This paper addresses a number of closely related questions concerning Kant's model of intentionality, and his conceptions of unity and of magnitude [Gröβe]. These questions are important because they shed light on three issues which are central to the Critical system, and which connect directly to the recent analytic literature on perception: the issues are conceptualism, the status of the imagination, and perceptual atomism. In Section 1, I provide a sketch of the exegetical and philosophical problems raised by Kant's views (...) on these issues. I then develop, in Section 2, a detailed analysis of Kant's theory of perception as elaborated in both the Critique of Pure Reason and the Critique of Judgment; I show how this analysis provides a preliminary framework for resolving the difficulties raised in Section 1. In Section 3, I extend my analysis of Kant's position by considering a specific test case: the Axioms of Intuition. I contend that one way to make sense of Kant's argument is by juxtaposing it with Russell's response to Bradley's regress; I focus in particular on the concept of ‘unity’. Finally, I offer, in Section 4, a philosophical assessment of the position attributed to Kant in Sections 2 and 3. I argue that, while Kant's account has significant strengths, a number of key areas remain underdeveloped; I suggest that the phenomenological tradition may be read as attempting to fill precisely those gaps. (shrink)

This book offers a fundamentally new account of the arguments and concepts which define Heidegger's early philosophy, and locates them in relation to both contemporary analytic philosophy and the history of philosophy. Drawing on recent work in the philosophy of mind and on Heidegger's lectures on Plato and Kant, Sacha Golob argues against existing treatments of Heidegger on intentionality and suggests that Heidegger endorses a unique position with respect to conceptual and representational content; he also examines the implications of (...) this for Heidegger's views on truth, realism and 'being'. He goes on to explore Heidegger's work on the underlying issue of normativity, and focuses on his theory of freedom, arguing that it is freedom that links the existential concerns of Being and Time to concepts such as reason, perfection and obligation. His book offers a distinctive new perspective for students of Heidegger and the history of twentieth-century philosophy. (shrink)

Reviews of Heidegger on Concepts, Freedom and Normativity, Sacha Golob (Cambridge University Press) • Crowell (Rice), Philosophy in Review, pages 2-7. • Cregan (Oxford), International Journal of Philosophical Studies, pages 8-13. • Campbell (Nazareth College of Rochester), Notre Dame Philosophical Reviews, pages 14-18. • Keiling (Freiburg), Zeitschrift für philosophische Forschung, pages 19-21.

Between 1927 and 1936, Martin Heidegger devoted almost one thousand pages of close textual commentary to the philosophy of Immanuel Kant. This article aims to shed new light on the relationship between Kant and Heidegger by providing a fresh analysis of two central texts: Heidegger’s 1927/8 lecture course Phenomenological Interpretation of Kant’s Critique of Pure Reason and his 1929 monograph Kant and the Problem of Metaphysics. I argue that to make sense of Heidegger’s reading of Kant, one must resolve two (...) questions. First, how does Heidegger’s Kant understand the concept of the transcendental? Second, what role does the concept of a horizon play in Heidegger’s reconstruction of the Critique? I answer the first question by drawing on Cassam’s model of a self-directed transcendental argument, and the second by examining the relationship between Kant’s doctrine that ‘pure, general logic’ abstracts from all semantic content and Hume’s attack on metaphysics. I close by sketching the implications of my results for Heidegger’s own thought. Ultimately, I conclude that Heidegger’s commentary on the Critical system is defined, above all, by a single issue: the nature of the ‘form’ of intentionality. (shrink)

This paper aims to advance our understanding of Heidegger's politics as it is laid bare within the 'Schwarze Hefte'. Yet my interest is not in Heidegger's first order political views, but rather in his conception of the political sphere per se. Beginning from a close analysis of the earliest volume of the notebooks, Gesamtausgabe Bd.94, I suggest that the dominant characterisation of the political space within Heidegger's text is as a threat-to philosophy and to ontology. Underlying that characterisation, however, it (...) is simultaneously possible to identify another pattern, one on which the political is itself gradually suppressed or occluded by the ontological. This tacit occlusion has, I suggest, a number of deeply problematic consequences. I close by indicating how the argument might be extended to the question of a Heideggerian ethics. (shrink)

This article advances a new account of Kant’s views on conceptualism. On the one hand, I argue that Kant was a nonconceptualist. On the other hand, my approach accommodates many motivations underlying the conceptualist reading of his work: for example, it is fully compatible with the success of the Transcendental Deduction. I motivate my view by providing a new analysis of both Kant’s theory of perception and of the role of categorical synthesis: I look in particular at the categories of (...) quantity. Locating my interpretation in relation to recent research by Allais, Ginsborg, Tolley and others, I argue that it offers an attractive compromise on this important theoretical and exegetical issue. (shrink)

In Sein und Zeit Heidegger makes several claims about the nature of ‘assertion’ [Aussage]. These claims are of particular philosophical interest: they illustrate, for example, important points of contact and divergence between Heidegger's work and philosophical movements including Kantianism, the early Analytic tradition and contemporary pragmatism. This article provides a new assessment of one of these claims: that assertion is connected to a ‘present-at-hand’ ontology. I also indicate how my analysis sets the stage for a new reading of Heidegger's further (...) claim that assertion is an explanatorily derivative phenomenon. I begin with a loose overview of Heidegger's position and then develop a sharper formulation of the key premises. I go on to argue that existing treatments of the supposed link between assertion and the ‘present-at-hand’ are unsatisfactory, and advance a new, ‘methodological’, interpretation of that link. Finally, I sketch the implications of my interpretation for the further claim that assertion is explanatorily derivative. (shrink)

One of the strongest motivations for conceptualist readings of Kant is the belief that the Transcendental Deduction is incompatible with nonconceptualism. In this article, I argue that this belief is simply false: the Deduction and nonconceptualism are compatible at both an exegetical and a philosophical level. Placing particular emphasis on the case of non-human animals, I discuss in detail how and why my reading diverges from those of Ginsborg, Allais, Gomes and others. I suggest ultimately that it is only by (...) embracing nonconceptualism that we can fully recognise the delicate calibration of the trap which the Critique sets for Hume. (shrink)

This article addresses three questions concerning Kant’s views on non-rational animals: do they intuit spatio-temporal particulars, do they perceive objects, and do they have intentional states? My aim is to explore the relationship between these questions and to clarify certain pervasive ambiguities in how they have been understood. I first disambiguate various nonequivalent notions of objecthood and intentionality: I then look closely at several models of objectivity present in Kant’s work, and at recent discussions of representational and relational theories of (...) intentionality. I argue ultimately that, given the relevant disambiguations, the answers to all three questions will likely be positive. These results both support what has become known as the nonconceptualist reading of Kant, and make clearer the price the conceptualist must pay to sustain her position. (shrink)

Heidegger’s debt to Aristotle is, of course, vast: Volpi went so far as to ask whether Being and Time was a translation of the Nicomachean Ethics. In this chapter, I want to investigate a fundamental divergence between the two, a rejection by early Heidegger of one of the central tenets of Aristotelian ethics. This rejection begins in the years before Being and Time and the forces behind it extend into the post-war period. I will focus in particular on Ga18, 1924’s (...) Basic Concepts of Aristotelian Philosophy: what Heidegger’s Aristotle rejects there, in effect, is the notion of character. -/- What makes this rejection so complex and so revealing is that Heidegger’s interpretative approach forces him to present disagreement as discovery, as an insight into a true Aristotle who has remained concealed. My claim here is not the familiar one that Heideggerian history of philosophy is exegetically ‘violent’ or that it frequently tells us more about Heidegger than about its supposed target. Rather, it is more specific. Texts such as Basic Concepts of Aristotelian Philosophy present a unique exegetical situation. This is because Heidegger lacks several of the interpretative tools that will justify his radical reading of Kant just a few years later: I will examine in particular his changing conception of “philology”. The result is that, whilst commentators routinely talk of Heidegger’s “appropriation” of Kant, Heidegger’s early use of Aristotle is simultaneously more complex and less refined. “Perversion” is, one might think, scarcely a rigorous term, but it is, I will argue, the best description of what follows. (shrink)

Proceedings of the Aristotelian Society, Volume 115, Issue 3pt3, Page 235-253, December 2015.

There are three obstacles to any discussion of the relationship between Heidegger’s philosophy and ethics. First, Heidegger’s views and preoccupations alter considerably over the course of his work. There is no consensus over the exact degree of change or continuity, but it is clear that a number of these shifts, for example over the status of human agency, have considerable ethical implications. Second, Heidegger rarely engages directly with the familiar ethical or moral debates of the philosophical canon. For example, both (...) Sein und Zeit (SZ) and the works that would have completed its missing third Division, works such as his monograph on Kant (Ga3), and the 1927 lecture course The Basic Problems of Phenomenology (Ga24), place enormous emphasis on the flaws present in earlier metaphysics or philosophies of language or of the self. But there is no discussion of what one might think of as staple ethical questions: for example, the choice between rationalist or empiricist meta-ethics, or between consequentialist or deontological theories. The fundamental reason for this is Heidegger’s belief that his own concerns are explanatorily prior to such debates (Ga26:236–7). By extension, he regards the key works of ethical and moral philosophy as either of secondary importance, or as not really about ethics or morals at all: for example, Ga24, when discussing Kant, states bluntly that “‘Metaphysics of Morals’ means the ontology of human existence” (Ga24:195). Essentially his view is that, before one can address ethics, construed as the question of how we ought to live, one needs to get clear on ontology, on the question of what we are. However, as I will show, the relationship between Heideggerian ontology and ethics is more complex than that simple gloss suggests. Third, the very phrase “Heidegger’s ethics” raises a twofold problem in a way that does not similarly occur with any other figure in this volume. The reason for this is his links, personal and institutional, to both National Socialism and to anti-Semitism. The recent publication of the Schwarze Hefte exemplifies this issue: these notebooks interweave rambling metaphysical ruminations with a clearly anti-Semitic rhetoric no less repulsive for the fact that it avoids the biological racism of the Nazis (see, for example, Ga95:97 or Ga96:243). In this short chapter, I will take what will doubtless be a controversial approach to this third issue. It seems to me unsurprising, although no less disgusting for that, that Heidegger himself was anti-Semitic, or that he shared many of the anti-modernist prejudices often found with such anti-Semitism Sacha Golob (sacha[email protected]) Forthcoming in the Cambridge History of Moral Philosophy (Cambridge University Press: 2016). 2 among his demographic group. The interesting question is rather: what are the connections between his philosophy and such views? To what degree do aspects of his work support them or perhaps, most extremely, even follow from them? Yet to answer this question, one needs to begin by understanding what exactly his philosophical commitments were, specifically his ‘ethical’ commitments. The purpose of this chapter is address that question. (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)

Kant’s account of the sublime makes frequent appeals to infinity, appeals which have been extensively criticised by commentators such as Budd and Crowther. This paper examines the costs and benefits of reconstructing the account in finitist terms. On the one hand, drawing on a detailed comparison of the first and third Critiques, I argue that the underlying logic of Kant’s position is essentially finitist. I defend the approach against longstanding objections, as well as addressing recent infinitist work by Moore and (...) Smith. On the other hand, however, I argue that finitism faces distinctive problems of its own: whilst the resultant theory is a coherent and interesting one, it is unclear in what sense it remains an analysis of the sublime. I illustrate the worry by juxtaposing the finitist reading with analytical cubism. -/- . (shrink)

This paper proposes a new reading of the interaction between subjectivity, reflection and freedom within Foucault’s later work. I begin by introducing three approaches to subjectivity, locating these in relation both to Foucault’s texts and to the recent literature. I suggest that Foucault himself operates within what I call the ‘entanglement approach’, and, as such, he faces a potentially serious challenge, a challenge forcefully articulated by Han. Using Kant’s treatment of reflection as a point of comparison, I argue that Foucault (...) possesses the resources to meet this challenge. The key, I contend, is to distinguish two related theses about reflection and freedom: Foucault’s position is distinctive precisely because he accepts one of these theses whilst rejecting the other. I conclude by indicating how this reading might connect to the longstanding question of Foucault’s own right to appeal to normative standards. (shrink)

This article advances a new analysis of stupidity as a distinctive form of cognitive failing. Section 1 outlines some problems in explicating this notion and suggests some desiderata. Section 2 sketches an existing model of stupidity, found in Kant and Flaubert, which serves as a foil for my own view. In section 3, I introduce my theory: I analyse stupidity as form of conceptual self-hampering, characterised by a specific aetiology and with a range of deleterious effects. In section 4, I (...) show how this proposal meets the desiderata and I clarify how it diverges from existing accounts. My position is close to a 'public health approach', in contrast to the virtue/vice framework employed by Engel or Mulligan. (shrink)

The structure of this article is very simple. In the first half, I will introduce a sophisticated way of reading Heidegger as a relativist; I draw here on the work of Kusch and Lafont. In the second half, I present the counter-argument. As I see it, Heidegger is not a relativist; but understanding the relations between his approach and a relativistic one is crucial for an evaluation of both his own work and the broader trajectory of post-Kantian thought.

This paper examines Heidegger’s position on a foundational distinction for Kantian and post-Kantian philosophy: that between acting ‘in the light of’ a norm and acting ‘merely in accordance with it’. In section 1, I introduce the distinction and highlight several relevant similarities between Kant and Heidegger on ontology and the first-person perspective. In section 2, I press the Kantian position further, focusing on the role of inferential commitments in perception: this provides a foil against which Heidegger’s account can be In (...) section 3, I contrast this Kantian approach with Crowell’s highly sophisticated reading of Heidegger on care: I argue that, subject to certain conditions on how we view explanation, the two approaches are compatible and indeed mutually supporting. I close in section 4 by addressing an importantly distinct dimension of normativity, that marked by critique, broadly construed. I argue that we ultimately need to locate Heidegger in a context that. (shrink)

With fifty-four chapters charting the development of moral philosophy in the Western world, this volume examines the key thinkers and texts and their influence on the history of moral thought from the pre-Socratics to the present day. Topics including Epicureanism, humanism, Jewish and Arabic thought, perfectionism, pragmatism, idealism and intuitionism are all explored, as are figures including Aristotle, Boethius, Spinoza, Hobbes, Hume, Kant, Hegel, Mill, Nietzsche, Heidegger, Sartre and Rawls, as well as numerous key ideas and schools of thought. Chapters (...) are written by leading experts in the field, drawing on the latest research to offer rigorous analysis of the canonical figures and movements of this branch of philosophy. The volume provides a comprehensive yet philosophically advanced resource for students and teachers alike as they approach, and refine their understanding of, the central issues in moral thought. (shrink)

This article juxtaposes two of the most influential thinkers of the previous century, Georges Bataille and Martin Heidegger: my overarching claim will be that a contrastive approach allows a better understanding of two central dynamics within their work. First, I show that both were deeply troubled by a certain methodological anxiety; namely, that the practice of writing might distort and deform their insights. By employing a comparative strategy, I suggest that we can gain a better understanding of the very specific (...) form this fear takes in them: in each case, it is articulated and justified in terms of the ‘chose’ or ‘Ding’ (‘thing’) or the ‘objet’ or ‘Objekt’ (‘object’). Second, I argue that close textual comparison allows us to identify an important, new dimension in their reactions to this shared anxiety: the thing or object which was originally the site of the anxiety gradually becomes, through series of ontological and textual shifts, the solution to it. I track this transformation across a range of case studies including Heidegger’s later work on the term ‘Ding’ and Bataille’s treatment of prostitution. I close by indicating how these results might create avenues for further research. (shrink)

This article examines the phenomenon of thought insertion, one of the most extreme disruptions to the standard mechanisms for self-knowledge, in the context of Kant's philosophy of mind. This juxtaposition is of interest for two reasons, aside from Kant's foundational significance for any modern work on the self. First, thought insertion presents a challenge to Kant's approach. For example, the first Critique famously held that " The 'I think' must be able to accompany all my representations " (Kant, KrV, B132). (...) Yet thought insertion raises the problem of representations which are 'mine' by many natural criteria, and yet which I am unwilling to self-ascribe. Ultimately, my argument will be that thought insertion simultaneously problematises, and yet to some degree also vindicates, the complex distinctions between activity and passivity which underlie Kant's system. Second, I argue that Kant's position contains resources that allow us to model thought insertion, and its broader implications for self-knowledge, in an interesting and distinctive manner. Kant himself held an extreme view of philosophy's competence in the study of mental disorder: in the Anthropology, he suggests that courts must refer such cases to philosophers, rather than medics (Kant, Anth, p.214). My aim is much more modest: to suggest that a Kantian treatment of thought insertion deserves consideration by both philosophers and clinicians. (shrink)

In the context of a history of the emotions, Martin Heidegger presents an important and yet challenging case. He is important because he places emotional states, broadly construed, at the very heart of his philosophical methodology—in particular, anxiety and boredom. He is challenging because he is openly dismissive of the standard ontologies of emotions, and because he is largely uninterested in many of the canonical debates in which emotions figure. My aim in this chapter is to identify and critique the (...) distinctive role which Heidegger allots to the emotions, focusing on Sein und Zeit's famous treatment of anxiety. Having outlined his position, I close by considering a number of challenges, both methodological and substantive, to Heidegger's approach. (shrink)

Critical Notice of Kant's Transcendental Deduction, by Henry Allison. Oxford: Oxford University Press, 2015. Pp. Xv + 477.

Irene McMullin’s Existential Flourishing (Cambridge University Press, 2018) weaves together virtue ethics and existential phenomenology: the influence of Heidegger and Levinas, in particular, is clear throughout. This paper provides a summary of McMullin’s elegantly argued position and raises a number of possible concerns, particularly regarding the interaction of Aristotelian and Phenomenological assumptions. I focus specifically on the role of the 2nd-person perspective, on the links between exemplars and socialisation, and on the problem of those who, as Nietzsche put it, “are (...) both evil and happy – a species on which the moralists are silent”. (shrink)

As a face in the mirror, so the morals of men are easily corrected with an exemplar.As Christopher Janaway observed, “the topic of Schopenhauer as Educator is really education rather than Schopenhauer.”2 Indeed, Nietzsche described it as addressing a “problem of education without equal”.3 This article reconstructs the pedagogical challenge and solution presented by Nietzsche in that text. It is obvious that Schopenhauer’s example is meant to underpin Nietzsche’s new pedagogy; what is less obvious is how exactly that exemplary role (...) is meant to work. I concentrate on three issues: the exact nature of the pupil’s relationship to the exemplar, the institutional context of education, and... (shrink)

he relationship between decadence and aesthetics is an intimate and complex one. Both the stock figure of the aesthete and the aestheticism of ‘art for art’s sake’ are classic decadent tropes with obvious sources in figures such as Théophile Gautier, Walter Pater, Joris-Karl Huysmans. Yet the links between aesthetics and decadence are more conflicted than might first appear: historically, aesthetics has served both as a site for the theorisation of decadence and as the basis of an attempt to stem it. (...) The purpose of this chapter is to examine these intricate ties. (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)

Condition essentielle de la responsabilité civile, la notion de causalité reste aujourd’hui difficile à saisir et sujette à nombreuses discussions. Les contributions présentées dans cet ouvrage abordent la question à nouveaux frais, en adoptant un point de vue résolument interdisciplinaire mêlant philosophie, droit et économie. Sont envisagées successivement des difficultés que le contentieux de la causalité met régulièrement en évidence. Ainsi, la difficile articulation entre causalité juridique et causalité scientifique conduit à s’interroger sur le rôle de la science : doit-elle (...) guider le droit ou faut-il considérer que la causalité en droit n’est qu’un “construit” juridique dégagé de toute perspective scientifique ? Sont également évoquées les diverses tentatives de formalisation analytique de la causalité comme l’analyse contrefactuelle, le critère NESS et les définitions probabilistes de la causalité, ainsi que leur capacité à répondre aux questions redoutables suscitées par la présence de co-auteurs multiples ou d’hypothèses de “surdétermination causale”. Ces réflexions fondamentales ouvrent alors sur les autres aspects clefs de la causalité en droit et en économie comme la preuve et le rôle du raisonnement probabiliste, ou les modalités de la contribution à la dette de réparation en présence d’une pluralité de co-auteurs. Est alors mis en évidence l’apport des sciences économiques, qui permet de classer les différentes techniques d’attribution de la responsabilité et de discuter des propriétés économiques des règles de répartition de la charge de la dette de réparation. Cet ouvrage s’adresse aux chercheurs et aux praticiens confrontés aux questions délicates posées par la causalité dans le droit de la responsabilité civile. (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)

Do laypeople think that moral responsibility is compatible with determinism? Recently, philosophers and psychologists trying to answer this question have found contradictory results: while some experiments reveal people to have compatibilist intuitions, others suggest that people could in fact be incompatibilist. To account for this contradictory answers, Nichols and Knobe (2007) have advanced a ‘performance error model’ according to which people are genuine incompatibilist that are sometimes biased to give compatibilist answers by emotional reactions. To test for this hypothesis, we (...) investigated intuitions about determinism and moral responsibility in patients suffering from behavioural frontotemporal dementia. Patients suffering from bvFTD have impoverished emotional reaction. Thus, the ‘performance error model’ should predict that bvFTD patients will give less compatibilist answers. However, we found that bvFTD patients give answers quite similar to subjects in control group and were mostly compatibilist. Thus, we conclude that the ‘performance error model’ should be abandoned in favour of other available model that best fit our data. (shrink)

A coherent practice of mens rea (‘guilty mind’) ascription in criminal law presupposes a concept of mens rea which is insensitive to the moral valence of an action’s outcome. For instance, an assessment of whether an agent harmed another person intentionally should be unaffected by the severity of harm done. Ascriptions of intentionality made by laypeople, however, are subject to a strong outcome bias. As demonstrated by the Knobe effect, a knowingly incurred negative side effect is standardly judged intentional, whereas (...) a positive side effect is not. We report the first empirical investigation into intentionality ascriptions made by professional judges, which finds (i) that professionals are sensitive to the moral valence of outcome type, and (ii) that the worse the outcome, the higher the propensity to ascribe intentionality. The data shows the intentionality ascriptions of professional judges to be inconsistent with the concept of mens rea supposedly at the foundation of criminal law. (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)

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)

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.

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)

Does art have ethical possibilities? Can literature disclose our responsibilityfor other people? This short text aims to unfold some nuances of responsible and irresponsible art as they appear in Emmanuel Levinas's sparse remarks on aesthetics. We examine some common ways of conceiving Levinas's thoughts in literary studies, followed by a closer discussion of his ideas on the possibilities of art in "Reality and Its Shadow" and his late interviews on Vasily Grossman and Sacha Sosno.

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)

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 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)

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)

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)

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 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.