We are living in an age that is narratively obsessed: both in the academy and in popular culture, temporally articulated phenomena currently exert a vice-like grip over the collective imagination. Under such conditions, how may non-narrative sources of aesthetic power be made available once again to human observers? Charlie Kaufman’s response, in Adaptation, takes the form not of statements but of actions, of “philosophical therapy” for our insatiable narrative hunger. It leaves us, in the end, with two phenomena that (...) have (in the full sense of the word) no history at all: the beauty of flowers and the intricacy of a human soul. (shrink)

In several papers, I have argued for a theory of distributive justice and considered its implications. This theory includes a principle of responsibility that was endorsed by others within an account of defensive force (self-defense and defense of others). Whitley Kaufman criticizes this account which he refers to as the "distributive justice theory of self-defense" (DJ theory). In this paper, I respond to this criticism. I argue that Kaufman presents the theory inaccurately, that his standard of evaluation of (...) the theory is inadequate and that his claim that the theory should be rejected is unconvincing. (shrink)

Distributive Justice and Access to Advantage is the most recent anthology devoted to the work of the great and, sadly, late political philosopher G.A. Cohen. Wh.

Michel Gondry and Charlie Kaufman’s 2004 Eternal Sunshine of the Spotless Mind, which celebrated its fifteenth anniversary in 2019, is an extended thought experiment on the nature of memory, minds, and persons. The memory erasure thought experiment presented in the film—and its implications for personal identity—raises poignant questions for the ethicist, epistemologist, neuroscientist, metaphysician, and cognitive scientist. In this paper, I explore the rich insights the film has to offer interdisciplinary studies of memory, providing a case study in how (...) narrative can uniquely contribute to memory research, while also maintaining philosophical rigor and fidelity to scientific discoveries about memory. Turning to the philosophical implications of memory erasure, I consider memory erasure in the context of several leading views of personal identity and proposed answers to the persistence question of personal identity, assessing the challenges and complications that the memory erasure thought experiment brought to life by Eternal Sunshine poses to these theories. I argue that the psychological continuity view of personal identity—in its various iterations—does not allow an individual to truly survive the memory erasure procedure. The memory erasure thought experiment presented in Eternal Sunshine—and its metaphysical and epistemological consequences—reveal how we establish the relationship between memories and selfhood, how to define personhood in the presence of both hypothetical and real-world memory loss, and what experiences we value in human life. (shrink)

From Basil Fawlty, The Little Tramp and Frank Spencer; to Jim Carey, Andy Kaufman and Rowan Atkinson... comedy characters and comic actors have proved useful lenses for exploring—and exposing—humor’s cultural and political significance. Both performing as well as chastising cultural values, ideas and beliefs, the comic character gives a unique insight into latent forms of social exclusion that, in many instances, can only ever be approached through the comic form. It is in examining this comic form that this paper (...) will consider how the ‘comedy character’ presents a unique, subversive significance. Drawing from Lacanian conceptions of the subject and television ‘sitcom’ examples, the emancipatory potential of the comedy character will be used to criticize the predominance of irony and satire in comic displays. Indeed, while funny, it will be argued that such comic examples underscore a deprivative cynicism within comedy and humor. Countering this, it will be argued that a Lacanian conception of the subject can profer a comic efficacy that not only reveals how our social orders are inherently inconsistent and open to subversive redefinition, but that these very inconsistencies are also echoed in the subject, and, in particular, the ‘true comedy character’. (shrink)

"In 'I Don't Know, Just Wait: Remembering Remarriage in Eternal Sunshine of the Spotless Mind', William Day shows how Kaufman's Eternal Sunshine of the Spotless Mind should be considered part of the film genre known as remarriage comedy; but he also shows how Kaufman contributes something new to the genre. Day addresses, in particular, how the conversation that is the condition for reunion involves discovering 'what it means to have memories together as a way of learning how to (...) be together'. One of the most innovative aspects of Kaufman's filmic representation of such a conversation is its effect on the audience: how the narrative structure 'replicates for the viewer the felt contingency of memory that we attribute' to the characters we see onscreen - a couple contending with the interrelated experiences of remarriage and remembering." --David LaRocca, Introduction to The Philosophy of Charlie Kaufman, 12. (shrink)

This is a reply to the commentaries on my paper 'Truthmaker Semantics for Natural Language: Attitude Verbs, Modals, and Intensional Transitive Verbs'. The paper is a commissioned 'target' article, with commentaries by W. Davis, B. Arsenijevic, K. Moulton, K. Liefke, M. Kaufman, R. Matthews, P. Portner and A. Rubinstein, P. Elliott, and G. Ramchand.

To what extent can film - or individual films - act as a vehicle of or forum for philosophy itself?. Many have responded that films can indeed do philosophy to a substantial degree. Furthermore, it has been claimed that this virtue does not belong solely to ‘art’ films, but that popular cinema too can do philosophy. A case in point is Spike Jonze’s 1999 film Being John Malkovich, the Oscar-winning screenplay of which was written by Charlie Kaufman. The outrageous (...) premise of this comic fantasy is summarised by the film’s protagonist, Craig Schwartz: "There's a tiny door in my office Maxine. It's a portal, and it takes you inside John Malkovich. You see the world through John Malkovich's eyes. And then, after about fifteen minutes, you're spit out into a ditch on the side of the New Jersey Turnpike." The philosophical issues that this scenario raises are manifold. My primary aim in this paper is to follow the film through its exploration of subjectivity, clarifying its insights with the aid of current philosophical work on the topic. Hopefully, this will enhance our understanding both of subjectivity, and of the philosophical relevance of the film. A secondary goal of this enquiry is to provide a clear example of film-as-philosophy, perhaps demonstrating how film contributes something to the philosophical forum that an academic text cannot. (shrink)

This article critically examines the positions taken by Stephen E. Toulmin, Robert C. Coburn, and and Gordon D. Kaufman on existential experience and limiting questions and answers.

Responding to a set of essays by Walter Benn Michaels, this paper argues that we can solve some interesting puzzles about intention in photography without the need for any fancy Anscombian footwork. Three distinctions are enough to do the job. First, with Alexander Nehamas, we should separate the empirical photographer from the postulated artist. Next we should mark off generic intentions (such as the intention to make a work of art) from specific intentions (such as the intention to critique capitalism). (...) And finally we should draw a line between intention at time of conception and intention at time of display. A good interpretation, then, will attribute *specific* intentions to the *postulated* artist at the time of *display*. Problem solved? The postulated author of this essay thought so, at least, at the moment when he hit "send.". (shrink)