This contribution proposes an interpretation of Thomas Aquinas’s philosophy of mathematics. It is argued that Aquinas’s philosophy of mathematics is a coherent view whose main features enable us to understand it as a moderate realism according to which mathematical objects have an esse intentionale. This esse intentionale involves both mathematicians’ intellectual activity and natural things being knowable mathematically. It is shown that, in Aquinas’s view, mathematics’ constructive part does not conflict with mathematical realism. It is also held that mathematics’ imaginative reasoning is coherent with Aquinas’s doctrine of formal abstraction and his realistism. It focuses on some of Aquinas’s texts, which it places within their textual and doctrinal context and interprets them in the light of some historical elements.

According to religious fictionalism, a non-believer can participate in religious life by playing a game of make-believe. Considering how games of make-believe build on imagination and pretence, I argue that religious fictionalism requires the non-believing participant to engage in role-playing. Turning to the literature on role-playing games, I demonstrate how religious fictionalism conforms to a qualified definition of such games. I also explore the theoretical consequences of adopting the role-playing perspective, by considering its impact on two key issues concerning religious fictionalism.

Designing complex products involves working with uncertainties as the product, the requirements and the environment in which it is used co-evolve, and designers and external stakeholders make decisions that affect the evolving design. Rather than being held back by uncertainty, designers work, cooperate and communicate with each other notwithstanding these uncertainties by making assumptions to carry out their own tasks. To explain this, the paper proposes an adaptation of Kendall Walton’s make-believe theory to conceptualise designing as playing games of make-believe by inferring what is required and imagining what is possible given the current set of assumptions and decisions, while knowing these are subject to change. What one is allowed and encouraged to imagine, conclude or propose is governed by socially agreed rules and constraints. The paper uses jet engine component design as an example to illustrate how different design teams make assumptions at the beginning of design activities and negotiate what can and cannot be done with the design. This often involves iteration – repeating activities under revised sets of assumptions. As assumptions are collectively revised, they become part of a new game of make-believe in the sense that there is social agreement that the decisions constitute part of the constraints that govern what can legitimately be inferred about the design or added to it.

It is commonly said that some standards, such as morality, are ‘normatively authoritative’ in a way that other standards, such as etiquette, are not; standards like etiquette are said to be ‘not really normative’. Skeptics deny the very possibility of normative authority, and take claims like ‘etiquette is not really normative’ to be either empty or confused. I offer a different route to defeat skeptics about authority: instead of focusing on what makes standards like morality special, we should focus on what makes standards like etiquette ‘not really normative’. I defend a fictionalist theory on which etiquette is ‘not really normative’ in roughly the same way that Sherlock is ‘not really a detective’, and show that fictionalism about some normative standards helps us explain the possibility of normative authority.

The debate concerning the ontological status of musical works is perhaps the most animated debate in contemporary analytic philosophy of music. In my view, progress requires a piecemeal approach. So in this article I hone in on one particular musical work concept – that of the classical Western art musical work; that is, the work concept that regulates classical art-musical practice. I defend a fictionalist analysis – a strategy recently suggested by Andrew Kania as potentially fruitful – and I develop a version of such an analysis in line with a broad commitment to philosophical naturalism.

One challenge involved in integrating so-called ‘non-Western’ philosophies into ‘Western’ philosophical discourse concerns the fact that non-Western philosophical texts frequently differ significantly in style and approach from Western ones, especially those in contemporary analytic philosophy. But how might one bring texts that are written, for example, in a literary, non-expository style, and which do not clearly advance philosophical positions or arguments, into constructive dialogue with those that do? Also, why might one seek to do this in the first place? This paper addresses these questions by means of a case study involving the Daoist classic, the Zhuangzi.