Recreative Minds develops a philosophical theory of imagination that draws upon the latest work in psychology. This theory illuminates the use of imagination in coming to terms with art, its role in enabling us to live as social beings, and the psychological consequences of disordered imagination. The authors offer a lucid exploration of a fascinating subject.

This important book provides a theory about the nature of fiction, and about the relation between the author, the reader and the fictional text. The approach is philosophical: that is to say, the author offers an account of key concepts such as fictional truth, fictional characters, and fiction itself. The book argues that the concept of fiction can be explained partly in terms of communicative intentions, partly in terms of a condition which excludes relations of counterfactual dependence between the world (...) and the text. This communicative model is then applied to the following problems: how can something be 'true in the story' without being explicitly stated in the text? In what ways does interpreting a fictional story depend upon grasping its author's intentions? Is there always a unique best interpretation of a fictional text? What is the correct semantics for fictional names? What is the nature of our emotional response to a fictional work? In answering these questions the author explores the complex interaction between author, reader, and text. This interaction requires the reader to construct a 'fictional author' - a character in the story whose personality, beliefs and emotional states must be interpreted if the reader is to grasp the meaning of the work. (shrink)

Chris Frith has argued that a loss of the sense of agency is central to schizophrenia. This suggests a connection between hallucinations and delusions on the one hand, and the misidentification of the subject’s imaginings as perceptions and beliefs on the other. In particular, understanding the mechanisms that underlie imagination may help us to explain the puzzling phenomena of thought insertion and withdrawal. Frith sometimes states his argument in terms of a loss of metarepresentational capacity in schizophrenia. I argue that (...) this formulation is unhelpful. (shrink)

Many accounts of scientific modeling conceive of models as fictions: scientists interact with models in ways analogous to various aesthetic objects. Fictionalists follow most other accounts of modeling by taking them to be revelatory of the actual world in virtue of bearing some resemblance relation to a target system. While such fictionalist accounts capture crucial aspects of modelling practice, they are ill-suited to some design and engineering contexts. Here, models sometimes serve to underwrite design projects whereby real-world targets are constructed. (...) In such circumstances, it is unclear what the model is supposed to resemble. Further, while fictionalists often require that models qua models have their content in virtue of construal or interpretation, in some engineering and design contexts success-conditions do not require such content—all that is required is that the model generates the required outputs. I take these points to motivate a view which accommodates fictionalism, but is broader. I articulate and defend an account of models as tools: specifically, material objects which are put to particular uses in particular contexts. (shrink)

Geologists, Paleontologists and other historical scientists are frequently concerned with narrative explanations targeting single cases. I show that two distinct explanatory strategies are employed in narratives, simple and complex. A simple narrative has minimal causal detail and is embedded in a regularity, whereas a complex narrative is more detailed and not embedded. The distinction is illustrated through two case studies: the ‘snowball earth’ explanation of Neoproterozoic glaciation and recent attempts to explain gigantism in Sauropods. This distinction is revelatory of historical (...) science. I argue that at least sometimes which strategy is appropriate is not a pragmatic issue, but turns on the nature of the target. Moreover, the distinction reveals a counterintuitive pattern of progress in some historical explanation: shifting from simple to complex. Sometimes, historical scientists rightly abandon simple, unified explanations in favour of disunified, complex narratives. Finally I compare narrative and mechanistic explanation, arguing that mechanistic approaches are inappropriate for complex narrative explanations. (shrink)

Abstract‘Behavioural modernity’ isn’t what it used to be. Once conceived as an integrated package of traits demarcated by a clear archaeological signal in a specific time and place, it is now disparate, archaeologically equivocal, and temporally and spatially spread. In this paper we trace behavioural modernity’s empirical and theoretical developments over the last three decades, as surprising discoveries in the material record, as well the reappraisal of old evidence, drove increasingly sophisticated demographic, social and cultural models of behavioural modernity. We (...) argue, however, that some approaches to identifying and categorizing modernity have not kept up with this new picture. This is due to what we term ‘Rubicon expectations’: classificatory and interpretive practices which look for or assume clear demarcations in behavioural and cultural processes. We develop a philosophical account of ‘investigative disintegration’ to capture how our understanding of behavioural modernity has changed, and how Rubicon-based practices have become inadequate. Disintegration, in the form we analyse, occurs when scientists’ conception of a phenomenon shifts sufficiently to reshape an investigation’s epistemic structure. For behavioural modernity, the explanatory weight which once lay on identifying ‘switch-points’ in the innate suite of hominin cognitive capacities, lies now in understanding the social and demographic environments that were capable of sustaining and nourishing more complex material cultures. Finally, we argue that the phenomenon itself has not disintegrated to the point that we are left with no interesting explanandum: for all its mosaic, disparate nature, there are still good reasons for behavioural modernity to retain its central place in investigation of our species' origins. (shrink)

Our epistemic access to the past is infamously patchy: historical information degrades and disappears and bygone eras are often beyond the reach of repeatable experiments. However, historical scientists have been remarkably successful at uncovering and explaining the past. I argue that part of this success is explained by the exploitation of dependencies between historical events, entities, and processes. For instance, if sauropod dinosaurs were hot blooded, they must have been gluttons; the high-energy demands of endothermy restrict sauropod grazing strategies. Understanding (...) such dependencies extends our reach into the past in spite of incomplete data. In addition, this serves as a counterexample to two accounts of method in the historical sciences. By one, historical science proceeds by identifying ‘smoking guns’: traces that discriminate between live hypotheses. By the other, historical hypotheses are supported by consilience: the convergence of independent lines of evidence. However, testing for ‘coherency’ between past hypotheses also plays a critical role in historical confirmation. Just as historical scientists exploit dependencies between past entities and present entities to infer what the past was like, they also exploit dependencies between past entities themselves. I do not suggest that archetypical historical science proceeds in this manner. Rather, the lesson I draw is that historical methodology cannot be characterized as archetypically relying on one method or another. Historical science is at base opportunistic, and is resistant to unitary analyses. 1 Introduction2 Snowballs and Explosions: The Basic Idea3 Were Sauropods Endothermic?4 Dependent Entities and Interdependent Explanations5 Smoking Guns and Consilience. (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)

Human aesthetic practices show a sensitivity to the ways that the appearance of an artefact manifests skills and other qualities of the maker. We investigate a possible origin for this kind of sensibility, locating it in the need for co-ordination of skill-transmission in the Acheulean stone tool culture. We argue that our narrative supports the idea that Acheulian agents were aesthetic agents. In line with this we offer what may seem an absurd comparison: between the Acheulian and the Quattrocento. In (...) making it we display some hidden richness in what counts as an aesthetic response to an artefact. We conclude with a brief review of rival explanations—biological and/or cultural—of how this skills-based sensibility became a regular feature of human aesthetic practices. (shrink)

Why is there a long-standing debate about paraphrase in poetry? Everyone agrees that paraphrase can be useful; everyone agrees that paraphrase is no substitute for the poem itself. What is there to disagree about? Perhaps this: whether paraphrase can specify everything that counts as a contribution to the meaning of a poem. There are, we say, two ways to take the question; on one way of taking it, the answer is that paraphrase cannot. Does this entail that there is meaning (...) mysteriously locked in a poem, meaning that cannot be represented in any way other than via the poem itself? If that were so it would have profound implications for poetry’s capacity to convey insight. We suggest reasons for thinking that the entailment does not hold. Throughout, we connect the traditional debate over paraphrase, which has largely been conducted within the fields of philosophy and literary theory, with recent empirically oriented thinking about the communicability of meaning, represented by work in pragmatics. We end with a suggestion about what is to count as belonging to meaning, and what as merely among the things that determine meaning. (shrink)

Aims to improve an understanding of the theoretical issues in response to the influence of fiction. Four things in narrative unreliability; Relation between narration in literary fictions and film; Comprehension of narrative essentially a matter of intentional inference; Fictions misdescribed; Asymmetry between literature and film; Ambiguity and unreliability; Implied author and narrator.

The philosophy of cognitive paleoanthropology involves three related tasks: (1) asking what inferences might be drawn from the paleontological and archaeological records to past cognition, behavior and culture; (2) constructing synthetic accounts of the evolution of distinctive hominin capacities; (3) exploring how results from cognitive paleoanthropology might inform philosophy. We introduce some distinctive cognitive paleoanthropological inferences and discuss their epistemic standing, before considering how attention to the material records and the practice of paleoanthropology can inform and transform philosophical approaches.

The past can be a stubborn subject: it is complex, heterogeneous and opaque. To understand it, one must decide which aspects of the past to emphasise and which to minimise. Enter frameworks. Frameworks foreground certain aspects of the historical record while backgrounding others. As such, they are both necessary for, and conducive to, good history as well as good philosophy. We examine the role of frameworks in the history and philosophy of science and argue that they are necessary for both (...) forms of enquiry. We then suggest that the right attitude towards frameworks is pluralism rather than monism: there is no single correct framework to be applied to a given scientific episode. Rather, a multitude of different frameworks are more or less appropriate given various contexts and aims. From this perspective, good frameworks generate and further, rather than frustrate, historical and philosophical enquiry. Our view sheds light on historical disagreement, and on the relationship between philosophy and history of science. (shrink)

Debate about the epistemic prowess of historical science has focused on local underdetermination problems generated by a lack of historical data; the prevalence of information loss over geological time, and the capacities of scientists to mitigate it. Drawing on Leonelli’s recent distinction between ‘phenomena-time’ and ‘data-time’ I argue that factors like data generation, curation and management significantly complexifies and undermines this: underdetermination is a bad way of framing the challenges historical scientists face. In doing so, I identify circumstances of epistemic (...) scarcity where underdetermination problems are particularly salient, and discuss cases where legacy data—data generated using differing technologies and systems of practice—are drawn upon to overcome underdetermination. This suggests that one source of overcoming underdetermination is our knowledge of science’s past. Further, data-time makes agnostic positions about the epistemic fortunes of scientists working under epistemic scarcity more plausible. But agnosticism seems to leave philosophers without much normative grip. So, I sketch an alternative approach: focusing on the strategies scientists adopt to maximize their epistemic power in light of the resources available to them. (shrink)

Schrödinger’s first proposal for the interpretation of quantum mechanics was based on a postulate relating the wave function on configuration space to charge density in physical space. Schrödinger apparently later thought that his proposal was empirically wrong. We argue here that this is not the case, at least for a very similar proposal with charge density replaced by mass density. We argue that when analyzed carefully, this theory is seen to be an empirically adequate many-worlds theory and not an empirically (...) inadequate theory describing a single world. Moreover, this formulation—Schrödinger’s first quantum theory—can be regarded as a formulation of the many-worlds view of quantum mechanics that is ontologically clearer than Everett’s. (shrink)

Simulation Theory says we need not rely exclusively on prepositional knowledge of other minds in order to explain the actions of others. Seeking to know what you will do, I imagine myself in your situation, and see what decision I come up with. I argue that this conception of simulation naturally generalizes: various bits of our mental machine can be run‘off‐line’, fulfilling functions other than those they were made for. In particular, I suggest that visual imagery results when the visual (...) system is run off‐line. I briefly review the empirical evidence and consider the philosophical implications, particularly concerning the mode of mental representation in imagery. (shrink)

The scientific investigation of music requires contributions from a diverse array of disciplines. Given the diverse methodologies, interests and research targets of the disciplines involved, we argue that there is a plurality of legitimate research questions about music, necessitating a focus on integration. In light of this we recommend a pluralistic conception of music—that there is no unitary definition divorced from some discipline, research question or context. This has important implications for how the scientific study of music ought to proceed: (...) we show that some definitions are complementary, that is, they reflect different research interests and ought to be retained and, where possible, integrated, while others are antagonistic, they represent real empirical disagreement about music’s nature and how to account for it. We illustrate this in discussion of two related issues: questions about the evolutionary function of music, and questions of the innateness of music. These debates have been, in light of pluralism, misconceived. We suggest that, in both cases, scientists ought to proceed by constructing integrated models which take into account the dynamic interaction between different aspects of music. (shrink)

Common philosophical accounts of creativity align creative products and processes with a particular kind of agency: namely, that deserving of praise or blame. Considering evolutionary examples, we explore two ways of denying that creativity requires forms of agency. First, we argue that decoupling creativity from praiseworthiness comes at little cost: accepting that evolutionary processes are non-agential, they nonetheless exhibit many of the same characteristics and value associated with creativity. Second, we develop a ‘product-first’ account of creativity by which a process (...) is creative just in case it gives rise to products deserving of certain forms of aesthetic engagement. (shrink)

‘Gouldian arguments’ appeal to the contingency of a scientific domain to establish that domain’s autonomy from some body of theory. For instance, pointing to evolutionary contingency, Stephen Jay Gould suggested that natural selection alone is insufficient to explain life on the macroevolutionary scale. In analysing contingency, philosophers have provided source-independent accounts, understanding how events and processes structure history without attending to the nature of those events and processes. But Gouldian Arguments require source-dependent notions of contingency. An account of contingency is (...) source-dependent when it is indexed to some pattern and some process. Positions like Gould’s do not turn on the mere fact of life’s contingency—that life’s shape could have been different due to its sensitivity to initial conditions, path-dependence or stochasticity. Rather, Gouldian arguments require that the contingency is due to particular kinds of processes: in this case, those which microevolutionary theory cannot account for. This source-dependent perspective clarifies both debates about the nature and importance of contingency, and empirical routes for testing Gould’s thesis. (shrink)

Shaun Gallagher and Dan Hutto claim that those once bitter rivals, simulation theory and theory-theory, are now to be treated as partners in crime. It's true that the debate has become more nuanced, with detailed suggestions abroad as to how these two approaches might peaceably divide the field. And there is common ground between them, at least to the extent that they agree on what needs to be explained. But I see no fatal flaw in what they share. In particular, (...) I reject the idea that most interpersonal understanding can be accounted for without the postulation of mechanisms for inferring beliefs and desires. I also query the claim that simulation mechanisms have a very limited explanatory scope, and argue for the existence of such mechanisms at sub-personal levels. I suggest that Gallagher and Hutto's strictures against false belief tests are unwarranted, and their conclusions about the role of narrative in interpersonal understanding are unfounded. (shrink)

Despite popular representations to the contrary, creative people are rarely insane. But creativity and madness may be connected in other ways; we find suggestions of schizotypy in the biographies of many artists, and schizophrenia and related conditions seem to be disproportionately represented in talented and creative families. There are attractions, therefore, in the idea that creativity depends on the controlled deployment of capacities that are uncontrolled in psychosis: an idea explored by psychoanalytically inclined writers such as Ernst Kris and Hanna (...) Segal. (shrink)

A trenchant and wide-ranging look at this alarming national trend, _Disrupting the School-to-Prison Pipeline_ is unsparing in its account of the problem while pointing in the direction of meaningful and much-needed reforms. The “school-to-prison pipeline” has received much attention in the education world over the past few years. A fast-growing and disturbing development, it describes a range of circumstances whereby “children are funneled out of public schools and into the juvenile and criminal justice systems.” Scholars, educators, parents, students, and organizers (...) across the country have pointed to this shocking trend, insisting that it be identified and understood—and that it be addressed as an urgent matter by the larger community. This new volume from the _Harvard Educational Review _features essays from scholars, educators, students, and community activists who are working to disrupt, reverse, and redirect the pipeline. Alongside these authors are contributions from the people most affected: youth and adults who have been incarcerated, or whose lives have been shaped by the school-to-prison pipeline. Through stories, essays, and poems, these individuals add to the book’s comprehensive portrait of how our education and justice systems function—and how they fail to serve the interests of many young people.". (shrink)

By focusing on Chinese cultural formations and critical discourses of the last decade of the century, the author dissects the intellectual, economic, and political contradictions of a turbulent era. This wide-ranging, deeply interdisciplinary work demarcates the cultural terrain by examining diverse media: film, television, avant-garde art, and literature, as well as critical theory and intellectual history.

Motor imagery typically involves an experience as of moving a body part. Recent studies reveal close parallels between the constraints on motor imagery and those on actual motor performance. How are these parallels to be explained? We advance a simulative theory of motor imagery, modeled on the idea that we predict and explain the decisions of others by simulating their decision-making processes. By proposing that motor imagery is essentially off-line motor action, we explain the tendency of motor imagery to mimic (...) motor performance. We close by arguing that a simulative theory of motor imagery gives (modest) support to and illumination of the simulative theory of decision-prediction. (shrink)

There is increasing attention given to academic integrity across university education and dental schools are not immune to this problem (Andrews et al. J Dent Educ 71; 1027–1039, 2007; Ford & Hughes Eur J Dent Educ 16(1):e180–e186, 2012). While there has been an increasing concern about academic dishonesty in written exams and assignments, there appears to be a false sense of security in the integrity of practical assessments, involving dental procedures on simulated patients.This paper will present a situational analysis of (...) two unusual cases of academic dishonesty in preclinical dental practical assessments. The first case involved a student bringing a previously prepared plastic tooth into the examination room and substituting it for the assessment tooth. The second case involved a student removing key teeth during the exam to enable them to have better access and advantage over others to complete the assessment task. These two cases resulted in a complete review of practical assessment procedures and the application of new processes to maintain academic integrity. (shrink)

Studie over het werk van de Duitse wijsgeer Friedrich Ludwig Gottlob Frege (1848-1925).

In lieu of an abstract, here is a brief excerpt of the content:WORKS OF FICTION AND ILLOCUTIONARY ACTS by Gregory Currie ii O peech act theory is remarkably unhelpful in explaining what ficOtion is." So says Kendall Walton.1 My purpose here is to showjust how wrong diis judgment is. Not that I want to endorse all die attempts there have been to connect fiction with the notion of a speech act. Elsewhere I have argued diat the most prominent attempt (...) at such a theory, the one due to John Searle, fails.2 But my complaint is not mat Searle employs the idea of a speech act; rather it is that he employs it in too half-hearted a fashion. The idea of Searle and odiers is diat to write fiction is not to perform a speech act, but rather to pretend to do so. I, on the odier hand, take the view that the writer of fiction engages in an act of speech diat is distinctively fictional, and distinctively different from speech acts such as asserting, requesting, questioning, and so forth. What follows is a much simplified account of this idea.3 Following die program of Strawson and Grice, I believe diat the different kinds of speech acts are to be individuated in terms of the utterer's intentions.4 The intention of the one who asserts is to get a certain kind of response; perhaps to get the audience to believe the proposition asserted.5 The one who commands wants the audience to obey, die requester wants the audience to answer, etc. And in all these cases the utterer intends to get the response partly as a result of the audience's recognition of diat very intention. (This is the familiar Gricean mechanism.) The utterer of fiction, on the odier hand, wants to get the audience to make-believe die proposition uttered.6 Thus we have an act structurally similar to 304 Gregory Currie305 paradigmatic speech acts like asserting, commanding, and requesting (die structural similarity being given by the use in all cases of the Gricean intention ), but differing from diese odiers with respect to die content of the utterer's intention. Let us call such an act a.fictive illocutionary act. Pursuing this line in more detail leads to an intuitively satisfactory taxonomy of speech acts which places the uttering (usually writing) of fiction fully widiin die purview of the theory, rather dian shutting it off to one side as a pseudo-performance, as widi Searle. Is such a theory susceptible to the objections diat Walton brings? Walton is quite right to say (and here I suppose he has Searle in mind) that fiction is not simply the absence ofillocutionary force: "it is something positive, something special" (p. 79). As already indicated, my theory gives a positive account of fiction as a special kind of speech act. But Walton presses the issue further by suggesting that the essence of fiction has nodiing to do with die absence of assertive force. It is possible, he says, "to make an assertion by writing fiction." His point is not merely that fictional stories are sometimes told in order to get across some serious but not explicit point — everyone can agree to that. It is rather diat fictional works contain explicit assertions — e.g., some of Tolstoy's sentences about Napoleon in War and Peace — and that a fiction might contain nothing but assertions. He imagines a genre of historical fiction in which "authors are allowed no liberties with the facts, and in which they are understood to be asserting as fact whatever they write" (p. 80). Let us grant that this is a possibility. What, dien, would distinguish a piece of fiction belonging to this genre from, say, a work of historical scholarship? The answer comes when we see that the same utterance can be used to perform more than one illocutionary act. Thus if I say to someone "I have no money" it may be that I want him both to believe that I have no money and to give me the goods on credit. And in both cases I intend to get die desired responses via his recognition of my intentions. The same utterance can count both as an assertion... (shrink)

Some of us have suggested that what fiction makers do is offer us things to imagine, that this is what is distinctive of fiction and what distinguishes it from narrative-based but assertive activities such as journalism or history. Some of us hold, further, that it is the maker's intention which confers fictional status. Many, I think, feel the intuitive appeal of this idea at the same time as they sense looming problems for any proposal about fiction's nature based straightforwardly on (...) the identification of fiction with the to-be-imagined. I formulate a very weak version of the proposal which is not vulnerable to some objections recently presented. My formulation is in terms of supervenience. But while this version is weak, it is also quite precise, and its precision brings into view certain other problems which have not so far been attended to. To the extent that these problems are serious, the prospects for an intentional theory of fiction look, I am sorry to say, poor; the version susceptible to the objections is weak, and anything weaker still but not so susceptible could hardly be thought of as a theory of fiction, though it might supplement such a theory. (shrink)

Angela Potochnik’s Idealization and the Aims of Science defends an ambitious and systematic account of scientific knowledge: ultimately science pursues human understanding rather than truth. Potochnik argues that idealization is rampant and unchecked in science. Further, given that idealizations involve departures from truth, this suggests science is not primarily about truth. I explore the relationship between truths about causal patterns and scientific understanding in light of this, and suggest that Potochnik underestimates the importance and power of highly particular narrative explanations.

Adaptations have varied relations to their source material, making it hard to formulate a general theory. Avoiding the attempt, we characterize a narrower, more unified class of reflective adaptations which communicate an active and sometimes critical relation to the source's framework. We identify the features of reflective adaptations which give them their distinctive interest. We show how these features are embodied in Akira Kurosawa's Throne of Blood, an adaptation with a radically shifted perspective on the relation between character and situation (...) compared to its Shakespearean source. We identify some of the artistic choices through which this response to the source is conveyed, such choices being a characteristic feature of reflective adaptations. (shrink)

To act collectively is according to the spirit of our institutions. Thoreau.

Argues for an approach to the interpretation of text‐based works within which the idea of a communicative intention is central. The communicative approach, apart from providing detailed, illuminating, and testable theories, transposes very well from conversational exchange to the interpretation of text‐based works, and promises to illuminate aesthetic aspects of our engagement with works. Examines the consequences of this approach for the issue of pluralism about interpretation.

Consideration of evidence and data in historical science is dominated by textual metaphor: we reconstruct the past on the basis of various incomplete records. I suggest that although textual metaphors are often apt, they also lead philosophers and scientists to think about historical evidence in particular ways, and that other perspectives might be fruitful. Towards this, I explore the notion of natural historical evidence being thought of as ‘ruins’. This has several potential benefits. First, the architectural aspect of the metaphor (...) emphasizes the contingency of historical subjects and the coherency of design-based reconstruction. Second, historical data, like ruins, are co-constructed, involving intimate interaction with materials. (shrink)