Unentwegt werden neue technische Produkte gestaltet. Doch was macht die technische Gestaltung aus? Wie lässt sich ihr Gegenstand - (noch) nicht existierende Artefakte - adäquat auf den Begriff bringen? Michael Kuhn begreift technische Ideen vor ihrer Realisierung als Fiktionen. Er bietet eine fiktionstheoretische Rekonstruktion der Gestaltungstätigkeit und entwickelt hieraus eine Ethik der Gestaltung. Der stark interdisziplinäre Zugang zwischen Technikphilosophie und Ingenieurwissenschaften liefert neue Erkenntnisse für beide Fachrichtungen und stellt wertvolle Grundlagen bereit.

In perceptual experience we are directed towards objects in a way that establishes a real relation between a mental act and its target. In reading works of fiction we enjoy experiences which manifest certain internal similarities to such relational acts, but which lack objects. The substitution theory of art attempts to provide a reason why we seek out such experiences and the artifacts which they generate. Briefly, we seek out works of art because we enjoy the physiology and the phenomenology (...) of, for example, the experience of love or mountain climbing, and works of art serve as props for the promotion of substitutes for the corresponding genuine feelings. Art arose, or came to be separated out from other, related phenomena, through the discovery that the experience of substitute emotions can be pleasurable. (shrink)

Scientific discourse is rife with passages that appear to be ordinary descriptions of systems of interest in a particular discipline. Equally, the pages of textbooks and journals are filled with discussions of the properties and the behavior of those systems. Students of mechanics investigate at length the dynamical properties of a system consisting of two or three spinning spheres with homogenous mass distributions gravitationally interacting only with each other. Population biologists study the evolution of one species procreating at a constant (...) rate in an isolated ecosystem. And when studying the exchange of goods, economists consider a situation in which there are only two goods, two perfectly rational agents, no restrictions on available information, no transaction costs, no money, and dealings are done immediately. Their surface structure notwithstanding, no competent scientist would mistake descriptions of such systems as descriptions of an actual system: we know very well that there are no such systems. These descriptions are descriptions of a model-system, and scientists use model-systems to represent parts or aspects of the world they are interested in. Following common practice, I refer to those parts or aspects as target-systems. What are we to make of this? Is discourse about such models merely a picturesque and ultimately dispensable façon de parler? This was the view of some early twentieth century philosophers. Duhem (1906) famously guarded against confusing model building with scientific theorizing and argued that model building has no real place in science, beyond a minor heuristic role. The aim of science was, instead, to construct theories, with theories understood as classificatory or representative structures systematically presented and formulated in precise symbolic.. (shrink)

Most scientific models are not physical objects, and this raises important questions. What sort of entity are models, what is truth in a model, and how do we learn about models? In this paper I argue that models share important aspects in common with literary fiction, and that therefore theories of fiction can be brought to bear on these questions. In particular, I argue that the pretence theory as developed by Walton (1990, Mimesis as make-believe: on the foundations of the (...) representational arts. Harvard University Press, Cambridge/MA) has the resources to answer these questions. I introduce this account, outline the answers that it offers, and develop a general picture of scientific modelling based on it. (shrink)

This monograph examines truth in fiction by applying the techniques of a naturalized logic of human cognitive practices. The author structures his project around two focal questions. What would it take to write a book about truth in literary discourse with reasonable promise of getting it right? What would it take to write a book about truth in fiction as true to the facts of lived literary experience as objectivity allows? It is argued that the most semantically distinctive feature of (...) the sentences of fiction is that they are unambiguously true and false together. It is true that Sherlock Holmes lived at 221B Baker Street and also concurrently false that he did. A second distinctive feature of fiction is that the reader at large knows of this inconsistency and isn't in the least cognitively molested by it. Why, it is asked, would this be so? What would explain it? Two answers are developed. According to the no-contradiction thesis, the semantically tangled sentences of fiction are indeed logically inconsistent but not logically contradictory. According to the no-bother thesis, if the inconsistencies of fiction were contradictory, a properly contrived logic for the rational management of inconsistency would explain why readers at large are not thrown off cognitive stride by their embrace of those contradictions. As developed here, the account of fiction suggests the presence of an underlying three - or four-valued dialethic logic. The author shows this to be a mistaken impression. There are only two truth-values in his logic of fiction. The naturalized logic of Truth in Fiction jettisons some of the standard assumptions and analytical tools of contemporary philosophy, chiefly because the neurotypical linguistic and cognitive behaviour of humanity at large is at variance with them. Using the resources of a causal response epistemology in tandem with the naturalized logic, the theory produced here is data-driven, empirically sensitive, and open to a circumspect collaboration with the empirical sciences of language and cognition. (shrink)

Anthony Everett () argues that those who embrace the reality of fictional entities run into trouble when it comes to specifying criteria of character identity. More specifically, he argues that realists must reject natural principles governing the identity and distinctness of fictional characters due to the existence of fictions which leave it indeterminate whether certain characters are identical and the existence of fictions which say inconsistent things about the identities of their characters. Everett's critique has deservedly drawn much attention and (...) a number of defensive moves have been made by, or on the behalf of, fictional realists. My goal in this paper is to move this debate on a further step. I have three goals: to clarify the importance of Everett's discussion of identity criteria within the context of fictional realism, to reassess Everett's objections to realism in light of the resultant literature, and to develop a novel strategy for responding to Everett's concerns. On the approach to be developed, the problems emerge due to an indeterminacy inherent in the concept of a fictional character itself. (shrink)

The challenge of handling fictional discourse is to find the best way to resolve the apparent inconsistencies in our ways of speaking about fiction. A promising approach is to take at least some such discourse to involve pretense, but does all fictional discourse involve pretense? I will argue that a better, less revisionary, solution is to take internal and fictionalizing discourse to involve pretense, while allowing that in external critical discourse, fictional names are used seriously to refer to fictional characters. (...) I then address two objections to such realist theories of fiction: One, that they can’t adequately account for the truth of singular nonexistence claims involving fictional names, and two, that accepting that there are fictional characters to which we refer is implausible or ontologically profligate. (shrink)

The challenge of handling fictional discourse is to find the best way to resolve the apparent inconsistencies in our ways of speaking about fiction. A promising approach is to take at least some such discourse to involve pretense, but does all fictional discourse involve pretense? I will argue that a better, less revisionary, solution is to take internal and fictionalizing discourse to involve pretense, while allowing that in external critical discourse, fictional names are used seriously to refer to fictional characters. (...) I then address two objections to such realist theories of fiction: One, that they can't adequately account for the truth of singular nonexistence claims involving fictional names, and two, that accepting that there are fictional characters to which we refer is implausible or ontologically profligate. (shrink)

This paper defends a version of the realist view that fictional characters exist. It argues for an instance of abstract realist views, according to which fictional characters are roles, constituted by sets of properties. It is argued that fictional names denote individual concepts, functions from worlds to individuals. It is shown that a dynamic framework for understanding the evolution of discourse information can be used to understand how roles are created and develop along with story content. Taking fictional names to (...) denote individual concepts provides accounts of a number of uses of fictional names. These include non-fictional uses, fictional uses, metafictional uses, interfictional uses, counterfictional uses, and negative existentials. It is argued that this account is not open to objections that have been raised in the literature. (shrink)

This paper provides an account of co-identification with fictional names, the way in which a fictional name can be used to talk about the same fictional character on disparate occasions. I develop a version of the view that fictional characters are roles constituted by sets of properties that is couched within a dynamic understanding of fictional discourse. I argue that this view captures what is right about both so-called name-centric and information-centric approaches to co-identification with fictional names. I show how (...) the dynamic view in addition accounts for a number of uses of fictional names, including fictional uses, assertoric uses, metafictional uses. (shrink)

Realists about fictional entities often distinguish the properties that a fictional character has and the properties a character holds. Roughly, this is the distinction between the properties that a character really possesses and the properties it fictionally possess. But despite the popularity of this distinction in realist circles, it gives rise to a number of subtle issues about which fictional realists can and do disagree. In this paper, we aim to clarify these issues and defend three related theses. One: that (...) to say that Hermione holds the property of being female is just to say that the singular proposition ⟨Hermione, being female⟩ is true according to Harry Potter. Two: that ordinary objects can hold properties insofar as propositions like ⟨Napoleon, being French⟩ can be true according to fictions like War and Peace. Three: that the distinction between having and holding should not be thought to play any semantic role within the context of fictional realism. (shrink)

This book is a survey of the most important developments in Austrian philosophy in its classical period from the 1870s to the Anschluss in 1938. Thus it is intended as a contribution to the history of philosophy. But I hope that it will be seen also as a contribution to philosophy in its own right as an attempt to philosophize in the spirit of those, above all Roderick Chisholm, Rudolf Haller, Kevin Mulligan and Peter Simons, who have done so much (...) to demonstrate the continued fertility of the ideas and methods of the Austrian philosophers in our own day. For some time now, historians of philosophy have been gradually coming to terms with the idea that post-Kantian philosophy in the German-speaking world ought properly to be divided into two distinct traditions which we might refer to as the German and Austrian traditions, respectively. The main line of the first consists in a list of personages beginning with Kant, Fichte, Hegel and Schelling and ending with Heidegger, Adorno and Bloch. The main line of the second may be picked out similarly by means of a list beginning with Bolzano, Mach and Meinong, and ending with Wittgenstein, Neurath and Popper. As should be clear, it is the Austrian tradition that has contributed most to the contemporary mainstream of philosophical thinking in the Anglo-Saxon world. For while there are of course German thinkers who have made crucial contributions to the development of exact or analytic philosophy, such thinkers were outsiders when seen from the perspective of native German philosophical culture, and in fact a number of them found their philosophical home precisely in Vienna. When, in contrast, we examine the influence of the Austrian line, we encounter a whole series of familiar and unfamiliar links to the characteristic concerns of more recent philosophy of the analytic sort. As Michael Dummett points out in his Origins of Analytic Philosophy, the newly fashionable habit of referring to analytic philosophy as "Anglo-American" is in this light a "grave historical distortion". If, he says, we take into account the historical context in which analytic philosophy developed, then such philosophy "could at least as well be called "Anglo-Austrian" (1988, p. 7). Much valuable scholarly work has been done on the thinking of Husserl and Wittgenstein, Mach and the Vienna Circle. The central axis of Austrian philosophy, however, which as I hope to show in what follows is constituted by the work of Brentano and his school, is still rather poorly understood. Work on Meinong or Twardowski by contemporary philosophers still standardly rests upon simplified and often confused renderings of a few favoured theses taken out of context. Little attention is paid to original sources, and little effort is devoted to establishing what the problems were by which the Austrian philosophers in general were exercised -- in spite of the fact that many of these same problems have once more become important as a result of the contemporary burgeoning of interest on the part of philosophers in problems in the field of cognitive science. (shrink)

We want to say both that Sherlock Holmes does not exist, and that he is a fictional character. But how can we say these things without committing ourselves to the existence of Sherlock Holmes? Here I develop and defend a non-commital paraphrase of quantification over fictional characters, modeled on the non-commital paraphrase Kit Fine provides for quantification over possibilia. I also develop and defend the view that names for fictional characters are weakly non-referring, in Nathan Salmon’s sense, and so provide (...) us with a non-commital means to express singular propositions. The resulting position allows us to reap the benefits of Fictional Realism without paying the associated ontological cost. (shrink)

It is usually taken for granted, in discussions about fiction, that real things or events can occur as referents of fictional names . In this paper, I take issue with this view, and provide several arguments to the effect that it is better to take the names in fiction to refer to fictional surrogates of real objects. Doing so allows us to solve a series of problems that arise on the reference-continuity view. I also show that the arguments philosophers usually (...) rely on in order to ban surrogates are not as serious as they have been taken to be. In the first part of the paper, I describe the two conflicting views. In the second part, I discuss several specific arguments in favor of surrogates. In the third part I take up the kind of reasons ordinarily offered against them. (shrink)

The essays collected in this volume are all concerned with the connection between fiction and truth. This question is of utmost importance to metaphysics, philosophy of language, philosophical logic and epistemology, raising in each of these areas and at their intersections a large number of issues related to creation, existence, reference, identity, modality, belief, assertion, imagination, pretense, etc. All these topics and many more are addressed in this collection, which brings together original essays written from various points of view by (...) philosophers of diverse trends. These essays constitute major contributions to the current debates that the connection between truth and fiction continually enlivens, and give a sense of the directions in which research on this question is heading. Contributors: Fred Adams, Frederick Kroon, Robert Howell, Brendan Murday, Terence Parsons, Graham Priest, Erich Rast, Manuel Rebuschi, Marion Renauld, R.M. Sainsbury, Grant Tavinor, Alberto Voltolini. (shrink)

Critical realism is the view that fictional characters arecontingent, actual, abstract individuals, ontologically on a par with such things as plots and rhyme schemes, andquantified over in statements such as “A character inHamlet is a prince.” A strong contender for thecorrect account of fictional characters, critical realismnevertheless has difficulty satisfying all that we intuitivelyrequire of such an account.

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)

There has recently been considerable interest in accounts of fiction which treat fictional characters as abstract objects. In this paper I argue against this view. More precisely I argue that such accounts are unable to accommodate our intuitions that fictional negative existentials such as “Raskolnikov doesn’t exist” are true. I offer a general argument to this effect and then consider, but reject, some of the accounts of fictional negative existentials offered by abstract object theorists. I then note that some of (...) the sort of data invoked by the abstract object theorist in fact cuts against her position. I concludle that we should not regard fictional characters as abstract objects but rather should adopt a make-believe theoretic account of fictional characters along the lines of those developed by Ken Walton and others. (shrink)

In an addendum to Naming and Necessity, Saul Kripke argues against his earlier view that Sherlock Holmes is a possible person. In this paper, I suggest a nonstandard interpretation of the addendum. A key feature of this non-standard interpretation is that it attempts to make sense of why Kripke would be rejecting the view that Sherlock Holmes is a possible person without asserting that it is not the case that Sherlock Holmes is a possible person.

Whatever the attractions of Tolkein's world, irrealists about fictions do not believe literally that Bilbo Baggins is a hobbit. Instead, irrealists believe that, according to The Lord of the Rings {Bilbo is a hobbit}. But when irrealists want to say something like “I am taller than Bilbo”, there is nowhere good for them to insert the operator “according to The Lord of the Rings”. This is an instance of the operator problem. In this paper, I outline and criticise Sainsbury's (2006) (...) spotty scope approach to the operator problem. Sainsbury treats the problem as syntactic, but the problem is ultimately metaphysical. (shrink)

The consensus is that repeatable artworks cannot be identified with particular material individuals. A perennial temptation is to identify them with types, broadly construed. Such identification, however, faces the so-called “Creation Problem.” This problem stems from the fact that, on the one hand, it seems reasonable to accept the claims that (1) repeatable artworks are types, (2) types cannot be created, and (3) repeatable artworks are created, but, on the other hand, these claims are mutually inconsistent. A possible solution to (...) the Creation Problem is to argue that claim (2) can be rejected because (a) the only motivation for it is that a type, being abstract, cannot stand in causal relations, but (b) this motivation is ungrounded, since types can, in fact, stand in such relations. Clearly, in order for this solution to be successful, it is necessary to substantiate the possibility of types to be causally efficacious. In this essay, I examine an attempt to do this with the help of Yablo’s principle of proportionality, which has been undertaken by Walters (2013) and, more recently, Juvshik (2018). Although the argument they advance may seem to provide strong support for the causal efficacy of types, I think it actually fails to do this. To explain why this is so, I first show that this argument commits us to the existence of widespread causal overdetermination involving types and then argue that this commitment is both epistemically and ontologically problematic. (shrink)

This thesis aims to bring methodological issues in the debate about the nature of fictional characters to the fore. I show how the arguments fictional realists have offered in favour of their views rely on crucial ‘metaontological’ assumptions about what ontological questions are and how they should be answered. In addition to casting doubt on some of the more orthodox approaches to ontological inquiry, my positive goal is to deploy an independently motivated metaontology to defend a novel version of fictional (...) anti-realism. On the view I develop and defend, the central task we face is that of explaining truths concerning fictional characters, where the relevant notion of explanation is distinctively metaphysical in character. Fictional anti-realism emerges as the plausible thesis that truths about fictional entities can be completely explained in terms of the existence and features of other things. (shrink)

Are there nonexistent objects, i.e., objects that do not exist? Some examples often cited are: Zeus, Pegasus, Sherlock Holmes, Vulcan (the hypothetical planet postulated by the 19th century astronomer Le Verrier), the perpetual motion machine, the golden mountain, the fountain of youth, the round square, etc. Some important philosophers have thought that the very concept of a nonexistent object is contradictory (Hume) or logically ill-formed (Kant, Frege), while others (Leibniz, Meinong, the Russell of Principles of Mathematics) have embraced it wholeheartedly. (...) This entry is an examination of the many questions which arise in connection with the view that there are nonexistent objects. The following are particularly salient: What reasons are there (if any) for thinking that there are nonexistent objects? If there are nonexistent objects, then what kind of objects are they? How can they be characterized? Is it possible to provide a consistent theory of nonexistent objects? What is the explanatory force of a consistent theory of nonexistent objects (if such a thing is possible)? (shrink)

According to possibilism, or non-actualism, fictional characters are possible individuals. Possibilist accounts of fiction do not only assign the intuitively correct truth-conditions to sentences in a fiction, but has the potential to provide powerful explanatory models for a wide range of phenomena associated with fiction (though these two aspects of possibilism are, I argue, crucially distinct). Apart from the classic defense by David Lewis the idea of modeling fiction in terms of possible worlds have been widely criticized. In this article, (...) I provide a defense of a possibilist account against some lines of criticism. To do so, I assume that names for fictional characters are directly referential and a possible-worlds model that accommodates transworld identity. On this background, I argue, it is possible to construct an elegant model of fictional discourse using familiar models of information exchange in ordinary discourse, and I sketch how this model can be used to i) make a natural distinction between fictional and counterfactual discourse, ii) account for creativity, and iii) sustain a natural definition of truth-in-fiction that avoids certain familiar objections to possibilism. Though I set aside questions about the metaphysical commitments of a possible-world interpretation here, there is accordingly reason to think that the battle over possibilist treatments of fiction will have to be fought over metaphysical foundations rather than technical shortcomings. (shrink)

In this entry I present one of the most hotly debated issues in contemporary analytic philosophy regarding the nature of fictional entities and the motivations that might be adduced for and against positing them into our ontology. The entry is divided in two parts. In the first part I offer an overview of the main accounts of the metaphysics of fictional entities according to three standard realist views, fictional Meinongianism, fictional possibilism and fictional creationism. In the second part I describe (...) two main kinds of arguments for or against positing fictional entities into our ontology. The first kind is traditionally inspired by the linguistic data coming from our talk about fictional characters. The second kind is more recent and it builds on genuine ontological considerations. (shrink)

In The Metaphysics of Interpretation, I explore the ontological issues surrounding fictional characters, literary works, and literary interpretation. My central claim is that if one accepts a certain position on the ontology of fictional characters and literary works – artifactualism – then, under certain circumstances, the misinterpretation of a literary work will result in the full-fledged destruction of that work. Some related matters that are studied include: realism about fictional characters, artifactualism’s implications for the debate between textualism and constructivism, the (...) seeming temporal “gappiness” of literary works, and the question of validity in interpretation. (shrink)

Fictional realism allows direct reference theorists to provide a straightfor- ward analysis of the semantics of fictional discourse by admitting into their ontology a set of objects (ficta) that serve as the referents of fictional names. Ficta may be modeled using an axiomatic object theory, but actualist interpretations of the formalism have been the subject of recent objections. In this paper, I provide an interpretation of object theory’s formalism that is consistent with actualism and avoids these objections. Drawing on insights (...) from an actualist semantics for quantified modal logic, a central point in my proposal is to interpret ficta as contingently nonconcrete objects. (shrink)

Understanding scientific modelling can be divided into two sub-projects: analysing what model-systems are, and understanding how they are used to represent something beyond themselves. The first is a prerequisite for the second: we can only start analysing how representation works once we understand the intrinsic character of the vehicle that does the representing. Coming to terms with this issue is the project of the first half of this chapter. My central contention is that models are akin to places and characters (...) of literary fictions, and that therefore theories of fiction play an essential role in explaining the nature of model-systems. This sets the agenda. Section 2 provides a statement of this view, which I label the fiction view of model-systems, and argues for its prima facie plausibility. Section 3 presents a defence of this view against its main rival, the structuralist conception of models. In Section 4 I develop an account of model-systems as imagined objects on the basis of the so-called pretence theory of fiction. This theory needs to be discussed in great detail for two reasons. First, developing an acceptable account of imagined objects is mandatory to make the fiction view acceptable, and I will show that the pretence theory has the resources to achieve this goal. Second, the term ‘representation’ is ambiguous; in fact, there are two very different relations that are commonly called ‘representation’ and a conflation between the two is the root of some of the problems that beset scientific representation. Pretence theory provides us with the conceptual resources to articulate these two different forms of representation, which I call p-representation and t-representation respectively. Putting these elements together provides us with a coherent overall picture of scientific modelling, which I develop in Section 5. (shrink)

A critical reflection on John Woods's new monograph, Truth in Fiction – Rethinking its Logic. I focus in particular on Woods’s world-inheritance thesis (what others have variously called ‘background,’ ‘the principle of minimal departure,’ and ‘the reality assumption,’ and which replaces Woods’s earlier ‘fill-conditions’) and its interplay with auctorial say-so, arguing that world-inheritance actually constrains auctorial say-so in ways Woods has not anticipated.

Logic is often conceived as a science of propositions, or of relations between propositions. There is an alternative view, however, defended by Meinong, Pfänder, Reinach and others, which sees logic as a science of “Sachverhalte” or states of affairs. A consideration of this view, which was defended especially by thinkers within the tradition of Brentano, throws new light on the problems of intentionality and of mental content. It throws light also on the development of logic in Poland. Here the influence (...) of Brentano’s student Kasimir Twardowski is especially important, and the paper concludes with a new interpretation of Tarski’s work on truth against the background of Twardowski’s thinking. (shrink)