Katie Tullmann

The distinct-attitude view of fictional narratives is a standard position in contemporary aesthetics. This is the view that cognitive attitudes formed in response to fictions are a distinct kind of mental state from beliefs formed in response to non-fictional scenarios, such as pretend or imaginary states. In this paper we argue that the balance of functional, behavioral, and neuroscientific evidence best supports the genuine-attitude view of belief. According to the genuine-attitude view, cognitive responses to fictions are genuine beliefs that are not a distinct kind of mental state from the beliefs that we form in response to non-fictional scenarios. We consider the implications of the genuine-attitude view for debates at the intersection of epistemology, cognitive science, and philosophy of mind.

In 2017, the artist Dana Schutz presented her painting, Open Casket, at the Whitney Biennial. Both the painting and the painter were subsequently subjected to criticism from the art world. A central critique was that Schutz usurped the story of Emmett Till (the subject of Open Casket) and that, as a white woman, she had no right to do so. Much can—and has—been said on the appropriateness of Schutz's painting. In this article, I argue that Open Casket is a site of oppression, an object that both reflects and reinforces dominant racial hierarchies. Specifically, I argue that Open Casket is a case of what Linda Alcoff calls “the problem of speaking for others”: when a member of a privileged social group speaks on the social experiences of an oppressed group, effectively silencing that group. I explore the moral and epistemic implications of Open Casket and related works and provide some reasons to think that socially privileged persons should not depict the experiences of socially oppressed persons—at least in many cases. I conclude by presenting some conditions under which it may be appropriate for privileged artists to speak for oppressed groups.

In this paper, I set out to answer two foundational questions concerning our psychological engagements with fictions. The first is the question of fictional transformation: How we can see fictional media while also ‘seeing’ those objects as fictional ones? The second is the question of fictional response: How and why we take the objects of fiction to be the types of things that we can respond to and judge? Standard responses to these questions rely on distinct cognitive attitudes like pretense, imagination, and make-believe. I call this position the distinct attitude view. I argue against the DAV, arguing instead that a psychological framework of fiction can answer the two questions without appealing to distinct mental attitudes. Hence, I call my position the standard attitude view. The challenge for the SAV is to explain the two questions in terms of everyday mental states and the intentional content of those states. I do so by appealing to the concept of taking the fictional stance....

This paper reimagines the traditional problem of other minds. On a Cartesian view, the problem involves humans’ inability to perceive other persons’ minds. Similarly, Gilbert Ryle claims that we cannot directly access another’s mind. The paper’s rethinking of the problem of other minds moves beyond these questions of perceptibility and accessibility. It asks whether there are certain groups of people whose minds are systematically misinterpreted, or even denied mentality. It argues that there are. This claim builds off recent work in philosophy and social psychology on epistemic injustice and the role of social categories in mental state attribution. The paper proposes the Problem of the Other’s Mind: the phenomenon of a (relatively) socially privileged person’s inability or lack of desire to understand the mind of a (relatively) socially underprivileged person.

This paper explores the conscious visual experience of seeing race. In everyday occurrences, racialized seeing involves the capacity for a subject to simply “see” that someone she encounters belongs to a racial category. I bridge research in analytic philosophy of perception and accounts from phenomenologists and critical race theorists on the lived experience of racialized seeing. I contend that we should not trust our visual experiences of racialized seeing because they provide, at best, incomplete information on a target’s racial identity. I make a case for a version of perceptual learning that I think both captures actual experiences of racialized seeing and is empirically plausible. Finally, I follow work of critical race theorists in suggesting that normative constraints surrounding racial identity and privilege are built into our experiences of racialized seeing. Both types of racialized seeing are subject to social norms and practices and, thus, aid in perpetuating racial hierarchies.

This paper explores the concept of “gendered seeing”: the capacity to visually perceive another person's gender and the role that one's own gender plays in that perception. Assuming that gendered properties are actually perceptible, my goal is to provide some support from the philosophy of perception on how gendered visual experiences are possible. I begin by exploring the ways in which sociologists and psychologists study how we perceive one's sex and the implications of these studies for the sex/gender distinction. I then discuss feminist philosopher Linda Alcoff's concept of “interpretative horizons,” which highlights the role that one's social and political identities play in how we understand the world around us. I also discuss Elizabeth Grosz's notion of double sensation. I then apply some work in the philosophy of perception on perceptual learning and the cognitive penetration of perception to gendered seeing. My hypothesis is that we can explain how one's interpretative horizons are acquired through some notion of perceptual learning. I conclude by suggesting some of the epistemic and ethical implications of gendered seeing.

This paper analyzes aesthetic courage, a virtue directed towards aesthetic objects when subjects are asked to confront content that is psychologically or socially risky. I examine aesthetic courage to explore how it plays a role in a virtue theoretic account of the good life. I contend that the virtue theoretic concept of phronesis, or practical wisdom, plays a strong role in guiding the virtuous agent to make decisions about the course of action that promotes her good life. The concept of phronesis in service of the good life acts as the foundation for my concept of aesthetic courage. I analyze several examples of aesthetic courage, including the controversy surrounding the contemplative garden at Stanford University in honor of Chanel Miller and other survivors of sexual assault.

Many philosophers have attempted to provide a solution to the paradox of fiction, a triad of sentences that lead to the conclusion that genuine emotional responses to fiction are irrational. We suggest that disagreement over the best response to this paradox stems directly from the formulation of the paradox itself. Our main goal is to show that there is an ambiguity regarding the word ‘exist’ throughout the premises of the paradox. To reveal this ambiguity, we display the diverse existential commitments of several leading theories of emotion, and argue that none of the theories we consider are committed to notions of ‘exist’ employed by the paradox. We conclude that it is unclear whether or not there remains a paradox of fiction to be solved—rather than to be argued for—once this ambiguity is addressed

Mindreading is the ability to attribute mental states to others and predict their behavior. Mindreading is commonplace in our daily lives, as well as our engagements with fictions. In this paper, I provide an account of how we mindread fictional entities that draws upon a version of theory-theory (TT). TT states that we attribute mental states through a process of inference-drawing from tacit folk psychological knowledge about mental states and information about our current environment and then conclude that the target must think or feel a certain way. Philosophers of art seldom argue in favor of TT. My opinion is that TT does not appeal to those trying to explain fictional mindreading because it does not explicitly make use of the imagination or imaginary mental states. Moreover, TT faces several standard objections that philosophers of art have taken to heart. Most significantly, it is argued that TT proposes an overly complex cognitive architecture and does not capture the phenomenology of our mindreading experience. To combat such worries, I supplement the traditional account of TT with an account of social referencing. Social referencing is a heuristic model of how we quickly understand our social surroundings. I argue that this updated version of TT can adequately account for the challenges faced by standard TT and can readily explain how we mindread fictional entities.

In 2017, the artist Dana Schutz presented her painting, Open Casket, at the Whitney Biennial. Both the painting and the painter were subsequently subjected to criticism from the art world. A central critique was that Schutz usurped the story of Emmett Till and that, as a white woman, she had no right to do so. Much can—and has—been said on the appropriateness of Schutz's painting. In this article, I argue that Open Casket is a site of oppression, an object that both reflects and reinforces dominant racial hierarchies. Specifically, I argue that Open Casket is a case of what Linda Alcoff calls “the problem of speaking for others”: when a member of a privileged social group speaks on the social experiences of an oppressed group, effectively silencing that group. I explore the moral and epistemic implications of Open Casket and related works and provide some reasons to think that socially privileged persons should not depict the experiences of socially oppressed persons—at least in many cases. I conclude by presenting some conditions under which it may be appropriate for privileged artists to speak for oppressed groups.

Why do we form strong emotional attachments to unlikeable and immoral characters during our engagements with fictions? These pro-attitudes persist even as we realize that we would loathe these people if we were to encounter them in real-life. In this paper, I explore the implications of the sympathy for the devil phenomenon. I begin by considering several popular explanations, including simulation, aesthetic distancing, pre-focusing, and the ‘best of all characters’. I conclude that each one is inadequate. I then propose my own explanation of the phenomenon, the fascinated attention approach.

This article focuses on a potentially perplexing aspect of our interactions with pictorial representations : in some cases, it seems that visual representations can play tricks on our cognitive faculties. We may either come to believe that objects represented in pictures are real or perhaps perceive them as such. The possibility of widespread pictorial illusions has been oft discussed, and discarded, in the aesthetics literature. I support this stance. However, the nature of the illusion is more complicated than is usually considered. I argue that there are five different types of potential illusions and present reasons for rejecting each. I also explore in detail the most persistent illusion: the “object recognition perceptual illusion thesis,” which states that we undergo a perceptual illusion while viewing pictorial representations simply in virtue of seeing objects in the representation. I contend that a rejection of this thesis depends on the nature of perceptual content, an issue with far-reaching consequences in aesthetics.