...) psychological dimension and an intersubjective, public dimension. The psychological dimension builds on the notion of mental files; the public dimension builds on Stalnaker’s notion of common ground. The account is coherent with two main theoretical principles, parsimony and uniformity. Furthermore, it satisfies three explanatory conditions posed by the intentionality of our thought and discourse about fiction, object-directedness, counterfictional imagining and intersubjective identification. (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)