I argue that judgments of what is ‘true in a fiction’ presuppose the Reality Assumption: the assumption that everything that is true is fictionally the case, unless excluded by the work. By contrast with the more familiar Reality Principle, the Reality Assumption is not a rule for inferring implied content from what is explicit. Instead, it provides an array of real-world truths that can be used in such inferences. I claim that the Reality Assumption is essential to our ability to (...) understand stories, drawing on a range of empirical evidence that demonstrates our reliance on it in narrative comprehension. However, the Reality Assumption has several unintuitive consequences, not least that what is fictionally the case includes countless facts that neither authors nor readers could ever consider. I argue that such consequences provide no reason to reject the Reality Assumption. I conclude that we should take fictions, like non-fictions, to be about the real world. (shrink)

Standard theories define fiction in terms of an invited response of imagining or make-believe. I argue that these theories are not only subject to numerous counterexamples, they also fail to explain why classification matters to our understanding and evaluation of works of fiction as well as non-fiction. I propose instead that we construe fiction and non-fiction as genres: categories whose membership is determined by a cluster of nonessential criteria, and which play a role in the appreciation of particular works. I (...) claim that this proposal captures the intuitions motivating alternative theories of fiction. (shrink)

Statements about fictional characters, such as “Gregor Samsa has been changed into a beetle,” pose the problem of how we can say something true (or false) using empty names. I propose an original solution to this problem that construes such utterances as reports of the “prescriptions to imagine” generated by works of fiction. In particular, I argue that we should construe these utterances as specifying, not what we are supposed to imagine—the propositional object of the imagining—but how we are supposed (...) to imagine. Most other theories of thought and discourse about fictional characters either fail to capture the intentionality of our imaginings, or else obscure the differences between imaginings directed toward fictional characters and those directed toward real individuals. I argue that once we have an account of prescriptions to imagine about real individuals, we can adapt the same framework to specify the contents of prescriptions to imagine about fictional characters, and thereby to account for the truth (or falsity) of statements about fictional characters. (shrink)

Book synopsis: New work on a hot topic by an outstanding team of authors At the intersection of several central areas of philosophy It is the linguistic job of singular terms to pick out the objects that we think or talk about. But what about singular terms that seem to fail to designate anything, because the objects they refer to don't exist? We can employ these terms in meaningful thought and talk, which suggests that they are succeeding in fulfilling their (...) representational task. A team of leading experts presents new essays on the much-debated problem of empty reference and thought. In the 1960s and 1970s Keith Donnellan, David Kaplan, Saul Kripke and Hilary Putnam initiated a revolution in the then standard conception of reference—a concept at the core of philosophical inquiry. The repercussions of the revolution, particularly felt in metaphysics and epistemology, were soon refined by other influential writers such as Tyler Burge, Gareth Evans, and John Perry. They argued that some linguistic and mental representations have contents individuated by what they are about—by ordinary referents of expressions such as proper names, indexicals, definite descriptions and common nouns, i.e. by planets, people or natural kinds. The view was at odds with a central philosophical presumption at that time: that cognitive and linguistic access to objective reality is indirect and accidental, mediated by general descriptive characterizations, the only constitutive semantic feature of the expressions; hence its ontological and epistemological repercussions. A turning-point in the debate about how linguistic and mental representation reach external contents concerned the nature of empty mental and linguistic representations, framed by means of the very same expressions crucially invoked in the Donnellan-Kaplan-Kripke-Putnam arguments. The papers in this volume address different aspects of reference and thought about the non-existent. (shrink)

Engagement with fiction often inspires emotional responses. We may pity Sethe while feeling ambivalent about her actions (in Beloved), fear for Ellen Ripley as she battles monstrous creatures (in Alien), get angry at Okonkwo for killing Ikemefuna (in Things Fall Apart), and hope that Kiyoaki and Satoko find love (in Spring Snow). Familiar as they are, these reactions are puzzling. Why do I respond emotionally if I do not believe that these individuals exist or that the events occurred? If I (...) merely imagine that my best friend has betrayed me, I do not become angry with him; if I did, I would be considered irrational. Yet although beliefs seem to be necessary for emotions in other contexts, we respond to fiction without the relevant beliefs. These observations prompt two questions about our emotional responses to fiction (henceforth: fictional emotions). The first is descriptive: Should fictional emotions be classified as the same kind of emotions we experience in other contexts? The second is normative: Are fictional emotions irrational or otherwise inappropriate? I take each of these debates in turn. (shrink)

The currently standard approach to fiction is to define it in terms of imagination. I have argued elsewhere that no conception of imagining is sufficient to distinguish a response appropriate to fiction as opposed to non-fiction. In her contribution Kathleen Stock seeks to refute this objection by providing a more sophisticated account of the kind of propositional imagining prescribed by so-called ‘fictive utterances’. I argue that although Stock's proposal improves on other theories, it too fails to provide an adequate criterion (...) of fictionality. I conclude by sketching an alternative account according to which fiction is a genre. (shrink)

If there are no fictional characters, how do we explain thought and discourse apparently about them? If there are, what are they like? A growing number of philosophers claim that fictional characters are abstract objects akin to novels or plots. They argue that postulating characters provides the most straightforward explanation of our literary practices as well as a uniform account of discourse and thought about fiction. Anti-realists counter that postulation is neither necessary nor straightforward, and that the invocation of pretense (...) provides a better account of the same phenomena. I outline and assess these competing theories. (shrink)

Analytic aesthetics has had little to say about academic schools of criticism, such as Freudian, Marxist, feminist, or postcolonial perspectives. Historicists typically view their interpretations as anachronistic; non-historicists assess all interpretations according to formalist criteria. Insofar as these strategies treat these interpretations as on a par, however, they are inadequate. For the theories that ground the interpretations differ in the claims they make about the world. I argue that the interpretations of different critical schools can be evaluated according to the (...) truth or epistemic merit of these claims. (shrink)

It is widely taken for granted that fictions, including both literature and film,influence our attitudes toward real people, events, and situations. Philosopherswho defend claims about the cognitive value of fiction view this influence in apositive light, while others worry about the potential moral danger of fiction.Marketers hope that visual and aural references to their products in movies willhave an effect on people’s buying patterns. Psychologists study the persuasiveimpact of media. Educational books and films are created in the hopes of guidingchildren’s (...) and adult’s preferences toward socially acceptable norms.The influencesdiscussed by marketers, psychologists, educators, and philosophers tend to be bothcognitive and affective. It seems that we can be “emotionally persuaded”: ourpreferences can be changed, our feelings about particular people or events can beinfluenced, and so forth. (shrink)

In her recent book, Russell (2023) examines various so-called “barriers to entailment,” including Hume’s law, roughly the thesis that an ‘ought’ cannot be derived from an ‘is.’ Hume’s law bears an obvious resemblance to the proscription on fallacies of modality in relevance logic, which has traditionally formally been captured by the so-called Ackermann property. In the context of relevant modal logic, this property might be articulated thus: no conditional whose antecedent is box-free and whose consequent is box-prefixed is valid (for (...) the connection, interpret box deontically). While the deontic significance of Ackermann-like properties has been observed before, Russell’s new book suggests a more broad-scoped formal investigation of the relationship between barrier theses of various kinds and corresponding Ackermann-like properties. In this paper, I undertake such an investigation by elaborating a general relevant bimodal logical framework in which several of the barriers Russell examines can be given formal expression. I then consider various Ackermann-like properties corresponding to these barriers and prove that certain systems satisfy them. Finally, I respond to some objections Russell makes against the use of relevance logic to formulate Hume’s law and related barriers. (shrink)

Most discussions of proper names in fiction concern the names of fictional characters, such as ‘Clarissa Dalloway’ or ‘Lilliput.’ Less attention has been paid to referring names in fiction, such as ‘Napoleon’ (in Tolstoy’s War and Peace) or ‘London’ (in Orwell’s Nineteen Eighty-Four). This is because many philosophers simply assume that such names are unproblematic; they refer in the usual way to their ordinary referents. The alternative position, dubbed Exceptionalism by Manuel García-Carpintero, maintains that referring names make a distinctive semantic (...) contribution in fiction. In this paper I offer a positive argument for Non-Exceptionalism, relying on the claim that works of both fiction and non-fiction can express the same singular propositions. I go on to defend my account against García-Carpintero’s objections. (shrink)

Two assumptions are common in discussions of the paradox of tragedy: (1) that tragic pleasure requires that the work be fictional or, if non-fiction, then non-transparently represented; and (2) that tragic pleasure may be provoked by a wide variety of art forms. In opposition to (1) I argue that certain documentaries could produce tragic pleasure. This is not to say that any sad or painful documentary could do so. In considering which documentaries might be plausible candidates, I further argue, against (...) (2), that the scope of tragic pleasure is limited to works that possess certain thematic and narrative features. (shrink)

Nineteenth-century optical toys that showcase illusions of motion such as the phenakistoscope, zoetrope, and praxinoscope, have enjoyed active “afterlives” in the twentieth and twenty-first centuries. Contemporary incarnations of the zoetrope are frequently found in the realms of fine art and advertising, and they are often much larger than their nineteenth-century counterparts. This article argues that modern-day optical toys are able to conjure feelings of wonder and spectacle equivalent to their nineteenth-century antecedents because of their adjustment in scale. Exploring a range (...) of contemporary philosophical toys found in arts, entertainment, and advertising contexts, the article discusses various technical adjustments made to successfully “scale up” optical toys, including the replacement of hand-spun mechanisms with larger sources of motion and the use of various means such as architectural features and stroboscopic lights to replace traditional shutter mechanisms such as the zoetrope’s dark slots. Critical consideration of scale as a central feature of these installations reconfigures the relationship between audience and device. Large-scale adaptations of optical toys revise the traditional conception of the user, who is able to tactilely manipulate and interact with the apparatus, instead positing a viewer who has less control over the illusion’s operation and is instead a captive audience surrounded by the animation. It is primarily through their adaptation of scale that contemporary zoetropes successfully elicit wonder as scientific spectacles from their audiences today. (shrink)

I claim that we should reject a sharp distinction between fiction and non-fiction according to which documentary is a faithful representation of the facts, whilst fiction films merely invite us to imagine what is made up. Instead, we should think of fiction and non-fiction as genres: categories whose membership is determined by a combination of non-essential features and which influence appreciation in a variety of ways. An objection to this approach is that it renders the distinction too conventional and fragile, (...) undermining our justification for criticising documentaries like Bowling for Columbine or The Hunting Ground for playing fast and loose with the facts. I argue that this objection is misguided, misidentifying the justification for criticising non-fiction films that mislead or deceive. I develop an alternative account that explains why we also criticise many fictions for inaccuracy. (shrink)

Many philosophers have drawn parallels between scientific models and fictions. In this paper I will be concerned with a recent version of the analogy, which compares models to the imagined characters of fictional literature. Though versions of the position differ, the shared idea is that modeling essentially involves imagining concrete systems analogously to the way that we imagine characters and events in response to works of fiction. Advocates of this view argue that imagining concrete systems plays an ineliminable role in (...) the practice of modeling that cannot be captured by other accounts. The approach thus leaves open what we should say about the ontological status of model-systems, and here advocates differ among themselves, defending a variety of realist or anti-realist positions. I argue that this debate over the ontological status of model-systems is misguided. If model-systems are the kinds of objects fictional realists posit, they can play no role in explaining the epistemology of modeling for an advocate of this approach. So they are at best superfluous. Defenders of the approach should focus on developing an account of the epistemological role of imagining model-systems. (shrink)

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

While aestheticians have devoted substantial attention to the possibility of acquiring knowledge from fiction, little of this attention has been directed at the acquisition of factual information. The neglect traces, I believe, to the assumption that the task of aesthetics is to explain the special cognitive value of fiction. While the value of many works of nonfiction may be measured, in part, by their ability to transmit information, most works of fiction do not have this aim, and so many conclude (...) that the transmission of information is irrelevant to their value. I am skeptical of these claims. I doubt that there is any value, cognitive or otherwise, special to all and only works of fiction. Thus I see no reason to neglect the capacity to convey factual information—specifically, propositional knowledge about real individuals and events—when assessing the value of particular works. In this paper I consider the value of learning about history from a particular work of fiction, Gore Vidal’s Lincoln: A Novel. Drawing on recent work in cognitive psychology, I argue that narrative devices used by Vidal can enhance our ability to learn and retain factual information, despite also increasing the possibility that we will form false beliefs, and that acquiring propositional knowledge from fiction, far from being a process we can take for granted, constitutes a difficult achievement. (shrink)

Without directly addressing the Demarcation Problem for logic—the problem of distinguishing logical vocabulary from others—we focus on distinctive aspects of logical vocabulary in pursuit of a second goal in the philosophy of logic, namely, proposing criteria for the justification of logical rules. Our preferred approach has three components. Two of these are effectively Belnap’s, but with a twist. We agree with Belnap’s response to Prior’s challenge to inferentialist characterisations of the meanings of logical constants. Belnap argued that for a logical (...) constant to exist, its rules must be conservative over a previously given consequence relation and guarantee the uniqueness of the constant. The twist is that we require logical vocabulary to be provably conservative, not over a previously given formal consequence relation, but over a previously given meaningful vocabulary of a language. Uniqueness is also a feature defined in terms of provability: if two syntactically distinguished expressions are governed by the same rules, then formulas with them as main operators are interderivable. Belnap’s criteria are not only those for the existence of a logical constant, but more: they are what distinguishes logical vocabulary from all other expressions. It is the defining mark of a logical constant that it is provably conservative over the fragment of the language which excludes it and that its rules guarantee its uniqueness. The third component is the topic neutrality of logic. The provable conservativeness of logic over a previously given vocabulary of a language is motivated, in part, by appeal to molecularism in the theory of meaning. Molecularity is a feature endorsed by the theory of meaning as a whole, so it does not distinguish logical constants from other expressions. The same is true for conservativeness. We argue that molecularity, and hence conservativeness, are implicit presuppositions of speakers’ use of language: the addition of new vocabulary to a language is presupposed to be conservative. But this presupposition is one that we should be able reflectively to endorse (such as when attempting a rational reconstruction of the use of the vocabulary). Thus, where conservativeness is found to fail, this defect should be remedied and the use of the vocabulary corrected (as in classical negation) or excised altogether (as in pejoratives). We go on to characterise a notion of topic neutrality, which we argue applies to logical vocabulary. We then note that reflective endorsement of the conservativeness of a topic neutral vocabulary requires a proof that the vocabulary is conservative relative to any base vocabulary. Thus we require that logical vocabulary be demonstrably conservative. Allying this requirement, distinctive of logic, to a general consideration about the commitments of assertion yields a mode of justification for logical constants akin to some conceptions of Harmony, i.e., to the idea that the consequences of assertion of a logical complex need to be warranted by the grounds and ought to be the strongest consequences warranted by the grounds. Intuitionistic logic acquires a somewhat familiar justification but emanating from a new motivation. (shrink)

Philosophers and psychologists have argued that fiction can ethically educate us: fiction supposedly can make us better people. This view has been contested. It is, however, rarely argued that fiction can morally “corrupt” us. In this article, we focus on the alleged power of fiction to decrease one's prejudices and biases. We argue that if fiction has the power to change prejudices and biases for the better, then it can also have the opposite effect. We further argue that fictions are (...) more likely to be a bad influence than a good one. (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)

A popular way for irrealists to explain co-identification—thinking and talking ‘about the same thing’ when there is no such thing—is by appeal to causal, historical or informational chains, networks or practices. Recently, however, this approach has come under attack by philosophers who contend that it cannot provide necessary and/or sufficient conditions for co-identification. In this paper I defend the approach against these objections. My claim is not that the appeal to such practices can provide necessary and sufficient conditions for co-identification, (...) but rather that it is a mistake to seek these in the first place. -/- . (shrink)

Many works of fiction include portraits in their storyworlds. Some of these portraits are themselves fictional, such as the portrait of Dorian Gray in Oscar Wilde's novel. Others are real, such as the Darnley portrait of Elizabeth I in A. S. Byatt's The Virgin in the Garden. When authors invent portraits, they expect us to visualise them. When they refer to real portraits, they exploit our familiarity with how they actually look. Like representations of other real entities in fiction, references (...) to real portraits function to ground the story in the real world. But portraits are more than material entities; they are also representational in their own right. In contrasting the ways real portraits are used in Josephine Tey's The Daughter of Time and Orhan Pamuk's My Name is Red, I argue that authors can be criticised when they mischaracterise the representational features of real portraits. (shrink)

In Film, Art and the Third Culture, Murray Smith articulates and defends a naturalized aesthetics of film that exemplifies a “third culture,” integrating the insights and methods of the natural sciences with those of the arts and humanities. By contrast with skeptics who reject the relevance of psychology or neuroscience to the study of film and art, I agree with Smith that we should embrace the third-cultural project. However, I argue that Smith does not go far enough in in developing (...) this project. In defending the contribution of the natural sciences to film aesthetics as traditionally conceived in the arts and humanities, Smith focuses on only one side of the equation, unduly limiting the potential contribution of the arts and humanities to the scientific study of film. Using the example of emotional responses to fiction film, I propose that we adopt a more genuinely integrative approach. (shrink)

Among Dunn’s many important contributions to relevance logic was his work on the system RM (R-mingle). Although RM is an interesting system in its own right, it is widely considered to be too strong. In this chapter, I revisit a closely related system, RM0 (sometimes known as ‘constructive mingle’), which includes the mingle axiom while not degenerating in the way that RM itself does. My main interest will be in examining this logic from two related semantical perspectives. First, I give (...) a purely operational bisemilattice semantics for it by adapting previous work of Humberstone. Second, I examine a more conventional algebraic semantics for it and discuss how this relates to the operational semantics. A novel operational semantics for J (intuitionistic logic) as well as its conventional Heyting algebraic semantics emerge as special cases of the corresponding semantics for RM0. The results of this chapter suggest that RM0 is a more interesting logic than has been appreciated and that Humberstone’s operational semantic framework similarly deserves more attention than it has received. (shrink)

Fine (2007) argues that Frege’s puzzle and its relatives demonstrate a need for a basic reorientation of the field of semantics. According to this reorientation, the domain of semantic facts would be closed not under the classical consequence relation but only under a stronger relation Fine calls “manifest consequence.” I examine Fine’s informally sketched analyses of manifest consequence, showing that each can be amended to determine a class of strong consequence relations. A best candidate relation emerges from each of the (...) two classes, and I prove that the two candidates extensionally coincide. The resulting consequence relation is of independent interest, for it might be held to constitute a cogent standard of reasoning that proceeds under a deficient grasp on the identity of objects. (shrink)

What is the role of affective experience in explaining how our desires provide us with reasons for action? When we desire that p, we are thereby disposed to feel attracted to the prospect that p, or to feel averse to the prospect that not-p. In this paper, we argue that affective experiences – including feelings of attraction and aversion – provide us with reasons for action in virtue of their phenomenal character. Moreover, we argue that desires provide us with reasons (...) for action only insofar as they are dispositions to have affective experiences. On this account, affective experience has a central role to play in explaining how desires provide reasons for action. (shrink)

I present a reconstruction of the logical system of the Tractatus, which differs from classical logic in two ways. It includes an account of Wittgenstein’s “form-series” device, which suffices to express some effectively generated countably infinite disjunctions. And its attendant notion of structure is relativized to the fixed underlying universe of what is named. -/- There follow three results. First, the class of concepts definable in the system is closed under finitary induction. Second, if the universe of objects is countably (...) infinite, then the property of being a tautology is \Pi^1_1-complete. But third, it is only granted the assumption of countability that the class of tautologies is \Sigma_1-definable in set theory. -/- Wittgenstein famously urges that logical relationships must show themselves in the structure of signs. He also urges that the size of the universe cannot be prejudged. The results of this paper indicate that there is no single way in which logical relationships could be held to make themselves manifest in signs, which does not prejudge the number of objects. (shrink)

Naturalist views of persons, such as those of the philosophers Annette Baier and Marjorie Grene, emphasize that human persons are cultural animals: We are living, embodied, organic beings, embedded in nature, the product of Darwinian evolution, but dependent on culture. Such naturalist views of persons typically eschew science fiction and look askance at the philosophical fantasies and thought experiments that often populate philosophical treatments of personal identity. Marge Piercy’s dystopian, cyberpunk, science fiction novel He, She and It weaves a complex (...) tale around the debate over the status of its central character Yod, a cyborg created in a lab but humanized through the efforts of two women, Malkah Shipman and her granddaughter Shira Shipman. Is Yod a person, despite having been engineered in a lab for a specific purpose? Piercy’s tale both challenges and ultimately supports a naturalist view of persons while simultaneously forewarning us of possible new styles of persons to come. (shrink)

This piece lays out the framework for a special issue on the topic of "Fits and Misfits," published as volume 7, issue 1 of Puncta: A Journal of Critical Phenomenology. We discuss the relationship between the concept of misfitting, coined by Rosemarie Garland-Thomson, and debility, coined by Jasbir Puar, in relationship to scholarship on Merleau-Ponty. We then introduce each of the eight articles in the special issue: Rosemarie Garland-Thomson's "What Misfitting Makes," Susan Bredlau's "Conversational Accessibility: Healthcare, Community, and the Ethics (...) of Everyday Encounters," Helen A. Fielding's "Being Touched by Wellness: Merleau-Ponty, Nancy, and the Intensive Care Unit," Ann Murphy's "The Spirited Interworld: Caregiving and the Liminal Phenomenology of Dementia," Rachel Elliott's "Sharing Time with Misfits: We-Experience across Bodily Difference," David Morris's "An-Archic Time: Melting the Clock as Hypernorm of the I Can -- and Philosophy," Rebecca Longtin's "Merleau-Ponty's Cézanne as Misfit Artist," and, finally, Laura McMahon's "The Politics of Vulnerability and the School for Peace: Insights from Butler, Merleau-Ponty, and Family Systems Theory.". (shrink)

The idea that fictions may educate us is an old one, as is the view that they distort the truth and mislead us. While there is a long tradition of passionate assertion in this debate, systematic arguments are a recent development, and the idea of empirically testing is particularly novel. Our aim in this chapter is to provide clarity about what is at stake in this debate, what the options are, and how empirical work does or might bear on its (...) resolution. We distinguish between merely influencing people’s opinions and providing genuine learning, where the latter requires that the source of the change in opinion should be reliable. Other important ideas here are the extent to which authors of fiction may be considered to provide testimony, or something like it, and the possibility of recognizing an unstated purpose in the project of the fictional work. We ask whether fictions can furnish us not merely with ideas but with reasons for believing them, perhaps by constituting thought experiments. We consider whether the focus should be on understanding rather than on knowledge, and whether fictions can inform us about the qualities of another’s experiences. We briefly describe some experimental work of recent decades and suggest that the evidence for learning from fiction is currently meagre. (shrink)

Many healthcare practices expose people to risks of harmful outcomes. However, the major theories of moral philosophy struggle to assess whether, when and why it is ethically justifiable to expose individuals to risks, as opposed to actually harming them. Sven Ove Hansson has proposed an approach to the ethical assessment of risk imposition that encourages attention to factors including questions of justice in the distribution of advantage and risk, people’s acceptance or otherwise of risks, and the scope individuals have to (...) influence the practices that generate risk. This paper investigates the ethical justifiability of preventive healthcare practices that expose people to risks including overdiagnosis. We applied Hansson’s framework to three such practices: an ‘ideal’ breast screening service, a commercial personal genome testing service, and a guideline that lowers the diagnostic threshold for hypertension. The framework was challenging to apply, not least because healthcare has unclear boundaries and involves highly complex practices. Nonetheless, the framework encouraged attention to issues that would be widely recognised as morally pertinent. Our assessment supports the view that at least some preventive healthcare practices that impose risks including that of overdiagnosis are not ethically justifiable. Further work is however needed to develop and/or test refined assessment criteria and guidance for applying them. (shrink)

This paper reports on an ongoing ARC Discovery Project that is conducting design research into learning in collaborative virtual worlds (CVW).The paper will describe three design components of the project: (a) pedagogical design, (b)technical and graphics design, and (c) learning research design. The perspectives of each design team will be discussed and how the three teams worked together to produce the CVW. The development of productive failure learning activities for the CVW will be discussed and there will be an interactive (...) demonstration of the project's CVW. (shrink)

In Beyond Physicalism, an interdisciplinary group of physical scientists, behavioral and social scientists, and humanists from the Esalen Institute’s Center for Theory and Research argue that physicalism must be replaced by an expanded scientific naturalism that accommodates something spiritual at the heart of nature.

One of the virtues of this edited collection is the diversity contained within it. There is diversity to be found in the uses made of Wittgenstein's writings, reflecting the diversity of ways of understanding religion found in Wittgenstein's work. Andrejč, in his introduction (3), suggests that there are four dominant ways in which Wittgenstein depicts religion: the nonsensicalist, existentialist, grammaticalist and instinctivist conceptions of religion.

Singular terms used in fictions for fictional characters raise well-known philosophical issues, explored in depth in the literature. But philosophers typically assume that names already in use to refer to “moderatesized specimens of dry goods” cause no special problem when occurring in fictions, behaving there as they ordinarily do in straightforward assertions. In this paper I continue a debate with Stacie Friend, arguing against this for the exceptionalist view that names of real entities in fictional discourse don’t work there as (...) they do in simple-sentence assertions, but rather as fictional names do. (shrink)

Regardless of whether one agrees or disagrees with Stacie Friend’s claim that fiction is a genre, her notion of genre can be fruitfully applied to a paradigmatic genre such as science fiction. This article deploys Friend’s notion of genre in order to improve the influential characterization of science fiction proposed by Darko Suvin and to defend it from a criticism recently raised by Simon Evnine. According to Suvin, a work of science fiction must concern “a fictional ‘novum’ validated by cognitive (...) logic.” While Suvin conceives of his characterization as a necessary and sufficient condition for membership in the genre, I propose to cast the notions of “fictional novum” and “cognitive validation” as standard features of the genre, which works of science fiction should have but might lack. I argue that this amended version of Suvin’s characterization can better account for two basic properties of science fiction as a genre, namely its historicity and its relevance to appreciation. Lastly, I show that the amended version can shed some light on the affinity between works of science fiction and philosophical thought experiments. (shrink)

A well-known theory about under which circumstances a statement is true in a fiction is The Reality Principle, which originate in the work of David Lewis: (RP) Where p1... pn are the primary fictional truths of a fiction F , it is true in F that q iff the following holds: were p1 ... pn the case, q would have been the case (Walton 1990: 44). RP has been subjected to a number of counterexamples, up to a point where, in (...) the words of Stacie Friend “it is widely recognized that the Reality Principle […] cannot be a universal inference rule for implied story-truths” (Friend 2017: 33). This chapter argues that the strength of these counterexamples is widely overestimated, and that they do not, on closer scrutiny, constitute reasons for rejecting RP. (shrink)

Introduction to a symposium in The Journal of Aesthetics and Art Criticism on the 50th anniversary of Kendall Walton's "Categories of Art." Featuring papers by Madeleine Ransom, Stacie Friend, David Davies and Kendall Walton.

This paper is written as a pastiche of a notable European novelist, and essayist – it is the essayist who is being imitated, my first effort at this. I make some notes on a paragraph from a well-crafted fiction by Stacy Aumonier. I use the pastiche mode not just for fun but because readers may prefer the bolder and less qualified style, despite some information loss.