Counterfactual thinking has become an established method to evaluate decisions in a range of disciplines, including history, psychology and literature. Elke Reinhuber argues it also has valuable applications in the fine arts and popular media. A fascination with the path not taken is a logical consequence of a world saturated with choices. Art which provokes and explores these tendencies can help to recognise and contextualise the impulse to avoid or endlessly revisit individual or collective decisions. Reinhuber describes the term in broad strokes through the disciplines to show how counterfactualism finds shape in contemporary art forms, especially in photography, film, and immersive and interactive media art (such as 360° content, virtual reality and augmented reality). She analyses the different stages of counterfactuals with examples where artists experience counterfactual thoughts in the process of art production, explore these thoughts in their artwork, and where the artwork itself evokes counterfactual thoughts in the audience. A fascinating exploration for scholars and students of art, media and the humanities, and anybody else with an interest in choices, the art of decisionmaking and counterfactualism.

Counterfactuals is David Lewis' forceful presentation of and sustained argument for a particular view about propositions which express contrary to fact conditionals, including his famous defense of realism about possible worlds.

Twelve essays explore what bearing empirical findings might have on philosophical concerns about counterfactuals and causation, and how, in turn, work in philosophy might help clarify issues in empirical work on the relationships between causal and counterfactual thought.

Presents a comprehensive account of how the mind causes things to happen in the physical world. This book is also available as Open Access.

Political scientists often ask themselves what might have been if history had unfolded differently: if Stalin had been ousted as General Party Secretary or if the United States had not dropped the bomb on Japan. Although scholars sometimes scoff at applying hypothetical reasoning to world politics, the contributors to this volume--including James Fearon, Richard Lebow, Margaret Levi, Bruce Russett, and Barry Weingast--find such counterfactual conjectures not only useful, but necessary for drawing causal inferences from historical data. Given the importance of counterfactuals, it is perhaps surprising that we lack standards for evaluating them. To fill this gap, Philip Tetlock and Aaron Belkin propose a set of criteria for distinguishing plausible from implausible counterfactual conjectures across a wide range of applications. The contributors to this volume make use of these and other criteria to evaluate counterfactuals that emerge in diverse methodological contexts including comparative case studies, game theory, and statistical analysis. Taken together, these essays go a long way toward establishing a more nuanced and rigorous framework for assessing counterfactual arguments about world politics in particular and about the social sciences more broadly.

Could World War I have been averted if Franz Ferdinand and his wife hadn't been murdered by Serbian nationalists in 1914? What if Ronald Reagan had been killed by Hinckley's bullet? Would the Cold War have ended as it did? In Forbidden Fruit, Richard Ned Lebow develops protocols for conducting robust counterfactual thought experiments and uses them to probe the causes and contingency of transformative international developments like World War I and the end of the Cold War. He uses experiments, surveys, and a short story to explore why policymakers, historians, and international relations scholars are so resistant to the contingency and indeterminism inherent in open-ended, nonlinear systems. Most controversially, Lebow argues that the difference between counterfactual and so-called factual arguments is misleading, as both can be evidence-rich and logically persuasive. A must-read for social scientists, Forbidden Fruit also examines the binary between fact and fiction and the use of counterfactuals in fictional works like Philip Roth's The Plot Against America to understand complex causation and its implications for who we are and what we think makes the social world work.

What distinguishes laws of nature from ordinary facts? What are the "lawmakers": the facts in virtue of which the laws are laws? How can laws be necessary, yet contingent? Lange provocatively argues that laws are distinguished by their necessity, which is grounded in primitive subjunctive facts, while also providing a non-technical and accessible survey of the field.