Résumé J’examine la thèse défendue par Donald Davidson selon laquelle un être ne peut avoir des pensées que s’il a été en communication linguistique avec quelqu’un d’autre par le passé. Cette thèse, que j’appelle « l’interprétationnisme radical », dérive de la thèse A selon laquelle il est nécessaire d’avoir les concepts de croyance et de vérité objective pour avoir des croyances, et de la thèse B voulant que la communication linguistique soit requise pour l’acquisition du concept de vérité objective. En (...) réponse à A, je préconise un point de vue contextualiste, selon lequel les normes d’attribution de croyances dépendent du contexte conversationnel. Le contextualisme entraîne non pas que A est fausse, mais qu’elle doit être relative à un contexte. Je montre par ailleurs que contrairement à ce qu’affirme B, l’interaction avec autrui n’est pas nécessaire pour acquérir le concept de vérité objective. Je conclus que les arguments de Davidson soutiennent au mieux l’interprétationnisme modéré, c’est-à-dire l’idée selon laquelle un être a des pensées si et seulement si ces pensées sont interprétables par un interprète pleinement informé.I examine Donald Davidson’s thesis that a creature cannot have thoughts unless it has had a linguistic communication with another creature. This thesis, which I call “Radical Interpretationism”, derives from the claim that it is necessary to have the concepts of belief and objective truth in order to have beliefs and the claim that linguistic communication is required to acquire the concept of objective truth. In response to, I put forward a contextualist viewpoint, according to which the norms of belief attribution are context-dependent. Contextualism entails not that is false, but that it must be relativised to a context. I then show that contrary to what says, interaction with others is not necessary to acquire the concept of objective truth. I conclude that Davidson’s arguments at best support moderate interpretationism, that is, the view that a creature has thoughts if and only if these thoughts are interpretable by a fully-informed interpreter. (shrink)

According to Arthur Danto, it is illegitimate to seek a neutral, or pre-interpretative, description of an artwork, since such descriptions necessarily fail to respect the artwork as such. Instead, we must begin by interpreting, so as to constitute the work : interpretation is what distinguishes artworks from mere physical objects. In this paper, I argue that, while Danto is right to distance artworks from mere things, this can be done without suggesting that artworks are constituted by interpretation. Moreover, Danto’s view (...) leaves us unable to account for the fact that interpretations are constrained to be responsive to the work’s features. I demonstrate that, by appealing to conventions of description that are specific to art, it is possible to offer a neutral description that respects the work as an artwork. This view accords with our common sense understanding of the relation between description and interpretation, and avoids the unfortunate consequences of Danto’s theory. // Selon Arthur Danto, il est illégitime de chercher une description « neutre » ou préinterprétative d’une oeuvre d’art, parce qu’une telle description ne peut respecter l’oeuvre d’art en tant que telle. Nous ne pouvons aborder une oeuvre sans l’interpréter, puisque l’interprétation constitue l’oeuvre d’art et distingue celle-ci d’un simple objet physique. Dans cet article je soutiens que, bien que Danto ait raison de vouloir distinguer les oeuvres d’art des simples choses, on peut effectuer cette distinction sans conclure que les oeuvres d’art sont constituées par l’interprétation. Je soutiens en outre que le point de vue de Danto ne nous permet pas de tenir compte du fait que les interprétations doivent respecter les caractéristiques de l’oeuvre. Je montre qu’en faisant appel aux conventions de description spécifiques à l’art, on peut proposer une description neutre qui respecte l’oeuvre d’art en tant qu’oeuvre. Mon point de vue est conforme à la relation généralement admise entre la description et l’interprétation des oeuvres d’art, et évite les conséquences négatives de la théorie de Danto. (shrink)

Our examination of the controversy surrounding the intentionalist conception of textual interpretation shows that the critics of this approach to questions of meaning and interpretation have so far failed to prove their case. The standard objections to intentionalism, on grounds of logical or empirical fallacy, cannot be maintained. We reconstruct the objections which have been raised in the literature against the intentional conception and discuss them as criticism of a conception hold to be inadequate with respect to the problem of (...) literary interpretation. In our evaluation of the intentional conception we conclude that it represents a perfectly ‘normal’ conception of meaning and interpretation, of a kind by no means inferior to other approaches adopted by the various disciplines concerned with interpreting texts. (shrink)

Is there a role for aesthetic judgements in science? One aspect of scientific practice, the use of thought experiments, has a clear aesthetic dimension. Thought experiments are creatively produced artefacts that are designed to engage the imagination. Comparisons have been made between scientific (and philosophical) thought experiments and other aesthetically appreciated objects. In particular, thought experiments are said to share qualities with literary fiction as they invite us to imagine a fictional scenario and often have a narrative form (Elgin 2014). (...) But philosophical discussions of aesthetics in science have focused mainly on the epistemic role of beauty and elegance when it comes to theories and mathematical proofs, and thought experiments have been widely overlooked. My aim in this chapter is to address how the aesthetic choices scientists make in the design of a thought experiment contribute to its function: to communicate, convince, or explain a theory or phenomenon. A key issue is whether any aesthetic features in science provide anything beyond catching our attention, or are at best, a mere heuristic aid. I respond to accounts that argue this way and show how formulation is important in scientific thought experiments and, similarly to literary fictions, there is more than one way of interpreting a thought experiment scenario. I end by considering which literary examples are most appropriate when making comparisons with thought experiments. As a result, the difference between representations in art and science raised in current discussions is not as stark as it has been made out to be, and science is a more heterogeneous practice than has been allowed. Part of the value of thought experiments in scientific practice includes the qualities they share with literary works. (shrink)

Thought experiments (TEs) are important tools in science, used to both undermine and support theories, and communicate and explain complex phenomena. Their interest within philosophy of science has been dominated by a narrow question: How do TEs increase knowledge? My aim is to push beyond this to consider their broader value in scientific practice. I do this through an investigation into the scientific imagination. Part one explores questions regarding TEs as “experiments in the imagination” via a debate concerning the epistemic (...) status of computer simulations in science. I outline how, against Hacking, TEs also have “a life of their own” and I argue against accounts that privilege experiments over simulations (and by extension TEs) in light of their capacity to surprise in a productive way. Part two develops a pluralist account of the nature of the imagination in science. At its core, my view is that when we attend to a number of examples of TEs and consider the context in which they are used, we see that TEs engage a variety of our imaginative capacities. Existing monistic views fail to recognise the richness of the imagination and its potential in science. Part three looks to the “beauty” of TEs which is currently overlooked in the aesthetics of science literature. I put forward a new account that demonstrates the epistemic value of aesthetic features in science by showing how an appropriate fit between form and content enhances the usability of a TE, and its effectiveness as a prompt for our imagination. This also enables a more nuanced take on the proposed similarities between TEs and literary fictions. In the concluding chapter, I outline ways in which the core features of my account can be extended beyond TEs to illuminate the significance of the imagination and aesthetic values in other areas of science. (shrink)