How are fictions given? Conjoining the ‘artifactual theory’ and the ‘imaginary-object theory’

According to the so-called ‘artifactual theory’ of fiction, fictional objects are to be considered as abstract artifacts. Within this framework, fictional objects are defined on the basis of their complex dependence on literary works, authors, and readership. This theory is explicitly distinguished from other approaches to fictions, notably from the imaginary-object theory. In this article, I argue that the two approaches are not mutually exclusive but can and should be integrated. In particular, the ontology of fiction can be fruitfully supplemented by a phenomenological analysis, which allows us to clarify the defining modes of givenness of fictional objects. Likewise, based on the results of the artifactual theory, some assumptions in the imaginary-object theory, which are liable to be interpreted as laying the ground to phenomenalism, can be corrected.

Accounting for Imaginary Presence

Both Husserl and Sartre speak of quasi-presence in their descriptions of the lived experience of imagination, and for both philosophers, accounting for quasi-presence means developing an account of the hyle proper to imagination. Guided by the perspective of fulfillment, Husserl’s theory of imaginary quasi-presence goes through three stages. Having experimented first with a depiction-model and then a perception-model, Husserl’s mature theory appeals to his innovative conception of inner consciousness. This elegant account nevertheless fails to do justice to the facticity and bodily involvement of our imaginary experience. Sartre’s theory of analogon, based on his conception of imaginary quasi-presence as ‘magical’ self-affection, embodies important insights on these issues. Kinesthetic sensations and feelings are the modes in which we make use of own body to possess and be possessed by the imaginary object, thus lending it a semblance of bodily presence.

The effect of personality measurement conditions on spontaneous swimming behavior in the pale chub Zacco platypus (Cyprinidae)

Studies on personality have revealed that some personality traits are strongly correlated; thus, researchers may be able to acquire data for variables related to different personality traits from one measurement. Therefore, the aim of the present study was to test whether spontaneous movement traits used in fish personality measurements are correlated or vary among different contexts in a common Chinese cyprinid fish, the pale chub (Zacco platypus, Cyprinidae). The median swimming speed, percent time spent moving and median turning rate were measured in a boldness context (with a shelter available), then in an exploration context (with a novel object nearby) and finally in a control context (i.e., with no shelter or novel object). The median swimming speed, percent time spent moving, and median turning rate all showed positive correlations between the control and the other two contexts, which suggests that future studies might use spontaneous swimming variables measured in exploration or boldness contexts to avoid the need to carry out a separate activity test. Further analysis comparing the distance to and latency to explore the novel object between the exploration context (with the novel object present) and control context (with an imaginary object at the same position) showed that the amount of time it took for the fish to first reach the object for exploration was significantly shorter in an exploration context than in a control context. This suggests that latency to explore might be useful as a variable indicating exploration in the pale chub in the future.

"TRANSNOUMENALISM" AND OBJECT-ORIENTED ONTOLOGY: REAL, IMAGINARY AND CONSTITUTION OF OBJECTIVITY WITHIN THE FRAMEWORK OF SPECULATIVE REALISM

The article investigates place of an object in the field of speculative realism in general and objectoriented ontology in particular. It describes object’s special and ambiguous position given to it by OOO as opposed to “correlational” approach. Critics of correlational philosophy concerning objects and speculative approach opposing to it (including the one suggested by object-oriented ontologists and counter-arguments by other speculative realists) are analyzed. G. Harman’s quadruple structure taken as a basis and supplemented by imaginary object mode, whose place is on the edge of subject-object dichotomy. The author examines the dichotomy in the context of possibility to overcome it with the help of approach suggested by OOO backing. The analysis of Harman’s attempt to develop the thing-in-itself and extend understanding of object concept is about to be done. The aim of the article is to define how the imaginary intrudes basic perception leaving us with realistic (at least as consciousness sees it) picture of the world. So, throughout the article can be seen an attempt to investigate relations and/or tensions to which real and imaginable objects come between each other within the approach of speculative realism. In addition, the author had a task to determine how imaginary mode of an object is embedded in all tensions of its quadruple structure. Full transition to completely objective reality is considered impossible to be due to difficulties with its detachment from the imaginary. There was defined that imaginary object mode is organically built in all Harman’s four tensions, which are allure, causation, confrontation and theory – all of them are explained in more detail in the article. It also produces an effect on perception of constituents between which we notice those tensions, real or sensual objects and qualities. Thus, it can be argued that imaginary mode of an object is its binding component and it is necessary for complete object cognition. Besides, proceeding from the fact of how object shapes in this mode, there can be made a conclusion that cognition is not one-way process of information receiving. Imaginable becomes creative addition to it, work done by consciousness in cognition.

The Tonic Chord and Lacan's Object a in Selected Songs by Charles Ives

ABSTRACTA musical response to Lacan's concept of the objet petit a – the imaginary ‘object-cause’ of desire – accounts for certain songs by Charles Ives in which ‘tonic’ chords are signified by complex networks of dominant-seventh harmonies. These objects of tonal desire adopt the structure of both lack (as absent centre) and surplus (as multiple tonal centres). In each song, Ives employs individual harmonic techniques to question the ability of tonic chords to coordinate a fractured tonality. Investigating Afterglow, Serenity, At Sea and Mists from the 1922 collection of 114 Songs, I explore the Lacanian dimensions of each text and setting, bringing out the message that each song offers about the function of the tonic. An analysis of Premonitions exemplifies a distinction Slavoj Žižek proposed between a functional system in which the object a coordinates desire as absent centre, and a system in which the object is stripped of its organizational power.

Action Models and Verbal Descriptions in Object Representations Given through Gestures by Preschool Children

Previous research suggests that young children have difficulty producing pantomimic gestures with imagined objects for which no substitute objects are presented. They frequently substitute specific body parts to represent the object through gestures involved in the action. This study examined whether adults' verbal descriptions or symbolic action models help to produce an imaginary-object gestural response. 53 children (26 4-yr.-olds, and 27 5-yr.-olds) performed gestural tasks in which they were asked to pretend to use common objects, e.g., “pretend to brush your teeth with a toothbrush.” They were then given verbal descriptions or action models to perform those same tasks. Analysis indicated that providing verbal descriptions and action models helps to produce an imaginary-object response in 4- and 5-yr.-old children. Action models proved more effective than verbal descriptions among 4-yr.-old children. Results are discussed indicating that each verbal description and action model could be influenced by different mechanisms underlying preschool children's symbol production.