Contrary to the emotions we feel in everyday contexts, the emotions we feel for fictional characters do not seem to require a belief in the existence of their object. This observation has given birth to a famous philosophical paradox (the ‘paradox of fiction’), and has led some philosophers to claim that the emotions we feel for fictional characters are not genuine emotions but rather “quasi-emotions”. Since then, the existence of quasi-emotions has been a hotly debated issue. Recently, philosophers and psychologists (...) have proposed to solve this debate by using empirical methods and experimentally studying differences between ‘real’ and ‘fictional’ emotions. In this paper, our goal is to assess the success of these attempts. We begin by surveying the existing empirical literature and stressing the methodological problems that plague most studies that might seem relevant to the debate, before focusing on recent studies that avoid this pitfall. We then argue that, due to conceptual problems, these studies fail to be relevant to the philosophical debate and emphasize new directions for future empirical research on the topic. (shrink)

Past research on folk aesthetics has suggested that most people are subjectivists when it comes to aesthetic judgment. However, most people also make a distinction between good and bad aesthetic taste. To understand the extent to which these two observations conflict with one another, we need a better understanding of people's everyday concept of aesthetic taste. In this paper, we present the results of a study in which participants drawn from a representative sample of the US population were asked whether (...) they usually distinguish between good and bad taste, how they define them, and whether aesthetic taste can be improved. Those who answered positively to the first question were asked to provide their definition of good and bad taste, while those who answered positively to the third question were asked to detail by what means taste can be improved. Our results suggest that most people distinguish between good and bad taste, and think taste can be improved. People's definitions of good and bad taste were varied, and were torn between very subjectivist conceptions of taste and others that lent themselves to a more objectivist interpretation. Overall, our results suggest that the tension Hume observed in conceptions of aesthetic taste is still present today. (shrink)

Dans cette entrée, après une introduction qui servira de cadre à notre discussion (section 1.), nous allons présenter et analyser des définitions du concept « Art ». Nous discuterons brièvement les définitions classiques les plus influentes puis nous nous concentrerons sur les principales définitions contemporaines. -/- Nous verrons pourquoi les définitions classiques sont aujourd’hui considérées comme insatisfaisantes (2.a.), et comment les philosophes, à partir de la seconde moitié du XXème siècle ont tenté de pallier leurs défauts. Dans les grandes lignes, (...) le problème principal soulevé à l’encontre des théories classiques est qu’elles cherchent toutes l’essence de l’art dans un trait caractéristique qui serait reconnaissable dans les œuvres elles-mêmes. Les théories contemporaines répondent à ce problème principalement de quatre façons, comme on le verra dans les sections 2.b à 2.d. Les théories sceptiques (2.b.) défendent qu’il est dès lors impossible de définir l’art – qu’on peut au mieux en donner certains caractères typiques, des airs de famille. Les théories relationnalistes (2.c.) défendent que ce qui fait qu’une chose est de l’art est à trouver en dehors de celle-ci, notamment dans les relations qu’elle entretient avec son contexte de création ou de présentation. Les théories néo-classiques (2.d.) continuent à chercher l’essence de l’art dans un trait caractéristique reconnaissable dans les œuvres elles-mêmes tout en prenant en compte les réactions sceptiques ou relationnalistes. Enfin, la théorie du ‘renvoi de la balle’ (2.e.) défend que l’on ne peut pas définir l’art mais seulement des sous-catégories comme la musique, la sculpture, les installations, les performances, etc. -/- Nous présenterons les avantages et les inconvénients principaux des théories contemporaines. Nous verrons qu’aucune n’est dénuée de problèmes, expliquant pourquoi il n’existe pas de consensus sur une définition de l’art aujourd’hui. Nous verrons également que – à l’exception d’un certain scepticisme qui jette, semble-t-il, trop vite l’éponge – chacune de ces théories amène, par son originalité, à une compréhension nouvelle et plus profonde de cette notion extrêmement complexe qu’est le concept « Art ». (shrink)

According to contemporary philosophical accounts of hope, a hopeful emotion involves an element of imagination as input, part, or output of hope. A typical description of a hopeful episode often goes with mental imagery or immersion into the hoped-for scenario: as Ariel is hoping to win the dance competition on Saturday night, he projects himself in the scenario where he visualizes his name appearing on the screen display, quasi-hears the crowd cheering, feels proud, and starts thinking about the national dance (...) competition. This raises the question: how does hope exactly interact with the processes required to produce a mental image or even an immersive exploration of the desired reality? This is the question we tackle in our paper. Rather than putting forward a new account of the nature of hope, we explore the interactions between hope and the different kinds of imagination. (shrink)

French translation of Dretske's article "Epistemic Operators", The Journal of Philosophy, 67 (24): 1007-23.

Testimonies about aphantasia are still surprisingly rare, more than a century after Galton. It is therefore difficult to understand how a person devoid of (a kind of) imagination actually thinks. In order to outline "what it is like" to be aphantasic, I will start by compiling two qualitative interviews with aphantasics that I will then compare with other testimonies collected in literature and online. The fact that aphantasia is poorly documented may also explain why few philosophers (with the notable exception (...) of Phillips 2014) seem to take this phenomenon seriously – contrary to others phenomena such as blindsight for instance. To redress the balance, the second part of this paper will consider three debates to which aphantasia could contribute. (shrink)

Dialectica, Volume 73, Issue 4, Page 598-602, December 2019.