The Art of Worldbuilding: Analyzing Nelson Goodman’s Philosophy of Worldmaking

Worldbuilding, a concept central to creative endeavors ranging from fiction writing to philosophical inquiry, involves constructing complex and immersive environments. Nelson Goodman’s Ways of Worldmaking offers a profound framework for understanding how we create and engage with worlds. His philosophy, rooted in epistemology, ontology, and symbol theory, shifts the focus from the discovery of objective truths to the analysis of how we construct versions of reality. By examining Goodman’s critiques of worldmaking and his philosophy of mapping as a world-orientation tool, we can appreciate the creative and cognitive dimensions of building worlds.

Worldmaking as constructive engagement

Goodman’s notion of worldmaking posits that worlds are not discovered but constructed through versions—symbolic representations created in language, imagery, and other media. He asserts, “Worlds are made by making […] versions with words, numerals, pictures, sounds, or other symbols of any kind in any medium” (Ways of Worldmaking, 94). This suggests that worldbuilding is not merely a descriptive act but a transformative process, emphasizing the interaction between creators and their symbolic tools.

Through this lens, worldbuilding becomes a critique of worldmaking, a comparative study of the methods and mediums used to construct worlds. Goodman’s focus on the cognitive and aesthetic aspects of this process highlights the creative flexibility inherent in world construction. Symbols do not aim to mirror the world but to construct perspectives, enabling us to navigate and understand our realities.

The philosophy of mapping: orientation over representation

Central to Goodman’s philosophy is the concept of mapping. A map, in his view, does not recreate experience but instead organizes and discloses it. He states, “A map not only summarizes, clarifies, and systematizes, it often discloses facts we could hardly learn immediately from our explorations” (Problems and Projects, 15). The map is thus schematic, selective, and conventional—a medium that prioritizes usability over exhaustive detail.

Goodman’s emphasis on mapping aligns with Ludwig Wittgenstein’s idea of grammar as a means of creating surveyable representations (Übersichtliche Darstellung). Both philosophers prioritize tools that allow us to orient ourselves within a conceptual framework rather than offering direct portrayals of reality. This perspective underscores the importance of worldbuilding as a means of orientation, enabling creators and audiences to “know their way about” within a constructed environment.

In Goodman’s philosophy, the value of a map—or any constructed system—is measured not by its truthfulness but by its serviceability and accuracy in achieving its intended purpose. This pragmatic criterion reinforces the idea that worldbuilding is less about reflecting an external reality and more about providing coherent systems for understanding and interaction.

The role of symbols in worldmaking

Symbols, for Goodman, are the building blocks of worldbuilding. They do not grasp an independent reality but instead make worldviews possible. This distinction shifts the focus from ontology—the study of being—to epistemology, the study of how we come to know and construct reality. Goodman’s theory of symbols reveals that worldbuilding is not a passive activity but an active engagement with the tools of understanding.

The constructive nature of symbols also ties into aesthetics and logic, as they enable creators to develop cohesive and immersive worlds. Whether through language, images, or other media, symbols serve as the foundation for creating versions that resonate with audiences, shaping their experiences and perspectives.

Critique of worldmaking: ethical neutrality and practical utility

Goodman’s worldmaking avoids ethical prescriptions, focusing instead on the cognitive and aesthetic aspects of construction. While this neutrality allows for a wide range of creative expressions, it also raises questions about the responsibilities of creators in shaping perceptions and experiences. The emphasis on practical utility—evaluating maps and systems based on their serviceability—encourages creators to focus on coherence and relevance.

In this context, worldbuilding becomes a tool for exploring not only external realities but also our own ways of understanding. Goodman’s philosophy invites creators to consider how their symbolic systems facilitate engagement, reflection, and interaction within constructed worlds.

Worldbuilding as a framework for understanding

Nelson Goodman’s philosophy of worldmaking offers a profound exploration of how we construct, navigate, and critique worlds. By emphasizing the symbolic and pragmatic aspects of worldbuilding, he redefines the act of creation as a process of orientation and engagement. Maps, symbols, and constructed systems become tools for understanding not only the worlds we create but also the ways in which we perceive and interact with reality.

In applying Goodman’s insights to creative practices, worldbuilders are encouraged to embrace the schematic, selective, and transformative nature of their work. By prioritizing serviceability and coherence, they can craft worlds that resonate with audiences, providing frameworks for exploration, reflection, and connection. In this sense, worldbuilding is not merely an imaginative exercise but a philosophical and epistemological endeavor, bridging the gap between creativity and understanding.