Letitia Meynell

In this paper I tackle the question of what basic form an analytical method for articulating and ultimately assessing visual representations should take. I start from the assumption that scientific images, being less prone to interpretive complication than artworks, are ideal objects from which to engage this question. I then assess a recent application of Nelson Goodman's aesthetics to the project of parsing scientific images, Laura Perini's ‘The truth in pictures’. I argue that, although her project is an important one, her Goodmanian conventionalism produces a method of analysis that is incapable of adequately parsing a certain class of pictures and her focus on truth is unnecessary. This speaks against the promise of Goodman's analytical strategy for elucidating visual content and reasoning in the sciences and elsewhere. As an alternative, I develop John Willats’ analytical method and compare it to Perini's through engaging three of her examples—a chemical diagram, a graph and an electron micrograph. Ultimately, a space remains open for a mixed system where Willats’ account provides pictorial analysis and the Goodman–Perini approach parses visual languages

From Lucretius throwing a spear beyond the boundary of the universe to Einstein racing against a beam of light, thought experiments stand as a fascinating challenge to the necessity of data in the empirical sciences. Are these experiments, conducted uniquely in our imagination, simply rhetorical devices or communication tools or are they an essential part of scientific practice? This volume surveys the current state of the debate and explores new avenues of research into the epistemology of thought experiments

This paper motivates, explains, and defends a new account of the content of thought experiments. I begin by briefly surveying and critiquing three influential accounts of thought experiments: James Robert Brown’s Platonist account, John Norton’s deflationist account that treats them as picturesque arguments, and a cluster of views that I group together as mental model accounts. I use this analysis to motivate a set of six desiderata for a new approach. I propose that we treat thought experiments primarily as aesthetic objects, specifically fictions, and then use this analysis to characterize their content and ultimately assess their epistemic success. Taking my starting point from Kendall Walton’s account of representation (Mimesis as make-believe, Harvard University Press, Cambridge, 1990), I argue that the best way to understand the content of thought experiments is to treat them as props for imagining fictional worlds. Ultimately, I maintain that, in terms of their form and content, thought experiments share more with literary fictions and pictorial representations than with either argumentation or observations of the Platonic realm. Moreover, while they inspire imaginings, thought experiments themselves are not mental kinds. My approach redirects attention towards what fixes the content of any given thought experiment and scrutinizes the assumptions, cognitive capacities and conventions that generate them. This view helps to explain what seems plausible about Brown’s, Norton’s, and the mental modelers’ views

The portrayal of novel neurotechnologies in Steven Spielberg’s Minority Report serves to inoculate viewers from important moral considerations that are displaced by the film’s somewhat singular emphasis on the question of how to reintroduce freedom of choice into an otherwise technology driven world. This sets up a crisis mentality and presents a false dilemma regarding the appropriate use, and regulation, of neurotechnologies. On the one hand, it seems that centralized power is required to both control and effectively implement such technologies and, on the other hand, individual heroic resistance is required to protect citizens from the invasions of personal privacy and state control made possible through neurotechnologies. While Minority Report, as a dystopic vision of emergent neurotechnologies, engages surface ethical issues it risks cheapening them through its rather simplistic, dichotomous analysis. Most conspicuously absent from this approach is a sense of the social matrices that work to circumscribe or augment expressions of human freedom, privacy, control and power that are all implicated in our engagement with novel neurotechnologies. Were Minority Report unique in this respect it would have little interest, but we think this type of cheapening of ethical discourse about novel technologies is common. Because science fiction film informs the social imaginary in which ethical considerations and ultimately policy decisions take place, such cheapening risks subverting pervasive and tangible ethical issues by focusing on the sensationalistic and simplistic