Curriculum Vitae: KENDALL LEWIS WALTON

(Revised 26 August 2015)

Department of Philosophy E-Mail: [email protected] 2215 Angell Hall WARNING: My email address contains 435 S. State St. TWO initials. Omitting the 'L' will send University of Michigan your message to another person. Ann Arbor, MI 48109 Webpage: https://sites.lsa.umich.edu/kendallwalton/

EDUCATION University of California, Berkeley. B.A., 1961. Cornell University. Ph.D., 1967.

DISSERTATION Conceptual Schemes: A Study of Linguistic Relativity and Related Philosophical Problems.

PROFESSIONAL POSITIONS Lecturer, Assistant Professor, Associate Professor, Professor, University of Michigan, 1965 – present. Charles L. Stevenson Collegiate Professor of Philosophy, University of Mich- igan, 1999 - 2012. Professor, School of Art and Design, University of Michigan, 2005 - 2012. Professor Emeritus of Philosophy, University of Michigan, 2012-present. Cowling Distinguished Visiting Professor in Philosophy, Carleton College, spring quarter, 2012. Wm H. Bonsall Visiting Professor, Stanford University, spring quarters, 2015-present.

FELLOWSHIPS AND AWARDS (Selected) Stanford Humanities Center, Marta Sutton Weeks Fellowship, 1982-83. Rockefeller Foundation Humanities Fellowship, 1982-83. National Endowment for the Humanities Fellowship, 1990-91. Princeton University, Carl Hempel Lecturer, 1991. American Academy of Arts and Sciences, Fellow, elected 1998. Romanell-Phi Beta Kappa Professor of Philosophy, 2001-2002. President, American Society for Aesthetics, 2003-2005. Honorary degree: Doctor of Letters, University of Nottingham (UK), con- ferred July 2005.

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SYMPOSIA AND WORKSHOPS ON MY WRITINGS Symposium, Listening with Imagination, on my writings on music. American Musicological Society, New York. Four speakers, with my responses. November 1995. “Workshop on the work of Kendall Walton,” Nottingham University (UK), July 2005. “Metaphysics, Mimesis, and Make-Believe: A Conference in Honour of Kendall Wal- ton.” Leeds University, U.K. 21-23 June, 2007. Symposium: “Kendall Walton and the Aesthetics of Photography and Film.” Uni- versity of Kent (Canterbury, U.K.), School of Drama, Film, & Visual Arts. November-December, 2007. “Miniconference Celebrating the Work of Kendall Walton,” Victoria University of Wellington (New Zealand), Philosophy Department, March, 2008. “Workshop on Kendall Walton’s work at the intersection of aesthetics and philoso- phy of mind.” University of Warwick, June, 2008. “Imagination and Make-Believe in Art and Philosophy” (“Kenfest”). University of Michigan, 5-6 October, 2012.

PUBLISHED INTERVIEWS “Can Seeing Be an Art Really,” with Richard West (interviewed jointly with Patrick Maynard). Source: Photographic Review, Issue 53 (Winter 2007), pp 38-41. “Aesthetics and Theory Construction,” with Hans Maes (translated into Dutch as “Esthetica en Theorievorming: Een Interview met Kendall Walton.” Esthetica (Jaargang 2008). “Only a Game.” Interview with Chris Bateman, 2010. http://onlyagame.typepad.com/only_a_game/2010/06/walton-on- makebelieve.html Audio Interview on photography, with Nigel Warburton. Philosophy Bites. http://philosophybites.com/2012/12/kendall-walton-on- photography.html Interview with Christophe Lemaitre. Published in Lemaitre, Le livre de go, 2nd part (Frans Masereel Centrum, 2015).

PUBLICATIONS

Books: Mimesis As Make-Believe: On the Foundations of the Representational Arts (Har- vard University Press, 1990). 450 pages.

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Italian translation, Mimesi come Far Finta, translated by Marco Nani (Mi- lano: Mimesis Edizioni, 2011).

Chinese translation (Beijing: The Commercial Press, 2013).

Korean translation (Bookorea, forthcoming 2015).

Japanese translation (University of Nagoya Press, forthcoming 2016).

Selections titled ”Fiction and Nonfiction” and “Fearing Fictionally” re- printed in Dom Lopes and Eileen John (editors), Philosophy of Literature: Contemporary and Classic Readings (Blackwell’s, 2004).

French translation of § 5.2, in Lorenzo Menoud, Qu’est-ce que la Fiction (Paris: Librairie Philosophique J. VRIN, 2005). Translation and commen- tary by Lorenzo Menoud.

“Legends and Myths” reprinted in John Gibson, Wolfgang Huemer, Lu- ca Pocci, A Sense of the World: Fiction, Narrative and Knowledge (Routledge, 2007).

Selections reprinted in Alex Neill and Aaron Ridley, Arguing about Art, 3nd edition (Routledge, 2007). Marvelous Images: On Values and the Arts (New York: Oxford University Press, March 2008.

In Other Shoes: Music, Metaphor, Empathy, Existence (New York: Oxford Uni- versity Press, January 2015).

Articles: “Categories of Art,” The Philosophical Review 79 (July 1970), pp. 334-367.

Reprintings: (a) W. E. Kennick, Art and Philosophy, 2nd edition (St. Mar- tin's Press, 1979); (b) J. Margolis, Philosophy Looks at the Arts, 2nd and 3rd editions (Temple University Press, 1978, 1986); (c) George Dickie, Richard Sclafani, and Ronald Robin, Aesthetics: A Critical Anthology, 2nd edition (St. Martin’s Press, 1989); (d) Finnish translation in Lammenran- ta—Haapala: Taidé ja tiede (Helsinki: Gaudeamus Ltd.); (e) Swedish trans- lation in Jeanette Emt and Göran Hermerén, Konst och Filosofi; (f) French translation in Poetique (No. 86, April 1991); (g) Philip Alperson, The Phi- losophy of the Visual Arts (Oxford University Press, 1992); (h) French translation reprinted in Esthétique et Poétique, edited by Gérard Genette (Editions du Seuil, 1992); (i) John Bender and Gene Blocker, Contempo- rary Philosophy of Art: Readings in Analytic Aesthetics (Prentice Hall, 1993); (j) Alex Neill and Aaron Ridley, Philosophy of Art: Readings An- cient and Modern (McGraw-Hill, 1995); (k) David Goldblatt and Lee B.

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Brown, Aesthetics: A Reader in Philosophy of the Arts: (Prentice Hall, 1997, 2nd edition 2005, 3rd edition 2010); (l) Steven M. Cahn, Philosophy for the 21st Century: A Comprehensive Reader (Oxford University Press, 2003); (m) Peter Lamarque and Stein Haugom Olsen, Aesthetics and the Philosophy of Art: The Analytic Tradition (Blackwell’s, 2003); (n) Giovanni Matteuci (editor), Estetica Analitica (McGraw Hill, forthcoming); (o) Stephen Cahn and Aaron Meskin, Aesthetics: A Comprehensive Anthology (Blackwell’s, 2007).

“Languages of Art: An Emendation,” Philosophical Studies (October- December 1971), pp. 82-85. “Categories and Intentions: A Reply,” The Journal of Aesthetics and Art Criti- cism (Winter 1973), pp. 267-268. “Pictures and Make-Believe,” The Philosophical Review (July 1973), pp. 283- 319. Reprinted in W. E. Kennick, Art and Philosophy, 2nd edition (St. Martin's Press, 1979). “Not a Leg to Stand on the Roof on.” The Journal of Philosophy 70/19 (No- vember 8 1973): 725-726. “Linguistic Relativity,” in Conceptual Change, ed. by Glenn Pearce and P. Maynard (Reidel, 1973), pp. 1-30. Review of Monroe Beardsley, The Possibility of Criticism, Journal of Philosophy (December 1973), pp. 832-836. “Are Representations Symbols?,” The Monist 58 (April 1974), pp. 236-254. Reprinted in Peter Lamarque and Stein Haugom Olsen, Aesthetics and the Philosophy of Art: The Analytic Tradition (Blackwell’s, 2003). “Points of View in Narrative and Depictive Representation,” Nous 10 (March 1976), pp. 49-61. “The Presentation and Portrayal of Sound Patterns,” In Theory Only (Febru- ary/March 1977), pp. 3-16. Review of George Dickie, Art and the Aesthetic, Philosophical Review 86/1 (Jan- uary 1977), pp. 97-101. “Fearing Fictions,” The Journal of Philosophy 75 (January 1978), pp. 5-27. Reprintings: (a) The Philosopher's Annual, edited by D. Boyer, P. Grim, and J. T. Sanders (Rowand and Littlefield, 1979); (b) Philosophy of Literature: A Book of Readings, edited by David Davies and Carl Matheson (Broad- view Press, 2001); (c) Peter Lamarque and Stein Haughom Olsen, Aes- thetics and the Philosophy of Art: The Analytic Tradition (Blackwell’s, 2003). (d) Portugese translation in Teoria Contemporanea do Cinema, Vol. 1, edited by Fernãao Pessoa Ramos (São Paulo: Editora Senac, 2005); (e) German translation in Fiktion, Wahrheit, Wirklichkeit, edited by Maria Reicher (Mentis, forthcoming 2006); (f) Philosophy of Film: an Anthology, edited by Noel Carroll and Jinhee Choi (Blackwell’s, 2005); (g) Aesthet-

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ics, edited by Steven Cahn and Aaron Meskin (Blackwells, 2007); (h) Ex- ploring Philosophy: An Introductory Anthology, 4th and 5th editions, edited by Steven Cahn (Oxford, 2012, 2014); (i) Serbian translation, in The Para- dox of Fiction, Aleksandra Kostic, editor (Beograd: Fedon, forthcoming); (j) Czech translation forthcoming in Social Sciences and Audiovision (AMU Press, 2014?); (k) Japanese translation in anthology edited by Ki- yokazu Nishimura, trans. by Norihide Mori (forthcoming). “How Remote Are Fictional Worlds From the Real World?”, The Journal of Aesthetics and Art Criticism 37 (Fall 1978), pp. 11-23. Partially reprinted in Peter A. French and Curtis Brown, Puzzles, Paradox- es, and Problems: A Reader for Introductory Philosophy (St. Martin’s Press, 1987). Reprinted in Aluze: revue pro literaturu, filozofii a jiné (Czech Translation), 2005. “Style and the Products and Processes of Art,” in The Concept of Style, ed. by Berel Lang (University of Pennsylvania Press, 1979), pp. 45-66. Second edition (Cornell University Press, 1987), pp. 72-103. “Appreciating Fiction: Suspending Disbelief or Pretending Belief?,” Disposi- tio (Invierno Primavera), 1980, pp. 1-18. Italian translation in Asmodeo/Asmodèe. French translation as “Comment on apprécie la fiction” in Agone: Litterature, Critique & Philosophie, numé- ro 14 (1995); volume titled, "Quand y a-t-il fiction?". “Descriptions and Interpretations,” review of Joseph Margolis, Art and Phi- losophy, The Times Literary Supplement, June 4, 1982. “Degrees of Durability,” review of Anthony Savile, The Test of Time, The Times Literary Supplement, February 18, 1983. Review of Nicholas Wolterstorff, Works and Worlds of Art, The Journal of Phi- losophy 80/3 (March 1983): 179-193. “Fiction, Fiction-Making, and Styles of Fictionality,” Philosophy and Literature 7/1 (Spring 1983): 78-88. “Transparent Pictures: On the Nature of Photographic Realism,” Critical In- quiry 11/2 (December 1984) 246-277. Reprintings: (a) David Goldblatt and Lee B. Brown, Aesthetics: A Reader in Philosophy of the Arts (Prentice Hall, 1997, 2nd edition 2005, 3rd edition 2010); (b) Thomas Wartenberg and Angela Curran, Philosophy of Film, Blackwell’s, 2005; (c) Scott Walden, editor, Photography and Philosophy: Essays on the Pencil of Nature (Blackwells, 2008. Korean translatrion forthcoming); (d) abbreviated version reprinted in the Michigan Philoso- phy News, Fall 1989; (e) Hungarian translation forthcoming in Metropolis. (f) James O. Young, Aesthetics: Critical Concepts in Philosophy (Routledge, 2005). “Do We Need Fictional Entities?: Notes Toward a Theory,” in Rudolf Haller, Aesthetics: Proceedings of the Eighth International Wittgenstein Symposium, Part I (Vienna: Hölder-Pichler-Tempsky, 1984), 179-192.

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“Fictional Entities,” in The Reasons of Art: Artworks and the Transformations of Philosophy, edited by Peter McCormick (Ottawa: University of Ottawa Press, 1985). “Looking Again Through Photographs: A Response to Edwin Martin,” Criti- cal Inquiry, Summer, 1986. “Looking at Pictures and Looking at Things,” in Andrew Harrison, editor, Philosophy and the Visual Arts (Reidel, 1987), pp. 277-300. Reprinted in Philip Alperson, The Philosophy of the Visual Arts (Oxford University Press, 1992). “The Presentation and Portrayal of Sound Patterns,” in Human Agency: Lan- guage Duty and Value, edited by Jonathan Dancy, Julius Moravscik, and Christopher Taylor (Stanford University Press, 1988), 237-257. [This is a revised and substantially expanded version of the 1977 paper with the same title.] “What Is Abstract About the Art of Music?,” Journal of Aesthetics and Art Criticism, 46/3 (Spring 1988), 351-364. Korean translation: In Music, that Most Eloquent of All Languages, Hee Sook Oh, editor; translated by Chunhu Jeon (Paju: Eumaksekye, 2012). “Fiction,” in Handbook of Metaphysics and Ontology, edited by Hans Burkhardt and Barry Smith, Vol. 1 (Munich: Philosophia Verlag, 1991), 274–275. Symposium on Mimesis As Make-Believe, in Philosophy and Phenomenological Research: Responses to discussions of the book by five authors. (June, 1991.) “Seeing-In and Seeing Fictionally,” in Mind, Psychoanalysis, and Art: Essays for Richard Wollheim, edited by James Hopkins and Anthony Savile (Ox- ford: Blackwells, 1992), pp. 281–291. “Make-Believe, and its Role in Pictorial Representation and the Acquisition of Knowledge,” Philosophic Exchange 23 (1992), 81–95. A condensed version of this paper was published as “Make-Believe, and its Role in Pictorial Representation,” in Art Issues, No. 21 (Janu- ary/February 1992), pp. 22-27. Reprinted in (a) David Goldblatt and Lee B. Brown, editors, Aesthetics: A Reader in Philosophy of the Arts: Pren- tice Hall, 1997), and in (b) Susan Feagin and Patrick Maynard, editors, Aesthetics (Oxford University Press, 1997). “Understanding Humour and Understanding Music," in The Interpretation of Music: Philosophical Essays,” Michael Krausz, ed. (Oxford, 1993). Published also in the Journal of Musicology, Vol. 11, No. 1 (1993). “Metaphor and Prop Oriented Make-Believe,” The European Journal of Philos- ophy, Vol. 1, No.1, April 1993, pp. 39–57. Reprinted in (a) Dom Lopes and Eileen John (editors), Philosophy of Lit- erature: Contemporary and Classic Readings (Blackwell’s, 2004), and in (b) Mark Kalderon (editor), Fictionalist Approaches to Metaphysics (Oxford University Press, 2005).

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“How Marvelous!: Toward a Theory of Aesthetic Value,” The Journal of Aes- thetics and Art Criticism, 51:3 (Summer 1993), 499–510. “Morals in Fiction and Fictional Morality,” Proceedings of the Aristotelian Soci- ety , Supplementary Volume 68 (1994): 27-50. Reprinted in Alex Neill and Aaron Ridley, Arguing about Art, 2nd edition (Routledge, 2002). Portuguese translation forthcoming (Brazil). “Duality without Paradox: Response to Robert Newsom,” in Narrative 2/2 (May 1994) [contribution to a “Dialogue” on Mimesis as Make-Believe.]. “Listening with Imagination: Is Music Representational?” The Journal of Aes- thetics and Art Criticism, 52:1 (Winter 1994), 47-61. Reprinted in (a) Jenefer Robinson, Music and Meaning (Cornell Universi- ty Press, 1997), and in (b) Philip Alperson, Musical Worlds: New Direc- tions in the Philosophy of Music.(University of Pennsylvania Press, 1998), 47-62. “Aesthetics, I. Introduction,” in The Dictionary of Art, edited by Hugh Brigstocke (London: Macmillan, 1994). “Two Arts That Beat as One.” Review of Edward Rothstein, Emblems of Mind: The Inner Life of Music and Mathematics. The New York Times Book Review (June 16, 1995). ”Nonexistent Objects, Nonbeing”. Encyclopedia of Philosophy Supplement (Macmillan, 1996). Revised and expanded for the 2nd Edition, Borchert, Donald, ed. (Detroit: Macmillan Reference USA, 2006) "Spelunking, Simulation and Slime: On Being Moved by Fiction". In Mette Hjort and Sue Laver, Emotion and the Arts (Oxford University Press, 1997). Reprinted in Robert Stecker and Ted Gracyk, Aesthetics Today: A Reader (Lanham MD: Rowman & Littlefield, 2010). Serbian translation, in The Paradox of Fiction, Aleksandra Kostic, editor (Beograd: Fedon, forthcom- ing). Portuguese translation, with additions, in Contracampo (Brazil), is- sue on “Immersive Processes in Media Culture,” 2014 “On Pictures and Photographs: Objections Answered". In: Richard Allen and Murray Smith, editors. Film Theory and Philosophy (Oxford: Oxford Uni- versity Press, 1997), pp. 60-75. Portugese translation in Teoria Contemporanea do Cinema, Vol. 2, edited by Fernãao Pessoa Ramos (São Paulo: Editora Senac, 2005). “Projectivism, Empathy, and Musical Tension.” In Philosophical Topics, 26:1&2 (Spring & Fall, 1999). (pdf available on my webpage) A shorter version under the title, “Empathy and Musical Tension” ap- peared in Dag Prawitz, editor, Meaning and Interpretation, published by the Swedish Academy of Letters, History, and Antiquities, KVHAA Konferenser 55 (2002), pp. 43-69.

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“Existence as Metaphor?” In Empty Names, Fiction, and the Puzzles of Non- Existence, edited by Anthony Everett and Thomas Hofweber, Center for the Study of Language and Information (CSLI), Stanford, 2000. “Is ‘What Is Art?’ Really the Question?” (Review of Michael Kelly, editor, Encyclopedia of Aesthetics, 1st edition). Times Literary Supplement, Sep 29, 2000: 8-9. “Depiction, Perception, and Imagination: Responses to Richard Wollheim.” Journal of Aesthetics and Art Criticism 60/1 (Winter, 2002): 27-35. “Restricted Quantification, Negative Existentials, and Fiction” (Dialectica, 57/2 (2003): 241-244. “Landscape and Still Life: Static Representations of Static Scenes.” In Rivista di Estetica 25 (February, 2005), 105-116. Reprinted in Scott Walden, editor, Photography and Philosophy: Essays on the Pencil of Nature (Blackwells, 2008.) Korean translation forthcoming. “On the (So-Called) Puzzle of Imaginative Resistance.” In Shaun Nichols, The Architecture of the Imagination: New Essays on Pretense, Possibility, and Fiction (Oxford University Press, 2006) 137-148. “Fiction Within and Beyond the Arts—Theater and Sports” (English with Korean translation). In Imagination, Representation and Arts, 121-128,129- 137. “Aesthetics—What?, Why?, and Wherefore?” (Presidential address for the American Society for Aesthetics). Journal of Aesthetics and Art Criticism, 65/2 (April 2007), 147-161. (pdf available on my webpage) “Experiencing Still Photographs: What Do You See and How Long Do You See It?” In my Marvelous Images: On Values and the Arts (New York: Ox- ford University Press, 2008). “Pictures and Hobby Horses: Make-Believe Beyond Childhood.” In my Mar- velous Image: On Values and the Arts (New York: Oxford University Press, 2008). Reprinted in Werner Wolf, Walter Bernhart, and Andreas Mahler, Aes- thetic Illusion in Literature and Other Media (Amsterdam: Rodopi, 2013). “Le Sport comme Fiction: Quand Fiction et Realité Coïncident (Presque).” In Les arts visuels, le web et la fiction, edited by Bernard Guelton (Publica- tions de la Sorbonne, 2009). Translated into French by Bernard Guel- ton(?). “Pictures, Titles, Depictive Content,” In Image and Imaging in Philosophy, Sci- ence and the Arts, Volume 1, Proceedings of the 33rd International Lud- wig Wittgenstein-Symposium in Kirchberg, 2010, edited by Heinrich, Rchard, et al (Frankfurt: Ontos Verlag, 2011). “Thoughtwriting—in Poetry and Music.” New Literary History, 43/3 (Summer 2011), 455-476. (Also forthcoming in my In Other Shoes). (pdf available on my webpage)

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“Two Kinds of Physicality, in Electronic and Traditional Music.” In Bodily Expression in Electronic Music: Perspectives on a Reclaimed Performativity, ed. by Deniz Peters, Gerhard Eckel, and Andreas Dorschel (Routledge, 2012), 114-129. (pdf available on my webpage) “Fotografische Bilder.” In Fotografie zwischen Dokmentation und Inszenierung, ed. by Julian !Nida-Rümelin and Jakob Steinbrenner (!Hatje Cantz Ver- lag, 2012). (This is a German translation of my English text. The English text is available on my webpage.) “Comment on Catherine Wilson, ‘Grief and the Poet’” British Journal of Aes- thetics 53/1 (January 2013), 113-115. [PDF available at: http://bjaesthetics.oxfordjournals.org/cgi/reprint/ays053? ijkey=l8ptp1QK2HZDYlv&keytype=ref] "Fictionality and Imagination Reconsidered.” In Fictionalism to Realism: Fic- tional and Other Social Entities, edited by Barbero, Carola; Ferraris, Mau- rizio; and Voltolini, Alberto (Newcastle upon Tyne: Cambridge Scholars Publishing, 2013), 9-26. “Metaphor, Fictionalism, Make-Believe: Response to Elisabeth Camp” (2014). Pdf available on my website, and at: http://global.oup.com/us/companion.websites/9780195098723/pdf/ Metaphor_Fictionalism_Make_Believe.pdf “Luca Del Baldo’s Portrait: On Painting from Photographs” (2014). Available at http://visionary_academy.lucadelbaldo.com/text-i.html#WALTON. Forthcoming in Del Baldo, Atlas: A Pictorial Iconography of Contemporary Philosophy “Fictionality and Imagination: Mind the Gap.” In my In Other Shoes (Oxford University Press, 2015). “’It’s Only a Game’: Sports as Fiction.” In my In Other Shoes (Oxford Univer- sity Press, 2015). “Empathy, Imagination, and Phenomenal Concepts.” In my In Other Shoes (Oxford University Press, 2015). “Meiosis Hyperbole, Irony,” Philosophical Studies (2015)

LECTURES AND PRESENTATIONS (Selected, since 1990)

American Society for Aesthetics national meetings, Austin Texas. Symposium on my Mimesis and Make-believe (1990). Princeton University, Carl Hempel Lectures (three lectures). (1991) Trinity University, San Antonio, Texas. Stieren Distinguished Lecture in the Arts (1991). x New York University, Philosophy Department (1991). University of Oslo, and University of Tromsø, Norway. Four lectures (1992).

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Stanford University, Department of Music (1992). Amherst College, Amherst MA. Symposium in honor of William Kennick (1992). x University of Cincinnati, Colloquium on Music and Meaning (1993). The Mind Association and Aristotelian Society, joint session, Dundee Scotland. Main symposium paper. (1994). x University of Virginia, Music and Philosophy Departments (1995) American Musicological Society meetings, New York. Symposium on my work, “Listening with Imagination” (1995). University of Tel Aviv. Conference on Philosophy and Literature (1996). Open University, Milton Keynes, UK,, Conference on “Aesthetic Value”; lectures at the Universities of Sheffield, Birmingham, and Nottingham, UK.” (1996). Cornell University, Conference in honor of Sydney Shoemaker (1997). Stockholm, Sweden, Symposium on “Meaning and Interpretation” (1998). Stanford University, Center for the Study of Language and Information (CSLI). Conference on “Empty Names, Fiction, and the Puzzles of Nonexistence” (1998). Paris, CREA, conference on fiction (1999). Princeton University, Philosophy Department (2000). Brock University (Ontario). Keynote address, Conference on “Image and Imagery.” Comparative Literature (2000). University of Nevada, Reno, Philosophy Department. Keynote address, Leonard Conference (2000).. University of Michigan. Inaugural lecture, Charles L. Stevenson Collegiate Pro- fessor of Philosophy (2000). Three lectures at Sydney University and Australian National University (2001)

SUNY Buffalo, Philosophy Department (2001) x SUNY Buffalo, Music Department (2001). ? Stanford University, Philosophy Department (2001). University of Michigan, Phi Beta Kappa Romanell Lectures, three lectures (2001- 2002). x University of Saskatchewan, Philosophy Department (a series of lectures and seminars) (2002). Vercelli, Italy, University of Eastern Piedmont, Mind and Language Group (2002). MIT, Cambridge, MA, Philosophy Department (2003). Stanford University, Philosophy Department (2003).

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Stanford University, Philosophy and Literature Program (2003). Brown University, Philosophy Department (2003). Auckland University, Philosophy Department (2003). x American Society for Aesthetics, San Francisco. Comment on Maynard (2003) Conference: “The Nature of the Image of Nature. Landscape between Experience and Representation.” Rome, Italy (2004). International Congress of Aesthetics, Rio de Janeiro, Brazil (2004). Presidential Address, American Society for Aesthetics. Houston Texas (2004). Conference on “Emotion Pictures.” Museum of Contemporary Art, Antwerp, Bel- gium (2005). Workshop on my writings, Nottingham University (UK). Replies to commen- tators (2005). University of California, Berkeley. Philosophy Department (2005).

University of Delaware, Philosophy Department (2005).. University of Virginia. Jefferson Society (2005). University of Virginia, Philosophy and Music Departments (2005). Korean Society for Aesthetics, Seoul. Invited address (2006).. Conference on “Empathy,” California State University, Fullerton, Keynote ad- dress (2006). Three lectures at the Institut Jean Nicod and the Sorbonne, Paris (2006) x American Philosophical Association, Chicago. Invited address (2007). Keynote address: “Metaphysics, Mimesis, and Make-Believe: A Conference in Honour of Kendall Walton.” Leeds University, U.K. (2007). London Aesthetics Forum, invited address. London. U.K. (2007). Spanish Society for Analytic Philosophy, Barcelona, 7 September. Invited “main speaker” (2007).

University of Southern California, Philosophy Department, 26 October.

Arizona State University, Philosophy Department, 9 November. University of Kent (Canterbury), U.K., School of Drama, Film, & Visual Arts. Symposium: “Kendall Walton and the Aesthetics of Photography and Film” (2007). Parodi Lecture, University of Miami and Art Basel (2007). Victoria University of Wellington (New Zealand), Philosophy Department, “Min- iconference Celebrating the Work of Kendall Walton” (2008). Victoria University of Wellington, Faculty of Humanities and Social Sciences, New Zealand (2008).

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University of Otago, Dunedin, New Zealand, Philosophy Department (2008). Inaugural Conference for the Centre for Literature and Philosophy, University of Sussex (UK). Plenary speaker (2008). University of Warwick, U.K., Philosophy Department (2008). University of Capetown and Rhodes University, Grahamstown, South Africa (2008).

Texas Tech University, Lubbock, TX. October (two talks) University of Freiburg (Germany), Freiburg Institute of Advanced Studies (2008). Five talks at Sydney University, University of Mebourne and ANU (2009) Three talks at Otago University, Victoria University of Wellington and Auckland University (2009) University of Oslo, Center for the Study of Mind in Nature, Workshop on Me- tarepresentation and Non-literal Language Use b (2009). “The Philosophy of Computer Games Conference” Oslo. Keynote Speaker (2009). Author Meets Critics session, on my Marvelous Images. American Society for Aes- thetics annual meeting, Denver (2009). Symposium, Bodily Expression in Electronic Music. University of the Arts, Graz, Austria. Invited speaker (2009). Singapore, Conference on Depiction and Language. Invited speaker (2010). University of Texas, Austin. Conference: Art, Beauty and Beyond. Keynote speak- er (2010). Harvard University. Workshop on Model-Building and Make-Believe, and Philoso- phy Department colloquium (2010).

University of Virginia. Workshop: Lies we can believe in: fiction, pretence, and human nature. Invited speaker (2010). American Society for Aesthetics, Eastern Division. Keynote address. Philadelphia (2010). Geneva, Switzerland. Workshop on fiction. Invited speaker (2010). Meeting of the Research Network on “Fictionality.” Free University of Berlin. In- vited speaker (2010). 33rd International Wittgenstein Symposium, Kirchberg, Austria. Image and Imag- ing in Philosophy, Science and the Arts, Plenary Lecture (2010). Abu Dhabi. Conference on The Perception of Sound and Music (New York Univer- sity Project on The Nature of Taste). Invited speaker. “Are the Actions and Emotions of Music ‘Out There’ or ‘In Us’?” (2011).

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London Aesthetics Forum, Invited speaker. “Understatement, Hyperbole, Irony” (2011) London, Royal Institute of Philosophy, lecture. 6 March 2011. “Learning from Art” (2011). Cambridge University (U.K.) Conference on Fiction - Metafictions and Reflexive Representation: Philosophy, Film, Art, Literature. Invited speaker (2011). Turin Italy, conference on fictionalism (in connection with the publication of the Italian translation of Mimesis as Make-Believe). Invited speaker (2011). Royal Musical Association, Music and Philosophy Study Group, London. Key- note Speaker (2011). Kunstmuseum, Bonn, Germany. Photography Between Documentation and Staged Production. Invited speaker (2011). Geneva, Switzerland. International Summer School in Affective Sciences, Univer- sity of Geneva. Plenary Lecture (2011). University of Barcelona. Workshop on fiction and fictionalism. Invited speaker (2011). Chapel Hill Colloquium in Philosophy, Main Speaker (2011). Aarhus, Denmark. Conference on “Aesthetics: Aesthetic Objects and their Cogni- tion”. Keynote speaker (2012). Maastricht, Netherlands. Jan Van Eyck Academie. Invited lecture (2012). Lund, Sweden. Conference on How to Make Believe. The Fictional Truths of the Rep- resentational Arts. Keynote speaker (2012). Oxford U.K. Richard Wollheim Memorial Lecture, British Society for Aesthetics (2012). Sao Paulo, Brazil. Conference on fictionality in historical and cultural contexts. University of Sao Paulo. Invited speaker (2013). Barcelona, Spain. Workshop on Fiction. University of Barcelona. Invited speaker (2013). Bielefeld, Germany. Workshop on Fiction and its Use. Center for Intercisciplinary Research (2013). Venice, Italy. Conference on Realism/Anti-realism. Ca' Foscari University of Venice. Invited speaker (2013). San Diego. Panel on Video Games and Aesthetics. American Society for Aesthet- ics national meetings (2013). University of Michigan. Greater Questions in Neuroscience. Symposium on Aes- thetic Perception: Beauty and the Brain. (2014). Mexico City. Universidad Nacional Autónoma de Mexico. Invited lecture (2015).

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Hamburg, Germany. Workshop on Fiction and Depiction. Invited lecture (2015) Berlin, Germany. Mini course, visiting instructor; lecture. Humboldt-Universität. (2015). Cambridge, UK. British Society for Aesthetics, annual meeting, Author Meets Critics panel on In Other Shoes, (2015). Savannah, GA. American Society for Aesthetics, national meetings, Author Meets Critics panel on Matravers’, Fiction and Narrative (2015). Uppsala, Sweden. Workshop on Derek Matravers, Fiction and Narrative (2015) Uppsala, Sweden. First Atterborn Lecture in Aesthetics (2016). Stanford University. Lecture for the Anderson Collection (2016). University of Kent (UK). Conference on Video Games (2016)

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