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)

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)

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)

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)

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)

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)

The use of the model of discrete/quantized space sets the focus on mathematics instead of physics. It benefits the interpretation of observed and measured phenomena at the cosmological scale size. It is an approach that simplifies the problems around the understanding of the properties of the basic quantum fields.

The explanation of the existence of quantum transfer in vacuum space around celestial bodies under influence of gravitational vectors./.

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)

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

In 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)

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)

Paper about the origin of the wave-particle duality.

Einstein's theory of Relativity describes variances of the volume of our universe in a model that is known as "spacetime". Quantum field theory describes the volume of our universe as a composition of a limited number of basic quantum fields. Both models exclude each other.

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)

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)

Physical phenomena emerge from the quantum fields everywhere in space. However, not only the phenomena emerge from the quantum fields, the law of the conservation of energy must have its origin from the same spatial structure. This paper describes the relations between the main law of physics, the universal constants and the mathematical structure of the “aggregated” quantum fields.

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)

The main concept of quantum field theory is the conviction that all the phenomena in the universe are created by the underlying structure of the quantum fields. Fields represent dynamical spatial properties that can be described with the help of geometrical concepts. Therefore it is possible to describe the mathematical origin of the structure of the creating fields and show the mathematical origin of the law of conservation of energy, Planck’s constant and the constant speed of light within a non-local (...) universe. (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)

Our universe shows to be local and non-local. The concept is confusing because in daily live we are not aware of the non-locality of our universe. Actually, in daily live local reality seems to be quite orderly and understandable. But we don’t know why everything is in motion and all our theories in physics are still approximations of physical reality. At least that is what they supposed to be.

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)

Recently there is some new interest in understanding the physical reality behind the formalism of quantum mechanics. This paper relates the known “quantum mysteries” of QM with the properties of the underlying structure of discrete space. DOI: 10.5281/zenodo.5236617.

The ancient Greek philosopher Parmenides reasoned that observable reality is created by an underlying reality. However, an invisible underlying creating reality suggests that we cannot determine its existence with the help of experimental physics. This paper describes an experiment to measure absolute motion that will show that Parmenides concept about an underlying reality is correct. This in spite of Albert Einstein’s theory of special relativity that is founded on the assumption that it is impossible to detect the absolute motion of (...) objects. (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)

During the 20th century there were a couple of scientists who announced the observation of exceptional heat during the electrolysis of water with the help of Palladium electrodes. In spite of the opinion of the community of nuclear physicists that low energy generated nuclear fusion is a hoax there is a lot of research to understand and create the observed emission of exceptional electromagnetic radiation. This paper explains with the help of the concept of quantized space the simple mechanism that (...) is responsible for the decrease of the Coulomb force of Hydrogen nuclei, established by Martin Fleischmann and Stanley Pons. (shrink)

The proposed existence of relative time and the curvature of space – both combined into the concept of spacetime – influences the search for an adequate theoretical model that can describe the structure of space in an accurate way. The aim of building space is to develop a quantum theory of gravitation. This paper investigate the theoretical problems that have their origin in the concepts that are at the basis of phenomenological physics.

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)

In physics there are different opinions about the conceptual interpretation of Einstein’s famous equation that describes the equivalence between mass and energy. It is understandable that the equation has different interpretations because of the different points of view to interpret phenomenological reality. This paper is about the meaning of the equation in relation to the general concept of quantum field theory. In other words, reality is created by the underlying structure of the basic quantum fields.

Quantized space creates phenomenological reality but quantized space isn’t comparable with our phenomenological related concepts. To understand quantized space we must change our phenomenological point of view for the all-inclusive point of view. The latter shows that tessellation and concentration are geometrical based mechanism that are responsible for the creation of observable reality in our universe.

Changes within observable reality at the lowest level of reality seem to occur in accordance with the probability theory in mathematics. It is quite remarkable that nature itself has chosen the probability theory to arrange all the changes within the structure of the basic quantum fields. This rises a question about the distribution of properties in space and time.

In the past the particle-wave duality of electromagnetic waves dominated the discussions about the nature of light. No consensus had been reached amongst physicists and philosophers of physics concerning which interpretation represents reality best. However, two different concepts for the same phenomenon doesn’t really convince about the reliability of the conceptual framework. So what is wrong?

As far as we know the scientific search for the nature of reality in Europe started about 2500 years ago in ancient Greek. It was the ancient Greek philosopher Parmenides who reasoned that observable reality is created by an underlying reality. There are indications that the ancient Greek concept of the atom was (also) related to the proposed units of the structure of the underlying creating reality of Parmenides. However, an invisible underlying creating reality suggests that we cannot determine its (...) existence with the help of experimental physics. This paper describes an experiment that will show that Parmenides concept about an underlying reality is correct. (shrink)

The ancient Greek philosophers – like Parmenides – reasoned that observable reality cannot exist by itself. It has to be a creation of an underlying reality. An all-in­clusive existence that has a structure because observable reality shows structure at every scale size. Although observable reality is involved in a continuous transformation too. If our concept about the relation between phenomenological reality and the creating underlying reality is correct, the unification of the properties of phenomenological reality is part of an enveloping (...) mathematical model. DOI: 10.5281/zenodo.5457368. (shrink)

Phenomenological reality is created by the underlying structure of the basis quantum fields and not the opposite. In cosmology this isn’t the leading concept. Cosmologists share a different concept, the Standard cosmological model. Unfortunately, the general concept of quantum field theory doesn’t predict the expansion of space and the concentration of all the energy of the universe in one little spot. The paper describes the consequences.

Observations are restricted to the mutual relations between observable phenomena. That is why modern physics is founded on phenomenological physics. Nevertheless, the theoretical framework of phenomenological physics – the description of the basic components and the underlying structure like laws, universal constants and principles – is essential to determine the implications of the basic properties and structure of quantized space.

The paper is about the basic properties of the structure of space and time. I wrote the very short paper to show that logic and mathematics are enough to determine the basic properties of the field structure of our universe.

Modern physics describes the observable – and proposed – relations between the phenomena in the microcosm and macrocosm. Unfortunately we cannot observe non-local space itself. Therefore we can only determine the dynamics of the mathematical structure of space with the help of the universal properties of phenomenological reality. It has consequences too.

The concept of discrete space can be termed as “the ex­ternal mathematical reality hypothesis”. The concept was already known among the ancient Greek philosophers (≈ 500 BC). Unfortunately the phenomenological point of view has dominated science during more than 2000 years and it is only recently that the concept of discrete space gets “tangible” attention again in philosophy and theoretical physics. Although the model de­scribes the existence of the universal conservation laws, constants and principles in a convincing way, the re­lation (...) between phenomenological reality and the geo­metrical description of discrete space is difficult to ima­gine for everyone who is only familiar with phenomeno­logical reality. The purpose of this paper is to describe some easy to imagine properties of discrete space. DOI: 10.5281/zenodo.5498120. (shrink)

Albert Einstein’s theory of General Relativity was once the leading theory in theoretical physics. Unfortunately the theory describes macroscopic reality without a clear link with the the microcosm in respect to the properties of spacetime. However the theory of General Relativity has proved to predict macroscopic phenomena in a very accurate way. Nowadays most theoretical physicists use the conceptual framework of quantum theory. So it is not surprisingly that the question about the “true nature” of spacetime becomes very intrigue.

The force of gravity is the result of the creation of matter within vacuum space by the structure of the basic quantum fields. The scalar vectors of the flat Higgs field lost their symmetry and the result are scalar vectors from everywhere around in vacuum space that point in the direction of the created matter. Gravity shows to be a push force and is equal to Newtonian gravity (except the concept of a pull force).

Phenomenological reality seems to be a never ending transformation of observable events. A sequence of successive observable alterations that is called “time”. Actually phenomenological reality exists only “at the front” of the evolving transformations. A state of reality we have termed “now”. However, what is the physical reality of the concept “now”? Does it depends on the properties of the human consciousness or is the state of reality “now” existent everywhere in the universe, even in vacuum space?