The primary purpose of depictive works of pornography, we take it, is sexual arousal through sexually explicit representations; what we callprototypical pornography satisfies those aims through the adoption of a ceteris paribus maximally realistic depictive style. Given that the purpose of sexual arousal seems best fulfilled by establishing the most robust connections between the viewer and the depictive subject, we find it curious that not all works of pornography aspire to prototypical status. Accordingly, we target for philosophical scrutiny (...) several non-standard but putatively pornographic forms: Tijuana Bibles, hentai manga, and slash-fiction. We find that works of these genres possess certain depictively or fictively oriented properties that appear at least prima facie incompatible with prototypical pornography, and thereby to pose two pressing questions that anyprima facie viable analysis of pornography must answer: the depiction question and the fiction question. By answering these questions, we can not only arrive at a deeper understanding of the aims of pornography and the reasons for which significant sub-genres of pornography might diverge from the prototypical ideal, but also perhaps better understand what lies at pornography’s edge, and so better understand the ways in which pornography might relate to what lies beyond. (shrink)

Drawing on the well-established understanding of the zombie as metaphor for the deadening effects of consumer capitalism, this chapter seeks to account for three distinct changes that contextualise 21st century zombie fiction. The first is situational: the global economic crisis has amplified the anxieties that inspired Romero's critique of consumer capitalism in Dawn of the Dead (1978). The second is intellectual: as Chapman and Anderson (2011) note, there has been an “explosion of research on all aspects of disgust” in recent (...) years. The third concerns the subgenre itself: zombies have become increasingly sexualised since the late 1990s. These issues intersect in a numerous recent zombie films - including Zombie Strippers! (2008), Zombies! Zombies! Zombies! (2008), Big Tits Zombie (2010), and Zombies Vs Strippers (2012) - that are centred around or within strip clubs. Stripping epitomises the logic of consumer capitalism, offering tantalising promises but little physical satisfaction. Stripping translates sexual desire into a voyeuristic transaction, evacuated of corporeal messiness. The zombie’s decomposing body epitomises disgust, and its presence in the strip-club disturbs the fantasy typically provided within that context. In the zombie infected strip-club, intimate contact is damaging rather than desirous. In these respects, zombies hypostatize numerous tensions that are usually masked by fantasy and financial exchange. In doing so, these zombies reify the horrors of late capitalism. Their disgusting bodies disrupt the foundational logic of consumerism qua desire. (shrink)

“A Nation of Madame Bovarys” rebuts the notion that literature is improves its readers morally, whether (1) by imparting instruction, (2) by eliciting empathy for non-parochial groups, or (3) by forcibly fine-tuning our capacity to navigate difficult ethical waters. Taking Geoffrey Chaucer’s Nun’s Priest’s Tale as its test case, it argues that the positions taken by Nussbaum, Booth, Rorty, et al.—also including the “imaginative resistance” position—are vastly overblown; that empathy is unreliable as a guide to moral behavior; that readers tend (...) only to “learn” what they already believed going in; and that it is dangerous to expect otherwise, there being a risk, if the contemporary consensus were to hold, of the populace degenerating into a nation of Madame Bovarys. Accordingly, a view of literary engagement as primarily an opportunity for clarification may be not only more accurate but also, in the end, more salutary. (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.

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)

We often have affective responses to fictional events. We feel afraid for Desdemona when Othello approaches her in a murderous rage. We feel disgust toward Iago for orchestrating this tragic event. What mental architecture could explain these affective responses? In this paper I consider the claim that the best explanation of our affective responses to fiction involves imaginative desires. Some theorists argue that accounts that do not invoke imaginative desires imply that consumers of fiction have irrational desires. I argue that (...) there are serious worries about imaginative desires that warrant skepticism about the adequacy of the account. Moreover, it is quite difficult to articulate general principles of rationality for desires, and even according to the most plausible of these possible principles, desires about fiction are not irrational. (shrink)

This paper argues: (1) All knowledge from fiction is from imagination (2) All knowledge from imagination is modal knowledge (3) So, all knowledge from fiction is modal knowledge Moreover, some knowledge is from fiction, so (1)-(3) are non-vacuously true.

We refine a line of feminist criticism of pornography that focuses on pornographic works' pernicious effects. A.W. Eaton argues that inegalitarian pornography should be criticized because it is responsible for its consumers’ adoption of inegalitarian attitudes toward sex in the same way that other fictions are responsible for changes in their consumers’ attitudes. We argue that her argument can be improved with the recognition that different fictions can have different modes of persuasion. This is true of film and television: a (...) satirical movie such as Dr. Strangelove does not morally educate in the same way as a realistic series such as The Wire. We argue that this is also true of pornography: inegalitarian depictions of sex are not invariably responsible for consumers' adoption of inegalitarian attitudes toward sex in reality. Given that pornographic works of different genres may harm in different ways, different feminist criticisms are appropriate for different genres of pornography. (shrink)

Reflecting on our engagement with fiction has compelled some theorists to expand the domain of the mental. They have posited a novel conative state, so-called “i-desire”. The central thesis of this approach is that i-desire relates to imagination in the same way as desire relates to belief. We formulate principles which are plausible consequences of this thesis. We then put pressure on these principles by focusing on desire concepts such as hoping, and show that the imaginative analogues of these (...) concepts—if such there be—do not satisfy the principles. We conclude by considering what our result suggests about the relationship between i-desire and propositional attitude psychology. (shrink)

In contrast to film, theater, and literature, audiences typically sing along with popular songs. This can encourage a first-person mode of engagement with the narrative content. Unlike mere spectators, listeners sometimes imagine acting out the content when it is recited in the first-person. This is a common mode of engaging with popular music. And it can be uniquely morally problematic. It is problematic when it involves the enjoyment of imaginatively doing evil. I defend a Moorean view on the issue: It (...) is wrong to enjoy evil whether real or merely fiction. I develop my position through an examination of the controversially song "Mind of a Lunatic" (1990) by the Houston based rap group Geto Boys. (shrink)

The puzzle of imaginative desire arises from the difficulty of accounting for the surprising behaviour of desire in imaginative activities such as our engagement with fiction and our games of pretend. Several philosophers have recently attempted to solve this puzzle by introducing a class of novel mental states—what they call desire-like imaginings or i-desires. In this paper, I argue that we should reject the i-desire solution to the puzzle of imaginative desire. The introduction of i-desires is both ontologically profligate and (...) unnecessary, and, most importantly, fails to make sense of what we are doing in the imaginative contexts in question. (shrink)

The capacity to engage with art is a human universal present in all cultures and just about every individual human. This indicates that this capacity is evolved. In this Critical Notice of Denis Dutton's The Art Instinct, I discuss various evolutionary scenarios and their consequences. Dutton and I both reject the "spandrel" approach that originates from the work of Gould and Lewontin. Dutton proposes, following work of Geoffrey Miller, that art is sexually selected--that art-production is a sign of a fit (...) genome in males. I argue that while assortative mating may well have had a role in the evolution of "the art instinct", group selection is a better explanation. I also take issue with Dutton's "cluster concept" approach to defining art, and argue that it is a universal and essential characteristic of art that it is appreciated both for what it expresses and for the way that it expresses. It thus requires a reflexive capacity that is not operative in the appreciation of sport spectacles and pornography. (shrink)

I argue that any account of imagination should satisfy the following three desiderata. First, imaginations induce actions only in conjunction with beliefs about the environment of the imagining subject. Second, there is a continuum between imaginations and beliefs. Recognizing this continuum is crucial to explain the phenomenon of imaginative immersion. Third, the mental states that relate to imaginations in the way that desires relate to beliefs are a special kind of desire, namely desires to make true in fiction. These (...) desires to make true in fiction do not differ from regular desires in kind, but only in content. I argue for these three desiderata in turn by critically discussing several recent accounts of imagination. (shrink)

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

The eighteenth‑century English writer Matthew Gregory Lewis wrote one of the most dramatic Gothic novels, The Monk; over 200 years later, a film of the same name appeared, based on the novel and directed by Dominik Moll. The film, a free adaptation of the book, presenting the story of the moral downfall of the monk Ambrosio, has inspired us to philosophical reflections on sexuality, sensuality, and physical desire. We have attempted to analyze and interpret this cinematic work of art in (...) the context of these issues. The method we have adopted is based on a thorough discussion of the topics developed in the film and related issues. This method, while not pretending to be scientific objective, enables us to outline an interesting field of research as well as to identify a number of theoretical problems and questions that remain open. The formula we have adopted is to quote lines from the film The Monk which permits the analysis of selected issues related to sexuality, sensuality, and physical desire. Moreover, these quotes serve to order the text and enable the precise identification of interpretive trains of thought. (shrink)

​Imagination will remain a mystery—we will not be able to explain imagination—until we can break it into parts we already understand. Explaining Imagination is a guidebook for doing just that, where the parts are other ordinary mental states like beliefs, desires, judgments, and decisions. In different combinations and contexts, these states constitute cases of imagining. This reductive approach to imagination is at direct odds with the current orthodoxy, according to which imagination is a sui generis (...) mental state or process—one with its own inscrutable principles of operation. Explaining Imagination upends that view, showing how, on closer inspection, the imaginings at work in hypothetical reasoning, pretense, the enjoyment of fiction, and creativity are reducible to other familiar mental states—judgments, beliefs, desires, and decisions among them. Crisscrossing contemporary philosophy of mind, cognitive science, and aesthetics, Explaining Imagination argues that a clearer understanding of imagination is already well within reach. (shrink)

Combining aesthetic theory with gender analysis opens a large and diverse territory to explore. Both familiar issues in the philosophy of art and new, expanded questions about the influence of culture on imagination and identity have become subjects of feminist research. Film, literature, graphic arts, advertising, and the legacies of history all contribute to the forces that shape self-image, desire, behavior, and social role – as well as the ability to imagine possibilities for change. This issue brings together an (...) international group of scholars from several disciplines who explore gender and femininity, sexuality and its several iterations, and the politics of everyday life and culture. (shrink)

Rae Langton and Caroline West argue that pornography silences women by presupposing misogynistic attitudes, such as that women enjoy being raped. More precisely, they claim that a somewhat infamous pictorial, ‘Dirty Pool’, makes such presuppositions, and that it is typical in this respect. I argue for four claims. (1) There are empirical reasons to doubt that women are silenced in the way that Langton and West claim they are. (2) There is no evidence that very much pornography makes the sorts (...) of presuppositions that Langton and West's explanation of silencing requires it to make. (3) Even ‘Dirty Pool’, for all its other problems, does not make such presuppositions. (4) Langton and West misread ‘Dirty Pool’ because they do not take proper account of the fact that pornography often traffics in sexual fantasy. The broader lesson is that we need to read pornography more sensitively if we are to understand its capacity to shape socio‐sexual norms (for good or for ill). (shrink)

Currie’s (2010) argument that “i-desires” must be posited to explain our responses to fiction is critically discussed. It is argued that beliefs and desires featuring ‘in the fiction’ operators—and not sui generis imaginings (or "i-beliefs" or "i-desires")—are the crucial states involved in generating fiction-directed affect. A defense of the “Operator Claim” is mounted, according to which ‘in the fiction’ operators would be also be required within fiction-directed sui generis imaginings (or "i-beliefs" and "i-desires"), were there such. Once we appreciate that (...) even fiction-directed sui generis imaginings would need to incorporate ‘in the fiction’ operators, the main appeal of the idea that sui generis imaginings (or "i-beliefs" or "i-desires") are at work in fiction-appreciation dissipates. [This is Chapter 10 of Explaining Imagination (OUP, 2020)]. (shrink)

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

Throughout his lectures and published writings on anthropology, Kant describes a form of unintentional, unstructured, obscure, and pleasurable imaginative mental activity, which he calls fantasy (Phantasie), where we ‘take pleasure in letting our mind wander about in obscurity.’ In the context of his pragmatic anthropology, Kant was concerned not only to describe this form of mental activity as a fact of human psychology, but more importantly, to criticize and discourage it. But must we share Kant’s negative evaluation? Could fantasy play (...) a positive role in some kinds of experience? In this paper I first reconstruct Kant’s conception of fantasy, and then consider what role fantasy might play in aesthetic experience. Precisely because of his anxieties about fantasy, Kant is careful to distinguish between the lawless freedom of the imagination in fantasy and the ‘free lawfulness’ of the imagination in aesthetic judgment. Departing from Kant, and with help from Susan Sontag, I argue that certain aesthetic objects, especially certain works of modernist art, positively invite fantasy, making fantasy part of proper aesthetic appreciation. I conclude by suggesting that while fantasy can indeed play a positive role in aesthetic appreciation, there is still reason to regard fantasy as ‘normatively ambiguous.’. (shrink)

This paper has three goals. The first is to defend Tristan Taromino and Erika Lust (or some of their films) from criticisms that Rebecca Whisnant and Hans Maes make of them. Toward that end, I will be arguing against the narrow conceptions that Whisnant and Maes have of what `feminist' pornography must be like. More generally, I hope to show by example why it is important to take pornographic films seriously as films if we're to understand their potential to shape, (...) or mis-shape, socio-sexual norms. (shrink)

If asked to explain why the Golds’ treatment of other colors in Red Rising is wrong, it is tempting to say something like “they are all human beings, and it is wrong to treat humans in this way!” In this essay, I’ll argue that this simple answer is considerably complicated by the fact that the different colors might not be members of the same biological species, and it is in fact unclear whether any of them are the same species as (...) current humans. Explaining why exactly this is so will lead us to an exploration the long-running debate in biology and philosophy over what exactly it means for two organisms to be “members of the same species.” I’ll begin by discussing the biological essentialism of Aristotle and his followers, who held that an individual organism’s species was determined by essence. One can easily imagine that the Golds might find this attractive, since it would suggest that their “superior” mental and physical capacities made them a different (and probably “higher”) species of humanity than the other colors. Unfortunately for Aristotle, this turns out to be inconsistent with Charles Darwin’s account of evolution by natural selection. This development has led many modern biologists and philosophers of biology to conceptualize species not as an abstract “form” that serves to classify organisms, but rather as a concrete collection of organisms relatively close to each other in space and time. In contrast to biological essentialism, this view of “species as concrete individual” might seem to support the Reds’ claim to the “same species” as the Gold, since they are both part of the same overarching society. Next, I’ll consider how we might tell where one species “ends” and another one “begins.” As it turns out, biologists have many ways of answering his question, each of which makes different judgments about the species of Red Rising’s characters. So, for example, the “Biological Species Concept” bases judgements about species membership on the ability to produce fertile offspring. This concept is far from perfect, however, for reasons that Red Rising makes clear: it doesn’t deal clearly with cases where reproduction is possible but very difficult (a Red and a Gold having a child) or for organisms that do not reproduce sexually (such as Pinks). I’ll then explore a few prominent alternatives to BSC, including both genetically and ecologically based species concepts, and consider their consequences for the society of Red Rising. I’ll conclude by advocating for a “pluralism” about species membership, and will suggest that the people of Red Rising (as well as in the real world) should beware of basing arguments for moral or political equality on the all-too-slippery notion of “shared humanity.” Instead, they should focus on the qualities that make the lives of the individuals (regardless of their species) worth caring about, such as their shared desires to avoid suffering and to lead fulfilling, meaningful lives. (shrink)

Empirical findings may be relevant for aesthetic evaluation in at least two ways. First — within criticism — they may help us to identify the aesthetic value of objects. Second— whithin philosophy — they may help us to decide which theory of aesthetic value and evaluation to prefer. In this paper, I address both kinds of relevance. My focus is thereby on empirical evidence gathered, not by means of first-personal experiences, but by means of third-personal scientific investigations of individual artworks (...) or, more generally, our interaction with art. The main thesis to be defended is that third-personal empirical findings are of limited significance for both critical and philosophical aesthetics. Indeed, they matter only to the extent to which they draw our attention to features or facts that we then iden- tify, from our first-personal perspective, as aesthetically relevant — for instance, as reasons counting for or against certain ascriptions of aesthetic value, or as factors that causally influence our actual as- sessments and thus render them partly inadequate or irrational. This limited significance of empirical findings is in line with the rationalist approach to the formation and justification of aesthetic judgements, that I have already started to defend elsewhere. -/- With respect to critical aesthetics, one problem is that empirical investigations cannot capture the normativity of the aesthetic relevance of lower-level features or facts: the respective studies can tell us what we take to be reason-giving or valuable, but not what is reason-giving or valuable. Furthermore, we cannot use empirically knowable principles to infer the presence of aesthetic values or reasons on the basis of recognising measurable lower-level features because the only available principles are too specific to allow for their actual application to more than one existing object, or even for their actual formulation. For their antecedents make reference to a large number of very determinate properties, as well as sometimes to particular events of creation. The only exception are conceptual principles (such as ‘something symmetrical is balanced’) or default principles (such as ‘something elegant is, by default, beautiful’). But knowledge of these principles is of little inferential use due to the holistic character of the justificatory power of aesthetic reasons and, moreover, does not allow for empirical acquisition. -/- With respect to philosophical aesthetics, I start with considering the limits of evolutionary accounts of aesthetic value. Even if it is true that humans originally came to value artworks because they recognised that artworks reveal certain skills or features of artists (such as imaginativeness or resourcefulness) that are desirable in sexual partners, it does not value that our reasons for valuing art have not changed, or at least not become much more complex. In addition, the answer to the question of why we value art from an evolutionary perspective has no obvious bearing on the issue of how we should appreciate art from an aesthetic perspective, or what such aesthetic appreciation would consist in. On the other hand, experimental studies showing that our actual aesthetic evaluations are influenced by factors (such as exposure e ects, or knowledge of the prices of objects), that undermine the good standing of our responses, just reveal that it is more difficult than perhaps expected to form sound aesthetic judgements; and that we need to improve our future aesthetic judgements by diminishing as much as possible the impact of those factors. (shrink)

One striking feature of pornographic images is that they emphasize what is depicted and underplay the way it is depicted: the experience of pornography rarely involves awareness of the picture’s composition or of visual rhyme. There are various ways of making this distinction between what is depicted in a picture and the way the depicted object is depicted in it. Following Richard Wollheim, I call these two aspects, the ‘what’ and ‘how’ of pictorial representation ‘recognitional’ and ‘configurational’, respectively. Some pictures (...) emphasize one of these aspects while underplaying the other. Pornographic pictures try to trigger as little attention to the ‘configurational’ aspect as possible. Instead of examining pornography, where the ‘configurational’ aspect of experience is underplayed, I focus on a historical attempt to create images of the female body where the ‘recognigional’ element is the one that is underplayed and the ‘configurational’ elements of the picture form an essential part of our experience. The pictures I have in mind are André Kertész’s series of photographs from 1933, called Distortions. I argue that Kertész’s Distortions are in this respect the counterpoint of pornography: they may be the least pornographic representations of the female nude. Instead of ignoring the ‘configurational aspects of the picture, making the picture transparent and fully at the service of showing the female body and thus to trigger arousal, Kertész aims to achieve the exact opposite. His photographs strip the female body of all its sexual connotations and draw our attention to the formal features of the picture – which is quite a feat in the light of the subject matter of these pictures that normally draw our attention away from the formal features of pictures. (shrink)

The problem of satisfaction conditions arises from the apparent difficulties of explaining the nature of the mental states involved in our emotional responses to tragic fictions. Greg Currie has recently proposed to solve the problem by arguing for the recognition of a class of imaginative counterparts of desires - what he and others call i-desires. In this paper I will articulate and rebut Currie's argument in favour of i-desires and I will put forward a new solution in terms of genuine (...) desires. To this aim I will show that the same sort of puzzling phenomenon involved in our responses to tragic fictions arises also in a non-fictional case, and I will offer a solution to the problem of satisfaction conditions that dispenses with i-desires. The key to the explanation is in the notion of condition-dependent desires triggered by fictions. (shrink)

The chapter considers the “paradox of fiction,” understood as the claim that it is in some sense irrational or inappropriate to respond emotionally to mere fictions. Several theorists have held that special features of imagination, or other “arational” mental reflexes, play a role in its resolution. I argue, to the contrary, that imagination need not enter into the solution, and that the paradox can be resolved in a way that shows our responses to fictions to be reasonable and (...) warranted, even if our emotional reactions to fiction are caused by beliefs and desires. Coming to terms with the paradox requires both properly understanding the “rug-pull” structure of the examples used to motivate it, and appreciating the specific emotional norms relevant to fiction appreciation. Related proposals by Livingston & Mele (1997) and Gilmore (2011) are discussed; their relevance to and coherence with the present account are explained. [This is Chapter 11 of Explaining Imagination.]. (shrink)

How should we react to the development of sexbot technology? Taking their cue from anti-porn feminism, several academic critics lament the development of sexbot technology, arguing that it objectifies and subordinates women, is likely to promote misogynistic attitudes toward sex, and may need to be banned or restricted. In this chapter I argue for an alternative response. Taking my cue from the sex positive ‘feminist porn’ movement, I argue that the best response to the development of ‘bad’ sexbots is to (...) make better ones. This will require changes to the content, process and context of sexbot development. Doing so will acknowledge the valuable role that technology can play in human sexuality, and allow us to challenge gendered norms and assumptions about male and female sexual desire. This will not be a panacea to the social problems that could arise from sexbot development, but it offers a more realistic and hopeful vision for the future of this technology in a pluralistic and progressive society. (shrink)

Will human sexuality survive the passage to Artificial Intelligence? To answer this question properly, we should first analyze the paradoxical inner structure of sexuality itself, which is never simply binary: it always involves a third element that gives body to the deadlock of sexual difference – this is what Lacan meant by “there is no sexual difference.” This is why sexuality is in itself excessive and perverse. For this reason, all attempts to “normalize” sexuality by way of keeping (...) it within the limits of moderation miserably fail: today, we find on the market products deprived of their dangerous element (coffee without caffeine, chocolate without sugar…), and the moderate sexuality is sexuality without sex. The Buddhist attempts to contain the excess sexuality miss the point of sexuality: intense sexuality is in itself the greatest sacrifice (the sacrifice of peaceful moderate life) – in sexuality, we enjoy the pain, the renunciation itself. However, today, in our world pervaded by commodification and technological inventions, real human partners are more and more replaced by what Lacan called lathouses, artificial objects aimed at satisfying our sexual desire without another human being (plastic phalluses, digitalized pornography). The result is that we are thrown into a space of limitless pleasures where, although “everything is permitted,” our intense sexual desire gets anaestheticized. (shrink)

I. Introduction Sex has been thought to reveal the most profound truths about individuals, laying bare their deepest desires and fears to their partners and themselves. In ‘Carnal Knowledge,’ Wendy Doniger states that this view is to be found in the texts of ancient India, in the Hebrew Bible, in Renaissance England and Europe, as well as in contemporary culture, including Hollywood films.1 Indeed, according to Josef Pieper, the original, Hebrew, meaning of `carnal knowledge’ was `immediate togetherness, intimate presence.’ 10 (...) But equally prevalent in both ancient and contemporary culture is the view that sex generates the deepest illusions, hiding people’s true selves behind layers of deception, blindness, deception, or self-deception.2 Tthere is, however, no contradiction in holding both that sexual deception and illusion blindness are widespread, and that sex reveals some profound truths about us. Indeed, if deception or illusion blindness about our sexual desires and fantasies is widespread, one likely explanation is surely that many of us implicitly or explicitly believe that our desires and fantasies say something important about us – or at least that we believe that others believe that they do. There is little reason to hide from ourselves or others that which we regard as unimportant. But while such blindness to or pretence about one’s own or partner’s sexual needs and desires saves one from embarrassment or from the effort to understand and satisfy one’s partner or oneself, it also subverts a central value of any fulfilling personal.. (shrink)

In this essay, I have researched the artistic and political philosophy of the Situationist International – a revolutionary movement that has made a great impact on contemporary culture. Using the foundation of this research, I have then built on it with my own hypotheses and speculations on the meaning of art as we know it – questioning what defines true creativity and “authentic experience”. I then draw conclusions as to the successes and failures of the Situationist International, what we can (...) learn from them, and, along with the concepts I developed during the essay, how we can use the positive aspects of their work to contribute to our own “self-theory” and artistic approach. (shrink)

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

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

This paper argues against the view, proposed in Langland-Hassan (2020), that attitudinal imaginings are reducible to basic folk-psychological attitudes such as judgments, beliefs, desires, decisions, or combinations thereof. The proposed reduction fails because attitudinal imaginings, though similar to basic attitudes in certain respects, function differently than basic attitudes. I demonstrate this by exploring two types of cases: spontaneous imaginings, and imaginings that arise in response to fiction, showing that in these cases, imaginings cannot be identified with basic attitudes. I conclude (...) that imagining is a distinct attitude: it enables us to freely conjure up scenarios without being bound by the restrictions that govern basic folk-psychological attitudes. (shrink)

This encyclopedia article on the philosophy of sexuality discusses the main themes, concepts, and debates in the field, including the metaphysics (or philosophical anthropology) of sex, the morality of sexual behavior, pragmatic and utilitarian evaluations of sexuality, and sexual perversion.

From a behaviorist perspective, the desire to upload “minds” is already being realized on a mass, hyper-industrial scale thanks to the convergence of cognitive computing and Big Data. The accusation is that the “mind” is not an entity that exists intracranially. Instead, it is conceived as a process of individuation, which occurs in different modes and numbers. Some narratives of mind-uploading and technics in popular culture are explored: Transcendence (2014, dir. Wally Pfister) and Player Piano by Kurt Vonnegut. The discussed (...) issues consider Bernard Stiegler’s phenomenological notion of originary default and Thierry Bardini’s analysis of junk. Several questions are raised regarding miscalculations, accidents, in addition to Nicolas Agar’s discussion on the end of humanity, and Daniel Dennett’s Multiple Drafts theory within the context of exteriorization, which is considered as constitutive of interiority. (shrink)

Narrative representations can change our moral actions and thoughts, for better or for worse. In this article, I develop a theory of fictions' capacity for moral education and moral corruption that is fully sensitive to the diversity of fictions. Specifically, I argue that the way a fiction influences our moral actions and thoughts importantly depends on its genre. This theory promises new insights into practical ethical debates over pornography and media violence.

Balancing a hermeneutic of trust with a hermeneutic of suspicion, this article develops a phenomenological description of imagination that highlights its alethic ambiguity. Imagination is an act of disclosure, without which the world of fiction and pure possibility cannot be constituted. Imagination is also an act of self-indulgence and narcissism, the source of much concealment and untruth. It is not the one or the other, but both at the same time, essentially ambiguous because of its phenomenological constitution. (...) In this article, I will take some steps towards clarifying this essential ambiguity of the imagination by drawing on the insights of Husserl and Sartre. Beginning with Husserl’s parallel treatment of imagination and perception as intuitive, objectifying acts, I will argue, drawing on insights from Sartre, that there is an important discrepancy between them with respect to the role of desire. While the constitution of perceptual presence is inseparable from a desire for truth, the desire involved in the constitution of imaginary presence has an ambiguous character, both epistemic and magical. This duplicity of desire partly accounts for the ambiguity of imagination, which is all the more pronounced the more the imagination demands the full emotional involvement of the imagining subject. (shrink)

This essay discusses Peter Langland-Hassan's approach to "explaining imagination" as it plays out in his recent book of that title. Langland-Hassan offers a theory of “attitude imagining” that avoids positing what he calls a “sui generis cognitive attitude.” This theory attempts to explain things like pretend play, hypothetical reasoning, and cognition of fiction; to explain them using only (what he calls) more “basic” mental states like beliefs and desires; and thus to explain them without positing a distinct cognitive attitude (...) of imagining, as many theorists do (including me). In other words, “attitude imagining,” for Langland-Hassan, is whatever explains those things (except for a distinct cognitive attitude of imagining itself). Despite the theoretical interest of this approach, I argue it is ontologically pennywise and pound foolish: for a slight savings in ontological complexity it dramatically reduces explanatory power. (shrink)

The paper is an examination and critique of the philosophy of science fiction horror of seminal American horror, science fiction and fantasy writer H.P. Lovecraft (1890-1937). Lovecraft never directly offers a philosophy of science fiction horror. However, at different points in his essays and letters, he addresses genres he labels “interplanetary fiction”, “horror”, “supernatural horror”, and “weird fiction”, the last being a broad heading covering both supernatural fiction and science fiction. Taken together, a philosophy of science fiction horror emerges. Central (...) to this philosophy is the juxtaposition of the mysterious, unnatural and alien against a realistic background, in order to produce the emotion that Lovecraft calls “cosmic fear”. This background must not only be scientifically accurate, but must accurately portray human psychology, particularly when humans are faced with the weird and alien. It will be argued that Lovecraft’s prescriptions are overly restrictive and would rule out many legitimate works of science fiction horror art. However, he provides useful insights into the genre. (shrink)

Philosophy has long either dismissed or paid only minimal attention to creativity, and even with the rise of research on imagination, the creative imagination has largely been ignored as well. The aim of this volume is to correct this neglect. By bringing together existing research in various sub-disciplines, we also aim to open up new avenues of research. The chapters in Part I provide some framing and history on the philosophical study of imagination and creativity, along with (...) an overview of the empirical literature. Part II explores imagination and creativity as they manifest in, and in turn shape, the individual. Part III surveys the role of imagination and creativity across a wide variety of artistic domains, and the chapters of Part IV turn to societal domains. Part V focuses on the interplay of imagination and creativity with regard to particular features of creative subjects and different kinds of creative subjects. *** -/- Part I: Theories and Approaches 1. Theories of Imagination (Peter Kung) 2. Theories of Creativity (Julia Langkau) 3. Historical Treatments of Imagination in the Western Tradition (Lucia Oliveri) 4. Historical Treatments of Creativity in the Western Tradition (Elliot Paul) 5. Non-Western Treatments of Imagination (Reza Hadisi and Jing Iris Hu) 6. Non-Western Treatments of Creativity (Nicolas B. Verger and Vlad Glăveanu) 7. Empirical Treatments of Imagination and Creativity (Dustin Stokes) 8. Experimental Philosophy of Imagination and Creativity (Michael T. Stuart) 9. The Relationship between Imagination and Creativity (Margherita Arcangeli) -/- Part II: Imagination and Creativity in Mind and Action 10. Imagination, Creativity, and Skill (Amy Kind) 11. Imagination, Creativity, and Attention (Bence Nanay) 12. Imagination, Creativity, and Agency (Caterina Moruzzi) 13. Imagination, Creativity, and Emotion (Julien Deonna and Fabrice Teroni) 14. Imagination, Creativity, and Embodiment (Adriana Clavel-Vázquez and María Jimena Clavel Vázquez) 15. Imagination, Creativity, and Gender (Luke Roelofs) 16. Imagination, Creativity, and Race (Nicholas Whittaker) 17. Imagination, Creativity, and Child Development (Thalia Goldstein, Anna Sofia Caruso, Darian Stapleton, and Lamin Fatty) -/- Part III: Imagination and Creativity in the Arts 18. Imagination, Creativity, and the Visual Arts (Claire Anscomb) 19. Imagination, Creativity, and Music (Matteo Ravasio) 20. Imagination, Creativity, and Fiction (Hannah H. Kim) 21. Imagination, Creativity, and Dance (David Davies and Anna Pakes) 22. Imagination, Creativity, and the Culinary Arts (Patrik Engisch) 23. Imagination, Creativity, and Film (Murray Smith) 24. Imagination, Creativity, and Acting (Tzachi Zamir) 25. Imagination, creativity, and fashion (Laura T. Di Summa) -/- Part IV: Imagination and Creativity in Society 26. Imagination and Creativity in the Scientific Realm (Alice Murphy) 27. Imagination and Creativity in the Moral Realm (Tim Mulgan) 28. Imagination and Creativity in the Political Realm (Avshalom Schwartz) 29. Imagination and Creativity in the Law (Maksymilian Del Mar) 30. Imagination and Creativity in the Religious Realm (Neil Van Leeuwen) 31. Imagination and Creativity in Business (Eric Peterson) 32. Imagination and Creativity in Times of Crisis (Jennifer Fraser and Noah Stemeroff) Part V: Emerging Issues in Imagination and Creativity Research 33. Imagination, Creativity, and Aphantasia (Andrea Blomkvist) 34. Imagination, Creativity, and Neurodivergence (Sofia Ortiz-Hinojosa) 35. Imagination, Creativity, and Non-Human Animals (Henry Shevlin) 36. Imagination, Creativity, and Artificial Intelligence (Peter Langland-Hassan) 37. Collective Imagination and Collective Creativity (Nick Wiltsher) . (shrink)

A central passage in Cusset’s essay states: “God, for Sade, is fiction that ‘took hold of the minds of men’. What makes God’s weakness, the impossibility of rationally proving his existence, is precisely what constitutes his strength as fiction. Negated as authority, eliminated as the figure of the almighty father, God is nonetheless everywhere in the Sadean novel: he exists as the fiction principle. Libertines are never done with God because his name represents the power, not of the law, but (...) of the imagination. In showing their contempt for God, libertines reveal their anger against fiction, which does not have the power to prove its own truth: fiction — and Sade chose to write novels, not philosophical essays — is based on the desire for illusion” (119). Sade’s L’Histoire de Juliette, argues Cusset, breaks from his earlier writings in that Juliette has an agency missing from Sade’s previous female characters, and she, unlike earlier characters, breaks through the central Sadean impasse: “her ‘story’ represents the solution through which Sade paradoxically resolves the aporia of libertinage” (120). She is perfectly aware of scientific explanations for phenomena, but, “for the sake of play, Juliette chooses metaphor, and does not try to ‘unveil truth’ entirely. Juliette distinguishes herself from her teachers and masters through her relation to imagination. […] The end of the novel confirms Juliette’s choice of a playful imagination” (123). In short, Juliette is the libertine who breaks the very rules of the libertines by means of resurrecting the sense of play, imagination, and romantic delicacy which her fellow criminals forbid. Cusset concludes: “Sade invites us to read his texts as fictive and humorous texts, and not, as suggested the French feminist Elisabeth Badinter who wanted to censor Sade’s novel, as rational demonstrations inviting readers to commit murder. Juliette’s transformation through the novel allows us to understand why Sade entitled his last long novel L 'Histoire de Juliette. Juliette chooses fiction, without trying to prove its truth; she chooses pleasure, without trying to annihilate every belief, since imaginary belief is a component of pleasure. What Sade tells us with the invention of Juliette is that freedom is the very choice of limit. […] L’Histoire de Juliette is Sade’s critique of pure fiction” (129). (shrink)

Art is the concrete/tangible/substantial materialization of the human creative impulse to convey her/his most vital desires and needs. Art is the channel that facilitates the release of humanity´s imaginative urge that makes life more liveable and more worth enhancing. In a broader sense, we may even contend that human life in its truest essence is art itself. It is the artistic spirit of humanity that sees beauty in the natural environ of earthly existence. The course of life on earth provides (...) magnificent inspiration to the creative human being in the furtherance of the world which s/he started to create millennia ago and has been the focal point of her/his most determined struggles to survive, to improve and to make life more meaningful despite myriads of troubles, adversities and tragedies. (shrink)

This article investigates the relationships between forms of humor that conjure up possible worlds and real-world social critiques. The first part of the article will argue that subversive humor, which is from or on behalf of historically and continually marginalized communities, constitutes a kind of aesthetic experience that can elicit enjoyment even in adversarial audiences. The second part will be a connecting piece, arguing that subversive humor can be constructed as brief narrative thought experiments that employ the use of fictionalized (...) scenarios to facilitate an open, playful attitude, encouraging a space for collaborative interpretation. This interaction between humorist and audience is an aesthetic experience that is enjoyable in and of itself, as the feelings of mirth are intrinsically valuable. But connected to the “Ha-ha!” experience of these sorts of humorous creations is an “Aha!” or potentially revelatory experience that is a mixture of cognitive comprehension and motivated (emotional) response. The third part of the article will attempt to go beyond the consciousness-raising element with an account of how such possible worlds created in the realm of imagination through subversive humor can bleed into the real world of flesh and blood people. Finally, an example of subversive humor will be analyzed. (shrink)

This paper responds to two arguments that have been offered against the positing of ‘i-desires’, imaginative counterparts of desire supposedly involved in fiction, pretence, and mindreading. The Introspection Argument asks why, if there are both i-desires and desires, the distinction is so unfamiliar and hard to draw, unlike the relatively clear distinctions between perception and mental imagery, or belief and belief-like imagining. The Accountability Argument asks how it can make sense to treat merely imaginative states as revealing of someone’s psychology, (...) the way we do with responses to fiction. I argue that carefully considering the relationship between other states and their imaginative counterparts sheds light on how we should expect i-desires to differ from desires, and suggests that we may often be in states that are _indeterminate_, in limbo between the two categories. This indeterminacy explains why the distinction is often hard to draw, and why these states can be revealing about us even without (determinately) being real desires. (shrink)

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

A primary dimension of our engagement with fictional works of art – paradigmatically literary, dramatic, and cinematic narratives – is figuring out what is true in such representations, what the facts are in the fictional world. These facts include not only those that ground any genuine understanding of a story – say, that it was his own father whom Oedipus killed – but also those that may be missed in even a largely competent reading, say, that Emma Bovary's desires and (...) dissatisfactions are fed by reading romance novels. (shrink)

Following neo-Aristotelians Alasdair MacIntyre and Martha Nussbaum, we claim that humans are story-telling animals who learn from the stories of diverse others. Moral agents use rational emotions, such as compassion which is our focus here, to imaginatively reconstruct others’ thoughts, feelings and goals. In turn, this imaginative reconstruction plays a crucial role in deliberating and discerning how to act. A body of literature has developed in support of the role narrative artworks (i.e. novels and films) can play in allowing us (...) the opportunity to engage imaginatively and sympathetically with diverse characters and scenarios in a safe protected space that is created by the fictional world. By practising what Nussbaum calls a ‘loving attitude’, her version of ethical attention, we can form virtuous habits that lead to phronesis (practical wisdom). In this paper, and taking compassion as an illustrative focus, we examine the ways that students’ moral education might usefully develop from engaging with narrative artworks through Philosophy for Children (P4C), where philosophy is a praxis, conducted in a classroom setting using a Community of Inquiry (CoI). We argue that narrative artworks provide useful stimulus material to engage students, generate student questions, and motivate philosophical dialogue and the formation of good habits which, in turn, supports the argument for philosophy to be taught in schools. (shrink)

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

Mimicry, camouflage, transvestism, chance or cryptic anamorphism, fascination – all ways of changing clothes, habits and habitats in nature as well as in culture, in any symbolic field created by human beings during their history. Art and artification, aestheticization, stylization and beautification are all practices reflecting the need and desire for biological as well as social adaptation, all performances producing functional and fictional frames, boundaries or hierarchies in ordinary life, including the artworld. They can persuade and convince by creating consensus (...) and belief, but they can also lead to a different common sense, a sensorium – a sensorial medium and an aesthetic mediation open to a new world and to new experiences. -/- By investigating mimetism as a fundamental and polymorphic aesthetic performance, this issue of «Aisthesis» aims to rethink the concept, value, and function of mimesis and its media in the context of camouflage, simulation, and dissimulation, where images do not reveal themselves as such, but are to be perceived unambiguously as what they are not – as hieroglyphs or puzzles. In the animal kingdom, as well as in war or in ordinary public life, camouflage consists in taking on the traits, colours, and shapes of a given form or environment. This is a twofold process: on the one hand, by blending two or more shapes in one, the camoufleur seeks to remain hidden and to mislead the others in order to keep a vital secret or an ephemeral whim; on the other hand, however, he/she aims to be recognized by a specific milieu or group, thus betraying a craving for communication and familiarity, as well as a need to convey an agreeable appearance and to share a way of life. (shrink)