Ben Blumson

This introduction aims to familiarize readers with basic dimensions of variation among pictorial and diagrammatic representations, as we understand them, in order to serve as a backdrop to the articles in this volume. Instead of trying to canvas the vast range of representational kinds, we focus on a few important axes of difference, and a small handful of illustrative examples. We begin in Section 1 with background: the distinction between pictures and diagrams, the concept of systems of representation, and that of the properties of usage associated with signs. In Section 2 we illustrate these ideas with a case study of diagrammatic representation: the evolution from Euler diagrams to Venn diagrams. Section 3 is correspondingly devoted to pictorial representation, illustrated by the comparison between parallel and linear perspective drawing. We conclude with open questions, and then briefly summarize the articles to follow.

We develop and defend a new approach to counterlogicals. Non-vacuous counterlogicals, we argue, fall within a broader class of counterfactuals known as counterconventionals. Existing semantics for counterconventionals, 459–482 ) and, 1–27 ) allow counterfactuals to shift the interpretation of predicates and relations. We extend these theories to counterlogicals by allowing counterfactuals to shift the interpretation of logical vocabulary. This yields an elegant semantics for counterlogicals that avoids problems with the usual impossible worlds semantics. We conclude by showing how this approach can be extended to counterpossibles more generally.

Prevailing opinion—defended by Jason Brennan and others—is that voting to change the outcome is irrational, since although the payoffs of tipping an election can be quite large, the probability of doing so is extraordinarily small. This paper argues that prevailing opinion is incorrect. Voting is shown to be rational so long as two conditions are satisfied: First, the average social benefit of electing the better candidate must be at least twice as great as the individual cost of voting, and second, the chance of casting the decisive vote must be at least 1/N, where N stands for the number of citizens. It is argued that both of these conditions are often true in the real world.

From Leibniz to Krauss philosophers and scientists have raised the question as to why there is something rather than nothing. Why-questions request a type of explanation and this is often thought to include a deductive component. With classical logic in the background only trivial answers are forthcoming. With free logics in the background, be they of the negative, positive or neutral variety, only question-begging answers are to be expected. The same conclusion is reached for the modal version of the Question, namely ‘Why is there something contingent rather than nothing contingent?’. The categorial version of the Question, namely ‘Why is there something concrete rather than nothing concrete?’, is also discussed. The conclusion is reached that deductive explanations are question-begging, whether one works with classical logic or positive or negative free logic. I also look skeptically at the prospects of giving causal-counterfactual or probabilistic answers to the Question, although the discussion of the options is less comprehensive and the conclusions are more tentative. The meta-question, viz. ‘Should we not stop asking the Question’, is accordingly tentatively answered affirmatively.

What is it for a picture to depict a scene? The most orthodox philosophical theory of pictorial representation holds that depiction is grounded in resemblance. A picture represents a scene in virtue of being similar to that scene in certain ways. This essay presents evidence against this claim: curvilinear perspective is one common style of depiction in which successful pictorial representation depends as much on a picture's systematic differences with the scene depicted as on the similarities; it cannot be analyzed in terms of similarity alone. The same problem arises for many other kinds of depiction. The essay concludes that depiction in general is not grounded in resemblance but geometrical transformation.