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Atencia Linares, Paloma

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0000-0002-3405-9452
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Atencia Linares
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Paloma
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2021 - 20235
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Mostrando 1 - 5 de 5
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    Fiction, Fictionality, and Pictures
    (Routledge, 2021) Atencia Linares, Paloma; Sedivy, Sonia
    Kendall Walton has recently claimed that the notion of fictionality is more fundamental and philosophically relevant than the distinction between (works of) fiction and (works of) non-fiction. In this chapter, I argue that one of the reasons why the latter distinction is important is precisely that it affects what turns out to be fictional or true in a representational work. This is specifically relevant for Walton’s view – many of the examples he uses to show that his (former) notion of fictionality is flawed – those that are photographic in nature – depend on an implicit classification of those works as fiction or non-fiction. This being the case, even if it is true that the notion of fictionality is more fundamental than categorizing a work as fiction or non-fiction, the former depends partly on the latter. My second aim in this chapter is to clarify the consequences that Walton’s reconsidered view of fictionality has for his theory of pictorial representation. Paying attention to the examples he uses to argue for his new view on fictionality makes it clear that his account of depiction, despite being modelled on his notion of fictionality, is relevantly different from it.
  • Miniatura
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    Deepfakes, shallow epistemic graves. On the epistemic robustness of photography and videos in the era of deepfakes
    (Springer, 2022) Atencia Linares, Paloma; Artiga, Marc; https://orcid.org/0000-0003-1247-2809
    The recent proliferation of deepfakes and other digitally produced deceptive representations has revived the debate on the epistemic robustness of photography and other mechanically produced images. Authors such as Rini (2020) and Fallis (2021) claim that the proliferation of deepfakes pose a serious threat to the reliability and the epistemic value of photographs and videos. In particular, Fallis adopts a Skyrmsian account of how signals carry information (Skyrms, 2010) to argue that the existence of deepfakes significantly reduces the information that images carry about the world, which undermines their reliability as a source of evidence. In this paper, we focus on Fallis’ version of the challenge, but our results can be generalized to address similar pessimistic views such as Rini’s. More generally, we offer an account of the epistemic robustness of photography and videos that allows us to understand these systems of representation as continuous with other means of information transmission we find in nature. This account will then give us the necessary tools to put Fallis’ claims into perspective: using a richer approach to animal signaling based on the signaling model of communication (Maynard-Smith and Harper, 2003), we will claim that, while it might be true that deepfake technology increases the probability of obtaining false positives, the dimension of the epistemic threat involved might still be negligible.
  • Miniatura
    Publicación
    Debates on Culinary Norms
    (Amermican Society for Aesthetics, 2023) Atencia Linares, Paloma; Sebastián, Miguel Ángel
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    Publicación
    Narrative immersion as an attentional phenomenon
    (Taylor & Francis, 2023) Atencia Linares, Paloma; Sebastián, Miguel Ángel; https://orcid.org/0000-0003-1890-8319
    Some stories generate in us a peculiar experience of intense narrative engagement. This common experience, which we call narrative immersion, has been the object of a vast literature in psychology and other disciplines. Philosophers, however, have only recently engaged with this topic and the tendency has been to explain it by postulating specific kinds of mental states. We propose a different approach, explaining narrative immersion by means of a particular distribution of attention over the content of ordinary mental states. First, we provide a characterization of narrative immersion based on studies by psychologists and other theorists. Then, we discuss alternative views and develop our own proposal. We articulate how attention works as we engage with the narrative, and how the adequate distribution of attention over the mental states involved in understanding the storyworld can offer the resources to explain the characteristic features of narrative immersion. Unlike alternative proposals, ours avoids the need to postulate controversial mental states.